You probably remember this video of Marcos Valle playing live in the Brownswood Basement, Gilles Peterson‘s own treasure chamber. That wasn’t all of it, as a 2-hour podcast with Marcos in conversation has been revealed today!
Marcos Valle – Ele e Ela
Marcos Valle – On Line
Marcos Valle – Batucada Surgiu
Marcos Valle – Batucada (Batucada Surgin)
Marcos Valle – Estrela
Marcos Valle – Que Bandeira
Marcos Valle – Wanda Vidal
Marcos Valle – Mentira
Marcos Valle – Samba de Verao
Marcos Valle – Crickets Sing For Anamaria
Marcos Valle – E Vem O Sol
Marcos Valle – Vem
Luiz Gonzaga – Sertanejo do Norte
Marcos Valle – Sonho de Maria
Tamba Trio – Sonho de Maria
Luiz Eca – O Homem Entre o Mar e a Terra
Marcos Valle – She Told Me, She Told Me
Joao Gilberto & Stan Getz – Vivo Sonhando
Antonio Carlos Jobim – Matita Perê
Sarah Vaughan – Something
Elis Regina – Preciso Aprender a Ser So
Marcos Valle – Democústico
Chicago – Life It What It Is
Leon Ware – Rockin’ You Eternally
Marcos Valle – A Vantage de Rever Voce (Rockin’ You)
Marcos Valle – Estrela
Marcos Valle – Crickets Sing For Anamaria
Marcos Valle – Freio Aerodinamico
Jay-Z – Thankyou
You can stream or download the entire session over on the Worldwide website.
Watch an interview with the late Austin Peralta only days before his tragic passing. This was recorded at Warsaw’s Warsoul Sessions, where Austin and his trio played on November 3rd, 2012. In the interview, he talks about Chopin and other musical influences, travelling Europe, Brainfeeder, the meaning of music. And of course there are snippets from the live show throughout the video. Rest in peace!
I’m not a DJ, I’m a music lover and record collector. I have several turntables in my flat, but I never owned a mixer in my life. Aside from a mixtape I made years ago to impress a girl (it didn’t work) and another for my mum (oh boy), I have never done anything like this. Still, when my friends at Colectivo Futuro asked me to contribute to their podcast, I was flattered and -more importantly- motivated to go ahead and try just that. I decided to pick the saddest, most melancholic music in my collection, music that fits well into the season, and started recording. And then I recorded some more. Several weeks later, I managed to come up with a selection running for 45 minutes, enough to fit on a C90 tape, which I hear is a trendy thing to do these days. Here’s a look at the tracklist:01. Wendy Carlos and Rachel Elkind – Rocky Mountains [Warner Bros]
02. Mark Pritchard – ? [Ho Hum]
03. Turiva Alice Coltrane & Devadip Carlos Santana – Illuminations [CBS]
04. Nelsinho E Sua Orchestra – Chove Chuva [Blue Note]
05. Quarteto Em Cy – Talvez [EMI]
06. Daedelus – Fin De Siecle [Brainfeeder]
07. Build An Ark – Fun’s Theme [Kindred Spirits]
08. Teebs – Arthur’s Birds [Brainfeeder]
09. Dimlite – Gone-O-Tron [Now-Again]
10. Flying Lotus – Auntie’s Harp (Rebekah Raff Remix) [Warp]
11. J.K. & Co. – Fly [White Whale]
12. Jackson C. Franck – Milk And Honey [Brown Records]
There’s also a little interview with me you might want to read. As for the mix, I’d recommend listening to this without distraction, on your headphones, without skipping through it – that’s how this was intended to be. Hope you enjoy!
Slovenian-born and London resident Nightwave (formerly 8bitch) stopped by at the city’s Red Bull Studio to record with Rustie, talk about music and record a new mixtape. The mix can be seen as an extension to your weekend rave, as it comes with music from the likes as Neon Jung, Addison Groove, Sinistarr and, well, check the playlist below!
