ÿþReleased in 1994, "Old Codes New Chaos" was the first album fila boots womens of British electronic folk duo Fila Brazillia. Steve Cobby and David McSherry brought together electronica, ambient, techno, rock and funk in a way that had almost never been heard before, and as such, can be considered the grandfather's of downtempo in Great Britain. 20 years later, we have the release of the "20th Anniversary Edition", containing the 12 tracks from the original album and adding 4 new ones.

And with more, brand new Fila material on the way, this is the ideal opportunity for newcomers to experience their legacy first hand, and for fans to take a step back fila cage and remember why they became followers of the Fila philosophy in the first place.Fila Brazillia never sold in the same numbers as some of their companions in the British electronica breaks scene of the '90s, but fila chunky sneakers the reason they stayed under the radar is the same reason their recordings were so good.

French for ten Dicks coincidently has 23 track the same digits as their own 23 Records label, as well as releasing separate solo projects with Steve Cobbys "96" Solid Doctor and Dave "Man" McSherry Mandrillus Sphynx on 23 Records in 2003, the question remains, how do you release two albums in one year, squeeze recording in and fila classic run a label. With their first recording off Pork recordings in 1990 Over the past decade Fila Brazillia have built a reputation as extremely sought after remixes, with the likes of Busta Rhymes, Radiohead, Sven Vath and other reworks.

Not content with producing one remix album, the Hull production duo Fila Brazillia have made enough quality remixes to justify a sequel. Whereas the first included such illustrious names as Radiohead and The Orb, part two is a more underground selection of acts that have requested the Hull makeover.Fila Brazillia teams up with the ambient piano of Harold Budd and the New Wave art rock of Bill Nelson on the THREE WHITE ROSES & A BUDD EP.

Laid-back jazz-funk grooves straight fila destroyer out of the '70s are the foundation of the record, but hints of Stevie Wonder-esque soul, hip-hop, bossa nova, ambient, spacey techno, house, minimalist electro, big-beat and trip-hop all pop up here and there, as do touches of ethnic percussion, acoustic guitar, saxophone solos, new age-y synth flourishes, and the occasional odd vocal sample or sound effect. What really pushes Power Clown over the top, though, is that the group maintains their focus throughout, never meandering and changing things up often enough to keep the grooves from becoming repetitive. One of the finest and most over-looked electronic-dance releases of 1998.