Scott Ferguson – Demon Otmas Ter Ed – Kinda Soul

I first heard about KSoul in 2007 with the release of the stunning Turning Point with Ra.H on Sistrum.  2 years later I found myself having to get in touch with him regarding his label Kinda Soul for my day job.  I couldn’t believe my luck, to this day that song blows me away and little old me was getting to speak to such a magnificent producer.  I have also spoken to Scott Ferguson about his magnificent label Ferrispark, so you can imagine my shock when I only discovered this beauty a week ago.  It was released in December 2008.

It’s a great loopy affair not for your average dancefloor as the name might suggest Demon Otmas Ter Ed.

Where to buy it, well the vinyl is out of stock now but you can get it digitally here, the whole EP is worthy a purchase.

Esa/Mervin Granger – Luxarama (Rememory Music) review

Esa Williams has been a very busy man.  Between curating Red Bull Music Academy workshops and running the popular Subculture nights in his adopted city of Glasgow, not to mention forming part of live act Sensu and DJing some of the biggest festivals around Europe, Cape Town born Esa has somehow found the time to launch Rememory Music, a boutique label complete with unique vinyl artwork, as well as summon a few friends (who also happen to be some of Scotland’s finest producers) for remix duties on it’s first two releases.

The latest of these is Luxarama, so named as a respectful nod to the artist’s childhood introduction to musical theatre by his late father, who he proudly names as the main driving force behind his work today.  With a foot so firmly rooted in the past, this EP evokes an almost nostalgic window on the future.  Esa has managed to inject his memories, history and inspiration straight into the shiny keys and dubby pads of the title track, each element evolving tantalisingly over an infectious 4/4 arrangement that itself seems to progress with every bar. In contrast, the Midnight Marauders mix is a far more submerged affair.  Ross Telford and Ali Herron (one half of OOFT) retain the undulating nature of the original, but this time rely on more polished keys and drier percussion as their preferred method of propulsion.  Williams ends things off with the Mervin Granger’s at the Luxarama dub, dispensing with the restraint displayed before, and opting to elevate the circular piano and radiant dub elements to dizzying, hypnotic heights.

Having already earned the seal of approval from the likes of Jimpster, Mixmag (House Tune of the Month) and EQTV.dj (Record of the Day), it is hard not to proclaim that 2011 looks to be a banner year for this young artist.  It’s no secret that this blog holds a special place for fellow South African expats, so we for one will be paying close attention.

Esa/Mervin Granger – Luxarama
Luxarama
Luxarama (Midnight Marauders Mix)
Luxarama (Mervin Granger’s At The Luxarama dub)

Words by Robin Would

Jamie Lidell Unplugged

Special live / unplugged performance of I Wanna Be Your Telephone by experimental artist Jamie Lidell.  The track comes off his last album entitled Compass which was produced by Beck.  Lidell is known for layering tracks made with his voice into a microphone and performing the percussion and melody as a sequenced, beatboxing one-man band. Then over his augmented voices, he sings soul-inspired songs.

To watch the full interview go to:

Part 1

Click here to hear the album version and the remixes by Bill Youngman & Tiga.

Introducing… Deep Space Orchestra

We featured these guys’ music before, which goes to say their music is the nuts (and not only because we say so).  If you’re a SoundCloud addict such as us you would’ve most probably already come across them, if not you probably wouldn’t have. Up until recently they were relatively unknown with the exception of SoundCloud fame. However, we anticipate them to be the next big thing as they have a slew of top drawer releases due shortly (list and soundclips at the end).  This interview will hopefully give some insight into the rise of an artist, we will catch up with them again in a few months to hear how it’s going… a sort of before and after.

You have over 3300 SoundCloud followers yet up until December you only had one release out.  Explain to us how you got all these followers, or what you think is responsible for this SC fame.

