Various ‎– The Lords Of Svek - Vol. 1

Svek ‎– SKCD 001
CD, Compilation

Tracklist Hide Credits

1 Gene Hunt Jazzie
Written-By – G. Hunt*
2 Jesper Dahlbäck A Day At Work
Written-By – J. Dahlbäck*
3 Alexi Delano Slam That Bass Baby!
Written-By – A. Delano*
4 Stephan Grieder Nowhere To Go
Written-By – J. Dahlbäck*, S. Grieder*
5 Alexi Delano Debajo
Written-By – A. Delano*
6 Stephan Grieder Sub
Written-By – J. Dahlbäck*, S. Grieder*
7 Jesper Dahlbäck The Lonesome Dub
Written-By – J. Dahlbäck*
8 Stephan Grieder Shass
Written-By – J. Dahlbäck*, S. Grieder*
9 Mr. Barth* Bodyfluids
Written-By – C. Lekebusch*

Companies, etc.


Tracks from:
1: SK003
2 & 7: SK008
3: SK004
4 & 8: SK009
5: SK006
6: SK005

Track 9 appears to be exclusive to this release.

Barcode and Other Identifiers

  • Matrix / Runout: DCM SWEDEN 16121911 SKCD 001
  • Mastering SID Code: ifpi L051



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July 8, 2010
Timeless summer time music. Although Svek isn't really a label which delivers the type of sound I am after, the first installment of "The lords of Svek" series is as fresh as a home made fruit salad! So many years have passed by, countless tunes have become over night hits and then vanished in the darkness, avalanches of hungry party goers have stomped through one too many clubs to recollect, yet this early selection of their output resides in a state of eternal existence, displaying a wonderful journey through smooth, jazzy and soulful techy house, on a deep tip, with some dubby elements (Debajo, Sub and The Lonesome Dub). Full of sweet saxophone solos, harmonic piano keys, long groovy musical passages extending to, coming from and forming a great depth, with comforting bass lines - this is the aural equivalent of a vehicle's safety airbag device, only this one gently opens up and embraces you just when the need for something suave resurges after a crazy night out on the dance floor! Every time I listen to this, which is preferably during those lazy summer afternoons when I'm just kicking it at home, I wonder why doesn't stuff like this get played at the turn of the morning, on open terraces, or during after party sessions. Instead, we get boring 'clikc clack' 'plink plonk' dullness which sounds like I was banging a pen against my work desk. Sure, things change, and most definitely do we need progress, and I am all for pushing the envelope and marching forward, exploring new sounds and ideas, but if this stuff is thirteen years old, and the music we are exposed to at the moment is allegedly modern, or the future, then I think we lost the "progress" part somewhere along the way...