11th June, 2008.
A lazy weekday afternoon for me generally constitutes spending as much time as I care to spend doing very little; usually to wind down after an early shift at work.
Thankfully, today was different; I was lucky enough to spend a couple of hours shooting the breeze with the critically-lauded DJ Ikonika of the ever-expanding London Dubstep scene. I tentatively asked her if she would be a subject for an interview to help me expand my portfolio and she kindly agreed, even bringing along some records to play.
Rather than go on about superficial data such as turn-ons/offs and favorite ice cream flavours, I decided it would be more worthwhile for my interests and any potential readers if I was to pick her brain from a musical standpoint.
Ikonika (nee Sara Abdel-Hamid) tells me this is a welcome change after being asked several broad questions about her leading some sort of female revolution in the world of dubstep and how sexism affects her making a breakthrough; questions which frankly, are too vague to be answered on a personal level.
So, after welcoming her into my home, making sure the minidisc was prepared for recording and some idle chat, I hit record and began with the questions...
Q: So, when did you first start producing & how did it happen? What influenced the decision?
Ikonika: It started sometime in 2004, wanting to make hip-hop like J Dilla & RnB 'bangers' like Amerie's producer; Rich Harrison. That was the original plan, but then I heard a Skream mix & was totally in love with the sound, so I set about figuring out what was happening musically & tried to emulate it with my own production.
As soon as I found out that London was also the birthplace of Dubstep, I was hugely motivated to pursue it because I knew I would be representing where I live with the music.
Q: Ok, So how did that branch out into becoming a DJ too? Because that is how you got your name out there, by playing to skeptical crowds who didn't think a girl could rock it at a dubstep night.
Ikonika: Well, when I was into making hip-hop beats I also wanted to learn how to DJ and scratch, I even got the Q-Bert instructional DVD!
But once my focus transferred to dubstep, it was only natural to start DJ'ing that, plus; its a different kind of buzz to producing, and I enjoy both.
Q: And as far as being on Hyperdub, I believe the story of that is surprisingly straightforward..?
Ikonika: In a way, yeah. I made some tracks and sent them to Kode 9, and he gave me some good constructive feedback; like paragraphs of it! but basically said he wasn't feeling them. So, I made some more tracks shortly after that and sent them to him again, and he picked out 'Please' and said he wanted to release it. That was what got the whole thing moving, now the second single is coming out and Im getting to play shows in Berlin and Paris! It's a lot of fun. (Smiles contently)
Q: Aaaaand more power to you for it! Now, dubstep is not the easiest scene to be a legit part of, it seems to have a pretty strict code of conduct & very critical listeners, am I right?
Ikonika: Yeah, the dubstep code is similar to the hip-hop code; you have to pay your dues & earn respect; and obviously be good at it!
Q: Of course! What would you say are some of the rules of the dubstep "way"?
Ikonika: Well, if you produce dubstep, then you are going to have to play out to get your material heard and build your rep as a skillful DJ. The other "rules" so to speak, are that you only mix with vinyl and you cut your own dubplates.
Its not like a set formula, but pretty much everyone in the scene does this. The logic behind it is pretty obvious if you take a moment to think about it: Cutting your own dub's keeps vinyl pressing houses in business in this digital age where physical forms of music are disappearing. Its a win-win situation because they get business and you get your dubs cut, both parties get something they need out of it. The best example of this is Mala; to hear his new tunes, you have to go out and see him cause you wont find his stuff on the internet, he is the only one with a dub plate of it!
(thinks for a moment)
There are musical guidelines too, I mean, most of the melodies are created using synths, supplemented with effects, filters and other means of affecting the various textures in the music.
One of the things it shares with hip-hop is that it uses a lot of sampled drum sounds, giving it an organic side to go with the electronic methods of producing.
Q: Yeah, that was one of the things I always pinpointed and the thing I perhaps enjoyed most about dubstep is when the ethic of hip-hop and dubstep are combined to make music like....Joker; for example. That "Snake Eater" tune is ridiculous!
So, just to backpedal for a moment, because I think its necessary to bring to people's attention your musical background prior to production, could you just run through that quickly?
Ikonika: Yeah sure, I started out playing the drums at the age of 11, listening to hardcore and grunge music playing in a couple of bands with female friends...That part of me is still there, its just taken a backseat since turning my hand to dubstep, but my favorite band still, to this day, is Glassjaw.
I like to think that I apply the post-hardcore methods of songwriting to my production though, particularly Glassjaw's style of harsh verses coupled with melodic, pretty choruses. (NB: This can be heard in Ikonika's latest release, "Millie", where the bass during the verse is distorted almost to the point of being unpleasant; but then tied to a well-phrased and catchy chorus)
Q: Ok, Now, I know this just because I know you, but I have to say you a rarity among producers, because you don't like most "old" music!! And a lot of what we make these days is derived from various kinds of "old" music; so how come you don't like most of it?
Ikonika: Well, my parents never really exposed me to what they liked so I got a lot of my early taste from my sisters...So I like 80's Madonna and 90's Hip-Hop & RnB, you know?
Q: Sort of...go on...
Ikonika: There are times when I feel bad for not liking older music, because it is important to appreciate what came before; but I suppose it didn't really occur to me while I was listening to the Deftones!
Q: So do you like this (Burning Spear's "Ghost of Garvey" album plays in the background)?
Ikonika: (Straightfaced) Its alright...(awkward silence) hahahahah! Im not a bad person!
Q: Riiiiight... fair enough. Is it safe to assume that your previous musical experience of writing songs within a band context was helpful once it came to producing?
Ikonika: Yeah, it was, even though its a totally different animal you are dealing with when its just you and your computer software and hardware...For instance, I feel like I have a problem with the mid-range frequencies; and that's a big part of dubstep music, its not just having an LFO make wobble patterns, that's not enough to qualify something as "dubstep". For me, its about being able to get a clarity in your mid to high ranges while retaining the power in the sub-bass.
Q: I couldn't agree more, which is one of the reasons dubstep is best appreciated in a loud club, to fully enjoy the sub-frequencies, with the bass grabbing you by the chest so that you can't breathe!
Ikonika: Yep; that's a good example...
Q: Yes...So, into a more serious segment of the interview now, its your chance to piss people off with your opinion! Damn, sarcasm is hard to put across in writing... So, serious question number one, when did Dubstep officially begin?
Ikonika: Hah! It divides opinion...I jumped on it at the end of 2005, when there was a shift from the 2 step rhythm to the half time feel. Some people argue that it began with dark Garage, like Horsepower; some people feel it was a natural evolution from Grime.
Q: So where do you stand?
Ikonika: Having listened to Horsepower I can see why people would feel that it may have been the birth of dubstep, but I side more with the argument that it developed from Grime; and although I got into the "Run The Road" comps, I generally don't care for Grime music...
Q: Aha...How come?
Ikonika: Its the tinny, shrill sound most of it has, I know that comes from raw mixdowns, but I think its closer to being a shit mix than just being "raw", with all the poorly-mixed higher frequencies making most of it difficult to listen to, and not enough emphasis on the bass side of things.
Q: I see what you mean... so how do you feel about MC's in dubstep then? Because that seems to be something a lot of dubstep shares with grime; the MC running his mouth over everything...
Ikonika: With some dubstep it sounds real good, like when The Bug got Flow Dan from Roll Deep (a Grime MC from a Grime crew) to do really over-the-top violent lyrics. To the uninitiated, that will sound like those dudes take themselves really seriously, but in reality they were having fun with it....I don't know, theres not a set type of beat that will suit an MC, if it sounds good it sounds good; its hard to tell unless you have a version with and without an MC to compare side by side.
Q: So how about the longevity in dubstep, we saw garage and jungle suffer at the hands of Father Time, is there a danger that dubstep will become so underground and reject the mainstream to a point of eating itself up?
Ikonika: (Pauses) Its hard, because you want the scene to remain in the circle it already exists in, you get worried about more and more people getting into that circle and fucking things up. I think its natural to worry about that kind of thing happening though, its how most music ends up getting watered down.
Q: Precisely, I feel like my beloved psychedelic rock was ruined by a flock of "sheeple" looking to jump on the latest bandwagon to roll through town & not actually understand what it was about, just pre-occupied with getting high and portraying the stereotypical 'hippie' figure.
Ikonika: Yeah, exactly, so its difficult to say, you want it to prosper but not to get ruined, and striking that balance is hard. Its probably too early to tell, but people should focus on the positive aspects like Rinse FM and Brainfeeder Radio and see the growth; and the potential for further growth.
Q: Yes, its unfortunate that there is always a number of people who are waiting to see something fail so that they can gloat... So, what do you personally want out of dubstep?
Ikonika: To keep producing, to keep DJ'ing....If I could DJ 3 or 4 nights a week, every week for however many years to come; covering all my costs and expenses, I would be more than happy.
I don't really care for being like, Kanye West big, 'cause there is too much bullshit that comes with being in the spotlight that much.
When I look at Kode 9 and I see his schedule, its inspiring: he lectures on Sound Design one day a week, and then spends the rest of his time DJ'ing and producing.
Q: Kode 9 lecturing on Sound Design...seems very appropriate!
Ikonika: Yeah, he has also written a book about it called 'Sonic Warfare', but a lot of the material in it is over my head at the moment...He is a geek, but not in a geeky way at all, he just knows his shit.
Q: Speaking of geeks, how do you feel about producers who try sometimes to put too many different elements into their music and end up sacrificing the musicality?
Ikonika: Experimentation is great, it shows creativity, but ultimately its still gotta result in music....
Q:...Because its an art more than a science...
Ikonika: Exactly, for example, I would never make any beats that weren't quantized because it would make it harder for DJ's playing it out to mix with it. But that's partly because Im into structures and A and B sections, choruses...that's just me.
However, I do really like some of the busier stuff with multiple rhythms and mad, squelching noises; because when it comes out right it sounds amazing. Otherwise, it just sounds like a mess...
Q: But would you agree that the fact there are people trying to push the boundaries can only help the development of the genre?
Ikonika: Yeah, for the most part, I mean if you look at dubstep now and at dubstep when it started, already there have been various mutations, from the half-step feel to the obsession of wobble-basses to the more off-kilter feel thats popular now. Even with some techno styles being used, straight up 4/4 feels in beats as well. Im an advocate of advancement, you know? Progression. So, I like it that things move forward, its good.
Q: Yes, moving forward is how to come up with new ideas, but It doesnt hurt to look into the past to see how people went about it! So, what's most important to you in terms of DJ'ing?
