Still Grinding

JB feat Lloyd & Young Joc - Get it Shawty Remix

2007-06-26T15:46:00.000-07:00

http://www.zshare.net/audio/24468557f6e185/

JB..Your favorite rappers favorite rapper!
www.jbzworld.com
www.myspace.com/jbzworld

Dipset: More Then Music Vol.2

2007-06-12T15:17:00.001-07:00

DukeDaGod Presents
Dipset: More Then Music Vol.2
(Koch/Shock Records)
3 Stars

Dipset brought a lot of swagger back to the New York HipHop scene when they first surfaced. Several years down the track things are sounding tired and formulaic.
Don't get me wrong, More Then Music Vol.2 has some amazing 'Power Rock' style instrumentals on it, but I can only listen to rap about hustlin crack and rolling dice so many times.
To be fair when Jimmy, Juelz and Cam rap on street knowledge it's acceptable, those cats got style and they all know how to tell a good story. Regardless newer recruits 40Cal, J.R Writer and Hell Rell just don't flip it the same. Sure, they have probably done their time peddling product on the turf, but the feeling just isn't there.
More Then Music Vol.2 is best summed up by Cam'ron's contribution to the album 'Suga Duga', a personal ode to living life comfortably off past achievements.

Martyn Pepperell

UNK - Beat Yo Block Down

2007-06-12T15:10:00.000-07:00

UNK
Beat Yo Block Down
(Koch/Shock Records)
3 Stars

Unk makes Crunk and Crunk sure isn't home listening music, it's music for riding cars and stripclubs. Unk would probably disagree with the first half of this statement and say his music is more then just Crunk or Snap Music. But most artists have a certain pretense or preciousness about their art form, and I don't eat deep fried chicken wings, so what the hell do I know?
Unk sprung up this year in the US with a song called “Walk it out” which is basically a hot dance number, Crunk is more or less about dancing, cutting loose and having fun. Thats why the music and lyrics are so simple and repetitive. A lot of people miss these points, but for fans of Little John and Dem Franchise Boys this could be a great cd to bang in your ride while heading to the club.
Chicken wings not included!

Martyn Pepperell

Box of Dub: Dubstep & Future Dub

2007-06-12T15:03:00.000-07:00

Soul Jazz Records Presents:
Box of Dub: Dubstep & Future Dub
(Southbound Distribution)

Dubstep is something that is only just starting to make sense to me. I've always appreciated it's half-time jungle aesthetic and it's constant use of reggae/ragga samples and motiff's, but a small part of me has remained unconvinced. This was partially chipped away by seeing Mala from Digital Mystiks perform a DJ several months ago and even more chipped away by the sheer quality of this album.

Soul Jazz Records have always been on top of their reggae/dub game, so to see them embrace jungle and dubstep in recent months has been a beautiful thing. “Box of Dub” is a collection of reggae/dub styled dubstep tunes from prominent scene leaders such as Digital Mystiks, Kode9, Burial, Skream and more.

What really struck me about this cd (something you've probably already worked out) was the heavy heavy layering of dub/reggae elements, finally I felt like I was listening to a selection of dubstep cuts that truly represented a logical progression and evolution of UK dub. Unfortunately this gives rise to the question 'Is dubstep really a new sound, or is it merely a re branding of previous styles?'

Either way with brilliant cuts like 'I Wait' on board, fans of bass heavy dubby music won't really be complaining. I could see 'Box of Dub' as being a suitable release for home listening or dancefloor rocking satisfaction! Check it out!

Martyn Pepperell

Bongo Chilli - Real Musician!

2007-05-15T16:33:00.000-07:00

Bongo has and alway will be heat!
The legacy of UK ragga continues with his hot new cut "REAL MUSICIAN"
Check it out!

http://www.zshare.net/audio/01_real_musician-mp3.html

www.bongochilli.com
www.myspace.com/peppaman

Mark Ronson - Version

2007-05-15T16:30:00.000-07:00

Mark Ronson
Version
(Sony BMG)
3 Stars

Mark Ronson is a english party dj turned producer/entrepreneur based in New York City.
Much is made of Ronson's credentials and connections in his press release, but my knowledge of him is limited which leads me to believe he is more of a regional sensation then anything else.
Version is his second album and sees him remaking some big contemporary pop material by artists such as Coldplay, Radiohead, Britney Spears, The Smith and more, in a Mowtown/Stax 70's era style and roping in guest vocalists like Amy Winehouse, Lily Allen, Robbie Williams and Old Dirty Bastard(RIP). Version does possess a certain something, an almost x-factor. But is dragged down by the overkill factor of so many guest artists and remakes of classic songs. Regardless I must applaud the Mark Ronson for making the effort to showcase remake/refix culture on such an epic scale.

Martyn Pepperell

James Brown - Dynamite X

2007-05-15T16:26:00.000-07:00

James Brown

Dynamite X

(Couch Records/Universal Australia/Border Distribution)

3.5 Stars

James Brown was a pioneer of funk music and by a different stroke of the same brush the grandfather of hip-hop and breakbeat influenced dance music. From this point of view Dynamite X makes perfect sense. Take a select handful of international producers, dj's and musicians and let them loose with the layers to his many classic cuts.

The result is a mixed bag, but in this case it relates more to the perspective of the listener.

Dynamite X is a brilliant album for club dj's and dance music fans. For the home listener or closed minded funk purist it may all be a bit too much. Remix artists include Fantasista, Cornelius, Cay Taylan, Listen to Munro and more. Songs tackled include 'Funky Drummer', 'Call Me Superbad' and 'Sex Machine'. The 'Sex Machine' remix is a particular standout with it's funkier then funk punchy breakbeat loops. So damn fresh!

Martyn Pepperell

Blonde Redhead - 23

2007-05-15T16:24:00.000-07:00

Blonde Redhead
23
(4AD/Rhythmethod)
4 Stars

Blonde Redhead are back and in the opinion of some (mostly the blogger massive) really hitting their stride with somewhat of a landmark album entitled 23. I am unfortunately not a blogger or a long term Blonde Redhead fan so I can't really validate this opinion.
What I can tell you is 23 has nothing to do with the recent Jim Carey film of the same name and is a beautiful sonic journey through high eerie vocals, melodic guitar riffs and rhythmic drum beats.
On a technical geek level I noticed that 23 is one of the louder recent soft rock style albums I've heard which may have something to do with the roping in of Alan Moulder and Rich Costey on mixing duties.
Blonde Redhead have captured a strong and comfortable sound in their music, one that is drenched in feeling.
23 is definitely worth a listen or two.

Martyn Pepperell

JB - GCP (Press Release)

2007-05-09T14:50:00.000-07:00

J.B Sets Out To Release His Latest Single Around The World

Toronto, ON – April 27, 2007 - Toronto's most hyped rapper: J.B is set to release his new single “Fire In Your Eyes” featuring The Game internationally. The song has been one of the top requested songs at underground radio shows across the country, including The Masterplan Show in Toronto, Canada’s premier hip hop show. It is currently being added in rotation in commercial stations across the U.K. and the U.S. and presently enjoying success in clubs in the U.K., Australia , mainland Europe and Japan.

Fire in Your Eyes is J.B’s latest single from his upcoming album: My Environment, which is due out in fall/winter 2008. The album includes a number of impressive guest appearances by artists such as multi-platinum rapper The Game, Dipset’s JR Writer, Nicole Wray, Warner Music prominent street MC Gravy and others.

At the same time, the video for “Fire In Your Eyes” will be delivered to TV music stations in the weeks to come.

My Environment will be J.B.'s first solo venture. He has two prior critically-acclaimed albums released with G.C.P. "The Turf's Hot" and "Crime Connects" gave J.B. the reputation of representing for one of Toronto's toughest neighbourhoods: Flemingdon Park.

He brings that same street sense and vitality to his current work.
The album will be released world-wide and J.B is currently in negotiations to secure international distribution.

