Monday, October 27, 2008

40 Winks - The Lucid Effect (Project: Mooncircle)

In the mood for some laid back beats and loungy vibes? Let 40 Winks groove you with their instrumental hip-hop rhythms mixed with blues, funk, and soul. The group (also spelled without a space as 40winks, and referring to English idiom for taking a nap for a short period of time) is comprised of two Antwerp based Belgian producers, Padmo and Weedy. With samples ranging from bossa nova beats, sax riffs, and dusty jazzy records, the duo scratches the surface of our minds with old-skool effects and vintage organic loops. 40 Winks previously released More Than Loops (Swamp, 2005) and Sound Puzzle (Merck, 2007), so it's no wonder that I picked them up again for The Lucid Effect, after the duo migrated to yet another home, this time to Project: Mooncircle. The latter is not exactly a surprise, since 40 Winks has already contributed a track to The Heart On The Right Spot compilation (Project: Mooncircle, 2007) where they were showcased among their contemporaries like Mr. Cooper, Lackluster, and Dday One [worth picking up this great collection]. Looks like after thirty releases, this German label will continue to output some quality electronic and instrumental hip-hop material (their latest is a release by CYNE - Starship Utopia). The Lucid Effect continues to explore the head-bopping experimental sounds that will no doubt appeal to fans of Flying Lotus, Blockhead, Daedelus, Sixtoo, Jel and Malcom Kipe. Super fun with that 70's feel, turntablism and all. I only wish that more places in the world played this kind of music in the background (like dentists and government agencies), to take the edge off that unnecessary stress we're so programmed to cope with. I would also love to see 40 Winks branch out to using arranged loops by live bands - even if they don't play any instruments themselves. | |

Two and a Half Questions with 40 Winks

Tell us about your upcoming live track on Project: Mooncircle compilation, Silent In Truth.
It's actually something new we wanted to try out: finding a way to incorporate live instruments in our beats. We decided to do a little jam in "the lunar bar" over here in Antwerp. We asked some friends of ours who play instruments to come over. After the sessions we mixed everything in the studio. One of the tracks that came out of that jam session will come out on the next Project Mooncircle compilation.

Can you recall one of those exhilarating experiences during record digging, when you found that one riff, or one beat, that put a huge smile on your face?
Not much during record digging. It's mostly when I come home from the record store and have a good listen to the records again. That's when I realize what kind of treasures I've found. It's always nice to go digging in other countries. Last year I was in Cuba. I met this old lady who wanted me to have her record collection. I had to travel around with 20 kilos of records in my backpack for the rest of my trip in Cuba, but it was worth it!

How did the underground world of mix tapes contributed towards your success in getting signed to a label?
I don't think the tapes we made had any effect on labels. Mix tapes are a local thing. We only made 100 tapes of 'Hit The Hay'.

What is the Hip-Hop scene like in Belgium?
Belgium is a small country, so it's a small scene. We have a french speaking side and a Flemish speaking side. The two sides have a scene on their own so that makes it even smaller, haha. But that doesn't matter, there's a lot going on. |

Thursday, October 23, 2008

Fennesz * Sakamoto - Cendre (Touch)

