This track is astounding! Seriously, I really hope an MP3 version of this becomes available in the next few weeks. I have a support slot for Doc Daneeka thanks to bassey house and beat juggernaut that is Don't Sleep and I reckon this would go down a storm if dropped at the right time. I'm a big advocate of mixing DFA style stuff with the bassey house of the UK and the more vocal the better.
The bands been working with Phillipe Zdar, one half of French house duo Cassius and production genius. And if he can create even half the magic he did with Phoenix's last effort, this new Rapture album is sure to be something special.
Anyways, Modular have been kind enough to post a CDQ stream, which while lacking the hilarious vibe of the that disco ball video, makes up for it in terms of being able to clearly hear the track. Check it out HERE!
To continue the theme of kinds self-promotion, the other set I'm playing this weekend is in support of Hyperdub's Cooly G. This is going to be a seriously mean Sunday night, with extra sound production being installed just so the little indie club of Ya Ya's can handle the bass that will be produced by this woman's set. Expect alot of bass music and funky on Sunday night, but for those unfamilliar with what I'm talking about, check out the seriously mean set she did at the Boiler Room earlier this year. Not a night to be missed if youre in Perth
PS I'll prolly be bringing some pitched down R&B vibes, some cool bass and a bit of Radiohead for my set. All part of the plan to take British music and use to to obtain fame and fortune, or you know, something like that :P
Mad prop's to Don't Sleep for putting this on. Perth has a few hip hop nights around and while they're fun and feature some amazing DJing, they're a little bit dated, stuck in the 90's if you will. There's no shame in that, but Don't Sleep is here to offer something a bit different.
Get High Rule The World will bring you the very best of modern hip hop, from the hits that pass us by down here in Australia, to obscure mixtape cuts, the avant-guard of the internet, a bit of LA Beat, a touch of R&B, alot of bass and of course all that classic shit that we all know and love. We'll be keeping it up to the minute and taking it back, so long as it gets your head nodding and dancing.
Think Outkast, think Curren$y, think Yeezy, think Weezy, think Nosaj Thing, think Pharcyde, think Odd Future, think Dr. Dre, think Cassie, think Cool Kids, think Vado, think Missy Elliot, think classic Timbaland and Neptunes, think Starlito, think Biggie, think Drake, think Wu-Tang and all the solo projects, think Dilla.
Also cheap booze!
Anyways, to get ya in the mood, here's a mixtape I put together for it. Enjoy, tell me what you think. Hope ya enjoy!
This a hugely fun remix. Was hesitant to even click on it in the first place. Found it on some hipster blog so it could have been a total clusterfuck of what is a bonafied classic. However it's done really tastefully. It's skittering beat fits in nicely with the rhythms of bass music and future garage and makes use of the originals bpm, mostly just adds some drums to make it well suitable for the dancefloor. Well done Nacey. Totally going to be playing this out for my next gig of this type (got a support slot for Hyperdub's Cooly G when she rolls through Perth on the 27th of Feb)
Moreover its important to mention that Aquemini is definitely my favorite Outkast album. Would have bought it at the end of 09' on a whim (also my last physical CD purchase for myself), and its stayed in my car ever since. The remarkable thing about the album is that it never really sounds dated, it easily sounds like it could be from the future. I wonder what it must have sounded like to people back in '98? Prolly would have been blowing minds.
Had the pleasure of seeing UK DJ, Producer and Label Head Whistla absolutely kill up at Don't Sleep at Bird the other night. Got have a chat with him after too, super nice dude. Anyways, Whistla essentially ran a masterclass on future garage music and other stuff that's tearing up the UK at the moment. One particular highlight was when he dropped Sentinels' Love Rhythm, a track that I was not familiar with at the time.
However it absolutely slayed. This is one of those tracks that just needs to be a smash hit, throwback synth chords, cascading keys, and that sweet garage, funky beat to it, which makes something that sounds so familiar seem so fresh. A must listen.
"Cause she left in the morning, took her suitcase, left without warning, I messed up but I'm alright cause, I know shes coming back, well I hope so..."
