Originally founded by author AW Wilde in 2001 and initially branded as Another Late Night, London-based Late Night Tales is a unique artist-curated compilation series now releasing under Paul Glancy’s Night Time Stories label. Unconfined by genre and diving deep into record collections by iconic artists, the series is delicately designed to soundtrack the post-sunset hours. Each compilation also includes an exclusive cover version track, a continuous DJ mix and a spoken word story to tuck the late night tale up in bed. Featured artists include: Bonobo, Jamiroquai, Groove Armada, Floating Points, Nils Frahm, Khruangbin, Jon Hopkins, Hot Chip, Lindstrøm, BadBadNotGood, Franz Ferdinand, Snow Patrol and many more.
Review: A most intrepid selection for the next instalment of the Late Night Tales series come from an equally beguiling soundtrack by multi-instrumentalist Jordan Rakei. Known for lending his vocals to the music of Disclosure to releasing with Blue Note and on Ninja Tune, the New Zealand born artist introduces himself to Late Night Tales with something neoclassical. Taking on folk, jazz & free jazz to spoken word, warm instrumentals and ambient dualities, the spaces between are filled with percussive electronics, solo acoustic numbers and walls of instrumental noise, culminating in two exclusives; Alejandro Gonzalez Inarritu's poetic closer, "Imagination", and Jordan Rakei's very own cover of Jeff Buckley's "Lover, You Should've Come Over".
Review: For the uninitiated Khruangbin is a three-piece band outta Texas formed of Laura Lee on bass, Mark Speer on guitar, and Donald Johnson on drums. Taking influence from 1960s Thai funk - think surf rock, psychedelica and Tarantino soundtracks - their name literally translates to "Engine Fly" in Thai. With a storied history so far with a bevy of albums on Late Night Tales sister label Night Time Stories, including this year's Mordechai LP, the trio have earned their right to contribute to the much loved LateNightTales mix series. With their cover of Kool & The Gang's "Summer Madness" an exclusive feature of the mix, you'll also find their number "A Calf Born in Winter' included in Bonobo's LateNightTales contribution from a years ago now. Across Khruangbin's selections most interestingly though is their global bent of taste that takes in Asian pop and Nigerian reggae to Latina inspirations, Hindi-disco and South Korean rock to an atmospheric banjo rendering of Erik Satie's 'Gnossienne'. Highly recommended.
Review: Delivering us some stellar remixes over the years with their 2007 DJ Kicks edition and their Bugged Out mix (2009), a new Hot Chip mix or compilation is always welcome - especially in 2020! Fine selectors of immaculate taste, this mix brings us new and exclusive tracks from artists like Beatrice Dillon with the chilled and resonating "Workaround Two" to Kaitlyn Aurelia Smith's beatless and exotic "Who I Am & Why Am I Where". Added to that list is a deeper and drum laden synth groove from Fever Ray to some contemporary classical and emotive minimalism from Berlin's Nils Frahm. Hot Chip themselves 'chip in' with their own vocal cover of "Candy Says" alongside other contemporary avant pop numbers from Charlotte Adigery and Mike Salta's housey and happy "Hey Moloko". Late Night Tales and dreams from the future. Hot Chip!
Review: The latest instalment in the long-running 'Late Night Tales' series has been curated by experimental beatsmith and jazzbo Floating Points. Sarah Davachi's opener 'Untitled' sets the tone: essentially seven minutes of a single modulating synth chord, it's an early warning that this is no cobbled-together collection of 'chill-out' tunes destined for Top Shop's in-store soundsystem, but instead a journey to some of downtempo music's more far-out fringes, where you'll find straight-up soul and jazz nestled up alongside 70s agit-folk, flotation tank ambience, experimental electronica and more. It might all be a little dense and daunting for the uninitiated, but Floating Points fans will lap it up.
Review: Danish singer songwriter Agnes Obel started dabbling in studio recording and production techniques at the age of 17. Fast forward to the present day and she has released three acclaimed studio albums: Philharmonics (2010), Laventine 2013 and 2016's Heart Of Glass. Compiling the newest edition of the popular Late Night Tales mix series, Obel explained that she was surprised at how much time she ended up spending on compiling this. She collected all the songs together with her partner and spent time listening to records, trying to see what would fit together. Obel includes new works, with an original song "Bee Dance", a haunting reading of Danish song "Glemmer Du" and a new version of "Stretch Your Eyes" called "Ambient Acapella". Michelle Gurevich, Nina Simone, Henry Mancini or Alfred Schnittke also feature among others.
