Master of the Art P.2 (Charles Webster)

Now into his second decade as a true innovator in the electronic music scene, Charles Webster is one of the few real mould-breakers in an increasingly stale & predictable dance music world (though whether a man whose favourite artist is Rickie Lee Jones, and whose records ooze such soul and depth should really ever be pigeonholed as dance is another debate...).

Charles has sold over 100,000 albums without ever being considered 'mainstream' or having a major hit single...he has toured the world with a full (genuinely) live band...he has also dj'ed worldwide, playing regularly in every continent, without ever having had the need to be feted by the dance media as a flavour of the month...he's had the nous to have been running his own labels for years, frequently laying them to rest before they get tired and switching to other projects...he is comfortable making music at any tempo, straddles numerous genres (both real and imagined) with ease...bloody hell, he even writes songs.

See what we mean about mould-breaking ?

So what led to this blossoming talent? Well to truly understand that, let's go back....way back...back into time...

...where we find a shy young lad in rural Derbyshire, England, first fascinated by this album of his dad's called 'Help' by the Beatles...then enthralled by the madcap genius of prime era David Bowie...then seeing the electronic future thanks to Kraftwerk. And so our hero got his first instruments aged 15 (guitar, synthesizer and drum machine) and began treading the boards in early electronic bands a round Sheffield and Derby .

Then another fateful hand was dealt. Charles moved to Nottingham, started working in a restaurant... the owner of which also just happened to own the city's 'Garage Club', definitely the first House club in Nottingham (and arguably in England ). The owner invited all the staff to the opening party of his new club. One Graeme Park is the resident DJ, Larry Heard and DJ Pierre are on the turntables, and suddenly Charles is aware that the genre-defying music he has been creating himself has by chance happened across a genre and a scene which can take him to their very hearts.

From hereon it's a blurred tale of late nights in studios and clubs, collaborators aplenty, all pieces fitting together and helping to shape the king of electronic soul we know and love today. Earning his dance music spurs engineering for the great, the good, and just occasionally the godawful at the city's seminal Square Dance Studios, Charles comes of age as a producer in his own right with 1990's Sine and 1992's Megatonk projects.

Ever keen to push forward, 1993 sees CW grab the chance to move to San Francisco , where his production career goes into overdrive as the prime mover behind the acclaimed Love From San Francisco label. This in turn leads to tracks coming out on other acclaimed Stateside labels such as Emotive, Nitebeat, Happy Tracks, Rey-d et al. Charles also meets a 16 year old Terra Deva around this time, and with mom & grandma's permission, launches this prodigious talent into the dance music world via Furry Phreaks' 'Soothe' and 'Want Me Like Water'. Now one of the circuit's most in-demand singers, Terra still collaborates with Charles, most recently on 2002's 'Ready' (see below, 'Born on the 24 th July').

Back in the UK in 1996, Charles starts the Remote label, and begins to get serious props as a DJ. 'Getting Lifted' by Presence garners serious attention, leading to Pagan Records offering the Webster-masterminded project an album deal. The hugely successful 'All Systems Gone' release took the often staid world of so-called deep house into new stratospheres, won 'album of the month' plaudits in pretty much every publication that reviewed it worldwide (even scoring an unprecedented 11 out of 10 in one mag), and gave the world the classic single 'Sense of Danger', featuring Shara Nelson.

Shara and Terra are just two of many quality vocalists to have benefited from working with Charles. Other notable singers in Websterworld include Sara Jay and Steve Edwards, both of whom played a starring role in Presence's 1999-2000 live tour, feature on 'Born...', and continue to work with Charles on new Presence material, and for his latest label project Miso (picking up where his legendary Love From San Francisco and Remote imprints left off).

