Afro Fuego every 3rd Friday @ DBA256
256 S. Main Street, Pomona, California 91766
Friday May 17, Afro Fuego offers a monthly look at beats and bass from around the world w/a unique perspective and vision tailored from both the More Fire Mondays and Beats of All-Nations crew!
Held at DBA256 in the Pomona Arts Colony, Afro Fuego offers a new chance for you to get down to music both old and long familiar, and new and aurally innovative. Expect everything from Cumbia, Salsa, Kuduro, Afrobeat, Afrofunk, Samba, Bailefunk, to Electronic, Global Bass and more!!
Berlin’s Phon.o is an inspirational producer in the evolutionary state of dance music, fusing a plethora of worlds to form his very own identity. Music that gets you moving but is very detailed, dynamic and full of surprises you normally don’t encounter in the genre. Phon.o released the full length Black Boulder in May of last year and follows up on the label with a special 12″ pressing of the new single “SCn33″ and the back side “Go”. Scheduled for a release date of May 17th, full details below.
From 50 Weapons | http://50weapons.com/
Genre bender Phon.o finds new perfection in merging UK bass music with techno, garage and even house music. Not in a wild mash-up kind of way, but very organic and natural sounding. “Schn33” is a guaranteed floor filler for all kinds of dance music Djs.
No matter where, no matter when, no matter what mixed with, this is an anthem!
Perfectly supplemented with a strong B-Side, this might be the strongest Phon.o single yet.
By the time Tangerine Dream had released the 1976 krautrock/electronic LP Stratosfear with Virgin, they had already become an enigma of sound and an in demand act all around the world. Their cult following status gave them the financial resources to create with the most advanced technology and the mid to late 70′s ushered in a wave of acoustic instrumentation that fit their sonic background very well. Sprouting a lot of the foundation that has come to identify the first stages of electronic music, the legacy of Tangerine Dream is phenomenal in historical perspective and surreal in sonic resonance. Stratosfear was a cross over and transition signifier for the group, diving further into the tendencies of rock music and grounding the group from the ambient and textural otherworldly nature of their past recordings. “Invisible Limits” is the end track from the LP and is really beautiful in so many ways, offering sub genre after another as the song progresses through its movements.
Listen to a streaming version of the track below and order a limited edition 180 gram vinyl pressing that Virgin pressed in Europe last year by clicking here.
TeamSupreme keeps it movin’ and when I say movin’, I mean FUCKING movin’. Volume 40 in their expansive beat cypher where rules and concepts are planned out for some very interesting results. Special shot out to That Purple Bastard who appears on this version and just released an interview with us.
From TeamSupreme | http://www.beatteamsupreme.com/
This week’s rules and samples were provided by Kenny Segal.
Artists on this week’s roster:
King Henry: http://soundcloud.com/kinghenryla
Team Bayside High: http://soundcloud.com/teambaysidehigh
Penthouse Penthouse: http://soundcloud.com/penthousepenthousela
Obey City: http://soundcloud.com/obey-city
Djemba Djemba: http://soundcloud.com/DjembaDjemba
Ruff Draft: https://soundcloud.com/ruff-draft
Queen Leaf: http://soundcloud.com/queenleaf
Jonathan Stein: http://www.steinsounds.com
Milo Mills: http://soundcloud.com/milomills
Great Dane: http://soundcloud.com/grrrreatdane
Kenny Segal: http://soundcloud.com/kennysegal
Lost Midas: http://soundcloud.com/lostmidas
Gypsy Mamba: http://soundcloud.com/Gypsy-Mamba
Jared Leopard: http://soundcloud.com/JaredLeopard
Black Actors: http://soundcloud.com/tkdoeswerk
That Purple Bastard: http://soundcloud.com/thatpurplebastard
Astronautica premiers “Cruise” from her Alpha Pup Records debut full length Replay Last Night | Music News
The mighty XLR8R are in every corner and pocket of electronic music and have become a daily source of inspiration to the staff over here at SCV. Today, the organization has brought to light the premier of “Cruise”, the first of new material from new Alpha Pup Recording artist Astronautica. We were fortunate enough to interview this young producer and instrumentalist based out of Los Angeles about her drive, ambition and dedication to music and she is a very focused individual in terms of what she wants to achieve. Her drum breaks and bass lines are hard hitting rhythmically but the top sections are dreamy and elegant in the value of how they are layered, a beautiful combination that helps set her a part from many of her contemporaries.
