There’s a wonderous feeling in the air due to the sweet, charming lyrics and endearing music coming off the guitar strings and laptop of James Yuill. Touted as one of the UK’s buzzed about acts for 2009, you’re going to want to fill your ears with ‘Turning Down Water For Air‘, the debut LP, released 13th October on Moshi Moshi, by the multi-instrumental Londoner.
Plain and simple, ‘Turning Down Water For Air‘ is good, imaginative music, with gems like the second single, “This Sweet Love“, a heartfelt song that encourages you to “be the greatest man in history, the greatest man that you can be”. Though it seems James Yuill was born to sing about life and its relationships, he’s come a long way since a year past when his days were spent at an agency picking out music for TV adverts. Those days are behind him and we’re pleased.
There’s enough dance energy to all this ‘folktronica’, and picking up the tempo on “This Sweet Love” is Norwegian DJ/producer Prins Thomas. Drums of Death and Ruff N Jam had their hands on the tune as well and I must say, Drums of Death really turns this one inside and out!! Listen here.
Lastly, for those that missed the coverage on James this past August over at Discobelle; he won their remix competition for Roots Manuva’s “Buff Nuff”, and in September he showed his Dj skills for their Mixin’ It Up series. Listen to both and download off James’ site and stay updated on all things James Yuill via his blog!
Amidst the fury and the flurry of the blog house world, we are inundated by remixes and original productions, all promising an outstanding response. But rarely do we get the opportunity to talk about whole albums, as the sometimes disposable nature of the blog world is insatiable, leaving only EPs and self-released “singles.”
So ushering in the 2009 year with a top contender for records of the year is DJ/Rupture’s release “Uproot.” Released earlier this month on The Agriculture, DJ/Rupture is a world renown DJ and has been a fixture of the future bass community for as long as he and dub have been alive. Rupture is also known for his weekly radio show on WFMU called “Mudd Up,” his work with The Fader magazine, as well as his label Dutty Artz. The prolific nature of this man’s work is overwhelming and when he’s not flying to Dubai to play last minute gigs he is doing cover stories in South America on the rise of Cumbia.
On his latest effort “Uproot,” Rupture has curated an extremely thought provoking collection of artists and producers from around the world. While you may recognize a few names, (Ghislain Poirier, Matt Shadetek, Maga Bo), the majority of these artists represent a global movement in the synthesis of bass and space. Since dub first came on the scene on the 70’s, dub and ragga have participated significantly in the quiet storm influencing popular music today. The artists featured on “Uproot” are from countries such as Brazil, Australia, the UK, Berlin, Finland, and even Brooklyn!
The Brooklyn ambassadors on “Uproot,” featured below, are Baby Kites and Nokea’s track “Reef,” a teen duo from the BK and the Dutty Artz crew whose precociousness will marvel even Skream. Additionally, you’ll find the video for “Reef,” directed by Panoptic and surprisingly or not, a Youtube fan favorite!
You can pick up “Uproot” at any of your local record stores as well as your world wide web favorites, Itunes, Boom Kat, and Juno.
In six minutes, Italian producer, Michele Balduzzu, aka, Phonat, has a created a eclectic production that pieces together house, hip hop, acid, drum n’ bass, electro, down tempo and a bit of everything in between. His debut track “Learn to Recycle” being released on on London’s Mofo Hifi, is a befitting title, and the task of tapping into so many genres and doing it up right is not an easy task. Phonat is breaking rules, and pushing boundaries, perhaps that’s why this newcomer is being championed and put into rotation by the likes of Annie Mac, Jules, Herve, and Norman Cook, who describes Phonat as a guy who “f**ks with all the rules”.
Keep him on your radar for 2009, as Phonat continues on his journey to redefine electronic music.
Photo by James Mountford, Logo design by Eskimopush
It’s our great pleasure to introduce to the Trash readers the lovely and amazingly talented Hannah Holland from London. Operating as a resident at Trailer Trash first and now at the helm of the infamous Bastard Batty Bass party, Hannah has played Room One at Fabric, has toured all over Europe, and just returned from a tour through Australia.