Ikonika: Well, for when Im DJ'ing, to make the set interesting, I try to think what I would want from a DJ if I was a spectator. I like mixing long blends, trying to make various parts of tunes sound different, to make it exciting; as opposed to just playing track after track.
Q: I like that, the most interesting type of DJ is the one who uses all the parameters of their mixer to try and change the way that music feels and comes across to the audience.
Ikonika: Exactly, otherwise, why am I gonna go see that DJ, you know? I could just sit in my bedroom and play those records in that order.
Q: Damn straight. Now, from this new single, is it fair to say that I can see why you are being associated with this "wonky" tag?
Ikonika: Oh god...Like that isn't getting annoying already... I guess I can see it, but I don't understand it, my music has always been made with the intention of being really straight. If you listen to the drums and the bass in 'Please', they are straight! Because the melody line is jilted, people choose to focus on that and tag it as "wonky".
Everyone on the Hyperdub roster is tagged as being "wonky" though, its just people who are hearing what they want to hear. Even on "Millie", the pulse is constantly straight, although I can see why people will say this is wonky with the fuzz bass and the reverse clap sounds. But to me, it seems very straight, structured, but with mixed structures...It just bugs me that no one ever says "I can really hear the metalcore influence in her beats" (NB: Listen out for the drum fills in "Millie" Metal as fuck!) or "she has a good understanding of the half-step"
Q: So that IS something that you want listeners to pick up on, your hardcore influences?
Ikonika: Yeah, well...to an extent. I dont want to have a gimmick but I feel like its not a background that any of the other dubstep producers have so naturally I want to show that side of my musical upbringing. Its something that will make me stand out.
Q: So we are gonna have some Deftones style-vocals in the next joint?
Ikonika: Hahahah! Actually, you might just... I have some samples of Chino's little grunts and mumblings, Ill see if I can work that in! (Grins maniacally)
Q: Excellent. So to conclude, a broad question, which I know you hate. Hah!
That is this: How do you feel about the stereotypes in dubstep, not from a sexist standpoint, but from a musical one?
Ikonika: Well, thats not as broad as the sexism one! I think ravers and people who frequent clubs were the main music is not dubstep but there may be a "dubstep room"; have their own impression of what dubstep is. Is that an accurate one? Probably not, but if someone like Skream is in there, with his way of mixing bangers with more pensive tunes; it should open their minds somewhat. The stereotypes happening now are ones of sub-genres within the music, which I think is a bit stupid at this stage. Its counter-productive, its more likely to cause division at a time where we need unity as a genre.
Q: That's a valid point, so are you worried that it will cause conflict, a 'dubstep civil war' if you will?
Ikonika: There is that chance, but I highly doubt it, there are still so many people with such a passion for making it, DJ'ing it and going out and hearing it. At the moment I only worry about my music being considered good by the dubstep crowd. I was worried about "Millie" because of how much people liked 'Please'. All of a sudden there was this pressure to top what I had done previously, but Kode 9 told me he liked it better than 'Please' and 'Simulacrum' (The B-Side to 'Please') put together! So that was a relief. He also messaged me to say " Dont go thinking you're the next Burial or anything! Even though people are talking like you might be". So, he keeps me in check, helps keep my feet on the ground and my mind focused.
Q: That's is of utmost importance and you are very fortunate to have someone in your corner who is going to keep you in line and keep your brain on your music.
I think that concludes everything I had to ask, and I just want to say thank you for taking the time to do this, because you didn't have to.
Ikonika: Thank you for having me, I enjoyed it.
And there it is, one of the few ladies repping for the dubstep scene; with a very sage view of how things are and a very level-headed approach to her ever-growing reputation and *gasp* fame.
Hope you have enjoyed the information revealed here, it may have given one or two readers some insight they were curious to know. On the other hand, it may have been an extended exercise in futility.
Ive been the nameless interviewer, thank you and goodnight.
"Snaake, snaake eater....EAteerr...oooooh, snake eaaater"
Tuesday 14 October 2008
Tuesday 22 April 2008
Dead Meadow - Gig Review
2nd March, 2008.
The venue was the lovely Scala in King's Cross, London.
The band exciting my senses on this particular day was the swaggering Dead Meadow; with excellent support from Oxford veterans Youth Movies. Oh, there was also another support band, but I missed their set...they go by the name of The Owl Service, and I mean them no disrespect by missing their performance; but I have to have my smokes. So, in short, I blame the smoking ban.
Anyway, after witnessing the schizophrenic melange of sound that is Youth Movies (who the popular Foals sound like they may have stolen their moves from....hmmm) and going through various feelings of confusion, amazement and points of discontent; out came Dead Meadow.
It was a gig I had been anticipating for some time, after a friend turned me onto their swamp-rock steez on his car stereo. Here was a band that had genuinely captured the elements of the 60's and early 70's hard rock bands and combined the sound with the technological capabilities of today (ie: more volume and guitar effects) and on the lyrical front, thrown in the weird storylines of Lord Dunsany and other fantasy/horror fables.
I love all the bands in the vein of Black Sabbath, Led Zeppelin and my dear, dear Jimi Hendrix Experience. So, as you can imagine, this band had piqued my interest with the very first wah-laden solo I heard. I thought if they sound this heavy on record, they must really bust some skulls at live sets.
I was not disappointed, (aside from the smoking ban making ALL gigs feel strange these days, let alone a psychedelic-inflected band like DM) as they strutted out and dropped straight into a deliciously sludgy soundmash.
Now, when it comes to describing the sound of Dead Meadow; it is difficult not to use adjectives that have been applied to them several times before (sludge-rock, heavy swamp blues, etc etc.) but I don't think that indicates any limitations to the band themselves. So forgive me if Im using phrases you've heard before; inventing new language isn't high up on my to-do list.
I must also mention I did not know most of their material as I attended the gig, or indeed much about them. They sounded like a California band straight away, but the truth is that they are actually from Washington D.C.; albeit relocated to the Californian pleasures of Los Angeles. As soon as I heard them, I related their sound with that of a 'floatier' Black Sabbath, touches of Creedence Clearwater Revival and United States of America (The band, not the country...*sigh*).
They have 5 studio releases, the latest of which is entitled "Old Growth" and is the prime promotional reason for this tour. It also happens to be my least favorite DM album by some distance, but that is another story for another time...perhaps with some marshmallows.
Either way, after getting the albums shortly after witnessing their firebrand live show, I am able to name some track titles and pick preferences by name. Two of my favorite moments featured "Greensky Greenlake" and "The Whirlings" which both feature guitar textures that seem to be overlooked these days in favor of jangly chords : a decidedly lo-fi sound with meticulous attention to the amount of fuzz applied to it, is how I can best describe it with my limited understanding of guitar effects; but they contribute a great deal to the overall feel of the song thanks to the overdriven bass sound and groove of Steve Kille.
Both the aforementioned tracks also demonstrate the understated and underrated drumming of Stephen McCarty, playing slow, SLOW grooves with embellishments and triplet fills that tip the hat to Bonham and Mitchell.
What was most surprising (to me, at least) about the live show was the amount of solidity and musical understanding the trio were able to conceive given the lack of clarity in sound; and the winding developments and gradual shifts in their compositions; which is perhaps a hint of their minimalist tendencies. However, for all the fuzziness and general noise they created; it was never out of their control, right when you thought it was going to blow a speaker or ignite a front-row head-nodder; they were able to reign it in and shape it to their desire.
One problem that the swirling guitars do cause is making the lyrics very difficult to decipher. Dead Meadow partly wants it to be that way, as on record it is already distant and muffled; so at the live show with the volume cranked hard; it makes it near impossible to make out what singer/guitarist Jason Simon is warbling about.
While the tempo of most of their songs meant that time elapsed is considerably more than usually expected when seeing a live act, it was of no consequence (other than missing the last tube home and having to take a very convoluted route via overground train and night buses, but that is fun every now and then) and certainly did not bear down on anyone's patience.
As the end of their setlist rolled around, they finished with a thunderous climax and left the stage after thanking everyone.....only to return to perform the dreaded encore. It felt somewhat forced and was a minor blemish on an otherwise captivating show; and I know I will be going to see them again after they lived up to their hype as one of the best live psychedelic bands around today.
Love, Peace & Peanut Butter Cups from Reese.
The venue was the lovely Scala in King's Cross, London.
The band exciting my senses on this particular day was the swaggering Dead Meadow; with excellent support from Oxford veterans Youth Movies. Oh, there was also another support band, but I missed their set...they go by the name of The Owl Service, and I mean them no disrespect by missing their performance; but I have to have my smokes. So, in short, I blame the smoking ban.
Anyway, after witnessing the schizophrenic melange of sound that is Youth Movies (who the popular Foals sound like they may have stolen their moves from....hmmm) and going through various feelings of confusion, amazement and points of discontent; out came Dead Meadow.
It was a gig I had been anticipating for some time, after a friend turned me onto their swamp-rock steez on his car stereo. Here was a band that had genuinely captured the elements of the 60's and early 70's hard rock bands and combined the sound with the technological capabilities of today (ie: more volume and guitar effects) and on the lyrical front, thrown in the weird storylines of Lord Dunsany and other fantasy/horror fables.
I love all the bands in the vein of Black Sabbath, Led Zeppelin and my dear, dear Jimi Hendrix Experience. So, as you can imagine, this band had piqued my interest with the very first wah-laden solo I heard. I thought if they sound this heavy on record, they must really bust some skulls at live sets.
I was not disappointed, (aside from the smoking ban making ALL gigs feel strange these days, let alone a psychedelic-inflected band like DM) as they strutted out and dropped straight into a deliciously sludgy soundmash.
Now, when it comes to describing the sound of Dead Meadow; it is difficult not to use adjectives that have been applied to them several times before (sludge-rock, heavy swamp blues, etc etc.) but I don't think that indicates any limitations to the band themselves. So forgive me if Im using phrases you've heard before; inventing new language isn't high up on my to-do list.
I must also mention I did not know most of their material as I attended the gig, or indeed much about them. They sounded like a California band straight away, but the truth is that they are actually from Washington D.C.; albeit relocated to the Californian pleasures of Los Angeles. As soon as I heard them, I related their sound with that of a 'floatier' Black Sabbath, touches of Creedence Clearwater Revival and United States of America (The band, not the country...*sigh*).
