Cross My Heart Hope To Die is a very unique project of sights and sounds between four creative minds that come from distinct sides of the equation. Signed with Los Angeles record label and digital distribution imprint Alpha Pup Records, the groups self titled debut EP is scheduled to drop in the first week of April worldwide. The group comprises legendary Cypress Hill producer and Soul Assassins collective leader DJ Muggs, long time west coast hip hop collaborative vocalist Brevi, producer Andrew Kline and the artistic extensions of mastermind and jack of all trades Sean Bonner. Steeped in dark cinematic hip hop beats and embellished with the sultry, powerful and sexy style of vocalist Brevi, Cross My Heart Hope To Die presents captivating west coast cinematic music that is spellbinding and transfixing on every listen. Haunting melodies are pulled from elegant string work with the presence of the drums really pushing the energy to a new state. Samples are heavily utilized, even pulling to light a very famous King Crimson riff as a main component to one of the tracks. Brevi has been on the scene for awhile, working with west coast hip hop legends such as Xzibit and King T over the years. You can feel her confidence of lineage with music culture as she really makes her presence felt with a multiple octave range.
The final piece to the puzzle is supplied by 21st visionary Sean Bonner. Working in an entirely new medium to present the groups first release, Sean Bonner constructed listening stations in Los Angeles, New York, Japan and Vienna, placing them in public spaces over the last year that allowed people to open a box and find headphones with the new EP playing. This has been fully documented and is the catalyst to the further extensions of art gallery exhibits and more artistic deviations to this project. The final results of what this will all truly mean as a whole is still unknown and when diving into the website of Sean Bonner, this is a very intentional reality to the Cross My Heart Hope To Die project. In anticipation to this phenomenal piece of work in both micro and macro terms, the good people at Alpha Pup have extended their interests towards our organization with an exclusive premiere. Sound Colour Vibration is very proud to present “Miracles”, the first single from the new EP, as an exclusive stream in our new music premiere series. The new single “Miracles” can also be purchased from iTunes. Find out more about the role Sean Bonner is serving with the Cross My Heart Hope To Die project by clicking here.
From Alpha Pup Records | http://www.alphapuprecords.com/
Cross My Heart Hope To Die EP
Alpha Pup Records
Release Date: April 2, 2013
Cross My Heart Hope To Die will change your perceptions of art, and challenge your expectations of music. More than just a multimedia project, Cross My Heart Hope To Die has chosen a new path to create something that is truly an experience. The project transcends all musical boundaries – the music exists as just one part of the bigger picture, ever evolving. The foundation of this art collective rests on the balance of each element: art, visuals, music, and the live experience – each as important and on point as the other.
The sound system is the spark caused by the collision of veteran producer DJ Muggs and fellow producer Andrew Kline. With trajectories launched from different musical backgrounds, they shared a love of a dark, cinematic music. The sound is rounded out by the addition of the ethereal songstress, Brevi, who elevates the tracks with her sexy and hauntingly beautiful vocals. Sean Bonner adds an additional, undefinable piece to this artistic enigma. Sean is a curator, hacker and creative technologist with a history in both the fine art and music worlds, he adds an unpredictable element to an already amorphous group.
Cross My Heart Hope To Die – EP is the first release from Cross My Heart Hope To Die, due out April 2 on Alpha Pup Records. Alpha Pup’s roster includes Daedelus, Busdriver, and Dibiase and has been described by XLR8R as “absolutely bursting with talent, it seems like a new mind-blowing record appears every few days.” Cross My Heart Hope To Die – EP features four driving, ethereal songs anchored together by Brevi’s sexy and hauntingly beautiful vocals.
The interactive street art side has been manifesting for almost a year. Unsuspecting pedestrians in Los Angeles, New York, Tokyo, and Vienna have been enjoying, and participating in this project – often without even knowing it. Cross My Heart Hope To Die wants to manipulate the way people find music, to bring back the thrill of discovery. Something sorely needed in a digital age where we are constantly bombarded with aural stimulation.
Upcoming gallery exhibitions and a series of videos shot all over the world make it obvious that Cross My Heart Hope To Die is much more than a simple musical project. If this sounds confusing or vague, that’s not unintentional. The answers are there, you just have to find them. Dig deeper.
