Monday, July 02, 2012

New Antibalas


New music on the way from Antibalas, their new self-titled album is out August 7, produced by Gabe Roth at Daptone Studio. Their US tour kicks off August 10, tour dates here.

Stream a radio/45 edit of their new single "Dirty Money" below, grab a download over here at The Guardian.

Ali Campbell owed $ by Raggamuffin Fest

Ali Campbell. Photo: Sunday Mercury
Ali Campbell's UB40 played at the last Raggamuffin Festival as headliners. Campbell is in the news here, as he is one of the judges announced for the tv show NZ's Got Talent.

The NZ Herald reported at the weekend that he "is returning to New Zealand to help uncover a new generation of performers - and banish unpleasant memories of his last visit.

...Campbell, who has been performing for 30 years, is still smarting about an Australian-based music promoter, Andrew McManus, and the row they are having after he headlined the Raggamuffin music festival in Rotorua in January.

McManus says he accepts responsibility for a $27,000 tax bill but he had already had paid Campbell £160,000 ($313,000).

Campbell, for his part, said he "did [McManus] a favour" by playing this year after slow festival ticket sales.

"UB40 played [in 2008], and then Ziggy Marley and then I played with my band but then they got Mary J Blige to headline - and she's not a reggae performer. So he [McManus] rang me and asked me to come [back]."

Campbell said that after he performed and "saved" the show, McManus failed to pay all of his bill. He would not say what he was paid.

"He said to me, 'I'd never cheat you, Ali, you're my brother' ... I won't be working with him again."

McManus Entertainment runs the festival in both Australia and New Zealand but pulled out of this year's Australian leg because of poor sales.

The Australian promoters' New Zealand company - Andrew McManus Presents - went into liquidation in March last year just before it was due in court for a legal battle with band Pacific Herbs. The company owed creditors $394,000.

McManus was emotional when he told the Weekend Herald that he would always be grateful to Campbell for his support and credits him with coming up with the Raggamuffin idea. He wanted to make things right.

"I owe Ali, Ali's going to get paid. Ali's my buddy, Ali and I have been through a lot together. I love him. I've never had a one-on-one to explain it to him. I didn't even realise it was an issue.

"If you said to me, Andrew have you made some wrong decisions in the last 24 months, I'd say 100 per cent yes, I have." NZ Herald story here. 

Previous posts: Herbs vs Raggamuffin (March 26 2011), The man behind Raggmuffin (Dec 28, 2011) Raggamuffin rumblings(Dec 8 2010)

UPDATED: Dec 4 2012, Ali Campbell's UB40 has been added to the bill at Raggamuffin, and he's also playing a show in Auckland, with Toots and the Maytals. Any outstanding issue must has been settled, tho Campbell has told the NZ Herald he thinks Raggamuffin went off-track when they booked acts like Mary J Blige, Billy Ocean and Lauryn Hill, and they should be reggae only.

Friday, June 29, 2012

Pharcyde touring NZ


The Pharcyde have announced a live show in Auckland for August 18 at The Studio, presales up now at iticket... the 20th anniversary tour.... Wellington show rumoured for Aug 17.

The lineup coming here according to the promoter will be Bootie Brown and Imani, with a possible third member coming also.

As you can see from this recent story in the LA Weekly, Fatlip and SlimKid3, ex members of The Pharcyde recently performed their former group's album Bizarre Ride II the Pharcyde in it's entirety, but Bootie Brown and Imani were absent.

"...Last month, to celebrate the 20th anniversary of The Pharcyde's seminal album, Bizarre Ride II the Pharcyde, label Delicious Vinyl threw a huge party at the Roxy. The club was filled to capacity with fans eager to see the work performed in its entirety; it was so packed that even the show's publicist couldn't get in.

...While SlimKid3 (pronounced "Slim Kid Tre") and Fatlip performed, the other two original members critical to Bizarre Ride's creation — Imani and Bootie Brown — were noticeably absent. Turns out only the latter two, lesser-known, artists are legally allowed to use the Pharcyde handle, while the better-known ones (SlimKid and Fatlip) tiptoe around it."


ADDED: A different take on the Pharcyde, via Okayplayer.com...

"Brown and Imani continued the Pharcyde Ride, having their attorneys look into their former record label’s accounting, as they felt they were never properly compensated for their works while on the label, which included never receiving any royalties for any of their recordings. They informed Tré of their plans to pursue this venture, asking for him to go in with them on it so they could all reap the benefits of whatever was being held back. According to them, Tré did the opposite, and reported their plans to Mike Ross and Delicious Vinyl.

While the end result of these actions is that that royalties are now indeed being paid, Imani and Brown believe the label being tipped off prevented them from obtaining everything they are rightfully owed...."

Pablo



Great acoustic performance from the king of the meoldica, Augustus Pablo, with Hugh Mundell. First half is Augustus on guitar, then switches to melodica. Hat tip to Keegan for the link

Thursday, June 28, 2012

White Stripes free screening

White Stripes at Freemans Bay Primary. Spot the school piano on the right
"October 2003 - The White Stripes are touring the world in support of their acclaimed fourth album 'Elephant', which contains their massive world-wide hit 'Seven Nation Army'. 

Jack and Meg had always wanted to play at an elementary school, and finally got the opportunity at Freemans Bay Primary School in Auckland.

They played seven songs during an intimate lunchtime show for the pupils and staff in the school's auditorium, all recorded on one VHS camera. There was little advance warning and no media present.

The footage taken that day has never been released before. It is now being issued as part of Third Man Records 'Vault' series.

Real Groovy Records are pleased to announce they will be holding an in-store, one time only public screening of this unique performance on Thursday the 28th of June at 7pm. Admission is free."

Dominic Roskrow 91

I dug this article out after a conversation with ex-pat Andrew Dubber, who has crossed paths with Dominic Roskrow, now a reknowned whisky reviewer and writer. 

Dubber remembers Roskrow as a music journo at the Herald "...with whom I never, ever agreed – at first, as a matter of taste, and then, as time went on, as a matter of principle." He even wrote a piece in 2007 on how he bought records based on Roskow's reaction: "It got to the point that for quite a few years I was able to buy a record entirely unheard simply because Dominic Roskrow had hated it."

Now, Dubber is also a whisky blogger and he wrote in that piece "Just wait till I know a thing or two, and I’ll be happy to cross imaginary swords with Dominic Roskrow again." 

And then he did meet Roskrow, at a whisky event in Scotland in late 2010. They bonded over a mutual love of the music of Shayne Carter, after Roskrow had rumbled Dubber for his earlier post. "Dominic and I got on very well together indeed… which is just as well, really – because on day two, they gave us weapons...." 

Roskrow popped up on Twitter recently when Dubber and I were discussing that era, and mentioned he still had the interview I did with him. He's on Twitter here: @Whiskytasting.


From Stamp magazine, July 1991 by Peter McLennan

Dominic Roskrow: The Last Word

So, the Herald's infamous rock writer is leaving - a nation of black jerseyed Stamp readers rejoice loudly. But just who is Dominic Roskrow , and who the hell does he think he is? Well few people in this town even know what he looks like, a bit of an enigmatic figure, really. By the time you read this he will have jumped ship - yes folks, Dominic gets the last word.