Featured only one other time here on Trash for her work on V V Brown’s “Crying Blood,” Hannah’s production work is poised to flood your iTunes and club speakers through out 2009. So we thought we would chat with her about it and see what she is feeling right now, what has inspired her, and what exactly Bass means to Hannah Holland. With a record label and a single on its way in November. It’s no doubt that Hannah is one of the most hard working and visionary DJs and producers in the game! Get your All-American welcome wagons ready…Oh, and she did an exclusive mix for us because we’re special. It’s bass, all over your face.
So first off, thank you so much for participating in an interview for Trash Menagerie. It’s been super exciting to watch different readers pop up all over the globe and we’re honored to have a world renown dj/producer to tell everyone what’s up! I know you’re crazy busy and you even just got back from Aussie-land! How was your trip?
Hello! Its my pleasure, Aus was pretty immense. Traveling across to the other side of the world and meeting people who have been to your club and listen to your music , its a real honour. The Aussies have been very supportive and i cant wait to go back.
Now tell those of us who don’t know how long your Bastard Batty Bass party has been running and how long you’ve been in the game?
I’ve been djing in clubs for about 6 years now and started playing with decks about 8 years ago. BBB has been running for two years now, as one off parties, but as a monthly night for 8 months, its a haven for people who r fed up with the same old shit, we like to PARTY and aim to make u shake yourself stupid, to the sickest tunes and almighty vocal dynamics of Mama and MC Chickaboo.
What were some of your earlier influences to inspire you into electronic music?
The first electronic music that i heard were things like On A Ragga Tip by Sl2 and tracks from Shut Up And Dance, rave tunes that had crossed over into the mainstream and were heard by 10 year old ears like mine! Next came jungle when i was 13 and i was just hooked, locked onto pirate radio stations in my area and going to underage raves.
In particular it’s interesting to watch this “genre” Bass and Heavy Bass start to take form. From Trouble & Bass in NYC to the work Starkey and Dev79 are doing with Street Bass in Philadelphia and the Tomb Crew in London and then obviously you, there seems to be this musical obsession with whatever Bass means to each of you. I’ve heard even that Bastard Bass is becoming a somewhat of a genre in your town!Therefore, what does Bass do for you? And why do you think it’s important to emphasize the bass heaviness? What genres does this term cover?
People started referring to my sets as Batty Bass , as the type of music i play is hard to describe as a whole genre, even through it sounds as if its part of the same genre, whether its a house, breaks or dubstep tune, there’s an element in it that i pick out that makes it flow. Obviously the name comes from the night. For me, bass makes the warmth/aggression and the sex appeal of a record, when u hear a great bassline it makes u feel dirty on the dancefloor , as it taps into your soul! If a track makes me screw my face up like ive smelt something bad , ill play it! Bass is the meat of a record for me, but it doesnt have to dominate and be obvious, artists from Martin Landsky and Jamie Jones, who’s bass has roots in detroit techno to Mark Romboy and Oliver Hunnetmann who sounds are electro/tech through to house from Oliver $, Afrojack, Bart B More, Bass Kleph, breaks from peeps like Bassbin twins and Diverted, who’s bass is the dirtiest you ever heard, to some dubstep artists like from Caspa and Woogie, and lil jungle from peeps such as Omni Trio. I guess for me it steams from what i grew up with , its deep inside my soul! At Batty BAss I play a 5 hr set, and go across the spektrum from new york garage, to tech house, to a lil bmore, balie funk, to house , techno , garage, dubstep and jungle and blend it so it flows as its own sound.
Also this brings to mind the influence of UK dance music on American dance music. Most everything I play or hear in the club these days is from across the pond! Now of course Baltimore Club and Chicago House has been crucial in this exchange between the States and the UK, but do you think there is something special in the water over there?
