PA

March 8th, 2008

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Above: J. Mourinho, kode9 and Burial in a press briefing. Not pictured: Burial.

Just a few short notes because I’m too deep in comp studying to do any more for the next while:

John says the long-awaited second issue of Woofah is currently at the printers and should be hitting shops shortly. More of the same stupidly good editorial content now wrapped in a sexy full-colour cover. Number 1 sold out fast so don’t sleep on this.

Issue 8 of the MONU the Magazine on Urbanism is also out. This time the theme is Border Urbanism with articles on cultures of liminality that emerge in political edge-zones. Also interesting-looking is mu•dot (’the magazine for urban documentation, opinion and theory) which split off from MONU in the fall and (a bit confusingly) kept the old domain name.

And I should have posted this earlier, but if you’re in Ottawa tonight, it’s worth trying to penetrate the blizzard to get yourself to Ladies in the House @ Babylon. It’s an all female lineup of DJs (CPI, Kareyn, Jas Nasty, Ruby Jane and Mz Revolution) and B-girls in celebration of International Women’s Day. A lot of work has gone into this party and proceeds are going to Harmony House, a second stage shelter for women and their children, so it would be a shame if the weather ruined it. Doors open at 10.

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Autonomic Computing - Mutantextures

February 20th, 2008

Mostly built from promos and CD-Rs that people have been kind enough to send over the last couple of months, along with some older bits that seemed to compliment them. The emphasis is squarely on mutant styles and experimental tangents. I cobbled it together fairly quickly so it doesn’t have quite the polish of previous ones. Also, the mixing style is much more relaxed and less layered than before with a bit more emphasis on effects work, lots of EQ-shifting, etc.

Download
[18 tracks / 50 min / 70 Mb]

Shackleton ft. MC Tenfold Vengeance ‘The Branch is Weak’ (cd-r)
Shackleton ft. MC Tenfold Vengeance ‘Death is Not Final’ (cd-r / Skull Disco)
Grievous Angel ft. Rubi Dan ‘Move Down Low’ (cd-r/edit)
T++ ‘Tensile’ (Erosion)
The Bug ft. Flowdan ‘Skeng’ kode9 remix (Hyperdub)
Exemen ‘Far East’ (Manchu)
2562 ‘Circulate’ (Tectonic)
2562 ‘Kameleon’ (Tectonic)
T++ ‘Space Break’ (Erosion)
Appleblim and Peverelist ‘Over Here’ (Skull Disco t/p)
Pinch ‘Dr Carlson’ (cd-r / forthcoming Punch Drunk)
Untold ‘Purify’ (cd-r / forthcoming Hessle Audio)
Pangea ‘Nest’ (Hessle Audio)
Shackleton ‘Death is Not Final’ T++ remix (Skull Disco t/p)
Pinch ‘136 Trek’ (cd-r / forthcoming Punch Drunk)
Untold ‘Kingdom’ (cd-r / forthcoming Hessle Audio)
Ikonika ‘Please’ (Hyperdub)
Amen-Ra & Double Helix ‘Demon Slayer’ (cd-r)

In a similar vein, be sure to check out this excellent mix from the reborn Patchwerk Man. Also Nick’s introduction to T++ from a couple of months back.

Hope you had a Blue Xmas and a Rock-a-Hula, Baby

December 31st, 2007

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TOGETHER AT LAST! Islington’s favourite Elvis and Shackleton make it warm-n-easy on a New Year’s Eve.

Thanks Sam!

Forward Sounds 2008

December 4th, 2007

“And you’ll never hear music like this again”
- MC GQ (AWOL tape, 1993)

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Maybe it’s time to revive ‘Forward Sound,’ though maybe in the plural. Circa 2003 that was the open-ended term that used to describe what eventually became dubstep, along with a tangle of threads that split off or got left behind. Just like house first meant “what they play at the Warehouse,” it was a reference to the club night itself, the only place where you could hear as yet unnamed new mutations of the garage machine, whether in the form of Ghost, Landslide, Menta, kode9, Plasticman, Hatcha, Slimzee, etc, etc. And of course it was hardly a ’sound’ at all. Virtually every artist operating under that banner was a sound unto themselves and the Forward style could only ever be a snapshot of those trajectories out of UK garage that happened to be coinciding on a given Thursday night or in narrow bands of pirate ether.

