DâM FunK offers an outtakes from his debut LP ‘Toeachizown’ along with the vintage track “Obsessed” from 1993 | Music News
DâM Funk is the man and continues to amaze us with official releases and the exclusive online tracks he drops through his Soundcloud. He has been offering up a plethora of material and has pulled out an outtake from his Stones Throw debut album Toeachizown in the track “I Wish You Felt The Same. ” Full details from DâM Funk himself below.
From DâM FunK | https://soundcloud.com/damfunk
An outtake, 2 hold everyone ‘who cares’ over, until my strict new track leaking ban is over until the release of my return official 2nd ‘full length’ album is ready.
This one never made it on my 2009 Stones Throw released debut: “Toeachizown”.
There’s a vocal version as well, but here’s the instro 2day 4 U.
Just sharing some now + holding on 2 them, for future purposes or just personal listening & studies.
- D-F | All music, recording & production (without any samples or sequencing relied on)
Also, check out another recent upload into DâM Funk’s Soundcloud with “Obsessed”, a vocal feature sourced from 1993.
Virginia’s Ohbliv has been one of those producers/musicians we have been absorbing for a few years now, completely fascinated with his approach to warm, analog driven pathways into beat culture. A nostalgic essence of the past trails its way to the surface in his productions, illuminating bright from within. A richness evolves inside of his beats that swells to the outer seams, revealing a meditative sheeting of sound that showers the listener over with his subtle mantras. The dusty, rustic textures of the vinyl samples are given limitless life with the organic flow of rich melodic overtones, deep low end bass lines and classic drum breaks. Simplistic compositions flow with the beauty of the most speechless scenery’s and his gift to extract the most beautiful states out of “less is more” has only become stronger through each year.
Releasing full length albums, splits and EP’s with influential labels such as HW&W, Dirty Tapes and Culture Dealer, Ohbliv extends himself even further into the digital realm. His track record for digital content has become prolific, releasing a plethora of music through out the year around his select physical materials. The latest in this digital output is April’s ‘Ritual Swing’, and is a must hear collection of tracks for those who are hearing his music for the first time. Ohbliv was one of the artists we really wanted to find out more about after all of these incredible releases kept piling up and he offered some moments of his time via email for this exclusive interview with SCV. In this interview, we tackle subjects such as album track selection methods, linking with labels, influences of his peers and his favorite hip hop productions. Enjoy the read and check out the various streaming players to hear some of his latest sounds.
Q&A with Ohbliv
Conducted by Erik Otis
SCV: What defines a phenomenal producer to you?
Ohbliv: A phenomenal producer to me is one who is able to put together all the pieces needed to create something that resonates with the people.
SCV: How did the new split come together with Dil Withers for the Dirty Tapes label?
Ohbliv: I met Daniel Bashin who runs the Dirty Tapes label through the internet. At the time he was just starting his split tapes with a lot of fellow beatsmiths whom I respect dearly. He offered an opportunity to do a split with the homie Dil Withers and it was said and done.
SCV: You recently put out the record Up on the HW&W imprint along with music on Culture Dealer and other labels. What type of process do you have for selecting which tracks will go on each release?
Ohbliv: Everything I release is based on a feeling. When I drop something, sometimes it’s for no rhyme or reason other than I’m feeling it. I don’t make stuff for a specific release, I just make so much music I’m able to pick and choose what will fit the vibe of each release.
SCV: You are a producer who represents a lot of hip hop culture through your productions. What hip hop records can you recommend to us where the production is on another level to you?
Ohbliv: I’m gonna date myself with some of my choices but here goes:
- Public Enemy – Fear of a Black Planet (The Bomb Squad, nuff said)
- Main Source – Breaking Atoms – (The first time I heard beats with such variety and depth. Large Professor is a master of digging and sampling, I learned a lot listening to this album)
- Company Flow – Funcrusher Plus – (The first time I heard raw rapping over abstract dirty beats)
- Count Bass D – Dwight Spitz – (The rapper with the most chords)
- Quasimoto – Further Adventures… (A lot of people will say that the 1st Quasimoto album is better, but further adventures is a mind trip. Madlib takes the trippiness to insane levels. I couldn’t listen to the whole thing the first time I copped it, it’s an overwhelming listen but i hear something new everytime i hear it.)
