Big Up Four by Big Up Magazine

Issue 4, SUMMER 2009 $6.99 USD

MALA // FLYING LOTUS // ADRIAN SHERWOOD // RUSKO // MODERAT // CYRUS // WARRIOR QUEEN ANTI SOCIAL ENTERTAINMENT // MURO // HELLOVON // ELSE // NEIL DUERDEN // MRGO // CHRIS EDE

THE 2009 xD Be your own role model. With over 150 accessories to choose from, it's easy to get your xD to the front of the pack. 1

Vehicles shown are special project cars, modified with non-Genuine Scion parts and accessories. Modification with these non-Genuine Scion parts or accessories will void the Scion warranty, may negatively impact vehicle performance & safety, and may not be street legal. For more information, call 866-70-SCION (866-707-2466) or visit Scion.com. ÂŠ 2009 Scion, a marque of Toyota Motor Sales, U.S.A., Inc. All rights reserved. Scion, the Scion logo, and xD are trademarks of Toyota Motor Corporation.

BIG UP PEOPLE

Contributing writers and editors: Julian Ahmed, Kush Aurora, Ric Baker, Christine Clements, John Dawson, Lud Dub, Ryan Gilbert, Crystal Guerrero, Katya Guseva, Michael Hodder, Alex Incyde, Noele Lusano, Tomas Palermo, Jason Suave, Sam Supa, Josephine Tempongko, Jasmin Tokatlian, Donnie Valdez, Geoff Welliwer, Yuan Zhou Photographers and illustartors: ArrowOne, Ashes 57, Georgina Cook, Megan Cullen, Dettography, Melissa Hostetler, Rebekka Guðleifsdóttir, Rita Lux, Droid Media, Muro, Ally Pally, Seckle, Ashley Teylor, Wataru Umeda, Dan Wilton

SPECIAL THANKS

BIG UP FOUR Kush Arora, El-b, Desto, Lud Dub, Dean Grenier, Sukh Knight, Kutz, Miro and Sam Supa at Surefire, Selector Moldy, Muro at murocracia.com, Darren Riley at ClickforArt.com, Lorin Stoll, Jasmin Tokatlian, Donnie Valdez, Miguel Vega at Accent and Anna Wachter

A graduate of Berkeley’s Ethnomusicology department with a severe case of OCD when it comes to grammar and sentence structure, Jasmin Tokatlian a fi murder any tinpan article ‘fore come to print... seen?

Donnie Valdez is a mediocre musician, skateboarder, and web developer. When it comes to making a cup of coffee, watch out. He has also spent countless hours breaking and fixing the Big Up website.

Sam Supa lives in the SF Bay Area and spends his time with music writing and the promotion of bass all over the States, repping Surefire, Brap Dem and Grime City. Check out his upcoming new record label Brap Dem Recordings.

Ivy Something handles the Marketing and Publicity for Smog Sessions and the record label. Outside of Smog, Ivy manages the Los Angeles-based illustrator/artist Rita Lichtwardt, aka Rita Lux, who drew the above portrait of Ivy.

Lud Dub is an analog guy stuck in a digital world. When he’s not procrastinating his next mix tape, he’s either trying to make sense of 1’s & 0’s or found behind the 1’s & 2’s.

Ryan Gilbert is a musician, producer, and sound designer. Recording as Comma and ½ of Slidecamp, he is currently finishing releases for Semisexual and n5MD. When he’s not in the lab, he enjoys riding his bike around the city and staying well caffeinated.

Emcee Child, a British ex-pat, has been burning mics and cracking jokes in the USA since 2000; performing with top-billing artists in dnb, dubstep, and hip-hop. His code of niceness and stupidity ensures good times without taking it all too seriously.

Yuan Zhou is a Chinese-born SF-based graphic designer and a professional cellist in the past. She loves beach and seafood and is interested in Clint Eastwood films, big crowds, and YouTube massage videos.