Forward Sounds: mutant offspring straying into the house, swiping tools from the garage, and hallucinating new machines. For my money, the most exciting times in music are always the ones without names, when refugee styles get promiscuous in the zones between the trodden paths. Seven years on from the first FWD», I think it’s fair to say that the most interesting things in dubstep are increasingly outside. The D is contested territory, expanding around the world while, at the same time, narrowing its musical ambitions. Dubstep’s new mainstream seems happy enough to keep their options limited while more experimental types are left to decide whether they should cling to the name or cut themselves adrift.

In fact, the seismic rumblings seem to be getting louder across the entire spectrum of late-UKG these days. It’s not just dubstep that’s breaking up again. Grime’s undergone its own identity crisis in the last couple of years, struggling with quality control and losing venues over real and imagined violence. Now it’s bleeding into funky/UK house, last year’s bogeyman, death knell of “nuum” (or was that dubstep again?) which itself is slowly turning into a source of tentative optimism. Producers like Apple are hinting at the sort of mutations that originally made UKG into an interesting local product. Meanwhile, D1’s forthcoming track I’m Lovin is being billed by Tempa as a “Dubstep/funky house mutation.”

RWD Mag founding editor Matt Mason recently had this to say on the ‘Maybe Funky House will turn out OK‘ thread over at Dissensus:

It seems like there is a real convergence going on between all the (not so) different London scenes; grime, dupstep, UKG, bassline and funky house are all being appreciated by DJs and clubbers who claim to be into different sounds.

To me a set of all these styles played together doesn’t sound too different from a 1997 UK garage set, when producers, DJs and clubbers were, imho, far less conservative about what they considered appropriate for the dance floor. Which meant you had a scene with the broad mindedness to include everything from DJ Zinc to Masters at Work to TuffJam to Groove Chronicles to TJ Cases. I think this diversity was part of UKG’s (then) mass appeal.

Is this something people could see happening again? It sounds like it might be already.

* * *

Tommorow: Roll Call (edit: delayed but coming soon)

Monoculture

December 3rd, 2007

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I was a bit surprised, a couple of weeks back, to be offered a review copy of Caspa and Rusko’s forthcoming mix CD from Fabric, the offshoot label of the trendy London nightclub. Surprised because I’ve made no bones about my distaste for the brand of dubstep that the disc seemed to be showcasing. Still, I kept an open mind and gave it a go. Maybe it would reveal some new energy bubbling in the mainstream of the genre that I’d been missing since my retreat to the fringe.

Now up to #37, the FabricLive series has been churning out high profile mixes from the likes of Diplo, High Contrast, Andy C, Ricardo Villalobos and Herbaliser since 2001. This is their first dip into the D, which I suppose makes it some sort of 00’s answer to 1995’s A.W.O.L. Live at the Ministry of Sound. Caspa and Rusko might seem a bit of a surprise choice for the job, especially when someone like Skream is only just putting out his first commercial mix and other early innovators haven’t yet had the chance. But maybe that’s the point: take two heads who sum up the sound of dubstep’s new popularity and let them mark their territory. Visionaries they’re not though, and what we get here is a profoundly unidimensional display of tweakhead bass churn and little else. Unfortunately, Dissensus’ Noel Emits hit the nail on the head when suggested it’s “like a concentration camp for all the big wobblas. Just get it out of your system so you don’t have to worry about it again.” If only they’d go away.

Who stole the soul?

Titles like Big Headed Slags, Well ‘Ard and Cockney Thug seem to sum up what Caspa and Rusko are all about when then get behind a mixing desk. And in case you forget that they lace it all with some well ‘ard cockney vocal samples, distilling the technique to minimalist perfection in Thug’s fack! hook. Brilliant. Their combined 15 track contribution to the mix sets the tone with L-Wiz, Cotti, Matty G, The Others, and a few more, mostly drawn from the Dub Police and Sub Soldiers catalogues, filling in the rest.

