You want kicks and snares? Roska’s got you covered. His recent TWC EP is smacking it across the board, catching love from purists, polyrhythmists and pundits alike. I’m sending that love too. Why? Because Roska’s productions are testament to his willingness to embrace different forms, progress his art and balance the deep with the devastating. Tracks like ‘Proverbs‘ and ‘The Sheppard‘ verge on the deep sound of NYC while still offering enough bump to call the UK home. It wasn’t always submerged syncopation though…
Born Wayne Goodlitt in 1983, Roska was raised on a strict diet of soundsystem. Like so many youths growing up in 80s London, the speaker stacks and rhythm tracks left a big impression.
‘My father was a soundman back in the days, he used to be in a sound called Extacy with my uncles and played Ragga, Reggae and soul music. my mum was a collector and a hard listener to Soul and Reggae music so its been in my blood since I was really young.’
Solid foundations. Not surprisingly, a decade later he was ready to share his distillation of Soundsystem culture using the son’s and daughters of Reggae music as his vessels. Starting out as an MC backed by his cousin’s DJ selections under the ‘Krazy Brothers’ moniker, Roska was always producing in the background. Back then, people knew him by his MC name Mentor, evolving to Mentor Roska and eventually to the Roska we know today.
‘ I was always making music behind the scenes whilst MCing. it was more of a hobby then so I didn’t take it seriously…I made Hip-Hop, Garage, Broken-Beat from 1999…I moved to House then to Funky as it is called today. My back catalogue is 200 tracks deep from all those genres, released and unreleased…’
Tastes have changed vastly in the time Roska has been behind a mixing desk. The mainstream picked up UK Garage and wrung the life out of it, plastic R&B went super-platinum…taking the cream of the Grime scene with it, Dubstep rumbled and skanked it’s way out of London’s basements and UK Funky has been garnering attention from tastemakers way outside its original sphere of interest. I’m not gonna front like I was there from the beginning either. Far from it. I do know what good music sounds like though so I couldn’t sleep for too long. The elements of Roska’s sound automatically open the borders and encourage those on the ‘Housier’ side of the spectrum to get involved, something that is definitely intentional.
‘I feel the music is going well. With Funky there are a lot of aspects to it and it appeals to many people old or young. I prefer the underground style personally as it keeps me in touch with the ravers and the clubs that people go-to to hear new tracks…I thought through the TWC EP before putting it out….Deep-Tech is something that has always been there but its coming through the UK underground more alongside Funky. I decided to release something that will work in that scene but still be able to crossover in to Funky…it shows my versatility musically.’
Not stopping there, Roska has an entire alter-ego designed to further air out the diversity on his hard drives. Uncle Bakongo is the man charged with putting Roska’s African spirit on wax via polyrhythmic excursions he describes as ‘…more of a tribal style of House or Afrobeat.’. Both artists speak to the public through their Roska Kicks and Snares imprint. With the success of last years Climate Change and Elevated Levels EPs, the hot reception of the TWC EP and the fresh ‘Love 2 Nite’ White Label a forthcoming album project (early 2010) and an EP featuring Zed Bias on remix duties, it looks like the label is set for big things.
‘RKS is just an outlet for my own productions that do not get signed by a major label. I started it up solely to manage my own production via mp3 and vinyl and to push my own profile up in the music scene. I came to realise nobody cares about a nobody, so I had to try and make a name for myself by releasing my own tracks.’
Well, it would seem that the days of being a nobody are far behind Roska…..and his Uncle Bakongo.
Electronic or organic? Both have a place and both need each other to survive. Symbiosis. If you’ve heard any of Reggie Dokes‘ output you’ll know he understands this relationship. You’ll know he knows (poly)rhythm, African composition and how to translate soul through machines. Basically, Reggie Dokes is a deep brother. The good news for us is his depth has long been noted. Prime Numbers, Philpot, Third Ear, We Play House, Clone and Planet Harrier have all signed his wares, following in the esteemed footsteps of the Transmat, Sound Signature and Rhythmic Deep labels who came to the party early. His own Psychostasia imprint provided the foundation and continues to broadcast soul transmissions. I wanted to write a feature on Reggie because he embodies precepts that I hold dear. Innovation, depth and knowledge of self….so here it is…
Everything I’ve read about Reginald Dokes points to his father, musician and music teacher Dr Limuel Dokes, as the prime inspiration for his work – the foundation. He bought him his first copy of Martin Circus ($50!) and moved him to train formally on the concert snare and later the drums. So that’s where he got his rhythm from. In his own words…
‘My first inspiration would have to be my father, Dr. Limuel Dokes. His life to me has been truly inspirational. He touched many young people with his gift of music. He was formerly trained. Taught high school stage band, concert band and marching band. As a kid, I remember walking and marching with the drum section as they played on the football fields of various Detroit high schools performing. He taught me how to be a great man, father, lover and creator of good music, R.I.P. Dad.’