This interview may enlighten you to his views, confirm your worst fears, or just plain upset you. Ah, ain't opinions fun? First big question, what suburb do you live in Dominic? "Grey Lynn." Well, there's that mystery solved.

He got his start in journalism at the Sheffield Star in England, moving into music reviews, came to New Zealand to work on the Sun, took over the Entertainment section and when that folded, moved to the Herald after Colin Hogg's departure. He's been here nearly four years now, so what made him leave his native land?

"Well, the mining strike killed off Sheffield as a community, I saw a lot of what I believed in destroyed, I was very disillusioned - the Sun advertised, I got the job, came here for six months, and stayed."

He arrived here already a fan of New Zealand music: "I got into REM, Thin White Rope, picked up on Aussie guitar bands, Hoodoo Gurus, Go Betweens, the Triffids, then it wasn't a big step to be given a Chills album, then I wanted the Verlaines - I imported a lot through a record shop in Sheffield, so I came here quite knowledgeable, I've always been fond of it.

“I think it was very hard to be accepted by people in the music scene - I never claimed to always get it right, I never claimed the way I approach my journalism was always right, I said this is how I do it, and my opinion is it's right and and your opinion is just as valid if it's not.

“You can't divorce what I do from what Graham Reid does, because we play off each others strengths - he's very knowledgeable about local music, its history, and I know more of what's happening with music overseas. We sit down each week, as a policy, and decide whats going to be covered, and if Graham wasn't there I would've done it,and could've done it, it's just he's better at it."

What changes has he seen in local music during his time here? "I've seen the rock scene break down barriers, the fact that Push Push will play with the Nixons and MC OJ and the Rhythm Slave is a big step up. In the heavy-rock scene, an area I checked out when I first got here, it's exciting to see bands like Push Push starting to identify a New Zealand sound within the genre, and I think New Zealand has got over its inverted snobbery toward heavy rock music - 'cos ' like it or not, those people are dedicated, they work hard at it, and even if it's not to everyone's taste, I think it's patronising to assume it can't be important. And the traditional viewof Flying Nun as electric folkies is finally going - perhaps the biggest change is people here are more open minded than when I first came here".

Now, here's where we put ol' Dom on the spot. What do you think of Stamp?

"Well, I think it's great that Stamp has got people going out and seeing new bands. I read every word of your magazine, cos as far as I'm concerned that's where the filtering process begins.

“Someone from the Stamp crowd once stopped me in the street outside Cause Celebre on Xmas eve last year and harangued me - they said shouldn't I be going out and breaking new bands and wasn't that my job? No it's not, that's the job of the Stamps, Monitors etc.

“Of course every journalist wants to be first to break a new band, but there's only one of me, and even if I did see everything, the Herald wouldn't publish it. I also know that there are people out there whose opinion is a lot more on the ball than mine is these days. At the same time I think Stamp should get past its problem of having to impress a certain number of people. I read the REM review in the last issued and it's an apology for liking a record, and I can't understand that.

“I think to be opinionated is great. Having to apologise for something is ridiculous, and I'm not having a go there, ifts just that Stamp is respected, and it should be opinionated - it can be opinionated about me, that's fine, but it can't be opinionated about REM without worrying what someone's friends think."

How do you feel about the term 'Roskrowed' entering popular usage? 

"I'm flattered. I've always taken issue with the term as its usage implies that I missed support bands and that isn't what happened. I didn't review support bands and thats a totally different thing. I find it funny though, the number of times I saw other people Roskrow, I think other writers do it more than I do. The fundamental difference between Stamp, Rip It Up and the Herald is that I only have twelve paragraphs, on an average of thirty words a paragraph. Now you tell me you can do justice to a band in three paragraphs or less - I don't think you can do it."

I suggest that for local bands, failing to get a mention at an overseas support, a high point in their career, is very disheartening.

"I accept that, after that point was made to me on BFM, I started to introduce the name of the support band on the heading, but it's very patronising to review an overseas band and at the bottom to add, oh one of our bands supported them. If you go over the support bands, a high numberof them have been reviewed in the Herald.

“You see, when people say they want to be mentioned in print, what they mean is they want to have a good review in print. If I see a good band supporting an international act, I will try and go and see them and review them in their own right. This argument goes round and round, people will go 'sure, but they were playing with an international act and should be recognised as such'. I choose not to. There's no right or wrong on it. I'm under pressure from the Herald's editorial policy to be reasonably populist, the restrictions, whether they're fair or not, are there.''

Dominic Roskrow, 1991. Photo: Stamp/Sonoma Message

As for live coverage after Dominic departs, who can tell? "The live reviewing side is a freelance job, I'm paid separately to do that, it's extra to what I do - my replacement Jill Graham works shifts on the news desk, and I at least had every night free, so I really hope live coverage stays, but there will probably be a period of readjustment.

“The old school journos at the Herald do not see music as a valid art form, they say to me 'what you're doing is promotional work, and lets face it, it's not very important stuff anyway'. And that's not the view of the editor and the features editor, who are very supportive. Every word we write has to be checked and approved. Mention drugs, big issue! I got pulled to pieces on a story I wrote on the Happy Mondays earlier this year, I was told the managing director was livid, that was the word they used. So it's hard.

'Rock criticism in this country |has improved a lot, I still think it needs to be more cocky. I read someone like Nick D'Angelo - he's opinionated and I take great offence at what he says- but I always read it because it's great entertainment and I think that we still have to understand that in rock journalism, at the end of the day it's entertainment - sure, it's important to the bands, important that it's taken seriously - but a very high proportion of the public aren't interested in po-faced journalism. It's the ability to accept where the job ends and where the entertainment begins.

“All anyone should ask for is that their rock critic is liked or disliked as critics, and not as people. I mean, people who'll never met me can't say what I'm like. For example, when I first met my girlfriend Natalie, she told someone that she'd met me, and she was told that I was a womaniser, she wouldn't last ten minutes with me, and I was someone to have no respect for. But I didn't know this, and I met these people sometime later and knew nothing of it, sat down and chatted, had a good time, and they later admitted to Natalie that they were totally wrong about me.

''I don't like that bitching behind the back scene, it's really destructive - it's bigger of someone to say 'we've got nothing against you but I dont like your writing'. I just hope the Butthole Surfers really do put their review on the cover of their next record.

''In this country I still think that if you climb out of the trenches, (and I hate using war analogies) you'll find most of the bullets come from behind. Its like, the only time you hear this term chart hype is when a local band gets in the charts - 'do you really think they sold that many records?' You never hear that when John Smith from England goes top ten, but as soon as it's a local band...''

In recent months, your reviews have been getting more extreme - either unqualified praise or hellfire and damnation - what's going on, Dominic?