Early on we get some well-worn dubstep-isms: Caspa’s Cockney Violin does the Hero-esque ‘Eastern’ thing to the hilt and the Tes La Rock remix of Uncle Sam’s Round the Way Girls is one of those dull exercises in fitting a reggae tune into a dubstep template. L-Wiz’s Girl from Codeine City is inoffensive enough but the saxophone bits are a little too 80s soft rock a la Jerry Rafferty, for my tastes. We also get Matty G’s 50 000 Watts VIP, the original of which seemed to become a hit largely on the basis of it being the first instance of someone copying Loefah really well. From the sixth track on we’re treated to a parade of harder-than-though metallic wobbles. It’s the march of the funkless farting robots. And that’s fine if you like that sort of thing, but I really don’t understand this sound’s tenacity. Some have called this a collection of ‘dancefloor bangers’ or ‘crowd pleasers’ which supposedly reaches its pinnacle in the can opener wobbles of Coki’s Spongebob. But what exactly is the appeal of being in that crowd, on that floor? Granted, I haven’t heard Spongebob at full wattage but I can’t see that helping. All it brings to mind is bad nights out in a crowd of over-macho young guys, and that state of dissociative numbness that floods in when it seems as though the sound system has turned against you, personally. Coki, like Loefah, has taken maybe more than his fair share of criticism for stubbornly pushing a singular sound up to and beyond its best before date. But credit to both of them for developing something unique and working to perfect it. This disc reminds us that it’s the acolytes who’ve taken over the man’s sonic territory, kicked it down a notch, and expanded it into a stifling monoculture.

One of the few bright lights here is utterly out of place D1 track I’m Loving from his forthcoming Tempa release. I’ve often found D1 too cold and clinical but less so lately. I’m Loving is outright garage-y - and I mean overtones of New York - but by this point it’s a bit like waiting until injury time to trot out your star player. The one Skream track is barely distinguishable from the rest of the disc, though it does have that extra bit of rhythmic panache that sets even his lesser work a little apart from the pack. The Buraka Som Sistema remix of Cockney Thug provides some brief flashes of joyous energy, though the buzzing dnb-syle synths are grating, at least after an hour of wobbles. The last few tracks are aimed at smoothing things out and, while they veer into New Age synth washes, they at least provide a bit of variation. The most successful of this lot is ConQuest’s Forever which, despite its Lonely Planet tinge, also pares itself down to a nice conga-driven pulse that’s reminiscent of Loefah’s Truly Dread.

What this CD needs from the outset is more of the rhythmic, sonic and emotional breadth that’s kept in reserve until the end. And that doesn’t seem like too much to ask from Caspa and Rusko who, according to the press release, both grew up surrounded by diverse musical influences, including classical training, punk collecting dads, tips from Iration Steppas and a mom who sang in a “weird kind of country/folk” band. Bring all of that together and you could have something that really turns the D on its head rather than a summary of the stagnating trends that have turned mainstream dubstep into an emotional cripple.

That said, this will undoubtedly sell well because, in late-2007, it pushes all the right buttons with the dnb-affiliated demographic that Fabric is openly be courting. If you think ‘cold wobbla’ when you think dubstep, then this is the one for you. If you’re like me lately, you might have found yourself qualifying the term ‘dubstep’ when people ask about your tastes.

