The Books We Used To Read

The Books We Used To Read – part 2

Social Cognition and Social Development: A Sociocultural Perspective

Bottled Poetry: Verses from the Vine: Vintage Wine Poems – New Pressings

The Last Alchemist

Shiritai iseinokimochi tsugou no ii onna

Vom Nachlassgerichtlichen Vermittlungsverfahren Zum Konsiliarverfahren Bei Der Auseinandersetzung Vo

Good Bones

Floriography Today

The End of the Game (The Destroyer, #60)

The Concept of Capitalism

The Secret Chamber (Adventure Series)



Using Statistics to Understand the Environment

Global Power Europe – Vol. 2: Policies, Actions and Influence of the EUs External Relations

Barchester Towers

Hírvivő (The Giver, #3)

Die Streitschriften Von Jacob Und Johann Bernoulli: Variationsrechnung

Your Body Battles a Cavity

Gods End-Time Man: The Stunning Significance of Herbert W. Armstrong

Train Man

Curandera. Eine mexikanische Schamanin berichtet.

Destiny Re scripted (Desire 2 Will)

My Accidental Jihad

Trials of the Monkey: An Accidental Memoir

Fright Time #1

Baby Steps vol. 07 (Baby Steps, # 7)


Magic in the Web: Action and Language in Othello

Software Engineering for Experimental Robotics

Disneys Instant Classics: Chicken Little/Lilo & Stitch/Brother Bear

Consider This..

