Caught two sets by DJ P Dex last night, one of hardcore band Enter Shikari's crew. He plays a 30 minute set merging raucous drum and bass, hip-hop and dubstep before the band takes to the stage, and it's amazing to see how he hypes up their crowd pre-showtime. Especially as the very same crowd, at least at the Mean Fiddler show last night, booed off support band An Albatross, whose manic thrashcore sound is so much closer to Shikari's own.
His secret is a mixture of showmanship - unlike so many d&b DJs, he actually looks like he's having fun - impressively dextrous scratch skills and, above all, having the balls to play a populist, accessible set of well known bangers rather than a succession of cool, yet-to-be-released dubplates.
Skipping from record to record with the impetuous nature of a hyperactive five year old, he somehow manages to shoehorn snippets of Prodigy, Beastie Boys, Daft Punk, Goldbug-doing-Zeppelin (as sampled on Andy C's unreleased 'Screamer' classic) into crashing beats from d&b scene stalwarts like Jonny L, Dillinja, Distorted Minds, Chase & Status and Pendulum.
After the Fiddler show, it was onto The Borderline for an aftershow refreshingly populated by faithful fans rather than (us) industry types. There, and with Shikari singer Rou adding occasional MC input, he went on another multi-genre rampage which started with NWA's 'Straight Outta Compton' before taking in more soulful d&b, then gabber techno, classic rave and most points in between. As this blogger headed off home to see whether Obama had won the election yet, this ludicrously dumb (in all the right ways) house anthem by Steve Mac, 'Paddy's Revenge', followed me home in my head.
Does anyone recognise the tune? It's actually by 80s ambient/world music loungers Pengiun Cafe Orchestra, although it never quite sounded like this before.
Wednesday, 5 November 2008
Sunday, 31 August 2008
SHY FX
Best known as a jungle and then Drum and bass don, although always an outsider within that scene, Shy FX also does a neat sideline in pop productions too, like this radio version of Roots Manuva's current single 'Again & Again'.
AGAIN AND AGAIN
A good excuse for plastering the blog wall with a few other Shy greats; always driving, usually pretty miminal and ruthlessly dancefloor-oreintated.
BAMBAATA
or if you prefer the original dancehall jungle of his early days...
GANGSTA JUNGLE
AGAIN AND AGAIN
A good excuse for plastering the blog wall with a few other Shy greats; always driving, usually pretty miminal and ruthlessly dancefloor-oreintated.
BAMBAATA
or if you prefer the original dancehall jungle of his early days...
GANGSTA JUNGLE
Saturday, 23 August 2008
Stump: Charlton Heston
This has always been one of my favourites since the mid 80s but it was only this morning I discovered that another of my top artists, namely Camberwell's own Mixmaster Morris aka The Irresistible Force, oversaw its sampling and production. Makes sense really.
Wednesday, 20 August 2008
Games For May
A review of a recreation of Pink Floyd show at the Queen Elizabeth Hall in the summer of 1967, 40 years to the day.
It was one of the first things I sent to The Guardian blog site and it didn't make the grade, but for the sake of posterity and the thought that some mad trainspotter might be interested, here goes...
and for those of you who don't do 'text' anymore, there's a film of Syd Barrett enjoying nature's flora and (especially) funghi to keep you hooked.
GAMES FOR MAY
LONDON SOUTH BANK QUEEN ELIZABETH HALL
At first glance, recreating the Syd Barrett-era Pink Floyd's live set from 1967 seems like an idea better suited to one of those tribute band venues where the Stoned Roses or Counterfeit Stones ply their trade, rather than taking up valuable cultural space on the South Bank.
Having names like Blur guitarist Graham Coxon, the cellist from Belle and Sebastian and Madness drummer Woody on board certainly helps elevate the event above the realms of the purely pantomine experience, as well as ensuring a healthy turnout of the relatively young. But ultimately it's the way that Games For May's instigator and longtime psychedelic veteran Robyn Hitchcock brings alive the spirit of this classic and highly influential cannon of eccentric pop that makes it such a memorable evening.
Taking on vocal and guitar duties, he steers an ever shifting ensemble of musicians through the band's 'Piper At The Gates Of Dawn' and 'Saucerful Of Secrets' albums, interspersing the experimental but surprisingly catchy songs with quips that often have the audience in stitches. But equally he plugs effortlessly into the deep emotional resonance of Barrett's more acoustic solo work - imagine Nick Drake with three times the chords and lyrics that make you laugh - a big chunk of which opens the show's second half and proves the night's ultimate highlight.
That's not to take away anything from the instant charm of better known tracks like 'Arnold Layne', about a miscreant who steals ladies' underwear from washing lines by moonlight, and 'See Emily Play', either of which could be mistaken for Britpop-era Blur. But their influence stretches much further than that, arguably far wider than that of multi-million selling later LPs like 'Dark Side Of The Moon' or 'The Wall'. As Hitchcock quite rightly says, the quirky skanking of 'Bike' does sound like a Madness song.
But when he describes the driving instrumental 'Interstellar Overdrive' as "the beginning of prog rock", he misses the fact that its descending, one-riff powerhousing is also a blueprint for generations of garage rock from MC5 and Sonic Youth through to the White Stripes.
Of course, the lack of tribute band-style dressing up does deprive Hitchcock of the chance to re-enact Barrett's party piece, namely emptying a pot of Brylcream and crushed up pills on his head before the show began, giving the impression he was a melting human candle once the onstage lights warmed up. But the presence of the Floyd's original lightshow team and much of the equipment used at their legendary 60's 'happenings' means there's no shortage of visual thrills either.
It was one of the first things I sent to The Guardian blog site and it didn't make the grade, but for the sake of posterity and the thought that some mad trainspotter might be interested, here goes...
and for those of you who don't do 'text' anymore, there's a film of Syd Barrett enjoying nature's flora and (especially) funghi to keep you hooked.
GAMES FOR MAY
LONDON SOUTH BANK QUEEN ELIZABETH HALL
At first glance, recreating the Syd Barrett-era Pink Floyd's live set from 1967 seems like an idea better suited to one of those tribute band venues where the Stoned Roses or Counterfeit Stones ply their trade, rather than taking up valuable cultural space on the South Bank.
Having names like Blur guitarist Graham Coxon, the cellist from Belle and Sebastian and Madness drummer Woody on board certainly helps elevate the event above the realms of the purely pantomine experience, as well as ensuring a healthy turnout of the relatively young. But ultimately it's the way that Games For May's instigator and longtime psychedelic veteran Robyn Hitchcock brings alive the spirit of this classic and highly influential cannon of eccentric pop that makes it such a memorable evening.
Taking on vocal and guitar duties, he steers an ever shifting ensemble of musicians through the band's 'Piper At The Gates Of Dawn' and 'Saucerful Of Secrets' albums, interspersing the experimental but surprisingly catchy songs with quips that often have the audience in stitches. But equally he plugs effortlessly into the deep emotional resonance of Barrett's more acoustic solo work - imagine Nick Drake with three times the chords and lyrics that make you laugh - a big chunk of which opens the show's second half and proves the night's ultimate highlight.
That's not to take away anything from the instant charm of better known tracks like 'Arnold Layne', about a miscreant who steals ladies' underwear from washing lines by moonlight, and 'See Emily Play', either of which could be mistaken for Britpop-era Blur. But their influence stretches much further than that, arguably far wider than that of multi-million selling later LPs like 'Dark Side Of The Moon' or 'The Wall'. As Hitchcock quite rightly says, the quirky skanking of 'Bike' does sound like a Madness song.
But when he describes the driving instrumental 'Interstellar Overdrive' as "the beginning of prog rock", he misses the fact that its descending, one-riff powerhousing is also a blueprint for generations of garage rock from MC5 and Sonic Youth through to the White Stripes.
Of course, the lack of tribute band-style dressing up does deprive Hitchcock of the chance to re-enact Barrett's party piece, namely emptying a pot of Brylcream and crushed up pills on his head before the show began, giving the impression he was a melting human candle once the onstage lights warmed up. But the presence of the Floyd's original lightshow team and much of the equipment used at their legendary 60's 'happenings' means there's no shortage of visual thrills either.