Si – Chris and I have both been surprised and delighted by the amount of people who have followed us on Soundcloud since we first joined about a year and a half ago. When we first joined we had had 1 release out, on The Revenge’s Five20East label, but nothing following on from that, so when we finished a track, we just stuck it up on Soundcloud and if people liked it and asked for a copy, we would happily send them one. People like Cottam and James Johnston got in touch fairly early and supported the unsigned tracks we were putting up, and it sort of just progressed from there. The latter half of 2010 was when our SC, ahem, ‘popularity’ really started to take off, and some good labels on there started to get in touch about releasing our music.
I think you get out of it what you put in. I’ve been lucky enough with the job I work in to have time to respond to comments and messages when they come in, and through that, we’ve managed to build up a good rapport with a lot of people, who now always comment and support any new tracks when we upload them.

Yeah we’ve noticed you have a lot of well known DJs following you and commenting on SC, did you know these artists prior to SoundCloud?  Perhaps give us a history of DSO, have you always been heavily involved in the music industry etc.?  Si, you have another project, Cronk Family Enterprises, with Graeme Clark (The Revenge), how is it that you know Graeme?

Si – No, we didn’t know any of the bigger djs/producers that have subsequently followed us on SC. Prior to joining, Chris and I both had good contacts, people we could play our stuff to and get honest feedback from, but no, we’ve been able to reach a whole different spectrum of people as a result of being active on SC.

We recorded our first track, before the name Deep Space Orchestra even existed, in early 2006. I had just left Glasgow to move to Liverpool with my job at the time, and got hooked up with Chris through a mutual friend. In Glasgow, The Revenge and I, plus another friend, had run a night called the Good Vibrations Soundsystem for the previous couple of years, occasionally bringing in big guests like Jazzy Jeff and Kenny Dope, but more often playing to a half empty dancefloor on a Sunday night! I had known Graeme for a few years before that, as we worked for the same insurance company, and had become good friends. He gave me my first opportunity to get involved with making tracks, which gradually evolved into us recording as Cronk Family Enterprises, and  releasing a couple of 12″s on G’s now defunct Five20East label.

Chris – Before we started recording, Si had got hold of a bunch of solo tracks I’d made on my own and passed them on to Graeme. They ended up coming out on Five20East at roughly the same time as Si and Graeme’s Cronk stuff – it was pretty low key, but off the back of that I ended up in touch with Domu and Atjazz, who both liked the release and asked me to do stuff for their respective labels. A track called Breakin’ Bread ended up on Domu’s “Here Comes Treble” compilation alongside some really great tracks by 4 Hero’s Marc Mac, Dorian Concept and a whole bunch of other people. Atjazz asked me to remix Clyde’s “Read my mind” single, which was round about the same time that Mantis closed down, which was unfortunate – that was a killer label.

Other than these bits it’s basically been me and Si plugging away in relative obscurity the whole time, though I’ve also been DJing a lot for the last 8 years or so and have been fortunate to play alongside some great DJs.

Explain how life was for you pre-December, how often you play etc. you know, pre- the ‘loads of music released’ fame.
By the time this interview goes up you would have 6 releases out, 5 being in the last month. And by the end of February you will have another 4 out (is that correct?).  What do you anticipate will happen? What’s the dream?  Have you noticed a change already, more interest in DSO?

Well I wouldn’t say that we were especially well known either before or after December, but it’s nice of you to say so! It’s good to have so much stuff coming out and we’re really happy with the amount of interest we’ve got off the back of the releases, but we don’t want to make any predictions about what will happen – you never know how things are going to go. We just hope that people like the records.

I guess the dream is the same as everyone else’s who makes music – we’d love to do well enough to be able to spend all day making music and playing records, but I think you’re very lucky if you get to that point, especially as people don’t buy records in anything like the numbers that they used to 10 years ago or so. At the same time, it’s always got to be a passion – never something that you have to do to pay the bills – so we’re pretty happy the way things are right now, to be honest.

What about DJing, any dreams/hopes of getting to play every good festival in the summer? That may be a rhetorical question :)  The other day you moaned (a little) about not having time to do your own production because of all the remix work you have… that’s a new experience for you right?