The UK has a huge legacy of dance music and no matter what it will continue, people are so passionate about it. From, grime, to fidget , to dubstep, it all comes out of need to express through the dancefloor and a deep love of raving.
Pic by Alex Noble
I just mentioned some different artists working in this ambiguous “Bass” genre. Who are some artists you’re looking forward to in 2009? Anybody specific to the States? (Canada is obviously doing some big things too).
The artists i am keeping my eyes on are : Solo(UK), who is my studio engineer, he has some BIG tunes coming that will blow you away. From Canada i am loving the huge talent of Woogie, who will be releasing one of his genre crunching tunes on Batty Bass Records next year. I think we have only seen the tip of the iceberg from people like Oliver $ , Duke Dumont , Jamie Jones and Worthy and whatever Dirtybird release!
How about new sound developments? Are you feeling anything up and coming from different parts of the world or even within the UK? I know I see Ragga continuing to play a more and more important role in bass music, especially with Machines Don’t Care and the work Toddla T is doing. Are hoping anything new will catch on soon?
Ragga has ALWAYS been a huge role in bass music. Ragga , dub, reggae is the reason bass music exists, every so often producers go back to using those style of vocals. Dubstep is a genre which i can feel being mutated and forming new styles. the dubstep community are pretty purist, but i think the music’s influence will spark some interesting new ideas, I am always looking to it when im in the studio. In terms of new sounds, im hearing a lot of african and gypsey sounds in new house music, very percussive and moving away from huge bass. We’ve had things like fidget and dubstep break the mould, I feel we are having the quiet before the storm, its bubbling, its coming, something brand new….
What are some of your hopes with Bastard Batty Bass? Trouble & Bass seems to be creating a great relationship with the Nightslugs party. Do you have any similar desires to bring your party to the States in a bigger way?
You people better watch out over there, the BAtty Bass Bitches are coming for you next year. We are planning to tour the soundsystem, myself , Mama and MC Chickaboo, we will burn any house down with our furious show!
What projects can we look forward to from you in 2009?
We are just getting Batty Bass Records off the ground, so watch out for the infiltration of batty next year! 2008 is the first year i have had tunes released, so expect a whole lot more productions.
Do you have any greater production aspirations? Your work with Mama Shamone has been really interesting and great. I know I’d love to see the return of the diva in the club scene.
Thanks, i hope to do an album with her sometime in the future, as far as diva’s go, she’s the bastard love child of Ol Dirty Bastard and Grace Jones! I will be working on more solo stuff like my release on Playtime, which have a deeper techier edge for late night skankin.
Lastly, do you have any wise words for those of us out there starting parties in our cities, pushing labels, production or a new sound?
Work you ass off!!!! This game aint for slackers, you got to push all the time but in the right way, dont overload people with stuff. You have to make your art stand out from the rest, whether its a party, label, tune or sound, make it yours , unique and true to your heart, then people will feel its the real deal.
And out of curiosity, how do you perceive the battyness of our current political climate!? And do you have couches prepared for your American friends when John McCain dies from a plastic surgery misshap and Sarah Palin becomes President of the United States?
We are all praying for you, brothers and sisters ;) x
Hannah Holland forthcoming releases “Shake It UP” ft. Mama (Batty Bass Records) out Novemeber. “Banshee” (PLaytime Records) out November. “Crying Blood” - V V Brown Hannah Holland remix out now.
1. Kaskazi - Jamie Jones and Simon Baker
2. Easy Legs - Oliver $ rmx
3. The Big Stef - Solo
4. Shake It Up (The Reshake) - Hannah Holland
5. Punks - Juju
6. Depth Charge - Woogie
7. Diesel Not Petrol - Sukh knight
We’re reaching a point in the history of blog house where blog house is actually old enough to have a history. There was a time when new acts popped up 20x’s a day and sorting through the piles of electro crap to find that one gem and post it, only to see the maker of said gem fade back into obscurity. The ones that managed to hang on and keep making good music are now really showing their true colors. One of the prime examples of such success is our oft posted about Designer Drugs.