"See I'm free now so as far as I'm concemed I can openly say exactly what I like about bands, I'm probably more opinionated now that I'm leaving than I've ever been. I think I've got as far down the road as I'm going to, and I'm aware that without going more over the top, I'm in danger of repeating myself - I find myself looking at my use of words and saying hey I said that weeks ago or whatever.

“I think I've started to lose the passion for what I do in terms of writing, I'm not enjoying music as much as I did, I'm looking forward to listening to music as a fan, rather than having to write about it. So when I come back, I'll come back as a fan, and I'll actually pay to get into bands.

"The other thing is, and I have to say this, all I've ever done - I don't care if people accept this or not - but I've always fought very hard to make sure there was a certain amount of integrity in the music scene - and what we're battling against is a corporatism of rock, to the point where journalists are meant to be under record company promotional guidelines.

"I'm very disillusioned with the way music these days is treated as a product and the people who work in the music industry (with some notable exceptions and I always say that 'cos I always get in trouble with this comment), those people don't love music, they don't go out and see bands, they're people who, if you're not doing them a favour by giving them a good review - they're not really interested in you. They are people who go home at six o'clock to a life that has nothing to do with music.

“I have an admiration for Stamp, 'cos they are people who care. Deep down, whatever these people have said about me at Stamp, the reason they've done it is cos they genuinely care, and that to me is the most important thing of all.''

What bought about your decision to depart?

''My reasons for going are personal ones, I need to spend time with my family, but I'll be back in New Zealand within the year. I'm passionately anti-Thatcher (even though she's gone), I've been back three times now, each time seeing my England drift away from me.

“It really dawned on me when - well, I've always been a snob about France, typical English, and last time I was back, I went to Paris, and it wasn't just seeing my girlfriend that made Paris, it was the Parisians, talking to them about nuclear policy, the Pacific, very friendly people. I made the effort to speak French, and the only time I was unhappy during my whole holiday was in Normandy, a group of young English tourists came through, they were beer nasties, out to drink and pillage - I know it's foreigners abroad and all that, but I looked at them and I refused to speak English, and it was like a small version of Dances with Wolves.

“When I was in Paris I thought, one; I do want to come back to Europe for a while; and, two, I do want to break my links with England so I can make my home in New Zealand. Maybe I'm over the top 'cos I'm leaving and I'm a bit emotional about is all; I sometimes think some people don't believe it... they say 'wow, you're so lucky to be going' and I am, I choose to go, I dont have to. There are things I have to do over there, and that's so I can come back here and break that link once and for all."

Say goodbye, wave hello.

Wednesday, June 27, 2012

Gensu Dean instros

Free download of some dirty hiphop instrumentals from Gensu Dean. Check em out.

"Armed with a dusty SP-1200 and equally weathered records, Gensu Dean made a splash in the indie rap scene with his debut LP Lo-Fi Fingahz..." here's the instrumentals off that disc... 

Colman Bros on wax

Wah Wah 45s are dropping the rather splendid Colman Bros album from last year on vinyl, out now with bonus 7 inch with remixes from Herbaliser and Tall Black Guy.

"We all know this is how jazz really should be listened to, and we listened when you demanded that the Colmans' already classic debut be released on wax. Not only does it come with full sleeve notes and artwork, but we've also popped a little treat inside for you!

Open it up and you'll find an exclusive 7-inch featuring never before released remixes of the Brothers Colman courtesy of the legendary Herbaliser, and producer de jour, from the US Tall Black Guy.

Inspired as always by 60's and 70's jazz and samba, typical of legends such as Freddie Hubbard & Horace Silver, and groups like Peter Herbolzheimer's Rhythm Combination & Brass, the Colman Brothers' eponymous debut combines the influences of this golden age with their own deft production skills, and a little vocal assistance from Colman sister, Sara."

CATCH THEM LIVE THIS SUMMER (for you northern hemisphere peeps)
- Saturday 30 June - Mostly Jazz Festival, (Main Stage) Birmingham, UK
- Sunday 1 July - Mostly Jazz Festival, (Jazzlines Stage) Birmingham, UK
- Saturday 14 July - Swingin’ Groningen Festival, Groningen, Holland
- Friday 20 July - TBC (Colman Brothers Big Band)
- Saturday 21 July - Manchester Jazz Festival, UK (Colman Brothers Big Band)


Porirua reggae, 1985



Dread Beat and Blood from mid 80s, some great Kiwi reggae. Their album Tribute To A Friend is still available on CD/digital from Amplifier over here....

David Grace formerly of Dread Beat and Blood is currently touring with his band Injustice, as backing band for Andrew Tosh (son of Peter Tosh), tour dates below... Hat tip to DLT for the vid



"Andrew Tosh's visit to the country is in celebration of a Jamaica's 50th anniversary as an independent nation, as well as the formation of The Wailers, brought together by Peter Tosh, Bob Marley and Buddy Livingstone. 2012 also marks 25 years since Peter Tosh was tragically killed in a home invasion for extortion.

New Zealand's own David Grace & Injustice are musical warriors for Maori independence and sovereignty. Their record Weapons of Peace is a powerful album combining the use of Maori and English language in a variety of musical settings - haka, reggae, soul and pop - covering mainly themes of indigenous rights and capturing the spirit of the Pacific.

This musical collaboration is a unique event. You should get along to any of the shows if you can!"

TOUR DATES:
Thursday 28 June - 420, Auckland
Friday 29 June - The Kalah Bar, Ngongotaha
Saturday 30 June - The Matinee, New Plymouth
Sunday 1 July - Hot Lava, Ohakune
$30 PRE SALE (FROM VENUES) $40 DOOR SALE
*OHAKUNE SHOW IS $20 FLAT RATE

Tuesday, June 26, 2012

Julien Dyne 'Glimpse' vinyl release party



Julien Dyne 'Glimpse' vinyl release party at Conch Records 115a Ponsonby Rd , Auckland, Thursday 28th June 6pm. Sounds like fun!

Featuring performances from Christoph el Truento // Parks // Julien Dyne // + more. Free drinks + vinyl for sale on the night.

RIP MJ



Via SFMOMA: "‎TIME just shared this iconic cover from a 1984 issue featuring Andy Warhol’s portrait of Michael Jackson. Jackson passed away 3 years ago today, but he’s still the king of pop."

 

Taimi Uma - Kas Futialo ft Victor Keil



New tune from Tha Feelstyle, Kas Futialo. "Dedicated to my great grandma VE'EVE'EO from Sapapalii and to my mother LAGI ."

Saturday, June 23, 2012

Electronic soul


"Chocolate Industries is set to release a collection of Electronic Soul compiled by Dante Carfagna called Personal Space, Available as a high quality 180 gram double LP or deluxe bound book CD and features aerial photography by NASA astronaut Donald Pettit.

If the independently-pressed record made the galaxy of recorded music that much larger, the burgeoning home studio became the black hole from which little escaped. Flowering in the mid-to-late ‘70s, affordable high-quality tape recorders, synthesizers, and simple drum machines permitted the aspiring artist to never leave his home, never request the assistance of another human being.