* * *

Tomorrow: Forward Sound Part 1

Monu 8: Call for Submissions

November 30th, 2007

Bernd Upmeyer from Monu (Magazine on Urbanism) has alerted me to their current call for papers.  Issue #8 will be titled Border Urbanism:

When cities are located close to borders, they often foster very specific economic features and urban anomalies, which can not be found in cities located in the very centre of a country. Wherever two jurisdictions come into contact, special economic opportunities arise. Cities in border regions may flourish because of the provision of excise or of import - export services - legal or quasi-legal, corrupt or corruption-free. Different regulations on either side of a border encourage services to position themselves in cities close to borders…

Cities located close to borders obviously display an urbanism which differs ultimately from the urbanism of cities that are located more centrally. In our MONU #8 winter issue we aim to explore, reveal and illuminate the condition of such Border Urbanism and invite essays, manifestoes, photography, speculations, sophisticated analysis or simple meditations. MONU #8 will be published in the winter of 2007. Submissions or questions should be sent to monu@b-o-a-r-d.nl by the end of December 2007.

The full text + details can be found at the Monu website.

Raggage, eh?

November 13th, 2007

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A ‘wot do u call it’ moment from the early days of UK Garage. This DJ Magazine article from early 1997 was, apparently, the first and last word on ‘raggage.’ I was curious but skeptical. What kind of name was that? And why would I go for junglish house when I was having a hard enough time tracking down all the actual jungle I knew I was missing while holed up at my base camp in the forests of Northwestern Ontario? Of course I dismissed it and missed it all, only to discover it later, backwards, through grime and dubstep. Which is fine, because I think I like it now more than I ever would have when I was younger. I did hear and like the odd thing like ‘Rip Groove’ but had no idea how to track the stuff down. Interestingly, my occasional trips to Toronto’s Anglophilic record shops towards the end of the 90s yielded no clues that something new was taking over in London. Toronto grabbed hold of jungle early on and never let go.

The Skull Disco winners are…

November 7th, 2007

… Lesha from Indiana and Dissensian Red Crescent. Congratulations you two.  And thanks to everyone who wrote in.  I wish I had more to give away.

Unhome: Vadding the Man-made Unknown

November 4th, 2007

A while back at BLDGBLOG: ‘Drains of Canada - An Interview with Michael Cook’ - fits well with my troglodyte bit (also John Eden’s sewering in Bow E3), and reminds me to do a tribute that I began but never posted two years ago.

. . .

“…a triad of paranoia, sleep deprivation and heavy medication combined to give me visions of an exoskeletal birdman staring through my window from across the hospital courtyard, which led me to fantasize at length about the rest of the hospital…

“Rendered completely uninhibited by morphine and completely curious by my own imagination, I began making excursions all around the hospital in nothing but my bathrobe and slippers, frequently in the middle of the night when almost all the lights were off… I was amazed to find I could get into engine rooms, food service areas and even out onto the roof. Once or twice I found myself trapped in an area which I couldn’t leave without going through an ‘Emergency Exit Only’ door, and it was then that I learned that such doors aren’t usually alarmed… Other times I scared myself out of my skull, as when I realized I was in the middle of the operating room floor while operations were underway, or when I stumbled upon the morgue while exlploring C Wing’s basement late one night.

“… The hospital is one of those glorious buildings which is continually built up, decade by decade, though hardly anything is ever torn down… One by one the single small buildings swallowed all the other buildings around it and amalgamated them all together.”

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These opiated excursions into the ‘ancient and chaotic’ guts of Toronto’s St. Michael’s Hospital by the anonymous Ninjalicious initiated a decade’s worth of exploration and a photocopied diary of clandestine travel called Infiltration. ‘The zine about going places you’re not supposed to go’ ran cover stories like Houses of the Holy, Saskatchewan Sanitarium, Storm Drains, Buildering, Toronto General Hospital, Infiltration at Sea!, and Military Leftovers. No. 18, ‘What Hath We Wrought,’ had the zine owning up to its influence within a growing and increasingly scrutinized urban exploration ’scene.’ Infiltration used to advertise in the back of 2600 mag (’REAL WORLD HACKING: Interested in rooftops, steam tunnel, and the like? …’), with which it shared some philosophical affinities. In fact, hacking and urban exploration have a linked history that runs back to groups of programmer/gamers and tunnel explorers - they called it Vadding - at MIT in the early 1970s.