Haha, yeah, we would love to get to the stage where we’re being offered the chance to play at things like the Garden Festival, Electric Elephant, Sonar, but we’re a bit away from there yet. Having said that, we are starting to get offered more dj gigs in the last month or so.

Remixing other people’s tracks is a funny one. It’s nice when you get asked to do a remix of a track you like in the first place and that has lots of nice, useable parts, and that you feel you can definitely take in another direction. We’ve been lucky in that up to now, that has pretty much been the case, with one glaring exception that I wont mention because it still makes me angry! The flipside of the remix coin is that sometimes we just want to do something new of our own, which we simply don’t have the time for when we have remix deadlines coming thick and fast. It’s not really a grumble because you’re still getting paid to do something you love doing, but I think we’d always rather work on original DSO stuff than anything else!

Maybe you’re closer than you think… with all these releases coming out now, this could be your summer!
Speaking of which, why are all the releases coming out at one time? Did you plan this?

Well, it would be lovely if that turned out to be the case. It’s weird how lots of things have finally come out or are about to come out in such a short space of time. It certainly wasn’t planned. In some cases, we had agreed the tracks and signed contracts nearly a year ago, and in the meantime, we’ve been able to set up our own label, Use of Weapons, from scratch and put out our first release.

How did you get them signed? Did people come to you purely because of the tracks on SC, or did you approach your favourite labels, or what?

It’s all been rather random. Some of the opportunities have come from being a regular poster on the Brownswood message board. Some of the members on there decided to do a compilation of tracks made by producers who posted on there. Kirk Degiorgio was drafted in to master it as he posts on there too. Our first submission caught Kirk’s attention and he signed it for ART and asked us to do a full EP. I met John who runs Winding Road as a result of being introduced to him by some fellow Brownswood forum regulars. Apart from those two cases, all but one of our other releases have come as a result of people hearing our tracks on Soundcloud and getting in touch.

The one exception to that is how we got involved with Jamie Jimpster and Delusions of Grandeur. We saw that he had given really good feedback to the promo of our ART release so we decided to send him a nice message saying thanks and that if he liked any of our other stuff, we’d happily send him a copy. This lead to him signing one track and us working on a 2nd for a Delusions of Grandeur EP.

What advice do you have regarding getting releases signed?  Do’s and don’ts.

I would say that we’ve tried not to be pushy or in anyone’s face at all when it comes to sending stuff out to labels. I hate it when people are that way with me, so I would never want us to be seen to come across that way. We’ve been pretty lucky that the process of getting our stuff signed has been pretty organic, and in the process we’ve managed to build up a good rapport with the labels we’re being released by.

December saw the first release on your own label, Use of Weapons. Any particular reasoning behind starting the label, or has it just been a dream of yours for ‘like evaaaa’? What are your objectives?

There are a couple of reasons, really – first, we liked the idea of being able to put our own stuff out on our own schedule. If we’ve made something that we’re hyped about, it’s nice to be able to get it out there quickly without too much messing around. The second reason is that there’s so much good music out there that never gets released, so it’s exciting to get involved with a bunch of talented people – often musicians who we might not have crossed paths with otherwise. We’re lucky to have an absolutely amazing track from Cottam lined up for our second release and some killer remixes from Hunee and Neville Watson.

What’s next?

Well, apart from impending fatherhood on my side of things in April, we’ve got lots of DSO tracks due to come out in the next couple of months. In January, our releases on Winding Road, Foto and ART. In February, the second release on our Use of Weapons label and our Tracky Bottoms ep. We’ve also got a cracker of a remix on the first release on Cosmic Boogie’s new Boogie Originals label.

Gig-wise, we’re due to play twice down in London in the next couple of months, at Zombie Soundsystem at East Village and at Wayward, Norm de Plume’s night at CAMP.

Reductio Ad Absurdum wishes Deep Space Orchestra well deserved success.

