I've been meaning to post this one! The "Brit" connection on this one is through guest vocalist, and proud new mother (congrats) M.I.A.... Spank Rock helps add flavour and this ends up being on of the big standout tracks on The Spirit Of Apollo. LA group Villains give it an nice evil electro injection and get the dancefloor buck...
Man, all my old school Arcadian friends are coming out of the woodwork! First South Central now Heads We Dance... we only need one more person to pop by to complete the original three bands that composed the original line up of the "Arcadian Family" (cough *Vincentwhoisquitebusy* cough)...
This is gonna be a wicked post because Heads We Dance have done a crazy awesome remix of Red Blooded Girls covering Depeche Mode's"Enjoy the Silence"! I was just watching that video for "Wrong" (the new Depeche Mode song for those of you who didn't catch it being splattered all over the various interwebs) and I think it's good... Can't wait to read "Best one since Violator" in the music press, right? Happens EVERY album lol...
Back to the matter at hand...
Yoni from HWD contacted me this morning, with this gem, and has this to say... "We've gone for a bit of a Pet Shop Boys vibe on it - inspired by their winning of the Brit Lifetime achievement award!"
Indeed it does have that sound... like I've never been able to imagine this as a PSB song but now I can... even if it is girls singing :) I look forward to hearing more from them.
As far as our dear remixers, this band never manages to do anything wrong! I mean, look at their cover of "Computer Love"... covering Kraftwerk has been a big mistake for a lot of people, but not only did they manage to make the song their own, they made it sound exciting for the first time I can recall since the original (yeah Coldplay they did a better job by merely covering it, not 'interpolating' it or whatever you call that). Heads We Dance are a band that deserve the hype they get because "The Human Touch" has been one of the few songs to earn the distinction of "actually as good as Daft Punk"... plus "My Heart Is Set On You" has become a classic in the Arcadia/Albion frequently played setlist... I mean these guys would have to tank hard to not end up being one of the most respected indie dance bands this decade with material this fresh, and I don't see that happening any time soon.
In case you forgot Heads We Dance are now on This Is Fake DIY Records...
REWIND2 PROJECT: KRAFTWERK COVER - NOW ONLINE! GO TO HTTP://WWW.MYSPACE.COM/HEADSWEDANCE
HEADS WE DANCE www.headswedance.com www.myspace.com/headswedance
So, I'm really looking forward to going to see Morrissey in Ann Arbor at the end of March here... which is something I didn't think I'd see after retirement rumors and "last American shows" being mentioned last tour. I'll never get to see The Smiths, but you know, who cares? I mean Morrissey is still performing and he still does Smiths songs!
Now having talked Moz up... I doubt he'll play this one (but he should). I think that "This Night Has Opened My Eyes", by The Smiths, is one of the greatest songs ever written. Period. It is probably the Smiths song I listen to the most...
Apparently the lyrics were inspired by the British play 'A Taste Of Honey': "A Taste of Honey is the first play by the British dramatist Shelagh Delaney, written when she was 18. It was initially intended as a novel, but she turned it into a play because she hoped to revitalize British theatre and to address social issues that she felt were not being presented. The play was first produced by Joan Littlewood's Theatre Workshop and was premiered at the Theatre Royal Stratford East, a small fringe theatre in London, on 27 May 1958. The production then transferred to the larger Wyndham's Theatre in the West End on 10 February 1959. The play was adapted into an award-winning film of the same title in 1961.
A Taste of Honey is set in Salford in northwestern England in the 1950s. It tells the story of Jo, a seventeen-year-old working class girl, and her mother, Helen, who is presented as crude and sexually indiscriminate. Helen leaves Jo alone in their new flat after she begins a relationship with Peter, a rich lover who is younger than her. At the same time Jo begins a romantic relationship with Jimmy, a black sailor. He proposes marriage but then goes to sea, leaving Jo pregnant and alone. She finds lodgings with a homosexual acquaintance, Geoffrey, who assumes the role of surrogate father. Helen returns after leaving her lover and the future of Jo's new home is put into question.
A Taste of Honey comments on, and puts into question, class, race, gender and sexual orientation in mid-twentieth century Britain. It became known as a "kitchen sink" play, part of a genre revolutionising British theatre at the time."
Well, off to writing about things that are current and pressing!
At this point you no doubt own I Think We're Gonna Need a Bigger Boat... you've watched naked people dancing with censor bars... you've watched Emmy The Great's face switch like a Rubik's Cube... what's left to do (if you didn't already try to do a remix or video for The BPA)?
WRITE A SONG WITH THEM!
Here's the score... Norman Cook and the rest of The BPA have provided the instrumental track, but now you must give it lyrics, vocals and a title. Submit your song by March 31ist, 2009 for Norman Cook to listen to and choose the winner whose song will be released by Southern Fried Records as an official remix for The BPA.
The contest, Join the Ranks of The BPA, can be found here. Good luck, and if you win, remember who sent ya :)
I don't often post Aussie bands but I like Outrun... this is a quickie post... For those of you who didn't catch the last press blurb...
Combining the infectiousness of The Presets, the pop sensibility of Tran Ams, and the new-wave soul of New Order, Melbournes Outrun are the most exciting new act to emerge from Australians burgeoning electro scene.
More press... Beginning its incarnation in Torquay, coastal Victoria, Outrun evolved out of the shared ambitions of old friends and founders Dan Preston and Josh Armistead (TeamYes!, Slazenger). Initially bonding through early experimentation with fast drums and power synth riffs, as well as a shared love of Trans Am, Giorgio Moroder, and soundtracks from B-grade 80's videos, the pair would only form Outrun after coincidentally reuniting in 2006 while on separate road trips through Nevada. Resolving that upon returning to Australia they would reignite their sound machines, soon enough they were producing solid dance floor material, channeling influences as diverse as Daft Punk, David Bowie, Aphex Twin, Joy Division, Goblin, Kraftwerk, John Carpenter, Brian Eno, and Roxy Music. With bass player Mark OKeeffe joining the group to make a trio, Outrun have gone on to become regulars on the Melbourne/Sydney club scene, playing alongside the likes of Muscles, The Emergency, WOW, Young & Restless, Cassette Kids, Infusion, The Dardenelles, and The Phillips Sisters.
Brash and catchy with an unsuppressed affection for retro synthetics and icy italo ambiance Outruns debut album FutureNature is one of the years most exciting Australian debuts. Apocalyptic lead track Out Of The Ashes traces unpleasant times of burning out and messing up, only to be reborn a better and more powerful creature. The tightly-wired and somnambulistic Runnaround laments of a detached lover, while When The Light Goes Down is draped in cosmic chic. Others tracks, such as the anthemic Dirty Minds and Overdrive, are nothing more than straight-up, late-night party fuel.
Hypnotic, hip and wholly danceable, Outruns FutureNature is an explosive debut from a group who are set to follow The Presets, Midnight Juggernauts, and Cut Copy, as the newest stars of Australias thriving dance-rock movement.