I could really keep going but I’ll stop there.
SCV: What are the most important views and perspectives you have gained since releasing records?
Ohbliv: That you can’t please everybody, and the best thing you can do is love yourself, stick to the plan and stay true to yourself.
SCV: Collectively, I feel this is a very potent time to experience music culture, something I have realized might even be more active then the 60′s or 70′s. Who are some artists of any genre, style of instrument preference that have really given you a special and inspired feeling about this generation and have possibly made you put this generation in that same light as I have?
Ohbliv: I have so many peers doing really dope inspirational things in many different creative fields. They may not know it but people like DJ Harrison, Knxwledge, Ahnnu, Cavalier, Fresh Daily, Mndsgn, QuelleChris, Swarvy, Suzi Analogue, Iman Omari and many more (if I have forgotten about you please blame my mind, not my heart) have and are a inspiration and definitely keep me going with this art.
SCV: Your music is something that responds beautifully in the analog domain, something I admire with all of the era’s of music I have come to love before the digital age of capturing sound. Do you feel analog music will always be close to your heart and at the root of your music or do you see yourself adapting to the digital forms just as much?
Ohbliv: Analog forever, straight up. I’m pretty set in my ways when it comes to my sound. I’ve been dealing with analog from making pause tapes to using hardware for so long it’s just embedded in my DNA now. Digital has its place and I’ve even got music that’s purely digital but you’ll probably never hear.
SCV: Music influences always define the obvious areas of an artists conceptual direction with crafting music. What are some of your non musical influences that keep your creative fire lit and searching for that new song inside of you?
Ohbliv: I study and apply what some may call esoteric knowledge. I may read something or hear a lecture that will spark an idea for a project or song. On the flip-side, I like to watch bad cult films, and a lot of stand-up comedy.
SCV: What do you feel about music so far this year? Anything that has been a new mind set and view of yours based on what’s going on with music culture that you want to shed light on?
Ohbliv: This year so far has been wild, I stopped trying to keep up because there’s been so much good new music out. So for the most part I’ve just been listening to my records. Same mind set, just drop that raw dope shit.
SCV: Asking simply from the deep rooted essence of jazz that underlines many of your works, if you could bring back any jazz artist while they were in their prime for a recording session who would it be?
Ohbliv: Max Roach
SCV: Off the top of your head, most important things to consider before starting and after finishing a music session?
Ohbliv: Where’s the trees?
Australia’s Ta-ku has set in motion the release of an 18 track album of unreleased material titled Dowhatyoulove (Jakarta Records). Ta-ku has become a world leader in sound, resonating in the underground with a fierce work ethic and creative vision that has really elevated his presence to new audiences every year. Stylistic electronic and hip with shades from many spheres of production culture of the 21st century melted into the core. Setting to release in various vinyl color prints and Digital formats June 21st, Dowhatyoulove is going to be a highly sought after release that we are really excited to hear more of. To hold over the appetites of his most dedicated core audience, Ta-ku has dropped the first single with the short but heavyweight track “Boom”. Check out the new song below and stay tuned for more info on this release at SCV.
Taken from the forthcoming Ta-ku album “Dowhatyoulove” to be released mid june on Jakarta Records. You can pre-order the vinyl edition here:
With his 24th album The Next Day (ISO Records/Columbia) released this year, David Bowie has brought his unique approach to music back to the masses that reflects the rich legacy and trail of greatness he had left behind up to this point. As the first album to feature new material in a decade, this reprise of Bowie has really become a high mark for this year. The Next Day has been accompanied by some really visual video work, leading to the recent official music video for the title track, “The Next Day.” Already climbing over a million views since its release on the 7th of this month, this is proof that David Bowie still reigns supreme in pop cultural influence and longevity. For all the audiophiles and collectors, make sure to grab a 2LP vinyl version of The Next Day as it contains the bonus tracks “So She”, “Plan” and “I’ll Take You There”. Check out the new video below.
