Space Journey - Coldcut - Let Us Play! (CD, Album)
DJ Vadima Russian born turntablist from London, who'd already released EPs on his own Jazz Fudge label, further expanded the vocabulary of instrumental hip hop with his album U. Repertoirebringing "locked grooves and ultra-vivid, up-close sample-textures". Reconstruction followed ina remix album filled with hip hop that The Wire claimed "turns the air into molasses". ReconstructionVadim selected a baker's dozen of likeminded producers, including Reflection, Clatterbox.
DJ KrushSilent Poets and Kid Koalacreating an album that flows without a hitch through the darkest hip hop and beat exploration. Teaming up with Hexstatic member Stuart Warren-Hill who also signed to the Ntone label for several audio visual albumsColdcut's "Timber" video — an AV collage piece using analogous techniques to audio sample collage — was put on heavy rotation on MTV and won awards for its innovative use of repetitive video clips synced to the music,  including being shortlisted at the Edinburgh Television and Film Festival in their top five music videos of the year in InMatt Black created PipeNinja's first website.
The label's current website ninjatune. Also inNinja Tune expanded across the ocean, opening its Montreal office to manage distribution across North America. With FlexistentialismNinja was described as devising "a term that perfectly expresses the antitheses between chaos and order" . Amon Tobinmeanwhile, was building groundbreaking drum and bass from s big band drum battles. His Ninja Tune debut, Bricolagecontains influences from drum and bass, hip hopbluesjazz and sambaall digitally processed to create a sense of the bricolage suggested by the title.
Coldcut's fourth album Let Us Play! Let Us Play! Coldcut's cut 'n' paste method on the album was compared to that of Dadaism and William S.
Hex later evolved the software into the engine that was used on the Let Us Play! InLet Us Replay! Roots Manuva. Brand New Second Hand was, in the words of AllMusic"a bright moment for British rap, the debut album from Roots Manuva introduced a hip hop chameleon boasting dark productions and a distinct style, plus much more to say than most rappers". Having worked as an intern in the Ninja Tune office in the mid s, Jason Swinscoe became an instrumental part of the team, and by he released his first 12" as The Cinematic OrchestraDiabolusshortly followed by the full length Motion.
The surprise hit  album landed somewhere between jazz and electronica  and gathered samples from unlikely sources. Scruff 's Keep It Unreal was released in the summer of At some point inthe U.
Also inKid Koala released Carpal Tunnel Syndrome"a playfully arranged montage of quirky sound bites, rhythmic scratching and fluid hip hop beats".
InRoots Manuva delivered his second album, Run Come Save Mewhich was deemed one of the albums of the year by The Independentand "not just a landmark UK hip hop album, but a landmark hip hop album period" by Mojo. The album charted at number 33 in the UK Charts. It charted at 29 on the UK Chart. InSimon Green, a.
Bonoboreleased his first proper Ninja album, Dial 'M' for Monkeya subliminally seductive collection of atmospheric instrumentals. The tactical-media project coordinated with Canadian art duo NomIg followed on from the UK version and extended the premise "into an open access participatory project".
The music used was composed by Coldcut, with "Revolution '08" featuring a remix by The Qemists. Roots Manuva climbed back into the limelight at the beginning ofwith his deft  album Awfully Deep.
His third album, which reached number 24 in the UK Charts,  was celebrated by critics for his growth as an artist, with NME calling it "a set of immense maturity that never rubs your nose in its thematic complexity, compositional innovation and thunderous thump-beats". The following year it was performed at the opening gala of Portugal's year as European Capital of Culture in Porto in front of people.
The material written for this film score laid the groundwork for what would be The Cinematic Orchestra's second full-length, Every Dayreleased in Mayand one of Ninja's best-selling albums. Roots Manuva featured on the track "All Things to All Men", which later soundtracked the final scenes of movie Kidulthood.
The Cinematic Orchestra's albums grew increasingly ambitious over the years,  with 's Ma Fleur album marking a move away from beats, and embracing folk influences. The album was based on the work of photographer Maya Hayuk who commissioned 11 pictures based on three short stories recounting the journey from birth to deathand conceived by Swinscoe as the premise for the score of an imaginary film.
It was followed in by their fifth studio album Sound Mirrorswhich was quoted as being "one of the most vital and imaginative records Jon More and Matt Black have ever made",  and saw the duo "continue, impressively, to find new ways to present political statements through a gamut of pristine electronics and breakbeats". Ninja hooked up with L. This project snowballed into a live concert featuring the drum duo jamming along with the turntablists — and included extra guests Madlib and DJ Numark.
Back in London, having previously scored a place with his college band E. First releasing Fresh Produce — an atmospheric set of downtempo instrumental hip hop tracks — on sister label Ntone init was 's Biscuits for Breakfast album that set Fink officially on Ninja Tune.