They have 5 studio releases, the latest of which is entitled "Old Growth" and is the prime promotional reason for this tour. It also happens to be my least favorite DM album by some distance, but that is another story for another time...perhaps with some marshmallows.
Either way, after getting the albums shortly after witnessing their firebrand live show, I am able to name some track titles and pick preferences by name. Two of my favorite moments featured "Greensky Greenlake" and "The Whirlings" which both feature guitar textures that seem to be overlooked these days in favor of jangly chords : a decidedly lo-fi sound with meticulous attention to the amount of fuzz applied to it, is how I can best describe it with my limited understanding of guitar effects; but they contribute a great deal to the overall feel of the song thanks to the overdriven bass sound and groove of Steve Kille.
Both the aforementioned tracks also demonstrate the understated and underrated drumming of Stephen McCarty, playing slow, SLOW grooves with embellishments and triplet fills that tip the hat to Bonham and Mitchell.
What was most surprising (to me, at least) about the live show was the amount of solidity and musical understanding the trio were able to conceive given the lack of clarity in sound; and the winding developments and gradual shifts in their compositions; which is perhaps a hint of their minimalist tendencies. However, for all the fuzziness and general noise they created; it was never out of their control, right when you thought it was going to blow a speaker or ignite a front-row head-nodder; they were able to reign it in and shape it to their desire.
One problem that the swirling guitars do cause is making the lyrics very difficult to decipher. Dead Meadow partly wants it to be that way, as on record it is already distant and muffled; so at the live show with the volume cranked hard; it makes it near impossible to make out what singer/guitarist Jason Simon is warbling about.
While the tempo of most of their songs meant that time elapsed is considerably more than usually expected when seeing a live act, it was of no consequence (other than missing the last tube home and having to take a very convoluted route via overground train and night buses, but that is fun every now and then) and certainly did not bear down on anyone's patience.
As the end of their setlist rolled around, they finished with a thunderous climax and left the stage after thanking everyone.....only to return to perform the dreaded encore. It felt somewhat forced and was a minor blemish on an otherwise captivating show; and I know I will be going to see them again after they lived up to their hype as one of the best live psychedelic bands around today.
Love, Peace & Peanut Butter Cups from Reese.
Friday 18 April 2008
Hip-Hop Snobbery
Ah yes, the elitist segment of the music lover; always judging, analyzing, doing their utmost to stay on the cusp of happenings in their chosen field of obsession. Whenever the topic arises of who loves this or that style of music more, tempers invariably flare and ego's are damaged.
When it comes to elitism in hip-hop, some might say there is a whole new, even more picky level of one-upsmanship. The reason for that is partially due to the current climate (and the unfortunate ongoing trend of pop rap) of hip-hop music in the public eye. The "in the public eye" section of that sentence is imperative; for two reasons.
Firstly, The various forms of media available to us nowadays mean that word of new information or products spread quickly, so when a new hip-hop song is released by a label with financial muscle; its promotion means it inevitably gets seen by several million people.
The vast majority of these several million people do not know a great deal about hip-hop music, or indeed any genre of music in depth. (As that is the realm of the obsessive muso, such as myself) Therefore, their understanding and perception of hip-hop is created by the music they are exposed to by radio and television; which most 'hardcore' hip-hop fans denounce at every opportunity. More on that in a moment...
Secondly, it is beyond doubt that there is PLENTY of very good hip-hop being created at the moment; it just isn't popular or getting enough airplay. I constantly hear friends and acquaintances telling me there is "no good rap at the moment", which is a tired myth. Many producers and rappers are still giving it their all to create great music for the listener, but its only heard by a small audience. As such, not enough people know about it : partly through their own ignorance of other artists and partly due to the media with the power to make a change sticking to the same failsafe, boring formula.
More of you need to use the vast information highway available to us through the internet to find out about rappers such as MF DOOM, Madlib, Shape of Broad Minds, Ugly Duckling, Y Society, Atmosphere, Kev Brown and the ridiculous Flying Lotus. And those are just (a few of the really good ones) with deals!! So many amazing unsigned producers advertising their heat on Myspace, Virb and other such pages.
Many will say this has always been the way for truly good hip-hop; that its best moments as a genre of music have always been away from the limelight, but I ask you to cast your minds back to the mid-90's when Tupac and Biggie were doing fairly commercialized rap music without sacrificing a great deal of quality. Of course, some of the game's most well-known names were just on the come up then, such as Nasty Nas and Jigga Jay-Z; while juggernauts Rakim and Big Daddy Kane were getting less and less attention from the distracted youth.
That is to say, a youth distracted by these material assets being paraded about in a less intellectual manner than had been done previously : Its not as if earlier hip-hop such as RUN-DMC and Slick Rick weren't talking about material gain and quantifying success through earnings; its just that they did it with real finesse, and SO DAMN WELL.
So, why is hip-hop snobbery such an issue? Especially when being written about by someone who is considered by most of his peers as a hip-hop snob? Well, quite frankly, I need to point out that I try not to be condescending about my hip-hop preferences; and always have valid reasons for my choices. Also, because as I mentioned before, hip-hop elitists are some of the most unbelievably anal and judgmental folk in the world. If you don't pass certain credibility tests, you won't be considered part of those "in the know". Aside from the unrealistic demands of adhering to ALL of the established stereotypes (baggy clothes, talking in ebonics, truck jewels, tons of sneakers, smoking blunts, drinking 40 oz's etc.) the tedious gatekeeper types in hip-hop remind the more laid-back folk (like myself) why it can be such a frustrating and dirty game; with their unrelenting hip-hop cliches about the various ways one should "keep it real"and warcries against those who don't feel EXACTLY as they do. That plus the constant reiteration of "don't forget the 4 elements, man" or "yeah, but (insert rapper name here) wouldn't even be doing this if it wasn't for Public Enemy!". Yes, both true and important; but being such a dick about it is not going to pique people's curiosity to find out more about planet hip-hop.
This is the part of hip-hop snobs that is their own doing; they are the kind of people who are pre-disposed to that sort of tiresome, childish behavior and stubbornly defend the widely recognized 'hip-hop standards' (things such as BDP's "By Any Means Necessary" and Ultramagnetic MC's "Critical Beatdown") to the death despite the fact that in retrospect, we can see the flaws with both of those classic projects.
The other reason they have developed this spitefully scrupulous level of reckoning is, as mentioned at the beginning of this piece; the state of hip-hop in the public eye. This is because that section of hip-hop is so poor (all hip-hop criteria aside); even when looked at from a purely musical perspective. As this readily available, easily accessible slop dominates the airwaves, the quality produce is left relatively unheard. This causes an understandable resentment towards the less-informed hip-hop listener.
The difference between the tedious gatekeeper types and us more laid-back individuals is that we can see a weakness with a piece of hip-hop we love, as we aren't blinded by reputations and names.
For example, while you will never find me talking shit about "Critical Beatdown", Ced Gee was obviously a terrible rapper. That didnt stop the album from becoming one of the landmarks of the genre and establishing Kool Keith as a top-quality pioneering emcee.
Now, a gatekeeper's response to that sort of criticism would have been a hostile array of expletives and a tired-ass lecture about how you aren't educated in the way of the true school.
In conclusion, while the hip-hop currently gaining radio spins is detrimental to hip-hop as an artform (for its crass pandering to popular trends rather than artistic expression), it is for open ears and inquisitive minds to realize that there IS exciting, quality rap music out there worthy of more attention; but its down to the listener to dig through the ever-increasing mounds of hay to find that shiny needle.
That condescending hip-hop snobs are taking any and every chance to belittle those who choose to buy Young Jeezy albums instead of the Rawkus back catalogue; simply ostracizes those who are curious enough to actually spend their money on the music (and therefore the closest to being "shown the light", if you will).
So don't hate on the next man for not having seen 'Wild Style' or not knowing that Pharoahe Monch used to be in Organized Konfusion; just cause you know, you can't expect everyone to be on the same wavelength.
Therefore, if you must chastise the uneducated, handle them with kid gloves; because you dont know whether that ignorance is down to not caring or simply not having been turned onto this shit. If you are too brash with the way you tell them what you think, you will turn them away; perhaps permanently. Remember, at one time or another, we who consider ourselves savvy were also oblivious to where the goodness was at.
Love, Peace and Elbow Grease.
"Very slow and deliberate, so you can understand the flow when I deliver it, considerate, for those who've grown to consider it gibberish, like tomes to those illiterate; no, not idiots, its just their missing certain listening tools, but schools in session so pull up your stools..." - MC Abdominal
When it comes to elitism in hip-hop, some might say there is a whole new, even more picky level of one-upsmanship. The reason for that is partially due to the current climate (and the unfortunate ongoing trend of pop rap) of hip-hop music in the public eye. The "in the public eye" section of that sentence is imperative; for two reasons.
Firstly, The various forms of media available to us nowadays mean that word of new information or products spread quickly, so when a new hip-hop song is released by a label with financial muscle; its promotion means it inevitably gets seen by several million people.
The vast majority of these several million people do not know a great deal about hip-hop music, or indeed any genre of music in depth. (As that is the realm of the obsessive muso, such as myself) Therefore, their understanding and perception of hip-hop is created by the music they are exposed to by radio and television; which most 'hardcore' hip-hop fans denounce at every opportunity. More on that in a moment...
Secondly, it is beyond doubt that there is PLENTY of very good hip-hop being created at the moment; it just isn't popular or getting enough airplay. I constantly hear friends and acquaintances telling me there is "no good rap at the moment", which is a tired myth. Many producers and rappers are still giving it their all to create great music for the listener, but its only heard by a small audience. As such, not enough people know about it : partly through their own ignorance of other artists and partly due to the media with the power to make a change sticking to the same failsafe, boring formula.
More of you need to use the vast information highway available to us through the internet to find out about rappers such as MF DOOM, Madlib, Shape of Broad Minds, Ugly Duckling, Y Society, Atmosphere, Kev Brown and the ridiculous Flying Lotus. And those are just (a few of the really good ones) with deals!! So many amazing unsigned producers advertising their heat on Myspace, Virb and other such pages.
Many will say this has always been the way for truly good hip-hop; that its best moments as a genre of music have always been away from the limelight, but I ask you to cast your minds back to the mid-90's when Tupac and Biggie were doing fairly commercialized rap music without sacrificing a great deal of quality. Of course, some of the game's most well-known names were just on the come up then, such as Nasty Nas and Jigga Jay-Z; while juggernauts Rakim and Big Daddy Kane were getting less and less attention from the distracted youth.