"The wait's over and the game's about to change."
J.B. (Whatcha Need)

http://www.jbzworld.com/videos/Fire_in_ya_eyes.mp4

For media enquiries / interviews, please contact:

contact@concept-inc.ca

Concept Inc.

www.concept-inc.ca

UB40: A Collection of Musical Influences & Inspirations

2007-05-09T14:47:00.000-07:00

UB40: A Collection of Musical Influences & Inspirations
Under The Influence
(DMC Publishing/Border Music)
3.5 Stars

UB40 are arguably the number one reggae act of all time, bear in mind I say arguably, and this claim is based on records sales, chart positions and touring schedules over the course of their three decade long career. Personally I have never really thought that much of their music.
Regardless Under The Influence is a collection of music that has influenced UB40 over the years, and too be honest they have alright music taste. We get a selection of Black American artists like Micheal Jackson, Smokey Robinson and Otis Redding, then they chuck in some classic Jamaican artists such as Big Youth, Bob Marley, John Holt, Lee Perry and so on.
Under The Influence is mostly good music and would serve well as a soul, jazz, reggae compilation album for a listener looking for a collection of material they mostly know already with the odd fun rarity thrown in.

Martyn Pepperell

Soul Jazz Records Presents

2007-05-09T14:42:00.000-07:00

Soul Jazz Records Presents
Studio One Kings: The Originals
(Soul Jazz Records/Southbound Distribution)
4 Stars

Soul Jazz Records have built a reputation for re-releasing quality reggae, soul, jazz, funk and disco music in the modern era. In this respect Studio One Kings: The Originals is more or less what we have come to expect from this label. 17 cuts of classic Studio One reggae music from vintage Jamaican artists such as Horace Andy, Burning Spear, Ken Boothe, John Holt and more performing timeless standards such as 'Every Tongue Shall Tell', 'Them A Come' and 'Be Yourself'.
Should you be familiar with the Soul Jazz or Studio One catalogs you know exactly what to expect from this release.
If not, you are in store for a delightful sonic journey though warm deep bass, rough echoing organs and guitars, heavy defined skipping drums and the beautiful vocal tonality that Jamaican music has become known for the world over, essential listening for reggae fans old and new.

Martyn Pepperell

David Rodigan & Sting International

2007-05-09T14:39:00.000-07:00

David Rodigan & Sting International
The Kings Of Reggae
(Rapster Records/Border Music)
4 Stars

Rapster Records “The Kings Of...” series hits it's seventh edition with a coherent and comprehensive overview and breakdown of Jamaican reggae music from London and New York based pioneers David Rodigan and Sting International.
Rodigan has been long recognised as a leading reggae figure head in the UK with over 30 years in the game as a dj and an encyclopedic knowledge of reggae music. Sting International on the other hand is the producer behind Shaggy and his hits 'Boombastic', 'It wasn't me' and so on.
Roping in cuts from classic to modern artists such as The Congoes, tenor saw, Marcia Griffins, Ritchie Spice and Gentleman, Rodigian and Sting International nail the transition and development of conscious reggae music from the 1960's to now. Entertaining and informative The Kings Of Reggae is yet another excellent summertime barbecue cd set for both the novice and the dedicated Jamaican music enthusiast.

Martyn Pepperell

UPCOMMING RUFFNECK SOULJAH GIGS

2007-05-06T16:50:00.000-07:00

9th of May @ Good Luck Bar
13th of May @ Vintage Bar
17th of May @ Radioactive89fm
26th of May @ Powerstation

www.myspace.com/championdjnz
www.myspace.com/fantasytofact

ONLINE REFERENCES TO "EXCUSE ME MISS"

2007-05-01T14:57:00.000-07:00

Below are links to various websites that have featured "Excuse Me Miss" by Ruffneck Souljah...
Check the progress!

YA PLAYIN YASELF

Top Shotta Blog run by OG (Old Gold) B-Boy Audio 1
Big up ya chest king!

NICEUP.ORG.NZ

Top ah Top NZ dancehall reggae website, big up Venus_Hi-Fi

RADIO NEW ZEALAND

New Zealand's National Radio Station (Featured Excuse Me Miss recently on the music 101 show)

BFM

The Big Radio Station in Auckland, shouts for putting us on via your NZ music show! One Love

ACTIVE89FM

The Best lil radiostation in the world! "Excuse Me Miss" has been in the top 11 charts last 6 weeks and getting mad dj love, all the blessings to you active!

ROCK THA DUB

Mad lil Blog from the States...Thanks for putting us up as a DL!

TOP CAT INTERVIEW

2007-05-01T14:53:00.000-07:00

CLICK HERE

The Laura Marie Project

2007-04-29T14:59:00.000-07:00

JAFA MAFIA MEETS YARDWISE 5th MAY

2007-04-23T16:12:00.000-07:00

Arts & Culture!

2007-04-12T14:15:00.000-07:00

Check it...The arts market is back!
Saturday 28th of April @ 3 Happy Valley Road in Owhiro Bay
Live Music by Jessy Moss from Harriet and The Matches and Ila King from Urban Tramper.
Like Alicia says "Plenty of art to satisfy the soul!!!"

Alfamega - Westside OG feat T.I and Macboney

2007-04-03T14:03:00.000-07:00

http://www.zshare.net/audio/alfamega-westside-og-dirty-mp3.html

http://www.myspace.com/alfamega

Personally I'm undecided, make your own mind up!

Kid Sister @ SXSW

2007-04-02T17:05:00.000-07:00

click here to see more videos like this

Get Familiar.....

Hard Steppers - Jezebel

2007-03-30T15:41:00.000-07:00

I just recieved this new cut from a hot up and comming Montreal based urban music collective "The Hard Steppers"

Hard Steppers - Jesabel
http://www.zshare.net/audio/jezebel-mp3.html

The Hardsteppers concept has grown from a crew of DJ's and MC's during the early nineties rave scene in Montréal. Playing alongside international artists including Roni Size, Ed Rush and Optical, Carl Cox, Dieselboy, DJ Rap and Montréal's own Tiga earned them the respect of true underground music fans. The hype surrounding their 1996 mix, "Don't Fake the Break," warranted a ten out of ten rating in URB Magazine, along with a slew of cross-country gigs. They firmly established themselves as force to be reckoned with on the North American Drum and Bass scene, hosting both a three year residency at Montréal's famous Angels nightclub, and a bi-monthly event at Sona, Montréal's first afterhours club. Today the Hardsteppers have developed into a multi-faceted production team, recognized for producing reggae, hip hop, dance hall, breaks, house and drum and bass for various artists. The crew has formed into an elite group of talented, versatile and high-energy members who are able to perform both live and through the DJ medium. Chief composer and producer Sase One's (Mathieu Girard) love of British underground music and his ability to play multiple instruments has given the band its multi-dimensional flavour. Front man Kali (Hayes Thurton), from the famed Montréal group 'Kali and Dub,' has thirty years of both live and studio experience; this Juno nominated artist has shared the stage with many of the world's greatest musicians. For the Hardsteppers, he provides both lyrics and is heavily involved in all stages of the production. Sase One and Kali clicked as soon as they met, and have been writing music together ever since. Also contributing to the Hardstepper sound are artists Adam L (Adam Lipper) and Regimental (Andrew Reed). Adam L, who composes under the name 'Illson,' works on beat production with Sase One. His history of crowd pleasing DJ sets and mix tapes have made him a founding father of the Montréal drum and bass scene and a natural member of the band. Today, during Hardsteppers live performances, Adam plays the keyboards and mixes samples. Regimental, whose vocals are also featured prominently on the Hardsteppers album "Revolution", is an up and coming artist in his own right. Poised to drop his solo album in 2006, Regimental is a high-octane force that never fails to please the crowds. Together the Hardsteppers play as a full live band. They also shift gears sometimes, splitting up into separate units of two in order to play DJ sets, providing promoters with greater opportunities to present the Hardstepper sound. The Hardsteppers first album, "Revolution," is an amalgamation of sounds and textures that carves a place parallel to such acts as the Chemical Brothers and the Prodigy. Their mix of dancehall, breaks and use of instrumentals make their music great for the dance floor, but more importantly, an intelligent musical voyage full of twists and turns. Their use of voice as an instrument...rolling and pulsating… provides an almost pop feel to some tunes, making them familiar and catchy. The first single "Sweet Redemption" is a rockin' dub tune that you can’t help but sing along to. Watch for the Hardsteppers video for "Sweet Redemption" in summer 2005. Lots of touring and studio time awaits the quartet in the near future, who will continue with their ongoing evolution.