Here's a 2007 release that I've been meaning to cover in detail for a while. Touch Music was launched in 1982, initially releasing cassette magazines. Twenty five years later, Touch is at its peak, perfecting their output with carefully selected works by Christian Fennesz, Ryuuichi Sakamoto, Oren Ambarchi, Biosphere, Ryoji Ikeda, Philip Jeck, Chris Watson and Mika Vainio, amongst others. Since the 90s, Fennesz and Sakamoto have performed live, with Sala Santa Cecilia being their first collaborative EP (Touch, 2005), recorded live at Auditorium della Parco Musica for the Romaeuropa Festival. Two years later, the duo got together to compose their first full length LP, Cendre. In between these two releases, Fennesz recorded an album with Keith Rowe, Toshimaru Nakamura and Oren Ambarchi, under a collective moniker 4g, titled Cloud (Erstwhile, 2005). Meanwhile, prolific Sakamoto (recording since 1978) released a remix album, Bricolages (Warner Music Japan, 2006) with a collection of reworked tracks by an amazing roster of artists like Alva Noto, Taylor Deupree, Snd, Richard Devine, Slicker and even Craig Armstrong. Needless to say that I was pretty excited to hear what the couple come up with, with such an amazing web of connections and an array of experiences. And Cendre doesn't disappoint. Sakamoto is back at the piano, this time bathed in a warm lush of ambient bliss, as flooded by Fennesz. The reverberations of drone-like pads almost swallow the notes whole, occasionally letting them cut through the descending fog, and shoot up like a sparkling reflection of a dying star. Editors at Boomkat have said it best : "The fact that you're [...] reading this review assumes you're of a certain musical disposition, and if you are in any way interested in the more beautiful things in life, the sensitive yet experimental end of modern music - pay close attention as this album is just about as good as it gets." A modern classical marvel. The latest from Fennesz is Transition EP (Touch, 2008), while Sakamoto released a collaboration with Christopher Willits, titled Ocean Fire (12k, 2008). | |

Two and a Half Questions with Christian Fennesz

What was one of the most memorable moments from your collaboration with Sakamoto on Cendre?
doing the mixes in ryuichis studio in new york city in winter.

What are some challenging aspects of doing a live performance?
airport security checks.

And what are the rewarding ones?
improvising/ the interaction with the audience.

You've worked together with many artists? Any one special who you want to record with in the future?
i will do recording sessions with mark linkous/sparklehorse soon.

What are you working on right now?
i have just finished a new album. i will do remixes for renfro and heligoland and start working on a film music for a science fiction movie. |

Sunday, October 19, 2008

Hauschka - Ferndorf (130701)

When I'm in the mood for classical piano and chamber music, I usually turn to a bottomless repertoire of Tchaikovsky, Liszt, Chopin, Stravinsky and Beethoven. For a more edgier, experimental, and contemporary feel, I queue up modern classical composers like Arvo Pärt, Phillip Glass, Nico Muhly and Max Richter. I'm definitely adding Hauschka to the latter list. I first discovered Volker Bertelmann upon the release of his sophomore album The Prepared Piano (Karaoke Kalk, 2005). It was an exploration into brutal modifications with adjusted hammers and padded strings that was more on avant-garde side (see John Cage's credited invention of the prepared piano), and made me listen closer for the adjustments in my favorite instrument. The fourth full length album from this Düsseldorf based pianist and composer explores every chamber instrument in its full capacity. On Ferndorf (translating into 'remote village' from German), Hauschka brings in two cellists, violinist and even a trombone player to construct modern classical pieces that are pleasant on the ear and the soul. Five out of twelve tracks appear to be "purely improvised", yet elicit strong musicianship from the participating players. Alluding to his birthplace in rural Germany, the trip along the memory lane, is an upbeat skip and hop. Here, Bertelmann revisits his childhood influences contributing to his decade long affair with the piano. Where most major-chord filled pieces usually fill me with a post-neo-classical dread of scale walking, Hauschka keeps restraint and tends to concentrate on execution and message of each individual piece. Of course, no such trip ever occurs without a touch of melancholy. Here, too, Hauschka excels in creating majestic and musical compositions, all whilst adding a touch of modern experimentation and exploration of live instruments, to let his composition rise just a notch above the rest. Deep respect to Bertelmann for extracting all percussive attributes from a beloved instrument while keeping it waltzing with joy. Grab this latest release from FatCat's sister label, 130701. Similar artist cloud includes Goldmund, Deaf Center, Sylvain Chauveau, Library Tapes, Peter Broderick, Marsen Jules, and of course Max Richter and Ryuuichi Sakamoto.

