Letter #114.5


How are you? I hope you and your friends and family are all well. It’s still weird, isn’t it? Well, at least in the UK today is a bank holiday, and hopefully the sun is shining where ever you are. Get some rest, get some air, and get some music. Preferably all at the same time ❤️.

This week I need a little break. As you’d expect, it’s been hectic at work for the last couple of months, and last week’s letter really took it out of me. Don’t worry, there’s still music and a letter – however there’s no TL;DR Section this week, check last week’s for loads of interesting stuff.

Before I get on to that, I have 💥a request💥. In putting together Love Will Save The Day I’m constantly trying to explore and share new music, new ideas, and new cultures. However hard I try, I’ll always be fighting against some of my own views, experiences, and privilege. This is one of the reasons why I invite people to write guest letters; it brings different perspectives, which in turn reframes music, brings new music, and creates space for new ideas and opinions. So here’s my request; I’m looking for more non-white, non-male guest editors. This isn’t to say there won’t be more guest letters from white dudes – there definitely will – but I need to work much harder at creating an inclusive and diverse space.

So, if you’re non-white, non-male, and you’d like to share your story, ideas, and music, then please please please get in touch. Just reply here ❤️.

Now, on to this week. As I said, I’m having a break (you’ll notice that this is Letter #114.5 😊). So the mixtape is an oldie, and it’s from Letter #52, which I wrote back in July 2018. I wrote it to commemorate running this project for a full year, and I decided to dedicate the mixtape and letter to my daughter, Effie. The mixtape is filled with music I wanted to share with her; music filled with love and hope. Over the last couple of years that mixtape has become pretty much my favourite. It’s what I listen to when I’m feeling down, or when I’m away with work and missing her. I’ve also included the notes from that Letter too. She was three and a half years old when I wrote it, and my idea was to write something that she’d read in the future. There were lots of themes that I think are pertinent today – again, it’s filled with love and hope.

When I first sent this letter back in 2018, there was only around 500 of you. So, for the 1,500 people who are seeing this for the first time; I hope you enjoy, and for the 500 who have read and heard it before, hopefully it’ll sound just as good the second time around.

As ever, please stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. If you’re wondering why you’re getting Love Will Save The Day so soon again, then it’s because I’ve taken it back to being weekly while we’re on lockdown in the UK – we all need more music, more culture, and more of each other ☺️

📚 The notes 📚

Hello Effie,

As I write this, you’re three and a half years old, so I’d guess you probably won’t read this until you’re maybe ten? I signed you up for a Gmail account when you were born, so this week I decided to sign you up for Love Will Save The Day too. If I’ve kept this thing going for the next six and a half years, and you’re reading this aged ten, then there’s just 338 letters to go through before you get to this one.

In case I haven’t bored you to tears with it already, I started this whole thing a year ago, and it was my way of sharing music and thoughts on culture with people who liked those things too. Actually though, I think I can trace it back further.

About a year before you were born, your mum and I were sat after a night out talking about our (then future) children, and being excited to share the music we loved with them (you). We decided that the best way to do that was to make a list of all the music that we loved growing up and then start buying it on record. That way, when you were older, we’d be able to play it to you, tell you all about it, and it would act as a sort of story of our lives. Music has always been really important to your mum and I, and while I’d never admit it to her, your mums taste is far better than mine (don’t tell her I said that).

While I’ve always been in love with music, if I’m honest, there was a point in my mid-twenties were I felt like I’d hit a dead end with it all. This conversation with your mum, and the thought of being able to share the music that we love with you, opened everything up for me again. It reminded me why I loved music.

Fast forward to a Saturday morning eighteen months later, and you were nine months old, with your head on my shoulder, smiling as we danced around the living room to a record that I’d bought that week. That was the first time we’d done that, and the song playing was Caribou’s Can’t Do Without You. I remember swaying with you in my arms while, and your mum coming in and seeing us and laughing at me. I was crying, and laughing with happiness. That moment is undoubtedly one of the happiest of my whole life.

Fast forward another eighteen months, and after many more trips to some of London’s finest record shops, and much more dancing (and much more dad-crying), I decided one night to set up something called Love Will Save The Day. I’d been reading about music and culture more and more, and decided that rather than keep it all to myself, I should share what I was finding. The first idea was to set a party up, and the second was to write a weekly email that people could subscribe to, that would contain a link to a mixtape of great music, and a letter about all the interesting things I’d found that week. This is the 52nd letter, and it’s nearly a year since then.

While setting up Love Will Save The Day has helped me to find so much brilliant music, and helped me to structure my thinking on culture, it’s also taught me a lot too. Some of the letters have been me just sharing links and some thoughts, and some of been more introspective. All of them, though, have felt like a very public journal. Whether it’s the notes that I write, or the music that I choose, I know that people can see when I’m happy, when I’m sad, when I’m having a tough time, and when I’m having a great time.

Music is my refuge. It’s there when I’m feeling down, and when I’ve felt helpless, but it’s also the soundtrack to my best times, and my highest highs. Music might not mean the same to you, but I hope you find something that you can find truth in. Whether it’s art, dance, sports, design – whatever it is, when you find it, you’ll know. Then, grab hold of it. It will help explain everything. These letters are my way of exploring, and making sense of the world. You’ll find your map.

The music I’ve put on this mixtape is music that I felt explained how amazing the world is, how important love is, music that we’ve already shared, and music that shows how much I love you. There are a few songs that I think represent all four. One of those songs is Stevie Wonder’s As. Around this time last year (in Letter #3), I included As. It’s been a favourite song of mine for a long time, and the Saturday morning after I’d sent the letter out, I put the playlist on, and as As came on, for the first time, you asked me to dance with you. Dad tears, again.

In fact, dancing, music, singing, and laughter have been pretty constant since you were born. Whether it’s dancing to Michael Jackson with your cousins, singing Elton John’s I’m Still Standing with your headphones on, or asking for us to put on the Charlie and Lola album for the millionth time in the car. Oh, and despite my protests, musicals have been a big part too.

Maybe it’s genetic. While much of what I’ve learned about the power of music has come from the music itself, it was my dad (GiGi, to you) who gave me my sense of curiosity around culture, and my passion for music. I hope I can give you the same passion, and inspire the same curiosity (even if it isn’t about music). This letter has taught me that if you have something worth sharing, share it. Lots of people talk about the meaning of life, but I think happiness comes from creating meaning from life. Sharing what you have will strengthen that meaning, and we will always be stronger together, than apart. Also, if you’re kind, people will be kind in return (but that’s not the reason to be kind).

Finally (and I promise I’ll stop preaching soon), commit. Commitment to your beliefs (and belief in yourself) will keep you hungry, and this will help you live a life that is rich, exciting, and filled with adventures.

You are (and have always been) thoughtful, strong, and generous. You make me prouder than I ever thought I could feel. I cannot wait to see the change you’re going to make in the world.

Anyway, I’m sure you’re reading this rolling your eyes, so I’ll stop going on now.

I love you, Effie.


Love Will Save the Day

📃 The tracklist  📃
  1. David Bowie – Kooks
  2. Bobby Hebb – Sunny
  3. The Stylistics – People Make The World Go Round
  4. Carole King – Beautiful
  5. Chuck Mangione – Land Of Make Believe
  6. Stevie Wonder – As
  7. Gary Bartz – Music Is My Sanctuary
  8. Gil Scott-Heron – Your Daddy Loves You
  9. Chassol – Music Is God My Love
  10. Dorothy Ashby – Essence of Saphire
  11. Rahsaan Roland Kirk – Spirits Up Above
  12. Herbie Hancock – Watermelon Man
  13. KAYTRANADA – Hot Jazzybelle
  14. Cortex – Mary et Jeff
  15. Prequel – Saints
  16. Alicia Myers – I Want To Thank You
  17. Bileo – You Can Win
  18. Kid Creole And The Coconuts – I’m A Wonderful Thing, Baby
  19. Central Line – Walking Into Sunshine (Larry Levan 12” mix)
  20. Earth, Wind & Fire – September
  21. Fort Knox Five – Uptown Tricks (Rodney Hunter remake)
  22. Elton John – I’m Still Standing
  23. Terrence Parker – Love’s Got Me High (Marc Romboy’s Systematic Soul mix)
  24. The White Lamp – It’s You (Ron Basejam remix)
  25. Caribou – Can’t Do Without You
  26. Les Sin – Grind
  27. BADBADNOTGOOD – In Your Eyes
  28. Ms. Lauryn Hill – To Zion (feat. Carlos Santana)
  29. Andrew Ashong – Special
  30. Emilie Nicolas – Higher Love
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #114


How are you? I hope you and your friends and family are all safe and sound. While we continue to weather the storm, I’ve got a treat for you this week. You’ve got a mixtape absolutely filled to the brim with great music, a set of links to loads of interesting stuff, and I’ve even finished the first draft that essay I’ve been working on for ages (the essay is about rebuilding culture and fixing the asymmetry of art, culture, and commerce – easy, right?).

Now, first things first, the music. Despite being born in the 80s, the decade was a personal musical no-go area for a long time. REO Speedwagon and Journey absolutely ruined it for me. God damn power ballads. However, I can’t go my whole life being like this, so I’ve put something together this week to try and reframe the 80s for myself (and in the process put together a mixtape of absolute fire). The music is (almost) entirely from ’78 to ’86, and covers boogie, soul, ‘post-disco’, and proto-house. It’s a real heater.

This week’s TL;DR Section is a little lighter than the last few weeks, mainly owing to the fact that I’ve spent a lot of time writing up the notes, and my reading this week has mainly been focused on old magazines and trying to make a dent in the ever-growing pile of books I’m keen on. That said, there’s still some good stuff so take a peek.

Then to finish it all off there’s the essay. I would love your thoughts and feedback, so please have a read and give me a shout. And be forgiving 🙃.

That’s it! That’s your lot. As ever, please stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. If you’re wondering why you’re getting Love Will Save The Day so soon again, then it’s because I’ve taken it back to being weekly while we’re on lockdown in the UK – we all need more music, more culture, and more of each other ☺️

🌪 TL;DR Section 🌪
  • RIP Mike Huckaby. This remembrance from RA sums his impact and legacy up pretty well. Be sure to listen to GP’s worldwide.fm tribute too.
  • Francois K put together an excellent must-listen tribute to the Loft and David Mancuso.
  • After the success of the Life And Death On A New York Dance Floor compilation, Tim Lawrence (hi Tim) has got a Love Saves The Day edition landing soon – be sure to preorder here
  • After reading Todd L. Burns’ interview with Ted Gioia, I’m now mildly obsessed and on the verge of buying all of his books that I don’t already have. Also, make sure you’re signed up to Todd’s newsletter, Music Journalism Insider too
  • The Rime of the Ancient Mariner, but with musicians like Iggy Pop doing readings and artists like Stanley Donwood providing visuals? YES PLEASE (and HUGE thank you Jenner)
  • In a move that feels a tiny bit Black Mirrorlabels are now changing song titles to make them easier to find when they blow up on TikTok
  • I caught a few hours of Gideon’s #LIVEFORLOVE livestream for Alight last weekend and it was excellent – filled with musical treasure
  • I really enjoyed this long read on Nicolas Jaar, from Ryan Keeling for RA
  • Fanzines keep culture moving and leave a record of what once went before. Buy zines, keep our culture moving
  • Got Zoom exhaustion? Me too. Here’s why
  • NTS has got a bumper 24 hours starting tomorrow (2nd May) in support of the Global FoodBanking Network – with appearances from Four Ten, Erykah Badu, Omar S, JPEGMAFIA, and Yves Tumor (among many, many more)
  • Berlin has created a cultural grant available to businesses in the city that are struggling at the moment – where’s our London ‘night czar’ now?
  • Festify is one of the those cute Spotify widgets that swallows up your listening data and then presents you with something nice to share. This time round, it produces your dream festival line up (based on your listening over a month, six months, or your lifetime). Big shout to George for sharing
  • Tom recommended Beyond “There’s Always A Black Issue Dear”, a documentary that looks at the impact that black LGBT culture has had on culture – so I’ll be watching that this weekend
  • The New York Times has a great feature on ten women who had a profound impact on jazz, but who were victims of the narrative that men were the sole drivers of the culture
  • Ever-off-the-pace, I’m just going back through Tim Burgess’ Twitter listening parties now – I’d seen them happening, but hadn’t ventured in. This interview with him in tQ is good
  • Ryuichi Sakamoto has put out a performance from his home that’s (as you’d expect) beautiful
  • Thanks to Matt Hannigan, I’m now obsessed with Jack Coulter, an extraordinary artist with synesthesia.
  • Harold Heath on good form here preaching to the masses about the importance of remembering the dance in dance music
  • After MUSIC 2000, my next foray into music production as a tween was Fruity Loops. Which was a brilliant soft slope into learning how music works (alongside pestering my music teacher at school). So the latest in the RA Exchange series on Fruity Loops and it’s impact on music production was right up my street
📚 The notes 📚

Rebuilding culture; fixing the asymmetry of art, culture and commerce 
I think this essay has been sat in brain for a while now, but as ever, in my experience these things take a while to go through a sort of metamorphosis process before becoming even vaguely coherent thoughts. This time the process was aided by the impact of COVID-19 on culture and commerce, the latest edition of David Turner’s excellent Penny Fractions newsletter, and Tom Armstrong (editor of The Move) who is putting together a very special edition of the mag that’s asking different people how they’d like to rebuild culture post-COVID-19. I’m contributing some ideas, but wanted to use this space here to flesh some of them out in a first draft. Please bear in mind that this is most definitely a very rough draft. Expect typos, potentially underdeveloped thoughts, and bits of fat too – but I wanted to share the raw ideas, and hopefully you’ll find it a little interesting, a least.