Get David Bowie’s “The Next Day” at iTunes: http://smarturl.it/TheNextDay
Music video by David Bowie performing The Next Day. (c) 2013 ISO Records, under exclusive license to Columbia Records, a Division of Sony Music Entertainment
The true and faithful Glenn Jones is back with Thrill Jockey this year, set to release his next full length record in My Garden State. Pristine guitar layering from the hands and soul of one of America’s most creatively gifted, every piece from Glenn Jones evokes a reawakening in the most ethereal of acoustic settings. This bar raises even higher with his new LP My Garden State, containing his most gorgeous set of songs ever presented under one roof. The LP version of My Garden State will come with an extensive inner sleeve that details the tunings and notes of each composition. The CD version will contain the same notes in a 12 page booklet that is housed in a 4LP mini style gatefold package. Thrill Jockey has sent us an advanced copy of the album and it’s been an emotionally uplifting gift. A must hear record for anyone who loves acoustic based rural music of America.
Glenn took on the banjo for recordings with the new record and has featured one of these tracks as the first official music video in “Across The Tappan Zee.” Directed by Jesse Sheppard and featuring Laura Baird, this is the first public presentation and window into his latest album that proves well worth the wait from his last record. Check out the official music video below for “Across The Tappan Zee.”
From Thrill Jockey Records | http://www.thrilljockey.com/
“Across the Tappan Zee” is named for that bridge in New York state that Glenn has crossed so many times in travel between his current home in Cambridge, MA, and his family home in New Jersey. The album was inspired and written while Glenn was spending more time back home, caring for his aging mother, as songs like “Going Back to East Montgomery” and “Bergen County Farewell” make clear. The album also features some of Glenn’s most ambitious and beautiful compositions to date. Glenn Jones and Laura Baird perform “Across the Tappan Zee” from Glenn’s new album, My Garden State.
Directed by Jesse Sheppard
Tuning: e, C, G, C, D
From the Liner Notes:
In early 2012, Caleb Smith invited Laura Baird and me to perform live to Buster Keaton’s silent film classic, Steamboat Bill Jr., at the Ned Smith Center for Nature and Art in Millersburg, Pennsylvania. This piece was played under the opening scene, as King’s fancy new riverboat (“a floating palace”) comes tooling around a bend in the river. I love Laura’s clawhammer banjo playing and was chuffed (as they say) when she agreed to accompany me on this track.
Don’t miss Glenn Jones performing live May, June and July in the United States this year. Full tour dates below.
Glenn Jones Tour Dates
- Wed. May 22nd – Somerville, MA – Johnny D’s
- Wed. June 5th – Montreal, QC – Casa del Popolo
- Wed. July 3rd – Baltimore, MD – The Windup Space
- Thur. July 4th – Brooklyn, NY – Silent Barn
- Fri. July 5th – Harrisburg, PA – The Sanctuary at Second City Church
- Sat. July 6th – Charlottesville, VA – Twisted Branch Tea Bazaar
- Sun. July 7th – Chapel Hill, NC – Nightlight
- Mon. July 8th – West Columbia, SC – Conundrum Music Hall
- Tues. July 9th – Asheville, NC – Apothecary
- Wed. July 10th – Knoxville, TN – The Pilot Light
- Sat. July 13th – Iowa City, IA – The Englert Theatre
- Sun. July 14th – Chicago, IL – The Constellation
- Mon. July 15th – Lafayette, IN – Foam City
- Tues. July 16th – Nashville, TN – The Stone Fox
- Wed. July 17th – Lexington, KY – Natasha’s
- Thur. July 18th – Cincinnati, OH – The Comet
dublab’s Spring 2013 “Proton Drive” Fundraiser is on now! Please spread the word!
dublab is a community supported web radio station and creative collective celebrating 14 years of elevated sonic vibrations. As a non-profit organization we rely upon community contributions to achieve our positive music mission. Listener donations provide half of the funding needed to keep dublab operating.
Our bi-annual Proton Drive fundraiser broadcasts are dublab’s unique version of the public radio fund drive, which means you’ll get more fun & freaky than dry jibber jabbing.
dublab’s Spring 2013 “Proton Drive” Fundraiser is happening May 13-31. dublab DJs and special guests are broadcasting live to inspire listener support.
Listeners can tune-in and donate at dublab.com.
Please help us spread the word. More information is pasted below.