Review: Earlier this year, Sasha - arguably the original "superstar DJ" - made his live debut at the Barbican, delivering a set to an adoring crowd that blended his recent ambient and soundtrack-inspired work with new interpretations of classic, progressive house-era material. Refracted: Live documents that performance, offering a thoroughly atmospheric trip that gradually moves from chilly, synthesizer-heavy soundscapes and moody downtempo grooves to peak-time dancefloor debauchery. Along the way, there's plenty of impressive musicianship, a pleasing variety of synthesized drum patterns, spine-tingling moments aplenty and a healthy dose of soaring, progressive house style euphoria. Long-term fans will particularly relish the life-affirming re-makes of "Bellfunk" (his 1999 riff on Orbital's "Belfast"), 2002 single "Wavy Gravy" and all-time-classic "Xpander", which fittingly draws the album to a close.
Gene Williams - "Don't Let Your Love Fade Away" - (2:46) 95 BPM
The Chosen Few - "People Make The World Go Round" - (3:18) 89 BPM
Esther Phillips - "Home Is Where The Hatred Is" - (3:25) 99 BPM
Delegation - "Oh Honey" - (5:41) 123 BPM
Velly Joonas - "Kaes On Aeg" - (2:52) 98 BPM
Stereolab - "The Flower Called Nowhere" - (4:55) 105 BPM
Kiki Gyan - "Disco Dancer" - (6:56) 116 BPM
Admas Anchi - "Bale Game" - (5:14) 59 BPM
Francis Bebey - "Sanza Nocturne" - (5:51) 95 BPM
Thundercat - "For Love I Come" - (3:35) 69 BPM
River Tiber - "West" (feat Daniel Caesar) - (2:32) 80 BPM
Charlotte Day Wilson - "Work" - (3:44) 65 BPM
The Beach Boys - "Don't Talk (Put Your Head On My Shoulder)" - (2:58) 78 BPM
Donnie & Joe Emerson - "Baby" - (4:10) 91 BPM
Les Prospection - "Lido" - (3:44) 72 BPM
Grady Tate - "And I Love Her" - (4:47) 81 BPM
Badbadnotgood - "To You" (Exclusive Andy Shauf cover version) - (2:25) 60 BPM
Steve Kuhn - "The Meaning Of Love" - (3:00) 110 BPM
Lydia Lunch - "You, Me & Jim Beam" (Exclusive Spoken Word Piece) - (4:25) 96 BPM
Late Night Tales: Badbadnotgood (continuous mix) - (1:08:19) 98 BPM
Review: Beyond all the clubbing action, another often forgotten tradition of the 90s was the post-club 'all back to mine' session. The air thick with 'smoke', a curated chillout mix by an established dj would sort everyone out. The Late Night Tales series continues that tradition and here we have a new volume curated by Canadian quartet BadBadNotGood. The album features 21 cuts from their record collections woven together in a hazy nocturnal fashion. Highlights include the psychedelic electronica of "Oh Honey" by Delegation, the seductive 60s folk-soul of "Kaes On Aeg" by Velly Joonas and the campy synth-boogie of "Disco Dancer" by Kiki Gyan.
Review: More than a few eyebrows were raised when Sasha returned last year with an album of previously unheard ambient and IDM cuts recorded over the course of his lengthy career. Here, that set gets the remix treatment, with a mixture of scene stalwarts and rising stars behind the mixing desk. While there are some gentle dancefloor revisions - see Max Cooper's melodious and atmospheric tech-house interpretation of "Channel Deq" and Matthew Dear's hypnotic, late night take on "Pontiac" - many of the most rewarding and entertaining remixes are those that take a more horizontal approach. In this category, you'll find Sasha's own rising, near symphonic version of "Pontiac" and a stunning, standout mix of "Abacus" by Warp Records veterans Plaid.
