Flash Atkins is a super hero who had his gravy days in the 80s saving the world with his ability to manipulate sound. Unfortunately he's fallen on hard times and can be spotted in the less salubrious parts of London, often stoned or drunk on borrowed money.
To make ends meet he uses his special powers to remix and make deep tech-soul tracks for Paper Recordings.
Friday, 23 January 2015
LEVENSHULME ORPHANAGE FOR BOYS
Flash Atkins – Levenshulme Orphanage For Boys
1. Original 2. Deaf Boys Dub 3. Doc L, Junior Mix 4. Richard Seaborne Mix
Flash Atkins is a drunkard, drug user and general wrong’un. A super hero who has fallen from his purple patch in the 80s to purples stains on his pants in the 00s where he now lives in a campervan in a field in Yorkshire.
He is also the alter go of Paper Recordings’ Ben Davis and Levenshulme Orphanage For Boys is the first single from his forthcoming album Paper album “The Life and Times of Flash Atkins”. Each track title is named after a chapter of a short story to be published as an accompaniment to the long player.
Levenshulme Orphanage For Boys is a slo-mo tech heavy chugger that is locked down with rock sold beats and a throbbing side-chained bass. The track builds with synth lines before a sampled female vocal brings in some sparse melody and reinforces the hypnotic rhythm. An acid line adds to the tension before the reaching it’s peak with all the elements hitting home.
The Deaf Boys Dub goes down a more stripped back route with a Moog synth riff and techy hats along with the sampled vocal. A ricocheting snare heralds the arrival of the sub and things crank up a gear. It’s proper 4am lose yourself in the smoke club music as the synth riff filters in and out.
Doc L. Junior is a Norwegian legend who’s not been active for a few years but is back with a wallop. Deep, synthy and a hint of 80s, this is big room music that brings to mind So Get Up by Underground Sound of Lisbon.
Finally, Richard Seaborne turns in a classic sounding remix recalling Armand Van Helden in his prime. He ups the pace, adds a brutal bottom end, chucks in a jazz break on top of the acid and vocal and it’s dance floor dynamite.