That is to say, a youth distracted by these material assets being paraded about in a less intellectual manner than had been done previously : Its not as if earlier hip-hop such as RUN-DMC and Slick Rick weren't talking about material gain and quantifying success through earnings; its just that they did it with real finesse, and SO DAMN WELL.
So, why is hip-hop snobbery such an issue? Especially when being written about by someone who is considered by most of his peers as a hip-hop snob? Well, quite frankly, I need to point out that I try not to be condescending about my hip-hop preferences; and always have valid reasons for my choices. Also, because as I mentioned before, hip-hop elitists are some of the most unbelievably anal and judgmental folk in the world. If you don't pass certain credibility tests, you won't be considered part of those "in the know". Aside from the unrealistic demands of adhering to ALL of the established stereotypes (baggy clothes, talking in ebonics, truck jewels, tons of sneakers, smoking blunts, drinking 40 oz's etc.) the tedious gatekeeper types in hip-hop remind the more laid-back folk (like myself) why it can be such a frustrating and dirty game; with their unrelenting hip-hop cliches about the various ways one should "keep it real"and warcries against those who don't feel EXACTLY as they do. That plus the constant reiteration of "don't forget the 4 elements, man" or "yeah, but (insert rapper name here) wouldn't even be doing this if it wasn't for Public Enemy!". Yes, both true and important; but being such a dick about it is not going to pique people's curiosity to find out more about planet hip-hop.
This is the part of hip-hop snobs that is their own doing; they are the kind of people who are pre-disposed to that sort of tiresome, childish behavior and stubbornly defend the widely recognized 'hip-hop standards' (things such as BDP's "By Any Means Necessary" and Ultramagnetic MC's "Critical Beatdown") to the death despite the fact that in retrospect, we can see the flaws with both of those classic projects.
The other reason they have developed this spitefully scrupulous level of reckoning is, as mentioned at the beginning of this piece; the state of hip-hop in the public eye. This is because that section of hip-hop is so poor (all hip-hop criteria aside); even when looked at from a purely musical perspective. As this readily available, easily accessible slop dominates the airwaves, the quality produce is left relatively unheard. This causes an understandable resentment towards the less-informed hip-hop listener.
The difference between the tedious gatekeeper types and us more laid-back individuals is that we can see a weakness with a piece of hip-hop we love, as we aren't blinded by reputations and names.
For example, while you will never find me talking shit about "Critical Beatdown", Ced Gee was obviously a terrible rapper. That didnt stop the album from becoming one of the landmarks of the genre and establishing Kool Keith as a top-quality pioneering emcee.
Now, a gatekeeper's response to that sort of criticism would have been a hostile array of expletives and a tired-ass lecture about how you aren't educated in the way of the true school.
In conclusion, while the hip-hop currently gaining radio spins is detrimental to hip-hop as an artform (for its crass pandering to popular trends rather than artistic expression), it is for open ears and inquisitive minds to realize that there IS exciting, quality rap music out there worthy of more attention; but its down to the listener to dig through the ever-increasing mounds of hay to find that shiny needle.
That condescending hip-hop snobs are taking any and every chance to belittle those who choose to buy Young Jeezy albums instead of the Rawkus back catalogue; simply ostracizes those who are curious enough to actually spend their money on the music (and therefore the closest to being "shown the light", if you will).
So don't hate on the next man for not having seen 'Wild Style' or not knowing that Pharoahe Monch used to be in Organized Konfusion; just cause you know, you can't expect everyone to be on the same wavelength.
Therefore, if you must chastise the uneducated, handle them with kid gloves; because you dont know whether that ignorance is down to not caring or simply not having been turned onto this shit. If you are too brash with the way you tell them what you think, you will turn them away; perhaps permanently. Remember, at one time or another, we who consider ourselves savvy were also oblivious to where the goodness was at.
Love, Peace and Elbow Grease.
"Very slow and deliberate, so you can understand the flow when I deliver it, considerate, for those who've grown to consider it gibberish, like tomes to those illiterate; no, not idiots, its just their missing certain listening tools, but schools in session so pull up your stools..." - MC Abdominal
Friday 28 March 2008
Interview with Damu the Fudgemunk
Brief Interview with Damu the Fudgemunk, conducted via e-mail. (Oct 2007)
By: Saif Khan
Damu the Fudgemunk is the true-school producer/DJ of hip-hop duo “Y Society”; comprised of himself and Boston-based MC, Insight. Having garnered critical acclaim as the DJ for Panacea and benefited from the ability to broadcast his skills on the cyber highway that is Youtube; his music was finally released for all to hear in the autumn of 2007. His warm, dusty production style is merged with the narrative wit of Insight on “Travel At Your Own Pace”.
S.KHAN:
What’s up man, much respect for all the great beats & thank you for giving me chance to interview you.
First of all, Id like to ask what order these came in : Damu the
DJ, Damu the Producer and Damu the record digger.
DAMU:
Well I guess the "record digger" came first before beats and djing. I inherited a lot of records as a young teen. My first trial at hip- hop was emceeing honestly. I had a partner in Jr. High School and we would rhyme and rhyme...Freestyling non-stop! Hahah!!
Then we realized we needed beats so I decided to buy a turntable and listen to my records. I had no idea I wanted to produce and I would become a nerd! I wanted to rhyme! After having a record collection, it led to me buying a DJ setup at 16 and then at 17 I bought my first sampler. I later bought the MPC at 19 and I’m 23 now. Believe it or not, I'm a MC first! (Not something I brag about though…) I didn't really find out what I wanted to do until around 18. Making beats… Aw yeah!
S.KHAN:
As a producer and a drummer, I take my inspiration from both
producers & drummers I look up to. Questlove from the Roots stated that one of his biggest drumming influences was the late, great Jay Dee. He said that Jay’s manner of chopping, programming & sampling drums made him re-think the way in which the drums could be played.
Would you say your production methods are influenced by
musicians/instrumentalists as well as producers; and if so, who are they?
DAMU:
Great question. I can relate to Questlove's statement because I play drums. I've been exposed to musicians all my life; my pops was a drummer. Being that this is an electronic form of music, certain producers aim for a level of organics. Machines often emulate, but are not the greatest substitutes for real instruments, which is why we sample. I can say, the more I analyze the dynamics of a musicians playing, the more I'm inspired to carry that same ethic over to the MPC. Now I look at my machine as more of an instrument; and that's where it gets fun.
You feel like you're making music and not ‘just’ beats. As for musicians, I love Bill Bruford, Phill Collins, Ron Carter, Jeff Berlin, Jaco, Zappa, James Brown... I could go forever and ever.
S.KHAN: A lot of people have been inclined to say that your production style is reminiscent of legendary Pete Rock and Diamond D. While I think the resemblance is clear, your style definitely carries an element of originality and I feel your samples come from a wider variety of sources. Do you have any particular method to
your sampling or does it usually depend on what kind of track you are
looking to create?
DAMU:
Yeah, I get those comparisons all day and its because I'm the SUC-cessor and they're the PRE-decessors. They taught and inspired me to do what they were doing. By the time I was able to make beats, my heroes had already been producing for over a decade. Everything I do, is a result of their influence. I appreciate you noticing my originality. Word, I do sample mad records of many genre's and styles. I go through phases of different vibes… It also depends on the record I pull…
Sonically I have a nice array of beats.
Jazzy is my favourite, but yo I have 1000's of beats!! Haha! One day I'll leak my instrumental LP's and you'll hear for yourself.
S.KHAN: I look forward to it, thanks very much for your time Damu.
DAMU: Thanks, Saif.
By: Saif Khan
Damu the Fudgemunk is the true-school producer/DJ of hip-hop duo “Y Society”; comprised of himself and Boston-based MC, Insight. Having garnered critical acclaim as the DJ for Panacea and benefited from the ability to broadcast his skills on the cyber highway that is Youtube; his music was finally released for all to hear in the autumn of 2007. His warm, dusty production style is merged with the narrative wit of Insight on “Travel At Your Own Pace”.
S.KHAN:
What’s up man, much respect for all the great beats & thank you for giving me chance to interview you.
First of all, Id like to ask what order these came in : Damu the
DJ, Damu the Producer and Damu the record digger.
DAMU:
Well I guess the "record digger" came first before beats and djing. I inherited a lot of records as a young teen. My first trial at hip- hop was emceeing honestly. I had a partner in Jr. High School and we would rhyme and rhyme...Freestyling non-stop! Hahah!!
Then we realized we needed beats so I decided to buy a turntable and listen to my records. I had no idea I wanted to produce and I would become a nerd! I wanted to rhyme! After having a record collection, it led to me buying a DJ setup at 16 and then at 17 I bought my first sampler. I later bought the MPC at 19 and I’m 23 now. Believe it or not, I'm a MC first! (Not something I brag about though…) I didn't really find out what I wanted to do until around 18. Making beats… Aw yeah!
S.KHAN:
As a producer and a drummer, I take my inspiration from both
producers & drummers I look up to. Questlove from the Roots stated that one of his biggest drumming influences was the late, great Jay Dee. He said that Jay’s manner of chopping, programming & sampling drums made him re-think the way in which the drums could be played.
Would you say your production methods are influenced by
musicians/instrumentalists as well as producers; and if so, who are they?
DAMU:
Great question. I can relate to Questlove's statement because I play drums. I've been exposed to musicians all my life; my pops was a drummer. Being that this is an electronic form of music, certain producers aim for a level of organics. Machines often emulate, but are not the greatest substitutes for real instruments, which is why we sample. I can say, the more I analyze the dynamics of a musicians playing, the more I'm inspired to carry that same ethic over to the MPC. Now I look at my machine as more of an instrument; and that's where it gets fun.
You feel like you're making music and not ‘just’ beats. As for musicians, I love Bill Bruford, Phill Collins, Ron Carter, Jeff Berlin, Jaco, Zappa, James Brown... I could go forever and ever.
S.KHAN: A lot of people have been inclined to say that your production style is reminiscent of legendary Pete Rock and Diamond D. While I think the resemblance is clear, your style definitely carries an element of originality and I feel your samples come from a wider variety of sources. Do you have any particular method to
your sampling or does it usually depend on what kind of track you are
looking to create?
DAMU:
Yeah, I get those comparisons all day and its because I'm the SUC-cessor and they're the PRE-decessors. They taught and inspired me to do what they were doing. By the time I was able to make beats, my heroes had already been producing for over a decade. Everything I do, is a result of their influence. I appreciate you noticing my originality. Word, I do sample mad records of many genre's and styles. I go through phases of different vibes… It also depends on the record I pull…
Sonically I have a nice array of beats.