Astronautica has forged an alliance with the Daddy Kev’s Alpha Pup imprint and has set a release date of February 26th for her first full length on the label Replay Last Night. With Daddy Kev on the mixing and mastering team for this project, Astronautica’s sound is more crisp and more pronounced. This new track “Cuise” contains that special glow, radiance and euphoria you could tell was slightly dormant in her previous material from the way it was mixed. The intricate layers of string instruments process around brightly lit mazes of emotional resonance and beautiful bursting bass swells. Tightly placed analog driven drum work and a sophistication in textural synth based composition rise to the surface in perfect view and shine with a meditative purpose that is already becoming Astronautica’s “sound”.
XLR8R has a free download and stream of the new Astronautica single premier “Cruise”, listen to/grab the mp3 and check out the article by Clicking Here
Now for more gems from the Astronautica archives at her Soundcloud page
Shlohmo releases “Later” off his new EP Laid Out, scheduled to release March 5th on Friends of Friends and Wedidit | Music News
With the release of “Later”, instrumental electronic production extraordinaire Shlohmo has officially started on the promotional phase of his newest project, the Laid Out EP. Scheduled to released March 5th with Friends of Friends and the Wedidit Collective, this new track is a spell bending and captivating sound that speaks of radiating synth lines, hyper speed percussion fills and a dreamy slow wavering essence that leaves the top and bottom sides in slightly different form.
There is an underlying complexity over the sphere of beautiful synth work in how the music on “Later” is layered. It is left open ended with the depth of each singular note and texture he knows how to produce so well fully pushed to the front of the mix. It’s an easy sound to get lost inside of and dream away. to because of this You can take this track many ways but at the heart of all reasoning rests a glowing example of what makes this artist so unique. The Laid Out EP is something we are really looking forward to even more now.
From FoF Music | http://www.fofmusic.net/
March 5th marks the return of Shlohmo. ‘Laid Out’ EP, is a five tracker with bad vibes good vibes and a dope collaboration with How to Dress Well. If the wait is too much, listen to Shlohmo’s new track ‘Later’ via his official website and wet the palette.
In February, Shlohmo will be heading to sunny Australian for the Laneway Festival where he’ll be performing alongside Nicolas Jaar, Julia Holter, Nite Jewel, Jesse Ware, and Holy Other. Afterwards he’s heading stateside for a North American tour with Wedidit crewmate D33J (Anticon) and will be joining up with some other friends along the way. Hope you make it out so you can watch this man work!
2. Out of Hand
4. Put It
2.02 Sydney, AUS – Laneway Festival “Future Classic Stage” #
2.03 Melbourne, AUS – Laneway Festival “Future Classic Stage” #
2.07 Sydney, AUS – Civic Underground
2.08 Melbourne, AUS – The Liberty Social
2.08 Adelaide, AUS – Laneway Festival “Future Classic Stage” #
2.09 Perth, AUS – Laneway Festival “Future Classic Stage” #
2.27 Calgary, AB – The Hi Fi Club
2.28 Vancouver, BC – Fortune Sound Club*
3.01 Toronto, ON – Black Box*
3.02 Montreal, QC – Le Belmont*
3.03 Ottawa, ON – Ritual Nightclub*
3.05 Pittsburgh, PA – Belvederes*
3.06 Washington, DC – U Street Music Hall$
3.07 Brooklyn, NY – Output*
3.08 New Orleans, LA – Buku Music Festival
3.09 Winter Park, CO – Snowball Music Festival
3.12-16 Austin, TX – SXSW Music Festival
3.21 Miami, FL – Bardot Miami
3.22 Atlanta, GA – Club 529
3.23 Boise, ID – Treefort Music Fest
4.05 San Francisco, CA – 1015 Folsom
4.06 Los Angeles, CA – The Fonda Theater
# w/ Nicolas Jaar, Julia Holter, Nite Jewel, Jesse Ware, Holy Other, Flume
* w/ D33J
$ w/ Daedelus, Salva, Ryan Hemsworth
More support acts to be announced…
California based musician and producer Teebs of Brainfeeder and My Hollow Drum has been very active musically and artistically in the last 5 years. His productions are extraordinary in delicacy, texture and emotional conveyance and radiate with a beautiful sense of light and depth. The touch of his paint brush in the artistic realm is just as potent and special.