What a prat
I can think of at least two reasons (see below) why Alan McGee is being a bit prattish for slagging off My Bloody Valentine. I saw them play the first afternoon of Reading 1989- the first indie Reading - and they left a big question mark, but I wouldn't be without this pair. Both just ooze out of the speakers and sound like nothing else.
At least they have the balls to admit when they think they've been shit too. I don't see him doing that, though it would take a long time.
We Have All Time In The World
Shoegazing, eh? It gets a bad name these days but some of it was OK.
Soon (Andy Weatherall remix)
At least they have the balls to admit when they think they've been shit too. I don't see him doing that, though it would take a long time.
We Have All Time In The World
Shoegazing, eh? It gets a bad name these days but some of it was OK.
Soon (Andy Weatherall remix)
Thursday, 14 August 2008
SILVER MACHINES
When are Lydon and Lemmy going to make a record together?
SEX PISTOLS 2008
JARVIS COCKER 2006
HAWKWIND 1972
SEX PISTOLS 2008
JARVIS COCKER 2006
HAWKWIND 1972
Forgemasters
At the same time as Orbital and LFO were kicking off British techno, there was another name that ruled the dancefloor that's since been all but forgotten. I was interviewing V Recordings' boss Bryan Gee this week and he mentioned the pivotal role in UK dance music played by Sheffield trio Forgemasters.
The first ever Warp Records release was 'Track With No Name' by the Sheffield trio (Robert Gordon, Winston Hazel and Sean Maher) and its torrent of bleeps, sub-bass and skittering electro drum machines still sounds effortlessly classy and atmospheric after 17 years.
Rob Gordon of Forgemasters also made a succession of amazing sampladelic records for indie bands like Pop Will Eat Itself, Age Of Chance and others as FON, which should be a familiar logo for those of us buying records in 1989. This clip contains not one but two, the first (Poison To The Mind) remaining a firm favourite. The second's worth a listen if you fancy a quick game of spot the Siouxsie sample.
The first ever Warp Records release was 'Track With No Name' by the Sheffield trio (Robert Gordon, Winston Hazel and Sean Maher) and its torrent of bleeps, sub-bass and skittering electro drum machines still sounds effortlessly classy and atmospheric after 17 years.
Rob Gordon of Forgemasters also made a succession of amazing sampladelic records for indie bands like Pop Will Eat Itself, Age Of Chance and others as FON, which should be a familiar logo for those of us buying records in 1989. This clip contains not one but two, the first (Poison To The Mind) remaining a firm favourite. The second's worth a listen if you fancy a quick game of spot the Siouxsie sample.
Friday, 25 July 2008
Coldcut film by Nellee Hooper
The events in Hyde Park - both the ones detailed below and a week later when Morrissey was in town - clearly left me in so much shock I wasn't able to post for ages, so here's something vintage and cheery to perk you all up.
A film to Coldcut's 87 single 'Say Kids What Time Is It?' made by Nellee Hooper. Around this time where was a real network of UK b-boys growing up at the time which took in Hooper's Wild Bunch and the Massive/Tricky/Portishead axis, as well as DJ Die, Roni Size and Krust, Goldie, Deadly Avenger and the Graphotism crew in the Midlands and, as this film proves, the London rare groove/early sampladelic scene.
I remember hearing this and indeed taping it from John Peel's late night show, then rushing into school to claim I'd found the future of music. Hmmm, did anyone listen?!!
A film to Coldcut's 87 single 'Say Kids What Time Is It?' made by Nellee Hooper. Around this time where was a real network of UK b-boys growing up at the time which took in Hooper's Wild Bunch and the Massive/Tricky/Portishead axis, as well as DJ Die, Roni Size and Krust, Goldie, Deadly Avenger and the Graphotism crew in the Midlands and, as this film proves, the London rare groove/early sampladelic scene.
I remember hearing this and indeed taping it from John Peel's late night show, then rushing into school to claim I'd found the future of music. Hmmm, did anyone listen?!!
Friday, 27 June 2008
Groundhog Day
Ever get the band that Dave Grohl formed when Nirvana split up with the one that played Sun City AND Nelson Mandela's 90th birthday party. No, not Kings Of Leon.
It's an easy mistake to make, as this footage from Hyde Park shows - was it from last night or two years ago - answers on a postcard (from Henley) please.
As for Brian May, who managed to elbow his way into most of the Mandela evening I notice, I think this story from (told to me fist hand by one of my ex-gilfriends) speaks volumes. Having accompanied her dad to see 'We Will Rock You' at the Dominion in Cental London, she discovered one Brian May sitting in the seat in front of hers.
Respectfully waiting until the main part of the show was over, with the pre-curtain call applause ringing out, she leant forward and discreetly asked him for an autograph for her dad. He disappovingly shook his head and replied:
"Not now love, it's showtime."
It's an easy mistake to make, as this footage from Hyde Park shows - was it from last night or two years ago - answers on a postcard (from Henley) please.
As for Brian May, who managed to elbow his way into most of the Mandela evening I notice, I think this story from (told to me fist hand by one of my ex-gilfriends) speaks volumes. Having accompanied her dad to see 'We Will Rock You' at the Dominion in Cental London, she discovered one Brian May sitting in the seat in front of hers.
Respectfully waiting until the main part of the show was over, with the pre-curtain call applause ringing out, she leant forward and discreetly asked him for an autograph for her dad. He disappovingly shook his head and replied:
"Not now love, it's showtime."
Monday, 23 June 2008
Friday, 20 June 2008
Australians on punk
Two of my current favourites - it's just sheer co-incidence they're about punk and from Australia...
1983 Squatters Documentary - very Monty Python!
And secondly, John Lydon on an unknown Oz show... Cyndi Lauper beware
1983 Squatters Documentary - very Monty Python!
And secondly, John Lydon on an unknown Oz show... Cyndi Lauper beware
Six seconds long, 40 years old
...and still endlessly recycled (and indeed Recycled) and reshaped into new beats every year...
Here are a few more excellent, Amen-enhanced tunes that this tutor missed off his list, in the order they were made...
Lennie De Ice: We Are IE
Remarc: RIP
Orbital: Satan
Squarepusher: Come On My Selector
Alec Empire vs Elvis Presley: Hound Dog
Here are a few more excellent, Amen-enhanced tunes that this tutor missed off his list, in the order they were made...
Lennie De Ice: We Are IE
Remarc: RIP
Orbital: Satan
Squarepusher: Come On My Selector
Alec Empire vs Elvis Presley: Hound Dog
Herbie Hancock: Rockit
Released in 1983, this is the best known track of three albums' worth of stuff the jazz veteran recorded with New York producer/collaborator/bass player Bill Laswell.
Anyone old enough to be conscious of pop music at the time will remember the shock of this amazing electro instumental, not to mention the weird Godely and Creme-directed video. It was miles ahead of all the competition at the time.
I remember much debate about whether the scratching was 'real' ie made on a record player - hilarious, as it's so obviously not, but even that lends a futuristic twist to the sound.
Anyone old enough to be conscious of pop music at the time will remember the shock of this amazing electro instumental, not to mention the weird Godely and Creme-directed video. It was miles ahead of all the competition at the time.
I remember much debate about whether the scratching was 'real' ie made on a record player - hilarious, as it's so obviously not, but even that lends a futuristic twist to the sound.
Thursday, 5 June 2008
Luke Unabomber - A Star Is Born
The new star of the internet for sure - expect to hear about this result of a very, very late and messy night for weeks to come...
Hey Jude remix
And here is the resident of Manchester's legendary Electric Chair night on his hometown, Sheffield:
Hey Jude remix
And here is the resident of Manchester's legendary Electric Chair night on his hometown, Sheffield:
Tuesday, 3 June 2008
Sunday, 25 May 2008
Cadence Weapon: London Corsica Studios (22/5/08)
This was my first outing to what seems to be becoming South London's best underground venue and despite its unsalubrious location, tucked away behind the lovely Elephant and Castle shopping centre, its two small rooms and smokers' courtyard lived up to the hype. Even the door staff were cheery and helpful - unheard of!!
