Edward Sharpe and the Magnetic Zeroes played SOhO last Saturday, 10/10/09. I was there and caught up with Alex Ebert beforehand to discuss some heavy topics about the world and everything involved…
It was good. The following has been published by the Santa Barbara Independent, so give them some clicks if you’re bored and want to know where to pick up sandbags for the incoming storm.
Continue reading ‘ed sharpe interview/review – santa barbara 10/10/09′
thanks karen aragon & impose
If you like your tones filthy and your vocals interpretive then there’s really no need to look further than HEALTH. Los Angeles’ experimental dream team have picked up quite a bit of press over the past few years and on the cusp of releasing their second full length album we thought it’d be appropriate to check-in. I don’t intend for this to seem romantic, but a few weeks ago I had a sit down brunch with HEALTH, minus Jake, and Jake Friedman of Lovepump United. We met the day after the band played the Williamsburg Waterfront, when I wrote this, and the day before they took off for Europe. Previous to this I spent a few days with the dudes in Los Angeles assisting their shoot for “Die Slow” in our ol’ Out Of Asia warehouse putting us already a few Tecate and Kombucha deep into a lovely bromance story…
FMLY: What is Lovepump? I see it as a family.
HEALTH: Lovepump is family, that has always been the motto.
The fact that it’s music by musicians put forth as an effort from musicians is just the way to go about it rather than an industry dictating what music is. Jake, since it started with your band Glitter Pals are there any other labels or collectives that Lovepump works closely with?
[John] No. [pause&laughter] Actually, Cityslang. Starting tomorrow we’re hitting up Germany with them.
Speaking of dicks [told you I shouldn’t talk about it], who made the Lovepump logo?
[Jake] The Lovepump logo was made by SERIPOP who are a design team in Montreal and coincidentally two of the members in AIDS Wolf – one of the first bands we released on Lovepump. Yeah, I was the model but you know what, it’s not even about being a severed penis just as much as it’s not music for your mom and that’s kind of the way it should be. [John] I would have to agree with that statement. [BJ] I had no idea there was a dick bone.
HEALTH – Perfect Skin (Daytrotter live session)
HEALTH – Die Slow
~ Erin Dillon
You know that image of a musician or rockstar with an incredibly humongous ego? Well let me bust that myth: they’re not all like Russell from Stillwater. In fact, they can be so genuinely kind and accepting that they make you stop and think I should be more like that. Well, that’s The Octopus Project. So kind, in fact, that when my tape recorder crapped out at the first interview, they were willing to redo it over the phone. When I sat down with this Austin-based foursome before their show at the Troubadour two weeks ago, I could tell these folks weren’t merely demonstrating typical Texan courtesy; they were truly delightful. They answered questions with ease and poise. I was stunned. Not only do they kick infinite amounts of ass on stage (swapping instruments mid-song), they’re jolly good people. Josh Lambert, Yvonne Lambert, Toto Miranda and Ryan Figg have been together since the late ‘90s and they’re still generating originality. They experiment with the theremin, glockenspiel, samplers and the standards. Together it all sounds like a loopy, electronic noise party where you can wiggle and dance the night away. Their most current release- an EP called Golden Beds- is some of their only music featuring vocals. It’s a subtle and lovely change. The Octopus Project also kills it at festivals like Coachella, SXSW and All Tomorrow’s Parties. What can’t they do? Okay, enough chatter. Here’s the interview:
The Octopus Project – Moon Boil
Black Moth Super Rainbow + The Octopus Project – Marshmallow Window
How’s the tour going so far?
Josh Lambert: It’s going very well. All the shows have been super awesome and really fun. It’s exciting.
Will you be working on a new album when you get back home?
JL: We have a lot of ideas and we’re going back to some stuff we worked on before the tour. As soon as we get back we’re planning on diving into all that. That’s what we’re gonna focus on… That’ll be a big goal as soon as we get home.
While I was at EDC, I had the opportunity to catch up with David Guetta, a european master of Electro House, with his new single searing the top of the charts and reaching #1 on both the US and UK dance charts along with his Fuck Me I’m Famous parties all around Europe, the man is a machine.
David Guetta feat. Kelly Rowland – When Love Takes Over
David Guetta – Joan of Arc (Crookers remix)
Where were you before you came to LA?
I was playing at the Glastonbury Festival yesterday in the UK, Which is a huge festival of about 200,000 people. It’s really crazy, I was speaking to my agent about it, you know it’s only in the UK that 200,000 people can camp in the mud. It’s raining, but it’s a party.