In the world of American Black music, name artists such as Sly Stone, Timmy Thomas, and Shuggie Otis had experimented with rudimentary electronic soul with a modicum of success, but on record what remains is scant. This collection presents the unheard underground of the self-produced, often solo, electronic soul world of the ‘70s and early ‘80s, offering a view into an ocean of sound that is in turn peaceful, bizarre, funky, and often humbly ahead of its time."

Check this seriously fruity tune.... album came out mid May, gotta check it....

Ring The Alarm playlist, BaseFM, June 23

Noiseshaper - Moving together
Slim Smith - Rougher yet
Mike Brooks - Children of Babylon
Horace Andy - Fever
Daddy Ous - Hard like a rock - Groove corp remix
Roots garden and Dark Angel - Free da mind
Freddie Cruger - Running from love - Internal dread mix
Love grocer - Salute to Sam
J-Live -Not satisfied
Scrappy - Off the lead
PD syndicate - Ruff like me - Shy FX and T Power remix
Rebel MC - Comin on strong
Solomonic sound - Children of Israel - Blakdoktor version
Freddie Mcgregor - Rastaman camp
Sugar Minnott - Mr DC
Buju Banton -Champion
Moody boyz - Destination Africa - 106 bush version
Roberto Carlos - O Calhambeque - XRS remix
The makers - Don't challenge me
Concept neuf - The path - Sofrito edit
Jet Jaguar - Radio rhodes (playing live in Akld July 5 at Golden Dawn, free)
Syreeta - I love every little thing aboout you
Esther Phillips - Just say goodbye
Hackney colliery band - No diggity
Edwin Starr - HAPPY radio
Overproof sound system - Kingstep - Unitone hifi remix
The Midnights - Regeneration - Dub Asylum remix (Free download)

Friday, June 22, 2012

Conch sunday grill for Big Matt



We're having a session for Big Matt at the Conch Sunday Grill at Ponsonby Social Club this Sunday, June 24. It's five years this month since he passed away. 

DJs include Selecto, The Chaplin, Mikey Sampson, Megan, and myself, kicks off at 530pm, with the bbq going out front for a reasonably priced, well tasty feed. Come on down and share some music and some memories of the big guy. Cheers.

Tall Black Guy presents...



 Tall Black Guy Presents... Tempo Dreams Vol. 1

"From humble origins in Detroit, raised on a healthy diet of Motown, Jazz, and Early Hip-Hop – Terrel Wallace (aka Tall Black Guy) has been steadily building a massive online following through a steady stream of productions filled with incredibly clever sample flips and deft production chops - being championed by the likes of Gilles Peterson, Lefto, Anthony Valadez, and countless others - as well as recently being named the winner of the Robert Glasper Remix competition.

After making a connection and releasing a series of sold-out Tall Black Guy 7-inches through their BSTRD Boots sublabel, Brooklyn’s Bastard Jazz Recordings set their sights on a proper full-length release with Tall Black Guy. It became evident that Terrel was not only an incredible producer and collector of sounds past – but was also a connoisseur of a whole new generation of beatmakers.

Bastard Jazz founder DJ DRM asked TBG to compile an album with 11 of his favorite joints from this group of international producers. Countless nights of rapid ear movements later, and with an added touch from the tall one himself, the set is primed for release as: Tempo Dreams Vol. 1.

Featuring tracks from: Teru, Chief, Tensei, Jeriko Jackson, MonkeyRobot, Buscrates, FloydCheung, Doc Illingsworth, Evil Needle, Ta-Ku, Tall Black Guy & Shecky's Jazzy Tofu. Free DL below.... album out now.

Thursday, June 21, 2012

Emily White



Digital Music News distilled down David Lowery's response to NPR intern Emily White, it's been circulating the internets this week, and it's grim reading.... I don't agree with all of it, but there's some compelling stuff in there...

but first, one of my favourite points from Lowery's piece....

"... Why do we value the network and hardware that delivers music but not the music itself?

Why are we willing to pay for computers, iPods, smartphones, data plans, and high speed internet access but not the music itself?

Why do we gladly give our money to some of the largest richest corporations in the world but not the companies and individuals who create and sell music?

This is a bit of hyperbole to emphasise the point. But it’s as if:
Networks: Giant mega corporations. Cool! have some money!
Hardware: Giant mega corporations. Cool! have some money!
Artists: 99.9 % lower middle class. Screw you, you greedy bastards!

Congratulations, your generation is the first generation in history to rebel by unsticking it to the man and instead sticking it to the weirdo freak musicians! ..."

UPDATED Dave Allen (ex Gang of Four) has written a rebuttal of Lowery's piece. One commenter I read on this pointed out that Lowery sidesteps the fact that royalty income is at record levels and has been every year since 2009, which shoots down his argument.


"I spent an entire afternoon reading and re-reading the storm of articles, comments, analyses and emails related to one impassioned and eloquent retort. The New York Times, NPR, Los Angeles Times, Techdirt, Hypebot, Lefsetz, the Huffington Post. Thousands of words, hundreds of comments, dozens of emails, several proposed guest posts; I'm not sure I've experienced anything quite like this.

Because David Lowery didn't just touch a nerve this week, he may have single-handedly crushed years of post-physical, ridiculous digital utopianism. In one crystallizing, cross-generational and unbelievably viral rant.

And after a decade of drunken digitalia, this is the hangover that finally throbs, is finally faced with Monday morning, finally stares in the mirror and admits there's a problem. And condenses everything into a detailed 'moment of clarity'...

(1) No, artists can't simply tour and sell t-shirts.

It doesn't work. In fact, shockingly few indie artists can pull this off, except for those developed at some point by the major labels (ie, Amanda Palmer) or a serious group of professionals. Most of the others that are managing to squeak out a living on the road are doing it with great difficulty and are working non-stop.


(2) The recording is now effectively worth $0; its surrounding ecosystem has collapsed.


Some people buys CDs. Less purchase vinyl. iTunes downloads are still increasing. But averaged across all formats and personal valuations, the recording has effectively become worthless. And that has had drastic repercussions for the music industry, and the lives of otherwise creative and productive artists.


(3) Spotify is not a beneficial solution for artists. Certainly not right now, and quite possibly, never.

Will Spotify ever put a meal on an artist's table? That's extremely speculative. Sure, it might eventually mimic Sweden-like penetration in the US. But that is not happening right now; it's not a fair solution for artists right now. Instead, it is shuttling people like CEO Daniel Ek towards stratospheric riches, fattening major labels, and potentially giving Goldman Sachs bankers another joyride.


(4) Kickstarter will mean something to artists in the future, but only to a relative few.


Amanda Palmer may hold the world record for a long time, but there will be other Kickstarter stories. Some will come out of nowhere, most will involve previously-established artists, particularly those already developed by a major label or similar entity. This will not replace the vast financing once offered by recording labels.


(5) DIY is rarely effective, and almost always gets drowned by the flood of competing content.


It doesn't matter if you're singing directly into the ear of your prospective fan. Because they're listening to Spotify on Dre headphones while texting and playing Angry Birds. Some can cut through, but most cannot without serious teams, serious top-level marketing and serious media muscle. Justin Bieber ultimately needed the machine, no matter how beautifully his YouTube story gets spun.


