Mmmh, that’s interesting. I heard this Mo Kolours track before, but it has such a classic feel to it that I expected it to be and old Theo Parrish or maybe a Kenny Dixon Jr. tune. Instead it’s the title track from his latest EP, available digitally and on vinyl from his Bandcamp store. You can probably tell the video is the work of London’s animation studio Plastic Horse, who you might know for their work for Paul White, The Heliocentrics or Nochexxx.
Yesterday on March 29th, Berlin’s composer, producer and pianist Nils Frahms introduced the world to what should now be know as “Piano Day”, a holiday to celebrate this very instrument. On the occasion, you can download a new album entitled “Solo” on the Piano Day website. Erased Tapes also sells physical releases on CD and vinyl in order to provide funding for a unique instrument, the Klavins M450, a 4-meter high piano construction by David Klavins. All music on “Solo” was performed on an early prototype of the M450.
I suggest if you like the music, you consider a small donation to the funding of this wonderful project.
I probably haven’t heard about German DJ and producer Lena Willikens before this year, but when Ben UFO first played her unsettling track “Nilpferd” on his radio show, the name stuck with me. Since then she has released a fantastic EP on Matias Aguayo’s Cómeme label and appeared on the well-known XLR8R podcast series and guested on the Hessle Audio show. However, my favourite mix with her name tag on is taken from last week’s Beat in Space radio, in which she plays nothing but quirky electronic music. Unusual, but great selection!
Looking back, we’ve been writing about fLako‘s music for quite some time. From his humble beginnings on UpMyAlley and his own Kwatro imprint, the German-Chilean producer has come a long way. And if the expectations for his debut album “Natureboy” hadn’t been high enough, his guest appearance on Alexander Nut’s Rinse show made the last week before its release hard to bare.
Always having been a huge fan of Miguel Atwood-Ferguson, this is the album track I want to share with you. However, you can actually go ahead and stream the entire album or pick it up from all good record stores.
Vienna’s Cid Rim has a new record out on Monday, this time released through his hometown’s Affine Records. Among the three tracks you will hear Cid’s trademark synth-lines and complex drum layers and a bugged out remix from Amsterdam’s Jameszoo, which is easily my favorite on the record. You can pre-order your copy today on Bandcamp or pay a visit to your favorite record store next week.
Dego and the usual suspects Kaidi Tatham and Akwesi Mensah have reunited under the name of 2000Black and are about to release their first EP on Amsterdam’s Rush Hour imprint. And whether it’s the name of this renowned label or the fruits of Dego’s creative exchange with FaltyDL, the most suprising element for me in this liaison is big music sites such as Resident Advisor or XLR8R are actually writing about it! A good thing since these cats have been overlooked way out too often in the last decade or so.
“Make It Hard” is one of three tracks on the EP, and you can pre-order your copy from the Rush Hour store. If I remember correctly, Alexander Nut was playing another new cut by Dego & Kaidi, taken from a forthcoming record on Eglo, their second following the self-titled debut from last year. Keep your eyes peeled!
Update Actually, Alexander Nut played the mentioned Dego & Kaidi track again last weekend
A little different vibe from Toronto jazz trio BADBADNOTGOOD, uploaded “in support” of their SXSW 2015 show this weekend with Ghostface Killah. The tune is the b-side of a limited 7-inch released on Innovative Leisure. And since I couldn’t think of a better vibe to send you off into your well-deserved weekend, I hope you all have a great one!
It’s almost impossible these days to visit a music website without running across the name of Glenn Astro, the kid is just about everywhere! Not only does he have his debut album coming out in May, our friends at Moovmnt just premiered a track from his forthcoming Hologram EP on London’s WotNot. Listen to the remix by Henry Wu, who is another name to watch out for and who just released a new EP on Alexander Nut’s Ho Tep.
The Hologram EP will be out in early April, pre-orders are available from Juno.
Like many hip-hop producers, MF Doom sampled countless movie scores and television series. French audio-visual group Now Futur pays tribute to the masked rapper and producer with this montage of these movies. Apparently, this was used as an opening for one of Doom’s shows. You can also listen to the mix on SoundCloud or grab the download here.
Like with his own music, Flying Lotus’ Brainfeeder label avoids being stuck into a particular box. It has never been the L.A. beat scene thing that some people might have hoped for (and others might have feared.) The Martyn album seemed like an unusual choice at first, and definitely the jazz record by the late Austin Peralta. In retrospective it all makes sense and it’s exactly what makes good label great: to avoid the obvious and to surprise its listeners, helping them to think outside the box.
