"My most prized, irreplaceable possession in my studio is Petunia, my four-year-old French bulldog." Cute dog alert as Clayton Steele shows us around his studio.
Clayton Steele’s Ganesh EP is out now via his own FAWN Recordings. Find him on Facebook and SoundCloud.
In honor of Anthoney Hart’s not-quite-new East Man project—while its Planet Mu debut just dropped, the progressive grime outlet actually predates his Basic Rhythm alias—the elusive producer has shared quite an exclusive. More than just a mere Needle Exchange mix, “Hi-Tek Sound Vol. 2” is described as “a studio mix, recorded using Ableton, along the lines of a live set. The mix is comprised entirely of unreleased tracks, including a few collaborative tracks from myself and Acre, as well as alternative and instrumental versions of tracks from the album, Red, White & Zero.”
Check it out below, along with a streaming archive of Hart’s back catalogue….
East Man – East Man Theme (VIP)
East Man & Acre – Obligatory Extra Track
East Man & Acre – Ruff Neck
East Man – Skatta (Version)
East Man – East Man (VIP)
East Man & Acre – Bang Him Out
East Man & Acre – Virtue
East Man – Twilight
East Man – Creeper
East Man – Resurrection
East Man – Bubble Bath
East Man – Future Tek
East Man – Mission (Version)
East Man – Safe (Version)
East Man – Jaws 16 East Man & Acre – Radical
East Man – Stiltskin
East Man & Acre – Detritus
East Man – Steppin’ Off
East Man – Darkage
East Man – Funkage
East Man – Skeletool
East Man – Ten Ton
East Man – Tone Tune
East Man – Psychic Dancehall
East Man – Click Clack
East Man – Bandit Country
East Man – Bounce Back
East Man – Bate Kush
East Man – Hi Tek
East Man – Red, White & Zero
East Man – Pelligrini (Version)
East Man – New Deal
East Man – And What (Gun Man Version)
East Man – Look & Listen (Version)
The British rock invasion of the mid-1960s had a profound effect on American music and the culture at large. For the first time in history, adolescents held sway over the record industry. By decade’s end, the generation’s influence extended to virtually all corners of the marketplace, and everything became more youthful. Kids no longer wanted to look grown up, and neither did adults. Fashion, car design, home furnishings, dancing, TV, hairstyles became much more sporty. Men who reached their mid-life crisis years eyed younger women as a way to revitalize their self-image. The sexual revolution was underway. Skirts shortened as sideburns and men’s hair grew longer. [Photo above of Barbara Moore courtesy of Barbara Moore]
Interestingly, this trend wasn’t limited to the U.S. Throughout Western Europe, the bachelor class was feeling its oats. In Europe, a new form of easy-listening music surfaced to meet the new tastes of happening men and women. Mood music had a distinctly brassy and cool feel—Peter Sellers meets Astrud Gilberto. The music wasn’t to relax by but music to do just the opposite.
Hundreds of albums in this groovy category—a genre I call "swinging pop"—feature breezily arranged young male and female singers and sultry bands. Think Sergio Mendes and Brasil ’66, Singers Unlimited and the Fifth Dimension. It’s too easy to call this music "lounge." It clearly was designed to appeal to a young-adult male market in Europe.
The queen of this swinging-pop vocal sound was Barbara Moore. A first-call studio background singer, she was a member of the Anita Kerr Singers in 1966 as well as the Ladybirds, who sang backup on the BBC TV’s Top of the Pops. Later in the 60’s and ’70s, Moore led her own swinging vocal group known as the Barbara Moore Singers, who recorded on many British pop singles, films and lounge albums as well as on sessions for commercial background music. [Photo of Barbara Moore, above, in 1966 courtesy of Barbara Moore]
Over time, I’ll share more of this highly addictive European "swinging pop" with you. It’s yet another genre I stumbled across while wandering around YouTube.
Here’s Barbara Moore on the high notes on Should I from Stan Butcher’s Birds and Brass (1966)…
Here’s Moore (right, with glasses) singing behind Dusty Springfield with Madeline Bell (left) and Leslie Duncan (center) in 1967…
One of the finest albums by the Barbara Moore Singers is Voices in Latin (1968). Here’sI’ve Walked Alone...
From Moore’s Vocal Shades and Tones album in 1972, here’sFly Paradise…
Here’s Moore on the Roger Webb Sound in 1971 singing Sweet Thing…
Here’sHot Heels from Barbara Moore’s Vocal Shades and Tones in 1972…
Here’s an interview with Moore, including Moore conducting Fly Paradise…
Here’s Moore playing the piano in 2015 at Brighton Station. And you can visit her Facebook page here.