Update: Hauschka is currently on tour! Be sure to visit his myspace page for Upcoming Shows schedule. | |

Two and a Half Questions with Hauschka

There is a variery of instruments on Ferndorf. How did the cellos and most interestingly trombone come into this equation?
Well after releasing three piano solo records, two of them were pure prepared piano, i thought to carry on working and maybe push the work with the piano to certain borders. one is to work with other instruments until the piano maybe disappears but the sound of my music is still left. so i see the instrumentation on ferndorf as a possible beginning of getting deeper into the orchestration. and i have a big connection to bass and tenor instruments... the cello has a huge range which i love.

I noticed that your piano was still "prepared". Tell us about some of the techniques you used in modifying the instrument?
i use a lot of different things. mainly i put different material between the hammers and the strings but also vibrating and tickling toys. depending on the material the sound that adds on top of the normal piano sound is different in quality and colour. so if you put cardboard between hammers and strings it sounds like a drum and if you use paper you still hear the piano tone, but modified.

How did you prepare (if at all) for your improvisational pieces with two cellos?
we rented a concert space in duesseldorf, set up a lot of microphones and a recording system and then we started playing without rehearsing. we recorded around 45 tracks and afterward we choose the pieces that had the most intense feeling. a lot of times you can tell already while you are playing. Insa and Donja are wonderful open cello players that are able to carry their own music for a long while... this is maybe the best situation, that musicians are strong enough to give the others the piece to rest but not necessarily.

Tell us about your upcoming work...
there will be another 12 inch and digital release coming up and the end beginning of next year called "Snowflakes and Carwrecks" which is still out of the same session but contains much longer pieces that were not fitting on Ferndorf. some pieces are 9min 50 long and they occupy the whole record. after that maybe one short piece can survive. in total it will have around 40 min of music. then there is a dance vinyl coming out with a piano remix on the b-side on the english label care of community. on the french label BipHop there is a 17 min release of a concert with me and the english electronic duo Antenna Farm ( the record is called Vol.9. |

Saturday, October 18, 2008

Plaid - Tekkon Kinkreet (Aniplex Inc.)

I was originally postponing any reviews of Plaid in anticipation of their new album, Scintilli, originally planned to be released sometime in Q4 of 2008. But it seems that it has now been postponed to mid 2009, and I can't wait that long to talk about one of my favorite artists (which you should already know all about). And what could I say about Andy Turner and Ed Handley that hasn't been said before? As former members of The Black Dog, their discography goes back to the early 90s. Their official first appearance on Warp as Plaid was with Not For Threes (Warp, 1997) followed by a dozen of LPs and EPs. This year the duo celebrated their 20th anniversary of working together. In 2006, Plaid composed their first soundtrack to the Japanese anime, Tekkon Kinkreet (Studio 4°C, directed by Michael Arias), and just completed yet another soundtrack to Arias' 2009 film, Heaven's Door [to be released by Beatink in Dec 2008 or Jan 2009]. But back to the official soundtrack for Tekkon Kinkreet (which is actually a pun on "Tekkin Concrete", the Japanese term for reinforced concrete). The score is a collection of well rounded and extremely intelligent tracks that tell a complete story of their own, combining ambient, electronic, and even pop-rock elements that are beyond any dimension of measurable classification. It is a lavishly warm album, wrapped with diverse instrumentation, like vibraphone, strings, bass, acoustic drums and jazzy riffs, all driving forward the cinematic perception of a fantastic world existing in a world of animated film. There is just way too much in this latest Plaid release to be put into words, so I'll reserve to quoting Michael Arias from the liner notes: "[...] the music should have an analog, old-world feel, to compliment the nostalgic ambiance of the Treasure Town we see in the opening scenes. As we move into the second act, [...] old world analog will give way to newer, alien, synthetic forms: minimalist breakbeats and dissonant post-techno sounds. [...] This music will echo fragments heard over White's dreams of ocean paradise and apple trees." What's more exciting about Tekkon Kinkreet, is that unlike previous Plaid albums, it is not reprinted upon various media by Warp, Nothing, or Beat Records alike. It is a single release, falling slightly beneath the radar, on an Aniplex Inc., a Japanese imprint for Sony Music Entertainment (Japan). Not being marketed by Warp, this album may have slipped past a bunch of fans, unless they are loyal Plaid followers. It is still only available as an import [and sells on Amazon for $65 ???]. I highly recommend you listen to the album first (over and over), and then watch Tekkon Kinkreet - it will create an interesting experience of watching an exciting story, set to already beloved tunes [btw - the animation is amazing!]. Then pick up a Tekkon Kinkreet Remix project with interpretations by Prefuse 73, Vex'd, Derrick May, Mathew Jonson and many others. Recommended for fans of Kettel, The Flashbulb, Boards of Canada, Arovane, Wagon Christ, and The Future Sound of London. |