(6) Sadly, most artists are worse off in the digital era than they were in the physical era.


Actually, we have David Lowery himself to thank for this realization. Because the implosion of the recording has impacted nearly every other aspect of music monetization (though certainly not music creativity itself.) And its replacement is generally a fraction of what a 'lucky' artist could expect in an earlier era.

Again, all great for fans like Emily White, but not so great for everyone else.


(7) Younger people mostly do not buy music; they do buy hardware and access.

They gravitate towards free digital content, and occassionally pay for things like concerts when they have the money. Emily White isn't a fourteen year-old, she's a young adult that probably doesn't want the morality trip. And neither does anyone else - regardless of the generation.


(8) Older people buy less music than before; they more frequently buy hardware and access.


If you really want to sell a marked-up bundle, make another Susan Boyle. It's still a market that doesn't revolve around free music and constant fan contact. But older people file-trade, they stream, they steal and they buy less than before.


(9) Google is a major part of the problem.


Lowery is right. Google is not interested in protecting content creators; their interests lie elsewhere. Copyright is a nuisance to them, unless it involves their own code and algorithms. In fact, anything beyond the DMCA erodes their ability to serve customers, remain competitive, and make money. Which is why the Pirate Bay is one of the 'hottest' searches, and why adding 'mp3' to any artist search produces pages and pages of results.


(10) You are a major part of the problem.


Just because it's legal, doesn't mean it's helping musicians. It's not file-trading, but the payouts on Spotify, Pandora, Turntable.fm, or whatever else are shockingly low. It's a rounding error, towards 0. The paradox is that music fans are living in abundance, while artists are barely getting scraps.


(11) Google, the ISPs, and hardware manufacturers have won.


It doesn't matter how brutal the war with Hollywood becomes; how many Dotcom mansions get raided. Music fans aren't going to start buying albums again; in fact, beyond the playlist, the concept of pre-packaged bundling will become increasingly foreign to newer generations.

It's not about who's right, it's now the world the entire music community lives in.


(12) Everyone lies about stealing.


I've only heard a few people actually admit to file-trading: my close friends, Bob Lefsetz, and Sergey Brin. If you have an iTunes collection of more than a few thousand songs, you've almost certainly swapped, torrented, or swapped hard drives in your life. And almost everyone has a collection of a few thousand songs.


(13) Mass-marketed, 'lottery winner' style successes will continue.


Niches are available and sometimes responsive; more often, top-down mass marketing wins. And most musicians are playing extremely bad odds.


(14) This ISN'T the best time to be in the music industry.


Conferences like MIDEM make money off this sort of Kool-Aid optimism. But I work in the music business right now; I was at a major label in the late 90s. And the reality is that this is the greatest time ever for fans, but definitely NOT the best time for those trying to make money from those fans. And as David Lowery so darkly described, it can be one incredibly depressing trip for even a 'successful' artist.


That's the reality we now live in, and you really have David Lowery to thank for making it obvious."

Label Love vol4


Amazing comp for free download, with tunes by Onra, Charles Bradley, Quantic and Alice Russell, and more.... "Label Love is an eclectic yet unified bundle of unique sounds compiled simply for the love of sharing them with the universe - each track plucked and presented by label heads from All City Records, BBE Music, Brownswood Recordings, Daptone Records, Kindred Spirits, Record Breakin’, Tokyo Dawn Records, Tru Thoughts Recordings, and Ubiquity Records."

Weird Together



Weird Together is a fruity musical collaboration between Nick D, Dick Johnson, and friends like Yaw Boateng. This is their first single.

You can catch them live Saturday June 30th, for free, down at Wynyard Quarter, for World Together - Silo Sessions. Midday til 6pm

Lineup...

12pm – 2.00 – Around The World in 80 Tunes World Music Jukebox
2.00 – 2.15 – Mhara Marimba
2.15 – 3.00 – DJ Hopepa (Fat Freddys Drop)
3.00 – 4.15 – Weird Together Live
4.15 – 5.00 – Uncle Barnie
5.00 – 5.30 – Boycrush
5.30 – 6.00 – Uncle Barnie

Weird Together (Live) with Nick D & Dick Johnson, Yaw Boateng (Ghana), Karima Madut (Sudan), Mavs Adegbite (Nigeria), The ‘Not-So-Trini’ Steel Pan Allstars (Trinidad, Italy, Manchester) and The Balkan Brass-Master Boris Kalashnikov.

Wednesday, June 20, 2012

Streetchant vs Scratch22



Scratch 22 reworks indie darlings Streetchant, throws in some NYC punk funk from ESG. Free DL. Not sure why they tagged it on Soundcloud with 'Kim Kardashian Butt Job'.

007 Double Dekker



Mashes up Desmond Dekker and Jurassic 5.  Get in!

Mr Thing, spinning near you


This month, former Scratch Pervert, ITF Euro Team Champion, World DMC Team Champion, UK DMC Champion, champion record nerd and general good egg, Mr Thing is coming downunder from the UK. Playing in Queenstown, Wanaka, Wellington and Auckland.


Known popularly as Mr Thing, this supreme disc jockey first started DJing in 1987. He said recently- "the first hip-hop record I bought was Streetsounds Crucial Electro, first import 12" was BDP "Poetry", first actual record was ... [cringing] Adam & The Ants "Kings Of The Wild Frontier".

[dunno why he's ashamed of Kings of the wild frontier, it's a great pop record, but whatevs...]

From these humble beginnings Mr Thing went on to become one the world's finest DJs as testified by the following accomplishments. ITF - Euro Team Champion (Scratch Peverts) 1998 / DMC TEAM WORLD CHAMP (SCRATCH PERVERTS) 1999 / DMC UK CHAMP 2000 / DMC WORLD 3RD PLACE 2000.

Marc (Mr Thing) Bowles didn't stand still with spinning records. Alongside amassing a fantastic record collection from digging trips across every continent, he practiced his production skills and has gone on to remix and produce records for a credible assortment of UK acts. 

Wed 27th June, Subculture, Queenstown; local support from Hudge and Downtown Brown
Thu 28th June, Opium, Wanaka; local support from Hudge and Downtown Brown
Friday 29th June, San Francisco Bath House, Wellington; local support from Hudge, Marek, Omega B, Dam-G and Bucks a Pop (Tickets here, or door sales)
Saturday 30th June, Rakinos, Auckland; local support from Hudge, Jerm and T-Rice
(door sales only for all shows except Welli)

Tuesday, June 19, 2012

Drinking moonshine?


The NZ Herald published this story " Music vids promote alcohol abuse - study" earlier this afternoon, with a photo of Homebrew to illustrate the story on their front page, and one of Savage on the story.

Homebrew took issue with this, saying on Twitter "heyo @nzherald our videos have never been played on television. Because there's a LEGISLATION..."