Before I begin, I wanted to be clear that I’m writing this essay with a few principles in mind. These form the sort of philosophical backbone to the essay. They are;

  • An artist is anyone who creates something from nothing and creates meaning where it didn’t exist before
  • All artists want their stories to travel through culture and reach people
  • While there are lots of proactive people looking for art, for the most people are passive and rely on gatekeepers to filter art on their behalf

It’s well documented that COVID-19 is like to have (if not already having) a catastrophic effect on culture and artists around the globe. While I genuinely believe that when artists are faced with lockdown and restrictions on their ability to create, then great art will flourish, the means by which they can make a living – and therefore their ability to continue to create – are under serious threat. If not directly (venues closing etc), then indirectly (the economy going into depression), artists and the culture that they help propel are at risk.

I know that I’m preaching to the converted here, and that I don’t need to explain why culture and art are so fundamental to society and civilisation, but I cannot help but think of that Johann Gottfried Herder quote; “culture is the life-blood of a people, and the moral energy that holds society intact”. Culture and art help us to empathise and understand each other and ourselves. The stories we tell in art help us understand the world. Art and culture aren’t window dressing to how we live, they are why we live. Our sense of cultural affiliation and the symbols that we display show people who we are, and who we want to be. It creates belonging and connection, and gives us purpose beyond our primitive needs and desires.

COVID-19 has not caused this crisis though, it’s merely tipped the leaning tower over. Artists and culture have been under threat and pressure for decades, existing in a precarious and asymmetrical relationship for a long time. Most artists want their work to be seen, read, or heard, but the route to an audience has been under strict control for a long time. I’ve spent my adult life obsessed with understanding how ideas and art move from person to person (and group to group) through culture – which is how I ended up doing what I do for a living. Every culture is made up of different ideas, art, and symbols that best define that culture at that moment in time. Tracking the diffusion (spread) of each idea through a network (culture) sounds pretty boring and like I’m ignoring the art side of culture, but understanding how ideas move is fundamental to understanding the strengths and weaknesses of different ideas and cultures. If we can build on the strengths and resolve some of the weaknesses, we can reduce inequality and asymmetry in culture(s).

As it stands, there are two types of filter on how ideas spread through culture; there’s gatekeepers (like editors, curator/buyers, or record label execs), and then there’s distribution platforms (the radio, streaming platforms, magazines, physical galleries). Sometimes these two are tied together, sometimes they act independently, but most of the time they don’t act in the best interest of the artist or the art, and this is where the asymmetry exists. Most artists aren’t driven by commercial desires, but by cultural ones; which enables gatekeepers and distribution platforms that are driven by commercial desires to take advantage. This classic Steve Albini essay from 1993 is a great demonstration of the asymmetry that exists in music – and while the essay focuses on music, the issues stretches across most of arts and culture.

The internet was supposed to democratise arts and culture. It reduced the cost of distribution of art to virtually zero – but that then created a negative knock-on effect whereby because the value of the format and distribution was radically reduced, the value of the work itself was also drastically diminished. People didn’t know what they were paying for before (the art, not the format), so when they didn’t have to pay for the format, the value of the art became psychologically reduced too. Pre-internet, seeing the work of Basquiat meant buying his work, visiting a gallery, or buying a book to see it. Now people can use an image search and boom, there it is.

This reduced cost of distribution also meant that in principle any one could become a creator if their work had meaning and resonated. They could ‘hustle’ their way to an audience online, market themselves and build a ‘direct’ relationship. There’s a lot of examples of modern artists that made it through this time and became world famous, shaping mainstream culture along the way. However this lowering of the barriers to entry for art created a huge fragmentation in art and culture. The removal of geographical limitations meant that art, ideas, and culture was now truly borderless – ‘tribes’ splintered off, and it created a true ‘middle’ that didn’t exist before. At one end was globally famous artists, at the other hobbyists, and this enlarged new ‘middle’ space meant that you didn’t have to have be a worldwide superstar to make a living. The difficulty was that this explosion meant people became oversaturated with art – there’s always something new to look at, read, listen to, or watch.

Then the gatekeepers and distribution platforms appeared again. They quickly took away the burden of choice, and started promoting content based on what the individual liked before. This isn’t limited to music; it’s virtually all art and ideas. The new rules were really the old rules, but with a new sting in the tale. Now because people had become used to paying very little (or not paying at all) for art and ideas, it became difficult for the gatekeepers driven by commerce to make as much money. So they used the distribution platforms as a battering ram. They withheld the content of the artists that they managed and represented, in order to gain virtually unreasonable commercial terms for granting access to that art. They then took the lions share, and left pittance for the artists – but got the platforms to pass on the pittance. It’s best explained through an example; let’s take Spotify. Spotify is the perfect foil for record labels; each major record label has an incredibly lucrative deal with Spotify that gives Spotify access to their artists, in return Spotify provides a disproportionate amount back (shares, access payments, royalty payments, discounted advertising, penalty charges for insane things – for more, have a good read of this here). The kicker is that from an artists perspective, Spotify pays tiny royalties, but from Spotify’s perspective, it pays out an enormous amount of money to the major labels, who don’t pass that money on. Spotify could never talk about that because it would jeopardise it’s relationship with the labels, so instead it becomes a punch bag for artists. If it was possible, the asymmetry between commerce and culture has skewed even further over the last decade, and this is going on all over culture.

So with artists and creators making even less money than before, and being largely dis-intermediated from their audience by platforms that make (often passive) consumption more convenient and easy, the only way they’ve had of generating real income has been through flash-in-the-pan monetisation ideas, and live performances and touring. Then the COVID-19 pandemic hit, and all of a sudden the entire ecosystem comes crashing down. While there have been a number of government funded programmes in the past, and there will undoubtedly be more introduced due to COVID-19, those programmes tend to exacerbate the underlying issues with how art and ideas spread through culture. They don’t change the system, they just enable people to exist a little longer in the same broken system.

So what now?

Well, first things first, gatekeepers and distribution platforms are, of course, here to stay. However, I do see an opportunity is in helping address the asymmetry. Right now emerging and smaller established artists rely on gatekeepers and distribution platforms for two things; initial financial support and guidance, and access to a bigger audience. I know that many gatekeepers and platforms provide much more than that, but at a lowest common denominator level, it’s those two things that remain. As we move out of the COVID-19 pandemic, and survey the damage done to culture, there’s going to be an opportunity to rebuild culture and the infrastructure that supports art and ideas in a different way. At the moment the asymmetry on finding investment and reaching an audience that exist means that pool of opportunity stays small – but I think there’s another way, that gives me power to artists, and can reduce inequality and asymmetry in culture(s).

Brands as patrons of the arts and culture.

For centuries the rich and wealthy invested in the arts and culture, by becoming patrons to artists. They provided investment, materials, and a platform for artists to create and share their work. For the majority of patrons, it was seen as a way of reinvesting their wealth in society and culture. A way of giving back. As we emerge from COVID-19, I think attitudes towards unadulterated capitalism are going to change (and frankly, have to change). Businesses that have made enormous amounts of money are going to be judged much more harshly on their behaviours and attitudes towards supporting society and civilisation. Brands as patrons already exists, to an extent, in sports. Businesses like Nike invest huge amounts of money into training facilities, equipment, stadiums, and individual sports stars at a grass roots level. Of course this is done under the banner of sponsorship, and those sports stars endorse Nike in return. What I’m suggesting isn’t the same, but it’s similar. Businesses investing in grassroots culture, sacrificing their own short term gain, in order to build a sustainable culture for the future. Doing good.

Some of you may be reading this and thinking that that introduces another potentially exploitative stakeholder into an already asymmetrical relationship held by artists. In fact, this tweet by Josey Rebelle explains the challenge perfectly. Now, I really look up to Josey Rebelle, and this isn’t a criticism of her at all, but instead an insight into the perceptions that exist about the connection between commerce and culture. It’s a very binary view that creates an adversarial relationship between artists and business. The inconvenient truth is that art, culture, and commerce have always been intimately connected. Setting aside the ‘selling’ of art (which is maybe the most obvious connection), businesses and brands have always played a pivotal role in culture. It’s virtually impossible to think of a modern culture that doesn’t have a strong tie to at least one brand. Brands and products – along with art and ideas – help us to create our self-identity, and act as symbols of the cultures that we belong too.

I think that what many people resent is brands that behave badly and steal or misappropriate culture and art, but this is where the binary approach isn’t helpful. There are, of course lots of examples of brands behaving badly, but there are also countless examples of brands doing something culturally valuable. WeTransfer funding worldwide.fm, LVMH building Nowness, Red Bull, Converse, LEGO – there are loads of great examples. Many of the best agencies and marketers have made their name by understanding how commerce and culture work together – best put in this quote from Dylan Williams, one of the best marketers of our generation; “we [brands] used to start with commerce and work out to the culture, and now we need to start with culture and work back to commerce”. The very best brands in the world understand this already – that’s why they’re the best. Over the years, I’ve worked from a really simple framework to think about how brands and culture work together;

  • Bad brands misappropriate culture
  • Good brands platform culture
  • Great brands invest in culture

It’s overly simplistic, and it’s only a few steps up from the original binary argument – but hopefully it shows that there is good that can come from artists and culture being more closely connected with commerce and business. It also brings huge benefits to everyone involved too. It puts the artist back in charge. They have choice over who they work with, they can ensure that their values align with who they’re working with, and make sure that they’re culturally appropriate. It gives the artist investment, support, and access to an audience. And because they’re in control of the relationship, the brand can then become an ally – reducing the asymmetry with the gatekeepers and the distribution platforms. For the brand, it demonstrates a long term commitment to doing something important and good, as well as providing them with a greater insight into how culture works. Most importantly for culture more broadly, the artist can work with that brand to make sure that they’re putting their money where their mouth is – investing in culture, rather than investing in messaging.

This isn’t about having a massive brand partnering with Taylor Swift on a new skincare range. It’s about investing time and money in the edges of culture – giving artists financial help and guidance, and providing them with a platform to help spread their ideas. This isn’t about repurposing symbols from culture in advertising to show understanding. It’s about helping the voices that created and developed those symbols to continue to develop them. This isn’t about virtue signalling or ‘corporate social responsibility’. It’s about doing actual good, and investing in the future of culture, because when we come back to Johann Gottfried Herder; “culture is the life-blood of a people, and the moral energy that holds society intact”.