Jazzy is my favourite, but yo I have 1000's of beats!! Haha! One day I'll leak my instrumental LP's and you'll hear for yourself.
S.KHAN: I look forward to it, thanks very much for your time Damu.
DAMU: Thanks, Saif.
Wednesday 19 March 2008
Cinematic Orchestra & Patrick Watson - Gig Review
Alright,
So we arrive at Bracknell Arts Centre and the beautiful ground upon which it was built, with its surrounding park and forest enclosures suggesting a peaceful atmosphere.
(The carnies across the road ruined the ambiance a little, however...)
After some exploration of the area and some overpriced Dr. Pepper I make my way inside the charming venue; which was considerably bigger than I expected.
For those enjoying the view from the wings and terraces, the seating was adequate and well-arranged, as for the main standing area,
Everyone is sat on the floor carefully listening to the astounding Patrick Watson and his band. Two of my friends make comparison to Coldplay, but that is a passing reference and doesn't say much about Mr. Watson's music, which is of an entirely different brand. Id compare him more to the likes of Devendra Banhart, not only for the singer/songwriter verisimilitude, but for the beautifully humane qualities in his singing.
His smooth, soothing voice was accompanied by his piano playing and voice manipulation, (through delay pedals and such) as well as a guitarist, bassist and drummer (Who definetely had a bit of Mitch Mitchell in him...).
The music was varied and often changed moods during songs, but was always pleasant and creative. For his last song, he walked out into the middle of the group of people huddled on the floor and sang with no mic, accompanied by an acoustic guitar; titled "The Man Under The Sea". The warmth of this gesture was raucously appreciated by the audience as we all cheered him back to the stage to finish the tune with the rest of his band-mates.
Patrick Watson's band not only provided good foil as an opening act for Cinematic Orchestra, but were thoroughly enjoyable on their own merit and I may have to invest in one of this gentle soul's releases soon. His latest opus is called "Close To Paradise" for anyone interested. Definitely an act to watch.
So, some minutes passed and Cinematic Orchestra made their way to the stage, with a considerably smaller ensemble than I expected : Double Bass (Classy), Keyboards, Saxophone, Drums, Guitar and Sampler/Mixer.
Finally, I was about to witness the phenomenon of drumming that is Luke Flowers. I had already developed a great respect for his Tony Williams-esque playing and couldn't wait to see it live.
After some applause, the Orchestra started playing the opening measures to "Burnout (Awakening Of A Woman)", much to my uncontrolled joy as it is my favorite composition of theirs.
From here on in, I had moments where I would totally forget I was stood in an amphitheatre with several other people. I was in a masterclass. after about 20 minutes of this intense concentration, I snapped out and realised "oh yeah, I'm at a gig..."
Luke Flowers showed me that there is so much more to some aspects of drumming, his incredible feel and ability to flow through the song and switch the beat (not that easy in 7/8) while constantly implying the pulse was nothing short of amazing. The saxophonist also played his heart out and his ass off with some incredible solos and quite a distinctive approach : no cues from the song, no suggestion from the rest of the band that they were building towards their saxophonist taking a solo, they just came intermittently and they were always right.
However, there were some problems, the guitar tone at times was questionable and occasionally was inaudible, which was a shame because the guitarist appeared to be pouring a lot into it.
The other slightly strange thing was that head honcho J.Swincoe was not often doing much other than conducting and affecting the mix, throwing in the odd sample or cue. I would have expected a bit more from the man at the helm of this mighty crew.
The keys and saxophone were the only instruments to really take any solos however, besides an extended drum break from Mr. Flowers, thankfully accompanied by the double bass pattern. (Tangent: I cant stand when drum solos are interpreted as being something that have to happen in solitude, why cant the bass keep 'time'? Or have some horn stabs to play around or sync up with?? Major pet peeve of mine...)
Needless to say, the "solo" was impeccable, and as a good friend mentioned " You could really live it thorough his faces"...indeed, what would drumming be without a "drum face"?
So this awesomeness continued for much longer, about another hour passed before I looked at my watch and the Orchestra moved into "Ode to The Big Sea" from their first release, 'Motion'. Well, if grooves like this don't make you shake, you may have no soul.
Patrick Watson then joined the Orchestra for a couple of numbers (the collaborative tour started to make more sense here) from their new release, "Ma Fleur". (For those of you who are REALLY that French-incapacitatae, that means "My Flower".
An uptempo swing, every instrument finds their pocket within the space allotted and hypnotically so. Again, it was in places like this where I saw the true awesomeness of Luke Flowers : From a solid beat that requires 4 limb independence to breaking up his patterns around the drums, often not playing an actual beat, but just comping with the sounds and instruments; to the flowing jazz bits which were reminiscent of Philly Joe Jones incredible sticksmanship...this cat just made my jaw STAY on the floor. Its one thing when you see an artist that can MAKE your jaw drop, but when you see one who can KEEP it there....you know you are in the presence of something special.
Love, Peace & Lookin' After Your Niece.
"Thought we was closer to genesis before all this, technology was cordless; senseless courtship" - Vast Aire
The Decline of The Red Hot Chili Peppers
Yes, yes
It IS a subject which has been addressed at least a handful of times, but I feel no one is really getting into the pulp of the problem.
Just a quick recap to give some context of where we as Chili fans currently stand.
Its been 24 years since the Chili's man-handled their way onto the scene, with their exciting-yet-misfiring self-titled debut. Granted, part of the reason that album misfired a little was due to 2 of the original members not being present. Ok, so a couple years passed and original guitarist Slovak returned to the fray, they hook up with George Clinton to release their second album aaaaannnd....its better. Still inconsistent, but a definite improvement; still Jack Irons (original RHCP drummer) is not involved in any of the recordings.
So we progress to 1987, the release is "Uplift Mofo Party Plan"; which REMAINS one of their BEST albums ever. Uptempo punk with a swing, punctuated with funk riffs, some blistering guitar work from Slovak and relentless bass grooves from Flea.
here, their economy of delivering material had improved; they began to harness the qualities of their energetic live shows with their obvious musical dexterity played with extreme PASSION. You could really FEEL this record.
Sadly, a year later guitarist Slovak would pass away, paying the ultimate price for over-indulging in heavy narcotics. This left all band-members disconsolate; eventually resulting in Jack Irons leaving the band as he "couldnt see this shit happen to my best friends".
Remaining Peppers' Kiedis and Flea considered calling time on the band, but thankfully decided against it; as the band would release 2 landmark albums in the 3 years to follow.
A young Frusciante was recruited, adding a new dimension to the band with his songwriting ability as well as his multi-faceted guitar stylings. Chad Smith was recommended for the drum stool by a friend of the Peppers, who said "he eats drums for breakfast". nice.
1989 saw the release of the jubilant and aggressive "Mother's Milk"; where the Chilis began incorporating more melodic ideas than ever before, while retaining their hard sound and funk-inflected playing. It contains some of the band's best material, such as "Stone Cold Bush", "Taste The Pain" and "Subway to Venus".
Well, by now everyone knows what came next. the one they wont stop talking about, Blood Sugar Sex Magik.
It kind of goes without saying that this is a ridiculously good album; again containing some of the funkiest tracks laid down by the Chilis ("If You Have To Ask" and "Mellowship Slinky in B Major" should serve as good examples) along with the politicised element of things (Power of Equality), and another turn to the more traditional forms of melody and harmony (Under The Bridge, I Could Have Lied).
So then came the second bout of bad luck, Frusicante quits the band at the apparent peak of their powers; claiming to be at odds with the spirits in his realm. He begins a 6 year addiction to Cocaine and Heroin, mostly administered intravenously. Dark.
The Chili's remain in limbo for a while before adding Dave Navarro (previously of the mercurial Jane's Addiction) to the lineup; doing shows and releasing "One Hot Minute"; which remains the MOST UNDERRATED Chili's album, bar none.
This album is probably largely ignored due to the difference in approach from the previous albums. Its darker, more psychedelic, heavier and infused with a sense of melancholy; even on the expertly crafted "Aeroplane". These qualities are mainly attributed to Navarro's presence on guitar and his infatuation with progressive rock and ethereal sounds.
Granted it does have its weaker moments, on songs such as "One Big Mob" "Tearjerker" and "Falling Into Grace"; but its strong points far outweigh the downsides.
If you havent heard this just cause it doesnt have Frusciante on guitar, dont be a dick; go get a copy of this album somehow and enjoy the PASSION of delivery.
Yeah, yeah from here on I bet you all know the story, Navarro's out after "only" helping sell 5 mil of OHM and creative differences; Frusicante CHECKS HIMSELF INTO REHAB AND QUITS COLD TURKEY.
That man has had an interesting life, never heard of someone go into such a heavy drug addiction and decide exactly when to come out, no problems with relapses. He clearly feels that it was a valuable period in his life. All heroin and cocaine users should be so lucky as him to have such epiphanies!
So, the original Chilis are back together, everyone is off the drugs aaaaaand Californication.
Pretty damn good actually. kind of a more half and half effort; with the first 8 tracks and a couple of the latter ones being really well executed, but with a definite pop sensibility.
The rest of the material is where the analysis of the Chili's downward spiral can begin.
The funkier tracks on this album are veeerrrry suspect.
"Purple Stain"...its a blemish on the album : the funk in it doesnt seem to be coming from the same exciting place it did in Mothers Milk or Uplift Mofo. It seems to be fabricated and somewhat sterile...I wanst best pleased. Given that this is a 15 track album, Id say 6 tracks could have been eradicated to make it an even bigger classic than it has become.
But wait, the Chili's would plunge lower still!
Apparently, at this time, Flea wanted to bust out some dirty funk grooves but Frusciante wanted to explore mellow guitar parts and "people with good chords, you know, like Johnny Marr".
While the potential for Smiths style chords combined with Frusciante's expertise was a tantalizing idea; it did not work so well in practice. Frusicante's vision not materializing (probably due to the friction between his and Flea's desire of what to play) effectively along with Kiedis's totally abandoned rapping, replaced by a barely passable excuse for singing; a terrible aesthetic decision given his often intelligent wordplay (which is more suited to his quirky rapping style).
By The Way is released in 2002.