Josephine Tempongko (Pandai’a) has been reincarnated twice before, once as a common bar stool. When she’s not totally high-fiving Obama ‘just ‘cause’ or having burping contests with Jesus she’s kicking records in the butt around the US and as resident DJ for BASSIC in Boston, MA.

Tomas formerly edited at XLR8R magazine before going freelance and contributing to SF Bay Guardian, WireTap.org, Earplug, Riddim and more. He currently runs Voltage Music label, DJs and does music consulting.

Alex Incyde is a music-lover based in NYC. He is a resident DJ at Dub War and co-runs the Hotflush imprint. Alex spends A LOT of time on the internet.

Ric Baker is an SF-via-Boston based musician, producer, writer, and abstract adventurer. Ric writes about underground sublow music and the artists that make it.

Noele Lusano is an SF-based photographer, wordthief and sea enthusiast. Likes sonic hauntology, soiled white shoes, the Skull Disco catalogue, Tarkovsky, probably together.

ADVERTISING OPPORTUNITIES: marketing@thebigupmagazine.com ART SUBMISSIONS: art@thebigupmagazine.com

Christine lives in San Diego and enjoys long walks on the beach, eating plants, and sleeping in her spare time. Occasionally she writes music too.

John Dawson, aka DJ Fidelity is a UK-based experimental DJ and producer with a deep founded respect and appreciation for good music.

Kush Arora was born and raised in the Bay Area on a nice diet of underground music and culture. His production and tastes are that of culture, experiments in sound, and simple good fun.

WRITING CONTRIBUTONS: katya@thebigupmagazine.com MUSIC REVIEWS: reviews@thebigupmagazine.com

Julian Ahmed and Geoff Welliver are two-thirds of Blackheart (Bassism, Full Melt, Red Line). They are looking for CHECKITNICE, all caps.

TO JOIN STREET TEAM: streetteam@thebigupmagazine.com GENERAL INQUIRIES: bigup@thebigupmagazine.com

Crystal Guerrero - future attorney at law, advocate, and DJ for Redline SF by way of So Cal. She loves eyeliner, bamboo, cortez, and aqua-net.

JSuave writes tunes for the dancefloor and articles for big up. Look for his dubs in a bass bin near you!

The advertising, features, and reviews appearing within this publication reflect the opinions of the respective contributors, and not necessarily those of the publisher or its affiliates. All rights to art, writing, photos, design, and/or likeness and copyrights are property of respective owners, and no assumption of ownership is made by this publication or the publishers. The publisher will be glad to correct any mistakes or omissions in our next issue. The content may not be reproduced in part or in whole without written permission from Big Up Magazine and the respective contributors. ©2009. Big Up Magazine.

Big Up Magazine, PO Box 194803, San Francisco, CA 94119, USA

6 - HELLOVON

46 - ELSE MSK ICR

There is never one thing guaranteed to produce instant inspiration but a cup of tea is always a pretty good start.

I went to five different prisons. In my first term I joined a prison gang, because that’s what I knew and liked and could strive and excel in.

12 - MALA

52 - ADRIAN SHERWOOD

I have naturally continued to do music for years, because it is naturally what I do. I’m not trying to become anything. This is just what I do.

Some of the artist I’ve worked with didn’t sell millions of records, but it brought loads of pleasure to me and my fans, and that’s what it is really about.

18 - NEIL DUERDEN

56 - MURO

I can’t think of anything worse than ideas not coming straight to you, and having to stress yourself out coming up with a solution.

Graffiti artists are like dogs: they mark their territory.

24 - FLYING LOTUS

62 - CYRUS

When you see the other side, when you go to the other side, you realize that the music here is wack.

Sometimes I decide to write a jump-up tune, I do it, but then it’s not really doing it for me.

30 - MRGO

66 - CHRIS EDE

I’m a big fan of the hand drawn elements in art. Too much computer generated stuff gets a bit dull.