They used to be just another guitar/distorted electro duo among the many, but over the last couple of months we’ve seen their own unique sound grow and form. The running theme seems to be walking basslines, a favorite technique of mine, added to blisteringly hard, undead electro. The final product has that edge that the electro heads still crave while having the the funkiness that seems to regaining popularity on the dancefloor (especially with the infiltration of garage/bassline influences creeping into the most popular bangers). Designer Drugs has done their best work yet with “Zombies!” due on iheartcomix any minute now, but in an effort to destroy their profit margin, here it is for free. So, when you see Frankie Chan on the streets of LA, be sure to flip him an extra penny or two for this one.
One of my favorite electronic duo’s, The Presets, continue to deservedly SLAY and solidify their standing as a musical force to be reckoned with. Yesterday, they cleaned up at the Australian Aria Awards. Recently out with Cut Copy, The Presets will be touring North America again this March. If you’ve not had the pleasure of seeing them perform live yet, (and you live in NA), catching the show is a must. They are not to be missed, as they deliver an infectious performance that has the entire crowd on their feet and dancing. You’ll have a hard time denying The Presets, and you’re destined to become an instant fan, if not one already!
Aria official release:
Electronic duo THE PRESETS has also had a cracking year with the release of their widely acclaimed second album Apocalypso. They fought off stiff competition in the prestigious categories of ALBUM OF THE YEAR and BEST GROUP to take out both for the hugely popular Apocalypso. The album has also seen THE PRESETS receive the pointy trophy in the category of BEST DANCE RELEASE taking their tally to three ARIA Awards, plus 2 ARIA Artisan Awards, including PRODUCER OF THE YEAR for Julian Hamilton and Kim Moyes. The self-produced Apocalypso, which spawned the gritty hit single “My People”, has sealed THE PRESETS as Australia’s premiere electronic act.
Summer is officially gone, I can kiss the days of tank tops goodbye. Chilling long winter days are ahead. I absolutely hate the cold season, but I can’t stop thinking about Canada and how much I miss lovely Montreal where it is even colder! Although chilly up North, our Canadian friends keep making some hot beats that generate some serious heat!!!
‘B4U’ is the first single off the tentatively titled “He closed his eyes . . . so he could dance with you” album by vitaminsforyou. And dance you shall. The remixes that come along with ‘B4U’, by Stop Die Resuscitate (who say ‘B4U’ has a hidden wink to Toronto), Jokers of the Scene, TMDP, NROTB, Bit Funk, Paul Keeley and the lone non-Canadian, Luis Flores, have more than enough energy to ignite any party. Each remix is a new experience, injected with elements characteristic by each artist, all of which will be magnetic to your body and lead you directly to the dance floor! Listen to each one and play them loud!
The new vitaminsforyou will be arriving soonish on Sfeericle Records, but in the meantime, have a listen to SDR’s ‘Stop Die Ride the Rocket Remix’ and NROTB’s remix below! Get your fill of ‘B4U’, and all the remixes, available for download on thebluehouse.org.
And to those in the lovely city of New York City, Stop Die Resuscitate are playing their first ever show tonight, October 17th in Bushwick-Brooklyn at Vanishing Point Studios, 240 Meserole Ave. BE SURE TO CHECK THEM OUT!!!!!!
Milwaukee’s greatest thing since beer, cheese, and sausage is production duo, The Glamour. Comprised of strawberry stud Asher Roth and handsome hearthrob Richard Gray. The Glamour takes a bit of french touch, LA Electro, and midwestern party rap and mix them together for some good clean fun. Always pleasing their audiences with genre bending dj sets full of energy and presence. They are also some of the nicest and most hospitable dudes around. They got the attention of Urb magazine, who named them one of the next 100 and also IHEARTCOMIX put one of their songs on the nationally distributed Scion mixtape.
