We were asked recently why we chose Boo Williams as the first artist to join our label. Previously, we’d only ever had our own music on the label but to us, Boo is one of the best producers out there. He’s consistent, he’s original, he takes risks with his sound and there’s an almost effortless simplicity to his music that makes it extra great. In an era where EDM teenagers are earning millions for doing next to nothing, authentic figures like Boo are even more important. Essentially, house music has become hostage to money, which makes it extra important that we celebrate the work of producers like Boo. If his remix on our label means he’s introduced to a whole new generation, then that’s great too.

For us, the secret to the scene staying completely lost is to keep it alive, to sweat and to work hard for what you believe in. You must do what you want to do – not what others want you to do or think you should do. We have our own label with a precise sound, and it’s one where quality is always key. That’s something that we feel Boo recognised when he agreed to do the remix too.

Even the name of the label, Fuckthegovernment; everyone thinks it’s all to do with politics – but that only tells some of the story. Indeed, it is more a protest against musicians who are involved in music for the wrong reasons, guys who do it for money and not because of passion. You have to support the work of artists, you have to keep the scene alive and keep it real. You have to buy the artists’ music, not download it illegally. So, when we sat down and discussed a remixer for this project, from the first minute we thought Boo would be an ideal candidate. From the first minute we all had a great connection – just like we thought we would. As soon as Boo delivered the remix we were overjoyed with the results. We have accepted his vision of the track as a sort of divine gift and we’re delighted to have him on board.

Aside from Boo’s own vision, it is of course the music that attracted us to him in the first place. Here, we pick out some of our favourite Boo Williams cuts that we’ve played repeatedly over the last few years:

“Anger” (Guidance, 1998)

What. A. Track! A warehouse style track with tinges of acid and plenty of soul and emotion, the restless groove here grows with bubbling basslines and floating disco strings aplenty. Featuring a host of lovely, ethereal vibes and solid weighty drums, this track is an absolute masterpiece. The last minute of the track is sublime – it’s to be played out until the last groove!

“Snare Tappin” (Relief, 1996)

We love this obscure Chi-house track. The hypnotic groove captures you from the beginning and never gives you up in a crescendo of strings and bells, bringing you on a journey with no return. Absolutely to dance to with closed eyes!

“Mortal Trance” (Residual, 1998)

Our favourite Boo track. An incredible, deep, hypnotic, late night jam. Sometimes we use to mix it with the Detroit classic “Starlight” by Model 500: the two tracks work brilliantly together.

“Laid Back” (Daisy Records, 1996)

Taken from the “Lucky Star Ship” EP on Daisy Records, an offshoot of Cajual Records. We look very much on this one as a melancholic underground track. Not one of the better known tracks by Boo, but every time we play it the feeling on the dancefloor gets higher and higher.

“Feel The Drive” (Relief, 1995)

Lovely old school Chicago Classic! No words on this one, just to play and dance.

F.T.G & Marco Riff’s “(I’ve Seen) Love from Tokyo” (featuring a remix by Boo Williams) is out mid-December on Fuckthegovernment


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