It was probably pretty cold too?
Yeah! It’s terrible, it’s the worst nightmare for everyone, but they love it! It’s very hippy, very special. I love it.
It’s nice to see that many people come together under one central idea, which is music.
Yeah, it’s a big honor for me to play that type of festival.
….
I’m sorry for all those who have seen this already, but it’s just too damn good to not post. I’ve recently caught on to the Cool Cats blog, and it’s thoroughly entertaining. Check out this failed interview w/ Busy P…
Some Busy and Mehdi Remix Action-
Bumblebeez (DJ Mehdi & Busy P Remix) – Pump up the Bass
A MP3 Mehdi released in a recent post-
(Left to Right) - Mikey Rocks and Chuck Inglish
So after the Cool Kids got offstage I was able to speak to Mikey and Chuck about everything from new cars, Lakers, collaborations, the industry, and their future. Mike took most of the questions as Chuck did his own thing and popped in every now and again.
The Cool Kids – 88
The Cool Kids – Pump Up The Volume (Flosstradamus remix)
So you’ve been in Southern California for a week now, what have you been doing?
Mikey – We’ve been doing shows, we had Audiotistic, a show in San Diego, we flew out to Ohio for a show, came back and had some meetings, got some free shit, recorded some music – it’s been a pretty chill trip for the most part.
And are you guys recording an actual album now or is it another mix tape?
M – We came out here and recorded some with Travis Barker, he’s doing an album where he’s just featuring some other people over some beats and shit. Recorded that, and we’re going back home tomorrow man, well I’m going back home tomorrow, everyone else is going back Monday. We’re just working on the album from now until release date.
Where hasn’t Girl Talk been the past three years, since the explosion after Night Ripper, the man, Gregg Gillis, has left his Biomedical Engineering job, released another album, and toured all over this small world of ours. So to celebrate this celebrodome status, we thought we’d get a couple words in with the man himself. – All photos via J. Caldwell, Thanks!
One thing that really came to me – more as a blinding epiphany than anything else – was how this fame has undermined my respect for the man. Everyone seems to be doing “mash-ups” now, but one thing that holds true to Gillis that is often overlooked (or oversimplified, as I did in the interview by saying mash-up instead of sample) – he doesn’t mash anything, he cuts, shortens, speeds, and splices samples into a soundscape that’s comparable to any sample based artist. In the interview he brings up the Avalanches, which got me thinking. There is no difference between the two, only the Avalanches (as well as DJ Shadow [also discussed] and Amon Tobin – Foley Room + more) manage to create a non pop enfused album, with more sound effects instead of songs, whereas Gillis manages to sample a good percentage of U.S hits, forever being mislabeled as a mash-up artist. The following is a lesson in all things Gillis, Enjoy.
Girl Talk – Let’s Start This Party Right (Secret Diary)
Girl Talk – Cleveland, Shake (Unstoppable)
Girl Talk – Smash Your Head (Night Ripper)
Girl Talk – Pump This Party (Girl Talk Murders Seattle)
Girl Talk – Here’s the Thing (Feed The Animals)
Grizzly Bear – Knife (Girl Talk Remix)
It’s sort of ironic that this is coming just after my I strongly dislike Dim Mak post, but Thomas Bangalter DJ’d Busy P’s birthday on April 21 at Cinespace’s Daft Dim Mak Tuesdays. Hasn’t half of Daft Punk ever DJ’d at your birthday party or house? Brooklyn Vegan commenters are going to go to town on this one…
Mobius Band – Digital Love (Daft Punk CVR)
Get a good look at what’s going on underneath that suit of robot.
Daft Punk / Bangalter related videos after the jump, including that awesome Japanese interview.
It’s an honor to present an interview with Tobacco covering the dichotomy between Tobacco and Black Moth Super Rainbow, as well as touching upon earlier works and hinting towards the future. As satanstompingcaterpillars, an introduction to lo-fi synth-pop was made and as Black Moth Super Rainbow grew from the ashes, several good men and women stronger, the music has not only gained in appreciators but taken on a unique form of production different from any other music being made today. Without spilling our collective hearts out and continuing with words which do no justice, lets get on with this.