01. Kelpe – Bags Of Time (Neon Jung Wormhole Remix)
02. Capracara – Ronin (Kodiak Remix)
03. Bad Autopsy – Ginmixer
04. Steve Poindexter – Work That Motherfucker
05. DJ Haus – Tear Tha Fuckin Club Up
06. The Count and Sinden – Future (Canblaster Remix)
07. Nightwave – Palenque
08. Obey City – Down & Up
09. Krueger – This Is Sick
10. Addison Groove – I Go Boom
11. Shy One – Spring Romance
12. Nightwave – Go Hard
13. Kanye West – Mercy (Nicki Minaj Version)
14. Rustie – City Star VIP
15. Nightwave – Fire Hoes
16. Twista & Pharrell – Give It Up (Nightwave Bootleg)
17. Mark Archer – Armageddon (Nightwave Ravemix)
18. Sinistarr – Rave Juk
19. Mele – Purple Flowers
20. Meek Mill – House Party
21. Nightwave – Magic Carpet
22. Rustie – Perkk
23. Dawn Day Night ft Emilski – Invisible Hand
24. Beyonce – Countdown (Harvey Kartels Coloursound Remix)
No download this time, but an interview you should read while playing the mix!
In the coming week, 2012’s Bloc is taking off in London. Over the past weeks, the makers of the festival did a series of interviews with some of the artists performing. Check out the videos with Steve Reich, Apparat and Nicolas Jaar.
As you should know by now, Rob Booth has just released the first Electronic Explorations compilation. That’s 60 tracks for only ₤5! If you’re not convinced yet, here’s a mixtape with all the tracks.
Another big mix I wanted to post earlier this week is the latest in One-Handed‘s Dedication series. It comes from Turkish singer Ahu and she introduces the listener to one of her favourite jazz singers: Blossom Dearie.
Pitchfork gave away a remix by Illum Sphere for a track off Lorn‘s new album on Ninja Tune – grab it while you can!
Following John Tejada‘s excellent Parabolas, the renowned techno producer teams up once more with Kompakt for a new album. XLR8R has more details on that.
Once a film student, Flying Lotus made some attempts at directing music videos before. His latest was done for Jeremiah Jae‘s new single on Brainfeeder: Money.
And lastly, here’s one more mixtape courtesy of Addison Groove, also available for free download.
Only a couple of days ago I featured One O’Clock’s interview with James Pants, today they posted a new one with LA’s Daedelus.
He talks about performing live, his new Archimedes audio-visual show, and running a label.
If you have the time, take a moment and check out other features by NWMA/One O’Clock on Vimeo. They are more interview sessions like the one above with Kelpe, Anti Pop Consortium or Slugabed, and live material of Taylor McFerrin or Actress.
It’s been a while since we last had a podcast and we’re very happy to announce this new one by London’s K15, a good friend and very talented producer. We’ll start with an interview and you can listen to a selection of his tunes, and you can listen to the wonderful mix he came up with at the bottom of this page.
What is your first memory of music and what got you into making music yourself?
Music was kinda always in my house, from my mum and my dad. But then I guess it would’ve been in my teenage years, when I was listening a lot of jungle and a lot of drum’n’bass. And I was just in awe of everything produced at the time, drum programming and samples. It was only when I got older when I realized what sampling actually was and where they were taking their sounds from. But that whole thing really got to me. So I used to go to school and I did music as a GCSE. There was a teacher, he had a copy of Cubase, and I tried to make drum’n’bass tracks and they were simply awful by any standard. But that’s when I realized this is fun, but I need to find a way to do it at some stage. And I didn’t do any music in terms of production stuff for years. Then software kinda got better and someone introduced me to Reason. I was listening to a lot of rap music and obviously to people like Jay Dee, Madlib, Hi-Tek, Pete Rock, 88-Keys, all of those guys. I thought I need to try and do this, so it was just years of figuring out ways to create music and not just listening to albums, but studying them, watching interviews, reading interviews. It was around that time, that I realized that actually that is something that’s gonna stick with me for a period of time.
How old were you at the time?