1. Wild Side
4. Roller Coasting
New York four piece Batillus have been releasing some of the best doom metal albums since 2010 and are slowly becoming another prominent fixture in the genres evolution. With a penchant for prolonged melodic sequences of darkness, their ability to surface out of these states for something more sublime is unparalleled. The guys in the group are very intelligent people and their music reflects this introspective wisdom and knowledge contained within their ranks. With a very huge and dynamic sound that builds off slower tempos, deranged angular lines and fields of texture dive into surrealistic forms and break away from the usual approaches of heavy music. It’s refreshing and exhilarating to hear a band like Batillus in the 21st century.
The group has become one of our favorite bands this year with their latest and most sonically adventurous album Concrete Sustain. The new album is already out in Europe on the imprint Vendetta Records with the US release date set for March 19th on Seventh Rule Recordings. Diving into the minds and perspectives of the creative peoples work that we enjoy the most is one of our biggest goals with SCV. Interviewing this band has become something that I have learned a lot from and sheds another important light into the world that is Batillus.
Q&A with Batillus of Seventh Rule Recordings
Conducted by Erik Otis
Erik: Hello, I have already become a big fan of your music after being sent Concrete Sustain. It’s something that has raised the bar for all harder based music and has dynamics in a way that I absolutely love. We hope you guys a lot of success in the near future and are looking forward to seeing how the rest of the world responds to Concrete Sustain.Your sound is thick, saturated and humid. I’d like to call it the most beautiful dark thing I have heard in many years. What type of gear and recording set up did you guys use for the Concrete Sustain LP? Anything that was very critical for the crunchy and submerged sound you guys achieved gear or engineering wise?
GS: I always record with Noble & Cooley CD Maple drums. N&C is a small drum company based, I believe, in Massachusetts and I’ve never found anything that compares with the quality of their drums. In addition, I used a variety of snare drums with different tunings to fit each song, including but not limited to a killer solid brass GMS drum that my uncle (also a drummer) sold me years ago.
WS: Sanford suggested that we record the bass direct, and then reamp the signal. This allowed me to fine-tune the tone for each individual song.
FK: I used more Moog synths , and I programmed percussion on this record , something that was not present on our last recordings
Erik: I love the album art for the new record, really goes along with the sound on the LP. Did you guys have different concepts for covers or was this photo something that you guys knew you wanted to use for the album? What do you feel the cover gives to the album?
GP: We were having a hard time agreeing on what the cover image should be, but at the same time we knew the type of aesthetic we were going for. We like messed up photographs, and the cover of ‘Furnace’ was a photo that Fade had taken, and I liked the idea of keeping the source of the cover image ‘in the family,’ if you will. So I took a look through some photos that I’d taken, and everybody else liked the one from our first tour in 2009, taken as we were approaching New Orleans. Something about the way the road dips down makes the perspective a little disorienting, and I think that’s a nice parallel to the stylistic shifts in these new songs.
FK : I think the photo captures the albums vibe in a kind of Cormac McCarthy’s “The Road” feel.
Erik: You have been getting a lot of press on the new record already, something I feel is rightfully deserved. Congratulations on that, I feel it’s really important your sound has affected so many journalists. Do you guys check out the press or do you try to navigate around it? Where do you guys stand with modern journalism?
GS: I know I probably should ignore the press, but I used to be a music publicist and writer myself so I can’t seem to let the stuff go by unnoticed. The Internet is sort of a double edged sword when it comes to music journalism: on the one hand, it’s so much easier now than in the pre-Internet days to spread the word about something and it’s easy for anyone with an Internet connection, enthusiasm for music, and a basic (or sometimes not) command of language to have a music blog. On the other hand, you end up with a quantity-over-quality situation (that also parallels the situation with bands in the age of cheap recording) where for every one writer with the language, journalism, and music background necessary to accurately and effectively review a record you have dozens more who really just have no idea what they’re doing. You have to appreciate their enthusiasm, but a lot of times poor grammar or way-off-target points of reference result in a face palm moment for the educated reader.