Thursday, October 16, 2008

Last Days - Sea (n5MD)

With the world financial markets currently in gloom, the US presidential elections around the corner [and no real positive outlook in sight], and the overall feeling of minor depression, not the least of which could be attributed to the oncoming colder weather, I begin to wonder if these _are_ the last of our days. But the truth is much more cut and dry. Even when everything implodes or blows up, the sun will keep burning, the time will keep passing, and life will go on. That doesn't prevent me from feeling melancholy and turn towards Scotland based Graham Richardson, who, with his two albums on n5MD, explores sadness through music. Using acoustic live instruments, like piano, xylophone, and guitar, Richardson draws out intelligent ambient soundscapes under his solo project name, Last Days. Sea is Richardson's debut album (n5MD, 2006), which he followed up with a sophomore release a year after, These Places Are Now Ruins (n5MD, 2007). The album is a thematic experience in which Richardson tells a tale of a "a person who sails out to sea, becomes lost halfway, and is eventually rescued." The music thus fluctuates in emotion between fear, dread, hope and peaceful acceptance - the common waves in a life cycle of a man, regardless which rough waters he chooses to navigate. Richardson samples the material using the 'lo-fi' approach, degrading the sound digitally when possible, bringing it closer to shoegaze rather than electronic. Richardson plans on releasing his third (almost finished) album, titled The Safety of The North, on n5MD, in the beginning of 2009. (see my Two and a Half Questions with Graham Richardson for more details). For fans of Eluvium, Deaf Center, Porn Sword Tobacco, Opitope, Kiln, and Hammock. | |

Two and a Half Questions with Graham Richardson

What is your typical composition process?
When I begin a song I have little idea of what it's going to sound like. I don't write down ideas or read music so if an idea comes to me can be quickly lost. I usually just sit down with the guitar or at the computer and see what happens. The only thing I am usually certain of at the start is the feeling I'm trying to convey within the music. I'll begin with a basic melody or try to create a background texture. After that i add what sounds right to me, there's rarely a plan or structure and most of the time the songs just grow naturally. Something that happens quite frequently is that i have a song that i feel isn't working so i begin to disassemble or destroy it by stretching it many times and just using a small section, or slow it down, reversing or distorting it. This can provide some unexpected, random sounds that can be a new starting point to develop a new melody when again, things naturally grow.

What emotion, would you say, is mostly expressed in your music?
I think sadness and hope are the two that seem most prevalent. Over the duration of all my albums (including the new one) there's a melancholic feeling of sadness but this is always balanced with optimism and hope.

Do you ever write music in your sleep?
No but I often wake with songs in my head, I can hear finished tracks in their entirety but as i don't read music or play the guitar very well it's difficult to jump out of bed and capture these ideas. So i just enjoy them before they evaporate.