DSO past and forthcoming releases:

Trust Skynet ep – Use of Weapons

Deep Space Orchestra – Zombie Soundsystem 3

Deep Space Orchestra – Inside Out ep – Winding Road

Deep Space Orchestra – Riding In My Imaginary Jeep – Foto 003

Andy Ash – Hip Joint (Deep Space Orchestra remix) – Boogie Originals

Matthew Dear – Little People (Black City) – Sascha Dive Remix

Sascha Dive, the German producer/DJ and proprietor of the Deep Vibes label, takes on one of the top songs from Matthew’s Black City album in proper stretched out, hypnotic fashion.

Dear and Dive had been running into each other on the road and in 2008 Dear included a remix by Dive on his Body Language compilation on Get Physical. The Sascha Dive remix is a 20+ minute piece of deep house, trading in coherency for black hole groove and using vocals as rhythmic engines of disorientation.

For the DJs who don’t have an 8 hour set, you can opt for the dub version which shortens the mix by half, but doesn’t forsake it’s propulsive energy.

Release date: 18 January 2011

20 minute version:

Dub version:

05: Till von Sein

Stream above or Click here for Direct Download

So you’re in South Africa now, chilling in the sun with the missus.  I believe you have family there and spend January in Cape Town every year now (for those that don’t know, it is currently summer in South Africa)… how long have you been doing this?  What’s your favourite thing about SA (apart from the gorgeous weather)?

I came here the first time for NYE 93… You could really tell there was a special vibe in the air after all the strange things happening before, don’t wanna use the ‘A‘ word ;) 
Since 2006 I came here every January to chill, produce music and basically hang with my parents who bought a house here.  chill here 2-4 months a year and I don’t see that much in good old Ger’money’ due to my- and their work.

Do you tend to go to any clubs or bars when in SA?  What are your thoughts on the music scene there?

Oh, I’m a lazy one… I rather stay in the hammock and work on tracks and my tan than go out… I’m quite happy to be away from all that nightlife madness for 4 weeks a year ;)  I been to some bars on Long Street, of course… and last year I played at a club in Cape Town ,which was really nice as well.  
This weekend I went to the Rezonance Festival with my buddy Pierre Estienne and we played 3 hours b2b and had a great time.

You seem to be good mates with Soul Clap, who have rocketed to fame in the last year.  What do you think makes some artists get the attention of press over others, if they both have good music? I mean I hear some pretty good music from artists that never make it into press.

When you do what everybody else does, even if do it good, I guess it’s kinda hard to make it… 
and especially the infamous UK press who are always down for what’s new and the hype and andandand… 
you rather come around the corner with some unique new flavour to impress journalist and make em write about you.

In another interview you said that you want to do house music that sounds like a Tribe Called Quest but perform like D’Angelo in the How Does It Feel video, I’m sure the ladies would love that ;)  Which hip hop producer do you think would kill it if they made the cross over to deep house?

The list is too loooong ;)… but i would love to hear some by Pete Rock, Sean J Period and Madlib.

What does Till Von Sweeezie do other than music? Apparently you like to buy T shirts and throw them away? Do you own a clothing store? Tell us about that.

hehe… yeah I had a streetwear store for 7 years… was good fun back then, but at one point I decided to focus on the music. Besides that I still love clothes and everywhere I travel I need to check out the local stores first.  
Most of the time I hang around with my best friend Adam Port, sitting in our local cafe in our hood and talk about whatever comes along… we can do that every day for hours and hours.

What is on the cards for 2011… Remixes, EPs, starting up a German sausage stand in SA?

A new EP with Tigerskin on Dirt Crew Recordings will be out in January and an EP with Aera on Pets (the label of the Cat n Dogz guys) will be out in April.  Together with Aera I also did a remix for the next Pets EP… Chopstick and I will release a new EP for Suol in June (latest) and solo I work on a remix for Compost and my debut album for Suol… 
and touring touring touring… lots of shows already scheduled for all over Europe the first 6 months of the year.