Erik: Do you have one song writer or does the band create collectively? Is material created when everyone is around or does the material stem from the outside and you all individually bring it to the band?
GP: It’s a collective process. The riff ideas usually come first, during brainstorming/boozing sessions between Willi and I. But at least one of these new songs started with a rhythm pattern that Fade created on a drum machine, and Geoff will occasionally have a sweet idea for a guitar or bass part. Once we have a couple of riff ideas that seem to work together, we spend quite awhile collectively working on the arrangement, which is the fun part, with everybody sharing ideas about everyone else’s parts– we try to be as democratic as possible, and if even just one person feels strongly about something, we’ll investigate it.
Erik: I feel like in every experience through life, there is something to learn about yourself. What did you learn about yourself when making and recording Concrete Sustain?
FK: Personally , I pushed myself to try things I haven’t in the past , like with the song “Thorns” , I’ve never attempted to sing like that previously. I think when you get out of your comfort zone interesting things can happen creatively.
Erik: New York has been a haven for a plethora of hardcore bands and with you guys have a very different approach to metal,we were wondering what led you guys in the direction you have? Who were some of your first comrades within the New York music community that helped nurture your vision?
WS: We owe a lot to people like Fred Pessaro, Kim Kelly and Brandon Stosuy, who’ve been in our corner from the beginning, as well as the Acheron and St. Vitus for giving us places to play. Now that the old places in Manhattan are gone, they’ve stepped up and really helped bands like us out by fostering the scene in Brooklyn.
Erik: I must say that your sound is a really different thing than anything else I have heard. In trying to make comparisons I am lead nowhere and I absolutely love that about Concrete Sustain. What other bands do you feel your sound has the most in common with, if any? What communities in the context of cities and different areas of the world have responded positively to your sound the most?
GS: Our goal is to write songs that are both heavy and memorable. The hook, whether it’s a riff or a drum beat or a vocal cadence or a synth melody, is the most important factor for us during the songwriting process, followed closely by the attempt to structure songs in a logical and concise way and, of course, the desire to make the music sound heavy. Heavy for the sake of heavy is cool, but there are enough bands covering that territory already. We’re trying to be heavy and memorable simultaneously, but ultimately it’s up to the listener to decide whether we’ve succeeded or not.
FK: we have our influences each individually, the four of us come from different musical backgrounds and I think that works to our advantage, and it comes useful when we edit each other in the writing process because we are each listening with different ears.
Erik: With your songs having such a demanding sense of energy being drawn from the weight of the music and many of your songs being much more lengthy than your average band, how do you guys prepare in physical and mental terms in nailing the music live and for the studio recordings?
FK: Touring can be rough, I have to take care of my voice. After about a week on the road you get into the groove, it’s like working out when you first start it sucks, your tired and sore, but then you get into it and you’re like a machine.
GS: For me, at the slow tempo we play, physical exertion is not the challenge so much as patience and timing. Most of our new material is performed to a click track too, which is a big change from the stuff on the Whitehorse split and Furnace. I’ve found that when playing to a click, the challenge is in being accurate in terms of timing and rhythms without sounding stiff or square.
Erik: With 6 songs gracing the full length Concrete Sustain, do you remember what songs were created first and last? Was there specific tracks that took more timing getting everyone locked in?
GS: The oldest song is “Beset,” and I think that song connects the rest of the material on the record nicely back to the Furnace days. The last song we finished was “Thorns.” There was a period of time when we didn’t think that song would make the cut for the record, but I’m sure glad it did because it’s come to be my favorite of the six.
Erik: What type of atmosphere was present when creating the LP? Were sessions closed off to outsiders or do you bring in other people for second opinions? Anything that set the mood in the recording room that only bands like yours can do?
WS: We worked pretty quickly during this session. By the time we were set to record, the songs were structurally complete, so only stylistic decisions were left. We trusted Sanford’s ear to guide us when direction was needed, and kept it at that.
FK: I recorded the vocals myself in late night sessions at our rehearsal space for this record, I felt I could be more focused with out any outside distractions.
Erik: For our last question, we wanted to know what records you are listening to right now and whose some of the best live bands to see right now?