Canadian rapper Cadence Weapon, another new signing to the increasingly definitive Ninja Tune catalogue, was our quarry for the evening. Ever since his 'Afterparty Babies' album arrived on my doorstep at the start of the year I've been gagging to see him in action. Although the unknown DJ mixing Dizzee Rascal with Salt 'n' Pepa next door had me distracted for a while, I was soon watching him converting a whole heap of news fans with just a mic for amplification and a scratch DJ for musical support.
If you love sharp lyrics that don't take themselves too seriously and music that blends old skool electro pounding, booty bass bumping a la Spank Rock and scratchy, Diplo-style junk shop sampladelia to sound truly original and (which is rare in hip-hop these days) very modern, this is for you. Plus, his delivery is hilariously watchable...
Probably the last time you'll hear any Queen on this blog for a while, you'll be relieved to hear, but that's hip-hop for you.
Canadian rapper Cadence Weapon, another new signing to the increasingly definitive Ninja Tune catalogue, was our quarry for the evening. Ever since his 'Afterparty Babies' album arrived on my doorstep at the start of the year I've been gagging to see him in action. Although the unknown DJ mixing Dizzee Rascal with Salt 'n' Pepa next door had me distracted for a while, I was soon watching him converting a whole heap of news fans with just a mic for amplification and a scratch DJ for musical support.
If you love sharp lyrics that don't take themselves too seriously and music that blends old skool electro pounding, booty bass bumping a la Spank Rock and scratchy, Diplo-style junk shop sampladelia to sound truly original and (which is rare in hip-hop these days) very modern, this is for you. Plus, his delivery is hilariously watchable...
Probably the last time you'll hear any Queen on this blog for a while, you'll be relieved to hear, but that's hip-hop for you.
Friday, 23 May 2008
Happy birthday
As the birthday season is upon us - I've never figured out if it was just co-incidence that so many of my friends celebrate their birthday within a month of each other - here are two all time greats wishing us many happy returns in their own unique style.
The Beatles
The Ramones
The Beatles
The Ramones
Thursday, 22 May 2008
Election update
Had to turn the radio off and immerse myself in You Tube before the by-election news came in - but this at least gave me some comfort. Have people really forgotten so soon?
It's not often the Moz is outquoted but here Tebbit trumps him with "writing my book was... pretty easy." Super-smug me!
It's not often the Moz is outquoted but here Tebbit trumps him with "writing my book was... pretty easy." Super-smug me!
2 Unlimited officially trendy again
I knew it was just a matter of time.
Eddy Temple-Morris DJing before Pendulum last Sunday...
Eddy Temple-Morris DJing before Pendulum last Sunday...
Monday, 19 May 2008
Friday, 16 May 2008
New Order: Elegia (live at Glastonbury 1987)
Not only my first Glastonbury, but the first song from the first set I saw when I arrived on the Friday night. After a hard day doing the last of my mock A levels, no less! In those days under 14s went in free, so half my mates just blagged it and got in for nothing. I think my ticket was something like £35 - which, obviously, you could buy a small Caribbean island with back then.
Can't find all of this online, alas. I know they did a wonderful 'Bizarre Love Triangle', 'Temptation' and a cover of the Velvets' 'Sister Ray' to finish. Amazed by how much Hooky looks like George Michael in this clip.
Can't find all of this online, alas. I know they did a wonderful 'Bizarre Love Triangle', 'Temptation' and a cover of the Velvets' 'Sister Ray' to finish. Amazed by how much Hooky looks like George Michael in this clip.
808 State vs A Guy Called Gerald: A Happy Ending
Interviewed Graham Massey of 808 State fame for a forthcoming iDJ article, specifically about their (about to be reissued) classic second album ‘Quadrastate’.
It turns out that the band’s much publicised row with former member A Guy Called Gerald…
(Love the lawyer – see the pound signs lighting up in his eyes when he says ‘grey area’)
…is now finally over. He even rejoined the legendary Mancunian acid/techno/electronica trailblazers for their recent gigs at Corsica Studios in London and the Warehouse Project in Manchester…
Gerald, now resident in Berlin, has his own plans though – a live band with Jungle Drummer, Diane Charlemagne (the singer on Goldie’s ‘Inner City Life’) and MC Stamina, who’s featured on records by London Elecktricity and the d&b chart anthem ‘Barcelona’ by D-Kay.
It turns out that the band’s much publicised row with former member A Guy Called Gerald…
(Love the lawyer – see the pound signs lighting up in his eyes when he says ‘grey area’)
…is now finally over. He even rejoined the legendary Mancunian acid/techno/electronica trailblazers for their recent gigs at Corsica Studios in London and the Warehouse Project in Manchester…
Gerald, now resident in Berlin, has his own plans though – a live band with Jungle Drummer, Diane Charlemagne (the singer on Goldie’s ‘Inner City Life’) and MC Stamina, who’s featured on records by London Elecktricity and the d&b chart anthem ‘Barcelona’ by D-Kay.
Thursday, 15 May 2008
Battles: London Astoria
What an idiot. Convinced that the mighty Pendulum were playing the Astoria last night I rolled up to the venue to discover they're on Sunday instead. Doh! The tout outside who told me it was actually Warp-signed US math rock band Battles in residence couldn't believe his luck when I quickly parted with a tenner, determined to have a good night anyway.
With the drumkit and keyboards pushed right to the front of the stage and a set that began with several minutes of weird, wobbly guitar dissonance, I knew this wasn't going to be your average rock 'n' roll performance. To be frank, however, the first four or five songs (if you can call them that) left no impression beyond a big question mark above my head.
It sounded like they wanted to be like an electronic version of Miles Davis circa 'Bitches Brew' and 'Live Evil', forgetting that just because Miles buried his song structures deep in the improvisation didn't mean they weren't there. I was all ready to leave, and in fact if I'd been on the guest list like usual rather than paying, I probably would have done. But then it all started to take shape.
The collosal rhythmic momentum of 'Atlas'
was - judging by the ecstatic reaction anyway - what everyone had come to hear. Like the Glitter Band in full flow with Aphex-style gremlins sneaking into the circuit boards, it was still nicely messed up but sturdy enough beatswise to cause a mass outbreak of pogoing downstairs.
It was amazing to see that such off kilter music could entice such a bulgingly sold out audience, and with this gig coming exactly one year after the release of their debut album 'Mirrored', they would have had a lot to celebrate afterwards. I never really like math - or maths even - at school, but in the hands of Battles it all, eventually anyway, added up.
With the drumkit and keyboards pushed right to the front of the stage and a set that began with several minutes of weird, wobbly guitar dissonance, I knew this wasn't going to be your average rock 'n' roll performance. To be frank, however, the first four or five songs (if you can call them that) left no impression beyond a big question mark above my head.
It sounded like they wanted to be like an electronic version of Miles Davis circa 'Bitches Brew' and 'Live Evil', forgetting that just because Miles buried his song structures deep in the improvisation didn't mean they weren't there. I was all ready to leave, and in fact if I'd been on the guest list like usual rather than paying, I probably would have done. But then it all started to take shape.
The collosal rhythmic momentum of 'Atlas'
was - judging by the ecstatic reaction anyway - what everyone had come to hear. Like the Glitter Band in full flow with Aphex-style gremlins sneaking into the circuit boards, it was still nicely messed up but sturdy enough beatswise to cause a mass outbreak of pogoing downstairs.
It was amazing to see that such off kilter music could entice such a bulgingly sold out audience, and with this gig coming exactly one year after the release of their debut album 'Mirrored', they would have had a lot to celebrate afterwards. I never really like math - or maths even - at school, but in the hands of Battles it all, eventually anyway, added up.
Vampire Weekend: Camden Electric Ballroom
The truly exceptional New York four piece Vampire Weekend were in town this week, playing a triumphant sell out show at the Electric Ballroom in Camden to a crowd that simply couldn't get enough of their louche, lazy guitar moves.