The jungle stuff would’ve been about 13/14 and I was DJing at the time aswell, or learning to DJ and buying records. The production stuff would’ve been 2001, so eleven years ago which is a long period of time to do anything. Some years later, here I am, still the same in my room doing music, buying records.
Give us an insight to the gear you use, do you prefer hardware or software?
I use this guys here, this is an MPC2000XL, so I used that but a lot of it has been software, only because software is kind of easier to get ideas down. Because I attempt to play keyboards and stuff, I have more of a range of sounds in software than I do in my MPC. So just out of convenience, software tends to be my go-to platform. But I’m still very much of a keen MPC advocate and I do still use it from time to time. Sonically, to me my MPC always sounds ten times more intense in terms of the drums than any software I’ve ever used. It just has that raw audio quality, whereas a lot of the sounds in the software I use is heavily compressed before you even do anything. The MPC has an edge to me in terms in sound.
I know you have an incredibly wide range of interest when it comes to music, how does this affect your own production?
I wanted to sound like what I heard as great music, so I wanted to really get my boombap sample stuff tight and for ages I did nothing but focus on that. And then I discovered guys like 4hero and Domu and instantly I thought, hang on a second, there are other rhythms that I could try to do. The rap/soul has always been what I’ve been striving to do, but then over the years I’ve made a lot of house music, a lot of ambient music, and a lot of weird techno type of music. I think it’s because I’m interested in a lot of types of music, is why I don’t just make one thing. I’m literally just finishing an EP and a lot of that is house-ish or dance-ish type music. I’m into all kind of music, so at some stage I’m gonna attempt to butcher a genre and do something with it man [laughs]
You first told me about your EP way back, but it only came out recently. What took you so long?
[laughs] You know what, that EP was meant to come out some years ago and it didn’t, which is fine. I think I’m slightly choosy about what I tend to put out in any way. It just kinda came when it was ready. So that came through WotNot, which is a label in London that put out very amazing modern electronic type of music. One of the guys who is behind it all, I met him over Twitter, met him for a coffee and he’s just the most delightful person. He was always interested in my music, I sent him some bits and he thought cool, let’s do this. I think the way labels work now, or this particular label, is just interest in people, who have a passion for music, different types of music, who come together and want to be part of something. They’re really cool guys, encouraging me to do more stuff. That was fun, it [Theme Music For A Pariah] came out in March of this year.
You must have made a lot of new music since you first finished that EP…
Yeah, I pretty much do music every day. So I get up, go to work, I come home and when come home I go to work again, it’s just music. Music gets made more or less every day. There are two projects that I just finished, two EPs that I’ve done, I’m just trying to get the artwork sorted for that. There’s another project called Culross Close, which is like a band, but it’s like a weird imaginary band, so all the different parts are played by musicians, but all the musicians are just figments of my imaginations. Or maybe they’re all me, I don’t know. There’s a lot of different types of music waiting to come out.
Any good shows you’ve seen recently?
The last week was kind of crazy, I saw the Robert Glasper Experience on Monday. Dude, that was insaaaaaaaane, insane! They played for like three hours, Bilal was there, Lalah Hathaway was there as a guest vocalist. I’ve seen Robert Glasper too many times, I don’t even count, but that show, the size and the feel of it was just magnificent. To see the diversity in his audience that he has now, on the back of this one album, ridiculous. Then on Wednesday I saw Thundercat at Fabric, he’s always a good guy to see, because he just noodles on the bass for ages. Then I saw Kaidi Tatham again on Thursday. I’m going to the Watch The Throne show tomorrow. Lots and lots of shows have been happening and I’m checking out some parties as well. There’s a record label, Eglo, and they have parties every so often and I go and see those guys DJ. There’s Swamp 81 that put good parties on as well and I need to spend some more time there. And the WotNot guys had massive party in conjuction with Lunice and that was a really big thing. This Thursday the WotNot guys are doing a Ustream and there’ll be a group of us DJing, telling jokes and doing some readings from Oscar Wilde.