For more information check out www.hardsteppers.ca

Benisour feat Jr Reid "Shining"

2007-03-30T01:57:00.000-07:00

I've been feeling the cuts Blackout Movement and Jr Reid have been doing with various rappers around the states lately, but this cut really bugged me out!

Benisour feat Jr Reid "Shining"
Straight up Blackout Fam hip-hop reggae beats, Jr Reid on the Chorus and Bridge, Benisour rapping the verses and some ill sampling in the music... you can listen at Benisours Myspace page

http://www.myspace.com/benisourthadon
http://www.benisour.com

If anyone wants to get a copy of this song, or needs some dj drops or strings from Benisour, just holla at the kid...

SPANK ROCK - "We don't make Bmore Club"

2007-03-27T18:31:00.000-07:00

Spank Rock

If you haven't heard the eclectic club rap dance rock sounds of Philadelphia based group Spank Rock by now, you've probably been hiding under a rock for the last year so.

First bursting into the popular eye in 2006 with songs like "Rick Rubin" and "Bump", Spank Rock are making the sort of music you just know is giving Pharrell and Timbaland sleepless nights and cold sweats.

I caught up with the groups producer XXXChange aka Alex via phone recently to discuss what's going on in Spankland and have a yarn about their new project, the Spank Rock Fabric Live mix CD.

It's been crazy man, we've pretty much been touring for about a year now and been a lot of places around the world. Great fun, but now we have to knuckle down and get back to making the music. At the moment I'm producing some joints for Amanda Blank and Kid Sister as well as working on new Spank Rock Beats. A-Trak and Nick Catchdubs are releasing a song I did with Kid Sister called "Control" as the lead single on their new record label "Fools Gold". I'm also doing some music for an EA sports computer game, but I can't really say much more about that.

But back to the reason for this interview, the Fabric Live CD.

We just finished the cd, and its mad crazy. I think we accomplished a great club mix that will keep listeners entertained for the whole ride. We put a lot of original production into it, replayed instrument parts and drop a lot of parts of songs in at different times.

Fabric Live had limitations in regards to what songs they could get cleared for us, but we got some gems, a nice cut by 'Yes' and I did some heavy stuff with some 'Chicks on speed' material. I can't describe much more about it in words, just go buy it and listen to it.

Obviously I had to find out about Spank Rock’s influences and what artists they are checking for.

I don't know how many people know this down your end of the globe, but a big influence on our style when we were coming up was a group called 'Plastic Little'. They’re friends of ours; I'd say we are loosely associated with them. 'Plastic Little' are from Philadelphia also, and they were the first people I really saw rap over crazy lo-fi half mastered weird beats doing this indie rap style that’s taking off now. You should check them for real though, and check out people like Maipei, Best Fwends, LCD soundsystem and Japanther. All these acts have that crusty lo-fi sound, but they make really good music,hahaha.

Spank Rock is a group that is often tagged as being part of the Baltimore Club movement and sound. I had to ask Alex about this, I had a nagging feeling he would have something to say about this.

We don't make Baltimore Club music man, sure some of us grew up in Baltimore and were influenced by it, but that’s not the Spank Rock sound. Spank Rock make eclectic music, we're just a bunch of dumb guys who take whatever hot and flip it in our own style to make club records. Baltimore is a tight knit circle, that’s people like DJ Scotty B, Blaqstar, DJ Technics and a few others.

Shouts to all the kids coming to our jams and the heads throwing the parties, we've for love for you all. But please don't book us for anymore techno or gangsta rap shows, it just doesn't work!!

Interview by Martyn Pepperell

The Hot Grits

2007-03-27T18:23:00.000-07:00

The Hot Grits

Originally formed in 2002, "The Hot Grits" have made a name for themselves in Auckland and parts of the lower north island as fine purveyors of the psychedelic afro-beat big band sound. Always focusing on the rougher side of soul/funk music, "The Hot Grits" were recently recognised as finalists in the MTV Kickstart competition, a sure sign of bigger and better things to come.

I spoke to the bands singer Barney recently to get a better idea of what is happening with this Auckland based funk phenomena

We're influenced by a lot of southern soul music from America, artists like the "The Meters" and "Rufus Thomas", but at the same time we listen to a lot of 1960's afro-beat music from West Africa.

"The Hot Grits" originally started out as a funk covers band and slowly took on board other influences from afro beat to classic psychedelic music, eventually molding it into their own sound and style.

We aren't as smooth and candy coated as the other soul/funk bands that are getting known in Auckland and New Zealand at the moment. The Hot Grits are primarily a live gigging band and we try to capture that blistering raw old school funk 45 sound in our recordings and live performances.

Since formation, the Hot Grits have gigged heavily in Auckland at venues like the Khuja lounge and toured around the country, performing in Taupo, Wellington, Napier, the Coromandel and Nelson.

When I spoke to Barney the band had just been through some slight changes in the lineup, which is to be expected when you have an 11-12 piece band.

At present the members are Barnie Duncan (Lead Vocals), Nick Wood (Percussion), Marlon Lobo (Bass), Marc Johnstone (Keyboards), Elitia Clark (Lead Vocals), Trygve Wakenshaw (Percussion), Martin Sutcliffe (Guitar), Alistair Deverick (Drums), Jim A'Hara (Trombone), Glen Cossey (Saxophone), Ben McNicoll (Saxophone), Andrew Watts (Trumpet), Hugh Harlow (Live sound).

"The Hot Grits" released their debut EP "The Championship Sounds EP" late last year on their own imprint "Championship Sounds" (distributed via Border Music) and are currently working on a follow-up EP which they hope will allow them to really capture that classic 60's/70's funk soul recording style and move forward onto the next phase in their musical journey.

Funk and soul is back!

For more information on "The Hot Grits", check out www.thehotgrits.co.nz or contact their manager Dunc Tha Funk @ duncthafunk@gmail.com

Martyn Pepperell

Taken from New Zealand Musician Magazine

Snoop Doggy Dogg & Dr Dre - From Compton to Long Beach

2007-03-24T15:41:00.000-07:00

Snoop Doggy Dogg & Dr Dre

From Compton to Long Beach

Death Row Records

This cd was a great idea. Let’s be honest, everybody loves Snoop Dogg and Dr Dre. Even people who claim to hate both artists love their music after a few cheeky drinks. I’m sure there have been similar cd’s to this released in the past and have no doubt that their will be similar cd’s released in the future and from a certain point of view it is all pretty tiresome, but whatever.

I’m not going to go into depth describing the music on this cd, because you know it, even if you think you don’t. What I will say is “Nuthin’ but a ‘G’ Thang”, “Gin and Juice”, “Murder Was The Case”, “Who am I”, “F**k with Dre Day” and 12 other classic cuts on one cd. ‘From ‘Compton to Long Beach’ is a great cd for those of us looking for some pure escapism after a long day.