Art controls my thoughts all the time and becomes an obsession. I find it hard to switch off.

36 - RUSKO

72 - MODERAT

I order the free whisky, sit back, smoke my inhaler and it’s nice! I think maybe I’ve already gone crazy.

When we are on stage, we are more in the shadow. The focus is on the visuals, and we, as people, are not important.

40 - WARRIOR QUEEN

76 - ANTI SOCIAL ENTERTAINMENT

My point is that nothing can stop us from dancing and enjoying ourselves.

Cover Artist www.murocracia.com

My vision of the future for us is that we will all be individual pillars in music, while keeping the sound together. 3

STORE FRONT ARKITIP OBEY ISSUE

To celebrate 20 Years of Shepard Fairey’s seminal Obey campaign, Arkitip dedicates their issue 51 to Shepard, featuring current exclusive content from his indoor and outdoor work for the Boston ICA, a large selection of his newest fine art, an extensive interview with Shepard by Simon Steinhardt and a great essay by ICA curator Pedro Alonzo. Beautifully designed and packaged 96 pages plus stencil cover, magazine comes with one Shepard Fairey 7.5” x 10” silk screen print. It also features photographs by our dear friend Ashes 57. The run is limited to only 5000 copies. Price: $70 www.arkitip.com

BLUETRACK MOUSE

When on the move, a mobile mouse often needs to perform in less-thanhospitable circumstances and on surfaces other than a mousepad. The light beam on a BlueTrack mouse uses a wider, more uniform beam and improves on the contrasting mechanism of previous mice. It can work on any surface that isn’t mirrored or transparent, including carpets and granite countertops. This way, it performs just as reliably on an office mousepad or a Greyhound bus seat. Available this August it is sure to make your travelling life easier. Price: $40-$50 www.microsoft.com

SKATE TASTY PURPLE

Hand-made designs on a blank skateboard decks by Maxime Archambault a.k.a. S.3 are made with spray can, stencil and permanent ink. Skate it or hang it up on your wall as an art object. Either way it’s cool. And purple! Price: $100 www.s3projects.com

PAINT BUCKET TEE

Specially designed for the Imaginary Foundation, the exterior of this shirt is made of polyester while the interior is cotton. The combo not only makes for a comfortable fit, but enables the printing of the crystalclear image on the outside. Price: $45 www.imaginaryfoundation.com

KODE9’s “SONIC WARFARE”

Steve “Kode9” Goodman, one of the most renowned people in sub-bass driven music, has not only been running his label Hyperdub, producing and deejaying, but also working on his book “Sonic Warfare: Sound, Affect, and the Ecology of Fear,” which is due for release in December this year. “Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread ‒ to produce a bad vibe. [...] artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In “Sonic Warfare,” Steve Goodman explores these uses of acoustic force and how they affect populations. Most theoretical discussions of sound and music cultures in relationship to power, Goodman argues, have a missing dimension: the politics of frequency...” Not to be overlooked. Price: $35 www.mitpress.mit.edu

DUB ECHOES DVD

Dub Echoes (out now on Soul Jazz Records) filmed, produced and directed by Bruno Natal over a three-year period is a documentary that traces the origins of the Jamaican dub music and its influence on the development of hip hop and electronic music. It features an incredible array of artists, both original Jamaica’s U Roy, King Jammy, Lee Perry, Sly Dunbar, Bunny Lee... alongside a similarly awe-inspiring list of artists who have been taking dub into new directions in electronic dance music – Kode9, Roots Manuva, Howie B, Adrian Sherwood and many more. This award-winning documentary is essential for anyone who’s following the bass lines. Price: $16 www.dubechoes.com

