Cannot wait for summer.
Let this amalgamition of city lyrics, visions of sun and beach, and trumpets take you to another place..
Sunday 30 January 2011
Duke Garwood - Dreamboatsafari
(written for thelineofbestfit.com)
Duke Garwood recently released Dreamboatsafari via Fire Records, and just because he comes from the streets of South London doesn’t instantly mean that he’s some rapper. In fact it’s quite the opposite. When Garwood was on tour with Mark Lanegan, he had the epiphany to release a ‘space cowboy record’, documenting some sort of a spiritual journey. Marked as a ‘master bluesman’ and acknowledged for his phenomenal ability to expand on and experiment with ‘dusty room blues’, this album had a lot to live up to.
‘Jesus Got A Gun’, the first track on the album, is ridden with fluid blues and soft percussion where you are left in a mood of reflection, lyrics washing over you as you contemplate the bizarre image of Jesus with a gun… In its power to take you to a place of amenity, hazy visions of a smoky Southern blues bar and a hot summer evening are all that occupy your mind, and space for every day worries diminish and instead are lined with echoes of a Jimi Hendrix like reverb. There are some really impressive pieces of work within the album such as ‘Gods In My Shows’, where dishevelled guitar sounds are combined with a lamenting gospel choir who join Garwood’s palliative vocals. ‘Summer Gold’ is somewhere to get lost amongst the song’s many textures, and its warm guitar so delicate, a tear happens to develop in the corner of your eye. As you’re already halfway through your spiritual quest, ‘Wine Blood’ comes along, something deeply personal, and a fragile tin-like percussion urging this feeling of genuine enlightenment (I don’t think it’s a commercial ploy in this case).
However, with the album’s progress, the songs take an experimental turn with percussion and trumpets and deteriorates this spiritual journey initiated by the first few tracks – ‘Panther’ and ‘Tapestry of Mars’ in particular. Percussion is the same throughout, only to be accompanied by the prolonged call of muffled trumpets overpowering distorted voices, which towards the song’s end simply leaves you with a headache. The sounds are too ‘experimental’ and there are too many of them, and although are evocative of Jackson Pollock’s loosely thrown together instrumentals, just aren’t that enjoyable.
It may be criticised that this album wasn’t meant to be recorded, but rather one to be appreciated live. It’s clear that Garwood, as an artist, is most certainly an accomplished one; however Blues has always been further embraced as a live craft, and whether it’s possible for this atmosphere to be successfully transferred through to your iPod headphones, is an entirely different matter. Nevertheless, the traditional jazz and blues concept has been thoroughly experimented with throughout the album, and is something that will still be appreciated after many listens (especially for the avid blues and jazz enthusiast).
Garwood is due to release a joint LP with Mark Lanegan next year together with plans to collaborate with the Master Musicians of Jajouka led by Bachir Attar in Morocco.
Duke Garwood recently released Dreamboatsafari via Fire Records, and just because he comes from the streets of South London doesn’t instantly mean that he’s some rapper. In fact it’s quite the opposite. When Garwood was on tour with Mark Lanegan, he had the epiphany to release a ‘space cowboy record’, documenting some sort of a spiritual journey. Marked as a ‘master bluesman’ and acknowledged for his phenomenal ability to expand on and experiment with ‘dusty room blues’, this album had a lot to live up to.
‘Jesus Got A Gun’, the first track on the album, is ridden with fluid blues and soft percussion where you are left in a mood of reflection, lyrics washing over you as you contemplate the bizarre image of Jesus with a gun… In its power to take you to a place of amenity, hazy visions of a smoky Southern blues bar and a hot summer evening are all that occupy your mind, and space for every day worries diminish and instead are lined with echoes of a Jimi Hendrix like reverb. There are some really impressive pieces of work within the album such as ‘Gods In My Shows’, where dishevelled guitar sounds are combined with a lamenting gospel choir who join Garwood’s palliative vocals. ‘Summer Gold’ is somewhere to get lost amongst the song’s many textures, and its warm guitar so delicate, a tear happens to develop in the corner of your eye. As you’re already halfway through your spiritual quest, ‘Wine Blood’ comes along, something deeply personal, and a fragile tin-like percussion urging this feeling of genuine enlightenment (I don’t think it’s a commercial ploy in this case).
However, with the album’s progress, the songs take an experimental turn with percussion and trumpets and deteriorates this spiritual journey initiated by the first few tracks – ‘Panther’ and ‘Tapestry of Mars’ in particular. Percussion is the same throughout, only to be accompanied by the prolonged call of muffled trumpets overpowering distorted voices, which towards the song’s end simply leaves you with a headache. The sounds are too ‘experimental’ and there are too many of them, and although are evocative of Jackson Pollock’s loosely thrown together instrumentals, just aren’t that enjoyable.
It may be criticised that this album wasn’t meant to be recorded, but rather one to be appreciated live. It’s clear that Garwood, as an artist, is most certainly an accomplished one; however Blues has always been further embraced as a live craft, and whether it’s possible for this atmosphere to be successfully transferred through to your iPod headphones, is an entirely different matter. Nevertheless, the traditional jazz and blues concept has been thoroughly experimented with throughout the album, and is something that will still be appreciated after many listens (especially for the avid blues and jazz enthusiast).
Garwood is due to release a joint LP with Mark Lanegan next year together with plans to collaborate with the Master Musicians of Jajouka led by Bachir Attar in Morocco.