Martyn Pepperell

Taken from Groove Guide Magazine

The Mighty Asterix - Hate it or love it I smoke Marijuanna

2007-03-24T14:48:00.000-07:00

THE MIGHTY ASTERIX is a legend of the New Zealand reggae scene. His MC'ing and vocal skills have seen him gain a first-class reputation both in New Zealand and internationally. Asterix began MC'ing in the early 80s in Palmerston North and was inspired by the likes of Dillinger, I-Roy, U-Roy, Dennis Brown and Frankie Paul. At the end of '82 he moved to Auckland and worked closely with Stinky Jim, Oblex and DLT, before joining The Twelve Tribes in '86. Asterix eventually moved to Wellington in 2000 and now works with all of the best crews and bands in town, and has recently performed at Kaikoura Roots and Soundsplash.

You can download a very special bootleg below, THE MIGHTY ASTERIX singing "I love to smoke marijuanna" by Linval Thompson, blended over "Hate it or love it" by The Game and 50 Cent.

The Mighty Asterix - Hate it or Love it I smoke Marijuanna

http://www.zshare.net/audio/asterix-hate-it-or-love-it-i-smoke-mar
ijuanna-mp3.html

Fredi Kruga - Soul Mate

2007-03-24T14:32:00.000-07:00

I just recieved a MP3 of the new single from English Hip-Hop/Grime artist Fredi Kruga.
I kinda like what the guy is doing. He's thug, but he's got a softer more human edge and a good sense of humor. Little bit simular in style to Sway, you can find out more details at http://www.myspace.com/fkfredikruga.

You can download his song "Soul Mate" below, and if you have any questions or are a dj looking for drops or stings, please contact DJ Ames at me@djamesmusic.co.uk

Fredi Kruga - Soul Mate
http://www.zshare.net/audio/soul-mate-mp3.html

Interesting online music resources!

2007-03-24T14:23:00.000-07:00

http://governmentnames.blogspot.com/
Government Names is a blog about Baltimore hip hop, club music, and R&B.

http://blackdownsoundboy.blogspot.com/
The internet grime/dubstep blog

http://riobailefunk.blogspot.com/
Interesting Baile Funk blog resource

http://www.maddecent.com/blog
Interesting and informative blog run by Diplo’s record label.

http://www.nickcatchdubs.com
Website and blog for popular forward thinking multi-genre dj Nick Catchdubs

http://www.low-bee.com
Check the forum, toppa top resource for all kinds of music

Black Grass

2007-03-23T01:56:00.000-07:00

All this current talk about hip-hop being dead is a load of rubbish, and if you disagree, you obviously haven't heard any music produced by Mex from Black Grass.

Based in Brighton in the UK, Mex is a self confessed vinyl addict who is most happy around records and came up in the burgeoning Brighton music scene of the mid nineties.

First and foremost a dj and selector, Mex is also a producer and all round music junkie. If you were in the UK in the nineties you might know him from his work in various record stores and his own “Black Grass” Record Store. You could have come across his break albums and battle records like”Ultimate Cakes and Sweets” and “Kleptomania”. Or maybe you know him as a dj from the “Knowledge of self” club night where he warmed up for golden era hip-hop artists like OC, Big L and Jurassic Five.

After releasing some singles on a few local labels and establishing his own record store, Mex took things to the next level, turning Black Grass into a production outfit. For simplicities sake I am going to extract a quote from Mex's biography to explain what followed.

Described as a “pantomime of styles” by Mex, the Black Grass sound was hip hop minded but not hip hop, edgy but not necessarily underground, covering territory from dusty funk and jazz to soul to party beats. Working both with established vocalists (including Blak Twang & Maylay Sparks),and talented newcomers, Black Grass gained acclaim across the board from both DJs and music fans.

After spending time Djing and touring Australia, Mex recorded the second album “A Hundred Days In One”. Adding even more diversity to the mix than the eponymous album, it delivered enough hooks and beats to light up the dance floor and get heads nodding in equal amounts, with guests like Jehst, Blu Rum 13, Micall Parknsun on mic duties alongside alt-country sensation Dominique Noiret, with a haunting rendition of Harold Melvin’s “Don’t Leave Me This Way”.

Twenty years deep as a DJ ,Mex has developed a reputation as one of the leading underground DJ's in the game. similar in style to legends of old like “The Wild Bunch, Good Times, Soul II Soul, Jazzy Jeff and Cash Money, he has earned the respect of esteemed djs such as Andy Smith and Krafty Cuts.

Mex is currently recording his third Black Grass album with guest features from J-Live, The Good People and other special guests. I had the pleasure of speaking with Mex while he was visiting Wellington to perform at the now infamous summerset festival. What follows is a record of that conversation.

I utterly loved playing in Wellington man. It was fantastic, so so perfect. The crowd was so warm and receptive, it was so much fun. Some nights when you DJ you're working and other nights you're just there vibing in the moment. Wellington was the second scenario. I was running bootlegs, classic cuts all sorta things and everyone was so open minded and just into good music.

It's extra good out here cause I got to have my own DJ setup, my own mixer and effects unit, brought along the serato and just felt so comfortable and in the zone.

The venue was fantastic and the catering was great and boy, the local acts!

Sunshine Sound system were so great, such nice MC's, we don't really get MC's chatting positivity like that in the dance back home. Everyone just wants to rap about how hard and shit things are. Us English, we just complain about everything, look at me right now, I'm complaining about complaining!

I have to be honest I don't know a lot about New Zealand music, but what I saw impressed me. Shapeshifter were heavy, and I don't even really listen to drum and bass. Freddy's are freddy's, we know about them back home. I think everyone knows about them now.

A New Zealand group I've been paying attention to and really loving is Open Souls. My Australian Tour manager gave me a copy of their album “Kaleidoscope” and it's just fantastic, such timeless quality music with no pretense. I'd love to hear more of their music.

You know as someone who is London born and bred, it's great to get to come out to this side of the world. The people are so much warmer and way more open then back home. Everyones guarded and on edge in the UK. People live such structured force fed lives, so for me to come here, enjoy this great food, vibes and company is a brilliant thing.

Enough about New Zealand and New Zealand music. Back to the UK, UK Hip-Hop, golden era hip-hop and so forth.

I came up during the first wave of English Hip-Hop, the same time period as artists like “The Demon Boys. However at the same time I was listening to and experiencing the golden era of American Hip-Hop and grounding myself in soul and funk. I really try to take things back to that golden era sound. I'm very specific with what I play and what I produce. I think a lot of music being made these days is really dull. You can find some artists who have a similar sound to the past, but a lot of them are just re-inventing the wheel, there is a real lack of big tunes, too much of a focus on fronting about being street and keeping it real. If I thought about it too much I would cry everyday man, I really would.

Another issue I have is with these Funk 45 DJ's.I see these guys in the club, playing these ultra-rare, ultra exclusive records no one cares about. I mean sure I like to have rare records also, but some records are rare for a reason. No one cares about them cause they ain't any good. These guys turn their heads up at James Brown cuts and then play some crusty scratched thing by a nobody from nowhere and think they get more points for that?

As we've ascertained the English have a tendency to complain, so I decided to direct Mex towards something more positive, music he enjoys.

You've probably realised I'm a fussy guy. I like things to sound a certain way. Funky and clean with good overall sound quality. At the moment I'm really excited about a funk band called Baby Charles. They're based in Brighton and have that really classic funk and soul sound thats just full of feeling. I'm doing a few things with the singer and it's turning out wicked indeed!.

Mex was an interesting character to talk to. Negative as he was at points he also expressed huge passion and emotion for the music he creates and the music he is involved in. Most people I have spoken to agreed that he played a blinder of a dj set, cutting and dropping a super blend of golden era hip-hop, classic soul and funk and the odd bit of reggae/ragga. It was fantastic to see the man scratching away, hosting on the mike and totally loving every moment of what he was doing, delivering the real goods to the real heads.

Wellington loves ya Mex, you're welcome back here anytime!

Martyn Pepperell

Tom Middleton

2007-03-23T01:46:00.000-07:00

You either know the name Tom Middleton or you don't, it's that simple.

For those of you who haven't heard of the man, the heist goes down like this. Tom Middleton deserves a knighthood for his services to the nightclub world. Known as one of the finest eclectic dj's in the world, Tom is also a classically trained piano player, cello player and producer/remixer.