Review: Sasha went downbeat for his edition of the acclaimed chill out mix CD series Late Night Tales. Said to be influenced by the likes of Max Richter, Nils Frahm and Steve Reich, the release in its entirety was compiled with original recordings by Christopher Coe, said to be written as side projects to his em_fire and Last Night On Earth record labels where house and techno reign supreme. Two of the cuts appear here on Scene Delete Remixes 2, which follow up some great renditions by Kiasmos and Rival Consoles. Here the inimitable Max Cooper works his magic on "Channel Deq", creating a slow burning and brooding version with subtle dancefloor dynamics. On "Pontiac" it's over to the legendary Matthew Dear who faces off with his notorious Audion alias for a wonky and tripped out dancefloor menace that's just made for wiggin' out.
Review: While some associate Sasha's work to the late 90s and mid-00s, the veteran UK producer has never left. He's always been right here, at the centre of Europe's house scene. His recent LP for Late Night Tales, the glorious Scene Delete, is now under a process of remixing, and this comes as no surprise; why not reshape those dance floor tracks into something different, even more visceral. "Vapour Trails" is versioned by Kiasmos, and the result is a deep, harmonic house tune with a vast landscape of sounds at its core; Rival Consoles reshapes "Cassette Session E" by stretching the arrangement out to its very limits, and what we're faced with is a long and subtly-developing progressive house monster with a minimal edge. Excellent.
Review: Much like the Fabric mix series, Late Night Tales has been a staple of the British compilation dynasty, and the label has somehow managed to consistently call upon some of the world's biggest and most interesting talents to demonstrate their skills behind the DJ decks, and to give us a tiny view into their tastes and influences. Iceland's Olafur Arnalds, a lo-fi artist who has steadily released nothing but quality on the Erased Tapes label, is asked to do the honours for the catalogu's 44th instelment, and we are seriously digging what this dude is into. Electronica is a bit of a cop-out term to describe this gear, but there is just so much diversity in here that it's simply impossible to categorise it under one roof. Maybe sci-fi electro soul would be a good term, as it manages to capture the mood and feel of these beautiful songs by the likes of Koreless, Jamie XX via Four Tet, Samaris, Arnois, and Arnalds' own music. Spot on once again, Late Night Tales!
Review: On Scene Delete, Sasha has decided to flip the script, jettisoning his usual progressive-leaning club fare in favour of original productions that wallow in their largely beatless, ambient nature. In some ways, it's a surprise move, but in others, it makes perfect sense; his DJ and production style has always emphasized atmosphere and texture, making it perfectly suited for the ambient genre. Musically, Scene Delete has some genuinely superb moments, with the obvious Eno, Yokota, Namlook and Reich influences joined by nods to obscure new age records, early synthesizer pioneers and, on a couple of occasions, the glitchy IDM of Autechre.
Review: Apart from Ministry Of Sound and Fabric, the Late Night Tales crew is perhaps the best and most respected compilation series these days. Moreover, these guys have invited some of the biggest names in the game over the last fifteen years, a highly impressive catalogue which includes the likes of Fatboy Slim, Jamiroquai, AIR, Arctic Monkeys, Sly & Robbie, and many more of the same calibre. This September is Germany's Nils Frahm who takes care of the selection, and the DJ/producer serves up a gorgeously vast selection of sounds from around the globe and from all corners of time. Inside, you get shreds of house and techno from Four Tet and Nils Frahm himself, among others, but the mix explores much wider terrains; Miles Davis makes an appearance with the masterful "Concerto De Aranjuez", electronic dub maestros Rhythm & Sound join the party the timeless "Mango Drive", and even Nina Simone's "Who Knows Where The Time Goes" gets selected. It's as excellent and compelling as you would expect from this sublime mix series. A class act.
Review: The Late Night Tales crew are certified specialists when it comes to compilations and the label have quite the catalogue behind them, featuring mixes by the likes of Bonobo, Belle & Sebastian and even Fatboy Slim. This time the compiling credits are anonymous, meaning that the label have taken it up to themselves to compile this After Dark Nocturne release. The tracks are unmixed, as is usually the case, so you can pick and mix as many as you like, or simply go for the whole lot! There's plenty of gold in here and the compilation spans quite a diverse set of music from the shady house of Tornado Wallace to the Italian pop of Adriano Celentano on "L'unica Chance". There's also some more minimal numbers by the likes of Alex Metric, gnarly electro beats by Hotel Motel and plenty more. Dive in, it's a guaranteed party bomb.
