Moments In Love

Undskyld den manglende opdatering. Jeg arbejder en hel del for tiden og har nogle forskellige projekter i gang og bloggen kommer derfor let i sidste række - jeg beklager!

Jeg vil lige tage jer tilbage til 1983 i selskab med den eksperimenterende gruppe Art Of Noise og deres nummer Moments In Love, som jeg anser for at være det første dubstep nummer ever! Dengang blev det kaldet avant-garde synthpop, men der er vidst ikke mange herinde der ikke kan se parallellerne til vores elskede genre.

På wiki står der således om nummeret:

"Moments In Love" is a ten-minute, downtempo, instrumental ode to sensuality that appeared on both Into Battle and Who's Afraid. It was remixed and released as a single in 1984 (first released in the USA in 1983, where it was a moderate hit on the U.S. R&B singles chart). It was played at Madonna's wedding; used in the soundtrack to the movie Pumping Iron II: The Women; used in a number of advertisements; and remixed, covered, and sampled by other artists for years afterward. It has also appeared in numerous chill out compilations and has become a staple of smooth jazz radio station playlists

Anywho - her får i den forkortet version:



og i et af de meget populære dubstep remix af sangen:

Outlook festival 2010

Outlook festivalen kører i år på tredje år, og er fra år til år vokset. Festivalen, som med god ret kalder sig 'Europes largest bass culture & dubstep festival', har i år flyttet location til det solrige Kroatien, nærmere betegnet en gammel slotsruin tæt på byen Pula i det nordlige kroatien. I kan se venuet nærmere her. Jeg har snakket lidt med en af promoterne for festivalen, og han siger, at de er ret sikre på at få udsolgt, så i må hellere slå til! Billetprisen er, som i nok har set på banneret, £89, men i skal være opmærksom på, at pris for overnatning + transport ikke er inkluderet. På outlooks hjemmeside kan i se mere info vedrørende dette. De snakker noget om at det billigste er en camping plads til £7 pr. nat, så det er jo ikke vildt slemt. Ellers hvis man virkelig er på røven økonomisk, så kan man sagtens sove på strandene i Kroatien (det havde jeg i hvert fald succes med i sommers). Mht. transport, så tjek billige flybilletter til Pula, fyld en bil eller som Outlook selv skriver det: "Take the bus! it will give you the chance to experience a drive through Europe and a chance to get to know a bus full of likeminded people also on their way to party, you’ll feel like a family by the time you get there." Hvis i har spørgsmål, så skriv en mail til Outlook, de virker til at være meget behjælpelige! Mailen finder i på siden.

I får lige et lille overview over den fantastiske venue:



.. og nu til det sindsyge line-up, som rummer alt fra Funtcase til Ramadanman (altid godt med noget til enhver smag).

FULL LINE UP

HIPHOP/ELECTRONICA/BEATS&FUTURE MUSIC
Roots Manuva, Rodney P & Skitz, Mary Anne Hobbs, Roska, Task Force, Verb T, Kashmere, Scorzayzee, The Gaslamp Killer, Floating Points, Benji B, Tokimonsta, Illum Sphere, Kidkanevil, Alexander Nut, Debruit, Blue Daisy, Broke'n'english, Man Like Me, Rich Reason, Eddy Ramich, Lefto, Submotion Orchestra, Engine Earz (Live), Will Coldwell, Action Jackson, Fliptrix, Brackles And Goldielocks

DUBSTEP
Skream, Mala & Coki - Digital Mystikz, The Bug Ft. Flowdan, Joker, Plastician, N-Type, Hatcha, Loefah, Shackleton, Distance, Quest, Silkie, Oris Jay, Pinch, Scuba, Chef, Dj 2562, Kryptic Minds, Stenchman, Kromestar, Sukh Knight, Scandalous Unltd, Cyrus, Rsd, Headhunter, Appleblim, Ramadanman, Ben Ufo, Pangaea, Untold, Walsh, Seven, Mrk1, Oneman, Synkro, Indigo, Chimpo, Jack Sparrow, Rouge State, Jay 5, Vivek, Razor Rekta, Submotion Orchestra, Engine Earz (Live), Flux Pavilion, Funtcase, Southbound Hangers, Riskotheque B2b, Marchmellow, Ruckspin, Planas, Slugz & Boyson, Crises, Distinction, Radikal Guru, Spamchop, Klose One & Rattus Rattus Ft Illaman, Moxie & Elvee, Action Jackson, Luxton Brothers, Wobblesquad, Wachs Lyrical, Play Dub, Koan Sound, Goli & Ashburner, Connectionist, Dub Pressue - Kion, Dom & Unlikey, Joe Dubz, Signus, Inc & Jacko, Dropfellas, Finwa, Kahn, Captain Crunch, Darkside, D-Rail, Mark Sov, Dubloke, T_!, Lofty B2b Ellfivedee, France, Hylu & Jago, Joe Kane, Night Owl, Racknruin, George Lenton, Oridio Kid And Daddy Nature