This can only work if we begin to dismantle the adversarial view of business – and that means businesses have to do a better job at appreciating and investing in culture, and artists have to widen their views when it comes to working with businesses. Commerce has indirectly fuelled culture for a long time – the advertising revenue generated from brands is invested by distribution platforms back into content – but that relationship is becoming increasingly asymmetrical. Commerce and culture working more closely together will help address that imbalance. Ultimately, that’s how we rebuild culture, spread great ideas further, and create a legacy that goes beyond revenues and profits. It’s how we rebuild culture, and society ❤️

📃 The tracklist  📃
  1. Letta Mbulu – Nomalizo
  2. Deodato – Skatin’
  3. Hitomi Tohyama – Wanna Kiss
  4. Tom Browne – Funkin’ For Jamaica
  5. Quincy Jones – Razzamatazz
  6. Tempest Trio – Do You Like The Way That It Feels
  7. Billy Ocean – Nights (Feel Like Gettin’ Down)
  8. Sinnamon – I Need You Now (Larry’s Radio mix)
  9. The B. B. & Q. Band – Imagination
  10. Final Edition – Anyway You Want (I Can Do It)
  11. Kenix – There’s Never Been (No One Like You) (M.A.W. remix)
  12. Harvey Mason – On And On
  13. Don Blackman – Just Can’t Stay Away
  14. Chaka Khan – I Feel For You
  15. Prince – Sexy Dancer
  16. The Gap Band – You Dropped A Bomb On Me
  17. Kano – It’s A War
  18. Z-Factor – Fantasy
  19. Munich Machine – Space Warrior
  20. New Order – Confusion (Essential mix)
  21. Jesse Saunders – Funk U Up
  22. Klein & MBO – Dirty Talk (USA European Connection mix)
  23. Koto – Visitors
  24. The System – Almost Grown
  25. Visage – Fade To Grey
  26. Bernard Fevre – Dangerous Mixture
  27. The Egyptian Lover – I Cry (Night After Night)
  28. Savage – A Love Again (remix)
  29. Patrick Cowley – Somebody To Love Tonight
  30. Kraftwerk – Franz Schubert
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #113


How are you? I hope you and yours are safe and sound. Life at the moment might seem tough, but we’ve got each other, we’ve got music, and we’ve got hope.

Hope is important, because right now the world is filled with uncertainty. The impact of COVID-19 is coming in rolling waves; daily life, professional life, economic life, and our cultural life. Each one follows the other (and it becomes cyclical), and I think we’re still only at the very beginning of what’s going to happen. While that might sound bleak, only one thing will get us through; hope.

Like many, I imagine, I’ve had quite a tough week. Tuesday afternoon – searching for some fresh air and a breather – I sat on our back door doorstep. After a few minutes, my five year old daughter came over and hugged me, and asked if I was ok. It was a small thing, but a huge reminder that even the smallest gesture can have the biggest impact. It filled me with hope.

Over the last few week’s I’ve been working on a document at work that outlines what I think will happen post-COVID-19, and one of the biggest themes is community and togetherness. We’re going through ‘collective trauma’ right now, and I think it’s bringing out the very best in us. Love emerges in the face of disaster. I had a great conversation with Tom, the founder and editor of The Move this week, about thinking how we can rebuild our culture, and more broadly, our world. It sparked so much excitement that my head has been spinning for days. While the walls might be coming tumbling down, we get to put them back up again – but this time, we can choose how they look. We can choose our New Normal. It gave me hope.

Love Will Save The Day was founded on two feelings that have driven my whole life; love and hope. The love of music and culture, and the hope that other people might feel the same way as I did. When I started this project I never expected it to grow into what it has. Every letter I write, and mixtape I program, is filled with music that I love, and hope that at least one song makes someone as excited as I was when I heard it. Every reply, every listen, every share gives me hope that I’m doing something useful.

So this week I’ve picked some of the most hopeful new (new, but not necessarily new new) music I could find; both in lyrics, in feeling and tone, and in excitement for the song and the impact it could have on culture. There’s a bumper TL;DR Section, but no notes. I’m all worded out this week, unfortunately. Back next week.

As ever, please stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. If you’re wondering why you’re getting Love Will Save The Day so soon again, then it’s because I’ve taken it back to being weekly while we’re on lockdown in the UK – we all need more music, more culture, and more of each other ☺️

🌪 TL;DR Section 🌪
💥 The Luke Unabomber worldwide.fm show from this week was absolutely exceptional – it’s a must listen – one of the best shows I’ve heard in a long time, and truly captures the feeling of being sat down with someone, sharing a drink, and playing records. Get this man a permanent radio show. 💥
  • Love Will Save The Day crew Rustam Ospanoff has got a great new HOME RADIO series out now – check it here
  • Continuing his worldwide.fm ‘The 20′ series, Gilles Peterson picked out twenty broken beat tracks from twenty different artists
  • Kemistry & Storm’s mix for DJ Kicks is getting a rerelease, so I’ve bene listening to it on my morning runs this week. P O W E R .
  • The latest edition of the Surface Noise mixtape series is out and it’s an absolute pearl
  • Syncers.club is a really interesting idea (thanks Matt)
  • The great new podcast What Goes Around is now on Apple Podcasts – get subbed in
  • After loads of hype and a perfect ten on Pitchfork, I gave Fiona Apple’s new album a listen and while it’s not my usual thing, it’s brilliant. Hype-worthy
  • Anderson .Paak has got new music coming with Kamasi
  • Jeremy Deller guested on the latest RA Exchange and it’s excellent
  • Luke Vibert has got THREE albums coming soon. Three
📃 The tracklist  📃
  1. Stan Getz & Joao Gilberto – Corcovado (Quiet Nights Of Quiet Stars)
  2. Dorothy Ashby – Come Live With Me
  3. The Beatles – Come Together
  4. Jamiroquai – Virtual Insanity (Salaam Remi remix)
  5. Kerri Chandler – Escravos de Jo (Robost Horns)
  6. Atmosfear – ‘DIOS:2020’
  7. Johnny “Hammond” Smith – Fantasy (Marc Mac Presents The Visioneers version)
  8. Herbie Hancock – Just Around The Corner
  9. Angela Bofill – People Make The World Go ‘Round
  10. Joubert Singers – Stand On The Word (A Clapella mix)
  11. Teena Marie – I Need Your Lovin’ (John Morales M+M mix)
  12. Inner Life – Ain’t No Mountain High Enough
  13. Stevie Wonder – Go Home (12″ version)
  14. Ten City – That’s The Way Love Is (Underground mix)
  15. Floorplan – We Magnify His Name
  16. Cajmere – Brighter Days (Just Blaze ‘The Reopened 3AM mix)
  17. Mfon – Ron Hardy’s Resurrection
  18. Nuyorican Soul – It’s Alright, I Feel It (M.A.W. 12″ mix)
  19. Dauwd – Idris
  20. Elkka – Avant Garde
  21. Architectural – This Is Not Purple
  22. Anna Wall – DATs 1+2 (Escape Earth’s 1+2 = 4 remix)
  23. OutKast – My Favourite Things
  24. Throwing Snow – Idealog (AceMo remix)
  25. ize – This Is Not A Drill
  26. David Bowie – Fun (Dillinja remix)
  27. Minor Science – Balconies
  28. Beatrice Dillon – Workaround Two
  29. Tornado Wallace – Midnight Mania
  30. Boards Of Canada – Nothing Is Real
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #112


How are you? I hope that you’re staying safe, and I hope you’re healthy and happy. With at least another three weeks (in the UK) of isolation to go, I know it’s tough. But we’re halfway, right? And despite the world turning upside down and some horrible things happening, I think it’s bought the best out in people. Love is saving the day ❤️

Last week’s ‘balearic’ letter was all about helping you drift away to another place, and this week’s is kind of similar. On reflection, I noticed that the last letter had quite a lot of very familiar tracks on. A lot of the conversations I’ve been having with friends have been about listening to more familiar music, and quite a few friends have said that they’re finding it difficult to listen to much new music at the moment. There’s a need for nostalgia. So without ruining the notes below any more, this week’s mixtape is themed around nostalgia. It’s thirty tracks that will probably all be familiar to you, but thirty that all trigger massive feelings of personal nostalgia for me.

I would love you to send me links (and reasons) to music that makes you feel nostalgic.

As I mentioned, there’s a notes section this week, and as well as going into a bit more detail on the nostalgia thing (and why we have a need for it right now), I’ve also done what a lot of guest editors do (and what I used to do in the early letters); I’ve explained every song choice (so it’s long).

There’s also a bumper TL;DR Section to get stuck into, and if that’s not enough, then I’d urge you to watch the live Love Will Save The Day quarantine session sets back from DJ EOPS, and The Ballroom. Good lord you’re spoilt this week!

As ever, please stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. If you’re wondering why you’re getting Love Will Save The Day so soon again, then it’s because I’ve taken it back to being weekly while we’re on lockdown in the UK – we all need more music, more culture, and more of each other ☺️

🌪 TL;DR Section 🌪
  • Long-time Love Will Save The Day supporter and all-round-man-who-knows-everyone-in-music Jeremy Thomas has put together an excellent YouTube playlist of music documentaries and assorted oddities. Get involved
  • Another of our crew – Mark Gould – shared this excellent-looking documentary on Roland’s legendary 808. My weekend watching sorted
  • New Order are streaming their special show with Liam Gillick TONIGHT! Do. Not. Sleep.
  • Elephant has put together a list of films and documentaries on art that I’ll be working my way through – some gems in here that I had no idea existed (the David Lynch documentary especially)
  • ‘If you put the hours in then the work makes itself’, YES DAVID SHRIGLEY. Watch the accompanying film to Shrigley’s residency with Ruinart here
  • A clip from Stardust (the upcoming Bowie film) has surfaced
  • 4:3 for Boiler Room has launched an online film festival
  • The Coachella documentary is streaming for free on Vice
📚 The Notes 📚

Without wanting to sound all ‘LinkedIn’ about things, the COVID-19 crisis is teaching me a lot about myself. You may have noticed one of the things I’ve learnt before I did. The last four weeks of letters have had lots of very familiar music on. I hadn’t noticed until this weekend just gone, but I’m finding it really difficult to listen to as much new music as I usually do. It would also seem – according to Spotify – that I’m not alone. I think unconsciously I’ve been trying to create more familiarity in each mixtape (and in my own listening). I’ve spoken about the design concept of MAYA (most advanced, yet acceptable) in relation to music a lot before, but I think at the moment I’m almost purely focusing on ‘yet acceptable’. I’m fine with this, by the way. I think in times of great uncertainty, we look for any stability we can – whether that’s a big decision (not moving house) or small one (listening to familiar music). So for the mixtape this week I decided to consciously focus on nostalgia, and – maybe narcissistically – choose songs that have a very strong sense of nostalgia for me personally.

You’ll maybe have noticed the image for the mixtape this week. It’s a picture of Efes Pool Hall in Dalston, which was the view from my flat window for five years when I lived there. As I started picking songs out, I realised that that was a really happy time for me, filled with lots of lovely memories. So the music has got lots of connections to that time (roughly aged 24-28), as well as my musically formative years (13-16), and my late teens too (19-21), when a lot of the seemingly disparate music I liked all started to make sense together. The music isn’t arranged by era – that would be mad, and probably unlistenable – but instead hopefully you’ll see some of the threads that run through my tastes that started at 13, and have carried on for the last twenty years. Anyway, I’m rambling, here’s why I chose what I chose ❤️

Penguin Cafe Orchestra – Music For A Found Harmonium
I’m opening with something insanely nostalgic. This is a track that I’m sure loads of you will recognise, if maybe not know the title. It’s from an album by PCO that my dad used to play quite often, but my most fond memories were him playing it Christmas Day morning when everyone else was getting dressed and ready for the day, and he thought no one was about. While at 13 I’d never have admitted to liking this (I think I used to refer to it as the ‘BT advert music’), I absolutely loved hearing this then and now.

The Maccabees – Toothpaste Kisses
The first time Shiv and I drunkenly danced to this I knew I wanted to spend my whole life with her. Sorry for the PDA.

Lovebirds – Want You In My Soul
When I lived in Dalston, I used to have a lot of house parties. I lived at the bottom of Stoke Newington Road, virtually above The Nest, so sound complaints were pretty rare (although I had two framed, embarrassingly). The great thing about that flat was that it had a balcony, and then a massive flat roof, so in summer I’d have parties outside. This was a song that never, ever failed to raise a smile, and get people singing, moving, and having fun.

Metronomy – The Bay
Another Shiv song, but this time a song she shared with me in our early days that I absolutely adored from the first time I heard it. As you’ll see later on, I had a brief stint as an indie kid, so this was a hit of nostalgia for me even then. The amount of times I tried (unsuccessfully) to mix this to impress her became a running joke.

DJ Mehdi – Lucky Boy (Outlines remix)
One of my best friends (Tim) has been a constant source of new music. I’d go as far as saying he’s educated me a lot on stuff I’d missed, and stuff I’d just never have found. This was one of those tracks – and Tim, there’s a few more from you in here too mate. This became an end-of-the-party-make-everyone-cry staple.