He has worked with dozens of labels and artists, performed at festivals across the globe and been a regular at super music festival 'The Big Chill” since 1994. Is the track record starting to speak for itself?

Sometimes a flurry of words paints more of a picture then a cohesive sentence, so in aid of making things clear I will quote the mans myspace biography.

Grandfather was a Jazz guitarist, Uncle a Folk Singer/Guitarist. Usual 70's kid/80's Teen diet of Breakdancing at School Discos, Graf, Surfing, Skating, BMXing. Massive Police and Prince fan, discovered Brian Eno via U2, morphed into a part Goth-New Romantic, Rare Groove-Jazz Dance-Soul Boy, Dub Rap-Synth Pop-Shoe Gazer. Messing about with Analogue Synths at local gear shop.

Learned the ways of the force from Richard D James circa 1989. How to sample, record, program, edit, arrange and mix. Observed Aphex perform a custom modification of a Roland SH101! DJ'd with Richard at The Bowgie and various Phase II beach party all nighters.

Of course there is a fair bit more then that, but if you want to check it out, just look the man up on myspace or wikipedia. Now, getting back on track, Tom was recently out in New Zealand to perform two shows, one in Auckland and one in Wellington at the now infamous Sandwiches Summerset festival. I had the opportunity to meet and speak with Tom during the event, and the following is what resulted.Who woulda guessed the guy was such a big sneaker fan?

“I really like sneakers you know, actually I collect sneakers. But you know what I'm not the normal sneaker fan. It's true I wear Nike, but I don't wear those Air force One style sneakers. I'm more into the lace less wet suit style sneakers. Nike Preston, Nike Woven, Nike Chargo and Nike Zyezdochka.

I'll tell you about the best sneakers I ever had, back when I was a bboy. They were these Troop Trainers, hi tops with fat tounges and they had these big badges on the front of them, kinda like Police badges, oh gosh they were something.”

At this point we came dangerously close to not discussing music at all, especially after Tom offered up some Pringles as a snack. However things got back on track with a discussion about what one looks for in music.

“I like all kinds of music, mostly dance music though. I look for a good rhythm, some grooving bass and proper dynamics. After that it's all about a little bit of subtlety, melody, harmony and most importantly feeling and emotion. I would rather play the simplest piece of music played with complete feeling and emotion then a cold but technically amazing piece of work.”

“At the moment I'm really checking for work by a couple of special artists. First off, Tom Szirtes aka Shur-i-kam. He is a really talented jazz keyboard player who makes really soulful music with a true purity of emotion and feeling. Secondly I have to mention A-Lucid-Nation. He's a bit more of an older mature chap, strictly studio production. The guy is one of those people who is making exactly the sort of music he wants to make, for music's sake. He's got his job, his wife, his house, all the pressure is gone and he just creates for creations sake, bloody amazing.”

When asked what he thinks about the emergence of new styles of music like dubstep, Baltimore Club, Baile Funk and Salasaton.

“You know I don't really know what a lot of these genres you're talking about are, but at the same time I know instantly by the names. It's good, genres are lending grooves and riddims to each other, styles are crossing over, now is a time of fusion.

Dubstep though, that stuff interests me. I'm playing it, it's quite contextual though. It can be a moody dark sound and that really works in certain places like London. The vocal side is developing well also.”

On the subject of touring New Zealand & Australia.

“I have this analogy I like to make out here in the pacific. There are big similarities for me between Wellington and Melbourne, by the same stroke of the brush there are big similarities between Sydney and Auckland. The shows in Melbourne and Wellington have definitely been highlights this tour and I've had the opportunity to play alongside some great people like Black Grass, Mr Scruff, Sage, Bluey and Incognito.”

Upcoming projects.

“First half of this year I'm working on CD's for labels like Big Chill Recordings & Reniassence.

I get to do this thing called 3D, which is a three cd album. One club mix, one personal music mix and one home-listening mix. It's a great format. I'm also doing the 07 edition of my crazy covers CD. The 06 edition was one of the most talked about releases in Europe in 2006. I know for a fact it was a huge topic of conversation at the GQ offices out here. The cd is basically a collection of covers of song that I like. Love it or hate it, it always sparks off conversation on what is a good or bad cover, great publicity for me. Of course there are a few other things in the works, but thats enough to discuss for now.”

There you have it people. A short trip into the mind of Tom Middleton. If you saw him perform at the Summerset Festival in Wellington, you may have loved his set or hated it, but there is one thing you must admit. The sight of seeing five thousand people getting down to “Out of Space” by The Prodigy was truly something to witness and a memory we won't be forgetting anytime soon.

Interview by Martyn Pepperell

THE HEATMAKERZ

2007-03-23T01:37:00.000-07:00

The Heatmakerz, consisting of Rsonist and Thrilla, are a New York based production team known for creating hard-hitting beats and platinum hits.
Their unique sound propelled artists like Cam’ Ron, Juelz Santana and The Diplomats to stardom.
They have also produced hits for Fat Joe, Lil Wayne, Ludacris, Lil Flip, Papoose, Twista, I-20, M.O.P, AZ, Capone and Brook Valentine with an overall combined sales history of nearly 8 million records.

On March 27th, 2007, the platinum producers The Heatmakerz will release their
most anticipated project to date, The Rush. Staying true to the formula that has brought them success, the project combines soul samples over heavy drums.
This project features artists who best compliment their progressive sound as well as those who are known for rocking Heatmakerz beats.

The Rush features, Jim Jones, Papoose, Peedi Crakk, JR Writer, and Jae Millz and highlights members of The Heatmakerz extended family including, The Product G&B, Dox, Carma and Law.
This is the first time fans will get to see Rsonist responsible for both producing the hits and rapping on 11 of the 15 tracks.

Fans addicted to the “Crack Music” which The Heatmakerz produce plenty of will certainly be getting “The Rush” they need. Hard-hitting production accompanied by today’s hottest MCs makes The Rush a must have for any true hip-hop fan.

I recently had the opportunity to speak to Rsonist from the Heatmakerz about what’s going on in their world. The new album, production techniques and what’s wrong and right about Hip-Hop in 2007.

Martyn: Yo Rsonist, what’s going on man? How you doing out there?

Rsonist: Great man, just great. We’ve just been outta town doing some shows, the albums dropping March 27^th. We got more gigs coming up, we’re heading out to Japan to play a bunch of times to promote the album, actually the albums already out in Japan. We dropped it on the 20^th as a little exclusive for the heads out there. The response has been great; things are just getting better and better.

Martyn: So tell us about the album, what’s going on with that?

Rsonist: Oh man, the album is mad crazy. It’s called ‘The Rush’, like I said, it drops March 27^th in the US and the whole thing is pure heat. We mashed up a lot of proper late 60’s soul records, 70’s soul records, even a touch of the 80’s. You all know the Heatmakerz production style, and that’s still how we rocking, but we took it to the next level. We’re introducing a new style of drum programming on this one and used a lot of cuts where we replay instrument lines and parts from songs to make the beats heavier.

On vocal duties, we got all sort of crazy cats on there. We got Jim Jones, Papoose, Peedi Crack, JR Writer, The Extended Heatmakerz Family and more. Oh yeah I’m rapping on about 11 of the tracks also. I’ve done a few bits and pieces on mixtapes, but this is going to be my formal debut as a rapper.

People are going to be pleasantly surprised with this one. ‘The Rush’ is a straight reality rap album. I ain’t talking about guns or killing no one. I’m rapping about real life issues relevant to me and my environment. A lot of rappers are about 50/50 truth and fiction, on stage and in the studio. Me it’s all true life, this ain’t no fairy tale.

I’m influenced by a lot of different rappers, some in regards to stage show, others flow and then some lyrics. I just take their best elements, filter out the bad and that’s what makes me me!