Sample Tweet: Support the @dublab creative music mission by tuning into the Proton Drive radio broadcasts & donating at dublab.com
PEAKING LIGHTS “PROTON DRIVE” THEME SONG:
CLICK HERE TO DOWNLOAD (Feel free to repost and share!)
Peaking Lights have crafted an original theme song called “More High” for dublab’s Spring 2013 Proton Drive Fundraiser. This cosmic jam is focused on tuning your intentions to support dublab’s positive music mission. With Peaking Light’s sonic blast bubbling up your spirit, you’ll be ready to give a generous, tax-deductible Proton Grant donation. CLICK HERE to download the theme song. Our friends at Mexican Summer are pressing up a dublab fundraiser 7 inch with the original Peaking Lights theme song plus a dub version by Secret Circuit on the flip. Pick up your copy at dublab.com.
For full details on this 2 week long fundraiser, Click Here.
dublab are broadcasting live 8am-8pm PST each weekday to inspire your support. Click play below to listen to their live audio feed, join the dublab family by giving a generous, tax-deductible donation.
Native Instruments unleashes new and updated synth bundle, Komplete 9 and Komplete 9 Ultimate | Instruments, Gear and Software
Native Instruments has been one of the leading innovators of sound engineering and manipulation and multifaceted synth, instrument, and sampling software. With its new updated addition of Komplete 9 Ultimate bundle package, a new multitude of sonic crafting is brought to your fingertips with new intuitively designed interfaces and massive library of samples and synth patches. The sheer amount of musical production power this massive hunk contains is beyond limitless. The ultimate bundle, released recently on March 27, comes at a reasonable price of $1099.00 while its smaller counterpart is available for $559.00.
Komplete 9 Ultimate contains a fruitful range of 65 virtual instruments for many different musical genres and uses including cinematic production, sound design, composition, and more. Many software synths from Komplete 8 and below make an updated return such as Absynth 5, FM8, Massive, Kontact 5, Reactor 5, and many more. Komplete 9’s massive selection of guitar, bass, piano, and string instruments and beautifully emulated and realistic tones also give you a wide range of options to compose and layer instrument samples and arrangements over your tracks. These include Guitar Rig 5, Session Strings Pro, Scarbee Rickenbacker Bass, Abbey Road Vintage Drummer, and the Giant upright piano, along with many more orchestral, cinematic, and sound design instruments.
There are also many new software additions including the new Monark monophonic synth, Skanner XT, Battery 4, Solid Mix Series, and much more. With such an enormous behemoth and wide range of sound, sonic experimentation, production, exploration, and manipulation has never been so vast and infinite. In order to handle and deliver fast and easy installation, this enormous bundle is all packed into a USB 2.0 hard drive, thus, holding an astonishing 370 Gb of sound content.
Here is a quick overview of the many new and updated synths and instruments the ultimate package has to offer:
NI’s new virtual monophonic analog synth allows you to create many organic analog bass, lead, and percussion sounds with a stunning, sharp, and easily adaptable interface. With an array of stylish knobs and manageable parameters, MONARK allows you dive right in and experiment with subtractive synth and emulate very “MOOG-ish” sounds. With its enormous library of presets, you have an instant bank of sounds to work with along with many popular analog synth sounds from Michael Jackson’s “Thriller” to Rush’s “Tom Sawyer”. The interface includes three oscillators with key tracking functions and a sleek filter and amp tab with simple yet concrete options for envelop filter contour, sustain, decay, and etc.
Solid Mix Series
This studio enhancing effect series includes three powerful mixing tools: Solid Bus Compression, a mix “glue”, Solid EQ, a versatile 6-band equalizer, and Solid Dynamics, a combination effect unit with stereo compression, expander, and gate. With their simple minimalistic controls, these three tools can really excite your tracks and tone-shaping capabilities.
This sleek hall reverb bundle includes both the RC-24 and RC-48. The RC-24 brings back many 80’s lush textural hall reverb emulations with a 12-bit converter for accurate and precise reverberation. The RC-48, similarly, delivers studio harmonic royal reverb, which was modeled by Swedish sound engineers of Softube for detailed performance. Both reverb our bound together by elegant displays, which make their sharp reverb effects shine brighter.