In addition to the Barbara Moore site (here), there’s a blog post on her here.
This week’s top mixes include Anastasia Kristensen’s Immense Landscapes, Virtual Self’s Romantic Visions and Royal-T’s Valentines Grime.
Anastasia Kristensen’s Immense Landscapes. In this promo mix for her upcoming appearance at London’s Fabric, young Danish techno DJ Anastasia Kristensen builds an intense and exciting landscape out of her immense record collection, which spans from classic 90s-era Warp to new Houndstooth and Ostgut Ton. Stream above.
Nathan Fake Asunder. Leftfield techno producer Nathan Fake is known best for his highly harmonic and emotive records on James Holden‘s Border Community and many others, which include hits like ‘The Sky Was Pink’ and ‘Silent Night’, and his debut album Drowning In A Sea Of Love. His mix for Worldwide FM comes ahead of a new EPm, Sunder, on February 23rd. Stream above.
Virtual Self’s Romantic Visions. The latest in BBC Radio 1’s Annie Mac minimix series, in which artists create megamashups where tracks are required to play for less than 30 seconds each, comes from Virtual Self aka Porter Robinson, whose ‘Y2K Utopia Mini Mix’ showcases the kind of romantic and fever dream-like visions of the future his name has become synonymous with. Stream above.
Tony Fairchild b2b Kiernan Laveaux at Ohm. The Hot Mass party in Pittsburgh kicks off its new MASS CAST podcast series with a twisted 2.5-hour set from resident and label boss Tony Fairchild and In Training’s Kiernan Laveaux. Stream above.
Consisting of Christie Gardner and Helen Dixon, the music of Lilo’s Wall casts the same sort of blissful spell as Watford’s finest The Staves. It’s all soft acoustic strums, golden harmonies and a calm intimacy that manages to create a quiet lull amongst chaotic pace of the world. It’s folk-pop cast from something rather graceful and lovely. This Winchester two-piece have been playing together for a number of years now and last year released an extended play single Tinted Windows / Tough Love that picked up a small amount of attention including from their local BBC Introducing radio show, but really not enough. So, with the tracks being uploaded to Soundcloud over the last few days it seems an opportune moment to feature them on Breaking More Waves and hopefully guide their music towards a few more as yet unknowing ears. Take a listen below and find the full three track EP on all the usual streaming services. Lilo’s Wall – Tough Love Source: http://ift.tt/1m9apqJ
Today is President’s Day in the U.S. On this day at JazzWax, we celebrate Lester Young. Billie Holiday called him the President, which was shortened to Pres or Prez. She meant president of the tenor saxophone. If you know nothing about Young but would love to know why he’s such a big deal, here it is in a nutshell:
Up until Young’s solos in the Basie band in 1939 and ’40 and more specifically his Aladdin small group leadership sides in the mid-1940s, the tenor saxophone was a gruff instrument that stood out by ferociously working up and down a song’s chords with an assertive growl. Practitioners of this style included Coleman Hawkins, Charlie Ventura, Ben Webster, Budd Johnson, Arnett Cobb, Buddy Tate, Don Byas, Georgie Auld, Illinois Jacquet, Flip Phillips, Eddie "Lockjaw" Davis and others.
Young, by contrast, had a decidedly cooler approach to the instrument, and his drier approach influenced a generation of players, including Stan Getz, Lucky Thompson, Brew Moore, Al Cohn, Zoot Sims, Jimmy Giuffre, Bob Cooper, Bill Perkins, Dave Pell, Bill Holman and many others.
The way Marlon Brando changed acting, Mies van der Rohe changed architecture, Mark Rothko changed painting, Normal Mailer changed the novel, Frank O’Hara changed poetry and Helen Levitt changed photography, Young brought a new detachment to the tenor saxophone that favored space and forward velocity rather than tight rendering. His playing was the sound of a new emotionalism.
Here are four videos of Young. Happy Prez Day!
Here’s Lester Young in 1944 in Jamin’ the Blues (keep an eye on that porkpie hat)…
Here’s Young in 1957 on CBS’s The Sound of Jazz in 1957 with Billie Holiday on Fine and Mellow (watch the rapport between Holiday and Young). The first saxophone solo is by Coleman Hawkins. The second is by Young, providing a perfect illustration of the differences between the two schools…
And here’s Young in 1958 at Art Ford’s Jazz Party…
JazzWax tracks: A wonderful introduction to Lester Young is the two-CD set The Complete Aladdin Recordings of Lester Younghere.