Any good records you’ve been buying recently?
I bought a pianist called Vijay Iyer, he got a new album out called Accelerando, one of the tracks off the album is on the mix. I’ve been buying a lot of deep house stuff, a lot of Glenn Underground, some old house records, some Kenny Dope and Louie Vega stuff. And a lot of classical stuff as well. Stravinsky, Debussy, Sibelius, just lots of random stuff which is always kinda crazy to listen to, cause you play that and then you sit back at your computer to try and make something and you’re just humbled for like a week. You realize, just stop this, this is what music is supposed to sound like, this is serious.
And lastly, what kind of records did you pick for the mix?
There’s a little bit of everything. I buy a lot of records and initially I used to buy just to sample and then I realized I actually like a lot of the stuff I was buying, so now I just buy music because I enjoy playing records and pretending to DJ every now and again. So on the mix there’s some Larry Heard, some Jessica Williams, Jean Grae, Marcellus Pittman, lots and lots of different records that I bought in the last few months. There was probably an expectation that I was just gonna play hip hop music or electronic instrumental music. I’m into everything, so I tried to keep it as varied as possible and throw the odd Steve Reich loop in there just for the fun. Lots of good music, songs I generally play in my spare time and enjoy listening to.
Listen | Download | Subscribe (iTunes)01. Vijay Iver Trio – The star of a story
02. Happy The Man – Upon The Rainbow
03. Larry Heard – Missing you
04. Omar S & Kai Alice – Jive Time (unreleased beats)
05. Zed Bias – Music Deep Inside
06. Bicep – Stripper
07. N’n’G – I Keep
08. Marcellus Pittman – Razz09
09. Glenn Underground – Chicago Theme
10. Steve Reich – Come out
11. Claus Ogermann Orchestra – Caprice
12. Isotope – Attila
13. Jean Grae – Love Song
14. Camp Lo – Luchini (aka This Is It)
15. The Roots – Concerto of the Desperado (instrumental)
16. Steve Spacek – Peep Live Show
17. Jessica Williams – Return To The Portal of Antrim
You can find of more K15’s music on his SoundCloud profile, on Bandcamp, and he talks about music on Twitter as well.
French website One O’Clock posted this video interview with James Pants, spiced up with snippets from his concert at Paris’ Trabendo. As you should know, James is a magnificent guy so watching this is a must.
(via Green Tea Session)
Director Rollo Jackson is probably better known for his music videos such as the latest Squarepusher or that Toddla T. one. He recently started an interview series called Versions and for the first episode he spoke to Hessle Audio’s Ben UFO.
He talks about growing up in the wrong part of the town, being influenced by the early 4hero, the excitement of discovering dubstep, running a label etc.
(via Green Tea Session)
It’s Theo Parrish taking us to Amsterdam’s Record Mania to buy some records and share his ideas about music formats and the art of DJing.
This interview is part of the latest Slices issue, which you can order on DVD.
San Francisco based producer EPROM talks to Lowpass TV about his influences from video games, Dabrye and parties on the West Coast. Just the kind of stuff we like ourselves, so I hope you enjoy this!
As I was just sitting on my bed, browsing through some videos, I came across this nice interview with Machinedrum. He talks his reasons for moving to NYC, sample based hip-hop compared to making electronic music from scratch and his philophy of making music.
With Room(s) Machinedrum delivered one of my favourite albums this year. Having seen him play twice this year already, I must also urge you to check one his live-shows, whether it’s solo or as Sepalcure.
In early summer, I’ve posted an obscure cover-version of the Dorian Concept tune Trilingual Dance Sexperience. It was recorded by Sam Irl under the name of Tascforce, a name he’s using for music recorded on a TASCAM cassette recorder and a bunch of vintage synthesizers. After having received some more of his music, I got interested and talked to him about the project.
Can you give a bit of a background on who you are and what you do?