Teebs has been spreading his exotic beat tapestry around the globe through a wide range of material that left off with last years self released Cecila Tapes Collection and the Brainfeeder LP Collections 01. Today, Teebs has released a new track on his Soundcloud page simply titled “pianomess” that is a demo, something I would never know if not told. It’s a very gorgeous sound around an already stellar body of work Teebs is creating. Not even two minutes in length, rain feels like its falling through a mystic haze of hypnotic rhythms that run grids through out the glowing and majestic force field of overtones and melody.
It’s an incredible gift to see Teebs’ music evolve the way it has, especially with these small bonus tracks he throws into his Soundcloud through out the year.
Califonia now has in its puzzle and maze of cities one of the most concentrated groupings of instrumental hip hop and electronic producers that are pushing music forward. That Purple Bastard, who was very recently a resident of Texas, is a seasoned but still relatively unknown producer who has relocated to California to further expand on his journey with making music. Through his first place spot in the first Beat Cinema “Beat Battle” competition, I was instantly on the hunt for his works and was surprised at the wealth of remix work he has to offer through his Soundcloud.
The production That Purple Bastard brought to his Danny Brown Remix EP is phenomenal in so many ways, showing his diversity into different forms of production and musical technique. He has a lot of style, color, texture and density and is mindful of his musical surroundings, giving a lot of attention to space when vocalist and MC’s are present. The instrumentals he completed for the Renzo collaboration Happy Hour EP are beyond words and are the works that I have been drawn towards the most.
We contacted That Purple Bastard recently to open up some dialogue about his move here to California, gear, the Beat Cinema Beat Battle he took first place in and where he wants to take his music next. We are very proud to present the results of this exchange along with an exclusive remix of A-Trak and Zinc’s “Like The Dancefloor” that is seeing its premier here.
Q&A with That Purple Bastard
Conducted by Erik Otis
Sound Colour Vibration: I wanted to first ask about your background in Texas and how you got started producing music and who or what are some of your biggest inspirations to your foundations in music?
That Purple Bastard: I was always involved in the arts growing up and did mainly visual art up until I went to college, so I was really a late bloomer musically. When I started college at University of Texas in Austin I started hanging around some different people a lot of whom were older than me, one of those people was a DJ from Atlanta who mixed vinyl. We used to get high and go to this fool’s apartment and he would really go in mixing and I decided I wanted to learn how to do that. Also, probably a good 75% of stuff I was jamming at the time was Chopped & Screwed mixtapes by the originator DJ Screw (R.I.P.) and knock-offs like Swishahouse from my hometown Houston, so that stuff was a huge influence on me and still is even to this day.
I got some turntables and a mixer and just started fooling around with them, just trying to learn them intuitively without seeking out a lot of instruction or direction aside from just watching other people mix and asking my friend questions occasionally. And I got gradually better and really developed a good ear for mixing/beatmatching/layering which was something foundational that would really help me become a better producer later on. I started getting into production little by little, but after moving back to my hometown of Houston I was really in music purgatory for a long time where I was just dabbling but not really doing anything serious or even knowing what the next step was to take. I’m sure a lot of artists can relate.