And it set him far apart from the rest of the label, going his own way to become a full-blown, guitar picking singer-songwriter. On the topic of sound, noise manipulator Amon Tobin came back around at the beginning of with Foley Roomhis sixth studio album, and a long player that was called his "darkest work yet". Amon and a team of assistants headed out into the streets with high sensitivity microphones and recorded found sounds from tigers roaring to cats eating rats, from wasps to falling chickpeas, kitchen utensils to motorbikes to water dripping from a tap.
The Bug's second album inPressuredemonstrated a fully formed aesthetic — stark spaces, gleefully subsonic bass  — holding collaborations with vocalists such as Toastie Taylor, Wayne Lonesome and Daddy Freddy. Recorded over three years with its maker living in his studio, without a kitchen or shower, the album included collaborations with Warrior Queen, Tippa IrieBurialKode9 collaborator Spaceape, and even singer-toaster Ricky Ranking showing up on three tracks.
The year launched Ninja Tune's You Don't Knowtheir sixth official label sampler, and, like its predecessors, contained high quality picks from their major releases, with select remixes and a few rarities.
While 's Well Deep multimedia package shed light on Big DadaNinja Cuts drew a healthy cross-section from all three Ninja Space Journey - Coldcut - Let Us Play! (CD labels. The album showcased the L. Known to construct some of the most energetic breakbeats of the late s,  the vinyl version of the album comes as four super-heavy platters, weighing Album) a kilogram.
Inan international group of party organisers, activists and artists — including Coldcut — received a grant from the Intelligent Energy Department of the European Union, to create a project that promoted intelligent energy and environmental awareness to the youth of Europe. The result was Energy Uniona piece of VJ cinema, political campaign, music tour, party, art exhibition and social media hub.
Energy Union toured 12 EU countries throughout andcompleting 24 events in total. In presenting new ideas for climate, environmental and energy communication strategies, the Energy Union tour was well received, and reached a widespread audience in cities across the UK, Germany, Belgium, The Netherlands, Croatia, Slovenia, Austria, Hungary, Bulgaria, Spain and the Czech Republic.
With the album, NME called her: "one to seriously watch". InNinja Tune celebrated 20 years of releasing music. A book entitled Ninja Tune: 20 Years of Beats and Pieces was released on 12 Augustand an exhibition was held at Black Dog Publishing 's Black Dog Album) in London showcasing artwork, design and photography from the label's year history.
A "stunning futurespective"  compilation album was released on 20 September in two formats — a regular version consisting of two 2-disc volumes, and a limited edition of 3, copiescontaining six CDs, six 7" vinyl singles, a hardback copy of the book, a poster and additional items.
In The Independent 's "Album of the Week" review, the compilation was deemed "a glorious celebration of Ninja Tune's audio splendour". As part of the 20th anniversary, Ninja Tune produced 20 different events around the world. It was around this time that Ninja Tune began expanding its roster in an interesting new direction, co-signing underground labels with whom they felt artistically aligned. Steven Ellison, announced his Brainfeeder imprint had struck up a partnership for Ninja Tune to handle manufacturing, marketing and distribution for Brainfeeder everywhere outside the US.
Also inBonobo's own Black Sands album marked his fourth full-length. It pushed Bonobo's sound "much more steeped in beat-making, creating deluxe, post-dance soundscapes",  and achieved worldwide commercial success. A couple months before, in NovemberNew York producer FaltyDL had made his debut on the Ninja roster with his Atlantis EP, a "smoother and shufflier"  ride than most of his earlier work.
His work for Ninja was deemed "calm and focused, a trend that continued on his third album",  Hardcouragereleased in January The album was "sure-footed and big-hearted, accessible and yet cerebral".
Jaga Jazzist returned in with their strongest release to date, One-Armed Banditwhich featured new members within Jaga Jazzist's ranks and included "tropical polyrhythms, modernist patterns, and even techno-inspired synth sequences".
It proved to be a "solid example of the kind of genius Concept, himself something of a child piano prodigy, is capable of". The following May saw the release of a much-awaited album from Amon TobinISAMwhich set a new benchmark for live electronic music. Tobin conceptualized the show as a projection mapped "visual score" to the music from ISAM.
At the beginning ofSpeech Debelle returned to Big Dada, after much critical speculation about leaving the label. She returned from her Mercury Prize win to release another critically acclaimed album, 'Freedom Of Speech,' with — according to Scottish magazine The Skinny — "a verve and vigour that more than justify the early hype". InNinja's longest-serving artist, DJ Food a. As an album release event, DJ Food created his most ambitious live gig to date:  a bespoke AV live show for London's only public planetarium, in conjunction with astronomers from The Royal Observatory Greenwich, using art from The Search Engine, images from Kev's own visual archive, plus a wealth of material provided by the astronomers themselves.
