Goddess Of A New Dawn (Special alternative LP version) (5:56)
Goddess Of A New Dawn (Cosmic Arts Harmony version) (6:12)
Review: Joe Claussell doing what Joe Claussell does best... Smashing the spiritual dickens out of us with unique fusions. "Aye Ye" is the dancefloor-focussed spell, all urgent and heavily layered with loopy insistency, powerful harmonies and roaring horns. Both versions of "Goddess Of A New Dawn" take off where the 2009 versions left us; at home on the savanna, breathing the air of our ancestors, soothed by warm harmonies, glistening instrumentation and a powerful sense of positivity. Don't sleep on Sacred.
Review: Joe Claussell's Sacred Rhythm Music is back to present new music under his alias The Bayara Citizens. Elektrik Afrika is his second full length of the project, where he pursues yet more of his idiosyncratic style of 'spiritual life music'. By fusing acoustic and electronic together as one, the project represents evolution - producing its own genetics and speaking an individual dialect of rhythm and sound. Traces can be heard in "Zainabu" (Spirit Dancer) which fuses electronic harmonizing on the skins of traditional folkloric rhythms, or the soul power of "Mofo Congoietric" (Joaquin's Sacred Rhythm version), through to the tunnelling and hypnotic power of "Bambara" (The Tribes Of Distortion dub) and the truly life-affirming "Diamonds" (It's Time To Let Our People Go).
Review: Straight from Joe Claussell and crew, Bolla's 'Afrikan Basement' is a release from Sacred Rhythms Soil series; fitting, as this feverishly stripped-down exercise in rhythm assassination couldn't be more suited for the job. Dope afro-latin percussion meets funky wah-wah guitar loops and builds along with an almost psychotic singular note that hums sinisterly throughout, inching a little higher until the record eventually peaks to its crescendo and explodes into a massive wall of stripped-down drums that will have any party's collective ass shaking. While it does capture the essence of the afro-cosmic aesthetic, it nevertheless maintains a steady dose of funk throughout.
Review: Joe Clausell began this project in 2005 and still it keeps giving. An evocative fusion of afrofunk and disco inspiration, most of us assumed his decade's work had culminated last year with the album Makussa. We were wrong; this year he's delivered a series of heavily requested extensions, this beautiful slice of string-surged disco being the most recent. The extra two minutes are exactly what the DJ needs for a much roomier groove that allows the salubrious elements to really strut; the shimmering guitar, the strident strings, the insatiable afro-infused drums. Just when we thought the original couldn't be topped... We were wrong. Again!
Review: Tribal, physical, psychedelic: Joe Claussell's Bolla project is one of his finest creative accomplishments for many fans, and his album Afrikan Basement: Makussa is the gift that keeps on giving. Having previously leaked limited 12"s, Joe's label Sacred Rhythm does it again with another super-limited, one-sided press. Hooky, insistent and far-out for the full 10 minutes, this is shaman material right here. Do not sleep.
Brian Auger's Oblivion Express - "Whenever Your Ready" (8:49)
Michael Wycoff - "Come To My World" (6:45)
Review: Ahead of Paul David Gillman's album on Sacred Rhythm, Claussell takes the time to present two celebratory takes on two stone cold fusion classics. The Latin keys, trembling organs and emphatic harmonies of Brian Auger's "Whenever You're Ready" are subtly charged with Joe's signature percussive magic, creating a sense of momentum that refuses to detract from the original magic while Wycoff's cult gospel-tinged funk "Come To My World" reminds us of his work on Stevie's legendary Songs In The Key Of Life. Subtly amplified and extended, Claussell has blessed us with an ultimate end-of-night gem right here.
Review: A Latin-licked soulful house groove laced with Balearic guitars and Roland at his most falsetto, this first came our way in 2006. Originally released with remixes from Quentin Harris and Kenny Dope, then later Blaze, it takes a bold producer to add to its heritage. Cue: Sacred Rhythm label boss Joe Claussell under his Joaquin guise. The Sacred Rhythm pays respect to the samba spirit while adding hypnotising, organic piano flows. Meanwhile his Drum Dub adds massive Puerto Rican horn-drenched carnival vibes. Both versions are faultless.
Review: Given his strong faith and decidedly cosmic approach to music, it's perhaps not that surprising that Joe Clausell's latest project is a mix of gospel music. What's perhaps most interesting about Praise 2 (In Praise of The Sun) is the variety of the material on offer. Gospel has long been a cornerstone of black American dance music, and Clausell wisely tries to tell the full story. So, while there are crackly early gospel recordings from the 1930s, gospel-funk from the '60s and all-acapella recordings, he also touches on disco, boogie, soulful house and 80s gospel soul. The result is a riotous mix that's as entertaining as it is righteous.
Review: Three years on from the release of the second installment of the Residue series, Joe Clausell has decided to bring it back. While the three tracks included are credited to two different artists, there's no doubt that it's Clausell at the controls. By his standard, all three cuts are pretty bold, wild and in your face, beginning with the retro-futurist, gospel house meets organ-heavy deep house of Teenage Music's superb "Looking For Bargain". Forest Electrik's "Freedum" [sic] is a surprisingly electronic, tech-tinged affair, and sees Clausell wrapping his usual African-influenced house grooves in springy bass, swirling electronics and intense synth solos. Those mental electronics come to the fore on "Circuitry Haywire", which sounds like someone having an epileptic fit while leaning on a synthesizer keyboard.
Review: Two of the finest words in the dictionary - unofficial and edit. Throw in the two nouns - Joe and Claussell - and you've got a stupendously hot prospect on your hands. Lavish grooves, rich instrumentation, precision curation and grooves so uplifting you need lead shoes to keep you attached to the earth. As with 2014's inaugural collection, once again we're treated to the full spiritual spectrum from his epic take on Barbara Mason & Bunny Sigler's already beautiful "Locked In This Position" to a cathedral level take on The Fifth Dimension's "Aquarius", this really is a special (not to mention highly limited) 12".
Review: Some six years after releasing a limited-edition collection of reworks from his bulging archives, spiritual house maestro Joaquin "Joe" Clausell serves up a sequel. Broadly speaking, the New York-based producer's fine revisions fall into two camps: faithful and reverential re-edits with minimal additional instrumentation (see his ace edit of Methusalem's "Robotism", a spaced-out tweak of disco-boogie epic "Let Me Be The One" and the spiraling San Fran disco madness of "Hot, Hot (Give It All You Got)"), and house-focused hush-hush re-interpretations (the incessant sax loops, bustling bass, wild organ riffs and jacking beats of "Conversation" and more soulful flex of "You Just Can't Smile It Away"). More importantly, all are superb, club-focused revisions that sound like peak-time anthems in waiting.