Wednesday, October 30, 2024

Ermehn - "STAY STRONG" featuring Sulata, Aqualei, Kas tha Feelstyle & E man

"A new track, ‘STAY STRONG’, features an unreleased 2008 vocal hook idea by Ermehn, which has been interwoven with a vocal sample from fellow mid 90’s Deepgrooves label mate Sulata, and expanded upon with new vocals from family and friends of Ermehn including Sulata herself, his daughter Aqualei, Hip Hop pioneer Kas Tha Feelstyle, and rapper youth worker E.man, and will soon be available on online platforms soon—a tribute to Herman’s music and his community."

This new song samples 'Mancini' by Sulata off her 1997 album Kia Koe, on Deepgrooves. She sings on the tune, too, it's a beautiful tribute to Ermehn. 

Thursday, October 24, 2024

My book about Deepgrooves is coming!

Deepgrooves book cover


I've been working on this book off and on for 12 years, and it's finally done! I'm excited and relieved. Out November 18 2024, details on it below. Book launch at Flying Out, 80 Pitt St, Friday Nov 22nd 4pm-7pm.

You can preorder it from Flying Out, and from Flying Nun.

DEEPGROOVES: A record label deep in the Pacific of bass, and the people who gave it a voice.


Deepgrooves was a 1990s Auckland-based record label that released the first ever local hip-hop single to reach number one on the NZ charts with 3 The Hard Way’s ‘Hip-hop Holiday’, back when there were local radio stations with slogans like 'No rap, no crap'. At that time, some people in the media and the music industry genuinely believed rap/hip-hop was a fad and it would die out. Especially if they ignored it.

The label created forgotten classic records from Fuemana, Sulata, Grace, Urban Disturbance, Freebass, Breaks Co-op, New Loungehead and Ermehn, plus countless individual moments of funky greatness on the reggae and hip-hop vibe.

It was hugely influential and broke down barriers for those who followed like Fat Freddy’s Drop, Che Fu, Nesian Mystik, Shapeshifter, Ladi6, and many more local dance acts. It proved we could make great dance music right here in Aotearoa New Zealand.

This oral history looks into the many stories of Deepgrooves and the musicians, DJs and producers behind it, how they got started and where they ventured. It’s the tale of the inner city community in Auckland that gave rise to this scene.

Deepgrooves opened the door for a collective of talented young men and women who were largely shut out of the local music industry, and brought to life some incredible music.

“From the outside, watching Deepgrooves grow, and watching what they were doing was really hugely influential on what I was listening to. I connected to the fact that they were releasing music by young Maori and Polynesian acts – that was progressive for its time. The music also felt truly competitive on the global stage” – Kirk Harding.

“It’s easily one of the most important local indie labels of the post-punk era and one that paved the way for so much New Zealand music” – Simon Grigg.


Published by Dunbar Noon Publishing, 18 November 2024.​ Cover illustration and inside illustrations by John Pain, book design by Peter McLennan. 322 pages.

Book pages with photo of the group 2R2S.

Contents:

Foreword by Simon Grigg
Introduction
1 Let’s take it from the top. And make some deep grooves
2 DLT: Bass, how low can you go?
3 Daniel Barnes: Talking rhythm and business
4 Mike Hodgson: The Projector Mix
5 Jules Issa, Mighty Asterix: The Twelve Tribes kids
6 Tierney and Lattimer depart, Sinclair and Submariner arrive
7 It’s FreeBASS! Not Freebase
8 Compilation stations in 93/94, plus a riot
9 Unitone Hifi vs Nemesis Dub Systems inna mashup stylee
10 Colony: Rest in pieces
11 Urban Disturbance: Figure these kids
12 Manuel Bundy: On the real
13 Andy Morton: Submariner on the beats
14 3 The Hard Way: Hip-hop holidaze
15 The brothers Grace
16 Lost Records 93-94: We have guitars
17 Jordan Reyne: Long way to climb
18 Fuemana: On the Phlypcyde
19 Simon Holloway: In the studio
20 Rip it up and start again: DIY takes over with Kaiun Digital
21 Sulata: Kia koe/for you
22 New Loungehead: Talking all that jazz
23 Breaks Co-op: Up on the roof
24 Lole: Feel like making an album?
25 Ermehn: Walls of steel
26 John Oz: From Slacker to Freaker
27 Justyn Pilbrow: Press Pause
28 The end: Sofa so good, so long
Appendix 1: Discography, music awards
Appendix 2: Pages from the 1997 Deepgrooves website
Acknowledgements, photo credits
End notes / Bibliography / Index