Detroit again. I’m sure there’s a portal to some kind of higher artistic dimension in that city. There’s just so much talent, and not just any talent, it’s deep, timeless, raw creation. There’s something so special about Detroit that no matter where artists move out of the city, or for what reasons, a piece of the magic remains with them indefinitely.Reggie is no exception.
‘I was born and raised in Detroit. Although I am in Atlanta now, I will always love my city. There are some hard realities in my lovely city, high unemployment and a lot of vacant buildings. Despite the run down buildings and vacant structures, artistically, I am still able to go within and bring out that creative side to my music. I like to think many things inspire me when it comes to music. My surroundings would certainly be number one on my list.’
Now seems a good time to mention Derrick May. Our awareness of Mr Dokes east of the Atlantic is due in no small part to Reggies’ relationship with the Bellville Three innovator. (The championing of his ‘The Skin I’m In‘ cut by one Theo Parrish didn’t harm either.)
‘Derrick May and I are still great friends to this day. He helped considerably in exposing me to the professional side of DJing. I had a residency in Canada a long with my partner Randall Washington. Thanks to Jerry the Cat, the head DJ at the club, he wanted us to come in and do some different things musically. Derrick would come to the club and hang out, especially if he had some gigs that way. I remember him coming up to the DJ booth. He was very cool. Two weeks later I was hanging out at this late night party off of Woodward, and saw Mr. May. He turned to me and said, “Hey what’s up? I want to help you with your DJ career.” The only thing I could say is, “Thanks.” At the time he had a DJ agency called Point Blank with this guy named John. He exposed me to parties in the states and eventually overseas. It was rough going though because I did not have any records out at the time, so basically Derrick would have me open up for him. It was a great experience but also quite nerve racking. I got over the nervousness eventually and just started having fun with it. Derrick is a great DJ. I have seen a lot of them. I remember we were doing a party in Detroit together and a record scratched while he was playing. He immediately hit the effects button and spun the record backwards. I was like, “oh shit!” No one really even noticed, the vibe was still on point. He did not even sweat it.’
It wasn’t all opening for legendary innovators though. We’ve all got to start somewhere and Reggie’s career began in the basement of his family home, cutting and pasting hot wax from New York and across the water in Europe.
‘I have been a DJ since I was 14. I had a good family friend that had a DJ set up. Naturally I wanted one, because he was mixing records that sounded very unique to me. A lot of them were records from overseas and New York records. DJing back then was such a cool thing to do for a kid. A lot of these records from Yazzoo, Yellow, Beat the Street, Capricorn, I Want it to be Real by John Rocca. These records were so different. The vibe was so amazing to me and intoxicating. My father started to support me in buying these records every week. Finally I got a DJ setup. It was a Realistic mixer with two Technics turntables called SLB 200s I believe. My setup was in the basement of my parents home, and I spent hours mixing and making mixed tapes for my friends at school. Sometimes I would make a mixtape before doing homework. My parents did not like that at all. Then I hooked up with a guy name Greg Freeman who DJed, and we just connected. Another guy joined us name Will Guest, and we formed a group called Audio Sounds. We eventually became this popular DJing crew playing Progressive and House Music at house parties. We progressed from playing house parties to being booked by clubs and various venues. Everybody started wanting our mixtapes and we became like local stars at our high school in Detroit. One memory I have is playing this event in Detroit and all the guys would stand around the table watching how we mixed records and stand by the speakers to hear our blends and transitions. It was quite competitive, but very fun.’
On to Psychostasia. Reggie’s label and home of his early output. Established in 2000/1, Psychostasia has consistently served up the goodness from Reggie’s own lab, not forgetting tracks from associates like Jerry the Cat, JuJu and Jordash and the fruits of collaborations between himself Craig Huckaby and fellow Detroit dweller Pirahnahead under the Napi Headz moniker. The label is still going strong today and has never swerved from it’s original aim of releasing eclectic, innovative, soul drenched productions.
‘It [Psychostasia Recordings] was inspired by my experiences in meeting road blocks with other independent labels. Many of them were giving me the runaround. I got tired. Decided I wanted to start my own thing. Psychostasia Recordings was born. With any label it is always a struggle. I remember sending my records overseas to shops in London for free, just to create a buzz. The fortunate thing is that my artistry came from the inspiring streets of Detroit. Considering Detroit’s history or ties to techno, that helped my label. My vision was to have a label that reflected independence. Meaning a label whose vibe was different or eclectic, soulful and genre bending. In addition, it was my aim to show that you could still put out records that particularly did not have the dancefloor in mind. I have manifested my vision, and I continue to push forward with my music.’
Focussing on this music, there is a strong African thread binding together Reggie’s back catalogue. Imagine Ali Farka Toure and Mustapha Tettey Addy in the studio with Juan Atkins and you’ll be getting close. It’s a real skill to balance those Motherland influences with more Westernized styles and do credit to each of the sources. Reggie has this art on lock.