GS: I just keep listening to the same Levon Helm, Low, and Depeche Mode records over and over again. I’ve become a little complacent in my listening habits of late. Any suggestions for me?
FK: Lately the best shows I’ve seen are Chelsea Wolfe, Inquisition, Swans & Kontavoid.
Erik: I will send some recommendations your way this weekend, thanks for your time again, means a lot.
In May of 1972, Pink Floyd would step into London’s Abbey Road studios for the first recordings of the decade defining release Dark Side of the Moon. During the first half of the year, the group was still touring material from their last two LP’s Meddle and Atom Heart Mother with the 30+ minute opus “Echoes” at the center of these tours. With Gilmour stepping into the band and Barrett soon leaving, Pink Floyd evolved into a very different state between the late 60′s and early 70′s. With a plethora of live material available in the collectors network, the perspective of the sonic transition that takes place with Pink Floyd is a very drastic one between 1971 and 1973. It’s a state in which reflects how their compositional approach and emotional range had changed inside of the dynamic of the group. “Echoes” defines this era well and was a sound years ahead of its time. The live versions are some of the most special Pink Floyd moments ever captured to tape.
New York is a mecca for all cultures and lifestyles and Pink Floyd was accepted into the ranks of their upper echelon with two appearances at the prestigious Carnegie Hall on May 5th and 6th in 1972. The set we are presenting as a FLAC download was captured on the second evening. It’s a very well captured audience stealth recording that’s incomplete but one of the best sounding audience sources from 1972. The band had already premiered Dark Side of the Moon in the beginning of the 1972 in England and was on a creative storm with their live scheduling and new sonic possibilities inside the expanding multi-tracking studio evolution. 1972 was active with touring for Floyd, especially in the first half. First the UK, then Asia, Australia and finally leading up to their 6th full tour of the States, the Carnegie Hall May 1972 recording shows Floyd well oiled and on fire. Most importantly, the recording shows the transformation of the psychedelia dream land that was the first incarnation of the group and into the material that would define Dark Side, Wish You Were Here and the material after it.
This has become one of my favorite Pink Floyd recordings in the last few years and is an experience we hope you have some time for. Full details on the recording have been collected below from various sources online. Trade this freely with fellow Pink Floyd fans, never resale or let individuals / record stores do so.
New York City, USA
May 2, 1972
01 One Of These Days (11:46)
02 Careful With That Axe, Eugene (14:04)
03 Echoes (31:24)
04 A Saucerful Of Secrets (14:47)
TT – 72:03
Color in Motion Volume 237
Born in Brazil and brought to the creatively vibrant center of New York at a very young age, multi-media visual artist Vik Muniz has had a prolific career thus far with his accolades in mind alone. His methods are superbly unique and genius, sourcing together imagery with elements that nobody would ever think or conceptualize as working. Vik Muniz makes it work and his involvement in the 2010 Lucky Walker film Waste Land has brought his methods acclaim in many new circles.
I love getting lost inside of these works, especially the closer I dive in. Looking back after these moments is an incredible feeling when realizing what is achieved. These four pieces selected for our Color in Motion article on Vik represent a small portion of his masterful works and embodies the creative drive, complexity and excellence that still rests in artists of this age.
by Cynthia Delacruz
*Art credits: (Boy Blowing Bubbles & A Bar at Folies bergères after Edouard Manet, Portrait of Adeline Ravoux & Starry Night after Van Gogh)
French electro-pop duo Saint Michel performs on Encore! Live Sessions at le Baron Chinatown, New York | Concert Photography
Electro-pop duo Saint Michel have been making a name for themselves in the 2010′s with their signing to Columbia/Sony France and a wider presence around the world to their infectious sound. Rooted in an illustrious setting of modern musical cultural trend setters from Versailles, Paris, they are following in the foot steps of artists like Daft Punk and Air for a sound that is all parts catchy, adventurous, emotional and new. Crossing the Atlantic has always been a common medium of music exchange for artists in Europe and recently Saint Michel stopped by New York to further spread their gospel to a crowd of avid music followers in the New York region. With little press from the group in the States, it’s a real pleasure to get access to what they are doing before many others will.