It is bland, uneventful and lacks the gusto which I (and im sure many others) came to love the Chilis for. Sure, since this new audience has developed after the release of Californication, it catered to their simplistic, uninqusitive mindsets; but what about those of us who were cheering the Chili's in the early and mid 90's? Where have our funky patrons of mayhem disappeared to? What is this watered down approach?
Hmmm, cue a period of boycotting the Chili's music, waiting as each year passed with people still playing that fucking album....
2006 : Stadium Arcadium.
Its a double LP.....a time-tested sign of the last hurrah before a band implodes or goes off to become actors....or some other bullshit.
But wait, its actually BETTER than either Californication or By The Way (though beating BTW is not difficult). Its just a damn shame there is 28 songs. Shoulda really been about 17 or 18 either compressed onto one really good album or a pretty decent double album.
Still, It produces (for me) some of the best Chilis tracks EVER. (She's Only 18, Readymade & Hey) They continue to tour for this album, slowly pulling out more and more of the great tracks from their past work to keep us early-chilios happy.
What does all this mean? Well, it could suggest the band taking a step back into the "right" direction; or what many of us feel we want to hear from the Chilis : That great swagger, the bursting passion, that overt energy and absolute LOVE for making funky, hard rocking fucking music. Forget the haters lambasting the Chilis as some "white funk band" (theyve been hating for years)/ The Chilis are for REAL, or at least they certainly used to be.
Dont get me wrong, the new record's major plusses are that Frusicante is going for it (though he still has WAY more in his arsenal) and that Chad Smith is actually stomping some sick drum tracks on this album; something that neither have done in a while, so fingers crossed that continues. However, those two upsides are countered by the massive downsides : The unacceptable understatement of Flea and Kiedis continuing to sing...
It is important to remember that this decline we (the old heads) interpret is simultaneously created a new fanbase for the Chilis (after a lengthy hiatus during which a new generation got slightly older, don't forget), created by the material on Californication and By The Way; and they have to cater to that too I suppose...*fills with lament*
Hmmm... Some would say 'fuck catering to people', right? I mean, make it cause you wanna make it! Well...its not quite that simple.
But then, when they started out, they kicked ass, were funky as hell and didnt give a FUCK what anyone thought. Now it seems they are stuck between trying to please old fans who YEARN for that funky, hard, passionate shit; and the new fans who want the Chilis that can literally crap out hits.
Plus, we have to keep in mind many years have passed and they have been through a lot of shit in the 2 and a half decades they have been in the game (NOT MANY LAST ANYWHERE NEAR THAT LONG, LET ALONE BECOME HOUSEHOLD NAMES), and as Chad Smith accurately says in his ever-honset and forthright aire, "If you wanna hear those kind of tunes, go put on that record!".
Bands priorites change, their tastes change, cirumstances, etc. etc.
I get myself needlessly angry listening to the older Chilis albums I love so much, seeing as I feel they will never make that style of music again, where they were at their creative apex (which also happened to include a lot of conflict); but there is no need for me to.
All I can do is play Uplift Mofo Party Plan at Max Volume on my stereo, jumping around like a nut and hope that they do keep the funk from the SOUL; and that the next album is shorter (Many of you will know that Antony Kiedis has said it will be a 10-track-hit-em-&-quit-em style affair...some will not...) and more PASSIONATE in its delivery, with Flea, Frusciante and Smith at the CORE of the tunes.
Love, Peace & Clean Sheets.
"You can find him at the pub with the grub stain, chuggin' on a small tub of pain to his bugged brain" - King MF DOOM
Kings Of Leon - Because Of The Times - Review
I think it is important to start this off by saying that KOL are one of the bands from the indie-related revival (started circa 2001 thanks to The Strokes) that I actually like.
That has made reviewing this album somewhat difficult. The reason for that is that while I am disappointed with this record overall, I strive to commend them on the strong points within the 13-track frame.
I was introduced to this intriguing band by one of my best friends; although their constant exposure on MTV shortly after the release of their raw, dirty-swamp rock debut: "Youth and Young Manhood" had made me aware of who they were. In time, I came to enjoy that album and the follow-up, "Aha Shake Heartbreak" as two of my favorite modern rock records, period.
What has confused me somewhat, however, is that the band have been lumped in with the rest of the MTV2 fodder (Remember The Hives??) while clearly being cut from a more superior cloth.
While the first release established the gutsy, Southern-fried sound of KOL & the sophomore album showcased a more diverse and musically mature outfit; the latest album is somewhat of an enigma to me.
Caught somewhere between trying to shed the tag of a punky, fuzz-inflected Creedence and simultaneously trying to infuse more varied elements into their music; "Because Of The Times" comes off as an unfinished, stumbling experiment. That is not to say that the album feels incomplete, but rather that the new direction KOL are striving to push themselves in (and kudos to them for making the effort) remains under-developed. As if where they are going musically is a destination they have not arrived at just yet.
We, the listeners will have a better idea of where/what that place is on the next album.
With that said, the album has clear highlights (along with a lot of average tracks) such as opener "Knocked Up", a reverb-laden tale of eloping with one's baby mama; no matter who objects. Within the first minute of this track, old-school KOL fans will realize they are about to hear something different from the more concise delivery of the first two records : The lack of a defined song structure and no relying on a lo-fi sound. Not to mention opening the record with a 7-minute track is a welcome 'fuck-you' to all bands concerned with commercial radio-play.
Somewhat typical of a band's third album, straightaway the experimentation factor is evident. Not so much because the sound appears to be bigger, but more because the sound has been more meticulously worked than on previous KOL.
From the slow-burn of "Knocked Up" to the crunching, screeching (literally, Caleb's voice box must have hurt doing the takes for that one) muddy thrash of "Charmer"; KOL assure their loyal fanbase that they haven't ditched their temper altogether.
An abrupt ending to "Charmer" takes us directly to a winding synth with Caleb's tear-jerking vocal and the bassline of "On Call" which sounds like it may have been lifted from The Doors' stomper "Five to One".
Once more, the time taken over the SOUND of the band is evident, with the rapid decay on Caleb's shouts of 'Be There!' and the distortion of Jared's bass tone. This track also shows my main issue with this album, which is that it tentatively suggests a number of ways it could turn before copping out and taking none of them.
Onto one of the more interesting tracks, "McFearless" which opens with the main fuzzed-out riff (layered with a higher, wah-covered guitar) and a half-time drum beat from the underrated Nathan Followill. All the elements suggest it will be a strong point on the album until the chorus descends into archetypal stadium rock. Perhaps its saving grace is the drum break in between the 2nd and 3rd chorus, with a delay-ridden snare pattern; before the song peters out into feedback.
Perhaps the best cut off the record arrives next, with the excellent title of "Black Thumbnail". Taking just the right amount of time to build up to the meat of the song with a chiming guitar and naked vocals, this is where KOL really excel. All four members are on form here but Caleb takes the limelight with his piercing voice and excellent lyrics
("From runways to the road, I ramble alone/ This thumbnail-sized heart is black as coal")
and the song reaches a nice climax with a wailing guitar interlude from the ever-improving Matthew.
From a contender for best track to a contender for most confused track, "My Party"'s dancefloor shuffle is parading as sinister with its boomy bassline and reversed guitar licks but is too reminiscent of the likes of Panic at the Disco and CSS to be taken seriously, even if KOL rock it way better than those *cough* 'bands' *cough* and the drum breakdown with "oooh's" is rather unnecessary.
From here on in, the album become less and less cogent, with "True Love Way" suffering from an overly-formulaic approach (power chords + disenfranchised love story) and "Ragoo"'s reggae-tinged rhythm not gelling with its half-time chorus; although it showcases more vocal prowess from Caleb Followill.
"Fans" is another plus-moment on the record, with the acoustic guitar providing perfect foil for a reflective, vulnerable vocal; with an air of joy and delusion all at once. This feeling is perhaps best captured by the shout-out to London "All the rainy days, they ain't so bad when you're the King".
The slow waltz of "Runner" is the big brother of "Rememo" from their second album, and serves as a decent example of how KOL can retain their balance between swamp-swagger and tearful honesty even on slower-paced numbers.
A few shades better is "Trunk", featuring spaghetti-western guitars and surprisingly smooth bass. A substantial helping of delay is used on both the lead guitar melody and the vocals, but it is nothing less than fitting as it descends into the beautifully-haunting chorus of "oooh's" as the band switches between both sections with an ease and grace not usually associated with KOL.
The penultimate number is "Camaro", suitably titled when one hears its driving pulse and would be perfect for a cruise with a catchy guitar melody and another insisting guitar interlude (Matthew Followill's lead style could not really be described as soloing as it generally revolves around the song).
Album closer "Arizona" is vintage KOL end of album material; similar to "Talahina Sky" off Y&YM and "Where Nobody Knows" from ASH. The tempo is brought right down to emphasize the maturity of the music, as has been the trend for the band since their earlier, raucous, misbehaving days. Slowly unfolding and pensive, the guitar melody precedes the vocal line as Caleb recounts yet another tale of a woman he may or may not have carnal knowledge of; we are merely left with snapshots from his memories of time spent with the woman in question; as the track culminates in the only real guitar solo on the album and dwindles off into the distance, not really ever saying goodbye.
At the beginning of this album review I stated that "Because Of The Times" was an album I did NOT like, while in reality, it is the patchiness of the album that has failed to endear it to me. Sure, it had weak, predictable moments; but it also had some very interesting sections and at times, demonstrates poignance and real musical growth from the four relatives from Nashville.
It may certainly grow on me, but given the consistency of the previous two KOL releases and how immediate my enjoyment of them was, I have to be critical of this record. Its experimentation (which is a positive as it means the band are not willing to let their "sound" be the only musical method they can be defined by) means that it sacrifices a coherent presentation; but such is the nature of 80 percent of bands' third albums'. To put it in perspective alongside peers of theirs, they did a whole lot better than The Strokes third effort; but both albums would have benefited from the culling of three or four tracks.
Here's hoping the 4th album presents a more well-travelled cousin of this rambling, sporadic bastard child.
"We, New York the narcotic, strength in metal & fibre optics, where mercenaries is paid to trade hot stock tips, for profits, thirsty crimi-nals dig pockets, hard knuckles on the second-hand of working class watches, skyscrapers is colossus, the cost of living is preposterous, stay alive, you play or die, no options..." - Mighty Mos Def
That has made reviewing this album somewhat difficult. The reason for that is that while I am disappointed with this record overall, I strive to commend them on the strong points within the 13-track frame.