FMLY: I’d like to begin by clearing the fog. Thanks to Impose magazine it’s acknowledged that you, Tobacco, are Black Moth Super Rainbow (outside of live settings). During the time of satanstompingcaterpillars, when was it decided with Power Pill Fist that you would take composition and recording duties? If it wasn’t decided, and you feel comfortable doing so, I’d like to know about the transition into BMSR and what provoked it.
Tobacco: It’s just sort of how it always was. I’m bad at collaborating with people, and I thought it was always easier to work alone. I think I get most inspired alone, and less self conscious of what I’m doing. We’ve written a few songs together as a band back in all the different bands, and it always feels great when it happens, but I never push it to keep happening. I had started off really noisy and abstract with Allegheny White Fish. We were all so happy with ourselves for coming up with that name in 10th grade, but it wasn’t too funny 4 years later. Then ssc [satanstompingcaterpillars] was like my way to be more melodic all the time, and a little more serious. Then when it started to shift again into something I might be a little more comfortable performing live, I brought in the rest of the band and we changed over again. I’ve always felt like these ideas shouldn’t outstay their welcome. 3 or 4 records is enough, because I get really bored, and I like to keep these bands and ideas as pure as I can, in their places in time, until it seems like I’ve finally gotten it right.
FMLY: Your sound evolved tremendously with Falling Through A Field. Was this due to new software, new instruments, new friends to play with, an acid trip or just a new vision of swampy pink meadows and multicolored waterfalls? Do you and PPF continue to make music together on the side? I’m a big fan of his Atari work, were you two into video games when you were young or is it only appreciated as an instrument? Related, why the decision to use many tracks from satanstompingcaterpillars?
Tobacco: Falling Through A Field was like a weird best-of record at the time. Some of my favorite stuff that I thought was still relevant from ssc, mixed with where it was going with the vocoders and analog synths and beats. It was all fueled by the idea that these synths were available and we were figuring out what they did, plus the idea of the vocoder was really appealing because I didn’t have to be so self-conscious about my voice anymore. PPF and I haven’t made anything in awhile, but like I said, I’m just not much of a team player. I think he’s taking the Atari stuff somewhere really interesting for his next record. I’ve only heard one song, but it was definitely different.
FMLY: After speaking with The Octopus Project I was surprised to find out that The House of Apples and Eyeballs was an online project and that you hadn’t actually met before recording. Had you listened to tOP before this collaboration and who initiated the process? Do you still maintain a relationship with them and was the rest of BMSR involved during the recording process or only at your live performance of the album at SXSW?
Tobacco: I had the cd with the mannequins on the cover, and I had no idea how much they’d changed since then. I didn’t know they were more of a rock band, so that was a good surprise. I think Ryan from Graveface just went to a couple shows of theirs and had the idea on his own to put it together. We see them like once a year now, because we usually stay with Toto when we play in Austin.
I had all these random parts recorded with everyone from BMSR over a couple years that we were able to incorporate into that album. The whole point of it was trying to make something out of stuff both bands had lying around and didn’t know what to do with, so it ended up being kind of a good exercise for me in listening to some of the garbage I make and figuring out how to make it work on some level. I think everyone makes at least one appearance.
FMLY: There’s no denying the role that your music has played in many people’s lives, but more specifically those who dabble with acid, shrooms and other mind -altering drugs…or just straight up weed. What you may consider to be a subtle portion of a track could influence one’s entire trip. Do you take this into consideration when crafting an album?
Tobacco: I’m sort of learning this more and more over time, but everything I make is pop to me, and it’s the only way I know how to make it. So drugs have absolutely nothing to do with it for me – it’s just what I think sounds good at the time. I’m not much of a psychedelic music fan, and I’ve never aspired to be psychedelic. I think it’s just my ear being wrong. I really think I’m making hooky pop music, but then it comes out, and everyone’s like, “no, it’s this…”
satanstompingcaterpillars – Goodbye Method (from Flower Slides)
satanstompingcaterpillars – The Autumn Kaleidoscope Now Has Hips (from The Autumn Kaleidoscope Got Changed)
satanstompingcaterpillars – Black Snow (from The Most Wonderfulest Thing)
Black Moth Super Rainbow – Boxphones (from Falling Through A Field)
Black Moth Super Rainbow – Smile Heavy (from Start A People)
Black Moth Super Rainbow + The Octopus Project – Spiracle (from The House Of Apples & Eyeballs)
Black Moth Super Rainbow – Sun Lips (from Dandelion Gum
Black Moth Super Rainbow – Just For The Night (Laura Burhenn, BMSR remix) (from Drippers)
Black Moth Super Rainbow – Eating Us medley
Aside from having awesome taste in music [see final question] and being a real cool guy, Adrian Michna is an incredible musician with over a decade of experience under his vinyl studded belt. His debut solo album, Magic Monday, dropped late last year on Ghostly International (School of Seven Bells, Matthew Dear, Cepia, Mobius Band, etc) and since then has made its way into XLR8R, FADER and even iTunes Spotlight on Indie: Dance and Electronic (then made it into the top20). If you’re in New York Michna will be playing live with Raw Paw THIS FRIDAY at The Studio at Webster Hall, opening bands include the always colorful Woodhands and Red Wire Black Wire [flyer at bottom of post].