WARP20

To commemorate their 20th anniversary, Warp Records are releasing a deluxe special-edition of music and art Warp20. The package features new songs, older previously unreleased material from Warp artists, tracks selected as some of his personal favorites by cofounder Steve Beckett and the top ten pieces voted for by Warp fans. It also includes a beautifully produced book showcasing the label’s rich design history, along with an exclusive hour-long mix and a locked-groove vinyl set. Wow, that’s a lot! Limited edition is available for preorder through bleep.net 5

VON Exquisite, patiently crafted illustrations, both powerfully energetic yet gently quiet, are instantly recognizable: they are made by Von, a London-based illustrator and the founder of HelloVon studio. Influenced by nature and popular culture, Von creates highly detailed and abstract images, which never lose their appeal. An abundance of empty space in Von’s work stresses the importance of its substance, and hits the viewer precisely at the spot where it’s intended. No wonder his work has been demanded by clients like Nike, Esquire, 4AD, Wallpaper, The New York Times, and American Express. This extremely talented artist, working mostly in a traditional hand drawn manner – a rarity these days – managed to take his time between launching a new website and running a few exhibitions to answer some of our questions. 6

interview by Yuan Zhou

How and when did you start your art life? I suspect my story is pretty much the same as many in the industry. Drawing and painting has been my one constant favorite thing to do since I was a child. After university I carried on trying to find my feet creatively whilst working a normal job before getting in to a small design studio as a junior designer. It was there that I picked up on how to and not to do a lot of things which provided a firm apprenticeship in the day-to-day running of a small creative business. After around a year I left there and I set up studio HelloVon at the start of 2006 and took it from there. Managing your own career from promotion and finances to actually getting the work done is always going to be a huge learning curve but I’ve been lucky enough to manage ok so far. Has your style changed since you first started? It is inevitable that the way I work has changed in some ways. It has to. However, the root essence of the work I’m putting out at the moment can still be seen in the work I did in 2006. People call you a designer more often then calling you an illustrator. Why? I couldn’t tell you, haha. I’m sure a lot of designers would have something to say about that. 8

Your work is very diverse −illustration to painting to typography; black and white to color. Which format do you prefer the most?

motivation. Exhibitions can be really effective, but the best and cheapest is the most obvious: the internet. A strong web presence can take your work a lot of places.

I enjoy all aspects, and there are still other things I would like to try out. I’d like to further explore typographic routes within my work, but no matter what the output is, the same foundation is there, the same aesthetic exploration and construction. I see it all as one really, and couldn’t pick one over the other. Hopefully, the visual thread I try to achieve, that ties it all together, is visible.

When I was a kid I wanted to be a stuntman, but in hindsight, I don’t think I’d last five minutes.

What was your worst freelancing experience? How did you handle it? With being freelance comes a fluctuating salary and the occasional job, where you don’t get paid on time for whatever reason. Chasing payments isn’t the nicest experience, but unfortunately comes with the job. As long as you’re smart with money that shouldn’t prove too much of a problem. Do you do self-promotional work? In the three years I’ve been freelance running HelloVon I’ve only ever had one promotional mailer made. Of course promotion is vital for any business and the same goes for illustration ‒ especially as the market is so saturated with artists. There’s a myriad of ways in which you can go about it ‒ a lot of them effective and free ‒ if you just have a bit of imagination and

The objects from your illustrations look realistic and very surreal at the same time. Do you draw from photos? For a lot of commercial work I am supplied with reference photography to work from. Otherwise, it’s a mixture of my own photography, found imagery, imagination,etc. What would you do if you were not a designer or illustrator? I have no idea! It would have to be something creative. I’m sure if my job wasn’t what it is, I’d spend all my free time drawing and trying to make it my career ‒ much like I did before setting up studio three years ago. When I was a kid I wanted to be a stuntman, but in hindsight, I don’t think I’d last five minutes. What kind of environment do you work in? I have a studio in East London.

There is never one thing guaranteed to produce instant inspiration but a cup of tea is always a pretty good start.

What mood are you usually in when you work? Happy, relaxed and every now and again under pressure.

project. Always thinking two projects ahead is just what comes with doing something you love for a career. The line between work and play is very blurred sometimes.

