The next victim of the In The Bag series is a man who is at the linchpin of the scene at the moment as a label owner, radio programmer and music blog founder. Rather than creating content, as is his vocation in these three roles, we are today making him the subject of ours. And this role reversal is fully deserved. He has been turning a lot of heads recently with stellar DJing performances and with the launch of his brand new label, ‘Waella’s Choice’. We are very lucky, then, to have him in Wire this Saturday at a flourishing moment in his career. He plays at Wire for Brotherhood alongside Chaos in the CBD. Let’s see what’s in store as we have a peep inside his record bag.
Name(s): Aaron Levitt
Artist/DJ/Producer/Band name: Aaron L
Hometown: London
Day Job: Scheduler & Marketing Manager, Worldwide FM. Co-Founder, Stamp The Wax.
First record ever bought?
Four Tet – There Is Love In You
Bought this alongside with The XX – The XX at Rough Trade East in 2010 before I started uni in Bristol. I didn’t own a record player at the time, so just bought it so I could stick them to my wall to impress all my new friends. Both have iconic artwork, so at least I picked wisely, but now every time my needle skips over the blu-tack stains on that Four Tet record now, I’m reminded of my desperation to fit in at Freshers’ Week. Thanks for the memories Keiran.
Best floor filler?
Moses Boyd – Rye Lane Shuffle
This one’s probably received the most ecstatic reaction of anything I’ve played. Catches people off guard at peak time, but still feels right at home.
Best crate digging find?
Depth Charge – Goal
Simple premise on this one: commentary from the 1986 World Cup semi-final between France and Brazil is sampled over various breakbeat/house beats. Probably the only record I’ll ever own that has John Motson commentary on. Found in the Aladdin’s Cave that is Lucky Seven in Stoke Newington.
Sleaziest record?
New-Ro – She’s A Nymphomaniac
Jacking house from 1989 with added panpipes and erotic samples. Comes with the ‘Horny Club Mix’ or ‘Dogstyle Dub Mix’, which are both Ronseal jobs. Also picked up at Lucky Seven.
Best come-down record?
Shinichi Atobe – From The Heart, It’s a Start, a Work of Art
https://www.youtube.com/watch?v=JQbdzjacxWI
Lead track ‘Regret’ is a masterpiece in understated, patient arrangement with barely any change across its 9 minutes, save for some synthetic flutes near the beginning and end, cranking gears and a tiny piano melody hidden at 5:30 that makes for a powerful centrepoint that rewards only the most patient listeners. Graceful, arresting, hypnotizing music.
Most tearjerking record?
Yaw – Where Will You Be
Beautiful bit of Sam Cooke-esque, modern soul I first heard on the Brownswood Bubblers 3 compilation released in 2008. The series was a staple for me growing up, discovering and going deeper into all these new sounds (to me) that Gilles was collecting on just one compilation. It was a track that stuck with me into adulthood and I was waiting for the perfect time to curveball it in a mix, thinking everyone had forgotten about. Then Moodymann licensed it for his DJ Kicks…
Most nostalgic record?
Ernest & Just – Still Here
A white label edits series run by a New York and party label, it’s not too hard to work out. ‘Still Here’ is a gospel edit made by the co-founders and takes me right back to a set-finisher from Robin Sure at one of the BYOB parties Stamp The Wax used to throw at a yoga studio in Bristol a few years back. It was absolute carnage both during and on the two hour cleanup before the morning yoga classes started. We blacked out the windows with massive black slabs of wood that were wedged in place and there was only one fire exit down narrow stairs to the street. A miracle nothing back happened during those sessions.
Most valuable record?
Paul Simon – Diamonds (Âme Private Edit)
I think this was the first record I really obsessed over. First heard at the end of Âme’s Boiler Room, then given a limited release a few months later, I remember wanting it so bad I didn’t blink at the €30+ price tag (incl. delivery) for two tracks. It’s now worth £100 but I don’t think I’ll ever sell it. Although I’ll probably never play out and its initial aura has worn off, it still takes me back to that first record obsession and the satisfaction for being one of a few to own it.
Best album art?
Mugwisa International Xylophone Group – Santuri’s Embaire Umeme EP
A collaboration between Santuri and Uganda’s Mugwisa International Xylophone Group, released by On The Corner Records last year. Channelling the free spirit of Miles Davis with a catalogue that traverses jazz and traditional African sounds, Pete Buchanan has worked with Victoria Topping to give the label a visual image as strong as its sound. The extra attention that’s goes into the artwork of these releases makes each one something to cherish.
The last record you bought?
Modula – The 780s Chronicles
Twisted synthesizer funk on Firecracker Recordings, for fans of Dam Funk or Prince B-sides but with a darker edge. Picked up in Sounds of the Universe. Thanks to Oli for the tip.
A record you wish you could own?
Various – Full Beam For Gees Only
Slept on this new comp from the Manchester crew, compiling a load of unnamed bargain bin, electro boogie. I’m hearing rumblings of repress so hope they come to fruition.