Late Of The Pier – The Bears Are Coming 
I went to University in Nottingham, and every year I went to Dot-to-Dot festival. One year I took my dad with me, and we saw LotP at Stealth and I absolutely lost my shit to this track (and all the rest they played, to be honest). This was one of the moments when I felt my new indie kid status blending into my history (and future) as a dance kid. This takes me  b a c k .

Death From Above 1979 – Romantic Rights (Erol Alkan’s Love from Below remix)
Maybe a little unexpected, by I was (and still am) a massive fan of Death From Above 1979 (thanks to my dad, I think), and this song transports me to being 18 years old, driving with recklessness and abandon on winding country, lanes at night, in a definitely non-roadworthy Fiesta. The thrill and adrenaline kick of hearing this loud still sends shudders down my spine. The Erol remix just confirmed more and more than I was heading back to dance land.

The Rapture – House Of Jealous Lovers 
This was my own personal soundtrack to dancing in the Blue Note in Derby on a Tuesday night. Hearing it might still remind me of Apple Sourz, but it’s so good I’ll never stop.

LCD Soundsystem – All My Friends
There isn’t a single moment of nostalgia for this one, it just happens that almost every time I’ve ever heard it, I’ve been having an amazing time with all my friends. Right now, this fills my heart with nostalgia, and my eyes with tears. “If I could see all my friends tonight.”

Thieves Like Us – Drugs In My Body
I vaguely remember being introduced to the Kitsune label through an NME cover CD, and then going to buy the latest compilation pretty much immediately. Drugs In My Body was on it, and I remember playing this to my oldest friend Adam so many times that I think he ended up shouting at me. A few years later I played it at a house party he was having and he ran over and kissed me. Two great moments of nostalgia 😂.

Daft Punk – Burnin’ 
When this LP came out I would’ve been maybe 11 or 12, so if I’m being honest, it was Around The World that made the first big impression on me. However, when I started buying records, Homework was one of the first albums I bought, and Burnin’ was one of the songs that I taught myself to DJ with (long intro, simple kick). For me it still holds all its freshness and excitement now, with the added nostalgia of remembering finally nailing a mix.

Armand Van Helden – The Boogie Monster 
My dad and stepmum took me clothes shopping for my 12th birthday, and we went into a shop that was so cool I was close to fainting. I didn’t faint. Instead I heard the shop DJ(!) playing this and I decided that I wanted to become a DJ. I had no idea what the track was, and it took me more than fifteen years to find it (I misheard the vocals…).

Roy Davis Jr. (ft. Even Everett) – Gabriel (Live Garage Version)
A bit like LCD Soundsystem’s All My Friends, this track holds so many special memories, but by far the most special was hearing my friend Josh Dando play it at Steven Dodd’s (more on him below) wedding last year. Tears and grins all over the place.

Wildchild – Renegade Master 
I was 12 years old, and I’d decided I wanted to be a DJ. I went with some friends into Derby, and listened to (what felt like) every 12” HMV had. This was the one that I bought, and it was £2.99. I still play the same copy now, and it still bangs.

Azzido Da Bass – Dooms Nights (Timo Maas remix)
I have absolutely no idea where I heard this, but aged 14 I became OBSESSED with it. I still am, if I’m honest. I also still have the same copy I bought from Virgin then. Again, this record holds lots of different moments of nostalgia (not least playing it at the first house party I ever played and it blowing the roof off), but the moment I always think of is New Years Eve, 1999. I was on holiday with my dad, stepmum, and brother for the Millennium, and just before we went to bed, I heard the DJ play it. My song. The next millennium was already off to a flyer.

Mr. Oizo – Flat Beat
This song is 25% of the reason I work in advertising now. The other 25% is Phat Planet, and the remaining 50% is my weird obsession with culture. I don’t play Phat Planet that often any more, but I play this on a weekly basis. Twenty years of Flat Beat. PREACH.

Jamie xx – Far Nearer 
Around 24, I moved to London, and started working at VCCP. When I moved, I ‘knew a few people’, but I didn’t really know anyone. Luckily I made friends with a some nice people at VCCP in those first few months, and we’re still friends now. This song reminds me of walking to the agency through Hyde Park on a summer morning with this on repeat, thinking (now, very embarrassingly) of my ’new London life’. I’m laughing as I type that, but that was honestly what was running through my head at the time 😂

Julio Bashmore – Au Seve
Prince – Erotic City (Make Love Not War Erotic City Come Alive)
These two tracks come as a pair, because I heard Julio Bashmore play them together at Eastern Electrics in 2012 and it was madness. At the time Au Seve was just starting to pick up, and then to play out of it into Prince felt like a revelation for me as a listener and as a DJ.

Girl Unit – Ensemble 
It was a tough choice between Ensemble and Wut – both were staples of the dank basement parties I used to go to in Dalston. Ensemble just nudged it though, because any time I hear those glittering synths, it immediately takes me back to being drenched in sweat at 5am.

Mount Kimbie – Made To Stray 
I’m pretty sure my mate Tim – who I mentioned above – was paid on some sort of commission basis to play this song. Every single house party I had in the year 2013 had a moment where Tim would storm the booth (my flat had a makeshift DJ booth) and play this song. To be fair, it always worked. Now I can’t hear it without thinking of him looking at me eagerly, peering over a kitchen floor filled with people, giving me ’the look’.

Four Tet – Lion
In the summer of (I think) 2013, Four Tet announced he was going to be DJing a special RSD party at Phonica on a Saturday afternoon. Trying to get in was, of course, absolute carnage. Despite being quite close to the front of the queue, me and one of my best mates, Steven Dodd, had decided to go and buy beer, and then subsequently lost our spot and our chance of getting in. Instead we had a dance in the road to this song. Then we crashed his friends sophisticated dinner, drank all their wine, and then got kicked out of cab on the way to another party. I woke up with an absolutely horrendous hangover the next morning, with him lay next to me in bed (platonically, of course). The first thing we did was play this song and laugh. One of my very best memories.

Tom Trago – Use Me Again (Carl Craig rework)
I’ve got a friend (hi Cyd!) who every summer would have a party on the roof of her parents house. One year I DJ’d, and while I don’t remember much, I do remember playing this song and dancing to my own selection for so long it ran out and I had to quickly find another to play. A very hazy memory, but one that sticks with me. Every time I hear this I’m transported to a beautiful rooftop in South London, with all my mates, and some brilliant music.

Daphni – Yes, I Know 
Throughout 2012 and 2013 me and my friends saw Daphni and Four Tet DJ so many times a lot of it blurs into one, but two songs stick out more than any Ye Ye, and Yes, I Know. It was difficult to pick between the two, but this edged it, if only for the memory I have of being in the Bussey Building hearing it and having to have a sit down on the floor (on the dance floor) because I got so excited 😂

Eliphino – More Than Me
I loved Plastic People but I only went a handful of times. I loved/love Fabric, but I had to be picky with the night I went to. Dance Tunnel was great, but too short lived. Between 2012 and 2014 Corsica Studios was my favourite club in London. It didn’t really matter what night was on, it was always solid and rammed. I remember on one of my first visits wandering into room two early on to hear Eliphino play this, and dancing on my own. Killer track, that went on to become a staple for a few years.

Objekt – Cactus 
Stumbling from room two to room one… Again, the first time I heard this was at Corsica and it blew my mind. Every time I hear it now, it gives me that panicked feeling of someone rushing from the smoking area to the dancefloor.

Gil Scott-Heron – NY Is Killing Me
I played this three times at the first house party I ever had in London. I was living in a tiny studio flat near Golborne Road, and crammed about thirty people in and had an absolute blast (and my first council noise warning). This song reminds me of both.

Randomer – Appetite
Before I moved to London I’d set up a Facebook group for people to share music with each other (a primitive Love Will Save The Day, maybe), and I remember someone sharing this and it blowing my mind. I’d never heard anything like it. It was the song that was playing as I pulled up in the transit van outside my new home. Woooooosh.

Burial – Night Bus 
After one of the last house parties I had in Dalston, I decided to go for a walk (it was summer, but still probably a silly idea). I walked for about an hour and ended up at southbank, just as the sun was coming up on a Sunday, with this song playing as I stood on the millennium bridge. It was a weird moment, but a perfect song choice. I still reflect on that walk now, and this song brings those memories flooding back.

William Orbit – Barber’s Adagio For Strings
It now feels like I’ve gone full loop back to being 13 again. This song came out (alongside a Ferry Corsten remix) when I was 13, and while I bought it for the trance remix, I stayed for the beautiful classical music. I had no idea of the soundtrack connection, so to me, this was just an absolutely stunning piece of music that floored me. I smile now, to think of 13 year old me, playing this on repeat on my headphones, smiling at being absolutely overwhelmed by music. Some things never change, and as I write this, I’m on my third play of this song.

Writing all that out was like taking a hot bath filled with nostalgia, and picking and arranging the music was a real joy. I reckon I had to get rid of more than 150 songs from the shortlist I made. But I think this week should be a line in the sand. I read this excellent piece from Jeremy Larson for Pitchfork, and he’s right, it’s natural to defer to familiar music in a crisis, but it’s more important to find new music to share, and new artists to support.

Next week, normal service is to be resumed.

📃 The tracklist  📃
  1. Penguin Cafe Orchestra – Music For A Found Harmonium
  2. The Maccabees – Toothpaste Kisses
  3. Lovebirds – Want You In My Soul
  4. Metronomy – The Bay
  5. DJ Mehdi – Lucky Boy (Outlines remix)
  6. Late Of The Pier – The Bears Are Coming
  7. Death From Above 1979 – Romantic Rights (Erol Alkan’s Love from Below remix)
  8. The Rapture – House Of Jealous Lovers
  9. LCD Soundsystem – All My Friends
  10. Thieves Like Us – Drugs In My Body
  11. Daft Punk – Burnin’
  12. Armand Van Helden – The Boogie Monster
  13. Roy Davis Jr. (ft. Even Everett) – Gabriel (Live Garage Version)
  14. Wildchild – Renegade Master
  15. Azzido Da Bass – Dooms Nights (Timo Maas remix)
  16. Mr. Oizo – Flat Beat
  17. Jamie xx – Far Nearer
  18. Julio Bashmore – Au Seve
  19. Prince – Erotic City (Make Love Not War Erotic City Come Alive)
  20. Girl Unit – Ensemble
  21. Mount Kimbie – Made To Stray
  22. Four Tet – Lion
  23. Tom Trago – Use Me Again (Carl Craig rework)
  24. Daphni – Yes, I Know
  25. Eliphino – More Than Me
  26. Objekt – Cactus
  27. Gil Scott-Heron – NY Is Killing Me
  28. Randomer – Appetite
  29. Burial – Night Bus
  30. William Orbit – Barber’s Adagio For Strings
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #111


How are you? I hope you, and your family and friends are all happy and healthy. I know it’s tough right now, but please look after yourselves and each other. I’m sure that Love Will Save The Day, but only if you have a go too. Stay safe, and stay home. If you’re an essential worker, then holy moses I cannot send you enough love – thank you, not a day goes by where I don’t think about you and everything you’re doing for us. You’re the best.

Before I get started, I just wanted to say a big thank you to everyone that got in touch last week – it might sound selfish, but knowing I’m not alone in how I felt was really nice. It also turns out that a lot of you love wallowing as much as I do too 😂.

Now, as a way of paying you back for last week’s mixtape, this week I’m taking you on holiday. You heard me. In a sort of cruel twist of fate, the UK (well, the south east of the UK) is currently experiencing what feels like the beginning of summer. The sunshine is out, despite the fact that we can’t be. So, this week I’ve put together a mixtape that should help you sit with the window open / on your balcony / roof / in your garden / courtyard and close your eyes and drift away to a sun-kissed beach, with the ocean lapping at your feet, and cocktails flowing.

I owe a debt of gratitude to the crew on the Love Will Save The Day WhatsApp group who helped pick some of the music this week, so thank you. I must also, however, let you know that I opened a real can of worms when I called the theme of this week’s mixtape ‘balearic’. Usually the 50+ people on the group are considered, balanced, and kind-hearted, but the mere mention of the world ‘balearic’ caused absolute uproar amongst some of them. My favourite response was that balearic was a term used by “old soul boys who banged some doves but were scared of a kick drum”. (Let me know if you want to join us 😂.)

Notwithstanding that conversation, this week’s mixtape is pretty ‘balearic’. And by that, I mean it’s music that you’d like to listen to on holiday, in the moments between having a beer on the beach as the sun goes down, and going out for a dance. Music to watch the sun set, and the moon rise (and most probably the sun rise) to. I spent most of my formative years in the Midlands, reading Mixmag and DJ Mag and dreaming of going to Ibiza for the sunset (and sunrise) – so there’s also a lot of early years faux-stalgia going on for me in some of the songs this week.