What is your creative process?

What elements stimulate your artistic creativity?

85% hand drawn or painted, 15% digital.

It can be anything ‒ it could be something my Mum said to me on the phone, looking at a poster in the street the wrong way, old literature and annuals. There is never one thing guaranteed to produce instant inspiration but a cup of tea is always a pretty good start.

What do you like to do when not working? The same as anyone really ‒ go out, go to gigs, hang out with friends, have fun, go on holiday. Having exhibitions can sometimes take you on holiday too, which is great. Having said that, because what I do for a job is also what I love doing, I can spend a lot of time when not working on commercial things, working on the next personal

Do you prefer doing noncommercial or commercial design? It’s a symbiotic relationship to a great extent. The flexibility and free reign allowed in the

non-commercial work allows for development that commissioned work wouldn’t. This can then seep back into commercial work in the same way and vice versa. I’m often commissioned off the back of personal stuff as much as I am off other jobs from my folio. Gallery work also gives me the break I need from commercial work and vice versa. I can work on job after job for a while, but then ideas about work I want to do for shows, or simply just need to get out of my system, build up gradually and I have to get something done. At the moment I couldn’t be purely commercial nor purely fine art. The focus shared between the two is shifting but they will both be playing their roles for the foreseeable future. I love them both.

Have you worked at non-artrelated jobs? I was an ice-cream man for a while. What have you been working on lately? A very recent job I did for the Italian fashion house Trussardi 1911 has just materialized on the catwalks of Milan Fashion Week in Trussardi’s men’s A/W 2009 collection. I recently worked with the UK retailer Liberty for their March relaunch. I have also begun working on a few exhibitions I have coming up, in particular an installation at the newly opened Electric Blue Gallery in London in April and a solo show at the Cerasoli Gallery in LA in September. What music are you into lately? Hmmm. I’ve been listening to a lot of old Motown over the last few months. I’ve started slowly collecting the Complete Motown Singles volumes. There is just some incredible stuff to be found! For more on Von, go to www.hellovon.com 9

MALA

DIGITAL MYSTIKZ

photo by Droidmedia.com

The mind behind DMZ, DEEP MEDi and the famous Anti War Dub, Mala – one half of Digital Mystikz – is responsible for the most influential night, label, and sound in the music, now called dubstep. Spreading his vibes worldwide and expanding thousands of minds through mastering low frequencies, Mala allows his audience to “meditate on bass weight“. A true visionary of the dark and heavy sublow sound, Mala speaks softly, but cuts straight to the spiritual core of the bass music.

interview by Katya Guseva

Where and when did it all start for you? I guess, I could answer that in a couple of different ways. For me, it all really started when for Christmas of 1992 I was given my first hi-fi stereo. When I tuned it in, I came across some pirate radio stations. I heard the music, and I couldn’t explain what was going on. I was just totally overcome by feelings. From that moment on, music has always fascinated me. And that’s how it really started ‒ swapping mixtapes, getting in trouble for listening to my Walkman at school... (at that time I was listening to hardcore and jungle). That’s when I found that music was something that I wanted to be involved in. I started going to some under-18 events, hearing the MC’s and realizing that’s what I wanted to do.

I have naturally continued to do music for years, because it is naturally what I do. I’m not trying to become anything. This is just what I do. I was also lucky at a young age to play with some quite well-known jungle DJ’s. Kenny Ken was the first person I ever played for. I actually just asked him if I can play for him. And he goes, “Are you any good?” And I was like, “Yea!” (You know, a cocky little 14-year-old thing...) And he goes, “Alright then!” And he just allowed me to do it and let me express myself... I always remember I asked him a question: “How do you do what you do?” And he said, “If your heart’s in it, keep going for it. Somewhere along the line there will be an opportunity for you.” His words always resonated with me, and I have naturally continued to do music for years, because it is naturally what I do. I’m not trying to become anything. This is just what I do. So I think that’s when it already started for me. But if you’re talking about music production, that started probably around 1999, when me, and Coki would go to my friend’s Mandeep’s house on Friday night and would use his busted laptop and Fruity Loops to program and WaveLab to chop up breaks, trying to write ‘94 jungle again. We’d spend all night writing music. And since we couldn’t save anything, the only way for us to listen to it again was to record straight to tape. I used to do the same thing with mixing with my friend Tim. I remember getting his mom’s hi-fi speakers from downstairs, putting the