Review: The Late Night Tales mix series - going strong since way back in 2003 - never ceases to both amaze and please our eardrums when they're in need of a sonic massage. With legendary artists such as Fatboy Slim, Jamiroquai, Groove Armada, MGMT and many others on their roster, you just know it's going to be quality throughout. This time it's up to Domino man Jon Hopkins to give us an outlook onto his own tastes and musical influences. The selection is vast and varied, with everyone from Four Tet to Darkstar and even Peter Broderick featuring within. An incandescent blend of sci-fi electronica, tropical bass nuggets and lighter shades of drone-fuelled house. Quality.
Review: Originally featured as a straight up, Loose Ends-style cover of Dennis Edwards/Siedah Garrett's 1984 glistening tropical soul hit, here we get some killer new mixes of "Don't Look Any Further". First up, Hot Toddy delivers some infectious, late night trippy disco-funk (even more spacey in its dub form). Peter O, meanwhile, produces a beguiling slice of warped, palm tree synth-pop and I Said No serve up some eccentric soul-pop vibes.
Review: The first installment of Late Night Tales' After Dark was that rarest of things: a DJ mix that retained a smoky sense of early morning, home listening atmosphere while retaining an open-minded focus on the dancefloor. This follow-up - once again compiled and mixed by Bill Brewster - offers more of the same. Musically it's pleasingly varied, moving from the string-drenched downtempo beauty of Typesun's "Last One Home", to the heady Balearic rock of General Lee, via Justus Kohnke, the soulful post-bruk smoothness of As One, and the sprightly analogue electronics of Emperor Machine's remix of Paqua's "Late Train". There's also a bunch of previously unreleased tunes to enjoy, including killer contributions from the Mang Dynasty (AKA Ray Mang), The Gino Fontaine (Chicken Lips man Andrew Meecham) and - most surprising of all - The Grid and Robert Fripp.
Review: Veteran Ninja Tune artist Bonobo has been putting out seriously decent tunes pretty much since the birth of the highly regarded Late Night Tales compilation. It's amazing that they haven't crossed paths before, but with the release of this 33rd entry into the series, the time has finally come for Green to take us on his own nocturnal mission. This 21-track odyssey is seamlessly mixed but the unmixed tracks are also presented so we can enjoy highlights like the velvety soul of 'Didn't I", the hippy funk of "Flowers" and the distorted, fuzzy trap of "Gutter Glitter".
Review: They might have been creating their own brand of funk-inspired downtempo electronics since the tail end of the 90s but for this release for Night Time Stories (a clever little sub-label from the people who brought us the unalloyed joys of the Late Night Tales series) tells a very different story. Featuring sunkissed remixes of the pair's recent single 1975 from Bearcub, Drew Hill and Moodymanc, this is one mellow mutha. Amazing what a fresh perspective can do for a single.
Review: Given his encyclopedic knowledge of music, you'd expect any compilation put together by Bill Brewster to be full of unlikely gems and lesser-known anthems. That's certainly the case with After Dark, the first in a new DJ-focused series from the Late Night Tales camp. From start to finish, Brewster's selections are spot on, from the lowdown, slo-mo disco oddness of Sheffield chanteuse Marti Caine's "Love The Way You Love Me" and wide-eyed, acid-laden kosmiche of Coober Peder University Band's "Moon Plain", to the dirty electrofunk of Zed Bias's "Koolade" (featuring Toddla T, of all people) and mid'80s percussion fest of Martin Kershaw's "Keep On Pokin". If that wasn't enough, Brewster has also unearthed a decent Jamiroquai record. The wonders never cease.
Review: One of the best things about the 70s & 80s was the bizarre disco-not-disco records that often quite mainstream acts would make for a laugh. Sting's 1978 collaboration with Eberhard Schoener being a prime example. Here St Albans' finest have delivered a faithful electro-disco version for their Late Night Tales comp. On remix duties, Jay Shepherd delivers a cheery house version but it's Hot Since 82's sultry dub version is the real gem here.