This week there’s no notes (I’ve written a lot of lengthy documents this week at work – and the last few letters I’ve written have been long – so I’ve got no more words left in me), and the TL;DR Section is light too, but hopefully all the energy that’s gone into the mixtape will make up for it. Open the window, pour a glass of rose, hit play, and close your eyes ❤️

And finally, please stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. If you’re wondering why you’re getting Love Will Save The Day so soon again, then it’s because I’ve taken it back to being weekly while we’re on lockdown – we all need more music, more culture, and more of each other ☺️

🌪 TL;DR Section 🌪
This week’s TL;DR Section is a little lighter than the last two, but they were real bumper editions, so if you’re still looking for interesting stuff, then give the last couple another read here, and here.
  1. Be SURE to download the first episode of a great new podcast – What Goes Around? – from Love Will Save The Day crew Eamon Murtagh and Anne Frankenstein. The first episode is an interview with The Wrongtom (hi mate!), and the series looks at the stories of music lovers, rather than those of music makers. It’s going to be excellent
  2. There’s new music from Richard D. James
  3. Faith is coming back!
  4. On a Balearic note, I’m gutted to have missed out on this. Anyone know where I could find a copy?
  5. Gilles P’s 6 Music show last week was incredible
  6. Radiohead are adding loads of old concert footage to their YouTube channel (thanks Stopforth for the nod on this)
  7. On another podcast note, the new series from Melissa Harrison – The Stubborn Light Of Things – would, at first, appear to be massively off topic (it’s about nature), but I think you’ll enjoy it as much as I do. It’s a lovely medicine for these times
  8. Watch this classic Boiler Room Collections interview with Daniele Baldelli
  9. The excellent jazz I like series is on it’s seventh edition
  10. Erykah Badu is hosting a series of interactive lockdown gigs (the next one is this Saturday)
  11. Eliza Rose’s Diggers Directory entry (and mixtape) for STW is great – UKG vibes all the way
  12. Gormley, Perry, and Deller have put together a little activity pack to keep your brain whirring along while we’re in isolation
  13. There’s a new mixtape from Octo Octa that’s excellent
  14. On a final but important note, I’m massively dwelling on this fantastic essayfrom Jeremy Larson for Pitchfork. More (properly thought out) notes next week…
📃 The tracklist  📃
  1. Cantoma – Early Till Late
  2. Terry Callier – Love Theme From Spartacus
  3. The Jimi Hendrix Experience – Castles Made Of Sand (Four Tet remix)
  4. Space Raiders – Beautiful Crazy
  5. Gaussian Curve – Impossible Island
  6. The Art Of Noise – Moments In Love
  7. Todd Terje (ft. Bryan Ferry) – Johnny and Mary
  8. Michael Shrieve – Transfer Station Blue
  9. Maze (ft. Frankie Beverly) – Twilight
  10. The Cure – Lullaby (extended mix)
  11. The Durutti Column – Sketch For Summer
  12. Wham! – Nothing Looks The Same In The Light
  13. Carly Simon – Why (12″ version)
  14. Rae & Christian (ft. Veba) – Spellbound
  15. Soul II Soul – Back To Life
  16. Saint Etienne – Only Love Can Break Your Heart (Andrew Weatherall remix)
  17. The Grid – Floatation (Subsonic Grid mix)
  18. Talk Talk – Life’s What You Make It (extended mix)
  19. Orange Juice – Rip It Up
  20. Paul Weller – Mayfly (The Reflex remix)
  21. Chris Rea – Josephine (French edit)
  22. Larry Heard – Summertime Breeze
  23. Secretsundaze – Gigantic Impossible Large (NYC dub)
  24. The Beloved – The Sun Rising
  25. CeCe Rogers – Someday
  26. Fleetwood Mac – Big Love
  27. Age Of Love – The Age Of Love (Jam & Spoon remix)
  28. Gat Decor – Passion (Do You Want It Right Now)
  29. Alison Limerick – Where Love Lives (Come On In)
  30. New Order – Elegia
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #110


How are you? I know I say this every letter, but I really mean it at the moment. How are you? I’d genuinely love to hear from you. I hope you, your friends and family, and everyone you know is safe and sound.

Before I get started, I’d like to say a huge thank you to both Ciaran and Peter for the last two guest letters. Both letters and both mixtapes got absolutely rave reviews and lots of really positive feedback. As ever, I feel very privileged and lucky to bring in such high quality guest editors.

Now, on to this week. I’m back. Hello. ❤️

Over the last three letters (basically while we’ve been in lockdown), quite a few people have gotten in touch to say that they’ve really looked forward to these letters. The idea of some stuff to do, some stuff to read, and thirty happy, dance-your-troubles-away songs have provided some solace in an otherwise troubling situation. I want to say a big thank you to those people, and also a big sorry. This week’s mixtape and letter is a little different.

If you’d like upbeat, forget-what’s-going-on, throw-your-head-back music, then there’s loads in the archives, also try this from Love Will Save The Dayer, Nigel Pauley, or  this epic playlist from fellow Love Will Save The Dayer Paul Campbell. However this week, I’ve put together a mixtape that’s pretty instructive; heal yourself and move. Named after one of my favourite Theo Parrish songs, this week is all about not blocking any emotion – instead basking in the lows as much as the highs. With as equal focus on heal yourself, as there is on move. There’s an accompanying letter explaining more, and a bumper TL;DR Section too.

Since going on lockdown (our daughter had a cough a few weeks ago, so we’ve been on full isolation for a while now – she’s fine), I’ve experienced a real rollercoaster of emotions. This last week I’ve had some pretty low moments. So I wanted to put something together for you (of course), but also for me. I find so much solace in music, and now is no different from any other time. There’s more detail in the notes below, but this week’s letter and mixtape are about the importance of not trying to bluster away the blues, but instead coaxing yourself back up slowly. Hopefully the mixtape just does that, both for you (if you’re sharing my feelings), and for me.

For anyone experiencing the same feelings of melancholia (outlined beautifully here by Hannah Jane Parkinson), then all I can recommend is exercise, fresh air, meditation (Headspace has opened up lots of free content), filling your life with as much music and interesting books as possible, and talking to people. It might mean nothing to you, but I want you to know that I am always here. Any time. We’re all in this together, and I swear to god I’m twice as good at listening as I am talking 😂.

Please stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. If you’re wondering why you’re getting Love Will Save The Day so soon again, then it’s because I’ve taken it back to being weekly while we’re on lockdown – we all need more music, more culture, and more of each other ☺️

🌪 TL;DR Section 🌪
IMPORTANT: If you’re in adland and you’ve either been let go, or you’re freelance and contracts have dried up, then The One Club has put together a great list of open roles.
Stuff to do
  • A couple of weeks ago I put together a very spit-and-sawdust set of notes for setting up a livestream for DJs to share with friends, but RA has jumped me and published a much more polished version
  • Endless – an app that lets people make music together, apart – looks pretty good
  • For producers; Grimes and WeTransfer have partnered to launch a competition to remix her latest album. Instructions are here
  • Grayson Perry is launching a new show on Channel 4 soon called Grayson’s Art Club, which will give lessons on drawing, painting and sculpture, as well as featuring lots of different artists talking about their process too. Should be good. More on it here
  • I’ve become a bit obsessed with the designer Raimund Wong
Stuff to watch 
  • It’s a modern cultural symbol that is almost peerless. It’s 30 years in. There’s now an extraordinary documentary all about it. The Story of Air Max
  • JAZZ KLAXON – Montreux Jazz Festival is publishing audio and video from more than 50 classic concerts from its history
  • Manchester Keeps On Dancing – a documentary on acid house – sounds amazing, so I’ll be watching this week. And all the proceeds of renting it go to back into the Manchester arts community too
  • That documentary I mentioned on record collecting a few letters ago – Record Safari – is out now
  • I’ll be watching this documentary on the history of the London broken beat scene this weekend
  • The Face has a published a list of music documentaries that’s worth looking over – lots of stuff you’ll certainly have seen, but I reckon there’ll be some stuff that’s new to you too
  • As part of my obsession with culture, years ago I started reading with a real fervour about network analysis – in an effort to understand how culture and ideas spread between people and groups – but all that science was built by epidemiologists who were studying the spread of disease. In an odd, and obviously macabre way, the spread of COVID-19 is also a good analogy for how culture spreads. This simulation is a good explainer
Stuff to listen to 
Stuff to read
And finally, slightly off-topic, but if you’re a bit bored – or you’ve got children and you’re running out of ways to keep them entertained and mildly educated – then the National Geographic YouTube channel has some amazing 360, 4k coral reef videos; then on a more relaxing tip, Nomadic Ambience has some really great walking tours of different places around the world; and finally the HarvardX YouTube channel is filled with some gems too
📚 The notes 📚

I know that what I’m going through is in no way unique, and that I’m incredibly lucky to not have contracted COVID-19, or to be suffering from a serious medical condition. There are lots of people who aren’t so lucky, and I do not want to in any way overplay what I’m going through compared to them. However, I wanted to share how I feel, because in my experience sharing these things has been cathartic for me (selfish, I know), and it’s also sometimes been helpful for others. It’ll also hopefully go some way to explaining the mixtape too.

The first week that COVID-19 started to feel real in the UK, I was working on a pitch, so I was distracted. The only thing different from usual was the media coverage, and the fact that we’d sent the rest of the agency home. After we’d pitched, I started working from home, and the second week (my first full week working from home) was pretty manic again. Schools and colleges closed that weekend, so my daughter and Shiv were both now at home full-time. Between home-schooling and entertaining our daughter, and trying to find a way to balance Shiv’s college work and my work, it was pretty mad again. Client calls, team calls, Zoom, Teams, Skype, (what felt like hundreds of) documents written, Houseparty, whole agency town halls. It was mad. My adrenalin had barely slowed from the pitch week. Then the weekend came, the vague novelty of working from home had worn off, the lack of the structure we’d had in the week kicked in, and the restrictions of what we could do dawned. It all became very real.

That weekend, the government put in more comprehensive restrictions, and all of a sudden I could only leave the house once a day. So I started going for either a run in the morning, or a walk in the afternoon. The runs helped (and continue to help), but the afternoon walks were odd. People avoiding each other was strange. The lack of traffic – overhead or on the ground – was really bizarre. The lack of noise (other than birdsong) was staggering. It was a true example of Freud’s the uncanny. The mixtape this week opens with birdsong, because I always try to incorporate as much music as I’ve listened to each week into the mixtape – and birdsong has been on heavy rotation.) You might’ve also noticed the mixtape image – that’s the album cover from Steven Julien’s album Fallen (great album)which was shot on Southend seafront. That’s where I run, and where I go for my afternoon walks. I wanted to try and share those walks with you – and the mixtape is, in a way, a sort of elongated soundtrack to those walks.

Over the course of a few days I started to feel more and more melancholic. When I originally wrote this set of notes, I thought melancholy might’ve been the wrong word, but despite my empathy for what a lot of people are going through, I’d consider myself and my family incredibly lucky. My sadness feels more existential, and what I’ve realised is that the source of my melancholy is the uncertainty of what’s going on. You see, I’m a create of habit. I have mild compulsions around my habits (I wouldn’t go as far as OCD, but it’s the same ballpark), and when my habits are broken, I find myself with a sense of unease. Despite loving the idea of Nassim Taleb’s The Black Swan (so much so it’s tattooed on my wrist), uncertainty can drive my anxiety sky-high. I’m usually a very chipper, glass-half-full type that almost-always sees the upside, and most of the time I can find a route out of my own malaise. But on these walks I just couldn’t see the finish line.

So I decided a few days ago that instead of trying to force myself to be more positive (the very Northern ‘pull your socks up lad’ approach), I would let my soul settle a bit with it. On my walks I listened to Miles’ Birth Of The Cool (one of my favourite feeling-low albums), and I let my mind wander into any thought; however melancholic or dour. I let myself cry. I wallowed. I spoke to those close to me about how I was feeling. It felt like turning a slow-release valve, and it helped. I realised that what I needed was that very release.