Wednesday 26 January 2011
VICE UPDATES
1. THE TALIBAN IN PAKISTAN...
To call this mission a little dangerous would be an understatement but Vice's founder Suroosh Alvi went out to Peshawar, Pakistan to see the influence the Taliban is now taking out of Afghanistan and into their neighbours backyard.
http://www.vbs.tv/en-gb/#
2. RAZORLIGHT: HAVE THEY LITERALLY GONE INSANE....
From Indie darlings many lightyears ago Razorlight have morphed into a cross between Captain Jack Sparrow's wardrobe and an extra from Oliver. Don't know what drugs they've been taking, but boy do I want some of that shit (well...after looking at them for a good 10 seconds, not really).
http://www.viceland.com/music/2011/01/apparently-razorlight-are-insane-now/
To call this mission a little dangerous would be an understatement but Vice's founder Suroosh Alvi went out to Peshawar, Pakistan to see the influence the Taliban is now taking out of Afghanistan and into their neighbours backyard.
http://www.vbs.tv/en-gb/#
2. RAZORLIGHT: HAVE THEY LITERALLY GONE INSANE....
From Indie darlings many lightyears ago Razorlight have morphed into a cross between Captain Jack Sparrow's wardrobe and an extra from Oliver. Don't know what drugs they've been taking, but boy do I want some of that shit (well...after looking at them for a good 10 seconds, not really).
http://www.viceland.com/music/2011/01/apparently-razorlight-are-insane-now/
Interview // Fujiya & Miyagi
(for TLOBF)
Brighton based Fujiya & Miyagi have big plans in store for 2011. Current album Ventriloquizzing adopts a more sinister tone in which different sounds and beats are further experimented with that on previous albums. Echoes of Neu! and Aphex Twin are marked on each individual track and the lyrics are something you wouldn’t even think up in your dreams. Embrace it and hold on tight as the music launches you into a world of modified and vividly textured beats.
Katia Ganfield speaks to Fujiya & Miyagi’s David Best about the making of Ventriloquizzing, the process and experience of working with producer Thom Monahan, and whyhe never raises his voice above a whisper.
How’s year been so far? Has it been stressful with the tour coming up?
No, well a little bit, I’ve got a nine week old baby boy and Steve’s got a ten week old daughter so it’s been kind of baby centric in Fuyija & Miyagi. That’s been our main concern really. We haven’t really been doing much; we put the album back because of the babies coming. It’s been quite nice really, not doing too much band stuff and the tour is still going ahead in March.
Where are you most looking forward to playing?
I like New York. I know it’s pretty obvious – but that’s what I’m really looking forward to. We’ve been there quite a lot of times, so we’ve got friends there now. It’s just that thing that before you’ve been there, you kind of know it. You know it from TV and films and it’s familiar even though it’s kind of alien as well. Everywhere else in America you’ve got to drive but it’s quite good for the Englishman because you can walk places and I like that.
What three sounds would you use to describe Ventriloquizzing and how would you say it’s different to your other albums?
One would be this synth that we use, that Iggy Pop used on his record The Idiot - so maybe a few notes of that – then you might get the jist of what we’re on about. Maybe a fuzz guitar and a pneumatic drill but in five rooms away so you can just hear it. It’s definitely really different; it’s more moody sounding and more like a band sound. Before, all the drums used to be programmed, and made it sound more ‘dance-floor friendly’. Now, it’s like a proper band type thing.
Listening to your album, these lyrics struck me: “Sucking lemons, nibbling couscous and a scooped out avocado filled with bamboo. / You look ridiculous, not everyone can afford to eat as healthily as you do.” What made you think to write that down as a lyric?
I was trying to write lyrics that aren’t normally in songs and to choose subject matters that are different. There are already lots of love songs out there. I’m not saying it’s a bad thing to be unaware that when there’s a fish and chip shop 10 yards down the road you’d rather indulge in organic stuff that’s miles away – it all just feels a bit forced to me. In Brighton, that happens quite a lot. I think it’s every fifth person you meet. It’s kind of funny, because songs, when you listen to them, seem to be directed at one person, but normally it’s like an amalgamation of different things you pick up from everywhere. So I thought, maybe it’s a little bit petty, but I thought, at the time it was worthy of writing song about it.
For the album you worked with producer Thom Monahan. What was it like working with him?
It was great because we’ve always produced the stuff ourselves. We were doing variations of the same thing. We didn’t want to do that anymore and we wanted to work with someone else. Our friends, Au Revoir Simone, who he toured with, they did an album with him and they recommended him. He has done stuff with Vetiver and Devendra Banhart – which isn’t the most obvious link to our stuff. But he really loves electronic music and has loads of great old synths. It was brilliant, we learnt a lot.
Was it a change from producing your own stuff to having someone help you along with the whole process?
We kind of co-produced it – Steve’s the main producer in the group and demoed it for ages and ages before we even went to California – so a lot of the songs and parts were all done. Thom just helped with sounds and structures. Sometimes it takes someone outside to point out that things could be better or different when you get too stuck in the way of working. For that reason it was fantastic.
What was the recording process like?
We worked really hard on it and it took ages and ages – like I said before we worked on it a lot in America, spent a month in Sacremento where we chucked in all the drums and stuff, then we went to LA where Thom lives and finished it off. A lot of it was planned, but the music in other songs, like ‘Minestrone’, came from nowhere. A lot of them were still quite rigid I suppose because they’re songs rather than jams – not the greatest jam band really. Everything’s really thought out.
What’s your favourite song on the album?
‘Minestrone’, because when we were doing it seemed very different to what we had done before and that’s what I wanted; I wanted us to change and do something different. Everyone probably thinks it sounds like we always sound, but to me, musically and lyrically, it’s kind of like a story, and I’ve never really told a story before. That’s the one I’m most proud of I think.
What was it with the lyrics in particular?
It’s not like an emotional attachment, I was quite pleased with the story Steve was talking about of the Chanctonbury Ring and that if you go up there at midnight and you run around the trees seven times, the devil appears. So that’s where it came from. Then I thought it would be nicer to update the story so the devil might be wearing an anorak or has got glasses and a flask. I liked the whole process of it and the initial idea just plotting it out and trying to make it more sense then my normal words – which I’m sure it probably doesn’t. That’s what I was trying to do anway.
You mentioned that you were glad to see a bit of a change in the band. Do you ever tempted to go all out with your vocals, like those hardcore punk bands?