speakers facing each other and a dictaphone in the middle of it, and recording. This was when we were 13 or 14 years old. 1999 was when I really started writing music. And it wasn’t until 2002 when Coki and I decided to invest in some decent studio monitors. And that changed everything! We knew, since we were doing music all the time, we should invest in it, so at least we could hear what we do, properly. Once I got that clarity, I started to understand more about what I’m doing.

remember it being played at FWD>> for the first time... Ahhh, I’ll never forget it!!! The tune got pulled up, and I remember everyone started grabbing Loefah... We were young, everything was new for us, we were excited and almost giggly. We were like, “What is happening? This is not supposed to be happening to us!” We were just friends, making tunes in our bedrooms, and we didn’t think anyone would like it. We weren’t trying to make dance music...

What was your music like then? You know, a lot of music back then was like breakbeat, garage, drum and bass. But a lot of stuff at that time I wasn’t really feeling. Music seemed to be speeding up. What Coki and I were doing was stripping down everything, taking away everything. It was very simple music, and the progression was very subtle. It wasn’t like a big buildup and then a drop... Writing music was my meditation. It was always just about writing a beat. So how did you get your music out there? I went to a couple of FWD>>’s in 2003 and I noticed that a lot of music they played kind of fitted with what we did. Our music wasn’t garage, but it was a similar BPM. Hatcha was playing a lot of Benga, Skream, and Horsepower stuff, and it seemed like the music we had could fit in that place. We knew Hatcha from a long time, so Coki and I gave him a couple of tracks. And all of a sudden from Hatcha playing nothing by Digital Mystikz, it turned into half of his set being by Digital Mystikz. The reaction that the music got spoke for itself. And then, luckily, Hatcha, John [Big Apple], and Arthur [Artwork] took a risk and released our first record. I’m saying “risk,” because you know, I’m not going to mention the names, but I sent my music to a couple of people, but no one responded. And as soon as people heard it and started talking about it, then they wanted it. There are certain people that will always wait to invest in something that they know is safe, instead of taking the risk. That’s why I really admire and respect the Big Apple guys, because they took a risk and invested in what we were doing. They didn’t care if they were going to sell any records or not, but they believed in what we were doing and that’s why they released our first record. At that time Loefah was making tunes as well. I’ve known him since I was 15. He was more shy and reserved back then, so I literally had to drag him to Big Apple. He had this track called “Indian Dub,” and I

We were just friends, making tunes in our bedrooms, and we didn’t think anyone would like it. The first time my tune got played [“Pathways”], it got reloaded two or three times. The same happened to Coki. So it wasn’t a slow progression of writing tunes, getting feedback, and trying different directions... It was literally instant: we gave our tunes to a few people, the tunes got played, and we got instant reaction. All of a sudden Hatcha was playing Horsepower, Skream, Benga, Digital Mystikz and Loefah... and no one else. Unfortunately, Big Apple closed down, which in a really strange way was also a blessing, because that’s what really made us start our label DMZ, [with Loefah and Coki.] Wait, what happened to Mandeep? [Laughs] No one ever asked about Mandeep! I’m going to tell him about this! He’s one of my best friends, I’ve known him for years. He was studying towards a Master of Engineering. And he’s not building tunes anymore: he’s building houses. We like to write deep house music when we get together, once in a while. But he doesn’t write music, like I write music, like it became everything in my life. What did you go to school for? I’ve never been into academic stuff. I did alright at school, but I never liked doing it. I went to college for drama, because it allowed me to express something that was inside me, be many different things and experiment. A lot of acting schools in England try to mold youngsters into what they need to be to get a job. Like they need a certain diet, they need to look and act a certain way. But in the college I went to, they saw me for what I really was, and helped me develop. It was a really important part of my education, they allowed me to be creative which gave me this fire ‒ to be who I am. 13