I used to get so wasted drinking malt liquor, listening to Amon Tobin, with my friend Matt. I don't know if that's weird or not but for like a week that's what we were all about. Going through all his albums on my G4 and getting trashed until we passed out. I'm not quite sure that he makes party albums but...
It sure seems he's joined the party at this point! The new supergroup Two Fingers is made up of Amon Tobin, Double Click, and Sway. It seems like a strange pairing to me until you think about the Big Dada connection and then it all seems to make booty shaking sense :)
They've done a series of bootlegs to promote their self titled album out on Big Dada 30th March 09...
Here's the first two in the collection:
Backyard Betty - Spank Rock / Dustmen Rhythm - Two Fingers & Best Best - Missy Elliott / Moth Rhythm - Two Fingers
From Club NME, to their now legendary remix of Late of the Pier's "Space & The Woods", South Central have really made waves since they started brutalizing rock music with their buzz saw synths (while giving the bloghaus brigade a run for their money).
They are Arcadian Family... so they do get preferential treatment (in that I listen to their stuff while I don't have time with many others... sorry) no doubt... but it's because they're fucking awesome! I don't grant that status to people unless I think they've got staying power. It's gotta be a band, or artist, who has their own style, who doesn't compromise, who is trying to do something new and South Central embody all that in spirit and in their musical efforts.
So here we are with their new Empire Of The Sun bootleg... just in case you don't know what's up with that band...
Right and right. WELL anyway... the ever mysterious South Central have given an Empire Of The Sun track the royal Brighton electroshock treatment... and it's free just for you...
NOW... there's an important distinction... a remix is usually made up of "stems" that can be manipulated to make a new product. A bootleg is made up of the original song... no upper hand, no help from the label... just raw talent being used to twist something into a new creation. So keep that in mind... South Central busted their ass without the help of separated vocals and instrumentals just for your pleasure :)
Check out more (like the "Owl Of Minerva") at Myspace. And check back here for more awesomeness soon!
So... no doubt you are all aware that Prodigy are back with a new album come this next week... so I suppose after a decent, but not all the way there last album (I mean, I love you guys, but really? Juliette Lewis?), the question should be asked "Why should I care if the Prodigy still exist?"
Well lets start with last things first. Always Outnumbered, Never Outgunned, the last album from The Prodigy, was an album 7 years in the making (which has happened with loads of great bands from Morrissey to Portishead) whose first single "Baby's Got A Temper" was scrapped for being like "the Prodigy writing a Prodigy song". The video was an amusing take on the image of the band, with older men putting on make up and suddenly appearing as the band members you recognize, then singing in a stable with women like milking cows (wearing little clothing) which we find out provides milk that is narcotic... riots ensue over the drug milk and then the Prodigy return to being old men and walk off. Apparently, Liam Howlett (the one who does the instrumentals not the singing) decided it was going to signal the death knell for the band but being too "same-y". The song did stick in my memory, and I thought it was a great tune, with a little snippet of "Firestarter" in it, talking all sorts of crazy shit about getting twisted on Rohyphnol (blah blah blah date rape drug blah blah blah)...
Here was the single...
After pitching the single, Liam pitched the rest of it. So, the first version of Always Outnumbered, Never Outgunned was thrown in the bin (and I hope someday we hear these songs; anyone know where to find them) and a new version was recorded, omitting "Baby's Got A Temper". Other songs that were thrown out included 3D from Massive Attack (who Liam Howlett did the soundtrack of the Uranus Experimentwith, producing a song called called "No Souvenirs") which is a big bummer.
Presumably the other version of the album would have been like this...
The new version did have some VERY promising songs. "Girls" was a smashing banger of a track (which featured the Ping Pong Bitches on vocals) which was obviously one of the best things Prodigy had ever done. Here's the video... sort of a fascist WMC lol...
Then there was this (which wasn't SO great, IMHO)... which I think I would have enjoyed if it had actually been Maxim singing it... perhaps there's a live version of that I can get my hands on :) This was in House Of Wax I guess... this video sort of makes me like the song more lol...
But the point is the album was uneven. There as an amazing song with Twista called "Get Up Get Off", and another fucking stormer called "Action Radar"... the songs with Juliette Lewis were awful I thought. "Wake Up Call" was pretty good with Kool Keith, there was a reworking of Electric Blue's "Love Buzz", and a less than exciting track with both Liam (his brother in law) and Noel Gallagher called "Shootout"... which I think would have been better if it had been this "demo" version...
So, anyway, it was a mixed bag. Some great, a couple awful, a few mediocre, and just kind of disappointing. See, Prodigy have a way of making "alright" songs awesome just based on energy alone... I remember when "Firestarter" came out I bought into the WHOLE experience because the energy was so strong you could feel it. I had/have a shirt that says Prodigy Equipment, a poster for "Firestarter" with Keith Flint wearing the American flag sweater, some Prodigy dogtags, and like all their singles including the old ones. I ended up having a tiger print blanket in high school because the "Firestarter" single had that print... I mean I was all in... I got my tongue pierced because of The Prodigy. I decided I wanted to be a DJ because of The Prodigy... so when "Fat Of The Land" arrived even the less interesting songs sounded like gold because of the fury they possessed.
This energy didn't translate as much for "Always Outnumbered, Never Outgunned"... we didn't have Flint and Maxim (and the other dancer was long since gone). The rough patches were really pretty rough and die hard fans were left wondering what could have been.
Well, fuck the past, this is the rebirth of the Prodigy :)
The reason the Prodigy matter today is because they haven't lost their bite. They have a long legacy of really putting on a show, really standing for something (that something being themselves), and just fucking being out there. They don't need a statement of intent, they don't need to be like super indie, they don't need to pretend to be something they aren't... they're a force of nature and that's it. They transcend a lot of boundaries... rock kids like em, industrial and goth kids like em, DJ kids like em, even people who don't like any of the above listen to music like that at all. They're sort of unpolluted because they are their own "nation state"; regardless of their commercial ambitions (or lack thereof), or commercial failure, I've never felt like Prodigy were getting diluted.
"Invaders Must Die" is (often) a refreshing mix of 1992 Prodigy, and 1997 Prodigy superimposed upon one another. The first two tracks (which are the singles "Invaders Must Die" and "Omen" which were co-produced with Does It Offend You, Yeah? frontman James Rushent) are Prodigy at their best... the third track "Thunder" manages to sound current without deciding to do an 'Ed Banger', and it also reminds me of tracks off "Experience". "Colours" is an intense rocker track that reminds me a bit of "Serial Thrilla" in spirit. "Take Me To The Hospital" is classic Prodigy in every sense (and is good enough of a song to name their label after, or vice versa lol). "Warriors Dance" is a breakbeat-y, rave worthy track, with a really housey vocal... I haven't had a load of time to listen to this album but upon hearing this track repeatedly I think this is one of the standout tracks because it really sums up what Howlett has been trying to do for nearly 20 years (are those the horns from 808 State and Altern8's respective rave hits?)... "Run With The Wolves" is another fast paced rocker track (propelled by Dave Grohl's drums), and I'm not sure I've heard it enough to really rate it; bottom line you'll love it or you'll hate it, I can tell that much lol. "Worlds On Fire" is a good one that will undoubtedly get licensed for at LEAST 5 videogames (are they making a new Wipeout because this out go great in one lol). "Piranha" is like drum and bass break rave and it's manic energy is really fucking fun; it's hard to make a track like this any good because the elements are so overused but it takes cues from Noisia and newer artists who were no doubt inspired by Prodigy. "Stand Up" is an awesome song... and it DOES NOT sound like the Prodigy... I don't know if it's like a football anthem, or a new British anthem for a new generation, or just a great song that will be in adverts... but it has a Primal Scream type sound to it (both past and present) and it's just, well with the horns and all that, refreshing! I can't wait to listen to this in the summertime.