‘…in that there is an intentional injection of African vibrations on my part when it comes to most of my productions. I make no excuses about that…I can only speak for myself, but I always try to make that connection and recognize the beauty of indigenous African rhythms with my electronic music, whether it be House or Techno. The African history/legacy that is a part of me, I share and send out through my music productions … At the risk of repeating myself, I think any person that creates should put a part of what is important and spiritual in their work. Without hesitation, I will unashamedly articulate that Africa, specifically the music, has influenced the world many times over. My first album was called Afromation. I wanted the world of electronic music to know that I am about Africa. I am about history. I am about peace. I am about love. I am about spirituality. I am about music.’
The Afromation was a truely breathtaking debut long player. Released in 2004, it still sounds as fresh today as when I first pressed play. The same goes for his ‘Rhythmicity EP‘. Reggie cites these as his most cherished works.
‘The productions that I am most proud of would be my first EP on Psychostasia and my first album, “The Afromation.” Like most artists, you always have a special connection with that first piece of work. I remember struggling trying to get that first EP out, and most importantly, creating that minimal track, “Black Thoughts” while my daughter was on my lap. The first album is always significant to the artist, this was a body of work that I presented to the world, representing all that is important to me: sprituality, family, music, genre bending artistry.’
The journey is far from over. With a new long player and Psychostasia reissue programme from in the pipeline, plans for a collaborative album with his brother in music Boddhi Satva and murmurs of a European DJ tour early next year, the master of the deep continues his walk….and long may it last.
Reggie has blessed us with a free download of his ‘Funk Below’ which you can pick up here:
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We like moving pictures too, so I included this trailer for the TechnoMecca which features Reggie discussing the black roots of Techno. And for throwback value, check out Sharon Redd in all her black leather glory in the original video for the awesome ‘Beat The Street’.
Many Thanks to Reggie for his patience and assistance putting this piece together. Our blessings stretch out to you brother…
We’re gradually getting back on top of things in here. Decent content, regular podcasts, we’re loving you the right way. Here’s a selection from the Duke to make you feel nice. He lost his voice half-way through but it’s all good, the music speaks for itself…
Lizzy Mercier Decloux // Hard Boiled Pearson Sounds // WAD Sole Fusion // Bass Tone John Robertson // Blame Reggie Dokes //Walk In Deepness New World Aquarium // Tresspassers Block 16 // Morning Sun (Pepe Bradock Refix) Lightening Heads // Message Beats Nanyo Addo // Wo ba wo ba shue Jimi Tenor & the Kabu Kabu // Fast Legs Silkie // Purple Love Elemental // Braindrops James Blake // Air and Lack Thereof’
Build an Ark Remix (Unknown – Help us out!) Amede & The Soundsmith // Tip Toe ft. Shanazz Dorsett Sa Ra Creative Partners // Soul’s Brother
Anyone that has heard me play out or tuned into my radio show/podcasts recently will know that the house bug has bitten me hard. I guess working at Phonica is more than partly to blame. Before I started there i’m ashamed to say I was showing no love to the <115 BPM offspring of Chicago/New York/Detroit or their cousins. Things have changed though and soon enough you’ll see that change represented in these pages.
Although most of my four to the floor acquisitions aren’t from these shores, the tides are changing and for me it’s artists like Cooly G who are changing them. I was talking to Jez @ Shook the other day and he cussed me, reminding me how much I was hating on the UK Funky thing a year ago. He’s right, I was, and it was mainly because most of it sounded budget at best. I’m still not convinced about the standard of UKF production now but there are a few artists that make it bump the right way. Enter Cooly G.
Enough pixels have been dropped about her already so i’ll save the repetition. Here’s a mix she did for MTV Brazil/Tranquera so you can decide on your own adjectives:
Poem – Bobby Konders ft. Mutabaruka Arigato – Bodycode
Fall – Blue Daisy
J&W Beat – Floating Points
Dancing On Holiday – Souled
Galaxy – Visions of Tomorrow
Adventures In Success (Dub Copy) – Will Powers
Revelations – Mos Def
Get Dollars – The Beat Konducta
Nirvana – Shafiq Husayn
The Underground Reprise – Amede the Soundsmith
Sole Sweat (Reso Remix) – Debruit 551 Blues – ????????
Sweat – Untold
Emora – The Clonious
Sagittarius Black – Timothy McNealty
Musical Revolution – Carlton Coffie & the Natural Elements
I’m a Levi – Ijahman Levi
Fort Augustus – Junior Delgado
Roots Upon Yuh Corner – Yami Bolo
Oil Ting (Version) – Coco T
Ride Pon De Riddim – Mikey Murka
You Too Good – General Trees
Jah Station – Johnny Lover
Private Life – Grace Jones
Queen Dub – Ticklah ft Rob Simeon
Marcus Garvey – Hypnotic Brass Ensemble
When The Sun Breaks Through – Karl Hector & The Malcouns
Addis Black Widow – Mulatu & The Heliocentrics
Jazz Note – Dj Krust
I Wanna Be There (Waxdoctor Remix) – Model 500
Solar Feelings (J Majik Remix) – Jacobs Optical Stairway Consciosness – Photek
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