Opening with 'Mansard Roof', blending lyrical alusions to the Falklands War and obscure architecture with Left Bank on speed-type baroque instrumentation,
even a premature guitar string snapping during the first guitar solo couldn't dampen the atmosphere of adoration.
They've been compared to Pavement and (at times) Paul Simon, but their frame of reference is much wider. You'd certainly have to add Teardrop Explodes, Devo, Elvis Costello, Bhundu Boys and a host of other things to that list. Take their most famous moment, 'Oxford Comma';
I'm sure that's the intro from 'Honky Tonk Woman' by the Stones with a (let's hope subconscious) steal from 'Total Eclipse Of The Heart' by Bonnie Tyler(!)
Probably the best thing about them is that they're experts at sounding charmingly shambolic and loose when in fact everything's moving along quite effortlessly. There's tons of space in the songs, not a sign of the macho corporate punk bullshit that infects so many so called indie bands these days, and after just one listen you'll be humming these tunes for the rest of the day.
Opening with 'Mansard Roof', blending lyrical alusions to the Falklands War and obscure architecture with Left Bank on speed-type baroque instrumentation,
even a premature guitar string snapping during the first guitar solo couldn't dampen the atmosphere of adoration.
They've been compared to Pavement and (at times) Paul Simon, but their frame of reference is much wider. You'd certainly have to add Teardrop Explodes, Devo, Elvis Costello, Bhundu Boys and a host of other things to that list. Take their most famous moment, 'Oxford Comma';
I'm sure that's the intro from 'Honky Tonk Woman' by the Stones with a (let's hope subconscious) steal from 'Total Eclipse Of The Heart' by Bonnie Tyler(!)
Probably the best thing about them is that they're experts at sounding charmingly shambolic and loose when in fact everything's moving along quite effortlessly. There's tons of space in the songs, not a sign of the macho corporate punk bullshit that infects so many so called indie bands these days, and after just one listen you'll be humming these tunes for the rest of the day.
Tuesday, 13 May 2008
Pendulum live at Fabric
Those of you with tickets to see Pendulum at Brixton Academy and the Astoria this weekend are in for a real treat.
The Aussies unveiled the new show at a private party for superfans and industry types at Fabric last night. As well as a clutch of their hardest hitting tunes from 'Hold Your Colour' (including the already established live favourite, breakbeat ska knees up 'Fasten Your Seatbelts') and heaps from their new album 'In Silico', they even chucked in a version of their by now surely world famous mix of Prodigy's 'Voodoo People'. You can sense this will be the one that wins over the festival audiences this set is tailor made for.
With hints of Rage Against The Machine, The Prodigy and, obviously, the piercing, rupturing frequencies of drum and bass, perhaps the most amazing thing is the lack of programmed beats, with everything drums-wise being played live. That kind of move usually kills a live d&b act dead but this onslaught of Metallica-style double kick rolls and spot on backbeats was so comprehensively impressive it had just the opposite effect. With their new single 'Propane Nightmares' in the student radio play charts' top five (and rising), and the live firepower to reinforce it all summer, this looks like being Pendulum's year.
Propane Nightmares video
The Aussies unveiled the new show at a private party for superfans and industry types at Fabric last night. As well as a clutch of their hardest hitting tunes from 'Hold Your Colour' (including the already established live favourite, breakbeat ska knees up 'Fasten Your Seatbelts') and heaps from their new album 'In Silico', they even chucked in a version of their by now surely world famous mix of Prodigy's 'Voodoo People'. You can sense this will be the one that wins over the festival audiences this set is tailor made for.
With hints of Rage Against The Machine, The Prodigy and, obviously, the piercing, rupturing frequencies of drum and bass, perhaps the most amazing thing is the lack of programmed beats, with everything drums-wise being played live. That kind of move usually kills a live d&b act dead but this onslaught of Metallica-style double kick rolls and spot on backbeats was so comprehensively impressive it had just the opposite effect. With their new single 'Propane Nightmares' in the student radio play charts' top five (and rising), and the live firepower to reinforce it all summer, this looks like being Pendulum's year.
Propane Nightmares video
Monday, 12 May 2008
The Bug
Great news - Kevin Martin and Justin from Godflesh's apocalyptic experiemntal ragga meets digtal hardcore act The Bug have signed to Ninja. Formerly known (and much loved) as Techno Animal and also responsible for the 'Macro Dub' compilations on Virgin, hopefully the time is nigh for them to become huge. They've certainly got the live act of necessarily awesome proportions.
There's a new single 'Angry' featuring Tippa Irie, backed with 'Ganja' on the flip with the vocals of Flow Dan from Roll Deep. Then the album 'London Zoo' drops, which also features Ricky Rankin, Roger Robinson, Killa P and their longtime singer Warrior Queen, who has also collaborated with MOBO winning garage act Sunship.
None of the new stuff seems to be up in vid form anyway, so in the meantime here's probably their greatest hour thus far performed live...
The Bug feat Warrior Queen: Almighty Father
There's a new single 'Angry' featuring Tippa Irie, backed with 'Ganja' on the flip with the vocals of Flow Dan from Roll Deep. Then the album 'London Zoo' drops, which also features Ricky Rankin, Roger Robinson, Killa P and their longtime singer Warrior Queen, who has also collaborated with MOBO winning garage act Sunship.
None of the new stuff seems to be up in vid form anyway, so in the meantime here's probably their greatest hour thus far performed live...
The Bug feat Warrior Queen: Almighty Father
Wiley: My Rolex
No proper video yet - as far as I know - but here's the tune of the summer anyway. Not claiming to be first one on this 4/4-led, old skool flavoured pounder by any means, as the brilliant Chantelle Fiddy Cent has been telling her readers to get their hands on a copy since before Christmas. I've only just pulled my finger out and checked it out, so if you haven't yet I'd advise you do so now...
Wednesday, 7 May 2008
Thursday, 1 May 2008
Rugby Clip
A thuggish game played my gentlemen, or so they say. Not in this case.
I absolutely hated rugby at school - where it was compulsory, needless to say - and this is just how I remember it. I only played for the (B) team once, an away match somewhere in Gloucestershire. Someone tried to give me a cauliflower ear in the scrum. I grabbed his finger and twisted it until it I felt it snap. He never told.
I absolutely hated rugby at school - where it was compulsory, needless to say - and this is just how I remember it. I only played for the (B) team once, an away match somewhere in Gloucestershire. Someone tried to give me a cauliflower ear in the scrum. I grabbed his finger and twisted it until it I felt it snap. He never told.
Wednesday, 30 April 2008
Tuesday, 29 April 2008
flying lotus
Lush, smashed up beats from the US-based Warp signing with his own computer game
myspace.com/flyinglotus
myspace.com/flyinglotus
Saturday, 19 April 2008
My Robot Friend - Robot High School
Not only one of the best live acts full stop - which obviously means he dumps all over the opposition in the electronica sector - but now responsible for one of the most weirdly hypnotic videos (and eerie songs) this blogger's seen for a long while.
www.myspace.com/myrobotfriend
My Robot Friend is one guy from New York - I heard an early demo via Sean at 12 Apostles and offered to sign him to Spiky on the strength of 'Walt Whitman' and 'I Know What Women Want' (worth checking out). But Soma (who, let's not forget, also brought the world Daft Punk first) had already got there.
www.myspace.com/myrobotfriend
My Robot Friend is one guy from New York - I heard an early demo via Sean at 12 Apostles and offered to sign him to Spiky on the strength of 'Walt Whitman' and 'I Know What Women Want' (worth checking out). But Soma (who, let's not forget, also brought the world Daft Punk first) had already got there.
Album reviews
Two LPs, the full reviews will be appearing in the next iDJ magazine....
Example
What We Almost Made
(All The Chats)
Great beats but what on earth is this Streets-affiliated UK scene face rapping about? Girls, girls girls..... Yawn. 2 Live Crew split up years ago fella.