Back with a whole new interface and design, Battery 4 makes drum sampling easier than ever with its new modernized sampling library, which contains 70 new contemporary kits with a very organized workflow for electronic and hip-hop production. With a beautiful and professional design, you can simply drag and drop any sample into the 128 cell matrix and go even further with many more on board effects, including the Solid Mix Series, to create many personal and specific sounds. With seven sampling modes to work with, the sky is the limit with routing and creating chains of beats and samples.
With all the greatness Komplete 9 has to offer, it only gets better. With the new Maschine MK2 groove sequencer, you have hands on capability of sampling and easier manipulation and use of all the software instruments that are available in the Komplete universe. With 11 Gb of ready to use sounds and presets, Maschine allows you to browse through your entire library of presets and, in moments, start-layering harmonies, beats, and samples with great efficiency. The newly designed MK2 includes new hardware with multi-colored pads, new 1.8 software, and customizable and personalized functions. Its portability also makes it easily transportable and a perfect centerpiece for live rigs and performance. The MK2 is available for $699 and is well over worth its fair price. But if you can’t shell out enough money, there is also the smaller Maschine Mikro for $399. Either way, Maschine is a must have compliment and compatible counterpart to any NI software.
The massive world and sound of Komplete 9 is quickly becoming very popular amongst a variety of artists and producers in the industry today. With the amount of creative power and depth this package has to offer, its no wonder how much praise and critical acclaim its already received. Hopefully Native Instruments continues to amaze and expand on their intuitive brand of being “the future of sound”.
“Reminiscent of early Jane’s Addiction with a spacey twist, Martin’s chugging guitars break into swirling solos while Perez keeps the percussion energetic and unpredictable.” – Consequence of Sound
Boyfrndz are a stellar three piece rock band from Austin, Texas and the vibrant music scene that has existed there for decades. If you have yet to hear them, they create a brand of technical pop rock that is free from reproduction and mirrors only their inner souls. Influences can be drawn but ultimately it’s their own thing. The path each musician takes on instrumentally is some of the most tasteful and adventurous rock music we have heard in years and each album has become a greater achievement then the last. Add their top level of musicianship with the crystalline vocal harmonies achieved on every track and you have a band whose ready to really project into another field of exposure. With various releases and some of the most intense shows from any three piece, Boyfrndz have become a band whose abilities and work is now finding a vital place here in music culture.
The band has launched their first offering of 2013 with the hypnotic, dynamically powerful and sleek track “Water Weight”. This new track is produced by legendary keyboardist Isaiah “Ikey” Owens” (Free Moral Agents, Jack White, The Mars Volta), an integral piece to the sound they have captured in their past and present. incredible and has become something we can’t stop playing. Harmonious vocal tandem that shines with the brightest of beauty, rustic dreamy guitar lines that fall into angular diving patterns, floor shattering basslines and mind blowing drumming that always remains tasteful and technical, “Water Weight” has everything we love about the band and their simultaneous approach to soft and hard rock. Scheduled to release on the new EP Natures July 16th, “Water Weight” is out of this world and have left everyone at SCV floored. We are very happy the group will be putting the EP out on their Boyfrdnz Records imprint, home to all of their past releases. Check out the stream of “Water Weight” below and stay up to date with Boyfrndz if you enjoy what you hear.
As the concept of what is rare in recorded musical works around the globe begins to stretch beyond previous limitations, excavation of rare LP’s, 45′s and tapes from many untouched areas around the world are finding their way to the surface. Teranga Beat has separated themselves from the rest, diving into the legacy of Senegal and one of the regions most influential and popular groups Dieuf-Dieul De Thiès. This has resulted in the first proper collection to compile their works. Aw Sa Yone Vol. 1 is the collection and is housed in a beautiful packaging that has a pleasing flow like the sonic beauty found within. Dieuf-Dieul De Thiès was headed by guitarist and composer Pape Seck, a visionary who was soaking in the sounds of Jimi Hendrix, Miles Davis, James Brown, Fela Kuti, Fania All Stars and many other world leaders of sound in the 60′s and 70′s and fusing with the rich cultural foundations of his people and their sustained lineage of influence. The connection to all these spheres is easily apparent over the eight songs, most of which clock in over the ten minute mark.