Book pages with photo of DJ Manuel Bundy



Monday, October 21, 2024

Check out Insurgentes Carismáticos, new album from Romperayo





In 'Insurgentes Carismáticos', Pedro Ojeda and his band once again deliver an electrifying fusion of genres, weaving together traditional Colombian cumbia with experimental and psychedelic elements.

The album offers infinite loops of multicultural sampling, drawing from the rhythmic and melodic history of Colombian music while incorporating sounds from across Latin America and Africa. With influences from 60s and 70s vinyl culture, Romperayo revives and reimagines these sounds for a new generation, all while maintaining an air of joyful resistance.

Pedro Ojeda says about the record:

"Insurgentes Carismáticos, like my previous LPs with Romperayo, represents a deep exploration of samplers, synthesizers, percussion, electric guitars, accordions, and soundscapes—all deeply influenced by the sounds of Latin American and African vinyl from the 60s and 70s. These elements come together to build on traditional, popular, and tropical Colombian music.

"Musically, my aim was to maintain a kind of popular language, ensuring everything stayed free of pomp or grandiosity. This journey was about doing things in a modest way, avoiding grand rhetoric and pretension, and instead focusing on music and sound as subtle, delicate expressions—easily spoiled if mishandled.

"Each song on this album was, at one point, a blank canvas on which I painted a caricature. The album consists of 10 caricatures—not paintings, but caricatures. And if this album were a film, it would definitely be animated and undeniably colorful."

Monday, October 07, 2024

Soul Jazz DJ's Pete Reilly and Abi Clarke interviewed, 1999

100% Dynamite! Soul Jazz DJ's Pete Reilly and Abi Clarke

Interview by Big Matt and Peter McLennan for Real Groove, 1999.

DJ's Pete Reilly and Abi Clarke look a little jaded, after flying halfway round the world. They're here in New Zealand to showcase their London-based label, Soul Jazz Records, then it's off to Australia for some more gigs. Abi's mum gave her some exercises for avoiding deep vain thrombosis - "she cut them out of the paper for me", says Abi - but they've had other worries on their minds. 

"It was a real cock up with the flights," says Pete, while making the tea, polite lad that he is. "Then the records didn't turn up for a few days. But they arrived today, thank god. It was lovely when we got picked up yesterday, we got taken straight out to Piha, that was fantastic, and we went up that volcano, Mt Eden, whats the Maori name for that?" Maungawhau. "Yeah, we were quite taken aback by how amazing the scenery is, especially Piha." Welcome to Aotearoa.

Soul Jazz Records grew out of a second hand record shop in London that sold soul and jazz, funnily enough. They have developed a fine reputation for the quality of their reissues of rare funk, Latin, reggae, jazz and soul. As the name suggests, the label started out specialising in jazz and soul, but has branched out in all directions, even releasing new recordings alongside the reissues. As well as travelling the globe representing the label behind the decks, Abi and Pete also work for the label.

"I work in the shop," says Abi, "that's my thing. Pete works downstairs on the label. He does the remastering, and promotes the clubs and the live things. There's eight of us downstairs, and everybody does a little of everything really. We all muck in a bit."

They both arrived at dj'ing through very different paths. "I used to have the misfortune, you might call it, to do a jazz warmup at a Northern Soul night," says Abi,"and they were just waiting for the northern soul, really! That was my first ever gig. I started DJing when these friends of mine hired a house one xmas. their families didn't really celebrate Xmas, so they hired this big old house, and the cd player broke, and they said anyone got any tapes? And I'd done a compilation just for myself in the car, and I said 'yeah, I got a tape'. It had a track on it by Webster Lewis, and this bloke Tim was there, he was a northern soul promoter, and it totally blew him away. He said 'when I start my club up again in a few weeks, will you play there?', and I just laughed, and went 'oh yeah!' My friend rang me the next week and said 'you know you're playing at Tim's club on Thursday, don't you?' and I'd never used decks, so I went round to my friends house that had some and had a little go."

