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