Kev adapted his content to fit Montreal's Satosphere in July. In AugustLondon-based band The Invisible dropped their second album, the "cerebral yet instantly accessible"  'Rispah,' on Ninja Tune, having been recorded in Brighton — with producer Richard File. Ninja Tune was featured as a in-game radio channel available to the player during gameplay, one of the ten total. The intervening period found the pair no less active, releasing a flood of material under different names Hedfunk, Hex, DJ Food aswell as continuing to work with young groups.
The release was credited with bringing to wider attention the sort of freestyle mixing the pair were always known for through their radio show on KISS FM, Solid Steel, and their steady club dates, a style that has since taken off through clubs like Blech and the Heavenly Sunday Social. Space Journey - Coldcut - Let Us Play! (CDColdcut finally released another full-length, Let Us Play!
Two years later, the pair followed up with the remix album Let Us Replay! Numerous mix CDs appeared before they returned in with the new album Sound Mirrors. Throughout their existence, the band's personnel changed frequently -- there were more than ten different lineups -- with the only constant member being guitarist Martin Phillipps, the band's founder. Inthe Chills signed with Flying Nun, the influential New Zealand independent record label, and released several singles that were never widely distributed in America and Europe.
During this time, the group went through an enormous amount of members. Released on the U. With the lineup of Phillipps, bassist Justin Harwood, keyboardist Andrew Todd, and drummer Caroline Easther -- the group's tenth lineup -- the Chills recorded their first proper album, Brave Worlds, in The group, particularly Phillipps, was more satisfied with their second full-length album, 's Submarine Bells, was recorded with yet another version of the band, with Jimmy Stephenson replacing Easther, who was suffering from tinnitus.
My life would have been very different. Jon was on Kiss from an early stage when it was full pirate station. He told me to send him a demo tape. After Coldcut took off, Jon and I realised it would be better to join forces on Kiss and have one show. That became Solid Steel. Sometimes Gordon Mac would move adverts either forwards or backwards into other shows. That allowed us a two-hour mix show.
And adverts were even worse. With a two-hour and advert-free wipe, you could really go on a journey. You could go quite deep without interruption. As music lovers and stoners ourselves, we appreciated that ability to trance out for a chunk of time.
It was a show and tell. There was also a slightly competitive element between us. Like all of us. Dust to dust, ashes to ashes! To cut through swathes of bullshit in the industry, sometimes you need people like that.
If you were with him, you were fine. If you were not with him, see you later, goodbye. The track was shot full of samples. Was there pressure put on us to keep repeating the magic formula? It was subtle at first. There was a lack of commitment to us, we felt. There was a lack of commitment to things that were beginning to interest us — from both the label and management.
That desire to move forward with technology — all of those things were there at that point. How did your experiences in the label system inform how you treated acts on Ninja?
They were biking stuff to us when we could quite easily hop over to the office up and pick it up. I looked at our accounts and I think the bike bill for that year was 12 and a half grand or something. It was only later that we discovered that Big Life employed their own bike guy and Album) re-charged it against artist accounts that we started to see how this trickle-down economy worked. Equal partnership and equal motivation. Jon and I use the same arrangement between ourselves.
It would be equal no matter who did what. We are still working together 30 years later when a lot of partnerships have split up. We work separately most of the time, but we have managed to have an accord that works. Big Life would give us our accounts and it would just be some very badly photocopied sheets of very dense and tiny type in really bad quality with just these massive lists of figures of all these charges.
It had been prepared on a computer, but there was no computerised version. It was literally just a pad of paper. It was too much. We never got it. They were withholding stuff against sales returns, for example, but never liquidating that withholding.
All sorts of things like that. That was not good. After a dose of that we decided we were going to do it ourselves again. We had started off quite successfully and this is why Big Life had been attracted to us.
That whole thing left a pretty nasty taste in our mouth due to dubious lawyer advice and all sorts of record company shenanigans. That was our bargaining chip in many respects. Setting up Ninja was an escape route, really. We were in this very legally grey area. When we signed the Arista contract, we had only signed as the artists Coldcut. This was before artists having a raft of different pseudonyms. That was the one good bit of legalese that we were able to slip in there. We were aware that dance music artists would record under all sorts of different pseudonyms.
That was par for the course. Nobody realised that when they went through the contract that we could do that. When Ninja became successful, they did try and come after us, trying to claim ownership of that [part of the label].
We owed them another record as Coldcut. They held onto that and tried to claim that that record was due when we put one out on Ninja Tune. But we managed to battle our way out of that eventually.
It took a long time and we kind of sat it out while working on Ninja and working under different pseudonyms. Arista controls the recording rights, but we got the publishing rights back to everything. Like the excitement of being able to make music using a computer.
We were really excited that we could do anything with electronic media. The music has been the vehicle that has actually taken us forward, but it has been partly fuelled by technology and this tide. You could make a CD that would play music, but it would also have a game on it and interactive visuals.
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