Tell us about your upcoming album.
The new album is called 'The Safety of The North' and it's about a couple, their young daughter and their move from a city to a rural setting. I think it's a more cinematic and detailed account of a narrative than 'Sea'. I've treated each track as if it were a section from a movie. There are small parts of spoken word and some vocals on one track. It explores the loss of a loved one and recovery from such a situation.I've spent more time working on this than my previous 2 albums and it has been more of a challenge because I've been writing songs for very specific scenarios. This extra time has proved beneficial, I think it sounds very complete and diverse and focuses more on compositions rather than abstract music. It's now just about finished and should be out very early next year. |

Sunday, October 12, 2008

Fjordne - The Last 3 Days Of Time (Dynamophone Records)

Here's everything I love about modern classical and experimental ambient. Tiny sprinkles of noise and artifacts. Glitchy digital errors across strummed guitars. Chopped up echoes of piano. Timeless bliss... All making up some jigsaw puzzle of a melody that reveals itself only if you unfocus your mind, unplug the brain, and blur your vision. Let the sound saturate your thoughts, swirling forwards and back in time, seeking lost data across corrupted volumes of memories. Ah, there it is, that moment. Nope, gone again. Tokyo based Shunichiro Fujimoto's solo project under Fjordne moniker is a feat of subliminal time slippage consumed by the inevitable force of a black hole. Sourcing only acoustic instruments and some voice, Fujimoto digitally warps and processes the sounds into The Last 3 Days Of Time which gets picked up by a San Francisco based Dynamophone Records. And here's where owning a physical copy of this album really pays off: the 250 limited and numbered compact disk has a black lining (maybe that's what reminded me of black hole) and arrives in a small round tin container with a matted imprint of a bird sitting on a branch, revealing tiny mechanical gears beneath its feathers. A wind-up bird of time, approaching its last three days... And the clock ticks... It is no coincidence that the cover art resembles the theme behind The Wind Up Bird Chronicle by my _all_time_favorite_ Japanese author, Haruki Murakami. Fujimoto's music is inspired by this and other Murakami works (which you absolutely _must_ read if you read fiction at all!). Highly recommended for fans of Fennesz, Alvo Noto, Oval, Marsen Jules and Deaf Center. Also, make sure to pick up The Abbasi Brothers' Something Like Nostalgia, now that Dynamophone has officially released the album - you can get your Dynamophone copies at a growing n5MD store, which you can always leave with a cart full of goodies. [*UPDATE* - Looks like Mr. Fujimoto released his third album, Stories Aparat From The World, on Japanese based Ryoondo-Tea label in July of 2008] |

Saturday, October 11, 2008

Deru - Trying To Remember (Merck)

It's been almost two years since one of the leading IDM labels operating out of Florida, closed its doors. My dear Merck... I'm tired of sighing. Your impact on the music scene still resonates till this day - with new artists drawing inspirations from your past releases, and abandoned musicians still scrambling to find a new home for their future work. In the same light, I haven't heard anything from Deru since his 2004 release on Merck, Trying To Remember. He has, however, just finished his third album, Say Goodbye To Useless, which is scheduled to be released in the first half of 2009. About a year ago, I saw Benjamin Wynn play out live, at an outdoor festival, and his deep bass and punchy beats sent the vibrations far through the woods. Add to that some subliminal melodic samples with a glitch and swirling effects, and you got somewhat of a staple sound as spearheaded by the likes of Funckarma, Hecq, Kattoo, Gridlock, etc. (I can go on and on). One of my favorite tracks, is Deru's remix of Yasume's Rengoku, appearing on Colonized 01 (Colony Productions, 2007). Some very cinematic and futuristic moments there. His other treasured releases include the Pushing Air LP (Neo Ouija, 2003) and a remix compilation of his originals, released on a beautiful 10" vinyl, Pushing Soil (Delikatessen, 2004), with reworked tracks by Xela, Ginormous, Lo Grey Beam and Lusine. Deru returned the favor to Jeff McIlwain by remixing Auto Pilot on Lusine's Podgelism (Ghostly, 2007). Deru also appeared on Sutemos' Intelligent Toys 3 and even remixed KiloWatts' Two Days Off on Problems/Solved (AMM, 2006). Throughout his short discography, Wynn has managed to perfect his found sound. It is atmospheric. It is thumping. It is fractured. And once you hear it, you'll be able to recognize his touch and influence in others. Highly recommended. And I am anxiously awaiting his upcoming new album! | |

Two and a Half Questions with Deru

Where does the name 'Deru' come from?
Deru is an Indo-European root of some modern words like "duration", and "tree". I've always liked the idea that releasing music is like giving birth to a living entity, like a tree that grows roots with each new person that listens.