Infiltration was also the only zine that I followed religiously over its lifespan, picking it up at record shops, better bookstores and anarchist book fares. It tapped into my graf-derived obsession with subterranean TAZs, the man-made unknown and mythillogical infrastructure. (I also grew up in a city dotted with abandoned grain elevators, railway trestles and other decaying industrial leftovers that begged to be explored) Ninj wrote with a charming directness, maintaining a strict ethic of traceless entry and passage, while also delighting in feats of ’social engineering’ and the unfiltered awe of discovery. He had an eye for Frankenstructure - buildings built, bisected, walled off, rebuilt, sectioned, forgotten, built around, through, over-top of - within which epochs blurred and spatial relationships became confused (even in the minds of their daily occupants). More often than not, on those occasions when the explorers were apprehended, their captors seemed surprisingly oblivious to the mysteries of the spaces they used every day. More disappointingly though, some, when confronted by the organic irrationality of the man-made unknown, were actively put-off by the private lives of their buildings and this becoming-autonomy of sections of the urban infrastructure - a case of the unheimlich (unhome » the uncanny) in the most literal sense. ‘But… why would you do that?’ they would ask the explorers, incredulous. Surely, these had to be thieves, vandals, vagrants, terrorists. Luckily, Ninj was good at appealing to his captors kindness and egos.

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The only similar thing I’ve found in print is a London zine called Smoke: A London Peculiar which is nice but comes off overly precious in comparison. There was also the 2005 documentary Echoes of Forgotten Places which is visually stunning, but lapses into strained eulogizing for decrepit buildings’ past glories and our fading ‘heritage.’ (’The forgotten places speak to us. If we choose to listen… we will honour our dead’ etc etc. cue post-rock sublimity) It also, disappointingly, spends all of its time above-ground. At the time of its release, Rick McGrath wrote:

“this documentary could have been a lot more, well, psychological, rather than just tree-hugger logical, and the point of the exercise – to explore some very compelling spaces – would not have been usurped by Robert and Leesa’s often-cornball script, which over-romanticizes both the empty buildings and the long-gone workers who once used the place. They come close to exploring their own psychopathology – certainly they admit to a desire since childhood to explore abandoned places, and they do it today to experience a sense of wonder — but then they lose it by going all rational and self-conscious, rather than losing themselves in their imagination and perhaps revealing these spaces as ciphers of alienation, as landscapes of transition, as metaphors not of death, but of time and entropy. And having some fun.”

Ninj didn’t go for this melancholic wallowing. For him, stuck in St. Michael’s, trying to evade death - and later, tunneling and buildering his way through Toronto’s core - urban exploration seemed to have everything to do with life, the living qualities of these spaces, and a melding of imagination with the concrete. The last issue of Infiltration - ‘Military Leftovers’ - came in 2005, a short while before Ninj’s untimely death. Thankfully, his long-time partner Liz has kept the project afloat, maintaining the website, keeping back issues in print, and ensuring that his book Access All Areas: A User’s Guide to the Art of Urban Exploration was posthumously published.

Find everything at Infiltration.org

Lie to me

November 2nd, 2007

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Burial ‘Untrue’ (HDBLP02) - Out today!

“It’s more about when you come back from being out somewhere; in a minicab or a night bus, or with someone, or walking home across London late at night, dreamlike, and you’ve still got the music kind of echoing in you, in your bloodstream, but with real life trying to get in the way. I want it to be like a little sanctuary. It’s like that 24-hour stand selling tea on a rainy night, glowing in the dark. It’s pretty simple.” (Burial)

“The new Burial LP is as keeningly, ravishingly compulsive as I’d hoped it would be, utterly beguiling vocal science, painfully sad..” (k-punk)

Guardian Interview . Hyperdub Interview . DOTS Pics . Buy @ Boomkat . Buy @ SOTU

Skull Disco Giveaway

October 26th, 2007

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Great to hear that Skull Disco’s Soundboy Punishments is getting a North American releases this month via Rough Trade USA who have been kind enough to send along two copies for me to give away. Same tracklisting as the UK version, with 19 tracks by Shackleton, Appleblim and Gatekeeper, including the famous Villalobos remix of Blood on My Hands. Comes in a very nice gatefold sleeve with original art by Zeke.  Spanning three years in the careers of two of the most endearingly iconoclastic producers associated with dubstep, Soundboy Punishments collects a stunning body of work.  (More on the music and the people involved here, here, here, here, and here) If you’ve just heard of it, or didn’t want to order from overseas, now’s your chance.