A Life in Balance: Delicious Plant-Based Recipes For Optimal Health

Chain Reaction: Children And Divorce

Sidste nat i kødbyen

Adaptive Techniques for Dynamic Processor Optimization: Theory and Practice


Track by track with Lack of Afro

“At the time I was deep into Endtroducing. That was a massive album for me. I love DJ Shadow and that whole instrumental hip-hop thing. I also loved all the Grand Central and Aim stuff. He was a big influence, as well, with his album Cold Water Music. They all had intros so I had to have one on mine. “I found a nice spoken word sample about a guy mixing a James Brown tape. He summed up where I was at the time. If I wasn’t listening to music I was trying to mix it and write it at the same time. When I heard that sample I knew it would be perfect for my own intro.”
The Outsider
“I’ve got a lot to thank this track for. This is probably the one that people most know – People still sing that horn line at me! “It’s based around a nice horn riff sample, then it went from there. It’s one of those tracks that came together quickly, too. “I was listening to funk 45s a lot, so riffs would slip in as I was making tracks. In The Outsider there’s an alto sax that references Soul Power ‘74 by Maceo & The Macks. Later on in Mongrel Strut there’s a reference to The Champ by the Mohawks. When you’re writing an album and deep into it you put little bits in for your own amusement.”
“I loved this drum loop. At the time I had all these samples and cuts, trying to make them work together. I was just trying to sound like Cut Chemist with this track, I think. His track Lesson Six. I loved that. “I remember recording the bassline was a real struggle as I didn’t really play much bass at all back then. I would just pick up instruments up and learn stuff as I went along. “There’s some strings on here, as well. I knew I wanted strings on the album, somehow. I was big into film composers and soundtracks. I knew that was something I wanted to do in the future so they had to go on.”
Touch My Soul
“This features a sample of Steve Marriott who was in the Small Faces. My publisher cleared that with his estate and EMI. He did a lot of legwork to get that one, so hats off. “The Small Faces are one of my favourite bands, ever. His voice was just incredible and for me it stacks up against some of the greatest soul voices, and it came out of this little five foot white cockney. “My dad got me into the Small Faces. The track I sampled it off, Afterglow (Of Your Love), was one of my favourites, but I only wanted to use it if I could do justice to it.”
For You
“I got a friend of mine, Nick Radford, to play some guitar on here. He was really good. I met him when I was putting a band together for a wedding. I’d been through a few guitarists by this point. Either they didn’t get it, overplayed, or were just heavy indie rock players. “Nick plugged in and started playing and he just… got it. I was just after something nice. I was listening to a lot of downtempo stuff at the time like Bonobo and Quantic, so I knew I wanted to represent that and get away from the whole dancefloor funk breaks stuff for a bit. “There had to be a balance. I remember thinking that I needed to make these types of tracks to break the album up.”
Pure Filth
“The drums were a sample of The New Mastersounds. That band was pretty integral to Press On as a record because a couple of the tracks contain drum samples from their drummer, Simon Allen. “I’d seen them at university back in 2001, live, and I was blown away. I got their debut album [Keb Darge Presents: The New Mastersounds] and just went through it and I came across these drums. “I knew I wanted to clear them properly so I hit up their publisher, who has been my publisher now for over ten years, and got them. So, through this track I met the band, my publisher Patrick Meads, and even got Eddie Roberts from The New Mastersounds to play guitar later on on this album.”
Wait A Minute
“This was my first single and the track that initially got me signed to Freestyle Records. At the time I was in a DJ crew called The Root Down, led by a friend of mine called Heavy Stylus and unbeknownst to me, he had uploaded this track to the Ninja Tune forum where Jon Sheppard (A&R at Freestyle Records at the time) had heard it and it all went from there. “This track features Charlie Hearnshaw (my saxophone teacher at the time) on alto sax, and Toby Mentz on bass. I’ll leave it to the sample spotters to figure out where the opening vocal sample comes from. “This was one of the first tracks that I started experimenting with drum layering – a technique that I learnt from Quantic’s Will Holland.”
Live At The Club
“One of my favourite Cannonball Adderley albums is called Live At The Club. They recorded it live in the studio in front of an audience. I wanted to make a track like it was a band playing in a club, in front of an audience. So I got applause samples and crowd noises and mixed them in. “I remember recording parts for this track and stacking lots of stuff up, like the alto sax, and adding little horn section stabs over it and recording in live guitar. I played keys parts on here that I never would now. It was just a nice little track that I really wanted to do at the time.”
Mongrel Strut
“This has Nick Radford again, playing guitar. It references The Champ by The Mohawks – everyone thinks that’s a sample, but it’s actually me playing. “It also has a spoken word sample on it of Bob Moog talking about synthesisers at the end, just before some synths come in, played on my only synth, the Novation K-Station. “It’s just one of those tracks where I’m interweaving samples and live playing. It was about half and half. It was always a struggle to get the balance of crusty samples and live musicians right, and then make the two worlds gel.”
When The Sun Goes Down
“This is an Arctic Monkeys song. I love them and could always hear a funk track hidden in there. All of a sudden it was something I just had to do. It’s my only ever cover version. “This track is completely live. No samples, nothing. I was really nervous as Eddie Roberts from The New Mastersounds is on this. I was on drums. I didn’t consider myself to be a great drummer, but I knew enough. “On bass was a guy called Neil Innes, who brought down a Fostex R8 eight-track, reel-to-reel tape machine, and some Neumann M149 mics to use as drum overheads. “We arranged it on the spot, and just jammed it out. Eddie was a bandleader so took over in a way and I was happy to be led by him.”
“This was the second single off the album. I wanted to make something beat-heavy. Drums were really important to me; crucial for the whole album. “A guy called Flevans, a good friend of mine who was signed to Tru Thoughts, had a track called Spooked that I really liked. It was all based around cut up jazz drums. The jazz drums section in Roderigo is a little nod to him. “Bonobo, who would go onto massive things, was part of the scene back then and he used to play Roderigo out a lot. It was good to get validation from people who were signed and producers at the time.”
Where’s It At
“I was just trying to be DJ Shadow on this track. That was my remit. It had the spoken word thing in there, and then the heavy drums with the quite mellow sample. “I was a big fan of spoken word stuff – they helped set a scene. I wouldn’t do it as much now. That whole thing is of its time. I used a lot of them then because I didn’t have vocalists, and DJ Shadow and Aim were doing it. “Then we added some Nick Radford guitars. It all gave it a nod to Endtroducing, as if there hadn’t been enough [laughs]. “The label wanted to end the album on Roderigo and I wanted it to finish on a downtempo track. I don’t know why, but I remember we had an argument about it. I think it had a bit of symmetry with the intro track. It just felt right.”