So there you have it. There's the In Search Of Arcadia review for one of the most anticipated returns in a while... all three members of the Prodigy, back together, stronger than before, and ready to bust some fucking heads. It's a return to form, and a total turn away from some of their previous efforts, resulting in an at LEAST entertaining album, and at best a new classic. Go check 'em out at Ultra Festival this year and say hi for me :)
AS Big Dada & Ninja Tune are a British institution anything they have to offer is good to post. We've gotten some Wiley up in the past (probably my fav next to Roots Manuva, who is still going strong in WIDR rotation), we loev em, and we're happy to bring you a newer artist on the roster (again) Shuttle...
Last time I brought you "Rotten Guts" featuring Cadence Weapon... this time I bring it to you... WITHOUT!
I don't think I have too much to say, as I've posted VV Brown recently... BUT... it does seem to be that you guys enjoy her based on traffic. SO now you get a Style Of Eye remix of the new single "Leave"...
Indeed this is the "finest in modern techno" as listening to it made me want to mix it with a Charles Manier track :) VV Brown- "Leave (Style Of Eye Remix)"
Here's some press... VV Brown has been rising in the public eye since her appearance on Later With Jools Holland on the BBC late last year. Since then she’s toured with The Ting Tings and been to Africa with Damon Albarn’s Afrika Express
She made the top 10 of the BBC’s Sound of 2009 poll in January, alongside Empire of the Sun and Little Boots
This Style of Eye vocal mix from the Swedish maestro has been praised by Fake Blood, Kissy Sell Out, Brodinski and Busy P (who called it ‘the finest in modern techno’)
Other remixes on this package include Little Boots (featuring Little Boots!) and Simon Bassline
VV Brown’s debut album ‘Travelling Like The Light’ is out in May 2009.
While I'm here... Chris De Luca of CLP has something to share with you... yeah it's not British but... I'm piggybacking on a Brit post so it works :) Plus y'all love him anyway... Two tracks from his upcoming EP are from "Supercontinental" the CLP album that ignited the hearts and dancing feet of the whole blogosphere... the new EP has remixes from Bugati Force (Exploited), Housemeister (Boysnoize Rec., AYCB), Litwinenko (Detroit Underground) & Unsportsmanlike (WMF Berlin). Pretty unstoppable there... here's a little gift from CLP to you!
"The only German word I know is Scheise"!!! Brooklyn based producer, remixer (Timberlake, De La Soul...) and Mc KOVAS hits the point. Shitkatapult´s 101st release honours the Ghetto Beat, a wild mixture of Rap, Hip Hop, Booty Bass, Favela and Techno by CLP featuring KOVAS. Two German producers and one nyc rapper posse up to deliver "HOMECOURT/DIP SHORTY" as a multi-cultural musical hot pot in order to push the idea behind CLP´s great SUPERCONTINENTAL album to ignore all limits whether locationwise or musicwise.
A Side "HOMECOURT" appears as an exclusive new mix by CLP themselves, who stripped down the vocals into dub areas. Cut up fragments, steaming beats, screaming arrangements for all neo-dancefloors from Sao Paulo´s backstreets to hamburg´s golden pudel club. A2 showcases a maximum eurodance supermega remix of HOMECOURT by Berlin´s nasty techno darling HOUSEMEISTER (bpitch, all you can beat etc) who shows us a good dressing down. This is dancefloor.
B Side opens up with the funky album version of "DIP SHORTY" and gets completed by the young Berlin beat jugglers of BUGATI FORCE (Exploited). BUGATI FORCE actually ARE the overkill of Neo-Rap history of tomorrow in any concern. Their "DIP SHORTY" remix is pure and clever fun.
OK! Hopefully if you were short on music, now you're full up! I've gotta go tend to the normal world but enjoy, please comment, hit me up on Twitter unless you hate me, and I'll be back soon (presumably with that Commix interview!
When you read that a new band is following in the footsteps of The Presets and Cut Copy you're bound to take notice (especially if it comes from a credible source, not a mixtape in your inbox lol). Outrun come from Britain's prison island (hehehe) so they are allowed inclusion of this Britblog...
Now I should probably address this because I make that joke every time we have an Aussie band on the site... here's why if you didn't already know (courtesy of Wikipedia): "After sporadic visits by fishermen from the immediate north, and European discovery by Dutch explorers in 1606,[9] the eastern half of Australia was claimed by the British in 1770 and initially settled through penal transportation to the colony of New South Wales, founded on 26 January 1788. The population grew steadily in the following years; the continent was explored, and during the 19th century another five largely self-governing Crown Colonies were established."
Ok, now that we have that sorted, I think these guys are a nice addition to the stream of wicked dance rock that's come out of Australia. It's a dark instrumental with a smooth almost lounge-y vocal , the drums take a cue from "Blue Monday", and there's bright electro madness bubbling from underneath... take a listen for yourself!
Here's some press... Combining the infectiousness of The Presets, the pop sensibility of Tran Ams, and the new-wave soul of New Order, Melbournes Outrun are the most exciting new act to emerge from Australians burgeoning electro scene in 2008.
Beginning its incarnation in Torquay, coastal Victoria, Outrun evolved out of the shared ambitions of old friends and founders Dan Preston and Josh Armistead (TeamYes!, Slazenger). Initially bonding through early experimentation with fast drums and power synth riffs, as well as a shared love of Trans Am, Giorgio Moroder, and soundtracks from B-grade 80's videos, the pair would only form Outrun after coincidentally reuniting in 2006 while on separate road trips through Nevada. Resolving that upon returning to Australia they would reignite their sound machines, soon enough they were producing solid dance floor material, channeling influences as diverse as Daft Punk, David Bowie, Aphex Twin, Joy Division, Goblin, Kraftwerk, John Carpenter, Brian Eno, and Roxy Music. With bass player Mark OKeeffe joining the group to make a trio, Outrun have gone on to become regulars on the Melbourne/Sydney club scene, playing alongside the likes of Muscles, The Emergency, WOW, Young & Restless, Cassette Kids, Infusion, The Dardenelles, and The Phillips Sisters.