Expanding into the region of New York with our photography coverage, we were granted special press access for the second of two events scheduled in New York last month. Performing for the Encore Sessions series, the group really brought a lot of reality to the press statements about following behind the footsteps of Daft Punk and Air. As is evident with the pictures taken of the group, electronics, guitars and the regular tools of modern rock are present. What they do with these tools creates a very unique and powerful sound. Just as much as the music is refreshing, they put on a very well crafted show aesthetically and energy wise. It’s always easy to tell when a band is on top of their game and Saint Micehl were always in sync and made the show a spectacle from beginning to end in the space provided. This photo set was taken from our newest photographer David Turcotte, the first of many contributions of his on our site in the New York region.
Included after the photos is the video for “Katherine”, from their debut EP I Love Japan on Columbia/Sony France.
All Photography from David Turcotte | http://www.thefullframe.com/
From Encore Session
After Daft Punk, Air & Phoenix… Versailles provides us a new sensation called Saint MichAs symbol of both royalty and revolution, the Palace of Versailles casts a long shadow over its inhabitants. Just half an hour from the French capital, the leafy city is classicism personified, which makes it all the more perverse that in the past 20 years, it has fostered some of the country’s greatest musical exports – Phoenix, Air, Alex Gopher and Etienne de Crécy, not to mention Daft Punk.
Enter Philippe Thuillier and Emile Larroche, who together make up Saint Michel. Certainly their music bears the imprints of the city’s favourite sons, their songs striking that magical happy-sad sweet spot. On debut EP ‘I Love Japan’, the duo deftly blend synth swells, clipped beats and sun-warmed melodies to create what the duo call “sentimental electro-pop”. There’s the breezy optimism of ‘Crooner’s Eyes’, a palpable ache pulling at the robotic, R&B-influenced vocals of ‘Wastin’ Tastin’’, while a sinuous bassline weaves through the Balearic-tinged title track. Saint Michel expertly balance on the knife-edge of familiar and fresh.
“We want to write sensitive songs, but we want to write songs you can dance to as well,” explains 28-year-old Philippe. Vintage keyboards might be a hot topic of conversation between the two, but girls dominate the band’s lyrical preoccupations. “It’s always about love, but it’s not easy love – it’s complicated love,” says Philippe. After time spent playing together in a previous band, Philippe and Emile splintered off to form Saint Michel just over a year ago, inking a deal with Columbia in may 2012. Early on their demos piqued interest, their live shows and EP inspiring excitable write-ups in the French press, which helped secure a forthcoming tour opening for Sebastien Tellier.
“We are not technical – that’s forbidden – it’s instinctive, it’s only pop music.” – Saint Michel
” From Daft Punk to newcomers Saint Michel, alongside with Phoenix, it’s been 20 years that the kids are shaking the clubs withinfra bass and explosives choruses” – L’Optimum
” With Saint Michel, Versailles becomes the center of the world, again” – Les Inrockuptibles
The lovely Sonnymoon of Plug Research are embarking on a new and very special project, a stint of shows in December and June to celebrate the longest days of the year in each Solstice. As a group who is as visually stunning as they are sonically, I can’t even begin to imagine what the group has planned for these shows. The first show will be held December 21st at the Mercury Lounge in New York. Full details on this show below.
From Sonnymoon | http://www.sonnymoonmusic.com/
Join Sonnymoon and M. Constant at the Mercury Lounge on December 21, 2012 for the first of Sonnymoon’s Solstice shows: the 2012 Low Solstice.
Why Low Solstice?
Etymonline.com has the word “solstice” deriving from the latin word solstitium, the point at which the sun seems to stand still (from sol “sun” + pp. stem of sistere “to come to a stop, make stand still”). Soooo, in other words, that means at opposite times of the year, around late December and June, depending on what hemisphere you are in, the sun will appear to be at its highest or lowest point in the sky come high noon. On this day the sun stands still before it starts to make its ascent or descent for the next solstice. On December 21st (which also marks the beginning of Winter for the Northern hemisphere) the sun will stand still at its lowest point in the sky, causing it to be the darkest and shortest of 2012. Hence, “Low Solstice.”