My, my, my, what do we have here? Got sent this gem of an EP the other day from the homie Dan at Don’t Sleep. He’s getting him to voice a radio ad for the new ICSSC club night (also called Don’t Sleep), which has bass maven Deadboy headlining. I can see why Dan hit him up for it, the mans got a well geezer accent, with a ghostly tinge to it, perfect voice to entice the punters into some bass adventures in the Bakery.
Ghostpoet’s Sound of Strangers EP exists very much in the linage of UK trip-hop, and is a direct descendant of Massive Attack, circa Blue Lines. This is especially evident on the lead of track of Gone, a masterful story telling exercise concerning drunken infidelity and the false confidence that his girl will forgive him, over a dubbed out beat and meandering bassline.
The beats split the difference between the plodding trip-hop of yesteryear and the skittering drums that characterise garage and bass music today, and Ghostpoet sounds well at home over them. However when the EP closes on Love Confusion, the initial shock of hearing his Electric Relaxation remake almost made me hit the mute key on the laptop to avoid the train wreck I was certain was coming. Yet as soon as Ghostpoet starts rapping, all my fears were confirmed to be unfounded, it’s clear he was born to rap on laidback boom bap tracks like this.
Don’t sleep on Ghostpoet, he’s almost guaranteed to be a major force in the UK in no time at all. Reminiscent of Daddy G, Roots Manuva, Mike Skinner and Jamie T, he’s no doubt going to be your new Local City Poet. Just in case you geezers didn’t know it……
Dubstep changed a lot of things. Its still unbelievable popularity on dancefloors worldwide has altered many things in the world of electronic music and as a result what’s getting produced for the dancefloor. Its so starkly different in both tempo, rhythm and sound from anything else, that it has captured the attention of DJ’s the world over, meaning even on the most superficial level, most sets will have at least a few dubstep tracks in it. More importantly though, it’s having an impact on a wide range of genres, from electro and house, to the California beat scene, and the original UK bass staples of Garage and Two-step.
This is where the badman Deadboy fits in. Coming to Perth really soon for DON’T SLEEP at the newly revamped Bakery venue, hes bringing his brand of future garage and bass music to unsuspecting punters and dance floors here in on the best coast. Yet despite what my opening paragraph may have you believe, his style has more in common with the forward thinking R&B of Timbaland than the wobbles of conventional dubstep. Rather, I mean to argue that the popularity of dubstep has opened doors on dance floors for other styles of music that have similar low-end aesthetics and focus. So while Deadboy may not have the crazy wobbles audiences are used to, he’s just as important and relevant now as a Rusko, Magnetic Man or Joy Orbison.
Deadboy wears his R&B cred on his sleeve, doing garage refixes for Cassie and others. You can hear what sounds like chopped up Usher vocals on ravey anthem U Cheated over that very, very low bass and skittering drums, while downtempo garage tune If You Want Me, has clattering diva samples while keeping the mood sounding more like a traditional R&B tearjearking ballard. His resulting catalogue is dripping with heart and bass, and will get the club going ham.
As a result we have music that sounds more like Timbaland in his prime, when he was making forward thinking R&B for Missy Elliot, Jay Z and others, instead of his far more insipid recent work with people like One Republic and Katy Perry. Its music which no matter which audience its aimed at or for what purpose sounds like the future and despite its weirdness compared to its contemporarys still strikes a chord with the average punter.
This influence can also be heard in fellow British bass merchants The XX who wrap themselves firmly in the twin influences of R&B and bass music, yet have managed to peddle this music to the indie kids. With Jaime XX on the MPCs and decks, the group have grounded what are essentially R&B tracks with heavy bass music or in the case of their Florence and the Machine remix, garage. (Also for more dubstep cred, check out his fantastic mix for Collette). The only real difference between them and Deadboy is that Islands wasn’t made for the dance floor.
Hey, whats up, I'm 72. This blog started as me posting while I was away in North America, but now I'm back in Perth, looking for gigs (I DJ under the name Sleepyhead, will play a set for food...) and generally ranting about music in a somewhat schizophrenic manner. If you want to send me music, or get me to take a link down,hit me on 72seventytwo72@gmail.com. oh yeah and i suck at dancing