Brash and catchy with an unsuppressed affection for retro synthetics and icy italo ambiance Outruns debut album FutureNature is one of the years most exciting Australian debuts. Apocalyptic lead track Out Of The Ashes traces unpleasant times of burning out and messing up, only to be reborn a better and more powerful creature. The tightly-wired and somnambulistic Runnaround laments of a detached lover, while When The Light Goes Down is draped in cosmic chic. Others tracks, such as the anthemic Dirty Minds and Overdrive, are nothing more than straight-up, late-night party fuel.
Hypnotic, hip and wholly danceable, Outruns FutureNature is an explosive debut from a group who are set to follow The Presets, Midnight Juggernauts, and Cut Copy, as the newest stars of Australias thriving dance-rock movement.
He's about to release a double disc compilation called Ghetto Bass which is composed of remixes, original tracks, stuff from Cheap Thrills, Count & Sinden etc... Not unlike Steve Aoki's near perfect "Pillowface and His Aeroplane Chronicles" this CD will no doubt rule the whole entire year! And you get a glimpse of it right here, right now...
* He also runs the Cheap Thrills label which brought the world Fake Blood’s Mars – forthcoming releases include Jack Beats, Detboi, Rico Tubbs and Zomby
You can order it from HMV... don't be a bum... actually get a copy of this as opposed to hopping around Hype Machine all day trying to find all the tracks. If you think about how much you get paid per hour, and then figure out how long it will take you to find all the songs that way, it's very obvious you're saving money by buying the comp as opposed to labour intensive piracy. It's just not a financially sound idea!
Be back soon with more... as always, comments are appreciated! Also check out his Myspace.
Surprisingly, despite having contact with a lot of people he works with, I haven't gotten new tracks from him. I've been enjoying the whole bassline thing so to see an A1 Bassline Remix in my mailbox of an Esser track was a nice surprise! Certainly in interesting artist to give the bassline treatment to... I'm very intrigued to see what you think about this... please leave comments...
Ok, I'll be back soon but I'm looking forward to your comments :) Check out more Esser on Myspace. If you're in the UK check out his tour with Kaiser Cheifs!
I used to listen the shit out of some Funkstörung in high school. I remember being REALLY pissed that my best friend Tyler had gotten a hold of a Funkstörung record that was nearly impossible to find the in the U.S. along with a Björk record they we're instrumental on (am I thinking of Björk mit Funkstörung?)... I had to mini disc that shit until finally I was able to find a digital copy of said album on, ummmmm, and online retailer I don't think I can mention because of my contract with Beatport lol...
This leads into why I was so stoked to get an email this morning about a new CLP, (Chris de Luca ex-Funkstörung & Carsten Aermes Phon.o), mixtape. I don't know about you but I have fucking loved everything they've done so far... which is why I'm breaking format to post this mixtape! I've heard the new EP and it's great so I suggest you scoop it up when it comes out... in the meantime you have this to hold you over!
NOW... while I'm off format... I gotta give props to my boy. This blog is full of favouritism and self aggrandizing statements. Get over it. If you haven't heard the new Flosstradamus you're missing out big. When Curt sent me the rough version of this video about 6 weeks ago I remember getting half way through the song and thinking "This is fucking massive. The chorus is so big that they're probably going to end up with a major cross over tune!"... it was only today, when I was realized it had probably come out already, that I looked it up... and remembered him saying something about Mountain Dew (see the Bacardi/Groove Armada article for me feelings on that)... you can get the track over at www.greenlabelsound.com...
I just need to convince him to give me stems of the acapella :)
This is a pretty big tune right here... beyond that fact that it sounds great it's partially because it involves quick up-and-comer VV Brown and indie dance darlin Little Boots. Beyond how cool the tune is I got excited after I heard that VV Brown is working with Damon Albarn! I seriously think that man is like, I dunno the Carole King of the last two decades or something... meaning that he's written more fucking songs and done more projects than any normal person could possbile ever tackle... I'm excited to hear those two work together.
Here's a little more press... Released: 2nd March 2009
* ‘Leave!’ is VV Brown’s first single and hits the shelves on 2nd March along with this Little Boots rework
* Both VV Brown and Little Boots hit the BBC’s ‘Sound of 2009’ top ten list
* VV Brown brought the British nation to attention at the end of 2008 on Later With Jools Holland. That performance lead to an invitation from Damon Albarn to join his Afrika Express project in Lagos
* Also on this remix package are mixes by Swedish maestro Style of Eye and Drumsound and Simon Bassline
* VV Brown will be touring with The Ting Tings and label mate Ladyhawke in May
Simian Mobile Disco. Cheeky motherf*ckers, brilliant producers, and quite possibly one of the most interesting success stories of this decade (go Google Simian, Black Ghosts, "We Are Your Friends (Never Be Alone)", James Ford, and Jas Shaw if you aren't familiar with their rise to fame) are back with a new low key viral video to spur interest with "Synthesise"... new single? New album? Last time Arcadia spoke with them James was talking about producing a new Klaxons album as well as a new SMD album so it could very well be the case.
In the meantime enjoy this... BUT PLEASE BE AWARE THERE ARE LOADS OF FLASHING LIGHTS... I don't want anyone to have a seizure...
I'm going to include a track via YSI but only because my traffic is getting killed as the Hype Machine only recognizes like a couple file hosts. This means the only way I see a real spike in numbers is by posting stuff I don't have permission to post and on YSI. They really need to think about expanding capabilities to include Rapidshare, etc... or maybe just post everthing that the few thousand music blogs writing post! Here's 100 downloads via this link for you guys... So go get em! And go buy an album while you're at it... "Attack Decay Sustain Release" is not an album you can get away with not owning...
The beginning of "Synthesise" reminds me of that Claude Von Stroke song from a couple years back... "Who's Afraid Of Detriot" (the answer is EVERYONE who isn't from Deroit)... come to think of it... now that I'm watching this, no shit, I think I'm in the video at 1:49. The prick holding up his camera instead of dancing lol... that was a good DEMF/Movement though...
Last but not least... listen to our boy Frankmusik singing in his knickers in the middle of a field... I think his record company is encouraging people to stalk him or something based on their new campaign... but it's clever! Go over to www.frankmusik.com and join up (The Heaths Of Thornton appear to be closed) to get freebies and news from him going forward...
Good old psychedelic jazzy electronic... hold on what? That sounds a little odd. It might even sound off putting were it not for the fact that legendary duo Future Sound Of London are behind the helm of a new DJ mix using these elements under the name Amorphous Androgynous. Apparently, as you'll read below, they're trying to bring back buzz on Cosmic Space Music... not usually my bag but after listening to these tracks, and seeing the track listing, I'm intrigued as to what the whole mix would sound like!
Amorphous Androgynous are psychedelic cosmic rock supergroup comprised of Gaz Cobain and Brian Dougans aka seminal electronic duo, Future Sound of London.