I don’t really feel that angry and I’m not really good at shouting and stuff. Before Steve said why don’t you try and sing and give it a bit more oomph…but it just sounds shit – I’m not really good at singing above a whisper really.
So let’s get onto the origin of your name. Fuyija means record and Miyagi is taken from the karate kid. In your 2008 track ‘Photocopier’ you sing “we’re just pretending to be Japanese” – were you simply pretending?
That was like a last minute pitch to try and explain our name so no-one would ask. But my biggest regret in the band is being called that, it doesn’t make any sense.
I also read somewhere you originally wanted to start out as a record label. Where did you end up going with that?
It wasn’t so much that, but it was just two of us and we didn’t think we’d play live or anything so we thought we’d have these alter egos who are Japanese. Obviously we changed as a band, we played live and we’re clearly not Japanese.
Did you ever get booked as a Japanese band?
We got booked in London really early on for a Japanese night. We just rolled up and it was pretty funny. They were a bit disappointed. But you know, they should’ve done their homework.
Your Japanese alter egos, did you have a vision in mind of what they might look like?
We did at the time, and especially because at that time in England there was a real interest in Japanese culture. There was less interest in two blokes from Brighton so I think the initial idea was that we were going to be sumo wrestlers or something with those masks and quite cartoon-like. So the album covers and things, you’d never see out faces… That’s as far as we got. Then the game was up when people realised we weren’t Japanese, so we didn’t follow it through.
What’s your opinion on the different branches of electro that are going to make big movements in 2011 like witch-house or dubstep?
I quite like it all. I like James Blake – but what he’s doing now, I can’t really hear the dub in his step, you know? Which is not a bad thing; he’s just made it his own thing which is what it is. His record and his songs are really interesting. It’s not entitled to a genre really for me. I haven’t really got that much into witch house but I really like things like Emeralds and Fabulous Diamonds but I don’t know what they’d really come under. I’ve started listening to new music again, and some of it’s really exciting but some of its just genre for genres sake.
Who are you keeping your eye on for 2011?
Obviously James Blake’s album is going to do really well. I also like Dylan Ettinger – he’s this synth guy from America. His sound’s similar to John Carpenter but a bit more DIY and I think he’s going to do some really good stuff this year.
Ventriloquizzing is out now via Full Time Hobby.
Brighton based Fujiya & Miyagi have big plans in store for 2011. Current album Ventriloquizzing adopts a more sinister tone in which different sounds and beats are further experimented with that on previous albums. Echoes of Neu! and Aphex Twin are marked on each individual track and the lyrics are something you wouldn’t even think up in your dreams. Embrace it and hold on tight as the music launches you into a world of modified and vividly textured beats.
Katia Ganfield speaks to Fujiya & Miyagi’s David Best about the making of Ventriloquizzing, the process and experience of working with producer Thom Monahan, and whyhe never raises his voice above a whisper.
How’s year been so far? Has it been stressful with the tour coming up?
No, well a little bit, I’ve got a nine week old baby boy and Steve’s got a ten week old daughter so it’s been kind of baby centric in Fuyija & Miyagi. That’s been our main concern really. We haven’t really been doing much; we put the album back because of the babies coming. It’s been quite nice really, not doing too much band stuff and the tour is still going ahead in March.
Where are you most looking forward to playing?
I like New York. I know it’s pretty obvious – but that’s what I’m really looking forward to. We’ve been there quite a lot of times, so we’ve got friends there now. It’s just that thing that before you’ve been there, you kind of know it. You know it from TV and films and it’s familiar even though it’s kind of alien as well. Everywhere else in America you’ve got to drive but it’s quite good for the Englishman because you can walk places and I like that.
What three sounds would you use to describe Ventriloquizzing and how would you say it’s different to your other albums?
One would be this synth that we use, that Iggy Pop used on his record The Idiot - so maybe a few notes of that – then you might get the jist of what we’re on about. Maybe a fuzz guitar and a pneumatic drill but in five rooms away so you can just hear it. It’s definitely really different; it’s more moody sounding and more like a band sound. Before, all the drums used to be programmed, and made it sound more ‘dance-floor friendly’. Now, it’s like a proper band type thing.
Listening to your album, these lyrics struck me: “Sucking lemons, nibbling couscous and a scooped out avocado filled with bamboo. / You look ridiculous, not everyone can afford to eat as healthily as you do.” What made you think to write that down as a lyric?
I was trying to write lyrics that aren’t normally in songs and to choose subject matters that are different. There are already lots of love songs out there. I’m not saying it’s a bad thing to be unaware that when there’s a fish and chip shop 10 yards down the road you’d rather indulge in organic stuff that’s miles away – it all just feels a bit forced to me. In Brighton, that happens quite a lot. I think it’s every fifth person you meet. It’s kind of funny, because songs, when you listen to them, seem to be directed at one person, but normally it’s like an amalgamation of different things you pick up from everywhere. So I thought, maybe it’s a little bit petty, but I thought, at the time it was worthy of writing song about it.
For the album you worked with producer Thom Monahan. What was it like working with him?
It was great because we’ve always produced the stuff ourselves. We were doing variations of the same thing. We didn’t want to do that anymore and we wanted to work with someone else. Our friends, Au Revoir Simone, who he toured with, they did an album with him and they recommended him. He has done stuff with Vetiver and Devendra Banhart – which isn’t the most obvious link to our stuff. But he really loves electronic music and has loads of great old synths. It was brilliant, we learnt a lot.
Was it a change from producing your own stuff to having someone help you along with the whole process?
We kind of co-produced it – Steve’s the main producer in the group and demoed it for ages and ages before we even went to California – so a lot of the songs and parts were all done. Thom just helped with sounds and structures. Sometimes it takes someone outside to point out that things could be better or different when you get too stuck in the way of working. For that reason it was fantastic.
What was the recording process like?