We have had to work with a lot of people in the past in situations where we just had to produce artists and sell beats. In that kind of scenario, you don’t have that much control over the complete product. That’s why I’m really proud of this album; it’s just us and our family telling it how it really is.

Hip-Hop is weak these days in general. Cats are scared to be themselves and be honest, everybody is just playing follow the leader. It’s not good for the culture, the sound, or the art. In our ideal situation we would set up and environment where rappers can be themselves, be true and really nurture and develop depth in the music.

I don’t really listen to much Hip-Hop. When you make it, live and breathe it all day, every day it gets a little much at times. I bump a lot of soul joints in the ride, 60’s to 80’s, that’s my shit man. I have to be honest, outside of Hip-hop I think the genre that’s got the right idea is R’n’B. R’n’B is developing so well these days, a lot of the big artists are just making music. They aren’t forcing it or trying to hard, they just let it come out. The Heatmakerz will definitely be fucking with more R’n’B artists this year.

If I gotta talk about positives in Hip-Hop and acts that really represent and do a good job, first in my mind comes M.O.P. M.O.P ain’t done anything for a minute, but you know when they do it’s always going to be quality. They do what they do, do it well and don’t change for nobody. I also definitely got to name check my fam ‘The Diplomats’, hate em or love em they do their thing and they do it solid.

Martyn: Have you got any thoughts or advice for young producers out there in the game?

Rsonist: Your drums have got to be on point, make sure your drums really hit hard, then start fucking with the sample on top after that. We got a little trick, when we send records to engineers to be mixed, I always get them to send back the individual layers. Then I chop those drums up and use them again. Through this process, I have gotten the thick moshpit Heatmakerz drum sound you all know and love.

We work on MPC 2000 and 4000 and use a Proteus sound module. Sometimes I’m on other gear, but 10 out of 10 times I’m fucking with a MPC. Make the music you love and don’t let other people lead you astray. Don’t follow trends, follow your heart and your creative instincts.

Martyn: Are there any artists you haven’t worked with yet you would like to work with, and where are some places you would like to play you haven’t been yet?

Rsonist: 50 Cent, Eminem, Jeezy, loads of R’n’B artists. You know Nee-Yo, Keisha Cole and more. I got a feeling that this year is going to be the year we are going to get to all he people we need to get to.

Shows, well…I got to be honest, I’m really new to this whole rapping thing. I ain’t been nowhere, so anywhere I can perform on stage is a buzz for me. Obviously, I would like to see more of the states, especially California. I’m also really keen on the idea of hitting Europe, especially London and Germany. Japan is going to be a blast, and you know I can’t wait to get out to New Zealand and Australia!

Martyn: Finally, what have been some high points in your career as producers so far?

Rsonist: Producing the bulk of the cuts on Diplomatic Immunity 1 and Julez Santana’s first album “From me to you” was pretty special. That whole time period from 2003-2004 was a big thing for us. Right now is looking pretty good also though. Things are just getting better and better for The Heatmakerz.

Interview by Martyn Pepperell

Sandwiches Summerset

2007-03-17T17:55:00.000-07:00

Sandwiches Summerset

“Catch bass in the basin”

Saturday the 17^th of March at The Basin Reserve, Wellington.

Fat Freddies Drop, Tom Middleton (UK), Shapeshifter, Black Grass (UK), Ladi 6 + Parks and Sunshine Soundsystem.

The Sandwiches Summerset festival was one of the most eagerly anticipated events in March in Wellington;of course when the day did roll around it was cloudy and raining! Luckily this did nothing to dampen the spirits of the crowd who still turned out in numbers big enough to almost fill the outdoor cricket-pitch turned music venue to capacity. The draw card of course was a mixture of local and international talent as well as proper cocktail bars and onsite fine dining.

The party ran smoothly, all the talent laid down great sets, and the people left happy and smiling!

CLASSIC

Review by Martyn Pepperell (Taken from New Zealand Musician Magazine)

Jay Roacher - Self Titled (CD REVIEW)

2007-03-13T21:36:00.000-07:00

Jay Roacher
self titled
Grymeworks 2007

It was kinda funny, Jay Rocher's CD arrived in my mailbox broken and I had to wonder if that was the way Jay wanted me to receive it.

I have to be honest, I don't know that much about Jay Roacher. Apparently he's a rapper from Christchurch, spends a lot of time chilling and made his name in the New Zealand and Australian Hip-Hop scenes as a battle mc who drops a lot of your mumma jokes.

This is his first CD, he's released it on his own label and some guy called Nettsmoney made some sick grimey sample based hip-hop beats for it.

Jay lyrics are really honest and he has his own style, simular in vein to Torrettes, Louie Knux and Cyphanetik. Jay Roacher's music isnt going to be for everyone, but anyone who renames Christchurch 'Grymeworks City' gets a few points in my book.

Martyn Pepperell
3/5

Taken from Groove Guide Magazine

Mala - Digital Mystik's UK interview

2007-03-10T12:48:00.000-08:00

Mala – Digital Mystiks

The 23^rd and 24^th of March will finally see the arrival in New Zealand of an international dubstep artist. The artist in question is Mala of Digital Mystiks from the UK, one of the styles most well known global ambassadors.

At this point, I guess some of you will be asking, “What is dubstep”. In a certain sense I am loathe to describe dubstep as music because it’s true beauty is it’s lack of formula and freeness of form.

As Mala put it to me, “The true freedom of this music is the ability to always write differently and move beyond set templates. The point of music is to create sound freely, if it works it works and that’s all that matters”

Regardless for the sake of description for those of you interested who are not familiar with the sound, dubstep could be considered a development of the darker south London based two-step sound but with more dub, reggae, dancehall and ragga elements. The focus of the sound is far more instrumental then another style it is often compared to known as grime.

Digital Mystiks have really brought out the reggae and dub elements in the music and considering Aotearoa’s bias towards roots music could be considered the perfect introduction to dubstep for this country. To be even more blunt they have just completed a stellar remix of “Cay’s Cray’s” by Fat Freddie’s Drop, and as we know, a move like his is always a huge aid in any group/artist earning New Zealand’s love.

To put things further into context I am going to drop some of Digital Mystiks promotional material into the interview to further help you place these artists and the music in context.

Digital Mystik’s love of reggae, dub, early jungle, and dark garage has created an evolutionary sound that mashes extreme amounts of sub bass with hyper-spaced riddims, rattling your rib cage with an earthquake of musical harmony.

Having drawn the roadmap to dubstep with thunderous tunes on the likes of labels Tempa, Tectonic, Rephlex, Big Apple and Planet Mu, Digital Mystikz have setup DMZ, the label & club night. Held at Mass in London, the night has reached legendary status, with no less than 1000 punters up for each dance. The label features genre-defining outings from Mala's epic Anti War Dub, to Coki's Shattered and Loefah's half time minimalism on Horror Show. DMZ have defined the true sound of dubstep - undiluted and RAW as a lion’s lunch!

Further to DMZ’s own successes are their recent releases on the legendary Soul Jazz, a label always on point in predicting the future of bass culture. With coverage from Radio 1 DJs Mary Anne Hobbs, Zane Lowe, Pete Tong, and Gilles Peterson, the DMZ ruffness is booming from the echo chamber at unprecedented levels.

I first spoke with Mala from Digital Mystiks a few weeks ago. At first, I was a little confused by the amount of noise going on in the background, but Mala put it into context quickly.

“I’m a youth worker during the days. I work out in the ghetto areas teaching the kids about electronic music production as a way to try to channel their frustration and anger into something positive. It’s a tough grind you know, most of the kids are 13-19 and about 95% of them what to make Grime and the other 4% are mostly into Hip-Hop. In general it’s a really raw gunman sound and they’re wild you know. No respect for nobody, not even themselves. I worry about what’s going to happen to a lot of them over the next two years.

You see music has always been a form of escapism for me from my day to day reality. I just love it you know, heading into those darkened venue rooms and soaking up the bass and pure sound.