Pete says he had quite a lot of records as a teenager, "and I left school, and just after that acid house broke out, and me and my mates started doing parties, and I was the one playing Baleric, and it was an excuse to play a mix of stuff. My mates were getting into House, and at the time the music you would hear was the Clash, and Gil Scott Heron and King Tubbys all mixed in, and I was the one trying to do more of a mix of stuff, and from there, I just got more into the funk and soul stuff."

The label grew out of record buying trips by shop owner Stuart Baker. "Stuart and this guy called Alec started a shop," says Pete, warming to his history lesson, "called Sounds of the Universe, in 1988 (the name changed along the way to Soul Jazz). Stuart started the label in 1991. At the time he was selling soul, jazz, funk, Latin, a little reggae but not a lot, and they'd noticed there was a demand for certain records, so they decided to reissue them. They had met a lot of people from going out on buying trips to the States, and not a lot of people were doing that back then, and you could like go to Eddie Bo's house and just buy records from them, and then, for the guys that own the rights, it was like 'well, why don't we reissue your album?' kind of thing. It was a reasonably easy thing to do."

However, finding the people who own the rights to these great tunes is not always so simple. "It gets easier in one respect," says Pete, "in that we've been doing it for quite a long time, so you get to know the people and who owns what, and make contacts with people at record labels. Quite often it involves a lot of international directory enquiries, and just phoning round saying have you ever heard of this guy, apparently he was the guy who ran the label. Stuart will have read anything that there is to read on it, so he's usually got a list of leads, like this person owned the label, and last he was in Houston or something, stuff like that. It's a bit of detective work.

"The reggae stuff is a bit easier to find who owns it, but not always." Indeed, some of the great reggae producers are notoriously protective of their back catalogue. "Everyone told us we wouldn't get Studio One stuff (from producer Coxsone Dodd), but we thought we'd have a go anyway," says Pete, "and we sent him some of the albums that we'd done, and initially he said no, then he got the albums, and he liked the fact that we did other stuff, like we'd done jazz, cos he said that was his first love, and that seemed to swing it. We said that we wanted to present the music to people in the UK, and to people who might not know anything about Studio One. We really liked the music, and we thought that more people would too, if we could present it in the right way."

The very successful 100% Dynamite compilations grew out of the club night of the same name. "We'd been doing it for about a year, and we thought it'd be nice to do an album of tracks that were big at the club, and a lot of them were Studio One," says Pete. "The club started looking at the link between soul and reggae, and we'd always played a lot of cover versions, playing the soul version next to the reggae version, stuff like that. We have a lot of people that say 'I'm into techno, and I didn't think I liked reggae, but one of my mates has got all those Dynamite albums, and they're wicked'. Which is always nice, cos that was part of the reason for doing it, not to say this is better, but just have a listen to it for a night and give it a chance." Once they've got permission to use a track, the next step is the mastering. "We usually remaster from the vinyl," says Pete.

However, finding a good copy can sometimes prove difficult. Is there ever a tune that is just too hard to salvage? "I don't know," says Pete, "you'd probably be better judge of that, when you hear them on the album! When we went to do Prince Buster's 'Girl why don't you answer', the record had a hole in it, an actual hole in the record we had to try and patch it up. We usually phone a few other people too, like Pete Holdsworth from Pressure Sounds, he's good, he's always got like 4 copies of everything. Usually, a couple of us might have them, but they're knackered, so its like 'have you a copy and is it in good knick and can we borrow it for a couple of days?' And we tell then what it's for, and they just say sort us out with some records."

The whole process of the licensing can take a long time. "With Chicano Power," says Pete, "that one took ages, cos you couldn't do a Latin rock album without Santana on it. CBS wanted like $10,000 for an advance for one track, just ridiculous. We've also just finished a follow-up to New Orleans Funk, called Saturday Night Fish Fry." They also run a monthly all nighter club night under the same name. "With the Dynamite nights, we played a little funk and soul, but only a little bit," says Pete. "We just wanted somewhere to play a little more funk and soul stuff really. We get guests along, like Andy Weatherall, Andy Smith, Portishead's DJ, David Holmes., and Dean Rudland, who compiles stuff for Ace, and we've got Marco Nelson doing the next one - remember the Young Disciples? He was in them. He's the bass player for Paul Weller now. "

For 100% Dynamite we have guests too," says Abi. "We've done a lot of stuff with Jerry Dammers (formerly with ska band the Specials). We get more skinheads and mods turning up when Jerry rolls into town! He was like the first guest we had at the opening night. He took a fair bit of persuading. The pub we did in, years ago, was an NF (National Front - extreme right wing skinhead group), and Jerry was like 'that's an NF pub, I can't play there!' And we asked him when was that and he said 1978. Its been a gay pub since then, so its obviously changed a bit since then!"