We worked really hard on it and it took ages and ages – like I said before we worked on it a lot in America, spent a month in Sacremento where we chucked in all the drums and stuff, then we went to LA where Thom lives and finished it off. A lot of it was planned, but the music in other songs, like ‘Minestrone’, came from nowhere. A lot of them were still quite rigid I suppose because they’re songs rather than jams – not the greatest jam band really. Everything’s really thought out.
What’s your favourite song on the album?
‘Minestrone’, because when we were doing it seemed very different to what we had done before and that’s what I wanted; I wanted us to change and do something different. Everyone probably thinks it sounds like we always sound, but to me, musically and lyrically, it’s kind of like a story, and I’ve never really told a story before. That’s the one I’m most proud of I think.
What was it with the lyrics in particular?
It’s not like an emotional attachment, I was quite pleased with the story Steve was talking about of the Chanctonbury Ring and that if you go up there at midnight and you run around the trees seven times, the devil appears. So that’s where it came from. Then I thought it would be nicer to update the story so the devil might be wearing an anorak or has got glasses and a flask. I liked the whole process of it and the initial idea just plotting it out and trying to make it more sense then my normal words – which I’m sure it probably doesn’t. That’s what I was trying to do anway.
You mentioned that you were glad to see a bit of a change in the band. Do you ever tempted to go all out with your vocals, like those hardcore punk bands?
I don’t really feel that angry and I’m not really good at shouting and stuff. Before Steve said why don’t you try and sing and give it a bit more oomph…but it just sounds shit – I’m not really good at singing above a whisper really.
So let’s get onto the origin of your name. Fuyija means record and Miyagi is taken from the karate kid. In your 2008 track ‘Photocopier’ you sing “we’re just pretending to be Japanese” – were you simply pretending?
That was like a last minute pitch to try and explain our name so no-one would ask. But my biggest regret in the band is being called that, it doesn’t make any sense.
I also read somewhere you originally wanted to start out as a record label. Where did you end up going with that?
It wasn’t so much that, but it was just two of us and we didn’t think we’d play live or anything so we thought we’d have these alter egos who are Japanese. Obviously we changed as a band, we played live and we’re clearly not Japanese.
Did you ever get booked as a Japanese band?
We got booked in London really early on for a Japanese night. We just rolled up and it was pretty funny. They were a bit disappointed. But you know, they should’ve done their homework.
Your Japanese alter egos, did you have a vision in mind of what they might look like?
We did at the time, and especially because at that time in England there was a real interest in Japanese culture. There was less interest in two blokes from Brighton so I think the initial idea was that we were going to be sumo wrestlers or something with those masks and quite cartoon-like. So the album covers and things, you’d never see out faces… That’s as far as we got. Then the game was up when people realised we weren’t Japanese, so we didn’t follow it through.
What’s your opinion on the different branches of electro that are going to make big movements in 2011 like witch-house or dubstep?
I quite like it all. I like James Blake – but what he’s doing now, I can’t really hear the dub in his step, you know? Which is not a bad thing; he’s just made it his own thing which is what it is. His record and his songs are really interesting. It’s not entitled to a genre really for me. I haven’t really got that much into witch house but I really like things like Emeralds and Fabulous Diamonds but I don’t know what they’d really come under. I’ve started listening to new music again, and some of it’s really exciting but some of its just genre for genres sake.
Who are you keeping your eye on for 2011?
Obviously James Blake’s album is going to do really well. I also like Dylan Ettinger – he’s this synth guy from America. His sound’s similar to John Carpenter but a bit more DIY and I think he’s going to do some really good stuff this year.
Ventriloquizzing is out now via Full Time Hobby.
Tuesday 25 January 2011
WRETCH 32
Introducing… Wretch 32
(by me posted on counteract-magazine.com)
Wretch 32 (Jermaine Scott) has finally started getting recognised, and now having signed to Ministry Of Sound, is pretty much guaranteed to make big movements in 2011. He hails from North London’s Tottenham, where he sold 15,000 copies of his single, created his own clothes label ‘Wretchroboys’ and won best hip hop gong at the official mix tape awards.
The infectious track ‘Traktor’ (it isn’t a spelling mistake) opens up with the distinctly known guitar line from Dick Dale’s Misirlou (also featured in Pulp Fiction) and raps about everything (relatively) relevant in today’s society from the royal wedding, to Kerry Katona, to rising VAT – which deserves some recognition in itself.
Just give the track a listen and you’ll learn how to “ride the motherfucking beat like a tractor.”
(by me posted on counteract-magazine.com)
Wretch 32 (Jermaine Scott) has finally started getting recognised, and now having signed to Ministry Of Sound, is pretty much guaranteed to make big movements in 2011. He hails from North London’s Tottenham, where he sold 15,000 copies of his single, created his own clothes label ‘Wretchroboys’ and won best hip hop gong at the official mix tape awards.
The infectious track ‘Traktor’ (it isn’t a spelling mistake) opens up with the distinctly known guitar line from Dick Dale’s Misirlou (also featured in Pulp Fiction) and raps about everything (relatively) relevant in today’s society from the royal wedding, to Kerry Katona, to rising VAT – which deserves some recognition in itself.
Just give the track a listen and you’ll learn how to “ride the motherfucking beat like a tractor.”
Monday 24 January 2011
DJ SEGA HELL FUCK YEAH
Dirty aggressive fun.
Watch that poor woman get flung off stage in one 'hip swing'.
What an aspiring role model that man is for horny hormonal boys out there.
It's not far off becoming some people's fucked up fantasy..
