Jeg vil lige starte med at forklare den manglende opdatering af siden. Vi har begge fået fuldtidsjobs og har gang i mange forskellige, så bloggen kommer desværre i sidste række. Det er ikke sikkert at vi fortsætter med den, men vi lukker den ikke helt. Når det er sagt, så har jeg lige set denne artikel på BBC's hjemmeside:
Could you imagine Burial getting up on stage, singing live vocals and playing guitar? Well that's exactly what a new dubstep outfit called Mount Kimbie are doing.
The pair are turning a lot of conventions around the scene on their head - and have become hot property as remixers - with the likes of Foals and the XX getting them on board.
Though they don't consider themselves as specifically a dubstep act Mount Kimbie are currently signed to one of the genre's original labels, Hot Flush recordings and have their musical roots in the scene.
Next month they release their debut album Crooks and Lovers.
Og her er så en lille snak med de to producere, som I iøvrigt kan høre på dette års STRØM festival:
Jeg fandt også lige dette lille interview med James Blake til jer på pitchforc.com. Som i måske ligger mærke til, så er det blevet bekræftet endeligt, at James Blake også arbejder under aliaset Harmonimix, hvor han bl.a. har lavet remixes af Lil' Wayne, Destiny's Child og Snoop Dogg.
"Twenty-one-year-old Londoner James Blake makes dubstep music, but he's not your typical dank, dark dubstep dude. His songs creep forward and there's lots of heavy bass, yes, but there's also a unique and playful soulfulness to Blake's tracks, which often feature his own singing voice slowed down by intense digital effects. The result is a bit like a futuristic, lurching take on Moby's Play.
Blake is currently busy lining up new releases and talking with labels, all while getting ready for his final performance at Southeast London's Goldsmiths University, where he's studying contemporary music. So far, he's released the single "Air & Lack Thereof" on Hemlock along with the recent Bells Sketch EP on Hessle. He's also got a few impressive remixes for sonic brethren Untold and Mount Kimbie (who he performs with live), and some unreleased rewrites of hip-hop tunes like Lil Wayne's "A Milli" and Snoop Dogg's "Drop It Like It's Hot" under the moniker Harmonimix.
And that's only the beginning. The ambitious producer has an R&B-sampling EP due out on R&S this month as well as a more "introspective" release in the pipeline that's based on Macbook recordings of his singing and piano playing. In the following interview, we chatted with Blake about his "ultimate calling," D'Angelo's spirituality, and Lil Wayne's loneliness:
Pitchfork: Your music contains elements of dubstep, but it's unique from other artists within that genre.
James Blake: I don't mind people calling it dubstep, but if somebody wants to call it something else, I've got no problem with that either. The beauty it is that if you try and write in a certain way, it goes through this kaleidoscope and comes out as something completely different. I've also been doing stuff as Harmonimix, which is me putting a spin on R&B or hip-hop tunes. So I tried to write hip-hop but it came out sounding completely warped and quite excitable.
Pitchfork: I've heard your Harmonimix remix of Lil Wayne's "A Milli" (embedded below). Why did you redo that track specifically?
JB: I just wanted to make Lil Wayne sing. I came across the vocal and I actually only really heard the original after I did the remix. When I was writing the remix, I wanted to bring out the sadness and loneliness in his voice, but when I play it out at clubs people go mad to it, so there's no right way to look at it.
Pitchfork: It's funny, when people like Lil Wayne or Kanye West use Auto-Tune it sometimes sounds like the slowed-down vocal samples you use in your songs.
JB: I think we'll look back on Auto-Tune as an effect. Sometimes it's just the only way that you can achieve a certain sound. I can sing, but I like to treat my vocals anyway. I can't distort my voice without the use of a distortion unit, but that doesn't mean I'm doing something unnatural.
Pitchfork: I originally assumed most of the effected vocals on your songs were based on samples, but a lot of them are actually your own voice, right?
JB: Yeah, all of the vocals on The Bells Sketch EP are me. They're just chop ups of various things, like me playing the piano and singing. But I have an upcoming EP on R&S which features almost solely R&B samples from people like Aaliyah, Brandy, and R. Kelly, though they're not that recognizable. I went through a phase of wanting to sample stuff to see what kind of quality music I could make out of something that is essentially a quite tired technique.
And I'm a sucker for hearing recognizable samples just as much as anyone else and I'd like to put my own spin on that. Maybe it's cathartic, too. Like I remember when "Ignition (Remix)" by R. Kelly came out and just being absolutely embarrassed to love it. For me, it's an exorcism of all those old melodies and voices.
Pitchfork: "Ignition (Remix)" is a classic song. Do you still feel guilty for liking it?
JB: No, because now it's cool. I always loved Destiny's Child and R. Kelly but, for a lot of people, maybe it takes 10 years for pop to become cool. The other day I played the original "Bills, Bills, Bills" during a DJ set and people loved it. The production was so tight in that Timbaland era. Those tunes sound better in clubs than fucking dance music that's being made for clubs today.