My name is Sam Irl, I’m a half-German, half-American 26 year old producer, musician and DJ from Lower Bavaria, Germany, but have been living and studying in Vienna, Austria for the last 6-7 years now. Musically I started getting piano lessons when I was six years old, later had a short excursion with church organ and violin, but for the most time only actively practised piano, leading onto jazz piano lessons and playing in the school big band when I was about 14. Around that time I also started experimenting with a very, very oldschool version of Logic and a terrible digital Korg synth. After I got Logic running with their first software sampler I gradually shifted towards more sample-based music, which I’ve basically been doing continually since then. I’ve always added synthesizers, melodies and harmonies to my tracks, the whole piano background has a strong influence on how I work. So I’ve been making electronic music for roughly 10 years now, but of course many of the first tracks weren’t particularly good and a bit clumsy, but it still was lots of fun to discover what was possible to do at home on a computer.
Besides making electronic music I always played a lot of jazz piano when I was a teenager, went to a many different workshops and courses and also was a member of the “Bavarian Youth Jazz Orchestra”. I’ve also got another project with two good friends of mine (with an American singer and my flatmate, who plays guitar), which is more acoustic soul-folk stuff, where I played Rhodes or Wurlitzer.
I originally came to Vienna to study musicology but later switched to recording engineer & music production at the University of Music and Performing Arts.
How did you get your hands on that TASCAM 424?
I found the TASCAM 424 via a classified-ad page for about €25, which was really cheap. I had been interested in 4-track cassette recorders and vintage recording technology for quite a while and had been looking for one every now and then. Choosing this specific 4-track-recorder was mainly a coincidence, I had known about other recorders but hadn’t tried any of them. The 424 is somewhat of a home-recordering classic and finding it so cheap basically made the decision quite easy.
At that time I just liked the idea of working with 4-track tape. I had been spending all my time on the computer at the uni and making music at home, that I wanted to get away from it for a while and work on some more live piano playing. I originally got the TASCAM for practising playing live piano and working on grooves. The whole Tascforce project and album just developed by chance.
What other instruments did you choose for the Tascforce album?
I used the Oberheim Matrix 6, Roland JUNO-106, JUNO-60, JUPITER-8, SH-101, Alpha Juno 1, VP-330 Vocoder, Moog Rogue, Yamaha DX-7, Korg Poly-61, microKORG and the Fender Rhodes MK2. Analogue and digital drumcomputers included the Oberheim DX, Roland TR-808, TR-606, TR-505, Korg KR-55, DDM-110, Boss Doctor Rhythm DR-110, DR-220A, Stix Programma ST-305.
The only effects I used during recording and mixing on the TASCAM were my Roland Space Echo RE-201 for tape delay and spring reverb, which I used heavily on every track, and occasionally an Alesis 3630 compressor.
I used all these instruments because each adds its own colour and vibe to the tracks. each analogue synthesizer (and drumcomputer) is different from another and some have very distinctive sounds, which I didn’t want to use on every track, so I tried to change the set-up for each track a little bit to add more sonic diversity to the whole album.
That’s quite an arsenal of gear, but at the same time it must’ve been a limitation to record on a 4-track. Did you find it true, that limitation sparks creativity?
Well, that’s true. I definitely had the luck to be able to use so much great gear on these tracks and am quite thankful for this. This will sound a bit contradictory in context of the question before, but I really like working with limitations. With these tracks the limitation comes from recording on 4-track tape and mixing everything “on” the tascam itself. I didn’t do any post-editing or mixing on the computer.
Recording on 4-track cassette really limits the amount of tracks you can possibly record. I had to learn a few work-arounds, which used to be the studio-standard when working with 4-tracks (since the 60ies). The main thing I did is to record three tracks (for example, drums, bass, some chords) and then re-record them on the 4th empty mono track (nowadays this would be considered “re-sampling”). This reduces the sound quality but it makes three new “empty” tracks available for over-dubs, solos, etc.