Since this is a phenomena that the entire global community experiences, there is a festival or holiday in almost every culture surrounding this time (Christmas, Hanukkah, Midwinter, Lohri, Inti Raymi). For us this day will simply mark a time when we can look forward to brighter days and focus on both personal and global renewal. Let’s keep it simple, spend some time with friends, and celebrate in one of the best ways we can as humans: with music.
(we apologize to those brothers and sisters in the Southern Hemisphere who will be celebrating the High Solstice on this day. Enjoy your summer!)
NOTE: THIS IS A LATE SHOW (DOORS 10:30PM)
let us know you are coming – Facebook
Official Music Video for ‘Kali’ by Sonnymoon
Video by Dane Orr and Anna Wise
“Kali” music by Dane Orr and Anna Wise featuring Joe Welch (drums) and Erik Kramer (bass)
words borrowed from Sri Ramakrishna
BUY SONNYMOON ON ITUNES: https://itunes.apple.com/us/album/sonnymoon/id522312608
thanks to NASA http://www.nasa.gov/multimedia/index.html
Fromdatomb$ is the last video I wanted to drop off “1999″ because I felt like this closed out the tape perfectly. I’m locked in the studio with my pro$ putting in that twerk on this new PRO ERA tape set two drop December 21st. stay tuned.
Directed by: David M. Helman
“Ordinary Miracles: The Photo League’s New York” from directors Daniel Allentuck and Nina Rosenblum | Daedelus Productions Inc.
Ordinary Miracles: The Photo League’s New York from directors Daniel Allentuck and Nina Rosenblum is an incredible documentary and one that goes far beyond any other film in the genre this year. Before viewing the film, I had no clue what the Photo League was, its influence and how many people were taught through work shops with the organization. The realities of this organization represents one of the strongest independent alliances through a creative medium ever devised. Lasting from 1936 to 1951, the Photo League was unquestionably the most important photography organizations ever. With members who had views of every sort, it became a standard for what America stands for in terms of the cultural ingenuity and timeless nature of the work.
The pictures are some of the best I have ever seen and the story it takes one through is somewhat crushing to my psyche as I realize the type of government that tried to take hold of this organization still holds its claws into the creative movements of America. It’s a story of triumph and one that I have watched an endless amount of time. With interviews compiled from the surviving members and a plethora of knowledge and photos to bring anyone up to speed into what The Photo League managed to create, this is as important as it gets when considering the shifting landscape in the mid 20th century.
From his 1990 debut solo LP Take A Look Around with production for the most part handled by Marley Marl to the 2012 release and his fourth solo record MA_Doom: Son of Yvonne that has all production from MF Doom, Masta Ace doesn’t only make hip hop, he is hip hop. His influence is wide spread in hip hop today with artists like Eminem and many other potent and lethal lyrical proponents sighting his lyrics as an important source of inspiration. The contribution Masta Ace has given to the community of hip hop and modern music is invaluable, proving that inferior styles of hip hop will never be the standard for someone who saw hip hop grow up right before his eyes. If you are finding your way to his past works, you are in for a big treat as his wordplay, choice of producers and overall vibe on every record is what hip hop stands for.
Masta Ace is on the move in the year 2012, making a presence felt within modern hip hop that is a beautiful reminder of where the art form came from and where it can still go within these foundations. We caught up with him via email and were given the chance to ask the man any five questions we wanted and below is the results of this exchange.
Sound Colour Vibration: Hello Masta Ace. We wanted to say thank you for your time and that your latest collab record with MF Doom is one of the greatest hip hop records we have heard all year. I love that the record is a concept album about your upbringing and how much your mother played a role in shaping who you are today. The album sticks to a very specific structure and is a fresh breath of the analog sound that created hip hop’s foundation. You have mentioned that the extensive record collection your mother owned was one of the first places you found what you loved in music, ultimately defining the creative artist you have become today. What were some of the first concept albums that really stuck with you and how important is it for you to release a concept record of this nature?