Pitchfork: I read that you're a big fan of D'Angelo's Voodoo. What is it about that album that stands out to you?
JB: I'm not a spiritual person, but that album is deeply spiritual. It gives you a real insight into his mood at the time. And there's something about the male falsetto that I'm really interested in. And when he just played piano and sung, he was incredible. That's what I wanted to do-- play the piano and sing. Nowadays, although I'm making this heavy dance music, I sometimes just sit down at the piano and just sing. It's like that's my ultimate calling. It's a strange feeling to have a lot of electronic music out when all you really want to do is sing. I have a lot of piano music ready, but none of it's released.
Pitchfork: Why did you introduce yourself with this dubstep-inspired music rather than your piano-based music?
JB: I just got into dubstep in a really heavy way when I first went to uni, so I started producing in that style. I've come out the other end now after absolutely blitzing dance music for ages. I've come to a wider understanding of my music through writing a lot of electronic music because now I can see the beauty in the contrast.
Pitchfork: I think a lot of people would be surprised if you put out a piano-based song at this point.
JB: Well, I don't want it to be too much of a surprise. I've planned out my future releases: After the R&S EP where I sample R&B vocals, I've got one coming where I've chopped up recordings made on a Macbook microphone. They're quite hissy but very endearing recordings of me playing piano and singing. I've made those recordings into something quite introspective and not as danceable. My voice will still be treated, but it's less treated. That release is more about making beautiful music; I suppose all music has a bit of beauty to it, but this is a lot more personal. When my vocal album finally comes out, it'll make sense.
Pitchfork: Are you worried about losing fans of the music you've already made by changing your sound?
JB: Nah. [laughs] I'm confident that if I love something, it's OK to put out. I've got no intention of becoming some sort of major label pop star. It's not about that. I'm still deeply into electronic music, but I've got other avenues that I want to take. There's a thread running through everything. I suppose the constant is me.
Posted by Ryan Dombal on April 2, 2010 at 8 a.m. "
Synes også lige i skal have lidt youtube:
Mount Kimbie's originale version er taget af youtube, men i kan stadig høre den på deres Myspace
Super super super svedigt Mount Kimbie nummer (lyt på myspace), som James Blake har lavet sit helt eget take på (video ovenfor). Synes begge to er vildt lækre!
Århus får fint besøg de næste par måneder, først af Kromestar her d. 9 april [læs mere], og nu har jeg så lige fået besked om at Bass Culture bringer intet mindre end Mala til smilets by, og så oven i købet i selvskab med en af UK's bedste grime/dubstep MC's, nemlig Sgt. Pokes! Så det skal nok blive en syg aften!
Starttidspunkt: 28. maj 2010 kl. 22:00 Sluttidspunkt: 29. maj 2010 kl. 04:00 Sted: Voxhall Århus Denmark Gade: Vester Allé 15 By: Århus, Denmark Pris: Indtil videre er dette ikke oplyst.
Hvis i vil forberede jer rigtig godt på koncerten, så tag et lyt på hvad Mala har at fortælle om sig selv, hans musik, hans baggrund og meget mere, i dette vildt fede interview, hvor han også spiller et par af hans tunes og fortæller lidt om dem. Tror det er meget bedre end at jeg skriver et eller andet subjektivt og linker til 'Anti War Dub' !
Ikonika har i løbet af de sidste par år udgivet en række numre på Hyperdub. Numrene 'Please' og 'Sahara Michael' fandt skam også sin vej til det allerede legendariske album '5 years of Hyperdub'. Nu er tiden så kommet til at hun får smækket sine 8bit-computerspillydende dubstep tunes sammen på et debutalbum. Albummet hedder Contact, Want, Love, Have og udkommer d. 6 april.
Tracklist for album:
1. Ikonklast (Insert Coin) 2. Idiot 3. Yoshimitsu 4. Fish 5. R.e.s.o.l 6. They Are All Losing The War 7. Millie 8. Sahara Michael 9. Continue? 10. Heston 11. Psoriasis 12. Video Delays 13. Look (final boss stage) 14. Red Marker Pens (Good Ending)
Jeg fandt også lige dette lille interview med Ikonika til jer, interviewet er fra bodytonicmusic.com
How long did it take from sending Hyperdub a demo to getting it released?
I started sending tunes to Kode9 in early 2007 through dubstepforum. He’d recognised my name from a documentary I made while I was a film student. I sent him ‘Please’ later that year and he loved it. He started playing it out and it seemed it was getting the right attention so we decided to release it.
How is your sound evolving?
I made the last two releases in Fruity Loops 6 on a dodgy laptop. I’ve recently switched to Logic and I’m making most of my album on it. I’ve still got a lot of learning to do so I’m hoping that each song I make will be better than the last, this is how I think I’ll be evolving. I’m just trying to grow really and I want people to see that.
Are you conscious of the various labels and scenes that continually crop up and mutate around dubstep?
I am.
Do you care about them?
Only the ones that are good.
When you are in the studio, do you think, ‘Right, tonight I’m going to make something for people who like funky’ or whatever else?