Endless bass grooves, hypnotic percussion, psychedelic infused guitar and the shinning vocal trio of Assane Camara, Bassirou Sarr and Gora Mbaye, Dieuf-Dieul De Thiès is given a new chance to breath life with this first compilation, already gaining praise and recognition from young and old fans of world music. The identity of Senegal’s musical scene has become expanded in my perspective with Aw Sa Yone Vol. 1, something I couldn’t be more thankful for considering how gratifying, transfixing and spiritual the music is. From the magical aura of “Sibaye” to the fearless and traditional sound of the opening number “Na Binta”, each song has a serene feel that puts me in the most confident and happy of moods. The crowning achievement for me moments come when the intervals for solo’s are stretched out a little more than usual and sax, keys, guitar and other instrumentation takes flight to voice their emotions beyond the vocal presentations. Ethereal music from the musical cosmology of a region little outside of it have proper perspective on. The essence of cumbia, salsa and the soulful sides of the Latin scene circa 1970′s finds its way into every track as well. Bass grooves, horn blasts, percussion tandem, it all plays to both Africa and Latin America. Tracks like “Ndiguele” and “Mariama Yayou Salam” really thrive in this state where as numbers such as “Aling Na Djimbe”, “Demba Saly Madior” and “Yande” have a much more influential realm to the ethos of their origins.
Sourced from a bulk of the groups second recording session, Aw Sa Yone Vol. 1 is a spiritual pathway to musical evolution as it was shifting in the 70′s and beyond. The voice of Senegal as it stood in those times. Musicians of this type were all over the world, giving the underclasses a pulse and sense of identity that has traveled far past the initial sound systems, clubs and record players they were first played on. Take a journey with Teranga Beat for this exciting window into the sound of Senegal during the 70′s.
English producer and multi-instrumentalist Greg Haines has been releasing some of the most thought provoking electronic music over the last 7 years, beginning in 2006 with the Slumber Tides LP. Fast forward to the present and Haines is moving to new sonic foundations with his debut long player for Denovali Records in Where We Were. As a musician who is looking for that essence of the unexplored, his latest work focuses on more rhythm structures inside of his engulfing sonic identity. These new results are enriched with the background of dance culture and stretched into the furthest reaches of this world from the textures that unravels from the core. Sound Colour Vibration’s Sam Hylas caught up with Greg this year as he is prepares to launch Where We Were into the world for an exclusive interview about the new LP and much more. Touching on subjects such as African music influence, improvisation, affects of living in Berlin, methods of recording in analog domains and preferences in performance spaces, Sam dives into the mind of Haines for this wonderful look into the perspectives of this creative forward thinking artist.
Q&A with Greg Haines
Conducted by Sam Hylas
Sam: Your upcoming release Where We Were is a bit of a rhythmic departure from your past material, what inspired you to experiment with more synths and percussion?
Greg: I’ve been listening to a lot of rhythmical music for a long time, and yet somehow it never made it in to the music before. In fact, on an early version of Digressions, the previous album, there were rhythms on some tracks, but in the end I decided they didn’t fit with the overall mood so they were deleted. With this album, I decided it was time to try something really new and to create a big challenge for myself (as I try to do with every album), and it felt like the right time to explore the worlds of synths and percussion. Part of this was also due to collecting a lot more equipment, mainly analogue synths and delays, and these fun studio toys somehow helped to push me more in the direction that the new album took.
Sam: Why did you decide to mix the entire album through an analog tape recorder and to what extent do you think this influenced the overall feel of the album?
Greg: Tape just sounds amazing. It adds depth and a richness to the sound, and also I think it can help to create a more timeless quality to the sound. Creating music entirely digitally can work well if you want that pristine, digital feel to the music, like a lot of the Raster Noton stuff, but that is definitely not the route I wanted to take as I was more looking for a sound that would fit in with a lot of music from the 70′s – especially recordings from Germany, Jamaica and Africa. Without some beautiful tape saturation, a lot of those records would really be missing something.
Sam: A few of the tracks, particularly “Habenero”, sound like they could be found pulsing on a smoky dance floor, what led you to boost the tempo?