Masta Ace: I don’t know if it was necessarily a concept album but De La Soul’s 3 Feet High album introduced me to skits an’ interludes. They opened my mind to the possibilities of what you could do on an album. This album was important because it honors my mother. I wanted the listeners to be transformed back to the 1970′s and see me as a child growing up in Brownsville, Brooklyn.
What type of response did you get from MF Doom when first approaching him about releasing this type of collaboration through a label and a proper pressing?
MA: Doom had heard about the project because I had been talking about it on Twitter for almost a year. He was very curious to see what I had put together. When he finally heard the album he was blown away and agreed to feature on one of the songs.
SCV: With an extensive insight into modern and older artists in the hip hop community, which individuals or groups have become your greatest sources of inspiration in the newer generations that create hip hop?
MA: I would say Kayne West is a source of inspiration of today’s artists and Nas has continued to inspire with his lyrical dexterity for many years now. There are many of course who keep me fueled.
SCV: What was the most challenging element to recording MA_DOOM: Son Of Yvonne?
MA: The most challenging element was waiting for Doom to do his verse. The album was done in September of 2011 and I didn’t hand it to Fat Beats until May of 2012. There were moments where I wanted to just hand it in without the verse but in the long run I am glad I waited.
SCV: Now that MA_DOOM: Son Of Yvonne is in the world, are you working on new material for release? What other projects or creative endeavors do you have in the works?
MA: I am re-releasing my Disposable Arts album this fall! It will be a special limited edition vinyl box set! Also, you can expect new music with DJ Premier and Marco Polo.
SCV: Thanks for your time again, we really appreciate it and wish you the best of luck this year with your latest record and with all your future projects. Cheers!
Multi-instrumentalist Juma Sultan is fulfilling his life long legacy in recent times with many important archive releases that are opening up new understandings on the vibrant African American music scene in the 60′s and 70′s. With an archive that runs into the 1000+ hour mark of recordings of every kind (private sessions, live performances, studio reels, etc), Juma Sultan was one of the most active archivist of his era and walked in the paths of some of the greatest minds. Now with the release of music in his own archives with labels such as Eremite and now Porter Records, the legacy and true masterful presence of a living legend is brought to the public’s attention and now consumption. In an age where music was light years ahead of the curve, a brand new wave of minds are absorbing these sounds as if it was music from our own age. 60′s to now, there is a bridge that is becoming more obvious as the hidden treasures of the past become more available to this generation.
Juma Sultan made his presence on this earth in the largest, most concentrated burst with his inclusion into the sound Hendrix was creating with his 1969 and 1970 bands. The future would be bright for Juma as he expanded his Aboriginal Music Society, played with Archie Shepp and continued to meet a whose who of the most creative minds in the world during the 70′s. As a means to open up more of his archives with the Aboriginal Music Society, Juma Sultan has partnered with Porter Records for a new release called Whispers From The Archive. Presenting never before heard material recorded throughout the 70′s and with different personal from song to song, every track opens up a deep rooted history of black music that is as vital to our understanding of the times and the age as that of a new John Coltrane or Jimi Hendrix recording. 7 tracks deep and full of many beautiful statements that speak of the Aboriginal Music Socities own love supreme through sound, it’s a mesmerizing collection based in African and Latin percussion, exotic forms of instrumentation and a free spiritual voyage that is timeless in scope.
Whispers From The Archive begins with a live piece recorded at the famous New York loft space and venue Ali’s Alley. With main AMS contributor Ali Abuwi on oboe and percussion, Kasa Allah on piano, Art Bennet on sax, the infamous James “Blood” Ulmer on guitar, Juma on percussion and bass and Harold E. Smith also on percussion, it’s a lively track built around the ecstasy that the Coltrane sound ushered in. The intro is built around a foundation of percussion, an element to AMS that set the tone for many of their performances. Recorded in 1976, this was a number the group was using in many of their shows as a comfortable and sublime piece to fall into and get the engine going. Every player stretches out with a passionate and glorious voice and it sets into stone what you can expect on every track. It’s a piece that I get lost inside of, not wanting to leave the warm cocoon like auras of sound it creates over me. The inclusion of material from a Boston recording session in 1970 the group did in an attempt to complete their debut album for public release is my favorite of the collection. The tracks that are sourced from this session are “Sundance and Hand Clapping – version I” and “Sundance and Hand Clapping – version II”. I have been fascinated with the piece Sundance since I heard a recording with Juma, Hendrix and many of their colleagues performing versions of it during the Woodstock rehearsals in 1969. The second version from this release has Ali and Juma collaborating together without anyone elses presence and it’s a wonderful treat to hear how they layer the recording down.