The sound of Miles’ trumpet on Moon Dreams reminded me of how art makes us marvel. Creation brings to light beauty, goodness, and truth, and at the very heart of society, is the love of creation. We all yearn to make something. Whatever that looks like. This train of thought reminded me of a quote from the German philosopher, Johann Gottfried Herder, who said that “culture is the lifeblood of a people, the flow or moral energy that holds society intact”. Every moment of creation – whether something as grand as Miles’ cover of Glenn Miller’s Moon Dreams, or something as minuscule as me writing this letter to you today – is the creation of a set of symbols that combine to create something (hopefully) that’s valuable. That when combined adds something to culture. I love Alan Fletcher’s The Art Of Looking Sideways, and something that always sticks with me is the idea that a symbol is an explicit experience of an implicit meaning – and what excites me is that now there’s an incredible opportunity to create a million symbols that convey everything that we’re going through now, much better than I have here. I hope that the art that emerges from this time dominates how we think of now, rather than remembering it for social distancing and stark headlines.

I still have a haze of melancholy over me, but I’m slowly finding a way to turn it from something that lingers over me, to something that I use as a platform for creating something – anything – positive. This, I suppose, is one of my first steps to that.

From awful situations, beautiful art arises. For every bust, comes a boom. With every night, follows day. Goethe said that “talent is developed in quiet places”, and this is the quietest our generation has ever been – something beautiful must surely follow.

Culture is what keeps us together. Art is the communication that fuels culture. Love is the tinder that sets it alight. Love Will Save The Day ❤️

📃 The tracklist  📃
  1. Nature Sounds – Blackbird
  2. Nils Frahm – First Defeat
  3. Aphex Twin – #3
  4. The Stan Tracey Quartet – Starless And Bible Black
  5. Telefon Tel Aviv – Mouth Agape,
  6. Luke Abbott – Tree
  7. Miles Davis – Blue In Green
  8. Chassol – Dark Touch
  9. Lana Del Rey – 13 Beaches
  10. Nick Cave & The Bad Seeds – Fireflies
  11. Apparat – Goodbye
  12. The Horrors – Still Life
  13. Air – Cherry Blossom Girl
  14. Seahawks – Escape Hatch
  15. Beverly Glenn-Copeland – – Colour Of Anyhow
  16. Gil Scott-Heron – I’ll Take Care Of Your (Makaya McCraven version)
  17. The Rationals – Glowin’
  18. Donovan – Get Thy Bearings
  19. Bill Withers – Can We Pretend
  20. Stevie Wonder – Love’s In Need Of Love Today
  21. Diana Ross – Ain’t No Mountain High Enough
  22. Carol Williams – Love Is You
  23. MFSB – Mysteries Of The World
  24. Cloud One – Spaced Out
  25. Universal Togetherness Band – Ain’t Gonna Cry
  26. Benita – Time For A Change
  27. Folamour – Don’t Make Me Leave You Again, Girl
  28. O’Flynn – Glow Worm
  29. Theo Parrish – Heal Yourself And Move
  30. Whitney Houston – Love Will Save The Day (Jellybean and David Moralas remix)
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #109

Hello, hi, how are you,

I hope you and your friends and family are staying safe. I’m not the first to say it, but it feels like we’re living in some sort of dystopian simulation, so stay safe, look after each other, and please for the love of god stay home.

As I said last week, Love Will Save The Day is going weekly while we’re all on lockdown. We all need more music, more culture, and more of each other. We’ll be running a quarantine party again this Saturday, so click here to get the reminder and links to the streams closer to the time (it’ll be 8-11pm, on Twitch). Also, I know I’ve mentioned this before, but we’ve been running a WhatsApp group for the Love Will Save The Day hardcore crew for a few months now, and it’s a brilliant mini-community of lovely people that share music, links, and events – if you’d like in, then let me know and I’ll send you the group link. It’s wonderful, you’d love it.

Now, this week. My plan was to put together a letter myself, and then I got an email from a friend who told me he’d just finished his guest letter we’d been talking about for a few months. That friend was Peter Croce, the founder of Rocksteady Disco – one of the very few labels that I treat as buy-on-sight. He’s also a world-touring DJ, and producer. And his guest letter and mixtape are FIRE. Also as a special treat for you all, he’s compiled a mixtape for Spotify, and recorded a live mix version too – exclusively for you. Both links below.

If you love this week’s letter and mixtape as much as I do, then you can find Peter on his Underground Sessions radio show Thursdays 6pm (GMT) (www.ugsradio.com), and he’ll also be hosting his own show on worldwide.fm next Thursday (the 1st April) at 5pm (GMT).

Stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

🌪 TL;DR Section 🌪
After last week’s enormous TL;DR Section, this week is a bit pared back. (Last week’s is available here.)


📚 The notes 📚

30 tracks. Three bardos. And I can’t pick tracks that have already been played on previous Love Will Save The Day mixtapes. And they have to be available on Spotify. Not the *most* impossible challenge, but a fun puzzle nonetheless. Hello, I’m Peter Croce, and I’m a Detroit-based deejay, producer, multi-instrumentalist, and head of Rocksteady Disco, and this week I’m your guest editor.

First and foremost I wanted to commemorate two legends who are no longer in their bodies. The first is Óscar Romero, the Salvadoran mystic and prophet who was gunned down in San Salvador while giving mass by a military dictatorship on March 24, 1980. The second is Cameroonian-born France-based Manu Dibango, who sadly died of COVID-19 this week. Many say his “Soul Makossa” was one of the first “disco singles”, purchased at the African Record Center by David Mancuso, who then championed it at The Loft.

For the rest of the mix I did what I always try to do – take people on an emotional ride from deep contemplation to ecstatic childlike dance. Sonically it’s soaked in heavy drums and big basslines; with jazz as the bedrock for most of the cuts. At least one version of the tracks selected had to be available on Spotify, but I included some rarer versions on the mixed version. For the mixed version I recorded it very loudly alone in my music cave, mostly with recently purchased vinyl. There’s a little bit of beatmatching, but I wanted to keep the mix a little more pure in form.

I hope this mixtape brings you joy and comfort in these particularly strange times. I’m a working musician who has had *a lot* of gigs canceled. But this involuntary timeout has forced me really go deep and figure out what is important to me. After a few days in an existential depressive episode it has forced me to cut some mental and emotional fat out of my life. I’ve also never been more grateful to be a music maker and dreamer of dreams. We color the world, in good times and in bad. It took a pandemic to remind me of that.

📃 The tracklist  📃
  1. Jean-Luc Ponty – Eulogy To Oscar Romero
  2. King Crimson – The Sheltering Sky
  3. Sergio Mendes & Brasil ’66 – Ye-Me-Le
  4. Aged In Harmony – You’re A Melody
  5. Fuga Ronto – L’uomo Invisible
  6. Man Jumping – Down The Locale (Khidja remix)
  7. Radha Botofasina – Ghana Nlla
  8. Blair French – Spirit Guides
  9. Conclave – Sunny
  10. Irakere – Chekere Son
  11. JKriv – Aguaxire
  12. Manu Dibango – Yekey Tenge
  13. AIMES – Batonga
  14. Eddie Logix – Que Locos
  15. Peter Croce – Revival
  16. Phreek – I’m A Big Freak [R*U*1*2]
  17. Tumblack – Caraiba
  18. Issa Bagayogo – Filaw (Soft Rocks remix)
  19. Pearson Sound – PLSN
  20. The Mauskovic Dance Band – Spae Drum Machine (Detroit Swindle’s Flute remix)
  21. David Murray – Gwotet (feat. Pharoah Sanders)
  22. Hector Lavoe – Mi Gente (Louie Vega EOL remix)
  23. Billy Paul – Only The Strong Survive
  24. The New York Community Choir – Express Yourself
  25. Gilberto Gil – Palco
  26. Mario Lavezzi – In Alto Mare
  27. Mark Barrott – The Pathways Of Our Lives
  28. Jah Wobble – Alsema Dub
  29. BKO Quintet – Donsolu
  30. Marvin Gaye – Where Are We Going?
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #108


How are you? I hope you’re safe, healthy, and happy. These are strange times – probably generation-defining times – and the most important thing, above all else, is to look after yourselves and each other. I’ve no doubt that Love Will Save The Day, but please, you’ve got to have a go too. Stay safe, and stay home.

To help with the social distancing / isolation, myself and a few of our regular Love Will Save The Day family are going to launch a free party this Saturday. It’ll be streamed live (probably 8-11pm) from our respective homes, and you’ll have the choice of a number of ‘rooms’, so to speak. We’re bringing the party to you, basically. I hope you’ll tune in, and there’ll be an email Saturday to explain what’s going on, with links to the streams. Let me know if you’d like to get involved as a DJ, and please share far and wide ❤️

Also, we’ve been running a WhatsApp group for the Love Will Save The Dayhardcore crew for a few months now, and it’s a brilliant mini-community of lovely people that share music, links, and events – if you’d like in, then let me know and I’ll send you the group link. It’s wonderful, you’d love it.

Now, on to this week. So, I have an absolutely brilliant and completely unexpected guest letter this week – it’s got guitars and everything. As ever with guest letters, my favourite thing is that I get a guest submission and see music I don’t know, in an order I wouldn’t think of, and with notes that aren’t mine. And that’s literally the whole point. Find great variety and diversity. So this week we’re exceptionally lucky to have Ciarán Norris, who’s written a love letter (sorry Ciarán, but it is) to John Peel, and Gilles Peterson.

I met Ciarán years ago through some friends of friends, and we barely spoke about music until I launched this project – then all of a sudden we both realised we had a shared love of music, and GP. The mixtape is great, and the letter is the perfect accompaniment (below in the notes). I’ve also tried to bulk out the TL;DR Section so you’ve got lots of stuff to keep you occupied over the next few weeks.

Stay safe, stay home, and stay in touch xxx

PS. If you’re new then this is how it worksHere’s what you’ve missed so farAnd this is me.

PPS. Love Will Save The Day is going back to weekly while we’re on lockdown – we all need more music, more culture, and more of each other – if you’d like to write a guest letter get in touch ☺️

🌪 TL;DR Section 🌪
IMPORTANT: Cover-19 is going to take a really dramatic toll on artists, so for today (for 24 hours from 7am on Friday) Bandcamp has dropped all fees – meaning that artists get 100% of the purchase price, so do your bit and go nuts on Bandcamp today please.
Stuff to do
Stuff to watch 
Stuff to listen to 
Stuff to read
Stuff to buy
Stuff I’m reading
📚 The notes 📚

I can probably divide my musical life into three main eras, which, for want of thinking of better names, I will call Before John, After John, and After Gilles.

I always liked music, spending many hours listening to my dad’s slightly random selection of vinyl (Saturday Night Fever, The Best of The Commodores and Hotel California being the records that have really stuck with me). I also definitely drove my stepfather mad on driving holidays, asking for Paul McCartney’s Give My Regards To Broad Street to be played repeatedly; how that particular tape didn’t just crumble into dust after a fortnight driving around Brittany, I’m really not sure.

But in terms of passions, up until my early teens the only band I really fell in love with were Curiosity Killed The Cat. Who are still, in my eyes, underrated from the 80s crop of blue-eyed soul boys who would flit across the top 40 like artfully styled may-flys. Then, as my parallel passion for Dungeons & Dragonsand comics saw me seek musical recommendations from the people I hung around with, I developed a brief interest in metal and was told the only place to listen to Napalm Death on the radio was a show from a guy called John Peel.

Luckily for me, the first night that I listened to him he also played a session track by a band called the Inspiral Carpets and my life changed in that instant. I was soon obsessed with the Carpets’ Madchester peers the Happy Mondays, tracking down their mid-80s releases on 12”, and spending many happy afternoons painting Warhammer characters in the bedroom of my childhood best friend, whilst we listened to The Stone Roses’ debut over and over (and over) again. A little later, Flowered Up’s Weekender told the story of the lives we kind of wished we’d lived.

Skip forward a few years, and thanks to moving to a sixth form where my friendship group widened, my influences and tastes had done the same – and not just because of the free raves we would spend our weekends trying to find – but also the fact we were old enough to get into gigs. To highlight how much John Peel had aided my musical development by then, my favourite gig would have been seeing Public Enemy at Reading Festival whilst my nights were spent taping happy hardcore from pirate radio stations. Then I went to university where a different tape – one I was loaned – changed everything again.

One of my fresher mates had a tape, recorded from Kiss FM, of a young DJ named Gilles Peterson. On that first show I listened to, in a smoky student bedroom in Coventry, I heard Josh Wink’s acid blow-out Higher State of Consciousness next to the Blue Note classic (and still my favourite piece of instrumental music), Sayonara Blues by Horace Silver; Gang Starr cheek by jowl with Brazil’s Joyce Moreno; Carl Craig’s Bug In The Bassbin (played at twice its normal pitch), straight after some classic Acid Jazz.