They''ve also hauled Mr Dammers along with them on their travels too. "We went to Ireland with him," says Abi, "and all these Specials fans were there, and he hadn't played Specials records for years, and he played them that night. It was funny, he was having to sign peoples arms, and we couldn't actually leave the building for about an hour after that, it was great. We've done New Yorica nights - we did one in Ireland. It was in an arts festival in a theatre, and I think some of the older people were expecting it was going to be a band, but it was me and Pete behind the decks! It think they were expecting an 8 piece Latin band! But you know, we managed. That was quite funny."

The quality of their compilations is very important to them, which helps the records find their way into the crates of DJ's who might not normally give reggae or Latin a second glance. "I've been to other clubs where the other person has been playing house or r'n'b," says Abi, "and they might have a Dynamite album in there. I think part of the reason that DJ's like them is that you can play them out. Pete's pressings are nice and loud, so you can play them in clubs. That's the problem with compilations now, so many of them have got great tracks, but they've got so many tracks on them, they're too quiet to play out." Their audience is not just an exclusive club of trainspotters.

"I think that a lot of the House DJs have got quite wide tastes too," says Pete. "Masters At Work really liked the New Yorica album (which is one of their topsellers), I think that's one of the reasons that sold so many, cos they bigged it up in interviews, saying this is our roots. That seems to cross over, that's a popular record in New York with the house guys."

We close the interview with a scan through the piles of vinyl Abi and Pete have bought from shops around our fair city. Abi has a pile of 45s, including Anita Baker -'great at weddings' she explains, and 3 eps by Aussie entertainer Rolf Harris with picture sleeves, which she is very excited about - 'My brother is going to love these!'

Friday, October 04, 2024

Flowerstream on tour across Aotearoa




via UTR: "After performing in Europe and touring in China, 花溪 Flowerstream are finally going on their first ever Aotearoa tour.

The Tāmaki Makaurau genre-fluid guzheng and drums duo released their debut EP Flowers Dream in April, toured China in May, and now they’re bringing their home-engineered electric guzheng, drums and distorted vocals dreamcore punk psychedelic sonic experience to super special venues around the country.

The duo of Huiming Wu on guitar / bass / ghuzheng (a Chinese plucked zither) and percussionist / multi-instrumentalist Maxwell Brown, 花溪 Flowerstream have been a sonically distinct presence on Tāmaki Makaurau's stages over the past few years.

Tour dates and tickets here on UTR

Thursday, October 03, 2024

New Painspeople tune, also out on 10" vinyl



New biz from Painspeople (Hallelujah Picassos' Johnny Pain): "A chirpy socialist popera as we look ahead to the rebound.

"Pressed on 10-inch vinyl and released as a double A side with Diem Redux (Wes Prince ex Danse Macabre and Nigel Russell ex Car Crash Set/DM) - 'Perseus' on the flip. There a few copies remaining so drop Mr Pain a line if you're interested.


Graham Reid wrote about it: In praise of the mid-sized (2024) The pleasures of the 10 inch record.

excerpt: John Pain "I have always been a fan of the 10'' 45 - great sound quality with a longer duration than a 7'' and just nice to handle. I recently illustrated Peter MacLennan’s forthcoming book about the Nineties Auckland label Deepgrooves and was reminded of their fantastic debut release, a double 10'' featuring Riot Riddum Sound System (Bobbylon and Roland with Teremoana), Sound Foundation (Dubhead and Angus McNaughton), DLT Meets The Projector etc, so there was also a format prompt there.

Neither Stebbings or Holiday does them in New Zealand, and Car Crash Set's Dave Bulog (RIP) had previously dealt with Dub Studio in Bristol, so I got in touch with Henry Bainbridge . . . and there you go.