Sunday 23 January 2011
FREDDIE MERCURY WAREHOUSE PARTY 28/01/11
Join the group below to be informed of "Secret Shoreditch Location"
http://www.facebook.com/gr
Ltd. Tickets ONLY £6 >>>
http://www.ticketweb.co.uk
Otherwise £8 on the door before 12PM
Guestlist requests >>>
lizzxify@gmail.com
FLASH RAPSODY ROOM
THE COOLNESS
HENRY JAMES
DJ COOKS
MAGGOT
MARCO MORANO
MEN IN MASKS
THE DIRTY TOYS
BRITS ABROAD ROOM
FYOOCHA BOY (SILKY BOYS)
LAKEY & TRAWELERGUY
HANUMAN (STEAK HOUSE)
THE LARGE (SHIMMY SHIMMY)
DAFT KUNT
KISS
BREAKING RULES
+++++++++++++ PLUS +++++++++++++
/ INSANE PERFORMANCE / TRIBAL DANCE / UV PAINT /
/ INSTALLATION / FANCY DRESS / COSMIC VISUALS/
/www.thecoolness.net / www.myspace.com/tenderlovingcoolness/
/www.brits-abroad.tumblr.com/
I BETTER BE SEEING YOU DOWN THERE frolicking around on the floor having sex with every person (or thing) you find mildly attractive - like a rabid dog.
*joke* - which isn't really that funny.
Friday 21 January 2011
THE OFFICIAL 'BEING A DICKHEAD'S COOL' PARTY
"THE GRAND SPECTACULAR" LIVE BAND
DJ RAGS and THE LAST SKEPTIK
Hosted by DOC BROWN
...plus more guest DJs to be announced.
THURSDAY 10TH FEBRUARY
SECRET EAST LONDON LOCATION
9pm - 2am / £20 entry... or £5 if you dress like a dickhead
MUSIC POLICY: vegan crunk, electro pop. witch-house, muslim trance and lactose intolerant 80s pop
You watched the video...
You laughed...
You sent it to to your friends...
You tried to pretend that it wasn't about you...
Now it's time to party because let's be honest, we all love our lives as dickheads!!
In a secret venue in East London on Thursday 10th February, a party to end all parties is happening to end the world.
Their name is The Grand Spectacular and they are here to reveal themselves all over your face...
For the first time ever, the people that made the now infamous "Being A Dickhead's Cool" video will be performing their internet smash song. They will be putting together a live-band for the performance and there will be the baddest extended synth solo you have ever seen in your life.
The night will be soundtracked by DJ "I run a vegan crunk night" Rags from the Livin' Proof club night and The Last "I say I work in media, I'm really on the dole" Skeptik who makes music... supposedly.
The night will be hosted by comedy-rapper Doc Brown... no really, he is a comedy-rapper...
As well as a host of guest DJs and surprises, expect fun galore.
- Dress like a dickhead
- Dance like a dickhead
- Make-love like a dickhead.
FACEBOOK EVENT: http://www.facebook.com/event.php?eid=144247868967196
Vice Issue Launch Party - 27th Jan
Vice's new issue’s out. It’s mainly about how the West’s gigantic sociopolitical fuck-ups in Pakistan and Afghanistan in the last decade will give us a fatal hangover that drags on well into the next one. They’re having a party in Old Blue Last to celebrate it, and Fantastic Mr Fox – who is headlining – has made us a mix to celebrate that. Partying gets you further away from all the war and suffering in the world, which is why you should come down. It’s free, though, so with all that spare change rattling around in your pocket we can’t guarantee you won’t leave without a fatal hangover of your own.
Star Slinger and Vice Djs will also be in attendance at the Old Blue Last on Thursday the 27th of January, and the night runs from 8pm till late. Here’s that mix we were just talking about – there’s no tracklisting, but we’re pretty sure that first track features Björk and from then on the thing dissolves into a fizzing, popping ocean of beats and mercilessly hacked up diva vocals. Pretty sweet
http://www.mediafire.com/?uy9d2f38n5bu6
It's going to be full to the brim with sexy fun frolicking.
GET YOUR FAT, DIRTY ARSES DOWN THERE.
(however, slim & clean preferable)
Art Bleek - Art Supplies
Art Bleek – Art Supplies
(written for thelineofbestfit.com)
Released via Lougin’ Records, Art Supplies is a masterpiece in its own right in which French producer Arthur Pochon, aka Art Bleek, blends a mix of jazz, hip hop and soul to create thirteen (or twelve if you dismiss the intro) infectious, commendable tracks. Following his debut album in 2004, there are far more collaborative efforts with artists such as Ursula Rucker, Voice, Nya, Charlie Sputnik and Airelle Besson, providing variation for the listener and making the album pleasant to listen to in its entirety, all at once.
Luring you in with a phone call cleverly mentioning the name of each track through its conversation, you get the jist of the album’s mood and what’s to come. The introduction concludes with laughter and mention of a “party all night long”. Essentially this album acts as a welcoming ray of sunshine protruding from an obscured, bleak and desolate landscape and exudes a strong sense of old-school sex appeal. The order and titles of the tracks almost imitates a quest or a journey in initiating the act of sex. If this is the sort of thing you’re into, or something you find amusing (which if it doesn’t, then there’s probably something wrong with you), then Art Supplies is definitely something to at least have a look at.
Both ‘Rise’ and ‘Friends’ were two tracks that particularly stood out as being “finger lickin’ good”. ‘Friends’ is something to have playing when you’re getting ready to go out or when you come back from your night out, head spinning, ears ringing when all you really want to do is simply chill. This song is perfect for just that, as soft beats complement Mandel Turner soothing vocals and you know “everything will be alright”.
‘Rise’ is the last song on the album, and although the pace is gradual at the start, each “rise” is built upon and soloing trumpets create this sexy jazzy atmosphere as you look up into the sky, and feel a sense of hope “facing day to day challenges / and rise” thinking, fuck, my life is feeling pretty damn good at the moment.