Tell us about your newly completed album.
It's called "Say Goodbye To Useless" and it's about ridding your life of unnecessary shit; stripping it down to the things that are most important to you. I'm really excited about it. I'm in talks with labels now so I'm not sure yet which one is going to release it yet, but it should drop the first half of '09.

How is post-Merck world different for you, as an electronic producer?
I loved working with Merck. Gabe was so good to deal with; fair, responsive, and great attention to detail. He put out great shit, what more can you ask for? The things that made Gabe want to stop are the same things that's made most of the small labels go away - everybody stopped paying for music. People now are trying to figure out what the new model is going to be, and no one's figured it out yet, but their are new ideas emerging and I have faith that a new solution will come. The music hasn't changed, people will always make great music, so it's just about finding the new model to support the artist so they can continue doing that.

Chicago has a very fragmented electronic music scene. Do you think you'll ever come back?
I love Chicago. I go back a lot and really value the fact that I grew up there. I haven't lived there in a decade though, so I don't really know what it would be like to live their as an adult. Will I go back? Not for a while, and after that it's anyone's guess. |

Tuesday, October 7, 2008

Argaman - My Little Forest (self)

It's a quiet forest morning. The birds are chirping. Somewhere a large animal calls out to its mate. Soon the horns sound. The kaleidoscopic circus marches in. The trees begin to bend as they extend into the skies, branching out in rainbow fractals. Everything compacts into a single energy and then explodes again. The psychedelia sets in. Itai Argaman has been working on his psybient album for over two years, no doubt studying the mind-bending sounds of Shpongle, Infected Mushroom, Shulman, Bluetech, Aes Dana, and Ott in the process. Inspired by the Israeli underground psychedelic music scene, Argaman uses classical and orchestral instrumentation to create floating, morphing, and curving sounds combining into psydub-psychill-psydm-and-psy-everything-else. Argaman's musicianship begins at his classical compositions that were promoted to cinematic scores, and continues to develop through continuous study of electronic sound. As I watched Argaman evolve in the last year, I saw him progress from a mere demo of a few tracks into a full polished album, My Little Forest. The slight dementia hiding beneath the covers of My Little Forest clearly reflects the collective insanity of modern society. The interlined thematic tracks reveal the story of both realities - the one perceived and the one beyond our senses. In which one do you live? This is a special treat, as this album is still unsigned to any label, but will be be out soon (follow Argaman via myspazz). Recommended if you enjoy the above mentioned names, or any artists from labels like Twisted, BNE, TIP, Phonokol, or Dragonfly. |

Sunday, October 5, 2008

Max Richter - 24 Postcards In Full Colour (130701 / FatCat)