This release is set to re-generate the excitement around the Cosmic Space Music concept and finally make the music available to the fans while aiming to re-create the essence of the mix a DJ trip spanning over 4 decades of genre-busting music featuring artists such as Mahavishnu Orchestra, Miles Davis, Donovan, Devendra Banhart, Tim Buckley, Hawkwind, Magic Carpet, Can, Emperor Machine, Pop Levi, The Earlies, The Psychonauts, Betty Davis and more.
Heres some info on Gaz Cobain explaining more about Amorphous Androgynous......
Who is Amorphous Androgynous? We are the psychedelic super group formed and produced by seminal electronic duo, FSOL (Future Sound Of London). We have released 3 albums since 2001. The ISNESS in 2001 (reissued next month), Alice In Ultraland on EMI Harvest (PINK FLOYDs label) and the Peppermint Tree and the Seeds Of Superconsciousness on Freedimensional / FSOLdigital - out this summer. We have collaborated and written with many great musicians, Gary Lucas (Captain Beefheart/ Jeff Buckley), Alisha Sufit (Magic Carpet), Miikey Rowe (Oasis/ Sheryl Crowe), Baluji Shrivastav (Indian classical sitarist) and have just completed a mini tour of Russia.
What is Psychedelic Cosmic Space Music? 'Psychedelic Cosmic Space Music' is a reinterpretation of psychedelic MUSIC tracing the dots from its birth in 1967 to the present - a DJ trip through over 4 decades of genre busting, sonically diverse music.
Please talk about the concept of this mix album We started resonating to a different frequency of sound in 1997, a kind of liberation from the monochrome escaping the limitations of genre. Music that blurs all boundaries and that exists outside of all the traditional genres. This album represents 10 years of collecting and researching and DJing in this area. All of these tracks we have found to be companions or TOOLS for the spiritual search or for expansive realms of consciousness. We have given them all an extensive road test. The AMORPHIC ACID test!!! ENJOY!!!
It guess it's not really even a question now... it's up on some "next" ish right at the moment... we're mainly just waiting to see how it turns out.
It appears that beyond the MASSIVE (i.e. Madonna) pretty much no one is going to sell records in a typical way anymore... not because they don't want to... but because the whole infrastructure that makes the recording industry work is gone. No more release dates... no more buying $20 CDs at Barnes & Noble... that era is changing rapidly. Most people are going to download a couple songs or singles (as opposed to albums), or as the trend has been they will steal the songs. Certain advances in the way digital media is distributed, in the last few years, has changed everything... and more and more people download whatever they want whenever they want... so how will bands make a living? What does "the future of music" look like?
It appears that the future of music is... free? I mean we've seen it from Radiohead, NIN, Girl Talk etc... but those guys really wanted you to BUY it not just take it. Other artists like Babyshambles and The Libertines offered everything except their actual albums for free (including demos, different recordings, live stuff, acoustic stuff, covers etc) creating a RABID fan base that was desperate to buy their records because of the trust (and separation between "artist" and "fan").
Groove Armada are not the first to approach the "free" music model. Over the course of their acclaimed career they've written a lot of amazing songs, and surely sold a lot of records so... why free? And what makes this different? Well the first thing that distinguishes them is there is no option to buy these new songs (as of yet, there will be soon), at the moment they're just free! Unlike their predecessors in the new digital music realm they aren't asking for you to do anything other than listen and enjoy. EVEN MORE WILD is that they really WANT you to share these songs! The B-Live site that the songs are on allows you to share with others via different platforms by creating a profile which is different from almost everything I've ever seen...
It was certainly a bold decision on their part. But what what about you? What does it mean for you the consumer to be downloading and sharing music like this?
I know for a lot of people (especially blogger dorks like myself) the commercial aspect is the first thing to raise a flag (I grew up punk rock, which is sort of like being Catholic... you feel guilty about everything lol)... but consider this... would you rather steal an album (as many do)? Or have Bacardi pay for it and you get it for free? Personally, I'd rather sleep at night knowing that bands I like are going to be around in the future because they have financial support be it from you, me, or Bacardi.
Now, let me tell you before we go any further, I'm not getting anything out of this deal. Bacardi isn't sending of cases of rum my way (or anything else), nor are Groove Armada doing anything for me. So I'm not in anyone's pocket. But for those of us who might balk at the idea of a corporate sponsored record... Is this really all that different from companies licensing tracks for commercials? Should you be pissed that Budweiser had Santogolod, Daft Punk, and the Chemical Brothers songs in very very very high profile campaigns? Not at all. More power to them frankly... wanting to get your music out to people who will enjoy it isn't sinister at all... Record companies are corporations and it looks to be that moving forward more corporations will be involved in putting out records. The music is made for the sake of art, and enjoyment, but it's gotta pay at the end of the day.. electronic music, is primarily played at clubs. So frankly it's a pretty smart pairing (I don't think some, or most, of you would be ok with this if it were sponsored by, say, Halliburton or something lol).
I think going forward we're going to see more and more bands giving tracks or albums away free, not as a gimmick to get press, but because the music is making it's way to people who aren't paying anyway. And like Groove Armada say below there is a distinct different between sharing music with people and free disposable music... think of how many times you've chucked a cassette or CD outside a concert? They say they're doing this for the love of the music and for their fans.
In the "new model" music industry money will be made from touring, DJing, merchandise (did you see the GA shoes?), commercials, and other types of new media. Albums will, presumably not disappear, but rather be more exciting than most are now! Meaning that we'll start to see more 1970's-esque approach to album artwork, posters... and freebies inside of CDs or content from websites, free videos, memberships to forums... via all the typical media (vinyl/CD) and new media (individual websites and not necessarily iTunes, stuff like USB album bracelets, small collectible USB statues and stuff like that). Imagine how different things would have been if Pharrell Williams' self titled album had been free BUT he'd offered limited edition vinyl USB figures like the picture on the cover of his album?
Frankly? That sounds very exciting to me. I'm all about paying $20+ dollars for a vinyl album with a link to an MP3 copy of the album, along with access to a forum and free content and a poster... or the option to purchase a collectors version of the album for more (like Radiohead/Portishead/Oasis did with the box set versions of their albums). The generation who has grown up downloading will probably WANT physical albums at some point, and my generation (at least a portion of the market) has been leaning more towards buying real albums recently as the quality of them has gone up a little (be it vinyl or CD). Attention to quality is something that disappeared right around the beginning of the first P2P era... hopefully that's coming back.
So... whoooo... that was a more attention than we normally give to any album or project but... new stuff like this raises new questions and we need to give serious thought to how we consumers are changing the record industry. The days are gone of massive advances for new bands, people are changing how they handle publishing, certain formats are getting killed off, bands are being forced to take day jobs instead of touring the world, and amazing musicians (like JDSY) aren't getting the press the deserve because too many people are downloading stuff for free! So please think about the bands you love because, while I'm all about sharing music, at some point you're culpable for what happens! In the meantime let's enjoy and appreciate these nuggets that Groove Armada are sharing with us :)
Here's a little press and background on this new EP... "“It’s good to be back in Rio,” sighs Andy Cato, who just flew in today from his house in the south of France by-passing the grim winter weather of London completely.