James Pants
Welcome
(Stones Throw)
A kind of modern twist on the retro digital funk age of the 80s from this Washington State-based producer, with echoes of later period George Clinton, Cameo, Rick James, Rockit-era Herbie Hancock and Juan Atkins' electro project Cybotron. Excellent and original.
Example
What We Almost Made
(All The Chats)
Great beats but what on earth is this Streets-affiliated UK scene face rapping about? Girls, girls girls..... Yawn. 2 Live Crew split up years ago fella.
James Pants
Welcome
(Stones Throw)
A kind of modern twist on the retro digital funk age of the 80s from this Washington State-based producer, with echoes of later period George Clinton, Cameo, Rick James, Rockit-era Herbie Hancock and Juan Atkins' electro project Cybotron. Excellent and original.
Saturday, 12 April 2008
Adam & The Ants (with three drummers!!)
My first proper brush with pop. Me and my brother were lucky enough to sit on the famous beanbags for this episode of Jim'll Fix It (filmed in what is now the Shepherd's Bush Empire), that featured one lucky swine who got to be the third drummer in Adam & The Ants. The show also featured an opera singer smashing a wine glass with her voice, almost as amazing.
http://www.youtube.com/watch?v=VVDib7thl0c
I remember Jimmy Saville coming over to us beanbags kids before filming started and telling us "any trouble from any of you lot and you're out." He wasn't joking.
http://www.youtube.com/watch?v=VVDib7thl0c
I remember Jimmy Saville coming over to us beanbags kids before filming started and telling us "any trouble from any of you lot and you're out." He wasn't joking.
Tuesday, 8 April 2008
Logistics
Cambridge-based d&b producer Matt Gresham aka Logistics has a new album (his second) called 'Reality Checkpoint' out on Hospital Records... Brother of equally beloved breakbeat scientist Nu-Tone, Gresham has specialised in more melodic beats in the past but this album spans everything from Clipz-style frequency abuse to shuddering, dubstep-inspired rhythms.
Free new Logistics DJ mix:
http://www.dogsonacid.com/mixes/
Free new Logistics DJ mix:
http://www.dogsonacid.com/mixes/
Sunday, 6 April 2008
R.O.C.
The R.O.C. site has had a new makeover, with tons of free downloads, press cuttings, pics and vids...
http://www.rocmusic.com/
Given my involvement in the band - if relatively late in their career and in a fairly marginal rhythm guitar/remix role - I probably shouldn't go too over the top recommending them to you, but don't take my word for it; they count Radiohead, Brian Eno and Orbital (not to mention Dannii Minogue - seriously) among their fans.
http://www.rocmusic.com/
Given my involvement in the band - if relatively late in their career and in a fairly marginal rhythm guitar/remix role - I probably shouldn't go too over the top recommending them to you, but don't take my word for it; they count Radiohead, Brian Eno and Orbital (not to mention Dannii Minogue - seriously) among their fans.
Saul Williams
Saul Williams' brilliant 'List Of Demands.' Can anyone name a better single from the past five years?
http://www.youtube.com/watch?v=l1llNYAlYrc
http://www.youtube.com/watch?v=l1llNYAlYrc
Friday, 4 April 2008
Die & Clipz: Indian Summer
Well, having told you I was going to be bringing you loads of new music I've been on a slight nostalgia trip recently - at least, YouTube can bring a bit of that out in you. So, to redress the balance I'm going to start bringing you reviews of some of the lovely promos that get sent to lucky me.
Die & Clipz: Indian Summer
Superbly driving, functional drum and bass beats with a Bollywood twist that lends this floor-killer an unexpected hint of goofy Missy/Timbaland charm. Flip track 'Back Inside', with its Hollie G vocal, is equally hard hitting but again topped off with a memorable hook or two. An inspired joining of forces from relative newbie Clipz and veteran Die, whose pedigree stretches back as far as collabs with Roni Size in '94/'95.
hear it here:
http://www.youtube.com/watch?v=efcHFvylcrQ
Die's myspace
http://www.myspace.com/djdiefullcycle
Vintage Die production from '95 - 'Live and Direct'
.http://www.youtube.com/watch?v=TXsboKDg_-4
The first of many Clipz classics - 'Cuban Links'
http://www.youtube.com/watch?v=JXo_jMa2lvs
Die & Clipz: Indian Summer
Superbly driving, functional drum and bass beats with a Bollywood twist that lends this floor-killer an unexpected hint of goofy Missy/Timbaland charm. Flip track 'Back Inside', with its Hollie G vocal, is equally hard hitting but again topped off with a memorable hook or two. An inspired joining of forces from relative newbie Clipz and veteran Die, whose pedigree stretches back as far as collabs with Roni Size in '94/'95.
hear it here:
http://www.youtube.com/watch?v=efcHFvylcrQ
Die's myspace
http://www.myspace.com/djdiefullcycle
Vintage Die production from '95 - 'Live and Direct'
.http://www.youtube.com/watch?v=TXsboKDg_-4
The first of many Clipz classics - 'Cuban Links'
http://www.youtube.com/watch?v=JXo_jMa2lvs
Best Gig Ever?
Having done my best DJ set ever I should probably even things out by doing my best gig – again, not quite because there are lots to mention, but again this is one that always crops up in the list
Atari Teenage Riot, Queen Elizabeth Hall, London.
One song here:
http://www.youtube.com/watch?v=jqsVKC7W-HQ
Just ferocious! I remember leaving at the end, walking past Sir John Peel about half way back in the audience, still applauding.
It’s still weird to think neither Sir John Peel nor Atari rapper Carl Crack is around now because, at the risk of sounding like an old duffer this does seem like yesterday.
Atari Teenage Riot, Queen Elizabeth Hall, London.
One song here:
http://www.youtube.com/watch?v=jqsVKC7W-HQ
Just ferocious! I remember leaving at the end, walking past Sir John Peel about half way back in the audience, still applauding.
It’s still weird to think neither Sir John Peel nor Atari rapper Carl Crack is around now because, at the risk of sounding like an old duffer this does seem like yesterday.
Thursday, 3 April 2008
Ten Years Of Valve
It's ten years since Dillinja and Lemon D started one of the best labels for tough drum and bass - and gathering by the intruiging 'coming soon' message on what used to be their website, now replaced by http://www.thegrandeunion.com they've got something special up their sleeve.
For a taster of Dillinja's beats, up there with Photek's as the most innovative and distinctive in d&b, visit his myspace...
http://www.myspace.com/dillinjavalve
And here's a documentary on the Valve Sound System - in the Guiness Book Of Records as the country's loudest (very Spinal Tap) - as good as it is pulverising! Not for nothing do they hand out free earplugs on the door at their events.
http://www.youtube.com/watch?v=5o3IOdwE9Zs
For a taster of Dillinja's beats, up there with Photek's as the most innovative and distinctive in d&b, visit his myspace...
http://www.myspace.com/dillinjavalve
And here's a documentary on the Valve Sound System - in the Guiness Book Of Records as the country's loudest (very Spinal Tap) - as good as it is pulverising! Not for nothing do they hand out free earplugs on the door at their events.
http://www.youtube.com/watch?v=5o3IOdwE9Zs
Wednesday, 2 April 2008
Terry Hall To Rejoin The Specials
In celebration of the news that two tone legends The Specials are to reform for a tour in the Autumn...
Too Much Too Young
http://www.youtube.com/watch?v=90ivvM7VH7U
Too Much Too Young
http://www.youtube.com/watch?v=90ivvM7VH7U
Guardian Website
I've got an article on the Guardian website!
http://blogs.guardian.co.uk/music/2008/03/punk_rescued_pop_culture.html
http://blogs.guardian.co.uk/music/2008/03/punk_rescued_pop_culture.html
Thursday, 27 March 2008
Kano vs Wiley
Taken from volume 2 of the 'Lord Of The Mics' DVD series of improvised microphone battles between the best of the London grime scene from a couple of years back. Anything on either DVD is worth watching (and now seems to be all over YouTube) but this particular pairing is definitely a highlight.