Their manager and DJ, DJ Substance, added " @nzherald: Name one TV station that has played 'Under The Shade'?!? WHICH IS WHAT YOUR WHOLE ARTICLE IS ABOUT." The NZ Herald quickly removed the Homebrew photo, replacing it with Savage on their front page.

The story says that "....Research from the University of Otago, Wellington, has today been released, comparing music videos in the past seven years.

The researchers compared 564 music videos which aired on Juice, C4, and TV2 in 2005 with 861 videos from Juice in 2010.

It found that while the overall proportion of music videos which showed alcohol content increased only from 15.7 per cent to 19.5 - which is not statistically significant - the alcohol content in R&B music videos was increasing at a statistically significant rate [from 12 to 30%]....

...Music videos with international artists were also more likely to include alcohol than those with New Zealand artists, she said...."

But Homebrew didn't have a music video in 2010 - they were fundraising for one, after being turned down by NZ On Air, Their first video was launched in May 2011. So they weren't part of the survey data.

And, as the story says, the increase was in R&B videos. Savage aint R&B, and, given that the inclusion of alcohol happened more often in videos by foreign acts not local, choosing a local rapper is an odd decision. 

Unless the survey specifically lists a video by Savage as one of the offending videos influencing kids into bad behaviour on the vomit-stained streets of late night central Auckland.

And only researching music videos from one channel, Juice, is a reflection of  that station's programming, not necessarily the state of music videos in general.

Savage responded on Twitter, saying"Wow had to be the moonshine pic!! lol" His record label, Dawn Raid,added (via Twitter) "Hey @nzherald Can you please remove our artist SAVAGE from your bullsh#t story ?, we never supplied that image, please remove."

ADDED other news reports on this story (see Dominion Post) say "In rhythm and blues music videos, the jump was close to 18 per cent. Hip-hop and rhythm and blues music videos contained the highest percentage of alcohol references at 30 per cent."

It appears the NZ Herald/APNZ report ma have left out the words hiphop in regards to that 30% figure.

UPDATED 415pm Tues - NZ Herald have replaced the photo of Savage with a shot of beer glasses and a jug. Good to see.

Asteroids



"After over 100 live shows, four attempts at releasing an album, two guitarists, three mix tapes and four studios later, Purple Asteroid Cadillac brings you the first visual off their debut LP, TakeShape." Due out later this year.

Straight outta Iowa, some weird-nut neosoul hiphop slops that is meandering and loopy as, led by Fooch the MC. Watch for the clever censor's logo, covering up the rampant weed smoking. Pandas FTW.  Free download of the tune here.

Purple Asteroid Cadillac on Facebook // purpleasteroidcadillac.tumblr.com/

Bang Bang You're Mine (Tom Moulton Edit)



"Richard Sen's This Ain't Chicago (out June 25th, July 10th in the US) explores the halcyon early days of Acid in the UK. This previously unreleased edit of Bang The Party's evergreen "Bang Bang You're Mine" from remix originator Tom Moulton is an extra special treat. This version will be released as a limited vinyl 12" and digital single on July 23rd, along with May's "Love Me Baby" and a new Richard Sen edit of K.C.C.'s "Future III."

Lawrence “Kid” Batchelor: "Larry Levan told me that when they played ‘Bang Bang You’re Mine’ at the Paradise Garage everyone used to have sex on the dancefloor! I never saw that (thank God), but that’s what he said."  More info on Strut's site.

"Strut presents an all new compilation placing the spotlight on early house music and acid emerging from the UK during the mid to late '80s, 'This Ain't Chicago'.

Compiled by respected DJ / producer Richard Sen (Padded Cell, Bronx Dogs), the album celebrates the heady era when UK producers were responding to the first wave of Chicago house and documents the underground clubs that first championed the music – as the early rave scene and acid house kicked in at London clubs like Shoom and Spectrum, deeper and darker house nights thrived like RIP at Clink Street, Confusion and The Jungle and in warehouse parties around East London. Manchester too adopted house music at an early stage, most famously at The Hacienda's Nude night...." Full tracklisting here.

Monday, June 18, 2012

Kas live at the PMA's



Kas [Tha Feelstyle] Futialo live at the recent Pacific Music Awards, where he won two awards. Worth watching for the the young backing dancers swinging their machetes. Serious ting! Song is off Good Morning Samoa (2011), and is called Kaufeai Le Nu'u

Sunday, June 17, 2012

Esther and Tom brew up



Esther Stephens (guest vocalist on Homebrew's album) drops a solo tune with Tom Scott (Homebrew, @peace) on it. Tasty stuff, free DL

Saturday, June 16, 2012

HxH moonwalk

New bizzniz from HxH, I posted about them a while back. Soulful outerspace blip funk, all about MJ and MJ.

 

"HxH, the duo of Rodney Hazard and Kareem Hawkins, have come together to bring you their latest track entitled, "Moonwalk." "Moonwalk" features Kareem on the production and Rodney on vocals. Rodney uses a double entendre to express his reverence towards the two infamous MJ's - Michael Jordan and Michael Jackson. Spitting lines like, "smoove dude feel like Mike on my feet," Hazard conveys hows he felt when Michael Jackson did the moonwalk and Michael Jordan rocked the cradle."

Ring The Alarm playlist, BaseFM, June 16

Prince Charles and the city beat band - Don't fake the funk
Gladys Knight and the Pips -Who is she and what is she to you
Richard Rome - Ghost a go-go
Eva Be feat Joe Dukie - No memory of time - reggae version
The Wailers - Black progress (Say it loud)
Sound dimension - Love Jah
Butch Cassidy sound system - Brothers and sisters
Vin Gordon - Steady beat
Sandoz - King dread
DL Jones and DJ 2nd Nature - Notice
Kenny Dope and the Madd Racket - Supa
Larry Gold - Aint no stopping us now
Patea Maori Club - Poi-e - Peter Mac disco drums edit
Kas Futialo -Good morning Samoa
DJ DRM - Maya's dub - Tim Love Lee mix
Erykah Badu - On and on -Adi Dick remix
Frente cumbiero meets Mad Professor - Analogica dub
Henry and Louis - Love and understanding
The Midnights - Regeneration - Dub Asylum remix (Free download)
Bjorn Torske - Dub vendors
Patti Jo - make me believe in you
Wolrd wonders - Funky washing machine
Wilson Pickett - Born to be wild
Mickey and Them - UFO
David Ruffin - Eady, willing and able
Peoples Choice -  Do it anyway you wanna - Keep Schtum re-edit
Arken - Step off

Friday, June 15, 2012

Midnights regenerate



Auckland reggae outfit The Midnights are playing at Rakinos this evening. I did a remix for them a while back, here's another one I did, a tune off their debut album Outside, from 2010. Free download - enjoy! Let me know what you think in the comments.




Big Matt


It's five years ago today since DJ Big Matt passed away. Sending much love out to his family and friends.

We're having a session for him at the Conch Sunday Grill next Sunday, June 24. DJs include Selecto, The Chaplin, Mikey Sampson, Megan, and myself. Come on down and share some music and some memories of the big guy. Cheers.