I’ve often written on Breaking More Waves about how if you’re going to see a particular band headline a gig, make sure you get there early and watch the supports. There’s lots of reasons for this, but the primary one is for your own benefit. Just because an act isn’t top of the bill doesn’t mean they couldn’t be in the future. Over the years I’ve been lucky enough to see acts such as Radiohead, The Killers, Ellie Goulding, Jorja Smith and Franz Ferdinand play as support acts in tiny clubs for way less than you would pay to see them now. And if you do go and watch the supports, please have the common decency and manners to actually listen to them, not just treat their music as a backing track to your conversation with your mates. So, here’s another support band recommendation. If you’re in the UK and are going to see Pale Waves on their sold-out UK tour then make sure you get there early for Bloxx. They’ve already been featured on Breaking More Waves a number of times and their new song Novocain justifies another post. It’s a vibrantly exciting piece of guitar pop that struts and shimmers with all the confidence of someone who has just slipped on some shiny new shoes and knows they look bloody good in them. To be honest Bloxx probably don’t need anybody to tell them that they sound good – you can hear they know it. Another two fingers up against anyone who says that guitar music is dead, this one walks it. Bloxx – Novocain
I’m taking a break this weekend. But I wouldn’t leave you hanging. Here’s a fascinating documentary on Art Pepper—Notes From a Jazz Survivor. The film provides a candid view of the alto saxophonist’s struggles to keep his head above water and the role his wife, Laurie Pepper, played in giving him a reason to straighten up and fly right…
Due out April 6th through Automator’s own Bulk Recordings imprint, Moosebumps: an exploration into modern day horripilation was reportedly cut during “marathon, 24-hour sessions at Automator’s studio…. When Kool Keith reprises his role as the lecherous Dr. Octagon, it sounds as though he’s been speeding through the cosmos since ’96 and recording every noteworthy enterprise. Whether rapping alongside frequent Automator collaborator Del the Funky Homosapien (‘3030 Meets the Doc Pt. 1’) or alone, Keith expands the Dr. Octagon mythos, utilizing his timeless, off-kilter cadences to relay everything from Octagon’s shameless branding (‘Octagon Octagon’) to his kinkiest shenanigans. In short, Moosebumps finds the same incorrigible Octagon in improved and more outlandish garb.”
As for the trio’s actual sound, Automator insists, “Dr. Octagon is not a contemporary thing or a retro thing; It’s always looked to the future.”
Amen to that. Shall we all rap alongside the record’s lead single now then?
Dr. Octagon Moosebumps: an exploration into modern day horripilation
(Bulk Recordings, April 6th)
1. Octagon Octagon
2. Polka Dots
3. Black Hole Son
4. Power Of The World
5. Operation Zero
6. Bear Witness IV
7. Area 54 (IG2)
8. Flying Waterbed (IG4)
9. 3030 Meets The Doc Pt.1
10. Karma Sutra
11. Hollywood Tailswinging
Dr. Octagon tour dates:
2/18 San Francisco – The Fillmore
2/19 Los Angeles – The Belasco
Moog release $35k modular. Teenage Engineering team up with IKEA. Help crowdfund a synth development system.
Mega money Moogs. Moog are releasing a limited edition remake of their IIIP modular synth system for a handsome $35,000. Only 25 will be made, they’re hand wired, and three cabinets house 36 modules, many of which aren’t found in other systems. More here.
On and on and on. PaulXStretch is a new plugin that brings the extreme stretch capabilities of cult favourite Paulstretch to your DAW. It can either capture audio from software or can load existing audio files from disk. Full info here.
http://ift.tt/2Ey0yq8 Flat pack party. IKEA and Teenage Engineering have linked up for a range of party supplies including sound systems, record players, party lighting and anything else you need for a party on the go. HighSnobiety have the details here. Cashback. Bandcamp look back over 2017 and report more sales, which means more money to artists than ever before. Digest it here.
Master mix. Kassem Mosse is inviting people to have their tunes mastered by the same people he uses for his own projects. Details here. Take the power back. Make your own DIY Eurorack synthesiser modules with Otto’s new system. Created for fast module prototyping, printed circuit-boards are designed to fit common parts of synthesisers, are pre-drilled and numbered along the edges to help the layout process. Find out more about the crowdfunding campaign here. Source: http://ift.tt/1UBq9jI