Overall, this is one sexy album, and it’s recommended to dedicate some time to listen through it completely, so you can appreciate it fully – which is what it deserves. Each track complements the other, and it’s guaranteed the purchase of this album would not be regretted, unless you find yourself £1 short of buying some toilet roll at the end of the day and discover yourself listening to the album in order to escape the reality of shit stains imprinted on your sofa, bed and wherever else. Listening to the album should work – I hope…
(written for thelineofbestfit.com)
Released via Lougin’ Records, Art Supplies is a masterpiece in its own right in which French producer Arthur Pochon, aka Art Bleek, blends a mix of jazz, hip hop and soul to create thirteen (or twelve if you dismiss the intro) infectious, commendable tracks. Following his debut album in 2004, there are far more collaborative efforts with artists such as Ursula Rucker, Voice, Nya, Charlie Sputnik and Airelle Besson, providing variation for the listener and making the album pleasant to listen to in its entirety, all at once.
Luring you in with a phone call cleverly mentioning the name of each track through its conversation, you get the jist of the album’s mood and what’s to come. The introduction concludes with laughter and mention of a “party all night long”. Essentially this album acts as a welcoming ray of sunshine protruding from an obscured, bleak and desolate landscape and exudes a strong sense of old-school sex appeal. The order and titles of the tracks almost imitates a quest or a journey in initiating the act of sex. If this is the sort of thing you’re into, or something you find amusing (which if it doesn’t, then there’s probably something wrong with you), then Art Supplies is definitely something to at least have a look at.
Both ‘Rise’ and ‘Friends’ were two tracks that particularly stood out as being “finger lickin’ good”. ‘Friends’ is something to have playing when you’re getting ready to go out or when you come back from your night out, head spinning, ears ringing when all you really want to do is simply chill. This song is perfect for just that, as soft beats complement Mandel Turner soothing vocals and you know “everything will be alright”.
‘Rise’ is the last song on the album, and although the pace is gradual at the start, each “rise” is built upon and soloing trumpets create this sexy jazzy atmosphere as you look up into the sky, and feel a sense of hope “facing day to day challenges / and rise” thinking, fuck, my life is feeling pretty damn good at the moment.
Overall, this is one sexy album, and it’s recommended to dedicate some time to listen through it completely, so you can appreciate it fully – which is what it deserves. Each track complements the other, and it’s guaranteed the purchase of this album would not be regretted, unless you find yourself £1 short of buying some toilet roll at the end of the day and discover yourself listening to the album in order to escape the reality of shit stains imprinted on your sofa, bed and wherever else. Listening to the album should work – I hope…
Wednesday 19 January 2011
FUCK//CHUCK ? - take the piss out of hipsters
Heres a little preview of the kind of stuff you're going to find on my new site along with those sexy fashion posts and shocking interviews...
GOLDEN GIRL:
(image source titled: 'fat hipster girl')
She’s so deprived of cock, she’s resorted to sucking on her shoe...the poor girl. Is she even a girl? Who the fuck knows. Imagine that thing coming onto you in some dodgy alleyway, you wouldn't even be able to run because you're s...o freaked out. Like the one eye being red and the other not for instance. Perhaps that hormonal tranny's under the illusion that she will draw people in with that ‘half-seductive-devil-look’. God knows what else she’s done to herself in her desperate bid to look somewhat ‘sexy’…Or maybe she's trying to reach down her fanny or whatever mysterious object / organ lies there in an attempt to arouse herself, but for some reason she just can't bend over. I wonder why...
HIPSTER OR HOOKER?
Her mouths open, ready for the positioning of a skinny, timid cock….. Or is she just in the middle of mouthing ‘dis bling bling iz mine..’ At this point I’m desperately trying to reach the conclusion whether this is some hooker or possibly just another hipster cunt. Here we go again… The spirit finger pose like something off ‘Bring It On’ (which is just so cool) and the adorning of a vintage lace bra is most certainly an underground hipster trend that’s slowly rising to surface. The ‘tiffany’ necklace was blatently found in some kind of shit hole- ‘Wun expensive chik’ but has some deep meaningful story behind it like how her cat fell down the drain and she found the necklace in its place which was originally Hitler’s…The finishing hipster touch is the curtain fringe covering her eyes adding an arty and mysterious sensuality. Yes, she’s a hipster. Come and get her boys.
GOLDEN GIRL:
(image source titled: 'fat hipster girl')
She’s so deprived of cock, she’s resorted to sucking on her shoe...the poor girl. Is she even a girl? Who the fuck knows. Imagine that thing coming onto you in some dodgy alleyway, you wouldn't even be able to run because you're s...o freaked out. Like the one eye being red and the other not for instance. Perhaps that hormonal tranny's under the illusion that she will draw people in with that ‘half-seductive-devil-look’. God knows what else she’s done to herself in her desperate bid to look somewhat ‘sexy’…Or maybe she's trying to reach down her fanny or whatever mysterious object / organ lies there in an attempt to arouse herself, but for some reason she just can't bend over. I wonder why...
HIPSTER OR HOOKER?
Her mouths open, ready for the positioning of a skinny, timid cock….. Or is she just in the middle of mouthing ‘dis bling bling iz mine..’ At this point I’m desperately trying to reach the conclusion whether this is some hooker or possibly just another hipster cunt. Here we go again… The spirit finger pose like something off ‘Bring It On’ (which is just so cool) and the adorning of a vintage lace bra is most certainly an underground hipster trend that’s slowly rising to surface. The ‘tiffany’ necklace was blatently found in some kind of shit hole- ‘Wun expensive chik’ but has some deep meaningful story behind it like how her cat fell down the drain and she found the necklace in its place which was originally Hitler’s…The finishing hipster touch is the curtain fringe covering her eyes adding an arty and mysterious sensuality. Yes, she’s a hipster. Come and get her boys.
What's going on up at Vice?
COACHELLA AND CREATORS PROJECT
Today VICE is proud to announce that The Creators Project was been named Creative Partner for this year's Coachella festival. They'll be working with some of the world's biggest musicians to transform their performances into unprecedented visual events. In addition, they'll be overseeing and curating a series of major art installations across the grounds.