When I am in that environment I feel like I’m free and nothing else matters. It’s my meditation against the struggle, my escape from Babylon. This music has always allowed me to sink into the moment and just enjoy the now for what it is with no reflection on the past and no worries about the future.

I try to push a real light at the end of the tunnel vibe and bring a serious positive and conscious sound to dances, and beyond that a physical sound you can really feel, true soundsystem culture”

At this point in the conversation we were cut off due to a phone error on my part and plans were made to re-conference when the following week when Mala got back from a short trip to New York City to play some shows.

As fate would have it his return flight to London was cancelled due to an airline strike and he ended up in NY for several more days before flying direct to Belgium to play more shows.

As a result, the rest of this interview was compiled via email. I present below the transcripts for your reading pleasure.

1.What can the audience expect from a DMZ show?

I am not one to hype myself or talk about what will happen as I think music should speak for itself and you never know how it will be on the night. One fact I do know though is I will have box of music on dubplate that the people have never heard before.

2.What are you looking forward to about playing in New Zealand?

I look forward to bringing my sound to a New Zealand crowd and spreading a positive vibe. I also look forward to meeting the locals, seeing as much of the country as possible and eating good food.

5.Where do you see your sound going over the next year?

I have dates booked in Japan, Australia, Russia, Canada and USA. We also just did a DMZ event in New York, at which everyone had an amazing time, good peoples and good vibes. I am also busy in Europe with France, Germany, Holland, Belgium, Italy, Spain, Portugal, Croatia and Estonia. This year I am really getting to see other parts of the world. It is truly is a blessing, I feel very lucky and I hope I can continue to spread the positive DMZ vibe.

6.What are some artists you would recommend to someone who enjoys
Digital Mystik's music but isn't that knowledgeable on dubstep?

Loefah, Kode 9, Skream, D1, Pinch, Benga, Kromestar, Hijak, Goth Trad and Tunnidgem There is a lot of good music out there.

7.How did you hook up with fat freddies drop for the Cay's Cray Remix?

It was out of the blue. I was asked to support them at the show they did at Brixton academy in Brixton, which is a 5 minute walk from where we hold our DMZ dances.

I knew nothing about fat freddys drop.

Anyway, I was sent some music from Charlie Kartel and he said if you like anything on there let me know and I'll send you the parts.
I got the album the next day and couldn't believe I hadn't heard them before. I loved the sound instantly and so did most people I played it to.
So distinct, such a deep vibe. Real soul music, NZ soul music. Since Cay's Crays was being released, I was sent those parts to experiment with.
Doing a remix is totally different from how I would normally approach making a track. Instead of just creating freely, I found myself writing with a more definite intention and purpose, which is something I'm not used to.
I listened to all the parts and felt a great sense of responsibility to create something I thought would show what I thought was amazingly special in the track.

Joe Dukie is deep, his vocals are amazing, so much depth, pure soul.

I listened to the accapella for ages thinking there is nothing I can do. It sounded too good to touch. One night I just got on a beat, found the space and mood that I had in my head and created.

Writing music is weird to me, it’s so natural, a track almost writes itself. Hearing one sound triggers me to find the next sound, which I know because of the sound I just used, but at the same time, you don’t know it until you hear it.

The next afternoon I worked on it and things just seem to flow out, I built the track around the vocal. I really wanted to change it up from the original so I played additional parts and added in the melodica (which he played also).

I wanted to add my surroundings and soul to it. I only used the vocals and a little bit of the trumpets at the beginning. I remember spending good time on it, because I wanted it to sound tight.

I was honoured to be asked and in a way didn't want to let anyone down. I managed to get a version done that was liked. So it was released with some other remixes.

I loved the whole process.. Getting to work with such amazing audio was a blessing.

I remember the first time I played it at DMZ and the track changed the mood of the dance, it was and still is very different compared to what gets played by most of the dj's. People flash up lighters and sing a long to it now... the vocal is just so deep.

Freddy’s are the shit man, to play just before them and seeing them live in South London playing to 5000 people was inspirational, they were so tight and it was different to see a band with no live drummer! Mu's beats are tight, as I said I love FFD.

I have played their music to a lot of people. The whole experience has giving me some priceless memories.

Mala from Digital Mystik’s performs in Wellington 23^rd of March @ Sandwiches and Auckland 24^th of March @ Galatos.

For more information check out the following weblinks

http://www.myspace.com/malamystikz

http://www.myspace.com/dmzuk

http://www.myspace.com/strictly138

Interview by Martyn Pepperell

Million Dan Radio Interview

2007-02-27T11:23:00.000-08:00

Million Dan interview on Pyrotechnic Radio with DJ Samurai

http://www.osmosisbeats.com/audio/dnb/mixes/pyrotechnic/milliondan

Heavy Heavy Listen...Download it fam!

T-POWER

2007-02-25T23:52:00.000-08:00

If you had told me in 1997 while I was listening to “Mutant Jazz” that ten years later I would be interviewing him the week before his debut performance in Wellington, I would have told you to shut the fuck up.

However 2007 rolled around and as it transpired T-Power was rolling through New Zealand to catch up with some mates, see the sights and play the odd gig.

So when Ddog hit me up on msn and asked me if I wanted to interview T-Power I wasn’t going to say no and hey that week I’d spoken with Mala from DMZ and MC Navigator, so I was getting pretty good at understanding those hard UK accents.

For those of you who don’t know T-Power first came to prominence through his work with hardcore techno group “Bass Selective” who’s 1991 hit "Blow Out Part II" was an influential proto-jungle track. He then rose to new acclaim as a solo artist with an experimental blend of lush ambience and often over-the-top rhythmic complexity. His 12-inch 'Mutant Jazz,' as well as the full-length 'The Self-Evident Truth of an Intuitive Mind' are considered early masterpieces of jungle.

Although subsequent work has strayed from jungle's rhythmic syncopation into breaks and ambient (Atomic Dog, Chocolate Weasel, Agent BLK, Ebony Dubsters), drum and bass remains the core element of much of T Power's music. In recent times it is his work alongside Shy FX that has achieved him the most fame. Their albums ‘Set It Off’ and ‘Diary of a Digital Soundboy’ spawned huge dancefloor and crossover hits such as ‘Shake Ur Body’, ‘Feelings’ and ‘Everyday’. The Digital Soundboy imprint in its short 2 year life has become quickly established as one of the most quality labels out there with a rapidly growing artist roster and many well received releases.

I gave T-Power a buzz about 7pm Thursday and after a mutual confession we’d both had a couple of drinks that afternoon decided to stray away from the typical interview format and focus on something more fun and interesting for the average reader.

I quickly discovered that after a few short days in New Zealand T-Power was loving the place, had already played his first set at FU bar and was looking forward to travelling around the country and seeing the sights. A hike to the top of Mt Cook was planned, as well as visiting Fiordland and ‘The Remarkables’, just outside of Queenstown.

“I’m a London boy, born and bred, so anytime I get to go and see even a little bit of nature I totally lose it. I get so much inspiration from travelling around and seeing the sights. I spent the last few months travelling around Canada and spending time in Alberta with my girlfriend and that was amazing as well, playing at big outdoor festivals on the west coast with people like Marcus Visionary. It’s been some great motivation to help me finish off my album”

T-Power has been working steadily for the last few years on a new album entitled “Music for Life”. Provisionally the album will be divided into two parts, the first half will be conceptual music from across the board of styles that T-Power is into followed on by a straight up dancefloor drum and bass section, or as I put it “Music for raving and comedown music for the next morning”. T-Power couldn’t reveal too much about the album but he did have this too say.

“I have about 300 songs that I’ve made over the last few years and I’m currently working through them and picking out the best ideas then refining them. To be honest it’s been pretty up and down, some days I feel like the album is close to finished, other days I feel like nothing is done. I’m being extra hard on myself this time round, really going over everything with a fine comb.