Thursday, June 14, 2012

Maverick beats

In early 2011 I wrote about a producer that was aligned with Oddisee, a cat named Maverick, from Washington DC. He's just sent me his latest release, some wonderfully grimy soul-infused instrumentals - have a listen below. Fave tune right now is Yesterday's Lament.


 

Wednesday, June 13, 2012

Ring the alarm quick

Ring The Alarm is the name of my radio show on BaseFM, taken from a killer tune of the same name by Tenor Saw, on the Stalag riddim. Also on the Stalag riddim is this tune below, with Beyonce... Hat tip to Mr B

RIU flashback....


Author/broadcaster Chris Bourke pulled out a wee gem from the archives for Rip It Up's birthday celebrations - a list of the 50 most important people in NZ music, dating back to RIU's June/July 2003 issue.

It makes for fascinating reading, if only to see how many of the names have now departed the music scene, which Chris hinted at in the title of his post, "50 Ways to Leave an Industry." A number of the bands listed are no longer around, like D4 or Nesian Mystik, or labels like FMR or BMG.

And then there's the odd sight of Helen Clark and Judith Tizard on there. Can't think of any of the current lot of pollies who would make the list today.

Someone should have a go at doing an updated version of this list.

Tuesday, June 12, 2012

RNZ youth radio station?

Radio NZ eyes shared quake city offices as $9m cost bites (NZ Herald)

Half way down this story on Radio NZ's need for a new building in Christchurch is a rather interesting snippet about a youth radio station... (Hat tip to Glenn Williams)

"... Radio NZ has not had a funding increase since 2009, forcing it to find other ways to make savings rather than cut its services.

It intended to go ahead with an online-only youth radio site, which would include some Radio NZ content and "new tailor-made content produced as resources allow".

Mr Griffin said he believed there was a market for a web-based station aimed at youth and it would be a minimal cost ..."



Tami n Aly

Our country musicians have been in the news a little recently. Aly Cook was interviewed by Vicki Anderson of The Press, where Cook slammed NZ On Air, noting her success in Australia while being ignored by radio and NZOA here.  

"... Cook has hit out at the NZ On Air (NZOA) funding scheme as having a ''bad attitude'' to Kiwi country music, describing the organisation as ''ageist''.

''My comment is about nationwide commercial radio airplay and the New Zealand music industry at large, and its bad attitude to New Zealand commercial country music,'' she said."

The discussion in the comments on that story is interesting, with Cook responding to various reactions. Vicki Anderson has written a number of articles/opinion pieces openly critical of NZ On Air, one of which won her an award at the recent Canon Media Awards.

Tami on the cover of NZ Herald's Canvas magazine. Story not online.

Meanwhile, I saw recent Tui award winner (3x) Tami Neilson deal with some mainstream malarkey on her Facebook page...

"I've been getting so many emails and messages of outrage from fans in regards to the male host of Good Morning making fun of country music in my interview that I thought I had better comment. (It especially confused my Canadian fans who watched, as the genre is mainstream over there and isn't treated with disrespect.) 

I would like to say that off-camera he was very nice and complimentary of my music, but I think it is just a general attitude towards country music in NZ that spurred him to joke like he did. I tried to dish it back to him good-naturedly, as I am now used to being confronted with these sort of comments and as an entertainer it's not a good look to retaliate. 

I've found the best way to change this mind-set is to just get out there and play my music. I can't count the number of times I hear, "I don't like country, but I LOVE your music!" If you love my music, you love country, baby!"


The interview starts with some weak joke from the male host Rod Cheeseman (after his lame outburst at the end of her song when he says "Thank god I'm a country boy!"), who compounds it with saying "What was wrong with the Western part of it, that's what I don't get."

Tami responds to these stereotypes (as the female host Jeanette Thomas labels them) by saying to the male host "do you want a cowboy boot up your butt, is that a stereotype as well?" which makes the hosts laugh. Well, the female host anyways. 

Tami says in the interview that there is a huge audience here for country music, but it's a challenge to get into the mainstream media. 

Loop love

A handful of tunes of the latest Loop Select 009 comp... This free download was a bonus to the 18 track CD and 2 Hour DVD.

 

Sunday, June 10, 2012

Rip it up and start again


The 35th anniversary edition of RIP IT UP is on news stands now, tune in to Radio NZ today Sunday about 1.30pm for an interview with former editor of Rip It Up, Murray Cammick, and original editor Alistair Dougal.

Murray says "the [above] photo is in the Crummer Road (Grey Lynn) Rip It Up office in the 1980s before I died my hair grey!?" (Photo - via Murray Cammick/FB).

Interview available for download from RNZ here.

Saturday, June 09, 2012

Don't sweat the technique

Wicked edits from Jim Sharp, Eric B and Rakim, and one mashing up 90% of Me with Bam Bam from Sister Nancy.  Hat tip to Morgan H.



Ring The Alarm playlist, BaseFM, June 9

Bee gees - Love you inside out - Beaten space probe edit
David Ruffin - Discover me
Keni Burke - Rising to the top - AliOOFT edit
Herbie Hancock - Palm grease
Eric B and Rakim - Don't sweat the technique - Jim Sharp edit
Playboys - Bumpin bus stop pt 1
Liam Bailey - When will they learn
Frente cumbiero meets Mad Professor - La bocachico dub
Lord Echo  -Things I like to do
Concept neuf - The path - Sofrito edit
Mark de Clive Lowe - Relax unwind
Eddie Kendricks -Son of Saggitarius
Esther Phillips - Home is where the hatred is
War - This funky music makes you feel good (from the movie Youngblood)
John Davis and the monster orchestra - Holler
MSFB - Something for nothing
Hypnotic brass ensemble - War (live in Auckland July 20, Wellington July 21)
Sisters love - Give me your love
League unlimited orchestra -Don't you want me - Greg Wilson edit
Cool breeze - Charlie don't surf
Gulls - Mean sound
Earlyworm - Dirty bass dread skies
Disrupt - Riddim grid
Rocket juice and the moon - Hey shooter
Dalvanius - Chudka pa poy
Kas Futialo - Kaufeai le nu'u

Friday, June 08, 2012

Stevie pon de reggae

Russell B over at Public Address posted a tasty rework of Stevie Wonder's Superstition by JT (free DL), here is JT's take on Living for the city...

JT aka Jamie Travers is straight outta Birmingham, so of course he's done a few UB40 mashups....

Thursday, June 07, 2012

Len Lye, the opera


Len Lye is one of the greatest artists to ever come out of NZ...  this looks like it might be a very interesting project... read more about Lye on New Plymouth's Govett Brewster Gallery's site - the gallery is home to the Len Lye archive...

Artist Len Lye celebrated in new multi-media opera, runs 5-8 September

In a feat of artistic innovation, the life and work of one of this country’s most inventive artists will soon be immortalised in an original New Zealand opera.

New Zealand-born Len Lye (1901-1980) was a pioneer of kinetic art and filmmaking whose work challenged traditional boundaries and forged new explorations of sound and movement.

