http://www.sixdegreesrecords.com/catalog.php?upc=657036714427 On Bollyhood Bass Remixes Vol. 2, you’ll hear the spirit David Starfire’s native region and Creole heritage mostly in the gutbucket funk that animates nearly every track – as well as in the hip hop elements that he has distributed generously throughout the program. “The Beat,” for example, features a charmingly squidgy synthesizer bass, rolling dhol drum, and sharp-tongued rapping courtesy of guest MC with vocals by iCatching. “Shout It Out” prominently features some very fine beatboxing (by Lynx) alongside an acoustic guitar-driven groove and even more rapping, all of it leavened by various Asian flavors. Other Caribbean influences are audible throughout the album as well: on “Baghdad,” the slow and trip-hoppy beat is interwoven with explicitly dubwise reverb and echo effects and punctuated by Jamaica-inflected vocal samples; “Load” piles on layers of science fiction dub effects as well, this time juxtaposed with keening Asian vocals.
Upcoming Tour dates for David Starfire:
5/8 Reno, NV @ Wurk
5/14-5/15 Kona, Hawaii @ Alchemeyez festival
5/20 Sebastopol, CA @ Tribal Fest afterparty
5/21 San Fransicso, CA @ Fillmore (Live Ensemble)
6/11 Santa Rosa, CA @ Harmony Festival (Live Ensemble)
6/17-18 Belden, CA @ The Bounce
6/24-6/26 Clear Creek County, CO @ Sonic Bloom
8/6-8/8 Salmo BC, Canada @ Shambhala
9/1-9/4 Black Rock City, NV Burning Man
9/23-9/25 Vallejo, CA @ Earthdance (Live Ensemble)
10/1 Redway,CA @ Fall Splendor fundraiser at Mateel Community Center
It's been a busy start to 2011 for Michael Woods, who has been rocking dancefloors across America, Canada, Japan and Australia, along with running his Diffused label and remixing the likes of Lady Gaga, P Diddy, Calvin Harris featuring Kelis, and Ginuwine featuring Missy Elliot and Timbaland.
After kicking off a new residency at London's Ministry of Sound, Woods has also launched a new compilation series for the club—titled Ministry of Sound Club: Residents, fittingly enough—featuring all his own productions, including four exclusive tracks made especially for the album.
Meanwhile, he's wasting no time in getting back into the studio to concentrate on creating more musical mayhem for Ibiza and his heavy touring schedule this summer.
We were lucky to catch up with Mr. Woods prior to his album launch party, this Saturday May 7th at Ministry Of Sound in London; read on to get a sneak preview of what he'll be playing.
Many producers in the game started with their feet planted in one specific sound before switching it up and taking their sound into a new stratosphere. For Alex Calver, aka Calvertron, the list of genres he's spent time in would leave today's most eclectic producers bewildered. Given his recent success in dubstep and past achievements in everything from breakbeat to various shades of house, we reached out to discover more about the man with the magic formula.
Forget Battle:LA. Your new favorite alien-invation film is about to be Attack the Block, a sci-fi thriller pitting a pack of London teenagers against an army of extra-terrestrial nasties. From the producers of Shaun of the Dead, it's like Aliens set in a council flat.
We're crossing our fingers for some choice grime cameos, but we can definitively announce that Basement Jaxx are credited with portions of the score; click "Keep Reading" to listen to the forthcoming tune "The Ends," which soundtracks the movie's finale.
The shares include a label feature about tastemaking Dutch techno imprint Rush Hour filmed in Amsterdam. Moreover there are new interviews with Dorian Concept from Vienna, MMM, Kangding Ray as well as a talk with Iftah Gabbai and Olaf Hilgenfeld aka Skinnerbox, who come out of the scene surrounding the Bar 25 and the Bachstelzen Parties. All well worth seeing, so don’t miss it!
You can also order Slices at the EB Shop. Since Slices is a free DVD magazine you only have to pay postage. If you want to go for the most comfortable option choose the yearly subscription which brings you four issues of Slices straight to your mailbox.
This was worth waiting years for! In his teenage years Hollywood-Actor Vin Diesel, then known as Mark Sinclair, did some amazing rapping over a beat by iconic avant-disco pioneer Arthur Russell. The mp3 just appeared online. It was taped by Grammy-nominated songwriter Gary Lucas for an aborted session at Battery Sound NYC back in 1986.
The downtown composer Arthur Russell, who died of AIDS in 1992, was a mentor to Vin Diesel during his rap and break-dancing days in Greenwich Village. Check the lyrics: "I am a man of steel" or "It’s the white part of me fucking it up," it sounds sooo gangsta! Listen to the collaboration: here.