While I've got plenty of respect for Wiley both as a rapper and - even more - as a producer, I reckon Kano wins this one (or should I say merks him!!) hands down.
http://www.youtube.com/watch?v=dCZUSAvzVIs
While I've got plenty of respect for Wiley both as a rapper and - even more - as a producer, I reckon Kano wins this one (or should I say merks him!!) hands down.
http://www.youtube.com/watch?v=dCZUSAvzVIs
Wednesday, 26 March 2008
The Best DJ Set Ever
These things are always hard to pin down but one that always comes back to mind whenever anyone asks is Jeff Mills at Sonar in Barcelona 1998.
Here's some footage - his classics techno piledriver 'The Bells' - from the show on YouTube
http://www.youtube.com/watch?v=Yub6XcRCoeE&feature=related
Mills played the 3am-6am slot to a hero's reception. When the sun came up about 5am and a single ray of sunshine crept between the curtains of the massive sports hall, falling diagonally across the audience and getting the biggest cheer of the night.
Here's some footage - his classics techno piledriver 'The Bells' - from the show on YouTube
http://www.youtube.com/watch?v=Yub6XcRCoeE&feature=related
Mills played the 3am-6am slot to a hero's reception. When the sun came up about 5am and a single ray of sunshine crept between the curtains of the massive sports hall, falling diagonally across the audience and getting the biggest cheer of the night.
Onion TV
Well, that's the US election and the monarchy seen to, courtesy of Onion TV...
Bullshit Is Most Important Issue For 2008 Voters
http://www.youtube.com/watch?v=viVAAy_qkx0&feature=user
Queen Will Leave Behind Long Legacy Of Waving
http://www.youtube.com/watch?v=n5pkDB7zEeo
Bullshit Is Most Important Issue For 2008 Voters
http://www.youtube.com/watch?v=viVAAy_qkx0&feature=user
Queen Will Leave Behind Long Legacy Of Waving
http://www.youtube.com/watch?v=n5pkDB7zEeo
Jungle Drummer vs Fu
Just been chatting with Jungle Drummer, former amazing drummer (you guessed it) with drum and bass outfit London Elektricity and now doing an even more incredible drums vs decks live show with Fu. I caught one of their warm up shows down at The Hub in Plymouth - Jungle being a Plymouthian and all that, and a mate of Script MC and Bassfunk's Bossa. There'll be a big interview in the next ATM mag, but in the meantime here's a taster...
Jungle Drummer va Fu live at Truckfest
http://www.youtube.com/watch?v=N93-r8m7rYo
Bassfunk myspace
http://www.myspace.com/bassfunkuk
Script myspace
http://www.myspace.com/scriptmc
Jungle Drummer va Fu live at Truckfest
http://www.youtube.com/watch?v=N93-r8m7rYo
Bassfunk myspace
http://www.myspace.com/bassfunkuk
Script myspace
http://www.myspace.com/scriptmc
Tuesday, 25 March 2008
One Last Thing
before I disappear to the Queen Anne,
Three lesser spotted Chris Morris clips - and one incredibly brief Noel Fielding in 'Nathan Barley' favourite...
Chris Morris vs The Time The Place
http://www.youtube.com/watch?v=8ecxW3KPUD4
Chris Morris vs The Sun
http://www.youtube.com/watch?v=fEGE2ohMnh8&feature=related
Bishop Slips
http://www.youtube.com/watch?v=Pm1y6_t2Eyw&feature=related
And finally, one for the ladies
Nathan Barley: Where’s The Ice Cream?
http://www.youtube.com/watch?v=EAB9kFDJyBw&feature=related
Three lesser spotted Chris Morris clips - and one incredibly brief Noel Fielding in 'Nathan Barley' favourite...
Chris Morris vs The Time The Place
http://www.youtube.com/watch?v=8ecxW3KPUD4
Chris Morris vs The Sun
http://www.youtube.com/watch?v=fEGE2ohMnh8&feature=related
Bishop Slips
http://www.youtube.com/watch?v=Pm1y6_t2Eyw&feature=related
And finally, one for the ladies
Nathan Barley: Where’s The Ice Cream?
http://www.youtube.com/watch?v=EAB9kFDJyBw&feature=related
Three Acid Greats
If you’re in the mood for some original acid squelch…
Chip E: Time To Jack (The Acid)
http://www.youtube.com/watch?v=qXqcdNp7dcQ
Baby Ford: Oochy Koochy
http://www.youtube.com/watch?v=1-Mo-rAzb50
PLUS: something to show the new skool can hold its own acid-wise
Squarepusher: Fat Controller
http://www.youtube.com/watch?v=2UiD86nt6Jc&feature=related
These three are like floss for your ears...
Chip E: Time To Jack (The Acid)
http://www.youtube.com/watch?v=qXqcdNp7dcQ
Baby Ford: Oochy Koochy
http://www.youtube.com/watch?v=1-Mo-rAzb50
PLUS: something to show the new skool can hold its own acid-wise
Squarepusher: Fat Controller
http://www.youtube.com/watch?v=2UiD86nt6Jc&feature=related
These three are like floss for your ears...
OK I Admit It
I like Cardiacs - you might as well know now. About as trendy in music biz circles as catching herpes
Never has a band infuriated so many people - and yet throughout the 23 years since discovering them for myself I've kept coming back to them and they usually deliver. This track 'Come Back Clammy' http://www.cardiacs.com/resources_non_cms/Cardiacs_Come_Back_Clammy_Lammy.mp3
from the 'Guns' album (I think) is a new one on me but as thrilling as ever, mixing up punk with Zappa-style mentalness and all delivered through the Alice In Wonderland-like production filter of Tim Smith's psychotic genius. Brian Wilson, Beefheart and Aphex Twin all rolled into one.
Never has a band infuriated so many people - and yet throughout the 23 years since discovering them for myself I've kept coming back to them and they usually deliver. This track 'Come Back Clammy' http://www.cardiacs.com/resources_non_cms/Cardiacs_Come_Back_Clammy_Lammy.mp3
from the 'Guns' album (I think) is a new one on me but as thrilling as ever, mixing up punk with Zappa-style mentalness and all delivered through the Alice In Wonderland-like production filter of Tim Smith's psychotic genius. Brian Wilson, Beefheart and Aphex Twin all rolled into one.
I Wanna Go To Jailbait
Hmmmm - not because of the underage girls I promise - because I reckon it's about the just only club in the world where you can hear Pendulum and Jeff Mills in the same evening. After Shy FX & UK Apache's vintage jungle classic 'Original Nuttah' made an appearance in the first series, the club features in episode 7 of the new one. Sign on to the 4OD service - especailly recommended if, like me, you tend to roll in from the pub after all the good TV's been on - at http://www.channel4.com/ and watch it for free.
Saturday, 22 March 2008
Ukulele wonders
Ukulele mania is all over the shop!
If you're a Morrissey fan then you'll know all about Perrecy - the German ukulele-playing Moz tribute - loving that version of 'Half A Person' especially
http://www.myspace.com/perrecy07
Or try the uke punks Ukulele Gangsters
http://www.myspace.com/theukulelegangstas
If you're a Morrissey fan then you'll know all about Perrecy - the German ukulele-playing Moz tribute - loving that version of 'Half A Person' especially
http://www.myspace.com/perrecy07
Or try the uke punks Ukulele Gangsters
http://www.myspace.com/theukulelegangstas
Funny Photos
Some amusing photos of Spiky's finest - well, Slang and Honk (aka Patrick from R.O.C. - he's the one doing that amazing gurn!) - in action at Offline, the benefit night for Brixton website www.urban75.org
http://www.urban75.org/offline/offline45.html
http://www.urban75.org/offline/offline45.html
Friday, 21 March 2008
Von Sudenfed: Fledermaus Can't Get It
Rubbish video, but check the music - Mark E Smith with Mouse On Mars aka Von Sudenfed
http://www.youtube.com/watch?v=iG-CLFPU6RY&feature=related
http://www.youtube.com/watch?v=iG-CLFPU6RY&feature=related
We'll See Groove Ride Again
It’s been grim news all round for drum and bass DJ Grooverider. Sentenced to four years in a Dubai jail for possession of a small amount of cannabis and porn, plus all the other repercussions. His Radio 1 slot looking distinctly dodgy and promoters everywhere reaching for their lawyers’ phone numbers.