Eventually I decided I wanted to step my game up as a producer and went to Houston Community College to learn audio engineering. That was a really eye opening experience and really filled in a lot of gaps in my knowledge as well as providing numerous other opportunities. During that time I recorded 2 albums: “Bang Juice”, a collaboration with multi-instrumentalist Shawn Callahan & “That Purple Bastard” a solo album from which my name was spawned. Despite having plenty access to digital recording, both of these albums were recorded on a cassette 4-track because I enjoyed the limits of the medium and wanted to do something raw with actual instruments and analog gear. Having not been brought up playing instruments, my playing was adequate but probably pretty sloppy to a trained ear, but I was really just interested in using the raw tracks as material to make something really transcendent in the mix.
I was really interested in live mixdowns and the mixing board as an instrument very much in the tradition of Dub Reggae pioneers like Scratch Perry & King Tubby so I was using a lot of their techniques for analog music in tandem with more modern ideas like glitching and stuttering (I was also really big into IDM). Following that I linked up with an MC I met through work named Ensane and over the course of about 8 months I produced, recorded, mixed, and mastered an album for him called “The Him”. Departing from the aesthetics of my previous projects, I produced this one entirely “in the box” using Reason and recording digitally. This was really a watershed project for both of us and really put us on the map with the local hip hop scene in Houston and really got us both out there doing shows on a regular basis. Through greater involvement with the local scene, I would go on to produce full EPs and tracks for other MCs both locally and regionally and the rest is history.
SCV: What brought you to California and what type of differences are here in Cali from where you started making music?
TPB: Texas is a really amazing place and I’ll always be a Houstonian in my heart. That being said, there’s not really a good infrastructure there musically unless you’re trying to exclusively make hood rap music. There’s not even a great infrastructure for that either because the scene is over-saturated with artists doing the same shit and maybe 1 or 2 artists get “put-on” yearly. And this is in the fourth largest city in America we’re talking about, a city with over 4 million people. Not great odds. Like I mentioned, I started out producing instrumental music, but there’s really no audience for that down there, so I wasn’t able to really build a following until I started making beats with people rapping on them. I feel like here in a LA that shit is almost the opposite because of the Beat Scene out here. It’s very producer-centric as opposed to rapper-centric which is of course very refreshing to me.
Some friends had been telling me that my stuff would be better received out here, but I didn’t really realize how different it is out here until I really got in the mix and saw it for myself. It’s really liberating to know that I’ll be able to find a following for whatever kind of music I want to do be it producing for rappers or some instrumental shit. Plus I’ve already got a big following back home as a result of all the hard work I put in down there. The irony of the timing of my move (I’ve been in Cali about 4 months now) is that right now Trap music is really huge, which borrows heavily from Southern hood rap music (also known as Trap), the same music I’ve been listening to for most of my life! I had a WTF moment the first time I went to Low End because I was expecting something really different, but found something really familiar instead.
SCV: You were a part of the Beat Cinema’s first beat battle and you took first place. What type of music did you present and how important was the energy you brought to your visual presentation while moving through the sequences of executing your live sound?
TPB: Well for the rules of the Beat Battle they only wanted us to have 2 minutes of material prepared. I’ve publicly released over 100 tracks and probably all of those were longer than 2 minutes, so I had a really hard time choosing what I wanted to present. Basically what I ended up doing was backdooring 8 bars each of my favorite instrumentals from the last year which turned out to be a good decision because no one else really did that in the first battle.
For my part, the Beat Battle was really a comedy of errors because my laptop crapped out on me 2 days prior and I ended up using my SP-404 in the battle which I hadn’t used in close to a year. Additionally, I misunderstood the rules and only loaded 2 minutes of material onto my sampler meaning I played an almost identical set in both rounds. On top of that, I was the guy who literally no one knew and sat in the back of the bar by myself for most of the night, a true underdog. Because of all that, I was really not expecting to win whatsoever, but still tried to perform the hell out of what I did have and it paid off! It was a really great experience where people really showed me a lot of love and I give a lot of props to Beat Cinema for really connecting me with a fan base out here.