Re-recording the basic tracks onto one mono track also solidifies the foundation of the developing track, meaning all mistakes, arrangement details, volume balancing, breaks and such can’t be changed anymore in the process of recording overdubs. “Total Recall” or later editing of the mix isn’t possible anymore, you basically have to stick with what you got or start from scratch again (which I did loads of times.) This definitely was a different experience, as I’ve been recording, mixing and arranging in logic for over 10 years now.
Another limitation was that I played the foundation of the track (as above, drums, bass and chords) at the same time and completely live all the way through. It’s a bit difficult to do clean “punch-in” recording on the tascam, so I just recorded over and over again, always starting from the beginning, For hours until I made fewer mistakes and also figured out the groove that I wanted to play. After that was done I did the solo overdubs, lines and more chords.
What was the idea behind the album, was there a concept apart using specific hardware?
The basic inspiration actually came from the idea of trying out 4-track recording and making myself practice more piano actively again. At that time I was very busy studying and spent lots of time on the computer, for university, at home, communicating, and so forth, so I really wanted to make music again which was independent of the computer, just live playing, no post-production, just record, play, mix and finish it in one session. In the beginning, I started trying out how to record and structure songs on the tascam and after the first few experiments some tracks started to develope. The whole idea of an album came after I had done about 7-8 tracks and realized that they seemed to fit together quite well and were on a similar vibe.
I had occasionaly made some tracks before which were a bit oldschool, but they never really had that depth and sound that I was looking for. Working with the TASCAM I learned to take my time, let grooves develope or just let them roll for as long as it takes. And analogue synthesizers, old drumcomputers and the warmth of tape are just a perfect combination.
When I started working on these tracks I hadn’t really known the music of Dam-Funk that well, I knew a few random tracks and liked them but it was later, after I had done quite a few Tascforce tracks that I really got to know his music a bit more and especially the way he works, which was pretty impressive. He records live on a CDR, then puts the CDR in a CD-player and records that plus overdubs on a new CDR! It’s a pretty unique way of working and he’s a super tight keyboard player! Soundwise, Tascforce obviously has many aesthetic familiarities to music like Dam-Funk and Krystal Klear, but I really hadn’t known much about that when I started. I just started trying it out and first realized later that there are more people working in a similar way and style (and even with similar equipment.)
I would guess this sound is coming back again, because music production has become more available to many people, plugins are getting better and better, software better to use, etc. At the same time analogue synthesizers are getting more sought after (and expensive) because they have a sound-character that software can’t quite offer in that way. They are real physical instruments, that need time to get warmed up, need to be taken care of to work properly and never sound exactly the same when you turn them on. And besides all that they just have a good and well-crafted sonic quality to them, a real TR-808 still blows every good sample library away. Also, artists like Dam-Funk are really pushing this early 80ies synthesizer funk sound, spreading names of records of that time and not trying to keep certain underground tracks deliberately secret but making them known to a wider audience.
What are your plans with the music, will you release any of this?
There are plans to release a few of the album tracks on a vinyl EP with a small and young Vienna/Berlin-based label. This is still in the planning stage so there are no details at this point. I mainly have been passing around this album to all of my friends and musical partners, that was pretty much my main plan once I had finished it. I’m not really sure if I want to sell it, I made the album foremost for myself. But I’m playing with the idea of putting it on Bandcamp, maybe selling it in form of voluntary donations. I’m not the most active internet self-promoter and a bit lazy about all that, so we’ll see…
Sam was so kind to share these tracks as a limited download. Keep an eye out for more Tascforce music and follow Sam Irl’s other activities on SoundCloud and MySpace.
Not so long ago, Floating Points paid a visit to São Paulo and my man Tahira took him to Zico’s record store. Between digging for records, they did this interview you can watch below.
Upon his return to London, Floating Points played some of his purchases on Rinse FM. Fortunately, you can still listen to that show online!
If you’re a regular visitor to this site, you’ve probably seen a handful of videos of Nosaj Thing‘s live visuals.
This one was recorded at last year’s Festival de Arte Digital in Belo Horizonte and I think it’s the first I’ve seen in which Jason talks a bit about the visuals.
For more footage of Nosaj Thing shows, check out the links below this post!