Silverlining & Friends: Collaborations 1996-2001

In modern times, artistic longevity can be an elusive beast, but this summer, Amsterdam’s Ninih is delivering a project  that illustrates exactly what it takes to remain at the forefront of innovation in the underground while transcending  genres and generations. 

Over the years, we have been fortunate enough to receive the multitude of aliases that pioneering DJ and producer,  Silverlining (aka Asad Rizvi), has offered us. While he has been focusing on solo material since 2017, Ninih’s Pieter  Jansen spotted that there was a wealth of material in his early collaborative projects with other artists that transcended  classification, stood the test of time, and needed to be presented to the world in the right way. 

Hence, this special triple LP, “Silverlining & Friends: Collaborations 1996–2001,” addresses these landmark  explorations with meticulous track selection by Pieter and Asad, with exceptional mastering, beautiful sleeve art, and  extensive anecdotes about how the music came about. Throughout the LP, you can expect a host of names that will be  familiar to any discerning underground vinyl digger, such as Two Right Wrongans, Impossible Beings, Appleheadz,  Southern Comforters, and Bluegoose vs. Silverlining. However, this album weaves a fresh narrative around this  diverse selection of tracks—some well-known, others rare or unreleased—from blissful listening into up-tempo house  grooves to a gentle return to earth with the final unreleased gem that has been confined to DAT tape for more than 20  years. This body of work accommodates both headphone and heads-down moments over the course of its three discs.  Hence, this is more than a reissue compilation of rare 12s, but rather a recontextualisation of a huge body of work  with a shared ethos. 

“At the turn of the millennium”, as Silverlining writes in the sleeve notes, “London was an all-embracing place, and,  for us, blending elements from house and techno was just one part of a wider drive to draw together the hotchpotch  of our musical and familial backgrounds. With the relentless hype and polemics that have encircled a certain genre  for more than a quarter century, a project that embraced the full spectrum of our efforts certainly comes as a breath of  fresh air.” 

The album dives in with the Sigur Rós-esque “Through Wires And Air”, by Impossible Beings. This ethereal opus  saw Asad working with Ravi McArthur and Paul Sng during a recording stint in a Canadian log cabin. Having started as a simple strum on an acoustic guitar by Sng, the track developed into an accomplished production with Sng on  vocals, McArthur on bass and guitar and Silverlining on keys, as well as live strings later recorded in London. 

Next up we have the genre-defying, jazz-tinged “Moontan Lotion”, by Appleheadz, a collaboration that started with  Charlie Inman, and later became a trio with Kester Lyddon. Tee’ing things up on the B-side, is the 1996 Appleheadz  masterpiece, “If You Were A Cat You’d Follow Me”, a highly sought-after deep house weapon that resurfaces time  and time again. Both feature masterful sax instrumentation by Inman. 

As we move to the second disc, we encounter Asad’s endeavour with Brixton hero, Tom Gillieron, as Southern  Comforters. “Quick Call The King” features punchy drum patterns in combination with a killer elasticated groove;  another classic from the deep and hypnotic catalogue of their Reverberations imprint. Another genre-bender follows  with an instrumental of “In My Sky” from Appleheadz, which also featured on the “Moontan” EP. An unclassifiable  anthem, utilising broken beats, dreamy synths, guitar by Nigel Price-Wallace, and trumpet by Ralph Lamb, the sum of  which combines to create a piece of uniquely sublime depth.  

Side D kickstarts with vintage Surreal action: Bluegoose (aka Richard Grey) vs. Silverlining’s classic “Taken Over”.  This classy breakbeat movement was birthed in the studio above the famous Swag Records where Richard worked at  the time, an address which was vital during those years. Impossible Beings feature again with their “Tuesday Morning  Milkman” track. Originally released on the Eukahouse sister label, Shaft, the track is both quirky and stripped back as  it meanders down a path of curiosity. 

Two Right Wrongans, an influential partnership shared with the late Nathan Coles, feature on side E with “They’ll  Never Get It Right Them Two”. Recorded at Twang Dynasty in Brixton in 1996, it’s a perky trip for the hazy hours of  the night, blending elements from house and Detroit techno. 

“Back To The Imbiss” is another treat from the Impossible Beings project, constructed at Mr. C’s Watershed studio.  “Imbiss” refers to their ‘98 road trip around Europe, a homage to the Berlin based shops where they would stock  up on weissbier and cheese. A funk laden breakbeat trip, playful and animated as it travels. Last but not least is a  previously unreleased track from Impossible Beings, “A Hundred To One”, a mesmerising and musically rich mind trip, with vocals from Kirsty Hawkshaw, backing from Kim Hardy, Ravi on bass, Beth Quist on dulcimer and the late  Ray Garraway on drums. The track was the first to be created during the aforementioned log cabin retreat the group shared many years ago. The Beings later added live strings and flute instrumentation in London. A smooth touch to  finish this amazing collaboration exploration, and an LP that will perk the ears of the tastemakers. 

The album was mastered to an exceptional standard by Helmut Erler at Berlin’s legendary Dubplates and Mastering  facility. As well as being sonically aligned by the music, the 3 x 12” comes in a beautifully packaged sleeve with illustrations by Rowanna Lacey and graphic design by Nol Cobben, accompanied by line drawings of each of the artists  by Wim Swim. The sleeve also features stories about each track, written by esteemed producer and author Harold Heath, highlighting the moment in time the music was made, how they established their relationships and so forth.  The notes offer a unique insight to this vital era and how things were rapidly evolving. The back of the sleeve includes  a heartfelt introduction to the release written by Asad himself.  

Ninih is showcasing a true case of admiration with this collection. In a market that moves faster than ever, it is important to share your respect for a prestigious era and the inspiring artists that drove electronic music forward, while  blurring the lines between the mass swarm of new genres during this period. 

“To be absolutely clear,” Silverlining has said to us, “this is not a ‘tech-house’ album. I feel this term simplifies and  detracts from the atmosphere of musicality that truly drove us, especially in the Reverberations community of artists  that binds most of this work. But we understand that if it helps people, a handful of the tracks here can be defined that  way. It just wasn’t the only thing we were all doing. We hope this album helps to correct some major misconceptions  of our collective story.” 

During this influential period, individualism was reaching extreme heights, so it makes it even more charming that  these artists, each a musical rarity in their own right, managed to meet and share their creative energy, all with the  same outlook and passion. The integrity and futuristic vision of Silverlining and his affiliates is something that can only be applauded.

Available to download here

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