Rio is the latest stop-off on Groove Armada’s year-long follow-the-sun tour of the world’s party capitals with BACARDI® B-LIVE® in 2008. From a sun-drenched Miami, where they shared a stage with Dave Navarro, Deep Dish and Cedric Gervais among others, to a summer gig in Athens, where they showcased hot tipped talent The Nextmen. Then there was an amazing event in Mexico, where they collaborated with one of Mexico’s biggest local acts, Kinky, and introduced the Groove Armada dancing carnival girls, and now a gig on Sugar Loaf Mountain with hotly tipped UK talent Cicada,. “It’s the first DJ set we’ve ever had to go to by cable car,” laughs Andy.
“There’s a commonality with Groove Armada and Brazil in that we both like big bass,” says Tom Findlay. It may be the reason Brazil has always been receptive to Groove Armada, who had a massive hit here with the Grammy nominated “Superstylin” back in 2001, while their track “My Friend” from the same Goodbye Country (Hello Nightclub) album was the soundtrack to a long-running soap opera.
“There are going to be several exclusives tonight,” reveals Andy of the up-coming gig. “A couple of tunes off our new album, which we’re going to debut. And there’s an ongoing tradition in the B-LIVE shows of artists remixing each other. That’s happening with Cicada and The Twelves, so we’ve got two remixes in there.”
It’s the collaborative angle to the BACARDI B-LIVE events, along with the sunshine and glorious locations and long tradition of live party music, that has really attracted Groove Armada to the world tour.
“We had a really nice lunch with Pepin from the Bacardi family in Miami and we got the whole overview on what it’s all about. There was a fellow called Facundo Bacardi who used to drive around in his car playing music to the people of Cuba, this is something that resonates with the whole Bacardi party spirit out in the streets. With us being involved in our own festival we like to think our live shows are a real sort of carnival, it feels like a really nice match, a good fit,” comments Tom.
The BACARDI B-LIVE events have not only given Groove Armada the chance to be musical directors, hand mixing the best of the local talent with global names flown in especially, but they’ve also been able to work with the cream of local talent.
And it’s a collaborative vibe that’s flowing into their new music, soon to be available through a revolutionary new sharing mechanic created with BACARDI. “We’ve been recording the new record in France, where I’ve moved recently,” says Andy, joking that his house has been dubbed Chateau Cato by the band. “We were there with the live band and we decided finally to record with them rather than just perform with them after we’d done it. It’s something we should have done a long time ago because there’s been a vibe that’s sounded pretty special.”
“Absolutely!” says Tom, equally fired up about the new material that’s been emerging from the sessions. “Usually, when we start gigging an album, about six months in it really starts cooking, so this time we’re going out there and the vibe’s already great. There’s something amazing about sticking a load of musicians in a room. You get something a bit special, which is definitely what this album’s going to be.”
“It’s a departure for us,” says Andy, “but we’re quite fond of departures and fresh starts. It’s actually sounding like the best stuff we’ve done for a long time. Possibly ever I think.” And they’re quick to credit BACARDI with the way things are going (and not just for the “inspirational crate of BACARDI” that turned up on the doorstep of Chateau Cato to get the party started).
“Just the press attention around the deal was amazing,” says Tom. “It was definitely a big story and for lots of reasons it’s been seen as a really innovative deal.”
“It feels as though it’s put us back in the vanguard,” adds Andy. “We were one of the first dance bands, along with Massive Attack, to do albums that were dance music and we took things forward playing dance music with a live band. And I think now with the mini album and the way we’re going to release that, the whole BACARDI hook-up has put us right back in the forefront.”
And apart from making it possible for them to perform in front of thousands of global fans over the year, BACARDI has also helped Groove Armada reach millions through their radio shows. “Groove Armada and radio shows have gone together for a long time,” explains Andy. “We seem to have taken on the role of stand-in for Pete Tong with his Essential Selection, so we’re getting to the worldwide hot-seat there. It’s been good fun to go back to doing shows based around the musical activities of all the areas we’ve been to, submitting track ideas, getting track suggestions from people who are out there on the ground. In this case up in the Favelas, seeing what’s going down.”
“It’s been a bit like Wicker’s World,” laughs Tom of the BACARDI B-LIVE show on Global Radio, which went out in countries as diverse as New Zealand, Mexico, Canada, Germany and Brazil.
You can tell by Andy and Tom’s buoyancy that it’s been a year to remember, but the BACARDI relationship is far from over yet with perhaps the best saved till last. “It’s been really great to take the Groove Armada circus to places we couldn’t have gone to were it not for this deal,” says Tom. “And when you do something as innovative as this, you don’t really know how it’s going to go. It’s been quite a journey.”
And the journey continues in 2009, when BACARDI will be chartering a train called “The BACARDI Express” – already dubbed “the Groove Train” - across Australia loaded with musicians and fans for three days of cross-country collaboration, starting at Melbourne and ending in Sydney. “presumably with some BACARDI mojito samples,” says Andy.
And then of course, there’s the groundbreaking new tracks the guys have been working on. Ground breaking not just in terms of the music, which is infused with influences from everywhere the guys have been with BACARDI over the year, but in terms of how that music is going to get out there to the fans across the world through an innovative new sharing mechanic.
“I think from the beginning of the BACARDI deal we seem to have been turning some heads and worrying some other heads in the music industry which is a good thing. I think the sharing mechanic is going to do a lot more than that. I think there’s lots of people trying to fight this but, we’re embracing it and as a result, I think it’s going to make some waves"
And here's a little more... it repeats in parts but some of it lets you know more about how the album came to be...
Looking back over the year, how do you feel about the BACARDI® deal?
Tom: Well, there’s been a lot of press attention, particularly around the time we announced the deal with BACARDI. It was definitely a big story and for lots of good reasons it’s been seen as a really innovative deal, and the perfect deal for us at that time. It has really raised our profiles.
Andy: It feels as though it’s put us back in the vanguard again: we were one of the first dance bands, along with Massive Attack to do albums that were dance music and we took things forward a bit playing dance music with a live band, and I think now with the Mini Album and the way we’re going to release that through and innovative new sharing mechanic, the whole BACARDI hook-up has put us right back in the forefront again.
What’s been the highlights of BACARDI® B-LIVE®, events?
Andy: The collaborations. We had a great one in Mexico with Kinky, a band who we’ve made friends with, and hope to keep in touch with. But all the way down the line it’s been nice to bring people who we’ve met over the years, DJing around the world and playing around the world, back into the frame to share the stage.
Tom: We found out about this fellow from the Bacardi family, Facundo Bacardi back in the roaring twenties who used to drive around in his car with a band in the back playing music out to the people of Cuba. That’s something that resonates with us, that whole BACARDI party spirit out in the streets. Being musical directors, we like to think our live shows are a real sort of carnival. It feels like a really nice match, a good fit.