"We couldn’t be more thrilled to announce that this year we’ll be kicking off 2011 at the Coachella Music and Arts Festival. Coachella has been one of our favorite festivals for years, a must-attend musical celebration of epic proportions. So many legendary concert moments have taken place here—that night Daft Punk unveiled their glowing pyramid, that year they let us see The Pixies, Radiohead and Kraftwerk back to back, the sunset performance that helped turn Arcade Fire into a household name, and seminal sets from Prince, Morissey, The Cure, Pavement, My Bloody Valentine, Portishead and so many more.
And now we’re going to be a part of it.
As Coachella’s creative partner, we’ll be collaborating with this seminal festival to re-imagine the festival experience for the next generation. We’re teaming up with select headlining acts from this year’s festival lineup (see the recently released list of performers here) to create new works of art, curating a series of major art installations on the festival grounds, and bringing several of our favorite international musical acts to perform on the Coachella stage for the first time, including: Emicida, EE, and New Pants.
By incorporating cutting edge technology and stunning visual art into the Coachella experience, we hope to add a new layer of creative interpretation to musical expression, as well as bring fans even closer to the music. How will we do that, you ask? Well, we can’t reveal everything just yet, but stay tuned for a HUGE announcement on February 16th where we will unveil details on the artworks and collaborations.
In the meantime, visit the Coachella website for more info and mark April 15-17 on your calendars because this is going to be epicly legendary!"
http://www.thecreatorsproject.com/en-uk/blog/coachella-and-the-creators-project-announce-a-creative-partnership.
LADYBUGS: 200,000 ladybugs and pretty red headed ladies for a fashion shoot, interesting results a plenty...
A few months ago photographer Ed Zipco asked them if he could shoot a Vice fashion spread consisting of pretty redheaded ladies covered in ladybugs. Of course they said, “Of course.” Weeks later they were standing inside a photo studio with 200,000 ladybugs. They creepy-crawled all over and inside every nook, cranny, and fanny (yes, we’re talking orifices), but as you can see the results were well worth it. And, just so you know, ladybug sex stench is perhaps the funkiest aroma to ever waft up a nostril.
Rule Britannia: Teenage Riot
AND (nearly) FINALLY Vice's long awaited film documenting the student protests, Rule Britannia: Teenage Riot, will be premiering next week and trust me its worth the wait.....
MY VIEW ON THE PROTESTS
As hoards of balaclava-clad teens gather to apparently protest against the rise in tuition fees, they’re under the illusion that it will make a difference. The government simply don’t give a fuck. There’s no point in trying to defeat the police (as much fun as that would be) since they would eventually end up beating the shit out of you. Famous stuck-up cunts - Charlie Gilmour - think that swinging from a memorial is just so incredibly symbolic (of fuck knows what). The only result being to find a photo of them-glorious-selves in the paper the next day, titled ‘girl swinging from memorial’. Maybe a useful tactic would be to adopt Willow Smith’s ‘I whip my hair back and forth.’ However, the state that people were in at the time might've resulted in them whipping their heads back and forth into a wall.
The atmospheres at the recent protests are demonic renditions of festivals, and it’s certainly a good thing that people generally turn up with a decent stock of ‘supplies’. Everywhere you walk, weed’s transfused with the oxygen, and you come across some weird-ass people you’d only ever think of seeing in your dreams such as the clown offering ‘free education’ with pupils the size of a fat man’s ass hole. Various kinds of explosives are used such as Molotov Bombs, fireworks, home-made smoke bombs and people enjoy viewing the explosion a lynx can makes when thrown in a fire. Later into the evening I recall some guys skanking on some other guys shoulders topless – a bit gay, no? Don’t know what relevance this has to the government being a bunch of lying pricks but hey, why not?
Essentially, these whole protests are a lot of bullshit, involving fuck loads of running around and pretending you hate the government and police when really you’re too high to care.
http://www.vbs.tv/en-gb/watch/rule-britannia/rule-britannia-teenage-riot-trailer
HI SHRED-ABILITY
Hi Shredability’s Jake Burghart gets in the van with Mikey Detemple and Hi Shred veterans Scotty Stopnik, and Kassia Meador to travel up the coast to Southern Maine, as Mikey shoots his second film, Sight/Sound.
Today VICE is proud to announce that The Creators Project was been named Creative Partner for this year's Coachella festival. They'll be working with some of the world's biggest musicians to transform their performances into unprecedented visual events. In addition, they'll be overseeing and curating a series of major art installations across the grounds.
"We couldn’t be more thrilled to announce that this year we’ll be kicking off 2011 at the Coachella Music and Arts Festival. Coachella has been one of our favorite festivals for years, a must-attend musical celebration of epic proportions. So many legendary concert moments have taken place here—that night Daft Punk unveiled their glowing pyramid, that year they let us see The Pixies, Radiohead and Kraftwerk back to back, the sunset performance that helped turn Arcade Fire into a household name, and seminal sets from Prince, Morissey, The Cure, Pavement, My Bloody Valentine, Portishead and so many more.
And now we’re going to be a part of it.
As Coachella’s creative partner, we’ll be collaborating with this seminal festival to re-imagine the festival experience for the next generation. We’re teaming up with select headlining acts from this year’s festival lineup (see the recently released list of performers here) to create new works of art, curating a series of major art installations on the festival grounds, and bringing several of our favorite international musical acts to perform on the Coachella stage for the first time, including: Emicida, EE, and New Pants.
By incorporating cutting edge technology and stunning visual art into the Coachella experience, we hope to add a new layer of creative interpretation to musical expression, as well as bring fans even closer to the music. How will we do that, you ask? Well, we can’t reveal everything just yet, but stay tuned for a HUGE announcement on February 16th where we will unveil details on the artworks and collaborations.
In the meantime, visit the Coachella website for more info and mark April 15-17 on your calendars because this is going to be epicly legendary!"
http://www.thecreatorsproject.com/en-uk/blog/coachella-and-the-creators-project-announce-a-creative-partnership.
LADYBUGS: 200,000 ladybugs and pretty red headed ladies for a fashion shoot, interesting results a plenty...