... I started releasing electronic music as painspeople shortly after ‘leaving’ the Picassos in ’95, with a track on both of Stinky Jim’s Sideways compilations and a tune on a Froth 12” alongside Phase 5 and Nonplace Urban Field.

In 2006 I moved to South Asia to work in the animation industry and was away for more than a decade which took me out of the local scene. I played bass in a black metal band in Singapore, and continued composing as painspeople.

I write regularly for Audio Culture. I play music with (cinematographer) Fred Renata a fair bit (usually drums, intermittent piano or bass), he is a great Maungaturoto-based songwriter.

And I have an occasional improv-combo with Waipu-based Ronny Haynes (Show Me Where it Hurts, Serafin, Pash) called Special Filter at Bandcamp here.

Wednesday, October 02, 2024

Once Were Warriors soundtrack vinyl reissue out Oct 25

 Great tune from Upper Hutt Posse from 1992, this groover featured on the incredibly popular soundtrack for the movie Once Were Warriors. 

That soundtrack gets a vinyl reissue next month.... preorders up at Flying Out now, release date is Oct 25, 2024.


Tracklist

Theme From Once Were Warriors
Sunrise Flutes
Survivor - Rua Kenana
Grace In The Alley
Herbs - Home Grown
Grace Visiting Toot
Marie Sheehan - Kia Tu Mehea (To Be Free) (Bonus)
Paatere
Screaming Flutes / Haka
Radio Thief
Jake & Beth - Here Is My Heart
Southside of Bombay - What’s The Time Mr. Wolf
Gang Car
Ardijah - Gim’me Time
E Tu - Whakamutungia Tenei Mahi (Bonus)
Bully Gets His
Moana & The Moahunters - Tahi – Roots Mix (bonus)
Once Were Warriors

Tuesday, October 01, 2024

Wellington's DJ TP interviewed, 1989

Article about DJ TP, 1989

RAD 2, P15, February 1989, magazine digitised by Wellington City Libraries

TP starting from scratch: Wellington's best DJ cuts out for the USA 


By MIRIAM LAUGESEN

“I always remember my first night because I really messed up. There was a record going, and [hit the start/stop button, but it was on the same record. The record just goes rrrrrr... and died. I thought oh no — the equipment has broken down, I was standing there panicking and the mic was still working, and everyone was looking at me, ready to spit at me. The DJ is down the other end of the bar laughing his head off, and kind of casually walks over and reaches over the console and pushes the button, and the record starts up again. I almost gave up at that stage, I thought no, I’m not cut out for this.”

Eight years after that night at Dr John’s, TP is glad he stuck at it. His classmates at school put him on the “most likely to fail list”, and people in the club scene gave the young DJ a hard time, which just made TP say “Man, I’m going to get you.” He soon proved his ability by pulling in the crowds at Dr John’s (now demolished) in Courtenay Place. Because the club was an unlicensed venue, TP says other DJs “didn’t consider me a threat. It had a label — ‘the kids place’. What they didn’t realise was that there was a scene happening there that wasn’t happening in any other club. Dr John’s was party!”

TP aired his talents on radio when Dr John’s briefly sponsored Radio Active’s Uncut Funk Show. TP joined founder Mighty Mic C behind the turntables and stayed on as co-host for four years, pioneering rap, funk and hiphop in Wellington, He says the best part of the show was when the show’s most fervent listeners — little school kids — rang up with requests. But the Wednesday night show became difficult to maintain, as TP had to rush down the hill to Exchequers to start work at 10.00pm, and he gave up radio for full-time club work.

The move from Dr John’s to Exchequers in 1984 (initially just midweek) meant some changes. “I had to become a professional when I started at Exchequers — it’s still all that party and stuff here, but working at a licensed nightclub with an older age group means you can’t afford to specialise too much.”

There are two types of people at Exchequers, says TP. The dancers go to dance and listen to the music. The drinkers go to get drunk. By about 1.30am the drinkers have gone home and the dancers take over.

TP has catered to the Exchequers’ clientele, but has his own agenda, which rules out some music. “I won’t play Top Ten that isn’t black or danceable — it’s all a question of what I can get away with; basically as much acid, rap and good commercial black stuff as I can.”