Can you give us some insight into the new mini album?
Andy: The first bit we did in Tom’s basement in London, in N16 to be precise, and there’s lots of kind of crazy synths and we made lots of weird and wonderful noises and came up with ideas. But for the first time, rather than making a record and then going and doing a tour with the band, we actually recorded versions of the songs with the band from the off. We did that in France, my place there, which has become known as “Château Cato”; excellent name! We had all the boys in there – great vibe, a nice inspirational crate of BACARDI turned up just as we kicked off, and the rest is history.
Tom: Collaborations-wise, there was a lot of us in the studio and lots of hand-clapping. And there were actually a couple of really awful moments when we started singing along, which has now been consigned to the dustbin of history which is good, but we’re starting to look at it now from what’s come out of journeys through Rio, I think there’s been some interesting stuff that’s going to go up on the more dance side end of it.
How do you think the mini album compares to other Groove Armada albums? Has doing the BACARDI B-LIVE round-the-world thing influenced it?
Andy: When we started on this journey, there were certain expectations and ideas, and these things change all the time, because music changes all the time, especially when you get into the writing process of a record, which we’re right in the middle of now. What’s really nice is that there is a flexibility there, to keep changing and to keep innovating and it’s been really great to take the Groove Armada travelling circus to places we couldn’t have gone to were it not for this deal…[the sunshine hotspots of Miami, Athens, Mexico, Brazil…] that whole thing about hooking up with local people and playing a gig in their home town is a great thing. We’ve been working out a way of doing dance music with a band, without kind of sounding fat by combining the instruments and electronics. We’ve played some of the world’s biggest stages, but we’ve never recorded that and got that down, which is crazy really. Now we’ve done it, it’s very exciting – we should have done it a long time ago.
How have you found doing the BACARDI B-LIVE Global Radio shows?
Andy: Groove Armada and radio shows have gone together for a long time. We seem to have taken on the role of official stand-ins for Pete Tong with his Essential Selection, so we’re getting the world-wide hot seat there. So it’s been good fun to go back to doing shows based around the musical activities of all the areas we’ve been to. We’re hosting it, submitting track ideas, getting track suggestions from people who are out there on the ground. In this case up in the Favelas seeing what’s going down, so it’s been real fun to put that together.
Tom: No I’ve enjoyed it, it’s been like Wickers World. I think you can hear it at places like New Zealand, Mexico, Canada, Germany and Brazil.
What’s in store for next year with BACARDI?
Andy: 2009 sees us equipped with what will be the mini album and the new sharing mechanic which launches in January at Midem, so that is pretty big news. And we’ll be off to Australia in March to get on board “The Groove Train”, which involves travelling between Melbourne and Sydney within a three-day period, performing and presumably with plenty of mojitos!
Tom: So yes “The Groove Train”, officially known as BACARDI Express, between Melbourne and Sydney, which is kind of our second home, so it’ll be nice to go back and look up some old friends.
And that's that for now! I hope you all enjoy and please direct everyone you know over to this site for these free songs... I'm really interested to see how many people are downloading and I can track that if they all come through here... enjoy and I'll be back REAL soon with an interview with Commix for their new Fabric mix!
Man, Ninja Tune/Big Dada have been killing it lately!
That Wiley and Hot Chip track... The Qemists track with Wiley and all those crazy baller remixes they let us post... a Roots Manuva album we've still got in rotation at the station... because of their status as a legendary British label, from here on out I'm gonna post their American artists as well. Welcome to the family Ninjas :)
After all these more than blog worthy tracks now they take one of the best artists on their roster, Cadence Weapon, and pair him with one of their newer signings Shuttle creating pure rhythmic mayhem!
As you remember our previous posting about Cadence Weapon was about me briefing the curious Klaxons about him (whilst making a fool of myself saying I loved their DJing they didn't do the night before lol) only to find him performing "Magick" with them an hour later! Big Dada linked to good old Arcadia as a record of that moment in history which was a really proud moment for me. Cadence Weapon is one of the coolest hip hop artists in recent memory, and while he's not British (rather Canadian), I'm happy any time we can find a way to bring him up... Ninja Tune has given me a way to do just that by offering up this joint venture with Shuttle!
Who is Shuttle? He's do doubt someone you'll be very well acquainted with soon. Here's some press... Welcome to the brave new world of Shuttle. You may have come across his remix work as Etan (for instance for Daedelus, The Death Set and The Little Ones), but nothing can quite prepare you for where he's ended up.
Epic, retro-futuristic, with a calm centre offset by rib-loosening bass squelches, "Tunnel" is a fantastic calling card for this young producer, originally from Southern Maryland who, after stints in DC and Baltimore, made his musical home in Boston.
"Rotten Guts" shows, though, that there's even more going on here than you might have thought. Teaming up with Cadence Weapon, Shuttle produces a stuttering, punk-r&b beat over which Cadence drops lines.
This track is part of his first EP "Tunnel" out on Ninja Tune on 16/03/09
So remember, the day before St Patty's, go cop that shit (then the day after St Patty's remember my birthday hehe)! Here's what you've been waiting for...
Seriously, this sounds like production by Kanye West on a Crystal Castles binge with slight hints of Bmore flavour, and despite saying "no more bangers" at the beginning this track is pure dancefloor perfection. Honestly, I can't believe this track is going for free! If you dug it you can also get his mixtape over at Myspace. Or here!
Everybody knows what's up with Azuli as the name is a staple in the house scene... and of course their new compilation is already causing a stir even though it's still a month off...
Check out this remix of a classic Indo track which the press will tell you... ...is exclusive to Azuli's new compilation that isnt even released till March! Also in celebration of the Global Guide 09 Azuli are having a launch party at Pacha in London on the 14th of February to celebrate.
AZULI REVEAL WORLD’S TOP 10 CLUBS & TOP 10 FESTIVALS IN ‘GLOBAL GUIDE ‘09’
Azuli Records reveal The World’s Top 10 Clubs AND Top 10 Festivals as part of their ‘Global Guide 09’, with Space, Ibiza taking the No.1 clubbing spot, and Burning Man, USA taking the No.1 festival spot.
Azuli Record’s latest compilation series ‘The Global Guide ‘09’ contains not only the future club sounds of 2009 but also a Guide to the Top Clubs and Festivals in the World (see list below).
To accompany the compilation, February and March 2009 will see Azuli take their Global Clubbing Guide on the road to some of the best clubs featured in their selection from around the world. From London to Miami to Switzerland to Sydney - this is not one for any clued up clubber to miss. Tour dates will be announced shortly and dedicated dance fans can follow the tour online at www.azuli.com/globalguide
To celebrate the compilation launch Azuli will be hosting the Club Azuli Global Guide Launch Party at Pacha, London on 14th February. The night will be hosted by Azuli founder and tastemaker extraordinaire David Piccioni, alongside D.O.N.S, who makes his debut appearance in London and Martijn Ten Velden. Don't miss it!
