Crispin J. Glover & D'Musik presents:
The Contemporary Discothèque EP

Denise Bayliss & Crispin J. Glovers' creative collaborations began in 1994, when Denise programmed the 303/Acid-bassline on Crispin's Northern Light Project (Caucasian Boy).
To many of us this was a classic, and may still be in our record box today.

Since then they have collaborated on at least half a dozen tracks, completing projects for Strictly Rhythm, Crammed Disks, S.S.R. & Matrix Records.

They are currently making their debut on One Little Indian Records new dance imprint OLI with "The Contemporary Discoteque EP". Already receiving substantial support from the likes of Yousef & Simon Lee (Faze Action) amongst others.

The EP itself comprises of no less than 3 tracks aimed firmly at the dance floor, taking in influences as diverse as 80's boogie, The French House sound & UK Hip Hop ("Tumblin' Beats" was put forward for the Roots Manuva "Run Come Save Me" album, but was unfortunately submitted too late for inclusion.)

As Yousef said "Peacemakers Blues" is "Really catchy, watch this fly!" and that goes for the rest of the EP as well.



Biography:

Crispin J. Glover has been making music for a lot longer than this thing we call 'House' and he positvely hates being called just a 'deep house' producer. His entrance into the music industry makes sense of the old adage 'in the right place at the right time'. His story is lucky in places,almost fairytale-like in others.

The young Glover was expelled from school for disruptive behaviour and was kicked out by his parents. He moved to Brighton and got a job painting the outside of Hasting's Park Gate Residential Recording Studio. Progressing from teaboy and then to tape op,destiny led him away from the wind swept external walls to the warm inner sanctum of the studio. He was immediately at home in the studio environment.

Working at the studio he came across a cross section of musicians from the progressive rock legends like Bowie's chum and guitarist Peter Frampton through 80's heartthrob Paul Young to the Steely Dan produced China Crisis. After paying his dues- even washing Frampton's Roller- his apprenticeship soon escalated to the post of recording engineer. He thought he had found his niche. It wasn't long before he big move to the big smoke to find fame as an engineer.

Crispin's first real job,at 18, was at Trident Studios in Wardour Street, Soho (where Bowie and queen were almost residents and The Beatles recorded 'Hey Jude' and Elton John imparted 'Goodbye Yellow Brick Road'). After 3 months Trident went bankrupt, Glover lost his job and was back to square one.

By 1988, he found himself in deepest darkest south London working in a computer-based 16-track studio (a bit of a comedown from the huge 64 track desks he was used to). As his knowledge of computers increased, one of his brothers (who later became the artist known as DJ D) was increasingly becoming part of the acid house scene, and a regular at Shoom. An introduction to DJ Rev (part of the original Tonka soundsystem with Harvey) led to purchases of a computer, an 808 drum machine and a little synth.

With Glover behind the controls and Rev in charge of the vibes, one of their early collaborations 'Happy' was signed to Blackmarket by the then unknown R n'B uber-don Steve Jervier. Blackmarket unfolded, and between them, Crispin and Rev ended up taking the white labels round to all the London record shops themselves.

After watching someone make a mint out of sticking a cool beat under Suzanne Vega's 'Tom's Diner', he realised he could do better. A lot better. Crispin chose Mariah Carey's 'Someday' to bootleg. He sold 500 copies in one day and even heard Trevor Nelson play it on his lunchtime Kiss show. It wasn't long before Glover, as Master C, had the might of Sony breathing down his neck and on his return to the pressing plant to press more, he was nicked.

With money from a restaurant job, Crispin set up Matrix Records. The first record sold out in a day. He rushed back to the studio to record the next single, Caucasian Boys' 'Northern Lights', a classic of its time which was eventually licensed, after a bidding war with Belgium's R&S Records, to the mighty New York label Strictly Rhythm.
Matrix also began to grow and released several well received records before Glover wound it up in 1998 to concentrate on his own productions. During this perioad, he was cajoled into Djing by Muzik Magazine for their Christmas party. He played upstairs dropping old Latin records, next to Police records next to disco, funk and soul. The crowd loved it, he loved itand Crispin officially became a DJ. He still DJ's with his own night 'Expressions being a regular outlet for his talent.

After several projects on Strictly Rhythm, he then released tracks on Junior Boys Own and DIY, with his 'Crime' project on JBO selling in excess of 10,000 copies. Glover was bracing himself for the big time when the JBO deal fell through. He got himself another after a chance meeting with an A&R from MCA imprint 'Soundproof'. But Mca pulled the rug underneathSoundproof and Crispins album project was shelved again.

Disillusioned, he withdrew into a skunk-fuelled retirement for almost a year. It was finally his 'Masterbuilders' project with Simon Mattocks which breathed new life into him. Rejuvenated after the success of the 'London Town' featuring vocals from Corna Joseph, he released records on Kontraband, got back into DJing and slowly started getting into things again. His 'Stryker' project on Manchesters Paper Recordings (with Andy Williams from Nuphonic's 'Fuzz against Junk' and Strut's Toni Rossano) was released to rave reviews. Successful projects with Idjut Boys engineer Raj Gupta as 'Laj Gloves' and ' Motif' on Nuphonic, brings us nicely onto the present day.