It’s desperately unlucky, especially considering Grooverider or Raymonde Barr to use his real name is by no means a chronic partier, certainly compared to some of his peers. It’s also ironic, considering when I interviewed him for the biography for his only ever artist album ‘Mysteries Of Funk’, he told me in the very early days of pioneering d&b night Metalheadz Sunday Session he and Goldie would personally throw crack users and dealers out of the Blue Note in Hoxton Square, East London to immediately distance themselves from the crackpipe associations that had haunted jungle.
Neither has there been little sympathy shown for the plight of the DJ and father from Purley in South London. Some news outlets have merely used it as an excuse to remind us of the grisly drug fuelled demise of Kevin Greening. But even in the usually slavishly adoring drum and bass forums seemed to have had a sudden moral outbreak, and one d&b press officer told me: “these DJs think they’re above the law.” It’s true that shortly before the smoking ban last summer another big DJ from the genre travelled two hours out of London only to refuse to play – while still demanding his full fee – because the bouncers at the club admonished him for lighting up a spliff.
But then I also know a big music industry name who genuinely flew to New York on a work trip with a gram of coke in the top pocket of his jacket, his complete ignorance of its existence until he reached his hotel in the Big Apple no doubt helping him sail through customs unmolested. Considering the court accepted Grooverider hadn’t intended to bring the drugs into Dubai, in truth the worst insult you could hurl at his actions is reckless dopiness.
Of all the countries to try and enter without checking your pockets before entering, you couldn’t have picked many worse than the United Arab Emirates. Having lived there as an 8-year-old child in the 70s, where by my parents fed me and my brother terrifying stories about the floggings and amputations that awaited shoplifters and other petty offenders, I’ve known it for a long time, but it’s hardly a secret. As a globally-travelled professional DJ as well as someone who, due to his colour, must have inevitably suffered more rigorous customs and immigration examinations than his white counterparts, you’d have thought he’d have had a little more of a clue.
But if this writer has anything to say on the matter it’s that despite the various reports of the demise of his career, we haven’t seen the last of Grooverider. Physically imposing and tough as nails from the years he spent growing up in the estates of South London, where he also cut his DJ teeth as one of the first generation of acid house DJs, he’s about the last person on earth you’d want to pick a fight with and it’s hard to see prison breaking him either physically or mentally.
The fact he’ll be well into his 40s by the time he’s released if he does serve four years, has absolutely no bearing on that either. Grooverider’s fame is not based on youth anyway. A vast proportion of the thousands of people who’ve seen him play in recent years are under 25, but his status in d&b circles is as a legend, a godfather figure who has been there from the very start. A populist who plays the very latest dubplates, definitely, but also a direct link back to the original vibe of d&b’s roots in rave and jungle.
While more mainstream news outlets will probably interpret the loss of his Radio 1 slot as a cataclysmic blow, the reality is he’ll always earn more money DJing around the world, something which might become more difficult but by no means impossible. Even if the worst happens and his appeal fails, with a reputation that stretches back 20, it’s hard to imagine he won’t still be a massive pull in 2012.
All the same, don't let that put you off signing the petition for his release!
http://www.petitiononline.com/gr00v3/
Check his '94 tune 'Kindred' on You Tube
http://www.youtube.com/watch?v=-q6ZM3nhgZk
It’s desperately unlucky, especially considering Grooverider or Raymonde Barr to use his real name is by no means a chronic partier, certainly compared to some of his peers. It’s also ironic, considering when I interviewed him for the biography for his only ever artist album ‘Mysteries Of Funk’, he told me in the very early days of pioneering d&b night Metalheadz Sunday Session he and Goldie would personally throw crack users and dealers out of the Blue Note in Hoxton Square, East London to immediately distance themselves from the crackpipe associations that had haunted jungle.
Neither has there been little sympathy shown for the plight of the DJ and father from Purley in South London. Some news outlets have merely used it as an excuse to remind us of the grisly drug fuelled demise of Kevin Greening. But even in the usually slavishly adoring drum and bass forums seemed to have had a sudden moral outbreak, and one d&b press officer told me: “these DJs think they’re above the law.” It’s true that shortly before the smoking ban last summer another big DJ from the genre travelled two hours out of London only to refuse to play – while still demanding his full fee – because the bouncers at the club admonished him for lighting up a spliff.
But then I also know a big music industry name who genuinely flew to New York on a work trip with a gram of coke in the top pocket of his jacket, his complete ignorance of its existence until he reached his hotel in the Big Apple no doubt helping him sail through customs unmolested. Considering the court accepted Grooverider hadn’t intended to bring the drugs into Dubai, in truth the worst insult you could hurl at his actions is reckless dopiness.
Of all the countries to try and enter without checking your pockets before entering, you couldn’t have picked many worse than the United Arab Emirates. Having lived there as an 8-year-old child in the 70s, where by my parents fed me and my brother terrifying stories about the floggings and amputations that awaited shoplifters and other petty offenders, I’ve known it for a long time, but it’s hardly a secret. As a globally-travelled professional DJ as well as someone who, due to his colour, must have inevitably suffered more rigorous customs and immigration examinations than his white counterparts, you’d have thought he’d have had a little more of a clue.
But if this writer has anything to say on the matter it’s that despite the various reports of the demise of his career, we haven’t seen the last of Grooverider. Physically imposing and tough as nails from the years he spent growing up in the estates of South London, where he also cut his DJ teeth as one of the first generation of acid house DJs, he’s about the last person on earth you’d want to pick a fight with and it’s hard to see prison breaking him either physically or mentally.
The fact he’ll be well into his 40s by the time he’s released if he does serve four years, has absolutely no bearing on that either. Grooverider’s fame is not based on youth anyway. A vast proportion of the thousands of people who’ve seen him play in recent years are under 25, but his status in d&b circles is as a legend, a godfather figure who has been there from the very start. A populist who plays the very latest dubplates, definitely, but also a direct link back to the original vibe of d&b’s roots in rave and jungle.
While more mainstream news outlets will probably interpret the loss of his Radio 1 slot as a cataclysmic blow, the reality is he’ll always earn more money DJing around the world, something which might become more difficult but by no means impossible. Even if the worst happens and his appeal fails, with a reputation that stretches back 20, it’s hard to imagine he won’t still be a massive pull in 2012.
All the same, don't let that put you off signing the petition for his release!
http://www.petitiononline.com/gr00v3/
Check his '94 tune 'Kindred' on You Tube
http://www.youtube.com/watch?v=-q6ZM3nhgZk
Wednesday, 19 March 2008
Bad Guitar Playing
Just a quickie before The Simpsons is on.
My thanks to Patrick of R.O.C. fame for this - ironic, considering the bad guitar playing of mine he's had to listen to in rehearsals!
http://blog.wired.com/underwire/2008/02/watch-the-parod.html
My thanks to Patrick of R.O.C. fame for this - ironic, considering the bad guitar playing of mine he's had to listen to in rehearsals!
http://blog.wired.com/underwire/2008/02/watch-the-parod.html
Castlemorton and (n)me
Hi - I wrote this recently for a conference in Seattle on the Criminal Justice Bill. Journalist Todd Burns asked me about NME's involvement covering the Criminal Justice Bill and my thoughts on how the bill had changed music.
It seemed a waste not to use it as an article - and as the story of how I got into the world of music journalism it should work well as an introduction...
I also discovered this great footage of the event:
http://www.youtube.com/watch?v=4amMvs-_-GU
My personal involvement with NME is down to the underground rave scene - the biggest illegal rave of all time, or so I'm led to believe, was at Castlemorton in Worcestershire in May 1992. At the time I was a rookie reporter aged 22 on local paper the Malvern Gazette, the local paper for this remote spot some 90-100 miles away from London.