2002 saw worldwide acclaim and success for his first album under his own name, 'Born On The 24th July' (Peacefrog / Statra). Perhaps the closest thing yet to a full depiction of Charles's musical vision, it is a deep yet uplifting, soulful, diverse collection - and makes for a truly coherent album, rather than a patchwork of club tracks and fillers. It is the other side of the coin to the equally acclaimed, album, released by the

A remixed version of 'Born...', featuring such leftfield luminaries as Herbert, UFO ,Theo Parrish and Pepe Braddock, was released to acclaim in late 2003. 2004 has seen Charles dj'ing relentlessly worldwide, as well as remixing the likes of Salif Keita and Martina Topley-Bird. New Presence demos are being recorded, and more releases are lined up for the much-feted Miso Records (including the return of the Furry Phreaks moniker), so you'll continue to hear a lot more from Matlock's finest export. The quality control knob will, as ever, be turned up to 11.

House Music... Dead?Or ALIVE and kick'n Booty?

I'll let this do the talking.




Now aint that just grand.

Master of the Art P.1 (Kerri Chandler)

KERRI CHANDLER

Kerri 'Kaoz' Chandler one of deep house music's originators, has been injecting soul into music since the early nineties. An ambassador of the natural and instinctive 4/4 beat, Kerri's influences can be traced back to New Jersey growing up in a family of jazz musicians. His father being a respected deejay, provided Kerri with a rich background in the origins of soul, disco and the New York Underground Sound (known also as "Garage" music). Accompanying his father to the gigs, Kerri began playing records at the Rally Record Club in East Orange, New Jersey at the tender age of thirteen. Exposed to such musical creativity, it wasn't long before Kerri found himself interested in production.

Kerri Mixing it up....

Since the signing of his first single "SuperLover/Get It Off" by Atlantic in 1991, Kerri began producing a prolific body of work that has helped coin him one of the most respected house producers in the world. This has been achieved by remaining true to his style. When listening to tracks such as the "Atmosphere EP" on Shelter Records and the seminal, "A Basement, Redlight and A Feeling" album on Madhouse, one has to marvel at Kerri's ability to not compromise his unique sound for commercial gain. His ability to blend tradition and innovation produces avant-garde music with soulful roots reaching back into the history of Afro-American music. Tradition as in the soulful roots of Jersey house, innovation as in his use of streamlined sparse arrangements and technology, Kerri masters rhythm and space piecing together vocals and instruments with uncanny precision delivering beautiful monster jams.
A spiritual man, Kerri prays before making a record. Each project is an attempt to inject his free spirit into a groove. In the expanses of his breaks the odd counter rhythm will inexplicably appear for a second and then disappear, creating fleshy excitement, not mechanical repetition. His now legendary bass-lines go from heavy and heady to playful and quirky while remaining deliriously intoxicating. His fusions, clamped to the beat of his unique thundering kick drum, redefine house music at every turn. His hooks are loving details, paying attention to horn hits, washes of synthesizers, and catchy choruses creating songs with brutal drive. A believer in peace and harmony, Kerri blames soulful house's positive vibes for its failure to make it commercially, as its openness to influences are difficult for many to accept.
Kerri is fascinated by technology and its application to creativity. He has built his own studio and spends hours creating new EFX units and sound machines. Taking a fearless leap into millennium technology, he has recently innovated new tools and employed creative ideas designed to revolutionize the way we think of traditional deejay mixing. Kerri uses his deejay sets to inject a spirit into the dance floor. More than a mere deejay spinning records, his sets are "live" during which he remixes tracks whenever he can by incorporating keyboards, vocalists, percussionists, guitars, violins, horns, projector screens, laser synths or just his own excellent soulful voice. Armed with a lap top computer, thousands of MP3 files, his own handmade mini-mixer and a cutting-edge imagination, Kerri has been wowing audiences around the globe while inspiring debate and envy in top industry circles about his new toys.
If you think all house music sounds the same, has no soul and is just four to the floor, then I suggest you do some rethinking and check out Kerri Chandler's latest releases and back catalogue…You'll be glad you did!