Tracklisting:

01.  Derek Denubar – Now U Know
02.  Joshua Iz feat Diazo – It Iz What It Iz (Russ Gabriel mix)
03.  Soul Element feat Peven Everett – How Bad I Want Ya
04.  Imaani Brown – Closer
05.  Eddie Leader – Nod To The Old Skool
06.  Erykah Badu – Honey (Ron Trent dub)
07.  Matan Caps & Marcus Person – Simply Beautiful
08.  Block 16 – Morning Sun (Pepe Bradock remix)
09.  Clyde & Capitol A – Serve It Up (Starship Interpretation)
10.  Bleep District – Science & Soul
11.  Gypsymen – Hear The Music (Davidson Opine & Oscar P remix)
12.  Roy Davis jr – Michael

Till von Sein Myspace

Till von Sein SoundCloud

Till von Sein Releases

The World’s Best Song

Just a brief post to let you all know of this tune which was rated by BBC Radio 1 as the world’s best song.

James Blake – Limit To Your Love

This is James’ first effort at a full vocal track, up until now he was known for really good electronic music… not a bad first attempt we would say.

and the original that was covered by Feist which is equally beautiful

and here is the BBC interview

Buy it here

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Area – Tangled In (Steadfast) review

Steadfast Records has put itself on the map in a relatively short space of time, thanks in part to the prowess and respect earned by label head Brendon Moeller, but also being held aloft by a steady string of releases covering the spectrum from deep house to techno in its many varying forms.

Area (also known as m50, resident Reductio podcaster) has debuted his first full release for the imprint recently, which turns out to be a rather compelling modern-day union between New York and Chicago, two of the more iconic and historic cities in the dance music skyline.  The original of Tangled In staggers along in loose, syncopated fashion, steadily building a claustrophobic collage of tension around a gritty kick drum and swelling bass.  On the Bonus Level mix we find the helmsman summon his Chi-town sensibility, complimenting the abrasive lead with jacking percussion and a bouncier bottom end.  The DJ tool lends a nice touch too, stripping away the brazen rhythms to reveal the lighter layers of the mix, as well as as the quirky vocal.

The Area Elevation Remix of Dirt rounds things off, having first being released in digital format on the Echologist’s Snow Blower EP towards the end of last year.  It is here where Area comes into his own, lifting the dub stab from the original and burying it amongst taut, lumbering textures that wax and wane over pulsating staccato beats.  As happy unions go, this goes down as a fine effort that thoroughly deserves it’s place in the physical realm of music.

For soundclips click here

or stream the original in full below:

To listen to Area’s Reductio Ad Absurdum podcast, click here.

Words by Robin Would

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There’s A New Club in (London) Town

… and it looks set to be a biggie.  Following all the venue closures over the last little while this comes as an appreciated turn of events.

THE STAR OF KINGS, as the new venue is called, will be kicking off its launch night on 10 December with the new house and techno night – Junkette.

Hosting room one for this special launch night is Berlin-based record label Suol, with the astounding line up of Fritz Kalkbrenner, Trickski, Chopstick & Johnjon, and Zander VT.
It is extremely rare for these guys to play in the UK or London.

Headlining room 2 is the inimitable Bill Brewster. Director of the ‘DJ History’ website and a notable author, Brewster is most renowned for his ‘Low Life’ parties and is one of the music industry’s most influential figures.  Also on Junkette’s line up for room 2 is jozif, Reductio Ad Absurdum podcaster and one of London’s busiest DJs with releases for Wolf & Lamb and Infine.

THE STAR OF KINGS – 126 York Way, Kings Cross, London

Having taken a failing East End gig venue and made it one of London’s essential whatever-the-occasion venues (The Star of Bethnal Green), Rob Star – whose decade of club and venue promoting experience has made him a well-respected creative genius – has set himself a new challenge. The mulletover man is driving ahead of the King’s Cross Central pack, and opening a venue that will be the pride of the new city.

London’s King’s Cross has a rich heritage of music and entertainment. Minus the pretensions of the West End, King’s Cross has always been a can’t-fail destination for a good night out. And now The Star of Kings looks set to continue that legacy, presenting bands and DJs on a packed programme and a massive Funktion-One sound system, as well as providing the atmosphere of a good ol’ fashioned pub – with good food, a comfy ambiance and classic décor.