DUB REGGAE
Macka B (Live), Michael Prophet & Dub Asante (Live), Mad Professor, Iration Steppas, Gentleman's Dub Club (Live), Channel One, Bush Chemists & King General, Mungos Hifi Sound System, Exodus, O.B.F, Kanka (Live), Heatwave, Maffi (Live), Firehouse Sound, Dubkasm, Dub Boy, Radical Dub (Live), Digitron, The Uplifter, Reggae Roast Ft., Mon Judah, Inspirational Sounds, Paul Spymania - Sub:Stance, Dj Earthpipe, Sammy Dread, Daddy U Ft. Mc Tenja, My Lad And J-Star & Shepdog

DRUM&BASS
Zinc, Congo Natty Ft. Tenor Fly, Kenny Ken, Ragga Twins, Commix, Alix Perez, Spectrasoul, Break, D-Bridge, Icicle, Nymfo, Serum, Steppa + Kitcha, Dj Fu, Ttc, Logan D, Ant Tc1, Shock, Junglist Alliance, Mr J Cutter, Rikines, Al Sonar, Transit Mafia, Lowlife, Al Sonar, Marksman, Muse, Lazell And Buds

MCs
Flow Dan, P Money, D Double E, Sgt Pokes, Crazy D, Eksman, Badness, Sp:Mc, Viper, Dread Mc, Danman, Gusto, Soom T, Mad B, G Double, Ramin, Andlar, Illa Man, Inc, Ramon Judah, Mc Tenja, Jago, Mc Sparkerboi And Chunky


Jeg ved ikke om der kommer flere på, men dem der er listet over er alle der er offentliggjort indtil videre (inkl. dem der er offentliggjort i dag).

Er der andre end mig der er fucking game på den her festival??

Sikke travlt vi har

Ja, jeg vil lige undskylde manglende opdateringer her på bloggen. Jeg har haft ret travlt den seneste tid og har ikke lige haft tid til at holde styr på hvad der kommer af nye ting. Jeg er derimod gået lidt tilbage i tiden, og har lige fundet en af mine gamle yndlinge frem igen (fra før jeg hørte dubstep) nemlig Squarepusher. Et af hans numre fra pladen 'Do You Know Squarepusher' (2002), har faktisk en ret fed grime/dubstep feeling i sig.. Jeg siger ikke det er dubstep, men nok i den retning til at jeg vover at poste det:


Prøv også at tag et lyt på titel sangen til førnævnte album!

God lørdag!

Skream&Benga til Vega

Har helt glemt at skrive at Skream, Benga med flere spiller på Store Vega d. 23/4.. I får lige hele smøren fra deres facebook event:


"YOYOYO !!!

HANSEN, LØFFLER & RASMUSSEN (HLR ) præsenterer i samarbejde med VEGA to af dubsteppens største producer og dj navne SKREAM & BENGA.

Begge artister har været i byen før, men ikke samlet. SKREAM besøgte i 2008 OHOI-eventet Kraken Night III, og samme år optrådte han med BENGA på Roskilde under deres fælles kunstner navn MAGNETIC MAN.

Her er hvad Politiken skrev om SKREAM & BENGA´s Magnetic Man performance i 2008.

Udover de to hovednavne får vi også besøg af den legendariske SGT. POKES fra DIGITAL MYSTIKZ, der vil lægge stemme til de herre SKREAM & BENGAs dj-sæt, og sidst men ikke mindst opvarmer det samlede OHOI-CREW aka 2000F, DJ JSL, KRISTOBAL & TIM DRIVER op.

Vi har i aftenens anledning lejet ekstra bass ind!!!!

Tjek kunstnerne her:

Skream
Benga
Sgt Pokes
2000F
DJ JSL
Kristobal

Bass for fuld blæs den 23. april - håber vi ses

Mvh Georg Rasmussen (HLR)"

TID: fredag 23.04.10 STORE VEGA kl. 23:00
BILLETLUGEN: 115 KR (bestil her)
ALDERSGRÆNSE: 18 ÅR

Line-up:

SKREAM (UK) - dj set
BENGA (UK) - dj set
SGT POKES (UK) - Mc

Support:
OHOI CREW:
2000F, TIM DRIVER,
DJ JSL & KRISTOBAL

Læs mere på vega.dk

Free downloads!

Den første er et remix af Mount Kimbie's nummer Serged, udarbejdet af FaltyDL. Jeg synes han gør et ret habilt forsøg. Der kommer lidt mere gang i trommerne og det bliver måske en anelse mere 'clubby', meeen jeg synes nu ikke helt han kommer ind under huden på nummeret og får tilført det den nye dimension, som f.eks. James Blake gør det med deres nummer Maybes. Men download endelig og se hvad i selv synes!

Det andet jeg har til jer, er Todd Edwards remix EP'en som lige er blevet lagt til download. Den indeholder bl.a. det lækre Joy Orbison Remix af I Might Be, som jeg omtalte i sidste uge. For download, gå ind på: www.preemtiv.com/emails/toddedwards

James blake interview

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.



Listen to more James Blake songs on his Myspace.

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!