This sort of process isn’t always a good thing, sometimes you over listen and lose that initial impact.
In a lot of ways no music is ever really finished, you could always add or subtract more, but at a certain point you have to put it down and step back. I have really been focused in album mode for a while though, and when I’m in album mode I don’t really listen to other people’s music. I’m trying to keep away from other influences and really be honest with the music I bring forth. I want to give the people ‘my sound’ not an imitation of some other persons ideas. It would be way too easy to just go and copy what is currently working in the clubs and write a whole set of tunes based around that format.

I work on a powerbook in logic pro and it’s been an amazingly liberating experience to be able to just make music as I travel around the world seeing these beautiful sights. When you are working in a studio setting on a day to day it becomes too much like drudgery and actual 9-5 work for me. You have to understand I signed up for a career in music because of the freedom it offers.”

From a personal point of view T-Power is one of the few drum and bass artists still active on the circuit who I have always been really excited about seeing play, but he has never toured the pacific before and wasn’t ever around performing in the other countries I’ve visited over the last few years, so where has the man been?

“I stopped DJing for a good six years so and just worked hard with Shy in the studio.
I didn’t have enough music that I wanted to play in the style I wanted to be known for and vinyl never worked for me as a medium.

You see I like to be able to combine any track from any genre or time period of music in my sets and the reality is you can only do so much with a mixer and pitch controls. So when programs like Abelton live emerged I was really excited about the possibilities and dived back into the live performance circuit.

I wouldn’t call what I do a live PA, I think you’d need a few people working on different laptops to really do a live drum and bass performance on Abelton. What I do is a more a happy medium between performing a dj set and creating live remixes/re-edits on the fly.

I also like to play across the board and move outside of just dnb and incorporate hip-hop and funk elements into my sets.

Ddog managed to listen into a late night radio set from T-Power on George FM earlier in the week, and yes T-Power will layer a funk track over a jungle track and keep them running for the duration of the whole funk song.

What can I say? The man does it his own way…

I didn’t want to get into too much of a typical line of questioning with T-Power and I definitely wasn’t going to ask him what labels/artists/tracks he was feeling but we did have a brief discussion about the emergence of dubstep.

“To be honest man I haven’t heard that much of it yet, and what I have heard sounds like a mixture of southern hip-hop with drum and bass noises and less vocals. I think it’s a good template and could definitely go somewhere with a bit more work.

Like I said though, I’ve been in ‘album mode’ and when I’m in album mode I don’t really listen outside of my own material.

To my ears dubstep sounds like the producers answer in the whole grime debate. I mean grime music has this fantastic energy to it, but in general the beats are a bit shoddy production wise. I think dubstep has a higher focus on production values and once the current age group producing and driving the sound really mature musically I’m sure we’ll hear some great things. Development is something that takes time and it doesn’t always happen quickly or cleanly.

After the realisation of a few common friends and a couple of in-joke based chuckles it was time to wrap things up with some final words.

It’s been amazing man, to have had the opportunities to travel around the world like I have had through music and see so many great things, meet so many great people. I would have never guessed it would go this far. Here I am looking out this window sipping vino on a Monday afternoon on a gorgeous day in New Zealand and I’m just thinking about how lucky I am. I’m here for a month and that’s a while, but I’m starting to think it’s maybe not enough time to see everything I want to see in your beautiful country.

I’m really looking forward to the rest of the tour dates while I’m here. Trust me the shows will be heavy”

And with that I left the man to sip his vino and enjoy the last of the evening sun.

T-Power

Saturday 3^rd of March @ Sandwiches

Be there…

http://www.digitalsoundboy.com
http://www.myspace.com/t90wer
http://www.bassfrontiers.co.nz

This interview is also viewable on
www.biggie.co.nz
www.bassdrop.co.nz
www.texture.co.nz
www.obscure.co.nz

Ruffneck Souljah on active 89fm (upcomming dates)

2007-02-24T21:42:00.000-08:00

8th of March 2007 (11pm) Thursday (Pacific Time)
www.radioactive.co.nz
89fm

12th of April 2007 (11pm) Thursday (Pacific Time)
www.radioactive.co.nz
89fm

Hip-Hop / Reggae / Bmore Club / Baile Funk / Salsaton / Jungle / Etc...

www.myspace.com/championdjnz

Tune in... We Shining!

The Aviators

2007-02-24T21:33:00.000-08:00

The Aviators

The last few years have seen a major resurgence in interest in funk and soul music in New Zealand, with bands playing in these styles emerging across the country.

Spearheading the Wellington division of this funk revival is 'The Aviators', an eight piece big band who have been consistently delivering that raw uncut funk to the capital and the wider country for over a year now.

“We're a fun, high energy big band. We don't take ourselves too seriously, the focus is on providing a fun time for the audience and enjoying ourselves” - Simon Love

"A mixture of trained and self taught musicians, “The Aviators” draw on a huge array of different musical influences and utilize 2 guitars, trombone, sax, bass, percussion, drums and vocals to great effect delivering a loud and rocky take on the raw funk sound created by classic artists such 'James Brown', 'Sly and The Family Stone' and 'Average White Band'.

“We work from a vague structured order and allow improvisation to emerge within it, plenty of solos going on. Like Simon said the focus is on enjoying ourselves and providing a fun party time atmosphere” - Paddy Bleakley

In certain circles they have been described as sharing stylistic similarities with Supergroove, but more in the sense of a logical development (and possibly conclusion?) of the sound 'Supergroove' pioneered in New Zealand.

As well as maintaining residencies at Wellington's Southern Cross Bar & Cabaret for the majority of 2006, 'The Aviators' also found time to perform in Auckland, Christchurch, Queenstown and the Coromandel as well as recording the bulk of their debut album at STL Audio in Wellington with 'vintage audio equipment fanatic' sound engineer Troy Kelly. The as yet to be named album is set for release early-mid February on the bands own imprint and features the talents of Ed Zuccollo , on keyboards.

All of the artwork and design is being handled by James Winchester.

To coincide with the release of the album 'The Aviators' will be taking part in a national university orientation tour with Odessa between the 20^th of February and the 2^nd of march, ending the tour with a very special show with One Million Dollars at Rising Sun in Auckland (2^nd March)

The Aviators is Paddy Bleakley, Simon Love, Kane Sherwood, Ned Worboys, Andreas Lepper, Skip Brennan, James Mason, David McGurk and you'll be hearing more about this group real soon.

www.theaviators.co.nz

(Taken from NZM Feb/March 2007)

Mista Savona's “Melbourne meets Kingston”

2007-02-24T21:29:00.000-08:00

Mista Savona Presents: Melbourne Meets Kingston

Dancehall, Hip-Hop & Roots from Jamaica to Australia and beyond

When it comes to reggae music in the south pacific, New Zealand may have successfully taken the crown in regards to live bands and the classic late sixties/early seventies sound. However if you are talking about the modern dancehall sound and soundsystem culture in general I feel we have to hand that victory to Australia at this point in time.

Mista Savona's “Melbourne meets Kingston” only serves to cement this viewpoint for me as I was shocked and awed by 21 tracks of beautiful dancehall hip-hop and roots created by an Australian producer in conjunction with Australian and Jamaican musicians and singers such as Anthony B, Big Youth, Determine and more.

“Melbourne meets Kingston” has successfully captured the essence of classic Jamaican music while expanding upon it will a new and fresh Australian edge.

New Zealand dancehall producers take note, this is how it should be done.

(Published in Groove Guide)

Ruffneck Souljah - Excuse Me Miss

2007-02-18T00:32:00.000-08:00

http://www.myspace.com/championdjnz

Ruffneck Souljah - Excuse Me Miss

"Excuse Me Miss" is a Hip-Hop/Salsaton excursion produced by martyn.pepperell and featuring vocals from Mista T and Lioness Angela Graham.
Possibly a first for New Zealand, don't sleep on it............