Juma Sultan’s Aboriginal Music Society will surely fill the hearts of those willing to take the time for such a special and personal release from the archives of a man who has seen it all. Don’t hesitate on getting a copy of Whispers From The Archive from Porter Records.
Order a copy from Porter Records by Clicking Here
Hip Hop has come full circle in modern times, shedding light on the pioneers who started the movement and the foundations the culture was based on. Turntablists, producers, MC’s, graffiti writers and breakers; the foundations have constantly shaped modern culture and this years release of Big Fun In The Big Town stands as one of the most definitive statements of this beginning in New York circa 1980′s. The film was released over 20 years ago and Five Day Weekend has sought out this release for a much needed reissue. This special documentary on the beginnings of Hip Hop music includes juggernauts in the hip hop game such as The Last Poets, Russell Simmons, Grandmaster Flash, LL Cool J, Biz Markie, Marley Marl, Roxanne Shante, Run-DMC and Jam Master Jay, Doug E. Fresh & the Get Fresh Crew and many other influential artists of the time. If you didn’t hear about this release earlier in May, this is definitely grabbing a copy. Shot in beautiful quality, every scene speaks volumes into the atmosphere that shaped the beginning stages of hip hop. As hip hop has taken on many forms since these stages, it’s very important to have the perspective of this age in full view when analyzing the newer forms. In terms of how good this documentary is, one statement sums up this release very well: Big Fun In The Big Town is stunning on every level and captures the heart of what hip hop stands for in its most purest form.
From Five Day Weekend | http://fivedayweekend.co.uk/
New York, 1986: a city of big dreams and equally big problems. Like New York itself, hip-hop music encompassed both of these human conditions. But hip-hop and its cultural birthplace shared other important characteristics, too: the desire to always be original, a hustle-to-survive ambition, and — if the stars aligned — the ability to come out on top, no matter what the odds.
Dutch filmmaker, journalist and rap fanatic Bram Van Splunteren stepped into the city for one intense week in 1986. He was armed with five things: a camera crew, a map, a deep respect for the hip-hop artform, a list of phone numbers, and a burning desire to get to the bottom of what this still-growing subculture was all about. By the time he left, he had the answers he needed, along with a treasure trove of golden video footage. Tragically, these images never returned from Europe, languishing in obscurity from hip-hop’s homeland for more than a quarter-century. Until now.
Big Fun in the Big Town is about hip-hop when artistry in the game was still at its center. When skills, not hype, got you your first record deal. When Run-DMC took the reins from Doug E Fresh and Grandmaster Flash, paving the way for hundreds of other hitmakers to follow. When a chart-topping LL Cool J still lived with his Grandmother. When the Latin Quarter was the club to be at on any weekend night. And when artists from all backgrounds could taste their own pop chart dreams, just beyond their reach but still seemingly attainable.
This essential, fast-paced documentary shows hip-hop from just about every angle, and approaches its subjects with a journalistic sobriety and respect rarely given to this oft-misunderstood artform and culture, even to this day. It presents worldwide superstars and aspiring rappers, dancers and beatboxers on an even playing field, reminding us that rap was once a wide-open game for anyone with talent to grab at the brass ring of fame.
Commercially available for the first time ever after more than 25 years, Big Fun in the Big Town is nothing short of a revelation.
Dutch director Bram Van Splunteren has been a noted music, arts and human-interest documentarian for more than two decades, known for feature films on The Red Hot Chili Peppers (“A Dutch Connection”) and Loudon Wainwright (“One Man Guy”), among many others. For more information, visit: www.bramvansplunteren.nl.
The Sonny Sharrock Quartet live in NYC 1988
Sonny Sharrock – guitar
Melvin Gibbs – bass
Abe Speller – drums
Pheeroan akLaff – drums