High Rankin pulls his finger out—his words—and stitches together a highlights reel from his recent North American tour. Sidewalk altercations, shooting galleries, Hostess snake cakes, pizza dogs, infomercials, tattoo parlors, HR's patented MoshCam: it's all in a day's work for our intrepid overseas correspondent, whose insights on American culture have led some to call him the DeTocqueville of dubstep.
(Special note to Mr. Rankin: Beatport's lawyers are not amused that you used your contract for target practice. Next time, please return all forms without bullet holes.)
The One Day Later casts on Brooklyn Radio make for amazing listening. U-Tern’s choice selection of all that is current and soulful (in a disco and boogie way) about house, and packs it into these impeccable mixes! Have a listen to this one:
Experimental-electro maven Planningtorock has released a new video for the track ‘The Breaks’, off her upcoming album W. Shielded in facial prosthetics and a simple robe with bulky, padded shoulders, she portrays an androgynous creature whose intentions are unknown.
Wandering through a desolate landscape, shot in primary and monochrome colors, the viewer is left wondering: is she forging a new world, or exploring the remnants of a dead one? No questions answered here; explore possible solutions with your ears and eyes.
With "Koko," Sander van Doorn does what he does best: picking the right elements from multiple genres and blending them into the ultimate SvD-style anthem that you'll whistle along with after hearing just half of it. This is without a doubt the biggest track that Sander has ever produced. No wonder it's already heading to become a Beatport number one; it's set to be huge this summer. Join the Koko Loko!
Wiley has a thing about rarely appearing in his own videos. But now the Godfather of Grime makes up for his prior absences with a new video for Big Dada featuring at least 100 separate incarnations of himself. (That's a whole lotta Eskiboy.)
With "Numbers in Action," Wiley continues the UK bass trajectory of his massive MJ Cole collab "From the Drop," reminding us once again why he's one of the most important producers on the UK scene.
Nick Francis poses with his DIY, wooden controller – good enough for jazz. Photo: Justin Steyer for Seattle’s KPLU radio.
In a world of disposable computers and electronics, making something “custom” is an antidote to throwaway hardware, a way of putting one’s own handiwork, care, and attention into the object with which you play music. Of course, it’s one thing to say it, and another thing to do it, but Nick Francis falls squarely in the “doer” camp. A jazz-focused radio broadcaster from Seattle’s KPLU, Nick says he’s been chopping up audio since he was doing it with razor blades and tape. Naturally, his digital music controller has the kind of craft in wood that you’d normally find on an acoustic instrument – and his music remixes of choice tend toward artists like Coltrane.
Nick’s work also combines resources from the Web. He says he got started because of a post here on CDM, then went to Livid’s DIY solution, the Builder DIY system, and DJ TechTools’ arcade buttons.
Nick shares some additional thoughts for CDM – and I reproduce them, really, because just as he feels indebted to CDM, I feel personally indebted to everyone who shares their work with us on this site and in this community in general:
This project never would’ve happened had I not stumbled upon your website in 2009 or so. I really love your wide-open approach to this whole world of geeks, tinkerers, engineers and artists who make up the core of your community.
Regarding the actual build of the Choppertone, I pretty much covered it in detail in my initial postings to the forums at Livid and DJTT. The whole build process was really challenging, yet extremely rewarding. Nothing beats the feeling of spending months of detailed work on a project, finally getting it done, and then seeing it work!
I basically recorded the video for a few friends who had no idea what controllers were about. I tried to find something simple enough musically to demonstrate it. One of the fun things about jazz is that historically, from the get-go, these musicians were the original “remixers”; they could take a melody, tune or phrase, and tweak it, rearrange it and make it their own. I had been lately been listening to a lot of Fats Waller, so “Honeysuckle Rose” was a good fit. I found at least 20 versions of it in the KPLU library, and chose four that were close to the original key and tempo. From there it was just a few days of chopping everything into 4 bar phrases, then finding the ones that seemed to play well with the others.
As for how I thought the video would be received by the midi controller community, I had no idea. I sensed that this project was going to come off as either really cool…or really stupid. All I knew is that it worked for me.
The positive response to the video has simply blown my mind, and the video’s reach has extended far beyond what I imagined. I could not believe my eyes when I received an email from the Ableton offices in Berlin a few weeks ago. That was so incredibly cool. I’m also quite amused by the many comments regarding my age; I have to tell you that my creative spirit is as vibrant now (at 61) as it was when I was an aspiring film student at UCLA at 21. These days, I’m quite aware that my days on earth are limited and that the present moment is to be savored. That’s all you got.
I imagine a number of the sentiments there will be familiar – and I certainly find interests in our wider community that transcend age (and other) barriers.
Nick says he’s woodshedding so that this is something he can use in live sets. He also says he welcomes questions, so readers, if you’ve got them, let’s hear!