It was only matter of time for a group of their caliber, with their looks, talent and positive attitude that they would get scooped up by a record label and release there tunes “officially”. And what a label to be on, turns out the boys were signed to Calamity Jane.
Calamity Jane Recordings, is Strictly Rhythm’s newest imprint. Run by Scott Richmond and Dani Deahl, the label works in an interesting way where they find new artists and pair them with world-renowned remixers, and represent them with some of the most respected names in house music.
And on “Fly by Night” the label achieves exactly what they envision. The Glamour has 2 original tracks followed by remixes from The House Moguls, Tommie Sunshine, and Hatiras. The record is definitely a must have for both young and old.
Check out the sample that the record label provided and purchase this record HERE.
Let’s get MADDDDD! The Mad Decent Fall Tour has finally arrived, kicking off tomorrow October 16 at Webster Hall in New York City!! DIPLO, Boy 8-Bit, Abe Vigoda, Telepathe, and special guests will be on hand playing a smashing array of tunes fit for all!
There is a lot about Mad Decent that we love and because we want to share that with everyone, Trash Menagerie is giving away 2 FREE GUEST LIST SPOTS (each spot gets a +1 for your best mate!) for the CHICAGO show on Thursday, October 23 at The Abbey!!!!
For a chance to win, all you have to do is answer the following questions, which has to do with one of the reasons why we’re so keen on the Mad Decent movement! The first two people to send in the correct answer to: partypeople@trashmenagerie.com, will win! In the subject line, write MAD DECENT TOUR - CHICAGO. We will notify the winners via email.
Our questions to you – What is Diplo’s non-profit side project called and what was the first single from this project?
** Congrats to the 2 winners that have given us the answers to our questions. The answers are HEAPS DECENT, an artist development program for young indigenous and underprivileged musicians, started by Diplo, Andrew Levins and Nina Agzarian, to help indigenous communities. And the first single to come from Heaps Decent is “SMASH A KANGAROO“! Learn more about Heaps Decent on Throw Shapes and an earlier article on Pitchfork!
Here is a taste of what’s to come on tour from the striking Brooklyn pair known as Telepathe, who have just released their latest EP ‘Chrome’s On It‘, the 14th of October on IAMSOUND. The 7 track 12″ features remixes by Mad Decent, The Mae Shi, Frankmusik, Free Blood and Bobby Evans!
MAD DECENT TOUR DATES
10-16 New York, NY - Webster Hall
10-17 Cambridge, MA - Middle East (Downstairs)
10-18 Montreal, Quebec - Cabaret Musée Juste Pour Rire
10-20 Ottawa, Ontario - Babylon
10-21 Toronto, Ontario - Circa Nightclub
10-22 Detroit, MI - Magic Stick
10-23 Chicago, IL - The Abbey
10-24 Minneapolis, MN - First Avenue
10-25 Lawrence, KS - The Granada Theatre
10-27 Denver, CO - Cervantes Masterpiece Ballroom
10-28 Salt Lake City, UT - Kilby Court
10-30 Vancouver, British Columbia - Richard’s on Richards
10-31 Seattle, WA - Nectar Lounge
11-01 Portland, OR - Hawthorne Theater
11-03 San Francisco, CA - Great American Music Hall
11-04 Los Angeles, CA - Echoplex
11-05 Phoenix, AZ - The Brickhouse
11-07 Austin, TX - Emo’s
11-08 Dallas, TX - Palladium Ballroom
11-10 Atlanta, GA - Masquerade
11-11 Carrboro, NC - Cat’s Cradle
11-12 Washington, DC - Black Cat *
11-13 Baltimore, MD - Sonar
11-14 Philadelphia, PA - Starlight Ballroom
“…I guess music is more about making decisions than having skills. We are not great musicians. We are not great producers. We are not great songwriters. We are just nothing, but we have clear ideas of what we want to do, and even more what we don’t want to do.” – JUSTICE
Extraordinary things always happen when unexpected. French duo Justice spent 18 months touring following the release of their debut LP “CROSS“, and for the last 3 weeks of the tour, a film crew traveled with them 24-7, capturing those moments no one will believe or get the essence of, if you told them about it, unless they were there.