FMLY: Magic Monday is dubbed an “electronic” album. Now that’s a pretty vague term, especially when it comes to this album, what do you feel better describes your sound?
Michna: I think the easiest way to describe it is as instrumental music created with organic and electronic instruments
FMLY: What sparked the switch from Egg Foo Young to Michna and will you still be working with the EFY moniker?
Michna: Egg Foo Young was the joke that went to far and just stuck. Doing Michna is me being able to come fresh and establish myself first and foremost as a producer. I’ll always be able to DJ ridiculous events (such as Dre Day) under the name Egg Foo Young
FMLY: How long did it take for you to put together Magic Monday and was this studio recorded or worked on in your apartment?
Michna: Magic Monday was worked on steadily from 2004-2007. It was recorded in various home studios.
FMLY: Tell me about the instruments you’ve used on the album. Did you play them all? Did friends help? Which instruments did you play and when did you learn how to use them?
Michna: I play trombone, synth, drum machines, guitar, bass, and found sounds. I went to college for trombone but taught myself everything else just by experimenting. In addition to my own playing I had about 4 different musicians/friends play on the album. John Gaviglio was my roommate and played some cool guitar – he used to play in the famous screamo band Bear vs Shark. Matt Friedman is a childhood friend and played rhodes and guitar. He and I have made many records together in the past under the name Secret Frequency Crew. Now Matt is producing for LL Cool J under the name Illfonics. Lastly I met a really great double bass player in Vienna named Martin Mittelsteir. He played on 2 songs.
FMLY: Do you feel that your environment affected Magic Monday? Could you have made this album in Miami?
Michna: I could have made this album in Miami but it definitely would have come out sounding different. There would be Metromovers, parrots, cafe con leches, and lots of Cuban audio.
FMLY: How many songs didn’t make the cut and will you be releasing them?
Michna: About 3 or 4 didn’t make the cut, I think a few will be released as b-sides.
FMLY: Who made your album art and what do you think it evokes? Does it complement or contrast the album, or is it autonomous?
Michna: The art was done by the Miami based duo, Friends With You. There was a lot of work that went into it, and one of the great things they achieved is that you discover something new every time you look at it. (This is also one of my goals when producing the audio). Another thing which they have told me numerous time is that they had FUN making the art, and I think that shows. They took some of the ideas I threw at them and put their own twist on it. Manholes in the sky, catching the bus, palm tree in times square, and Epcot Center circa 1989. I feel that if you never get to see the CD booklet you are missing out on 50% of the album.
FMLY: Tell me about Secret Frequency Crew and what inspired it.
Michna: In 1995 me and friends took mushrooms and came up with the name to describe the frequency we were all on. This crew of close people were sharing the same secret frequency. We were all in a band but had numerous other hobbies going on at the same time
FMLY: Tell me about your producing credits and your work with Diplo and Bonde do Role.
Michna: I dj’d with Wes Gully back when he was doing Hollertronix. At the time I had just released a heavy electro bass 12″ called Miami Eyes, and I think the nasty bass tones caught his ears. So he took the Fung Wah to my studio and we worked on the song “Way More”, which came out on his Florida album. When the album dropped, Money Studies pressed up a limited bonus 12″ that featured his crazy joint “Thingamajawn Part III” and an Egg Foo Young remix of “Way More”. A few years later Bonde do Role got signed to Domino, and they finally had the budget to afford me, so I produced the song “Quero Te Amar” for them.
FMLY: Ghostly International is a very interesting label, how did you become involved and why did you decide to release your album with them?
Michna: Ghostly was familiar with the albums I released with Secret Frequency Crew, so I was already slightly on their radar. I wanted to get signed to Ghostly cause they are an A-Class top shelf record label. I shipped them numerous cassette demos (to prevent leakage) and finally negotiations were made. I couldn’t have picked a better label.