The circumstances which led to a crowd of 20,000 people gathering to dance for three days could and never have been repeated. The gorgeous sunshine played a part. The new alliance between ravers and new age travellers who already had their circuit of summer festivals, previously inhabited by hippy bands like Hawkwind and Pink Fairies. The completely inadequate response from the police, already overwhelmed by the initial turnout on the Friday night of some 7,000 people. In fact it was rumoured that But the news reports on Saturday lunchtime that were effectively free national advertising led to a massive swell of numbers by the early hours of Sunday morning, to around 20 sound systems and even a big top.
The centrepiece was definitely Spiral Tribe's covered wagons-style arena, the speakers and vans bearing the strange, neo-cryptic slogans and patterns and indeed this is probably why the police tried to pin the event's 'organisation' on this sound system's members, eventually spending £5m of taxpayers money in a vain attempt to have them jailed.
In fact I was told on good authority that in previous years this festival (the Avon Free Festival) had taken place in neighbouring Gloucestershire and that this county's police were so determined not to have to deal with in 1992 that they turned up on a layby with petrol for the travellers' convoy and directions to Castlemorton, just over the border. Indeed in the police area it happened in (Upton, Worcestershire) was immensely proud of often boasted the lowest crime rate in the country, only to see it skyrocket as all manner of drug possession and other crimes suddenly blotted their copy book!
Environmentally there was much fear the common land would be ruined - or needle infested - but the travellers even went as far as having clean up squads go back on the Monday to pick up litter. I have returned there many times and you would never know the event had happened.
Anyway, I covered the arrest and subsequent trials of those accused for NME as well as my local paper, and through that got editorial work leading to an eight year career at the paper. I continued to cover the CJB marches, one of which in Hyde Park was particularly scary, with the police chasing protesters out of the park with truncheons.
We visited one traveller park near Stonehenge and interviewed traveller families. One even pulled out a clutch of cuttings of CJB articles I'd written from NME - one of my proudest moments ever.
In terms of the music there were obvious moments - Criminal Justice by D*Note on Dorado - sadly not a hit, but the 'Free Nelson Mandela' of the issue, definitely. Autechre's non-repetitive beats, Orbital including a 'Criminal Justice Bill' mix on one of their singles that was completely silent by way of protest. But for me the biggest legacy musically is borne out of the music I heard at Castlemorton - with DJs like Roni Size and Optical playing a music that was barely evolving out of hardcore rave into the darker, more insane rollercoaster ride of jungle. I believe it was the sheer audacity of those times - as well as the defiance that illegality brought - that gave birth to jungle/d&b.
It seemed a waste not to use it as an article - and as the story of how I got into the world of music journalism it should work well as an introduction...
I also discovered this great footage of the event:
http://www.youtube.com/watch?v=4amMvs-_-GU
My personal involvement with NME is down to the underground rave scene - the biggest illegal rave of all time, or so I'm led to believe, was at Castlemorton in Worcestershire in May 1992. At the time I was a rookie reporter aged 22 on local paper the Malvern Gazette, the local paper for this remote spot some 90-100 miles away from London.
The circumstances which led to a crowd of 20,000 people gathering to dance for three days could and never have been repeated. The gorgeous sunshine played a part. The new alliance between ravers and new age travellers who already had their circuit of summer festivals, previously inhabited by hippy bands like Hawkwind and Pink Fairies. The completely inadequate response from the police, already overwhelmed by the initial turnout on the Friday night of some 7,000 people. In fact it was rumoured that But the news reports on Saturday lunchtime that were effectively free national advertising led to a massive swell of numbers by the early hours of Sunday morning, to around 20 sound systems and even a big top.
The centrepiece was definitely Spiral Tribe's covered wagons-style arena, the speakers and vans bearing the strange, neo-cryptic slogans and patterns and indeed this is probably why the police tried to pin the event's 'organisation' on this sound system's members, eventually spending £5m of taxpayers money in a vain attempt to have them jailed.
In fact I was told on good authority that in previous years this festival (the Avon Free Festival) had taken place in neighbouring Gloucestershire and that this county's police were so determined not to have to deal with in 1992 that they turned up on a layby with petrol for the travellers' convoy and directions to Castlemorton, just over the border. Indeed in the police area it happened in (Upton, Worcestershire) was immensely proud of often boasted the lowest crime rate in the country, only to see it skyrocket as all manner of drug possession and other crimes suddenly blotted their copy book!
Environmentally there was much fear the common land would be ruined - or needle infested - but the travellers even went as far as having clean up squads go back on the Monday to pick up litter. I have returned there many times and you would never know the event had happened.
Anyway, I covered the arrest and subsequent trials of those accused for NME as well as my local paper, and through that got editorial work leading to an eight year career at the paper. I continued to cover the CJB marches, one of which in Hyde Park was particularly scary, with the police chasing protesters out of the park with truncheons.
We visited one traveller park near Stonehenge and interviewed traveller families. One even pulled out a clutch of cuttings of CJB articles I'd written from NME - one of my proudest moments ever.
In terms of the music there were obvious moments - Criminal Justice by D*Note on Dorado - sadly not a hit, but the 'Free Nelson Mandela' of the issue, definitely. Autechre's non-repetitive beats, Orbital including a 'Criminal Justice Bill' mix on one of their singles that was completely silent by way of protest. But for me the biggest legacy musically is borne out of the music I heard at Castlemorton - with DJs like Roni Size and Optical playing a music that was barely evolving out of hardcore rave into the darker, more insane rollercoaster ride of jungle. I believe it was the sheer audacity of those times - as well as the defiance that illegality brought - that gave birth to jungle/d&b.
Tuesday, 18 March 2008
Too Good To Be True
It seems that not only has the installation of my BT net coinnection been a breeze, but so has signing up here. So now I'm doing what I should have done a long time ago and started a blog. It can't be this easy - something's got to go wrong!
For those who don't know me, I'm Ben Willmott. The word Spiky? Well, that's because as well as being a writer - which is how most people probably know me - I run a record label called Spiky, www.myspace.com/spikyrecords
although the name has graced everything from fanzines to club nights. Although, as I never could resist the temptation for a daftly named night, you might have graced the dancefloor of Scum Dancing, Nappy Hardcore, Cyclorama (including the first ever live gig by Mike Paradinashttp://www.planet-mu.com/), House of Nuts (live debut of R.O.C.http://www.rocmusic.com/) or one of any number of other forays into club promoting.
You may even have heard my music. Alongside comrades Ben Crosland and Tony Lee in Slang and acting alone as Slangton, I've been released on K7, Little Star as well as, obviously, Spiky. I love DJ too - you may have seen me spinning anything from drum and bass, breakbeat, electro to chill out at some time or another.
But moan and whinge is what I do best, at least it's given me a living so far. And, obviously, bringing some of the best hither undiscovered music that comes to my attention.
Anyway, as they say in Spinal Tap, "enough of my yacking", let's roll.
For those who don't know me, I'm Ben Willmott. The word Spiky? Well, that's because as well as being a writer - which is how most people probably know me - I run a record label called Spiky, www.myspace.com/spikyrecords
although the name has graced everything from fanzines to club nights. Although, as I never could resist the temptation for a daftly named night, you might have graced the dancefloor of Scum Dancing, Nappy Hardcore, Cyclorama (including the first ever live gig by Mike Paradinashttp://www.planet-mu.com/), House of Nuts (live debut of R.O.C.http://www.rocmusic.com/) or one of any number of other forays into club promoting.
You may even have heard my music. Alongside comrades Ben Crosland and Tony Lee in Slang and acting alone as Slangton, I've been released on K7, Little Star as well as, obviously, Spiky. I love DJ too - you may have seen me spinning anything from drum and bass, breakbeat, electro to chill out at some time or another.
But moan and whinge is what I do best, at least it's given me a living so far. And, obviously, bringing some of the best hither undiscovered music that comes to my attention.
Anyway, as they say in Spinal Tap, "enough of my yacking", let's roll.
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