my solo album from 2013 was called HUSH NOW,super proud of it and pleased with how it came out. before i finished it the way it was in fact released i inended it to be even more sublte. something in the vein of a record u could play in the background like wallpaper, nothing to jagged or jarring… thought that maybe people could use something like that. but then i found people didnt really have the time or patience to listen like that. so after going way out of my way to make it sublte, i kind of hired myself as a producer to build it up and make more of an event out of everything. me and my father wrote all these songs together at really focused time in my life and i learned a lil something about songs rather than tracks in the process. figured it was worth putting up if anyone wants to dip in. cheers, enjoy 
(oh wait, also it may seem a bit more sad without “bells and whisltes” but know that it all work out lovely…

a taste from the upcoming debut release from Boss Selection (a collection of original music curated and produced by Sunny Levine)
This song features Orelia

her twitter @OreliaWorld

I have worked with her before on an EP a few years back and recently we recorded a duet for the film Celeste and Jesse forever that plays over the end credits. She is one of my very favorite natural talents. all the things she reminds me of she has never heard, which is the best… This is the first time we have ever worked on something up tempo like this. it seems to really suit her. more to come from her, me and us togethers………

the opening line is “I met him on an airplane, we were really going places”

This record was made with the help of Los Angeles clothing brand Citizens of Humanity, the album in its entirety is available in the brand magazine that goes out to a select bunch of folks. coming soon to the rest of yall. Very excited and proud of these new tunes and the various collaborations.
Stay tuned for more of the Boss Selection coming very very soon.

In 2006 a man named Elliot Rashman gave me the opportunity to come to the north of England and produce the Happy Mondays album Uncle Dysfunktional. It would be the follow up to the 1992 album “Yes Please”. Its a wild story in its own right. especially right then i had so much to prove and put my whole heart into trying to make a special piece of work. I worked for a while before i ever met Shaun and he became this mythical wild beast from his old image and stories. when i met hime we got on like a house on fire as they say. when it came time to mix the record i asked if i could try and get Howie B to mix it. When i was 12 years old the same Elliot Rashman gave me a pre release cassette copy of SKYLAB 1. it changed me forever. i then met Howie and watched him work once when i was 15 and he was doing a remix of a simply red song, blew my mind again, and gave me a role model outside of the hip hop cats i had been looking up to. got to work with Howie when i was 18 and he came out to mix some pieces that i had been working on with Ry Cooder for the score to the film End of Violence directed by Wim Wenders. over the years i kept in a wee bit of touch with Howie but never really spent much time. i wrote him an email and then he took a train to Manchester and hung with me and Shaun for a night. We stayed up till the wee small hours, listened to our record so faar and record what became “0161’ers northern soul weekender”. i went back to LA, finished up some tracks and put Mickey Avalon on “Deviants” (i had been working on his debut album that was about to come out). him and Shaun seemed like they needed to be on a track together….
then i went to London and hung with Howie for a few weeks while he mixed the album. it was one of the best times ive ever had. felt like things had really come full circle from my trip hop boyish dreams, and there iwas spending evryday with Howie B while he mixed these jams in a wild way in a great mix room in Hoxton.
it was the best….
after a bunch of bullshit i was asked to remix it a bit cleare and more “pop” from Howie’s stems. i was really just a kid and didnt have the balls to tell everyone to fuck off and stick with Howies mixes, becasue they really were perfect. i would never let it go down like that now… the record as it was got some love and all but alot of the coolness got overlooked. the fact that its mixed by Howie, has Ry cooder playing gtr ona tune, has Mickey and Shaun doing a very creepy duet, has a cover of “Rush Rush” (a Blondie song from Scarface!)
no one has ever heard these original mixes, seemed like time to put it up…
it is a crazy record tho, im not trying to act like it aint crazy…

although it was not in fact released on Factory records it was assigned a factory number by Tony Wilson before his death.