The regeneration of King’s Cross Central has been described as the biggest urban redevelopment ever undertaken in Europe. Creating a new epicentre for creativity and the arts, and injecting new life into a whole new social and entertainment hub for London King’s Cross Central – London’s new ‘Gateway to Europe’ is breathing new life into a previously forgotten area of the capital.

This Guy is Bloody Amazing

We all know Fink is bloody amazing, but he’s outdone himself in this cover of REM (and I don’t even like REM).  Above is a video of him performing The Apologist live on radio.  I saw him at an Ame gig at Plastic People once and had to keep myself from going up and telling him how awesome he is.

Fink is one of the few things I can listen to over and over and over.  Good music for the soul.

Plus I just found out he’s done dubs of his own music which came out on Gus.

Listen here

Fin Greenall is Fink, electronic singer-songwriter type, whose last album, Sort of Revolution, came out on Ninja Tune last year. Greenall is also Sideshow, who records post-punk-tinged dub that’s good at tightening the screws for Aus. Fink Dubs, then, is Greenall dubbing his own work.

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The Importance of Knowledge Sharing

A certain popular podcast series was complaining recently about there being too many podcast series’ and, as a new podcast series, I felt I should speak up on belhalf of ‘A. N. Other Podcast Series’.

Is it possible to have too much of a good thing? Yeah it is all copy cat but who doesn’t love music so surely the more there are the better it is for music.  It gives people more of a choice instead of one or two dictating what the pubic  should listen to and what’s hot.

We (Sahin Meyer) come from a country where the scene can be very messed up, not many people have the internet at home and as a result the general public only knows what DJs are playing out at clubs which, a lot of the time, is pretty average for the same reason.  This is why we moved to London.  So believe me you’d rather be in a world where there’s loads of people doing podcasts, exposing artists and generally giving people access to as much music as possible.  Knowledge is power.  The more good music that’s available to people to listen to the more of an audience you’re creating because you’re showing people what’s out there, do you really want even more artists like Lady Gaga!

We’re all trying to get somewhere in the industry and podcasting enables one to meet people, gain an audience, learn how the industry works.  Surely there’s no harm in that?!  If I had a choice I’d rather have an option of a million podcasts than being directly spammed continuously via my Facebook & Myspace inboxes.  At least podcasting is constructive.

It also helps artists and labels, the more podcast series – the more artists can be exposed.  So really, it’s a win win for everybody.

Having a problem with the number of podcast series is like saying, oh no not another electronic artist, or, oh no not another label, or, oh no not another platform for someone to express them self!

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HUNDRED STRONG – Stylin’ Free EP Guynamukat remixes (Mukatsuku)

We just thought we’d share this super dope record with you.  Guynamukat (Nik Weston) does a great job of remixing Hundred Strong’s Stylin’ Free in the form of deep house.

Take a listen by clicking on the image or here.

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Pjotr – Sojush (Ethereal) review

Something is up in Moscow. With the likes of SCSI-9, Nina Kraviz and Anton Zap all calling the city home, and nights like Propaganda attracting the who’s who in the world of house, there certainly seems to be no shortage of talent or activity.

It is Zap‘s Ethereal Sound that introduces the elusive Pjotr for it’s latest release.  It is safe to say that the anonymous producer idea has been done to death, but one thing it undeniably provides is a platform where the music speaks for itself, rather than the reputation or history of the (wo)man behind the machine.  Sojush is a warm, winter blanket, literally. Listening to this record makes one want to pull it closer and snuggle.  I can’t really think of a better way to describe it.  All the staples are present (dirty analogue kicks, head-bobbing basslines, twinkly bells, upward-moving pads, etc.) but the strength lies in the execution.  Each track sounds effortless, simply requiring you to listen, and maybe dance if the mood strikes, but if not it’s okay – just listen.  One can almost picture oneself standing in the middle of the dancefloor, eyes closed, just letting each slowly-released element wash over you.  This is deep house, done WELL.

Stream below or by clicking here.

Words by Robin Would

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