A few months ago photographer Ed Zipco asked them if he could shoot a Vice fashion spread consisting of pretty redheaded ladies covered in ladybugs. Of course they said, “Of course.” Weeks later they were standing inside a photo studio with 200,000 ladybugs. They creepy-crawled all over and inside every nook, cranny, and fanny (yes, we’re talking orifices), but as you can see the results were well worth it. And, just so you know, ladybug sex stench is perhaps the funkiest aroma to ever waft up a nostril.
Rule Britannia: Teenage Riot
AND (nearly) FINALLY Vice's long awaited film documenting the student protests, Rule Britannia: Teenage Riot, will be premiering next week and trust me its worth the wait.....
MY VIEW ON THE PROTESTS
As hoards of balaclava-clad teens gather to apparently protest against the rise in tuition fees, they’re under the illusion that it will make a difference. The government simply don’t give a fuck. There’s no point in trying to defeat the police (as much fun as that would be) since they would eventually end up beating the shit out of you. Famous stuck-up cunts - Charlie Gilmour - think that swinging from a memorial is just so incredibly symbolic (of fuck knows what). The only result being to find a photo of them-glorious-selves in the paper the next day, titled ‘girl swinging from memorial’. Maybe a useful tactic would be to adopt Willow Smith’s ‘I whip my hair back and forth.’ However, the state that people were in at the time might've resulted in them whipping their heads back and forth into a wall.
The atmospheres at the recent protests are demonic renditions of festivals, and it’s certainly a good thing that people generally turn up with a decent stock of ‘supplies’. Everywhere you walk, weed’s transfused with the oxygen, and you come across some weird-ass people you’d only ever think of seeing in your dreams such as the clown offering ‘free education’ with pupils the size of a fat man’s ass hole. Various kinds of explosives are used such as Molotov Bombs, fireworks, home-made smoke bombs and people enjoy viewing the explosion a lynx can makes when thrown in a fire. Later into the evening I recall some guys skanking on some other guys shoulders topless – a bit gay, no? Don’t know what relevance this has to the government being a bunch of lying pricks but hey, why not?
Essentially, these whole protests are a lot of bullshit, involving fuck loads of running around and pretending you hate the government and police when really you’re too high to care.
http://www.vbs.tv/en-gb/watch/rule-britannia/rule-britannia-teenage-riot-trailer
HI SHRED-ABILITY
Hi Shredability’s Jake Burghart gets in the van with Mikey Detemple and Hi Shred veterans Scotty Stopnik, and Kassia Meador to travel up the coast to Southern Maine, as Mikey shoots his second film, Sight/Sound.
Sarabeth Tucek 'Get Well Soon'
Song Of The Day #187 // Sarabeth Tucek: ‘Get Well Soon’
feat. on thelineofbestfit.com
What exactly makes a great track? Is it personal depth and meaning, pristine vocals or perhaps a tantalising introduction leaving you frozen in captivation? Either way, all these qualities are easily found in Sarabeth Tucek’s new track: ‘Get Well Soon’ due for release on the album of the same name via Sonic Cathedral in April. Previously recognised for her debut album in 2007 and an appearance in the Brian Jonestown Massacre documentary ‘Dig!’, there’s been little from her since then, but after hearing this track, it’s evident that it was well worth the wait.
A grief-ridden introduction envelopes ones thoughts as you are mesmerised by the opening lyrics of ‘‘I knew it was sad / I recognised it was bad / now looking back, I see, my mind, it was cracked…’’ and the listener is instantly drawn into a tale of ‘’a time ruled by grief’’. Both lyrics and vocals are breathtaking and deeply touching – comparative to those of Karen Carpenter – whilst restrained guitar and piano accompaniments ensure vocals remain at the core of the song which Sarabeth describes as “a reminder to keep myself well… It’s hard to explain the ferocity of grief I experienced when my father died. I really felt like it was going to kill me, so to be here…well I just wanted to remind myself of what I survived.” If you’re not left in a mournful daze, tears blistering your eyes towards the song’s poignant end – then surely you can’t be human…
feat. on thelineofbestfit.com
What exactly makes a great track? Is it personal depth and meaning, pristine vocals or perhaps a tantalising introduction leaving you frozen in captivation? Either way, all these qualities are easily found in Sarabeth Tucek’s new track: ‘Get Well Soon’ due for release on the album of the same name via Sonic Cathedral in April. Previously recognised for her debut album in 2007 and an appearance in the Brian Jonestown Massacre documentary ‘Dig!’, there’s been little from her since then, but after hearing this track, it’s evident that it was well worth the wait.
A grief-ridden introduction envelopes ones thoughts as you are mesmerised by the opening lyrics of ‘‘I knew it was sad / I recognised it was bad / now looking back, I see, my mind, it was cracked…’’ and the listener is instantly drawn into a tale of ‘’a time ruled by grief’’. Both lyrics and vocals are breathtaking and deeply touching – comparative to those of Karen Carpenter – whilst restrained guitar and piano accompaniments ensure vocals remain at the core of the song which Sarabeth describes as “a reminder to keep myself well… It’s hard to explain the ferocity of grief I experienced when my father died. I really felt like it was going to kill me, so to be here…well I just wanted to remind myself of what I survived.” If you’re not left in a mournful daze, tears blistering your eyes towards the song’s poignant end – then surely you can’t be human…
Been real busy lately.
Excuse the absence of posts.
Been real busy with the launch of my new site and launch party and that - which I'll keep you lot updated with.
Many things coming up and tons of interviews!
Keep watch ;) Also check out my interview with Hounds of Hate in Super Super (I'll post it up here a bit later on)
Here's a little video to listen to.
Grimes is going to be big in 2011...
Been real busy with the launch of my new site and launch party and that - which I'll keep you lot updated with.
Many things coming up and tons of interviews!
Keep watch ;) Also check out my interview with Hounds of Hate in Super Super (I'll post it up here a bit later on)
Here's a little video to listen to.
Grimes is going to be big in 2011...
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