Whenever I think like that nothing comes out.
So how does a track come about?
When I was on FL I did find it hard to zone out and put pressure on myself. I was just knocking quick melodies out then starting a new project etc, whereas now I’m working a lot better. I’m using some hardware synthesisers now and experimenting with the different sounds I can get out of them.
There’s something very moving the chords that are present in your tracks – it brings an interesting element, a contrast, to the almost bleep-y-style production. Speaking of which, is that bleep/Sheffield/Warp sound an influence?
Not really, only because I’m influenced by other stuff. I grew up listening to RnB, hip-hop and garage. But the reason I use a lot bleeps is because I simply like the sound and the way I can use a bleep sample millions of ways.
Your mix of ‘Township Funk’ is excellent – there is a similarity between your sound and the original, the rawness…
I think we share a similar idea of what we want from our melodies. It was an honour to do the remix and I remember whilst working on it how fluid it all felt. It was very natural and I just completely zoned out. It was one of those ones were I worked on it fast with no hassle or blocks or anything like that.
I read that you used to drum in hardcore bands, and you list the likes of Glassjaw as an influence. How did you end up making this kind of music?
From the age of 14 I knew I wanted to be a producer or a DJ. I was always intrigued by beats, where they came from and how they were made. I think drumming was a natural way of me exploring those ideas I had when I was younger. When my band broke up I wanted to keep active in music so I downloaded a cracked copy of FL4 and started making some hip-hop or R'n'B stuff. I found out about dubstep around 2005 and knew I could do something like that, but with a different kind style. I wanted to combine all my influences in the 140bpm range. Again it just felt like a natural way forward, another new thing for me to explore.
Do you still play drums with any bands? Both are such different worlds…
I haven’t played on my kit for over a year. It’s sitting in my loft. I just don’t have the space because of my studio equipment. I don’t think I was ever that good though.
On ‘Millie’, I can hear the occasional live (or sampled?) break – will you attempt to pursue that direction further?
It’s a sample. I just felt I needed to use a bit of double bass pedal-ness in one of my tunes. Hopefully If I find a decent place to set-up my kit, I will no doubt attempt to sample some hits and fills
Who is your favourite producer?
Overall its people like J-Dilla, Rich Harrison, Neptunes, Burial, Kode9 and Skream
And favourite DJ?
Right now I’m love with guys like Ben UFO, Braiden, Brackles and Oneman but also I love hearing Kode9 play out. He creates this weird and crazy mood that makes me forget where I am.
Aside from DJing, do you go to nightclubs often? If not where do you hear new music? Or is that essential?
I think FWD is the only place I really truly love going to. I love how relaxed it’s gotten by switching to a Sunday. I can always just chill and listen.
Why do so many dubstep producers want to be techno producers?
I don’t know.
Hyperdub is one of the most interesting labels around right now – it feels like something of a close family. Will you look at releasing anywhere else?
Because I’m working on this album, I don’t know if there’s gonna be time releasing on another label, but we will see.
Super fedt dybdegående interview, der tager os helt tilbage til dubsteppens spæde begyndelse. Kode9 (producer/DJ/grundlægger af pladeselskabet Hyperdub) fortæller om alt fra jungle og drum'n'bass scenen i midt 90'erne til UK garage scenen i slut 90'erne og sammenfatter det med det vi ser i dubsteppen i dag. Gør jer en tjeneste at sæt tiden af til at se det!
På hjemmesiden redbullmusicacademy.com kan I i øvrigt finde en masse andre gode interviews med bl.a. Mala, D-bridge, Appleblim, Martyn, Plastician og Roska.
Han snakker på et tidspunkt om en musikvideo, nogle filmstuderende har lavet til et af hans numre, og jeg tror det evt. kunne være denne:
Fandt lige dette lille interview med Emalkay, hvor han diskutere forskellen på de dubstep-bevægelser han ser i US og UK. I UK er der en tendens til at dubsteppen bliver mere og mere soft og melodisk. I US derimod, oplever han, at folk kun går rigtig amok til de mere filthy numre. Well, sådan er det vel også stadig lidt i DK, selvom der er flere og flere det bliver vundet over til den blødere side.
Tjek det ud:
PS: Der kommer snart en lille reportage fra Kromestar koncerten.
Drengene fra Raw Juice Records hookede up med Benga efter en koncert i Trondheim (Norge), hvilket resulterede i dette stille interview:
We caught up with one of dubsteps biggest stars Benga, when he played @ SUPA CLUB. We had a great time and it was a brilliant night! Really down to earth guy, and always up for a good time, and he was kind enough to let us do an exclusive Raw Juice interview. Get to know what he thinks dubstep gonna be like in 10 years, hes secret talents and lots more!
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I er meget velkomne til at kontakte os med kritik, ideer, egne produktioner, hints om events mv.
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Could you imagine Burial getting up on stage, singing live vocals and playing guitar? Well that's exactly what a new dubstep outfit called Mount Kimbie are doing. 