FMLY: Appearing on iTunes’ Top 20 Electronic Albums isn’t an easy feat, especially being alongside heavyweights like A-Trak, Cut Copy, Ratatat and M.I.A. (for readers, I also want to point out the appearance of Portishead, Crystal Method and Daft Punk on that list). Since this, have you received a flood of requests whether it be collaborations or remix work from artists of this globally acknowledged caliber?
Michna: Yes, a lot of requests have been coming in. The hard thing is there is only one of me.
FMLY: If you could curate your own show, who would you put on the bill and where would it be?
Michna: In 1996 me and Secret Frequency Crew started “curating” a party that was to be held in the middle of america from 12/30/99 – 01/01/00. We called it “Meet in the Middle” and the idea was for the west coast and east coast to have the ultimate festival. It never happened, but we planned for acts like the Beastie Boys, The Orb, Primus and Sonic Youth.
FMLY: Do you give any credit to your musical ability and [partially] success from your time spent working at Turntable Lab? Or were your skills this dope before?
Michna: I’ve been playing in bands since I was 15, and I feel getting started at that age is very important to anyones musical ability. When I worked at Turntable Lab I was kind of a dinosaur cause I was already stuck in my ways of production. Still on OS 9 and using mostly analog gear and outboard equipment. Thru Turntable Lab I got to see many trends in music come and go, and this solidified my original plan: to just make music that is me and what I want to hear.
FMLY: Are you still remixing? If not, will it be something that you come back to from time to time?
Michna: The world is flooded with C-rate remixes, and your sisters friend is making a Jonas Brothers one right now. Not saying I won’t turn out a few Jonas Brothers remixes.
FMLY: I enjoy the way that you speak of cassettes, will you just talk about your relationship with them as well as Magic Monday’s?
Michna: The thing about cassettes is that everyone who did grow up with them had some personal shit. You had FM radio you recorded, or your mom yelling at you, or tapes from answering machines, or a fisher price joint, or a tape of your high school choir. Rather than sampling another persons music, I just sampled my own shit for Magic Monday.
FMLY: Jandek is certainly fascinating in his own right. Did you go through him in regards to the remix or was it “unofficial?” Has he given you feedback?
Michna: The remix was 100% official. We included a xeroxed copy of the letter in the 7″ release. One fan was so impressed he scanned it and put it up here: http://grimshaw.jeff.tripod.com/BlueCorpseNote.jpg
We later asked Jandek “what he thought” of the remix but he never wrote us back.
FMLY: Having lived in NY and Miami, are you a fixie kinda guy or do you enjoy the feel of a road bike? I personally refurbish and ride ten-speeds which is why I ask.
Michna: I actually always stuck to BMX. In Miami I got my first 24″ Cruiser and got around the city with that.
FMLY: Musicians that you’re really into right now or albums that you’re pumped about?
Michna: I’m still bumping Dear Science and Merriweather Post Pavilion…
There’s a lot to cover in the news today so bear with my rush of excitement.
First, Happy 10th birthday week, “In The Aeroplane Over The Sea!” Everything that needs to and can be said about this album already has been, Neutral Milk Hotel will live on forever in our hearts, it’s 10.0 rating on Pitchfork and maybe even Coachella 2010? Fingers crossed.
Second, on the Ratatat site their “Remixes Vol. II” is available for free. Hopefully you already have the album, it really was one of the best hip-hop albums of ‘08. If it’s not already on your iTunes click the picture below to download it.
Third, the cease and desist order on AmpLive’s “In Rainbows” remixes has been dropped and the final verdict is that Amplive can release the his “Rainydayz Remixes” only if they are not distributed for profit. (Thanks Brooklyn Vegan)
Rainydayz Remixes Tracklist
01. Rainydayz
02. Video Tapez (Ft. Del The Funky Homosapien)
03. Nudez (Ft. Too $hort & MC Zumbi of Zion I)
04. Weird Fishez
05. All I Need
06. 15 Stepz (Ft. Codany Holiday)
07. Reckonerz (Ft. Chali2NA)
08. Faustz
Download it right here., it’s a really good listen…just like “In Rainbows!”
Finally, I interviewed Ninjasonik over the weekend for IHEARTCOMIX. We were really fucked up and this is what came out of it.
If you missed my interview with The Teenagers, you can check it out here.
Sorry for the overwhelming amount of information.