I was introduced to this intriguing band by one of my best friends; although their constant exposure on MTV shortly after the release of their raw, dirty-swamp rock debut: "Youth and Young Manhood" had made me aware of who they were. In time, I came to enjoy that album and the follow-up, "Aha Shake Heartbreak" as two of my favorite modern rock records, period.
What has confused me somewhat, however, is that the band have been lumped in with the rest of the MTV2 fodder (Remember The Hives??) while clearly being cut from a more superior cloth.
While the first release established the gutsy, Southern-fried sound of KOL & the sophomore album showcased a more diverse and musically mature outfit; the latest album is somewhat of an enigma to me.
Caught somewhere between trying to shed the tag of a punky, fuzz-inflected Creedence and simultaneously trying to infuse more varied elements into their music; "Because Of The Times" comes off as an unfinished, stumbling experiment. That is not to say that the album feels incomplete, but rather that the new direction KOL are striving to push themselves in (and kudos to them for making the effort) remains under-developed. As if where they are going musically is a destination they have not arrived at just yet.
We, the listeners will have a better idea of where/what that place is on the next album.
With that said, the album has clear highlights (along with a lot of average tracks) such as opener "Knocked Up", a reverb-laden tale of eloping with one's baby mama; no matter who objects. Within the first minute of this track, old-school KOL fans will realize they are about to hear something different from the more concise delivery of the first two records : The lack of a defined song structure and no relying on a lo-fi sound. Not to mention opening the record with a 7-minute track is a welcome 'fuck-you' to all bands concerned with commercial radio-play.
Somewhat typical of a band's third album, straightaway the experimentation factor is evident. Not so much because the sound appears to be bigger, but more because the sound has been more meticulously worked than on previous KOL.
From the slow-burn of "Knocked Up" to the crunching, screeching (literally, Caleb's voice box must have hurt doing the takes for that one) muddy thrash of "Charmer"; KOL assure their loyal fanbase that they haven't ditched their temper altogether.
An abrupt ending to "Charmer" takes us directly to a winding synth with Caleb's tear-jerking vocal and the bassline of "On Call" which sounds like it may have been lifted from The Doors' stomper "Five to One".
Once more, the time taken over the SOUND of the band is evident, with the rapid decay on Caleb's shouts of 'Be There!' and the distortion of Jared's bass tone. This track also shows my main issue with this album, which is that it tentatively suggests a number of ways it could turn before copping out and taking none of them.
Onto one of the more interesting tracks, "McFearless" which opens with the main fuzzed-out riff (layered with a higher, wah-covered guitar) and a half-time drum beat from the underrated Nathan Followill. All the elements suggest it will be a strong point on the album until the chorus descends into archetypal stadium rock. Perhaps its saving grace is the drum break in between the 2nd and 3rd chorus, with a delay-ridden snare pattern; before the song peters out into feedback.
Perhaps the best cut off the record arrives next, with the excellent title of "Black Thumbnail". Taking just the right amount of time to build up to the meat of the song with a chiming guitar and naked vocals, this is where KOL really excel. All four members are on form here but Caleb takes the limelight with his piercing voice and excellent lyrics
("From runways to the road, I ramble alone/ This thumbnail-sized heart is black as coal")
and the song reaches a nice climax with a wailing guitar interlude from the ever-improving Matthew.
From a contender for best track to a contender for most confused track, "My Party"'s dancefloor shuffle is parading as sinister with its boomy bassline and reversed guitar licks but is too reminiscent of the likes of Panic at the Disco and CSS to be taken seriously, even if KOL rock it way better than those *cough* 'bands' *cough* and the drum breakdown with "oooh's" is rather unnecessary.
From here on in, the album become less and less cogent, with "True Love Way" suffering from an overly-formulaic approach (power chords + disenfranchised love story) and "Ragoo"'s reggae-tinged rhythm not gelling with its half-time chorus; although it showcases more vocal prowess from Caleb Followill.
"Fans" is another plus-moment on the record, with the acoustic guitar providing perfect foil for a reflective, vulnerable vocal; with an air of joy and delusion all at once. This feeling is perhaps best captured by the shout-out to London "All the rainy days, they ain't so bad when you're the King".
The slow waltz of "Runner" is the big brother of "Rememo" from their second album, and serves as a decent example of how KOL can retain their balance between swamp-swagger and tearful honesty even on slower-paced numbers.
A few shades better is "Trunk", featuring spaghetti-western guitars and surprisingly smooth bass. A substantial helping of delay is used on both the lead guitar melody and the vocals, but it is nothing less than fitting as it descends into the beautifully-haunting chorus of "oooh's" as the band switches between both sections with an ease and grace not usually associated with KOL.
The penultimate number is "Camaro", suitably titled when one hears its driving pulse and would be perfect for a cruise with a catchy guitar melody and another insisting guitar interlude (Matthew Followill's lead style could not really be described as soloing as it generally revolves around the song).
Album closer "Arizona" is vintage KOL end of album material; similar to "Talahina Sky" off Y&YM and "Where Nobody Knows" from ASH. The tempo is brought right down to emphasize the maturity of the music, as has been the trend for the band since their earlier, raucous, misbehaving days. Slowly unfolding and pensive, the guitar melody precedes the vocal line as Caleb recounts yet another tale of a woman he may or may not have carnal knowledge of; we are merely left with snapshots from his memories of time spent with the woman in question; as the track culminates in the only real guitar solo on the album and dwindles off into the distance, not really ever saying goodbye.
At the beginning of this album review I stated that "Because Of The Times" was an album I did NOT like, while in reality, it is the patchiness of the album that has failed to endear it to me. Sure, it had weak, predictable moments; but it also had some very interesting sections and at times, demonstrates poignance and real musical growth from the four relatives from Nashville.
It may certainly grow on me, but given the consistency of the previous two KOL releases and how immediate my enjoyment of them was, I have to be critical of this record. Its experimentation (which is a positive as it means the band are not willing to let their "sound" be the only musical method they can be defined by) means that it sacrifices a coherent presentation; but such is the nature of 80 percent of bands' third albums'. To put it in perspective alongside peers of theirs, they did a whole lot better than The Strokes third effort; but both albums would have benefited from the culling of three or four tracks.
Here's hoping the 4th album presents a more well-travelled cousin of this rambling, sporadic bastard child.
"We, New York the narcotic, strength in metal & fibre optics, where mercenaries is paid to trade hot stock tips, for profits, thirsty crimi-nals dig pockets, hard knuckles on the second-hand of working class watches, skyscrapers is colossus, the cost of living is preposterous, stay alive, you play or die, no options..." - Mighty Mos Def
Tuesday 18 March 2008
Scenesterism
Picture the following : You attend a gig you have been eagerly anticipating, perhaps of one of your favorite musicians/bands. You go down to the venue that is hosting the event to witness the concert and enjoy the music you love. So far, so good. However, some of you will have noticed that if you get there in time for the warm-up act, (normally not at full capacity at this stage) you will usually be able to spot the curse of 21st Century music : the scenester.
This person often has very little interest in the music on display (and sometimes music in general) and will attend the venue/gig for purposes of popularity and *sighs* 'coolness'.
Yes, this is going to be a rant, and rightly so. As an (admittedly hardcore) music lover, I have no time for folk who go places merely to get props from the cool crew. I view it as leeching upon the culture and having no positive/constructive contribution. Even a passive listener contributes something!
I am going to the concert to see the musicians/DJ's/performers, and I expect to be able to enjoy that without coming across these shallow sentinels du jour.
Let me make it clear that I am not talking about someone who goes to a gig on the hunch that it might be good and is looking a little lost, (I actually applaud that attitude) or that guy who went to the gig to accompany his friend (no one likes rolling solo).
I am directing this at that guy/girl who shows up, perhaps overdressed; and pays little to no attention to the music. And you can see them looking around at other cats to see if people are noticing their attendance!!!
While it annoys me on a personal level, to be somewhat more objective about the matter, I am bewildered by the mindset of those who go to an event, but not for the event itself...instead they are more concerned with being 'at the spot' because someone/something told them that its 'where its at'.
While I feel this is evermore present with the current vomit-inducing 'indie' scene (which bears no resemblance to the original 'Indie rock' boom...cause its NOT INDEPENDENTLY RUN!) I am perfectly aware that it has plagued music events for decades.
For example, the psychedelic movement of the late 1960's attracted an enormous amount of people who got caught up in the whole circus of social (and anti-social) activities that revolved around the music, BUT not the actual music.
Any of the music festival footage of the time attests to this, with several people too smashed out of their brains on various substances and completely missing the message and angle of the music they were witnessing. If anything, their faux-pas is all the more criminal because of the volume of great musicians that were performing during this era.
What is truly worrying and obviously annoying about scenesterism now, is that it is somewhat promoted through various media sources. MTV's broadcasting has lost all & any measure of quality control, even the once-trustworthy MTV2 has descended to showing footage of nothing but bands such as the Killers, the Fillers and the other Twiddlers.
With impressionable young people being the core demographic of MTV, this results in waves of kids and teenagers thinking they need to mimic these groups behavior right down to the dress sense.
This does nothing but help create newer waves of scenesters, who are inherently shallow and prime targets for any marketing companies flogging products that dictate the "scene", as they snap it all up immediately, desperate to not be negatively judged by their equally shallow peers.
Like I said before, this phenomenon affects all genres of music, but from my personal experience, it seems that rock-based music is the main victim. I suppose one could get much deeper into it and start to question the self-esteem and confidence of the scenester, but Ill leave that to the psych-students.
It just goes to show the radical difference in mindsets of those who go because they love the music and those who go because of the social status it will afford them.
Some will say I have been harsh in my judgment of scenesters but those who take a moment to flip through their mental Rolodex of recent gigs-to-posers ratio will feel me on this one.
Love, Peace & Fuck the Police
"Im waiting for the day she strolls through muddy waters & slaughters, sons & daughters, & bloodies mothers & fathers; lovely little case study cast-away cutie, masturbating in the back of that matinee movie..." - Slug
This person often has very little interest in the music on display (and sometimes music in general) and will attend the venue/gig for purposes of popularity and *sighs* 'coolness'.
Yes, this is going to be a rant, and rightly so. As an (admittedly hardcore) music lover, I have no time for folk who go places merely to get props from the cool crew. I view it as leeching upon the culture and having no positive/constructive contribution. Even a passive listener contributes something!
I am going to the concert to see the musicians/DJ's/performers, and I expect to be able to enjoy that without coming across these shallow sentinels du jour.