Greg: “Habenero” is a fast one, yes! Actually, a lot of the more “dancefloor” tracks weren’t really influenced by techno or something like that – more by African music, and a lot of that stuff is much faster than the typical stuff coming out now. I’m really falling in love with a lot of Senegalese music, such as the new Jeri Jeri 12″s, and that stuff is really fast – almost to fast for me to dance to! But there is something really fun about creating tracks that are a little faster or a little slower than they should be. I also don’t like what seems to be the current DJ culture of creating records with too much emphasis on how easy they can be mixed together. A good DJ can mix anything together, its not the artist’s job to make their job easier!
Sam: Could you describe your ideal performance environment?
Greg: It’s hard to say now. I always loved playing in big churches or cathedrals, but with the new set (which is more similar to the new album), I’m really looking forward to playing some more club-like records, where perhaps people will even dance – something that would have been unimaginable with my old music! Mostly, I like to play in as many different places as possible – the variety keeps it fresh and the music can change to fit the environment.
Sam: Improvisation plays a large role on the album, what were your favorite tools to improvise with while recording?
Greg: At the moment, I like to spend a few hours creating a nice set-up where quite a few delays and effects are available to play around with on my mixing desk, then turning on a few synthesizers and trying to find a sound that is interesting to me. After that, it’s just a matter of hitting record and seeing what happens. I guess the way I am working at the moment has a lot of connections to dub production: the mixing desk as the instrument!
Sam: How do your surroundings and community influence your work, if at all?
Greg: For me, it is really hard to say. I would say that everything around is influencing you all the time, and its hard to know exactly where some thoughts come from. I’m sure Berlin had some kind of influence, but I wouldn’t say that the techno scene there really inspired this album, although I do like some of that stuff a lot. I think the sense of freedom and lack of stylistic boundaries in Berlin was definitely an influence. I also love to go record shopping in Berlin, there are so many great places, and I definitely take a lot of influence from other records from around the world.
Sam: Is there a particular track on the album that you feel acts as the centerpiece? Or is the album meant to be experienced as a whole?
Greg: The album is definitely meant to be experienced as a whole. Its funny that you phrase it that way, as the working title for the album was “The Whole“! Having said that, I think the album works really well split over four sides of vinyl, with two tracks each side. People should really listen to the vinyl of this one, it just makes much more sense to me – the CD is more of an after-thought, but I suppose it’s good to listen to in the car!
Sam: What do you have your sights on for the future?
Greg: There are so many things coming up. A big orchestral piece for a ballet at the Royal Opera House in November and some other music for dance projects. Hopefully a new Alvaret Ensemble album by the end of the year and lots of concerts. I’m also planning on releasing a few 12″ singles before the next album of mine. The first one is around 70% finished, and I am incredibly excited to get that out as I think its some of the best music I have made.
MOSQUITO – OUT NOW!
Purchase Mosquito: http://smarturl.it/Mosquito
Directed by B. Shimbe Shim. Crews: Byoungho Kang, Jaewan Park, Janelle Miau, Young Cheong, Calder Ludwig, Natasha Kline. Additional footage: KK Barrett
Animal Collective is about to release Monkey Been to Burn Town, a remix EP that will come out on Domino. It’s got a colorful palette of re-designed sounds from the likes of Gang Gang Dance, Teengirl Fantasy, Traxman and Shabazz Palaces. Nope, sorry, no Dam-Funk as speculated rumors suggested.
Shabazz make “New Town Burnout” into a rumping bass booming psychedelic anthem that goes off on a swirling and slightly menacing planet. At 6 minutes your head will be dancing high in the palace sky kissing clouds. “Out of my body, out of my mind.” Yup. Just where I like to be. Thanks for the musical astral-projection. I love this track.
Gang Gang Dance’s Brian DeGraw brings his cyber-tribal constructions (nodding at God’s Money) into Animal Collective’s world. At minute 40, he drops you off on a delicious beat that fumbles itself around slinky bass lines that relax themselves around equally funky synth rhythms. Faithful to Gang Gang Dance, the arrangements and even Avey Tare’s voice functions as a melodic percussion. It’s a surprising, progressive dance floor banger.
You can Pre-order the limited 12″ here. You’ll get instant downloads of Gang Gang Dance and Shabazz Palaces remixes.