As Justice were about to embark on their second tour of the US, they enlisted multi-award winning directors and intimate friends, Romain Gavras (”Stress” director) and So Me (”D.A.N.C.E.”, “DVNO”) and taped every second of the 3 week tour. The documentary is about life on the road, the real deal, and about the extraordinary and unexpected things that can happen along the way.
“A Cross the Universe” live CD + DVD drops December 9th on Atlantic Records and will include recordings of Justice’s signature headbanging live sets along with show footage and various hijinks captured as the band toured the US in March 2008.
Justice Tour Dates:
10/28/08 - MONTREAL, QC - METROPOLIS
10/29/08 - TORONTO, ON - CIRCA
10/30/08 - NEW YORK, NY - WEBSTER HALL
10/31/08 - LOS ANGELES, CA - HARD FESTIVAL
Confirmed Screenings:
10/30/08 - NEW YORK, NY - IFC CENTER @ 7PM
Additional screenings of the film will be held in each city around the DJ sets late October.
On the horizon, Justice & So Me land in Chicago for New Year’s Eve 09 . . .
Tickets for Beautiful Losers premiere here.
Tickets for after party here.
As mentioned, one of the artists involved in the London Film Festival screening of Beautiful Losers, is Nosaj Thing - the moniker of L.A.-based producer Jason Chung. Producing since the age of 13, he got his start working off a “hand me down” archaic PC, that struggled even with word documents. With a “donated” copy of Reason, a demo version of Ableton Live and a computer mouse (he couldn’t afford a MIDI controller), Nosaj Thing began making music.
Proving, when your focus is strong, all you really need is a machine that works.
Now 22, Nosaj Thing creates beat driven, experimental electronic music, and has received Artist-to-Watch accolades from XLR8R, remixed Daedelus and Elliot Lipp, won Plastic Little/Turntable Lab’s remix contest featuring MF Doom, and won L.A.’s prestigious Project Blowed beat battle.
Comparisons run along with Ratatat, DJ Shadow, and Boards of Canada. A survey of his record collection will turn up pieces from Aphex Twin, Stereolab, Radiohead, Daft Punk and Eric Satie. Nosaj Thing has been kind enough to share some music with us. Check out the tracks below. They are masterly crafted, intricate layers, of gritty, yet warm beats, beautiful synths, techy tweaks . . . i’ll go as far as saying they are down right sexy. Nosaj Thing is without a doubt, one to keep your eyes and ears on!
Nosaj Thing’s self-released EP, “Views / Octopus,” is now available on iTunes.
Swiss duo Division Kent have been remixed quite a few times by now. And every time I hear a new remix done by a rising blog-sensation, I fall in love a little more with these electro-rockers from Zurich, even though I am not familiar with most of their original work at all. But only a good song makes for a good remix, right? (Apparently there will also be remixes by GRUM - who has just played in Switzerland - and p e a c e fire in the not too distant future.)
So this time it is Melnyk from London doing his magic. This guy - originally from Canada - has just released his second album called “Revolutions“. His work with Louie Austen from Austria culminated in chart entries across Europe. Melnyk has also remixed the Pet Shop Boys’ “I’m “With Stupid“. Now he’s giving “In The Headlights” the italo-treatment. The remix isn’t exactly what you would call a beast, Melnyk picks up the song’s dark disco vibes that remind me of the Chromatics but which are less organic and sound more electronic. About 6 minutes into the remix there is a break and a build up that ends in a tremolo leading into the last part of the track with so much exigence that you just have to turn your sound system up! Seriously, this is good stuff.
Besides this awesome remix, we give you Melnyk’s original “We Run“, also premiering on Trash Menagerie.