Let me make it clear that I am not talking about someone who goes to a gig on the hunch that it might be good and is looking a little lost, (I actually applaud that attitude) or that guy who went to the gig to accompany his friend (no one likes rolling solo).
I am directing this at that guy/girl who shows up, perhaps overdressed; and pays little to no attention to the music. And you can see them looking around at other cats to see if people are noticing their attendance!!!
While it annoys me on a personal level, to be somewhat more objective about the matter, I am bewildered by the mindset of those who go to an event, but not for the event itself...instead they are more concerned with being 'at the spot' because someone/something told them that its 'where its at'.
While I feel this is evermore present with the current vomit-inducing 'indie' scene (which bears no resemblance to the original 'Indie rock' boom...cause its NOT INDEPENDENTLY RUN!) I am perfectly aware that it has plagued music events for decades.
For example, the psychedelic movement of the late 1960's attracted an enormous amount of people who got caught up in the whole circus of social (and anti-social) activities that revolved around the music, BUT not the actual music.
Any of the music festival footage of the time attests to this, with several people too smashed out of their brains on various substances and completely missing the message and angle of the music they were witnessing. If anything, their faux-pas is all the more criminal because of the volume of great musicians that were performing during this era.
What is truly worrying and obviously annoying about scenesterism now, is that it is somewhat promoted through various media sources. MTV's broadcasting has lost all & any measure of quality control, even the once-trustworthy MTV2 has descended to showing footage of nothing but bands such as the Killers, the Fillers and the other Twiddlers.
With impressionable young people being the core demographic of MTV, this results in waves of kids and teenagers thinking they need to mimic these groups behavior right down to the dress sense.
This does nothing but help create newer waves of scenesters, who are inherently shallow and prime targets for any marketing companies flogging products that dictate the "scene", as they snap it all up immediately, desperate to not be negatively judged by their equally shallow peers.
Like I said before, this phenomenon affects all genres of music, but from my personal experience, it seems that rock-based music is the main victim. I suppose one could get much deeper into it and start to question the self-esteem and confidence of the scenester, but Ill leave that to the psych-students.
It just goes to show the radical difference in mindsets of those who go because they love the music and those who go because of the social status it will afford them.
Some will say I have been harsh in my judgment of scenesters but those who take a moment to flip through their mental Rolodex of recent gigs-to-posers ratio will feel me on this one.
Love, Peace & Fuck the Police
"Im waiting for the day she strolls through muddy waters & slaughters, sons & daughters, & bloodies mothers & fathers; lovely little case study cast-away cutie, masturbating in the back of that matinee movie..." - Slug
Thursday 28 February 2008
Breakestra - Hit The Floor - Review
Live funk anyone? Yeah, exactly, a dying presence on stages the world over. Why? I won't be able to comprehend as I view funk like a cold glass of water : You might be able to drink something better than that, & you could definitely drink worse; but you can't really dislike water.
In this music-to-fluid analogy, what Im saying is that its difficult to not like Funk (and I mean proper FUNK, not some hybrid or something someone defines as "funky") even though you may like/dislike other genres more than funk. An affable style of music, if you will.
One of the few acts keeping the real, raw funk alive are Westcoast ten-piece; Breakestra.
Breakestra are a live band that made their name playing the circuit of small venues in their native California, performing astute but gritty renditions of their favorite funk music.
They, somewhat adequately; were signed to the sublime independent Hip-Hop label, Stones Throw records.
I say it is somewhat adequate because they essentially made their name by 'sampling' and interpolating the music they love, but instead of using technological means, they played their hearts out live.
Therefore, an independent hip-hop label seems like a good fit for the band.
Led by bassist Miles Tackett, the group recently released its first LP of original compositions, titled "Hit The Floor". This release was predated by a stunning MIX (as in, they just played all their covers as one long, continuous medley) compilation of some of the best funk ever created, on "The Live Mix".
The first full-length original release should (hopefully) see the band gain more exposure and has shown that aside from being fiery performers, their songwriting skills are up to scratch as well. It is an album that will undoubtedly still pass under the radar of the average music buyer, as Stones Throw relies somewhat on its core fanbase (such as fans of musical mastermind, Madlib and the demented Kerouac of rap, MF Doom) to go out and cop its newer releases.
Sure, this will get a lot of attention in California and perhaps even in neighboring states, but over here in the U.K. it is unlikely they will get much airplay.
With that in mind, it is important to remember as a purchaser of music to never stop looking for new music, so that you may come across gems such as this piece of funk pie.
The music contained within this album is perfect for summer gatherings or BBQ's; something which is to be expected of a collective crafting sun-drenched funk.
The concise arrangements, musical chemistry and adherence to old school funk principles (Brass stabs, drum breaks, syncopation etc.) make this offering a superb debut.
The mood captured by the band on cuts such as "Hiding", "Show & Prove" and album opener "Stand Up" is so infectious only the most stubborn of listeners will not be overcome with a burning desire to bust a dance-floor groove.
The cause is greatly helped by their airtight rhythm section, with bassman Tackett locking in with drummer, Josh 'Wallet' Cohen; leaving the percussion, guitar and keys to gravitate around a solid pulse. The fantastically named Mixmaster Wolf is somewhat your archetypal funk vocalist, relying more on adlibs, vamps and soulful delivery more than verbal variation; not that there is anything wrong with that when you are as entertaining as he is.
Thankfully, he recognizes that he is not the main focus of the band as the listener is treated to a couple of pensive sounding but funky-as-old-gym-socks instrumentals; featuring the flute as the main melodic component. This is supported excellently by the brass section and agile yet understated guitar work.
One thing that may benefit this orchestra of funk (in terms of helping them get noticed by those currently unaware) is that there are definite pop sensibilities to their tunes, by which I mean melodic phrases and song structure are carefully constructed so as to not be confused with 'just another funk band that jams'.
The other pleasing aspect of the brand of funk the Breakestra offer is that it never descends into the slightly-cheesy stylings of late 1970's funk which eventually mutated into Disco.
While many will be quick to assert that the general music aficionado is not in need of another funk band, seeing as most of the best music in the genre was created almost 4 decades ago; but in the current climate of music, where the visceral swagger of funk and live instrumentation are overlooked in favor of slick, electronic-based productions; it is refreshing to have a modern day funk outfit whose focus is simply on making good music to have a good time to. What could you possibly hold against them? Go out and get your hands on "Live Mix Pt.2" and "Hit The Floor"
and then play them back to back in your car, see if it doesn't make the day better.
"Don't need to remind me about living in the core, with the scramblers in front of the store, the bum holding the door, the mugging no one saw, we played ball in the alley where dope was shot raw, and the school they kept flawed, with the lowest test scores..." - The Genius GZA
In this music-to-fluid analogy, what Im saying is that its difficult to not like Funk (and I mean proper FUNK, not some hybrid or something someone defines as "funky") even though you may like/dislike other genres more than funk. An affable style of music, if you will.
One of the few acts keeping the real, raw funk alive are Westcoast ten-piece; Breakestra.
Breakestra are a live band that made their name playing the circuit of small venues in their native California, performing astute but gritty renditions of their favorite funk music.
They, somewhat adequately; were signed to the sublime independent Hip-Hop label, Stones Throw records.
I say it is somewhat adequate because they essentially made their name by 'sampling' and interpolating the music they love, but instead of using technological means, they played their hearts out live.
Therefore, an independent hip-hop label seems like a good fit for the band.
Led by bassist Miles Tackett, the group recently released its first LP of original compositions, titled "Hit The Floor". This release was predated by a stunning MIX (as in, they just played all their covers as one long, continuous medley) compilation of some of the best funk ever created, on "The Live Mix".
The first full-length original release should (hopefully) see the band gain more exposure and has shown that aside from being fiery performers, their songwriting skills are up to scratch as well. It is an album that will undoubtedly still pass under the radar of the average music buyer, as Stones Throw relies somewhat on its core fanbase (such as fans of musical mastermind, Madlib and the demented Kerouac of rap, MF Doom) to go out and cop its newer releases.
Sure, this will get a lot of attention in California and perhaps even in neighboring states, but over here in the U.K. it is unlikely they will get much airplay.
With that in mind, it is important to remember as a purchaser of music to never stop looking for new music, so that you may come across gems such as this piece of funk pie.
The music contained within this album is perfect for summer gatherings or BBQ's; something which is to be expected of a collective crafting sun-drenched funk.
The concise arrangements, musical chemistry and adherence to old school funk principles (Brass stabs, drum breaks, syncopation etc.) make this offering a superb debut.
The mood captured by the band on cuts such as "Hiding", "Show & Prove" and album opener "Stand Up" is so infectious only the most stubborn of listeners will not be overcome with a burning desire to bust a dance-floor groove.
The cause is greatly helped by their airtight rhythm section, with bassman Tackett locking in with drummer, Josh 'Wallet' Cohen; leaving the percussion, guitar and keys to gravitate around a solid pulse. The fantastically named Mixmaster Wolf is somewhat your archetypal funk vocalist, relying more on adlibs, vamps and soulful delivery more than verbal variation; not that there is anything wrong with that when you are as entertaining as he is.
Thankfully, he recognizes that he is not the main focus of the band as the listener is treated to a couple of pensive sounding but funky-as-old-gym-socks instrumentals; featuring the flute as the main melodic component. This is supported excellently by the brass section and agile yet understated guitar work.
One thing that may benefit this orchestra of funk (in terms of helping them get noticed by those currently unaware) is that there are definite pop sensibilities to their tunes, by which I mean melodic phrases and song structure are carefully constructed so as to not be confused with 'just another funk band that jams'.
The other pleasing aspect of the brand of funk the Breakestra offer is that it never descends into the slightly-cheesy stylings of late 1970's funk which eventually mutated into Disco.
While many will be quick to assert that the general music aficionado is not in need of another funk band, seeing as most of the best music in the genre was created almost 4 decades ago; but in the current climate of music, where the visceral swagger of funk and live instrumentation are overlooked in favor of slick, electronic-based productions; it is refreshing to have a modern day funk outfit whose focus is simply on making good music to have a good time to. What could you possibly hold against them? Go out and get your hands on "Live Mix Pt.2" and "Hit The Floor"
and then play them back to back in your car, see if it doesn't make the day better.
"Don't need to remind me about living in the core, with the scramblers in front of the store, the bum holding the door, the mugging no one saw, we played ball in the alley where dope was shot raw, and the school they kept flawed, with the lowest test scores..." - The Genius GZA
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