Review: Synth-bothering indie-popsters Friendly Fires are the latest contributors to the uniformly excellent Late Night Tales series, and they seem desperate to prove just how diverse their tastes are. Oh, and their underground credentials. So, we get fuzzy stoner disco (Renee), curious French electro-disco oddness (Space), shirts-off end of night goodness (the much-played but still ace "Like An Eagle" by Dennis Parker), krautrock-inspired indie pop (Stereolab, Cocteau Twins), classic US garage (Iron Galaxy), future anthems (SBTRKT), dream-pop (Junior Boys, Lauren Halo), folksy musings (Grouper), and even a dash of Olivia Newton-John (the decidedly Balearic "Love Song"). While a cynic may raise a surprised eyebrow at some of the selections, there's no denying their quality.
Review: Not content with offering several days worth of remixes with the original release, Late Night Tales have decided to turn Tom Findlay and Tim Hutton's cover of AOR classic "How Long" over to disco/house superstar Tensnake. His vocal version - decidedly Balearic and seemingly more E'd-up than your average rave casualty after a night out in Ibiza - delightfully straddles the fine line between baggy disco and touchy-feely house. The delay-laden Late Night Dub is arguably even better, flitting between sturdy percussive interludes and rush-inducing chord sequences. There's a similar but slightly different Daylight Dub, too, for those who require added layers of shimmering synths.
Review: Joe Mount of lovable scuzz pop outfit Metronomy mans the latest volume in the long running Late Night Tales, a series who always seem to get the best results out of an unexpected cast of participants (Belle & Sebastien, MGMT, Trentemoeller and Midlake being recent inductees) It's hard not to get sucked in from the sugar sweet opening of Outkast's "Prototype", which is the first of several tracks that demonstrates Mount has a penchant for slow bumping R n B and outsider hiphop with Tweet, Sa Ra and a Dr Octagon classic also appearing. A typically far reaching approach to genres applies here with the cosmic jazz of Chic Corea happily mingling with Autechre and Two Lone Swordsmen and American synth oddities Geneva Jacuzzi and Appaloosa mingling for attention with The Alan Parsons Project and Herman Dune. The de-rigueur cover version arrives with a Metronomy rendition of Jean-Michel Jarre's"Hypnose" whilst Paul Morley ends the selection with a spoken word piece.
Review: A new alias of Groove Armada's Tom Findlay, Sugardaddy's latest contribution to the Late Night Tales mix series sees him mining the softer sides of '70s pop. In this spirit, his cover of Ace's classic "How Long" (made alongside Tim Hutton) locks in the original's swaying grooves but replaces the backbone with drum machines and synth strings. Findlay's own dub versions - including a "5am" and a "Paradise" dub - break the tune out of its box and make it a joy to hear on the floor.
Don Blackman - "Holding You Loving You" - (4:09) 79 BPM
Leroy Hutson - "Cool Out" - (2:59) 68 BPM
Zero 7 - "Truth & Rights" - (4:37) 72 BPM
The Stylistics - "People Make The World Go Round" - (6:15) 83 BPM
Late Night Tales - "Late Night Tales: Zero 7 - Another Late Night Continuous Mix" (continuous DJ mix - remastered) - (1:05:26) 91 BPM
Review: Taken from the nocturnal stashes of Zero 7 main men Henry Binns and Sam Hardaker, the 17 tracks that go into this latest instalment of the Late Night Tales series provides a fascinating mix of hip-hop, soul, dub and acoustica. Fans of Zero 7's distinctive laidback hip-hop style will certainly appreciate beats from soulmates such as Yesterday's New Quintet or The Cinematic Orchestra (as on the classic "Channel 1 Suite"), while soul hunters will go nuts for the incredible '70s jazz-funk snap of Sylvia Striplin's "You Can't Take Me Away". With other names like Souls of Mischief, Don Blackman, Slum Village and The Stylistics included, this is a perfectly crafted late night journey.
Review: Macclesfield-born visual artist and poet David Shrigley has a long association with the Late Night Tales' camp, having recorded a number of spoken word pieces for the acclaimed compilation series. This debut album, originally released on CD back in 2005, is in many ways typical of his work. It mixes his flat, deadpan, spoken word observations with a variety of scuzzy, lo-fi musical backing tracks. At times, the resultant tracks sound like a folksy take on Arab Strap, at others like a dreamy noughties revision of 90s ambience. Throughout, Shrigley's finely crafted words take centre stage.