Club Azuli Global Guide Launch Party at Pacha London: Date: Thursday 14th February Location: Pacha, London, SW1 Time: 10pm – 5pm Cost: £15
AZULI’S TOP 10 CLUBS IN THE WORLD 1. Space, Ibiza 2. Fabric, London 3. Warung Beach, Brazil 4. Cocoon, Frankfurt 5. Rex Club, Paris 6. Razzmattazz, Barcelona 7. Womb, Japan 8. Panorama Bar, Berlin 9. Amnesia, Ibiza 10. Goa, Italy
AZULI TOP 3 CLUBS PER CLUBBING DESTINATION: Australia Brazil Dubai Italy Tank Warung Beach Peppermint club Goa Onesixone D-Edge Chi - The Lodge Cocorico Chinese Laundry Clash Club The Apartment Brancaleone
UK France Germany Japan Fabric Rex Cocoon Womb Matter Le mix Panorama Bar Spacelab Yellow Ministry of Sound La Loco The Watergate World Kyoto
Ibiza Russia Spain Switzerland Space Arma17 Razzmatazz Club Q Amnesia Propaganda Space of Sound Mad Pacha Shanti Industrial Copera D Club
USA Vanguard Love(NYC) Ceilo (NYC)
AZULI’S TOP 10 FESTIVALS IN THE WORLD 1. Burning Man, USA 2. Sonar, Spain 3. Bestival, UK 4. Exit, Serbia 5. Timewarp, Germany 6. Global Gathering, UK 7. Good Vibrations, Australia 8. I Love Techno, Belgium 9. Ultra Music Festival, USA 10. Creamfields, Argentina
Hope you enjoy the remix! And remember Azuli presents Global Guide 09 will be released 16th Feb 2009! Be back soon with more goodies!
Btw... in case you aren't familiar with Azuli's history... A history of Azuli
It is fair to say that Azuli has become synonymous with the birth and evolution of house music in the UK and to this day remains the UK’s longest running house label. Whilst many may try to lay claim to a Woody Allen ‘Zelig’ like fantasy of having been there at every important part of its history, when it comes to house music, David Piccioni’s Azuli has pioneered where others have followed. From literally selling 12s out of the back of a van and his own Black Market Records shop (itself London’s spiritual home of house and dance vinyl) to having worldwide chart hits and putting together some of the most sought after mix and compilation series in what can now be loosely termed ‘dance’ music, Azuli has maintained its tight grip on quality control, international respect and credibility ever since its conception at the end of the eighties and the first vinyl releases proper in 1991.
The now world famous record store Black Market Records was taken over by Piccioni in 1990 and his American knowledge and experience was used to the full when starting his Azuli record label. “At the time there was a lot of house coming out in London from the acid scene but also a lot of stuff that was more American sounding which we wanted to put out,” recalls Piccioni. Thus with their shrink-wrapped, very deliberately US looking 12”s, Azuli’s debut release, Chocolate Fudge’s ‘Inner Fantasy’ flew off the shelves and into the world’s DJ crates.
Even though Azuli picked up an immediate following and reputation the label’s sales didn’t explode until its first UK chart crossover hits in the mid 90s. “After about 7 or 8 releases we had already gained a lot of credibility,” remembers Dave, “but we weren’t actually selling that many records. We were on a honeymoon period where all the magazines were talking about us but it didn’t really reflect on sales.” However, as Azuli’s global reputation grew ever bigger it wasn’t long before Dave’s impeccable house ears started picking out future chart hits.
Being a DJ who had lived in New York’s formative house community had meant that Piccioni had forged many a long friendship with DJs and producers who were soon to become global stars. By the time they started getting hits like ‘Needing You’ by David Morales, which hit no.9 in the UK national chart, Afro Medusa’s ‘Pasilda’ and other crossover hits such as ‘The Face’, ‘Eclipse’ and ‘Makes Me Love You’ Azuli had become one of the largest and strongest independent labels in the UK. Now with over 200 singles and various albums including compilations by Frankie Knuckles, Joey Negro, Francois K and Danny Tenaglia there seems to be no stopping Azuli’s meteoric rise.
But as many fans of the label will already know, there is more to Azuli than just quality house music. Azuli is about good music full stop. With this in mind Azuli have now established several superlative compilation series, helmed by some of the biggest names inside and outside of dance music. The Azuli ‘Choice’ compilation series are carefully and painstakingly put together retrospective albums selected by the world’s biggest DJs. From the DJs own liner notes on their musical selections, highlighting their personal musical journey, to the rare and forgotten gems that only such avid music freaks could pick out, it has become a benchmark series with big name DJs queuing up to put their name to the next installment. From Danny Tenaglia, Tony Humphries, Francois K and Derrick L. Carter to more recent offerings from X-Press 2, Jeff Mills and John Digweed the ‘Choice’ series has constantly surprised fans and given their DJing heroes a much needed chance to show their often overlooked musical diversity.
Then we have Azuli’s musical guide to clubland’s ‘after hours’ with their eclectic ‘Late Night Tales’ series. Put together with Azuli’s microscopic eye for detail this diverse musical selection is aimed much more for home listening and the post clubbing experience. From Hull’s finest, Fila Brazillia to Rae and Christian, Four Tet, Groove Armada, Howie B, Nightmares on Wax, Jamiroquai, The Flaming Lips and soon to hit the shelves French music maestros Air, the Late Night Tales have also included stories read by Patrick Moore, sonic ‘bits and bobs’ from artist David Shrigley and one-off cover versions by the artists themselves which has seen Kieran Hebden (aka Four Tet) tackle Jimi Hendrix and The Flaming Lips take on The White Stripes classic ‘Seven Nation Army’. Featuring an eclectic and diverse musical track selection, with exclusive additions and extra input from the compilers themselves, the Late Night Tales are now established as one of the most essential compilation series of the new millennium.
Then of course, Dave Piccioni has developed an immense following for his annual Miami CDs that collect the finest tunes of the Winter Music Conference. And what about his official Space Ibiza mix CDs that bring together the party isle Mecca’s future hits of the summer? Not forgetting Azuli’s ‘Made in Italy’ compilations and Dave’s annual mixes for one of his international DJ residencies at Cavo Paradisco in Mykonos.
Today Azuli continues to break the boundaries. The Choice series goes from strength to strength with international innovators such as Roger Sanchez and Richie Hawtin stepping up to create their own collection.
There is also the new Club Azuli project. The new and exciting compilation series that captures where the dancefloor is right now, fusing the best electronic house music. It comes not only in the traditional mixed compilation format but also as an unmixed version for the growing army of CD DJ’s. Club Azuli is also the banner for the Azuli event program which for the past two years has been discerningly visiting the finest clubs across the globe. There’s been the weekly Ibiza residency at the decadent El Divino overlooking Ibiza Town’s famous Port. The bi-monthly London home at the Cross, as well as the Club Azuli tours visiting everywhere from Singapore to Switzerland.
Azuli is certainly spreading the message worldwide and long let it continue.
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