Writing about such music is difficult. Especially when its beauty is escorted by concept. I could tell you about Touch Ringtones, and Max Richter's approach at creating twenty four miniature classical sketches designed to capture the moment and snap you in and out of your daily tasks. I could tell you about Richter's gallery installations where the pieces would be transmitted to the audiences mobile phones via SMS. I could tell you about the twenty four photographic images beautifully laid out on a CD insert (some revealing a reflection or a shadow of Max Richter himself), and on a mini website with a preview of the tracks. I could, perhaps, quote the German-born, modern classical composer, who explains the idea behind his fourth album in his own words: "thinking about how we listen to music now, with the range of options available, I wondered why it is that the ringtone medium has so far been treated as unfit for creative music..." But I won't do any of that. Instead, I simply invite you to listen and decide for yourself... Richter may have an impact on your perception of the intrusive personal wake up call of a gadget humanity should probably live without. I often picture Mozart slapping his forehead at the thought that his genius is echoed through a tiny speaker on a busy subway. Perhaps one day, on my morning commute, I will be disturbed by the alarming calm of Max Richter's peaceful piano playing through someone's Nextel. Perhaps... I doubt it... Until then, I highly recommend an excellent pair of headphones to enjoy this absolutely marvelous collection of sketches whose shortcoming is only their brief existence. Each track ranges between one minute and two, offering you only a short glimpse into a moment conveyed through geographically centered track names, personal photographic snapshots, and of course music itself. The instrumentation for the album is limited by Richter himself to a string quintet, acoustic guitar, and of course, a piano. The seasoning for this recipe includes dusty vinyl, fuzzy shortwave radio, and clicky scratchy samples, all processed by transistors and 16 track 2" tape. The pieces are designed to be a cluster of fragmented impressionistic vignettes, "stitched together to form a series of jump-cuts and foldbacks in time." Richter elaborates further: "because the piece is a collection of tones, where I have no control of the order, I made a structure that holds together by use of shared material – like a cloud of pieces, or a handful of confetti, or a constellation of fragments – to be navigated as you like..." 24 Postcards In Full Colour is released on Brighton Based FatCat Records imprint, 130701, dedicated to more instrumental albums. I highly recommend you also pickup (or revisit) Richter's previous hailed modern classical masterpieces, Memoryhouse, The Blue Notebooks, and Songs From before. | |

Two and a Half Questions with Max Richter

You have explored a rising personal medium. How does its lo-fi sound play into your concept?
i treated the phones exactly like i would the cd or the lp - just another replay device. i don't worry about replay fidelity really - i think that interesting music stands up no matter how its replayed - beethoven on a 78 or the beachboys on am radio are still wonderful, aren't they?

How does electronic music production effect your composition? For example, what are some of the techniques that you still employ after your collaboration with Future Sound of London?
fsol had a very experimental way of working, which tied into my own process - basically its having lots of plans, ideas, material, strategems etc., and then throwing them all away and following the material - very non classical i suppose...

Do you have any desire to score films? And if so, can you think of a story or a novel that you'd wish to compose a soundtrack for?
yes i enjoy scoring films, though i don't find that many i actually want to do. i've just done a wonderful fim called "waltz with bashir" which everyone should see. If anyone ever makes films of the wg sebald novels I WANT THAT GIG.

Will we ever see sheet music for some of your albums?
yes there are some scores floating around on the net, though i have no idea where they came from - some official ones too ! |

Saturday, October 4, 2008

Krafty Kuts - FabricLive. 34 (Fabric)

The FabricLive series has celebrated some really amazing output since its launch seven years ago. The monthly (!) compilation releases started in November 2001, by the London based nightclub Fabric. Alternating monthly between Fabric and FabricLive series, the club's offshoot label has covered a diversity of genres, from tech house to drum'n'bass, from dubstep to hip hop, from electro to disco. The mixed compilations feature an excellent roster of DJs and artists spearheading stylistic underground and commercial movements. Some of my most recent favorite FabricLive mixes feature Noisia, Caspa & Rusko, Spank Rock, High Contrast and DJ Craze. This 34th release (June 2007), is put together by Martin Randal, who goes by the name of Krafty Kuts. Randal is a Brighton (England) based electronic breakbeat producer and a DJ. In the last three years, he has has won the "Best DJ" title from the Breakspoll Awards. And this compilation does not under-perform. Krafty Kuts pulls out his crate favorites, like old-skool rap from Grandmaster Flash & The Furious Five and funky electro from Milke. The production is top notch, the mixing is of course superb, and the sounds are super fresh. I especially love Krafty's layering of acappellas over other instrumentals to create new sounds and essentially remixes. Artists appearing on the mix include Tim Deluxe, DJ Icey, Plump DJ's, Madox, Aquasky, Freestylers, and Primal Scream among the many. I was last this excited about the FabricLive album when I reviewed The Herbaliser's contribution towards 26th volume. Perfect for a weekend drive. Recommended if you want to catch up on the latest breakbeat sound. And I'm sure I'll be raving about other FabricLive releases pretty soon. | |