TP is often frustrated by people who say all rap music sounds the same. Each group is different, though rap music has changed since he began DJing. The rap music of 1988-89 is “more melodic and not so electro anymore. Instead of trying to get every cut known to man in one song they’ll stick to a basic theme.”

TP is still one of the few DJs around who raps as well as mixes, live in a nightclub. He raps less now than he used to, but once it was a regular part of his “show” at Exchequers. When he last went overseas TP-was surprised to find that many clubs in Sydney have no microphone and few DJs do any rapping in America.

Last week, TP left Wellington again — this time for a new life in America. He’s looking forward to it, but realises that “you're nothing in America” and that he’ll be starting afresh. Overseas competition is tough, with success depending not only on your skills as a DJ but on your contacts. To TP, that’s a challenge. “I'll go into a club and someone will let me on their mic, and that’s the last they’ll see of it. I’m like that — I just go out there and say, thanks man, then I try and waste them terribly. That’s shocking, but if you ain’t good enough, someone else will be.

“There are people out there who are trying to get on my case and tell me I haven’t got it. In the rap scene people should support each other but it’s the opposite. I go around and support as many young kids as I can. I tell them to keep on rocking man, keep on going."

Wednesday, September 11, 2024

King Sunny Ade - 'Brilliant Paradise-Garage-if-it-had-a-Nigerian-branch funkiness'




Via Awesome Tapes from Africa... a cool YouTube playlist of an album by the King... "While I did not purchase this tape in Africa, it is certainly one of the most awesome tapes from Africa. King Sunny Adé, along with Fela Kuti, was a central player in bringing African pop music to the world. 

Is a major international release a strange choice for my usual showcase of rarities/oddities? This record combines the new and novel studio technologies (for 1983-84), like drum machines and synths, with traditional talking drums and good ol’ electric guitars, resulting in brilliant Paradise-Garage-if-it-had-a-Nigerian-branch funkiness. 

So many styles of African music have been enhanced by electronic instruments over the years, but few have risen to such sublime heights. I mean, juju music (of which Adé is considered one of the key pillars) gets pretty repetitive. 

I say if you’ve heard six juju records, you’ve heard them all. Aura, then, distinctly stands out. Fans of electro, techno and the like will find this cassette particuarly fascinating. While not a commercial smash, Aura is one of my all time favorite recordings from Nigeria. Buy this record somewhere. I found a clean copy on vinyl in Denver the other day for $3."

Here's King Sunny Ade live in 1983, what a great band...



plus here's an amazing dub version of that song, remixed by Paul Groucho Smykle, who worked with Sly and Robbie, Black Uhuru, Ini Kamoze amongst others...  Smykle was interviewed by David Katz in 2013, here's what he had to say about this remix...

Your King Sunny Ade remix is probably the first instance of African music being given the dub treatment.

I did a dub of “Ja Funmi” that everybody really liked, and I have some other dubs at home somewhere that I did for myself. With “Ja Funmi,” I listened to the tune and liked the tune, and just tried to get a different vibe on it.

You remixed records by other African artists in the 1980s, including Wally Badarou from the Compass Point All Stars.

"Oh yeah, “Chief Inspector.” I did that like a go-go tune, cause I was in Washington DC for a while, working with Trouble Funk. I liked DC at that time, even though it was the murder capital of the world, because in the clubs, it’s all live bands and no DJs: E.U., Trouble Funk, Chuck Brown, everybody’s playing live music and there’s people dancing to that. 

"So I came back, heard Wally Badarou’s tune, and they wanted a remix on it; a guy in New York said, “Groucho, do what you feel to do,” so when I said I was going to do a go-go tune, the English people said, “No, we just want it straight, as it is, a nice mix.” So I gave them their version, and then I did a go-go version, added percussions and everything, and when I sent it to New York, everybody knew: “This is the lick.”

Did you ever work at Compass Point?


"Yeah. I did some stuff with Larry Levan and Francois K in the ’80s. Very nice studio."


Monday, September 09, 2024

New Dub Asylum EP out now


New ep from yours truly. Deep bass kicks and spacey synths to wash out your mind and leave you with space. Or in space. Take your pick. Whatever works for you.