Fittingly, then, LEN LYE the opera promises to be a multi-media extravaganza featuring a jazz-influenced score and an original mix of music, theatre, film, dance and spectacle.

The opera boasts an acclaimed cast of international singers including James Harrison (UK), sopranos Ursula Langmayr (Austria) and Lilia Carpinelli (Italy) as well as New Zealand favourites Anna Pierard, Carmel Carroll and Te Oti Rakena.


The award-winning creative team includes Eve de Castro-Robinson (composer), Roger Horrocks (libretto), Uwe Grodd (artistic director and conductor) and Murray Edmond (stage director), Shirley Horrocks (moving images), Kristen Sorrenson (costume design), Nik Janiurek (lighting design).

As a burgeoning young artist in Christchurch, Lye realised he wanted to “compose motion, just as musicians compose sound”. This revelation remained central to his life and art, informing six decades of creative work in the United Kingdom, Europe and the United States that included films, paintings, drawings, writings and sculpture.

In addition to his kinetic works, Lye was highly regarded as a filmmaker whose radical techniques broke new ground, particularly in the field of animation. His technique of “direct animation” – a process of drawing and scratching designs directly onto film – has earned him the accolade of “legendary” among many animators.

Composer Eve de Castro Robinson has long been fascinated with Len Lye, who she describes as the “quintessential creative figure - with an exuberant, quirky personality and a life story dramatic enough to be opera material”. The composer describes LEN LYE the opera as a “21st century opera,” with a varied score featuring both jazz and classical compositions.

Opera libretto and Len Lye biographer Roger Horrocks acknowledges the challenges of mounting a contemporary, original opera - and is confident that the production will do justice to its central figure.

“Len Lye used to say, ‘I think my art will be pretty good for the 21st century,’ and that is borne out by the rising interest in his work. We believe there’s a growing audience interested in what’s new and fresh in music, in theatre, and in the visual arts. A great team of creative people are contributing their ideas to this production to ensure it has lots of 'wow moments,' and to prove that contemporary opera can be entertaining as well as relevant, full of surprises for both eyes and ears!”

LEN LYE the opera will be premiered at the Maidment Theatre (7 Alfred St) from 5-8 September. Tickets are available from the Maidment Theatre box office on 09 308 2383 orwww.maidment.auckland.ac.nz.

For more information about the opera visit www.lenlyeopera.auckland.ac.nz

New Sola Rosa bizznizz



Brand new tune from Sola Rosa, feat LA Mitchell on the mic. New album out August 10

Wednesday, June 06, 2012

Sofrito - International Soundclash


Raw dancefloor rhythms from Africa, the Caribbean and South America, out July 24.

From the press blurb: "Strut link up again with Sofrito, leading lights in the new generation of collectives celebrating heavy Tropical music. Fuelled by the unquenchable thirst of DJs Hugo Mendez and Frankie Francis to turn up new music and explore sounds from across the ages, Sofrito has built a unique reputation since it began life in the warehouses of East London in the mid ’2000s.

Now, following the success and critical acclaim of their debut compilation in association with Strut, ‘Sofrito: Tropical Discotheque’, Hugo and Frankie bring the long-awaited follow-up, ‘Sofrito: International Soundclash’.

The new selection effortlessly mixes the old with the new, plucking dusty gems from Trinidad, Colombia, Dominica, Congo, Cameroun and beyond. Exclusives include the deep Pacifico sound of Grupo Canalon’s ‘La Zorra y El Perol’ – a new project from Nidia Góngora, singer with Quantic’s Combo Barbaro - a previously unreleased track by UK/Kenyan sensations Owiny Sigoma Band, and a Tropical Treats edit of Haiti’s dynamite Les Difficiles de Petion-Ville.

Other highlights include an incendiary lesson in Soca groove from Lord Shorty, stunning up-to-the-minute carnival sounds from Guadeloupe’s Mas Ka Klé, all backed up by deep bassline Cadence, synthed-out Soukous and other Afro Latin encounters.

For this release, visual maestro Lewis Heriz interprets Sofrito’s fresh perspective on the world with a specially designed cut-out globe on a pull-out poster to accompany the CD and double LP."

Track list:
1. Lord Shorty & Vibrations International - Vibrations Groove
2. La Pesada - Cumbia y Tambo (En La Lluvia)
3. Midnight Groovers - O Ti Yo
4. Les Difficiles de Pétion-Ville - Fe'm Confiance (Tropical Treats Edit)
5. Owiny Sigoma Band - Nabed Nade Ei Piny Ka F
6. Mas Ka Klé - Lésé yo Palé
7. Kiland et L'Orchestre Mabatalaï - Pour Chercher le Magot
8. Bell'a Njoh - Ebolo
9. Concept Neuf - The Path (Sofrito Edit)
10. Grupo Canalon - La Zorra y El Perol
11. Les Vikings - Ambiance (Guhe Huiamo)
12. Sartana et Son Groupe Mistral - Information Par Le Mistral
13. Luis Kalaff y Sus Alegres Dominicanos - Agarralo Que Eso Es Tuyo
14. Afro Festival led by Fantastic Tchico Tchicaya - El Manicero
15. Melodica Teens Band - Mwekuru Muthao

Tuesday, June 05, 2012

James Murphy is cool


In the latest issue of Red Bulletin, there's a tiny interview with former LCD Soundsystem frontman James Murphy. It further confirms my opinion of him as the coolest music dude walking the planet right now. See...

What advice would you give to young musicians?
Murphy: Make the music you'd want to listen to yourselves. And don't overdo it. Get a bass and just make a record with a bass. Strip it down, get to know your tools before you go layering everything up. It's like learning to fly a jet: fly a kite for a minute!

The LCD doco Shut up and play the hits is in this year's Film Festival, hitting NZ centres from July 19.

Phil Cohran and Hypnotic Brass



We're getting a visit by The Hypnotic Brass Ensemble very soon, but check this clip above... recorded live as part of Another Honest Jon's Chop Up at the Fiesta des Suds, Marseille, 30 October 2011.

The new album by Kelan Philip Cohran (85 years young!) & his sons, who make up The Hypnotic Brass Ensemble, is out now on Honest Jon's Records. Hat tip to Egotripland for the vid below.

Tracklisting:
01. Cuernavaca
02. Stateville
03. Frankincense And Myrrh
04. Aspara
05. Ancestral
06. Spin
07. Zincali

Via icrates.org: The Artistic Heritage of Kelan Phil Cohran.


Mean sound of Gulls

A few tunes from Gulls released on Portland Oregon's Boomarm Nation, I was reminded of them by Mr Stinky Jim, who spun some new bizznizz from them on his fine radio show Stinky Grooves recently.

Boomarm Nation dropped Music For Saharan Cellphones (incls a Gulls remix), reworking the comp Music From Saharan Cellphones.

From the Mean Sound Ep by Gulls, free DL...





And from the Boom Miami ep from last year...Free DL too...




And there's a new ep on the way by Gulls, out July 1, called Running Times, but you can download a preview track via this link...

And there's a live cassette by Gulls from March this year, up for a free DL too... get in there!