As cliches go it’s a doozy, but it truly blew my mind.

Pretty much every musical discovery I have made since that cold, dark evening, has been in some way connected to – or thanks to – Mr. Peterson.

He charted the rise of the UK’s first truly native genre (drum & bass), releasing its finest album, Roni Size & Reprazent’s New Forms, via his Talkin’ Loud label as well as enabling it to be blended with much more traditional sounds by releasing and promoting the classic 4hero remix of Nu Yorican Soul’s cover of Black Gold Of The Sun. He brought Terry Callier back to the world and enabled a new generation to bathe in his brilliance with life-changing shows at London’s Jazz Cafe. He released The Root’s first ever 12” outside the US and has continued to champion and support everyone from Jay Electronica & Dilla ever since. He captured the finest moment of UK garage, Gabriel by Ray Davis Jr, as well as a general sense of British club culture in the late 90s, on his Journeys By DJ mix.

And he has kept pushing right up to the present day, whether via his Brownswood imprint (the 1st release of which, So Good Today, makes this list), championing artists as diverse as The Streets, Dizzee Rascal, Michael Kiwanuka & Gregory Porter long before their names were well known outside of small little cliques, or as the unofficial godfather of the current British jazz explosion where he is helping artists like Oscar Jerome & Cleo Sol to crack the US.

Now I don’t mean to suggest that I haven’t listening to anything that wasn’t officially anointed by GP since the mid-90s, as the other obsession I developed in my first year at uni was for a young bunch of Manc-lads called Oasis. And though I still think their first album – and the b-sides they released between 1994 & 1996 – are some of the finest British rock songs of the last 40 years, their output after the coke stole their creativity has left me cold. But what they did do is put me on to someone much closer to my geographical home, Woking’s finest, Paul Weller.

Up until then I only knew a couple of Style Council tracks, and kind of liked The Jam, but Noel’s reverence for Weller (along with constant badgering from my housemate at the time) caused me to reassess him and I’ve since come to think of him as being one of, if not the, defining British artists of his generation. The fact that Gilles Peterson agrees with me only makes me love them both even more.

Here’s to both of them, and the eternal spirit of John Peel, for enabling a 40-something displaced Surrey indie kid to still feel like he has some connection to the music culture that is happening all around him, if not quite as directly as when he bought NME & Melody Maker every week, and had hundreds of tapes of radio shows in shoe boxes under his bed.

Stay safe, keep the faith, and turn up the bass. Peace. x

📃 The tracklist  📃
  1. Photek – Into The 90’s
  2. The Roots – Act Too (The Love Of My Life)
  3. Slum Village – Fall In Love
  4. Jay Electronica – Exhibit C
  5. Loyle Career – The Isle Of Arran
  6. Skitz & Julie Dexter – Be
  7. Cleo Sol – Why Don’t You
  8. Oscar Jerome – Subdued
  9. Fela Kuti – Water No Get Enemy
  10. Horace Silver – Sayonara Blues
  11. Bob Dylan – Like A Rolling Stone
  12. Drop Nineteens – Winona
  13. Paul Weller – All I Wanna Do (Is Be With You)
  14. Oasis – D’Yer Wanna Be A Spaceman
  15. Flowered Up – Weekender
  16. Nuyorican Soul – I Am The Black Gold Of The Sun (4 Hero remix)
  17. A Hundred Birds – Black Water
  18. Faze Action – In The Trees
  19. Roy Davis Jr – Gabriel (LIve Garage Version)
  20. Real Lies – North Circular
  21. DJ Spinna – Lansana’s Priestess
  22. Steely Dan – Peg
  23. Ben Westbeech – So Good Today
  24. The Impressions – We’re A Winner
  25. Joyce – Aldea De Ogum
  26. The Streets – The Escapist
  27. Lambchop – Up With People (Zero7 remix)
  28. John Martyn – Go Easy
  29. Williams Fairey Brass Band – Pacific 202
  30. Mulatu Astatke – Tezeta (Nostalgia)
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See you on the dance floor.
Love Will Save the Day

Letter #107

Hello, hi, hey,

How are you? I hope you’re good.

Now, the last letter caused quite a stir. Lots of you got in touch to say very kind things, which was lovely, and more than I could have ever dreamed of. As you know, I was pretty anxious putting those notes out, so thank you for being so kind. Lots of people shared and forwarded it on too, and so this week we’ve got about 300 new people – which was a lovely surprise.

If you’re new, let me explain (if you’re a regular you can skip this next paragraph and a half). I’m really glad you’ve joined us, and I hope you enjoy reading this and listening to the music as much as I love writing and sharing it. The letter breaks down into five sections; this bit, where I ramble and give people a little hint as to the contents of the letter and mixtape; the link to the mixtape (big red button below); a section called TL;DR which is filled with links to interesting stuff I thought you might like; then the next section sometimes contains an essay or notes on music and/or culture; and finally the tracklist. If you’d like more information, then here’s how it worksHere’s what you’ve missed so farAnd this is me.

I only have two pieces of advice 1) stick around for a few letters, as there’s usually a lot of variation (and we occasionally have great guest editors too), and 2) under no circumstances should you play the mixtape on shuffle! 🙃.

Now on with the show.

So, this week there are no rambling notes. Sorry, after last letter and my emotional outpouring, I’m spent (also I was away last week at our global conference, and this week has been pretty hectic with pitching). I’ve tried to make up for it with a relatively bumper TL;DR section, and I spent two entire nine hour flights compiling the mixtape.

I set myself a slightly weird challenge this week with the mixtape. Since November I’ve had a growing pile of records that I’ve not managed to get round to listening to properly. Stuff that I bought on the back of loving a specific track, but I hadn’t managed to give a full listen to the whole record. As an indication of how much great music has been coming out, I had more than 600 songs to go through. Which is both great and kind of embarrassing at the same time. Well, I’ve finally caught up, and this week’s mixtape is made up of the best songs from that pile. There’s lots of broken beat, new jazz, classic, new, and deep house, wonky techno, and bits of weird electronica. 30 absolute crackers, I think.

I’ve dug deep (and I’ve tried not to pick the lead tracks you might’ve heard already), so I hope you enjoy! 🖤

🌪 TL;DR Section 🌪
  1. The enduring power of the loop. Matt Unicomb tracks from Moroccan gnawa to William Basinski’s haunting The Disintegration Loops, tracing the sheer power of the loop to pull us into a trance. Must read.
  2. Kate Hutchinson’s (hi Kate!) excellent podcast, The Last Bohemians, is back for a second season!
  3. “We all found this combination comfortable because we could go from an uptown dinner party to a downtown loft party and fit in, while also being a bit different.” Isn’t that what we all want? God bless Warhol.
  4. Ying Ang has written a breathtaking short essay on motherhood for Huck.
  5. Geoff Travis is selling his records.
  6. The Picasso exhibition at the RA sounds sublime. It’s only on until April, so don’t sleep.
  7. Wondering what all the fuss is about when that lacquer factory burnt down? Here you go.
  8. Mica Levi, Vivienne Westwood, and Holly Blakey have put together a show which sounds absolutely  incredible. In this WePresent feature / review I found Blakey talking about trying to find her way and balance ‘high’ and ‘low’ culture really interesting; “My work is divisive. Some people love it, a lot of people hate it. But I’d rather it not be polite”. Sounds perfect.
  9. Cosey Fanni Tutti is writing a book on Delia Derbyshire and I can’t wait until 2022.
  10. ”Our roots were in the culture that was stopped by Hitler; the school of Bauhaus and German Expressionism.” I’ve only ever thought about Kraftwerk within the frame of their impact on electronic music culture – I’ve never really thought about them within the context of German culture – so this tQ book review of Uwe Schütte’s book, Kraftwerk: Future Music From Germany, was interesting. Added to my reading list 🙂
  11. This Huck feature on the burgeoning Manchester avant garde club culture feels like it has serious echoes of the 1980s NY no wave scene… Through social and political upheaval comes beautiful and important art…
  12. Since I first bought his bootleg of Purple Music, everything I’ve seen of Jame 3:26’s I’ve bought on sight – this interview with him from Stamp The Wax is great.
  13. I am very mildly and totally normally a bit obsessed with Moses Sumney.
  14. I had no idea Kanye had moved to Wyoming.
  15. Format wars and the future of DJing is a subject often best left to other people to argue about on Twitter, but I enjoyed this piece from Harold Heath for Attack – it pulls on a broader range of voices, and as such doesn’t tread the same old ground.
  16. More from tQ, this time it’s a review of Sega Bodega’s debut album. Steven Dodd (hi Doddsy!) and I were obsessed with Sega Bodega in the early 2010s (when we were kind of like proto-sad bois, but don’t worry, we’re not sad bois any more), and the new album and this review make sense of some of that old obsession…
  17. Anthony Joseph has put together a nice collection of soca records for The Vinyl Factory.
  18. I’ve definitely never said these words before, but I think I might read this book from M. C. Richards on pottery. It looks great, and this quote has set my brain on fire a bit; “The creative spirit creates with whatever materials are present. […] We are not craftsmen only during studio hours. Any more than a man is wise only in his library.”
  19. This is definitely off-topic, but it’s a very moving account of loss and finding solace in stoicism from Jamie Lombardi on Aeon. I’m still skeptical, but this was enough for me to revisit a school of thought I’ve previously sacked off.
  20. Finally, I haven’t watched this yet (busy week pitching), but this talk that Lord Tusk gave at the Tate recently on artistry and culture looks great.
📃 The tracklist  📃
  1. Kaidi Tatham – Unique
  2. Saul – No Fuss No Fight
  3. Ruby Rushton – Yardley Suite
  4. Yadava – Good Mourning
  5. Blacks & Blues – Don’t Know Why (Chant For Love)
  6. Horatio Luna – Give It Up
  7. Ferdinand – SP House
  8. Dego – Just Give It A Long Shot
  9. John Swing – G Jazz
  10. Hanna – Humboldt Park
  11. Byron The Aquarius – Universal Love
  12. DJ Kemit – Digital Love (remix)
  13. G. Markus – Dreemscape ’93
  14. Lou Rawls – You’ll Never Find Another Love Like Mine (Kenny Summit remix)
  15. Mike Dunn – Natural High
  16. Kerri Chandler – Something Deeper (DJ Seen Raw Dub edit)
  17. Laurent Garnier – Feelin’ Good
  18. Cherie Mathieson – Games We Play (Mark de Clive-Lowe remix)
  19. Manicured Noise – Metronome (Cousin Cole remix 5-2)
  20. Niko Maxen – Light Drizzle
  21. Pitto – Jazz Kids
  22. Tim Lassy – Dark Cyan
  23. John Roberts – Fluid
  24. Waajeed – Shango
  25. Yu Su – Watermelon Woman (Francis Inferno Orchestra’s remix)
  26. Laurence Guy – Drum Is A Woman
  27. Herbert – So Now…
  28. Hugo Mari – Kokiri Forest
  29. Felipe Gordon – For Those Who Enjoy Being Alone
  30. Laurence Guy – Claudi
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day

Letter #106

Hello, hi, hey,

How are you? I hope you’ve had a marvellous couple of weeks.

It’s been an emotional few weeks, hasn’t it? Andrew Weatherall passing away this week was devastating. The outpouring of emotion, stories, and music has been incredible. He was one of the very best, and undoubtedly music culture would look / sound completely different without him. Fifty six is no age to go. A huge loss. I’ve collected up some of the stuff people have been sharing below, every single link is worth a read, every single track worth a listen. God bless, Mr. Weatherall.

As I mentioned in the last letter, I’ve been toying around with the idea of sharing an essay on finding a sense of belonging in culture, trying to weaponise imposter syndrome, and finding happiness. It’s a deeply personal essay, and it doesn’t really fit particularly neatly in Love Will Save The Day (you’re just here for the music, I’m sure), but I don’t really have another outlet for it, and a few people have said they wanted to read it, so it’s below in the notes. If it doesn’t sound like it’s your bag then please just ignore the notes below – the mixtape is still slamming 🙂.

