Riddim maker and music producer Nephtali is the driving force behind Amsel Music, a Paris-based reggae/dancehall netlabel that specializes in riddim making for artists to voice over. Since 2002, Nephtali has been relentlessly and single-handedly building original riddims that are best described as blending the cutting edge of digital dancehall and the emotional density of roots reggae. "I'm looking to recapture both the urgency of roots reggae and the excitment of dancehall, like bringing back the sophisticated feel reggae was once known for together with a dancehall sensibility". This combination has resulted in a distinctive, synthesizer-driven, drum-machine-laden trademark sound with a different feel to it. Finely-crafted musicianship, attention to detail, sophisticated arrangements and an innovative approach to production are equally part of his expertise. With influences ranging from the corner stone roots imprints (Studio One, Channel One, Joe Gibbs) to the finest dancehall labels (Xterminator, Penthouse, Star Trail), Nephtali operates from his own 10-track recording facility, where he does almost everything, from composing, arranging, programming and sound-designing to recording and engineering.

Nephtali has a knack for building original riddims that are songs in their own right and represent a significant departure from the more formulaic ostinato-based dancehall riddims. "Writing music is like second nature to me. My riddims are all original material, not refurnished version of some old riddims of the past. I really want my riddims to stand on their own even when there is no singing on top of them. I like the idea of the riddims having each their own musical life, irrespective of particular voicings". As far as production values go, his music relies heavily on synthesizers and intricate drum programming. "I'm pretty pragmatic about it. Synthesizers are more comfortable to record since they are plugged straight into the board and don't require the preamps to be pushed too hard. Plus, they can be sequenced, which allows me to record phrases that I wouldn't be able to play by myself from a technical perspective. Also, they provide a nice palette of sounds resulting in a more diverse instrumentation". Mixingwise, he is a strong advocate of a clear, clean full-sounding mixing with a wide stereo image. He is no stranger to innovation either as he is often found messing around with randomly-generated synthesizer sounds.

Nephtali's productions have been showcased on various digital releases. The rootsy, hard-pounding Civil Disobedience was featured on the net compilation Submersible Hamster (released on May 7, 2007) and was later short-listed to appear on a commercial compilation, while the funk-flavoured rub-a-dub track Watch The Ride made its way to the Dubconscious mixtape (released on June 25, 2008). 2008 also saw the release of the widely acclaimed 60x60 Buzz Compilation for which Nephtali produced the 60-second-long New Sevilla, a piece he originally wrote in 2000. The concept behind this avant-garde project was to produce a track no longer than 60 seconds in duration. Also noteworthy is Nephtali’s contribution to the Soundtrack To The End Of The World (released on February 2009). Nephtali then went on to take on production duties for some up-and-coming Jamaican dancehall acts.

His last tour-de-force was to bring Belgian-born French chanson singer Jacques Brel back to life for a serie of refixes featuring his own riddims. "Jacques Brel's not dead and has never been actually. He just retired in the late seventies and now returns as a dancehall singer under the moniker Dynamite Jack, which he should have been doing a long time ago".

With over 30 riddims under his belt - of which 10 have been airplayed on various radio shows, played in local venues worldwide and used for videos and an audio drama -, Nephtali is now willing to continue supplying recording artists with hard-hitting, bottom-heavy riddims.

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