Rules: You must live somewhere in the Americas (South or North). One entry per person, no multiple email addresses please.

To enter, just send a note to soundboytreats -AT- deeptime [DOT] net. I’ll notify the winners by email on November 7.

Allstars

October 24th, 2007

Fantastic new blogariddims mix compiled by Lower End Spasm and mixed by Alex Bk Bk. This mix got me smiling during a long walk in the rain yesterday (many thanks to the bus driver for that opportunity). It mines that early period of grime that led many of us to drop other musical pursuits and search out as many of these alien sound transmissions as we could find - on radio for lucky Londoners, and online for others like me scattered around the globe. Bok Bok says:

Some of these tracks are recognised classics, but most seem doomed to remain in obscurity. Tracks like the insane, taut Ruff Sqwad anthem R U Double F – one of the few vocal tracks we’ve included – which is a 64kbps straight-off-Limewire, never-released work of genius. It’s an mp3 dubplate, and the grooves have been battered into submission by repeated compression (we’ve included many low-bitrate tracks in this mix, because for us fucked-up sounding mp3s were a massive part of listening to music from this era).

Gutta kindly links this to my layering of radio and vinyl in Rude Interlude (my Blogariddims mix from exactly a year ago) which played on that same rush of discovery and lo-fidelity investigation (how long did it take me to find and sort out all the different versions of Eskimo?), but Alex points out the essential difference…

I hope what we’ve done is sufficiently different becuase of its intensity and head-down rate of 2-6 tracks a minute, as opposed to Paul’s… which I think had a different feel about it, more like a radio show in itself, whereas I’d like to think of our one as one massively long allstar riddim.

The intensity of this mix really is phenomenal - 67 tracks in less than an hour. It’s like a 59-minute version of Slimzee’s Dubplate, the mp3 of Wiley and Dizzee trading verses over a bootleg that cut together 15 of the era’s biggest riddims (Wiley, Narrows, Wookie, Youngstar, Agent X, etc. etc.), switching off every 8 bars (and with an AIM chime popping up on the recorder’s desktop, toward the end). That was the blueprint for me.

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PS: Check back tomorrow. I’ll be posting something about a Skull Disco giveaway.

Woofah 1

September 8th, 2007

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OUT NOW! Woofah #1. Bloggers showing print how it’s done.

Features on Iration Steppas, Skepta, LezLyrix, Pinch, Young Dot, Maniac & Chunky Bizzle, and Heny G. Also Grime fiction, original artwork, reviews. I’ve got a review of Punch Drunk’s RSD release in this one, and a couple more lined up for the next one.

Order your copy through WoofahMag.com or your local place that might carry things like this. I’ll be doing my best to get it in a few shops in Ottawa, Toronto and, hopefully, further afield.

Blogariddims is Back!

August 30th, 2007

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An excellent start to the new series from Nick Gutterbreakz. Broken into two sections, the first is dedicated to plumbing the new dub techno from Deep Chord, Substance & Vainqueur, and their ilk. For part two, Nick draws on his clout amongst Bristol Sound luminaries Pinch, Peverelist, Jakes, Gatekeeper and Wedge for an all-exclusive dubstep CD-R showcase (broken midway by Skepta’s riotous ‘Stage Show Rhythm’). It’s Gutta and Blogariddims, back in effect and in top form. Makes for a nice segue into autumn.

Read about it and grab it at Gutterbreakz.

Note: I’m not going to do posts for each Blogariddims installment this time around simply because it was really cluttering up the blog before. But you can still find all of them on the RSS feed in the right column.