Nightmares On Wax

Spring 2006 will usher in the long awaited new album by one of Warp?s most popular acts, Nightmares On Wax. Entitled In A Space Outta Sound, this fifth album continues as part of globetrotting producer/DJ George Evelyn?s personal legacy to bring forth his successful formula of positivity, sunshine and medicinal soul in music.

Many hold him responsible for raising the standard of auditory needs in the living room when Smoker?s Delight hit the deck. It is the archetype 90?s stoner/ downtime album - hallucinogenic hip-hop awash with sun-drenched melodies. Having enlivened the ears of a whole generation of clubbers, loungers and beyond, his next deliverance in ?99, the sublime languid exaltation that was Carboot Soul, solidified Nightmares? reputation as the patriarch of this now popular genre. Zeitgeists of an era, these albums still continue as solid back catalogue staples.

Nightmares of course is not confined to the last century, directing the masses in 2002 to an addictive urban brew of pop, dancehall and old-soul that was Mind Elevation, infecting the airwaves that following summer with the sweet vocals, lush chimes and lolloping hip-hop beats of Know My Name and 70?s / 80?s.

It is evident in listening to In A Space Outta Sound that Nightmares on Wax has travelled far. A contemporary and varied album of many textures, tempos and tones, it is embedded with harmonic inflections from cultures far beyond these shores. Whilst this is an album deconstructing George?s musical make up, and in doing so reflecting his rich musical heritage, by inviting you down a personal retrospective journey, In A Space? also unwittingly reflects the urban multi-cultural landscape we live in today. The same geographically distinct sounds are heard whilst treading the streets of London, Leeds where he is from, Manchester or any other big city in Britain. The society we live in is a racially heterogeneous one and this album is as diverse in its influences.

A sonic palette taken from each continent, each track presents a facet whether it be the infectious repetitive African percussion sounds of African Pirates, the recurring Caribbean reggae riddims in Sweetest and Flip Ya Lid, the seduction of the Persian snake charmer?s harpsichord entwined around Damn!, or Mo-town?s soul-laid-bare in I Am You. Sometimes it is a blend of all of the above.

Once again, the Nightmares seal is evident; rhythms infectious in their simplicity, blues infused time signatures overlaid by Quincy Jones- esque synth lines and the inherent fusion of relaxed dub and Balearic melodies. The trademark warm welcome to his albums, as found in Nights Interlude (Smokers and Carboot), and Minds Eye (Mind Elevation), is here in Passion, a bleary dawn awakening of the spirits. Of course, the other factor in George?s formula is the intangible touch of glowing warmth that infects his music. As the Times newspaper once commented, ?George Evelyn is one of those people who can bottle sunshine?. This blissful quality is perhaps the x-factor in his success as a musician and it is one that George consciously and liberally mixes in. As he says ?I want to share my positivity in life, in music.?

As previously mentioned, George?s personal musical path can be traced. A nod to the artistic forefathers he so admires, on In A Space?. this amalgamation of influences are deftly woven together to form a rich collage. And such influences are far ranging. It is a road that takes us from the precious mahogany 78 players where the indignant funk of Curtis Mayfield, smooth melody lines of Quincy Jones, sweet, cloying lullabies of Sarah Vaughn and Duke Ellington?s lively compositions were played in the household. Featured are the Soca / Calypso from the local dancehalls that Mr. and Mrs. Evelyn frequented, music that is part of George?s genealogy. We hear George?s self-discovered evangelism of early hip-hop filtering through from his years as a b-boy, also his allegiance to funk / soul where the voices of the OJ?s, Isley Brothers and James Brown were part of the staple diet. The ghostly whispers of local sound systems of yore, the heavy, reverberating dub breaks reminiscent of heroes, King Tubby and Scientist (who he had the pleasure of collaborating with), forge his lifelong love for those heavy, rolling beats, integral to the Nightmares sound.

This nod to his past is partly the reasoning behind the use of local talent; percussionists such as Issac Haywood, Double D whose nimble hands play on Pudpots or the aptly named Shovel on African Pirates are heard. Also his faithful right hand man, the classically trained Robin Taylor-Firth, and the astounding range of vocalists - the nightingale call of Chyna B, Sara Garvey, a timeless songstress and Moses, whose rich, incandescent tones are those which have soothed through the medium of fellow protagonists, Zero 7. Even the cover shot harks back to days past, using the location of the community hall cum working mans club, a stones throw from his former home and one that holds many memories. On the live side, George will use this opportunity to fulfil a long held dream by touring with a local sound system, the Irration Steppas on his promotional tour this year. (More details of dates to come).

The title, In A Space Outta Sound ties in with his guiding light, the musical path which he revisits constantly and one which allows his evolution. Progression and development is the prime motivation of Nightmares on Wax: ?Today?s music is inspired by what?s gone on before and that is what fascinates me. Following on in that tradition I am inspired by the old and want to evolve it into something new. I see it as a never ending cycle and that is what I want.