Along with Beat Team Supreme who have featured me in a few of their weekly beat cipher mixtapes (including this week’s) and had me perform at their last show, I owe Beat Cinema a debt of gratitude for really putting me on locally.
SCV: What artists have really lifted you outside of yourself live and made you go crazier then you ever have before?
TPB: I’m really an introvert at my core, so I find myself really enjoying music the most when I am listening to it at home or in private. I’ve seen many of my musical heroes live before, but really my favorite shows have been by artists who I really didn’t have a ton of interest in seeing in the first place. When I was working on my Audio Engineering certification I worked as a live sound engineer for a time at a small Jazz club in Houston owned by former NFL linebacker Marcus Spears. Most of the artists who I ran sound for were Smooth Jazz artists, a genre that I really had no interest in whatsoever. The thing is that most of these artists were really amazing players, old guys who had been session musicians for most of their lives so you couldn’t really help but be impressed by their level of skill and the small venue really allowed me to witness some amazing moments musically that I wouldn’t have otherwise been privy to.
A couple of years back, I started a monthly underground hip hop showcase called Turnin’ Headz which still runs to this day and is the longest running showcase of it’s kind in Houston. Think Low End Theory but with more rappin’. The showcase was part of my effort to change the musical climate and it focused on diversity. I consistently put together lineups of performers who really had no business being on the same show and many of my best live show experiences were a direct result of that. We brought some amazing talent out of the woodworks and for many of these artists it was their first show or our first time seeing them. We also had open ciphers at these events which spawned some really amazing and energetic moments which were like sand paintings, unique to the moment and impossible to recreate.
SCV: What type of gear are you most comfortable with and what type of gear would you like to add to your inventory?
TPB: When I first started out I used a bunch of analog and vintage gear and had a pretty decent collection: Juno 60 synth, vintage Korg drum machines, a circuit bent Atari, a vinatge AKAI sampler, live drums, etc. The more time has passed, I’ve gradually switched to a more economical approach and pretty much produce exclusively using Ableton and Reason in tandem. I pretty much sold what gear I had left before moving out here because I was moving to a smaller place, but really producing inside the box really allows for producing in a manner that is both quicker and more concise. Also, the longer you do this kind of stuff the more you look at it like a business as opposed to strictly creatively and I’d say at least a good 90% of musicians don’t really see a return in the fiscal sense on what they invest.
I do all right between mixing and mastering jobs and people hiring me to produce original tracks or remixes for them, but at this point it’s not really enough for me to rationalize going out and buying a bunch of outboard gear when I can get practically the same results faster using software. That being said, if I reach a point in my career where I’m making money hand over fist then I would probably go back to buying a bunch of gear and make more process-driven stuff, but for now in the greater context of my life that really doesn’t make sense for me.
SCV: What type of big picture paths are you trying to take right now?
TPB: Generally speaking I’m just trying to work smarter and harder than in the past. 2013 will really be a challenge because 2012 was a huge year for me, I released 2 EP collaborations and close to 30 singles, most of which got picked up by a lot of blogs domestically and worldwide and really exponentially increased my audience and fan-base. Right now I’m shopping my stuff to labels and trying to link up with good people so I can take my stuff to the next level. The Danny Brown remix EP I released 2 weeks ago was originally conceived as a demo to Fool’s Gold records so that should give you some idea.
Also being in a new city I’m trying to pay dues and not be some egomaniac who moves in thinking he’s gonna run shit. So there’s a balance there, out at night showing love, networking, and taking in the scene, by day sending emails, brainstorming different avenues, and continuing to produce the best possible music I can.
I had a chance this week to listen to the last 10 releases from Project: Mooncircle and it was a mind blowing ride into the modern legacy of electronic music from one major contributing source of energy to the entire grid. The label is always presenting music videos for their various releases through out the year and the first video release of 2012 comes from the new limited edition 7inch 10 year anniversary release featuring four different artists from Project: Mooncircle. For this special music video release from the 7inch, the label choose the track ‘You Will Never Be Alone’ from new a new addition to the label, Darius Vaikas.