With regards to the music, well this week I wanted to tell a story in the mixtape. It’s intimately connected to the notes but you can listen without reading. I’ve gone deeper than usual, and the chirpy songs and major notes are replaced with introspective songs, and a tone that (I hope) perfectly fits with a reflective mood. It’s maybe not one for dancing around to in your kitchen, but for wearing headphones and disappearing into your own world…

Anyway, hope you enjoy, and thanks for giving me the space 🖤

PS. New here? Here’s how it worksHere’s what you’ve missed so farAnd this is me.

🌪 TL;DR Section 🌪

Andrew Weatherall 

  1. Joe Muggs’ obit is beautiful
  2. As was Lee Brackstone recounting working with him for tQ
  3. The Vinyl Factory has collected some of the best Weatherall mixes (although it misses the ’93 Essential Mix is essential listening – thanks Adam for sending me this)
  4. I’ve watched this twice this week; it’s Weatherall’s RBMA lecture and it’s filled with gold
  5. And finally, Gabriel has put together a list of Weatherall’s best ten songs for the Guardian

Other interesting bits

  1. Please watch Dave’s absolutely breathtaking performance at this week’s BRIT Awards
  2. When you’re finished crying from that, have another cry listening to Ian Wright’s wonderful Desert Island Discs
  3. There’s a new Andy Warhol exhibition coming to the Tate that explores his tight relationship with music that looks great
  4. The New Yorker has gone long on Gang of Four and it’s epic
  5. This NPR feature on Roberta Flack is filling some major gaps in my knowledge – worth a read
  6. Listen to Colleen ‘Cosmo’ Murphy’s recent spot on The Lot 
  7. I really enjoyed this Beatrice Dillon feature from Crack
  8. Sports Banger is getting lots of heat from Vogue – and rightly so
  9. Remove your scepticism – Miss Americana is really good
  10. And finally, this Josey Rebelle interview from Chat Ravens for DJMag is exceptional
📚 The Notes 📚

As I mentioned in the last letter, I’ve been working on this set of notes for a while now, and I’ve finally got to the point where I’ve decided just to hit publish and be damned. Before you read on (or rather, get worried), I want you to know that I’m fine. I’m more happy and content than I’ve been for a long time. This is not a call for help, but instead me trying to share my experience and be more open about some of the feelings I’ve felt and the thoughts that I’ve thought.

For most of these letters you get the outward facing me. The public facing version. The happy, exuberant, and chipper me. Today, I’m showing you beyond that, and taking you a bit deeper (which is matched by the mood and story of this weeks mixtape). This week you’re getting my insecurities, my overthinking thoughts, and to be honest you’re getting a lot of stuff that I hadn’t really dealt with myself until very recently. I suppose in many ways, this is an essay about my journey to understanding who I am, finding ways to weaponise my imposter syndrome, and hopefully turning my experiences into something positive for others who might be on a similar path.

In the words of the great Chris Amoo; “So now you’ve got the best of me, come on and take the rest of me”.

Over Christmas my grandfather sadly passed away. He was a wonderful, kind, and very happy man. I never spent enough time with him, but if he could read me typing that now, he’d tell me to stop being so daft and get on with things. I’ll miss him a lot. In him I saw my dad, and I saw bits of myself too, and if I can get even a tiny speck of who he was, then I’ll be happy. One bittersweet positive from his death was the fact that it bought that whole side of my family together again. I saw people I hadn’t seen in years. In two cases, more than twenty years. Spending time where I grew up, with family I’ve not seen for a long time, and being reminded of my own mortality put me in a very reflective mood.

I was born in an ex-mining village in the Midlands. Over my childhood, I moved to a number of different nearby villages, but all that changed was the name of the village. The people, the history, and the culture remained largely the same. At school I was an average student, I had hardly any friends, and I was pretty shy. I was not sporty, smart, good-looking, or funny. Looking back now, I’d say I was a pretty camouflaged human. I didn’t really fit in, but it didn’t matter, because no one could see me anyway.

I did, however, have a pretty wild imagination, and an almost unhealthy obsession with music (thanks Dad, that’s your fault). As I got older, I sank deeper and deeper into music, and around 1997 I found myself spending more and more time on music forums learning about new cultures and making digital friends. It opened my eyes to what was possible, and my wild imagination took over. As all this was going on outside of school, inside of school things started to change too. Unfortunately, I was still not sporty, smart, good-looking, or funny, but as I started to send faint signals of my interest in electronic music, a couple of people picked up on those signals, and I made a couple of new friends. They also had some old belt-drive turntables and a cranky old mixer, and it turned out that we’d been going to Derby to visit the same record shops, just at different times. I’d carved out a little space for me, and started to find where I fit. Although having never had this space before, I was achingly (often embarrassingly) desperate to impress. I’d wanted to belong for so long that once I started to, I was terrified of losing it. Ironically that increased the chance of losing it.

Ten years later (and after ten months of pretty brutal unemployment – I graduated in 2007 at the beginning of the recession), I got my first job. I will be forever grateful to the founders (Stuart and Tim) for taking such a huge risk on me. I was armed with nothing but enthusiasm and my wild imagination, and they created a little space for me. I felt incredibly lucky to have a job, and in the three years I worked there I took that little space I was given and started to find what I was interested in, and what I thought I could be good at. I was terrified of losing this job, and the desperation to impress that I’d developed at school came back – only this time instead of it costing me friendships, it pushed me along. I used that fear as fire in my belly to get involved in everything that I could, and while I never really fit in (I never had a proper job title), I felt like I was valued.

The same happened when I moved to London and joined VCCP. The fear, combined with what Orson Welles (via Andrew Weatherall) would describe as “the confidence of ignorance” drove me forwards. I never shook that feeling of not fitting in, though. I loved my time at VCCP, and again was incredibly fortunate to have met Amelia Torode through Twitter, who took a big chance on me (in her words, she was always looking for ‘odd-shaped people’, and I was definitely one of those). But I was always an outsider. I was kind of a planner, but every planner told me I wasn’t a planner. I was kind of in advertising, but everyone I met told me I was in digital. I was kind of in the adland culture, but everyone I met was different to me.

I started to realise I didn’t fit in, and it wasn’t just because I an ‘odd-shaped person’.

I was with a friend last year, and we’re from a very similar background. North of the Watford gap, working class, and we share lots of the same sorts of values. We were talking about class in the advertising industry, and how, despite the talk of diversity, it’s still an enormous problem. We were discussing what I’m sure many non-Londoners have discussed before – when you’re in London, people treat you like you’re a Northerner, and when you’re outside London people treat you like a Londoner. It’s like a sort of weird geo-cultural purgatory. Except I think it has more to do with class than location. I feel stuck between two broad cultures; I’m now too middle class to be working class, and yet still too working class to be middle class. Which creates a sort of identity crisis, which is then exacerbated by the advertising industry, where the middle classes are still an enormous majority.

So for most of my career to date, I’ve felt like an imposter. What compounds this is my fear of losing what little sense of belonging and security I was starting to feel. But being an outsider – or an imposter – just means that you’re different from the dominant archetype. For a long time imposter syndrome has been seen as a typically female trait, but I think it’s much more intersectional than that. In advertising, if you’re not a middle-aged, middle-class, white man with an Oxbridge education, you’re going to feel at least a pinch of imposter syndrome. (And yes, I realise I carry with me a huge amount of privilege as a white, straight man, but that doesn’t insulate me from class-based discrimination.)

For Men’s Mental Health Week last year I interviewed the director Sam Donovan, and we got onto the subject of toxic masculinity, and I referenced the prevailing masculine culture of the advertising industry. For all the talk of diversity and inclusivity, adland is still largely run by very confident, middle-aged, middle-class white men. Most that I’ve met are very charming, but when I meet them I’m amazed at the confidence that they display – they give the impression that they know literally everything there is to know. Which in turn increases my imposter syndrome; because the more I learn, the more I realise I know virtually nothing.

If imposter syndrome is the opposite of entitlement, then I think what has been seen as a weakness for a long time, is about to become the best super-power in our industry. Doubt is important, doubt makes us look for things to give us confidence. It makes us turn to other people, it forces vulnerability, and that creates a culture of collaboration. While things are changing, imposter syndrome still feels like it posits you out on the edges.

The irony of all this is that I truly believe that the only way you create anything of value, is if you create it from the edges. Every conversation I’ve ever had with a client has been that to understand the future of culture, you have to look at what’s being created on the edges. That’s where the interesting things happen, but the precarious nature of feeling like you’re on the edge – especially when you’ve got such an inherent desire to belong and be valued – is stressful. But as the late Mr. Weatherall said, “If you’re not on the margins, you’re taking up too much room”.

I’m very fortunate now, because for the first time in my life I feel content. I’ve got a wonderful little family, a tight group of friends, and I work with people who feel like me. And our Love Will Save The Day family too, of course. I can now be me, everywhere, and while that might sound like a stupid thing to say, this is the first time I’ve been able to say that in my whole life. Of course I’m still filled with anxiety that this could all come tumbling down at any point, but now I channel my that fear into energy for those three areas of my life that make me feel like me. This foundation means I can explore cultures for development, rather than belonging. Discovering new music, ideas, and art takes on a new meaning; it becomes about evolution, not base security. I can push harder into unexpected places, which ultimately gives me a stronger chance of creating something of cultural value.

My challenge now is that that lack of belonging and feeling like an imposter had manifested in some of my behaviours. There was a window of nearly a decade where I was searching for my place, but the lack of confidence and security I had as to where I belonged meant that that process was almost frantic. That lead to developing some really unhealthy coping mechanisms – like making self-deprecating jokes, talking up being an outsider, and throwing myself into everything (without much care) to find where I belong. I hadn’t realised how those behaviours were effecting how I think of myself, and how they shape my behaviours with other people too. As I start understand more of who I am, and unpick more of why I am, I’m starting to realise I have to make some changes.

The first thing I need to do is to own my own narrative. I need to value what I’m creating. But to do both of the things, I have to value myself.

The second thing I need to address is how I create space for other people. I’m going to try my hardest to create an environment in work – and in life – where people can belong, and where I can help people realise that their value doesn’t reside in someone else’s opinion, but in their own opinion. I want to show people that their difference is their power, and that imposter syndrome supercharges that. I can’t remove someone’s imposter syndrome – but ultimately I wouldn’t want to, it’s what keeps us sharp. What I can remove is the downside. Both in and outside work I’m now incredibly fortunate to have a platform to offer to people; whether that’s developing teams at work, or bringing people together at parties and through this project.

As Joe Muggs said in his beautiful obituary for Andrew Weatherall, “he was a beacon of inspiration to others, a reminder that the world is full of wonders if you only take the time to look in unexpected places, and that being a participant in our culture is about far, far more than just serving up a product for others’ consumption: it’s a way of life in the truest sense.”

So I want to spend the rest of my life showing people that they can participate, and that they’re worth far more than the value other people place on them. Fail we may, sail we must

📃 The tracklist  📃
  1. Farrah – Back To You
  2. Greentea Peng – Inna City
  3. Kassa Overall – Show Me A Prison
  4. Moses Sumney – Me In 20 Years
  5. Desire Marea – Uncle Kenny
  6. His Master’s Voice – Fire Red
  7. The Asphodells – A Love From Outer Space (Version 2)
  8. Daniel Avery – Movement (Andrew Weatherall remix)
  9. Pantha Du Prince – Pius In Tacet
  10. Tom Trago – Whisper
  11. Nosaj Thing – All Points Back To You
  12. Synkro – Fields (Claro Intelecto remix)
  13. Nathan Fake – The Sky Was Pink (Holden remix)
  14. Ekman – Thinking Code
  15. Andrew Weatherall – You Can’t Do Disco Without A Strat
  16. Erol Alkan – Spectrum (Special Request remix)
  17. Asquith – The Conditioning Track (NYC mix)
  18. Peder Mannerfelt – A Queen
  19. Lukas Freudenberger – Jacid
  20. Anunaku – Teleported
  21. Against All Logic – If You Can’t Do It Good, Do It Hard
  22. Tangerine Dream – Movements Of A Visionary
  23. Tonto’s Exploding Head Band – Riversong
  24. Patrick Cowley – Sea Of China
  25. Beverley Glenn-Copeland – Ever Now
  26. Daniel Avery – Illusion Of Time
  27. Gigi Masin – Khalifa Golf Club
  28. The Sabres Of Paradise – Smokebelch II (Beatless mix)
  29. Elliot Bergman – White Like Magnesium
  30. Green-House – Peperomia Seedling
💥 If you enjoy this letter, then please take a second to forward this email, or share this link with a recommendation on Facebook or Twitter 💥
See you on the dance floor.
Love Will Save the Day