So here we are, less than two months away from the Brainfeeder’s second jazz record, the debut album by saxophonist and You’re Dead collaborator Kamasi Washington. This first track from “The Epic” was revealed to the world today and there’ll be 16 more when it drops on May 4th, 2015. And that’s far more than it might sound like, as the album stretches over three discs and runs for 172 minutes. Watch out!
Returning for another offering of instant dancefloor head-turners is Moscow born Lokiboi. Picking up where he left of after his last release ‘Night Swing’ on Telefonplan, Lokiboi treads a new path this time away from party anthems to a darker side in the form of ‘Hood Cuts’.
‘Hood Cuts’ has been realised on the Moscow ‘Capital Bass’ who have already and impressive CV with such releases as Pako’s dark and stylish ‘Legacy’. Kicking things off is ‘I know’ – it seems to rise from the ghetto depths, plateauing into a —beat to beat— kick and snare set. Slinking in behind is a layering of dark static that creates a canvas for the vocals to keep everything in check. The drum machine provides Lokiboi with a partner in crime throughout this EP setting up each tune with a ridged framework for the other elements to intertwine and swell the tracks out. This clever set of ingredients gives each track with self-assurance to express itself individually whether that be a minimal, stripped down attitude as in I know or the sci-fi powered ‘Dats’. Lokiboi creates an unusual three way partnership between tribal syncopation, sci-fi led synths and hard house hits in Dats – Lokiboi’s use of high-hats here really lay in parallel to early dubstep producers such as Silkie and Quest; the work both in unison with the beat but operate on their own skipping around this super cool track. This impressive work is another big hitter for Lokiboi, each hardware-packed track sets the regimented theme for the synths and vocals to float in and out uncontested.
Joe Davis’ Far Out Recordings is yet to release another Brazilika compilation, celebrating the 20th anniversary of the label. A 12-inch with two of Marcos Valle‘s songs remixed will be released before the CD comes out later this month. The Theo Parrish’s remix was premiered on Boiler Room Debuts the other day, and if you haven’t heard it yet here’s your chance. The b-side comes from Bugz in the Attic engineer Daz-I-Kue, who revives his Bloodfire moniker for the remix.
The 12-inch will be out on March 23rd and can be pre-ordered from the Far Out store. Until then, you’re invited to listen to Gilles Peterson’s Marcos Valle special.
When this (totally unnecessary) sequel to Blade Runner was announced the other day, I could not help but fantasise about Kuedo doing its soundtrack, to me that’s the obvious choice. It’s unfortunate that such movie projects are not made to fill the hearts of fans with love, but to make a quick buck out of their nostalgia. Well, don’t be upset, it doesn’t help. I recommend pressing that play button above, then close your eyes and picture flying in a Syd Mead-designed flying car over dystopian Los Angeles.
My love for reggae, or dub in particular, dates back to my adolescence, the time when I emancipated myself from the listening behaviours of my peers at home and at school, the time when my musical interest was about to mature. Still, my relationship with Jamaican music remained superficial for the longest time. There were no specialist record shops anywhere near where I grew up, no radio stations with a reggae programme, and the internet was still unheard of. I caught a first glimpse of what dub was through No Protection, an album by a band from Bristol (Massive Attack) remixed by a Guyana-born, London-based producer (Mad Professor). In other words an entirely British affair, music produced about 7,500 kilometres (or 4,600 miles) from the motherland: Jamaica. While I got closer to that island over the years, I never was fully satisfied with what I got. Thankfully that was about to change after I reached out to my Twitter followers. This book by Lloyd Bradley was recommended to me by whoever operates the Hyperdub account on Twitter, and it’s what gave me an indepth education on Jamaican music.
On over 500 pages, Bradley writes down the history of Jamaican music since the 1950s. From early sound systems playing RnB records imported from the U.S., which eventually lead to the creation of ska and rocksteady, to the emancipation of Jamaican music through roots reggae, then later dub and dancehall. The book succeeds in putting all of that into a bigger picture, as it relates the the story of reggae to the history of the island. You will read about the politcal situation on the island, its independence, Marcus Garvey and Pan-Africanism, emperor Haile Selassie I., the role of rastafarianism, reggae conquering the UK, the Notting Hill race riots, Kool Herc bringing soundsystem culture to hip-hop – it’s all in the book.
Whether you can relate to what I said in the introduction text or simply want to broaden your horizon, Bass Culture is a book I can’t recommend enough!
Bass Culture, When Reggae Was King