Denmark’s Darius Vaikas is joined by filmmaker W.A. Henderson for a soulful and exhilarating ride of sound and sight. 10 years of hard work and Project: Mooncircle is driving full force ahead in a way not many labels have been able to.
From Project: Mooncircle | http://www.projectmooncircle.com/
Limited exclusive 7″ ➥ http://www.hhv.de/shop/de/artikel/project-mooncircle-10-yrs-hhv-de-45-volume-…
Digital version ➦ http://projectmooncircle.bandcamp.com/album/10-yrs-hhv-de-45-volume-10
Camera & Editing by W.A. Henderson (http://wahenderson.tumblr.com/).
Ten years of existence and constant progress is no easy endeavor and it’s honoring all the more to celebrate all these years of successful cooperation with the tenth and concluding release of the ’10 YRS hhv.de 45′ series.
The limited 7″ contains four exclusive tracks produced, co-produced or remixed by label-avantgarde Pavel Dovgal, Long Arm, 40 Winks and Robot Koch, who could not embody the development of Project: Mooncircle any deeper, and, moreover, introduces just recently signed Pyur and Darius Vaikas, foreshadowing a possible future of the label.
Released by: Project Mooncircle
Release/catalogue number: PMC111
Release date: 25/1/2013
Taking 90′s influenced R&B, modern electronic beat music and a flavor full of love, knowledge, determination and mystery, Positive Flow has created a marvelous album in his Flow Lines. Released on Tokyo Dawn Records, the fifteen tracks that comprise this album land into a large body of different musical atmospheres that are connected by a vibrant R&B vibe.
Different styles of keys are used for ever song and vocal guest spots really bring the flavor of the album into new heights. Positive Flow manages to add a lot of world percussion into the music, giving it a modern club feeling but a club south of the American hemisphere most of the influence is derived from. The swirling, psychedelic aura of the album takes shape in the most subtle forms, added to the trailing phased out bliss of an overtone.
When I first heard Flow Lines, the album transitioned from track to track in a beautiful way, creating a really balanced mix that gives the record a lot of lasting power. Built around a lot of dance music, you can really play this album anywhere from how clever layers are added to the mix. I couldn’t believe the mix when I put on headphones and listened to it in full like that. This is music that makes me feel good and the type of sound that I hope enters the minds of many more after us.
Featuring Andre Espeut, Colonel Red, Heidi Vogel, Omar, Sharlene Hector, Stacy Epps, Tesia Rolle & Vanessa Freeman.
Order a copy by Clicking Here
We just got this press release from Warp Records for one of our favorite electronic groups Autechre about the new double CD and quadruple LP they have coming out early next year on the label. 2013 is a year in which will mark 20 years of full length album releases from the UK based group, first beginning in 1993 with the innovative and successful release Incunabula.
As one of the longest groups on the Warp Records roster, they have ushered in waves of inspiration and influence on a level that will place them at the top of their genre when the history books are created on 20th and 21st century electronica. Full details below on their highly anticipated full lengthExai, due for release on all formats March 5, 2013.
From Warp Records | http://warp.net/
On March 5, 2013 Autechre will release their new album on Warp Records. Titled Exai the album is Rob Brown and Sean Booth’s 11th full length album, and follows 2010′s Oversteps and 2011′s 47 track collection EPs 1991 – 2002.
With a running time of 2 hours and 32 seconds, Exai will be available on 2 CDs (WARPCD234), 4 pieces of vinyl (WARPLP234) and digitally, and is available to pre-order now at: https://bleep.com/release/41081-autechre-exai
The track listings across the 3 formats are:
02. irlite (get 0)
04. jatevee C
05. T ess xi
01. 1 1 is
06. deco Loc
07. recks on
08. YJY UX
A2. irlite (get 0)
B2. jatevee C
B3.T ess xi
E1. 1 1 is
G2. deco Loc
H1. recks on
H2. YJY UX
02. irlite (get 0)
04. jatevee C
05. T ess xi
10. 1 1 is
15. deco Loc
16. recks on
17. YJY UX