And it’s very important. Because if you’re being pushed towards a certain direction, it might have a negative effect, ‘cause you will start rebelling against it, just for the sake of rebelling. And if you’re rebelling against nothing, then what’s the point? I feel very lucky, because my parents have always been very supportive of what I do. As long as I wasn’t being lazy, they allowed me to make my own decisions. They didn’t tell me to go to college or to university, even though they were unsure about my music. My dad actually turned up at the fourth DMZ birthday!

My morals, the things that I believe in, the things that I musically stand by − all these things dominate all my decisions. You mentioned that music has become everything in your life. Please elaborate on this. There’s no separation. Music isn’t just some thing on the side that I enjoy doing. Music isn’t just my job. My morals, the things that I believe in, the things that I musically stand by ‒ all these things dominate all my decisions. If I’m feeling in a certain mood it affects my music and vice versa. I struggled for years; when I used to work all my overtime money would go into music... What did you do? I’ve done lots of things... I used to work for telecommunications, I’ve done debt recovery, which was probably the most depressing job in my life. You gotta call up somebody and say, “You owe this company hundreds of pounds and you need to pay it now.” And the company sends letters with threats that someone is going to come to your house if you don’t pay the debt. It just totally started to change me as a person: I became angry and extremely miserable. But I had to do these things in order to buy my equipment, and just to have money to pay rent. You said your mood affects the music you are writing. Is it a direct relationship? It’s a difficult one to answer, because for me music is such an abstract thing... But the fact that I am in a good mood musically might translate into a dark track. So there isn’t necessarily any obvious relationship between my mood and my sound, but it’s always direct. 14

Music then was a constant release of all the negative energy that I was feeling. It was something that gave me so much light! If you look at the evolution of your music from when you started to where you are now, what was your favorite period? I think my favorite time, when I enjoyed music the most, was when I just started writing it for the first time. I was kind of depressed about things then. It was my early twenties and I guess that’s the time when you’re trying to establish yourself as a man in a society, because you’re no longer a kid, you’re not a teenager anymore. So apparently when you’re becoming a man, you have all these things: you gotta get a house, good job and a car. I was in London, struggling to get on my feet, get out of the house, plus I was doing these jobs I absolutely couldn’t stand... Music then was a constant release of all the negative energy that I was feeling. It was something that gave me so much light! When I first saw you play a show in San Francisco, you literally hypnotized the crowd of hundreds of people, beginning with the very first track, and made them go through a real meditative experience... How do you do that? Thanks for your kind words... I’m not sure what goes on when I play, but I guess like many things in my life, experiences are mostly unexpected. I guess it’s made up of a few different things... [long pause]... Alright. Someone is putting me on a plane, investing what they worked for, into bringing me to their city. Certain feelings come with it. I want to make sure that I play a show that people are going to enjoy, to some extent. But if I’m really honest with you, when it comes down to it, I can only do what I do. Someone came up to me in Sheffield once and said, “Have you got any Shabba Ranks?” [Laughs] So they were obviously not feeling what I was doing, and I obviously couldn’t help them out! When I play, I can only do what I do. I have the dubs in my box, which I brought with me. And I’m going to play them. I often find that too much thinking causes friction with what I feel. So when I am free from thought and free from plans I can then just be. Do you watch the crowd and feel what it needs at the moment, or is it a pre-planned trip that you set up for the audience?

I don’t plan my set. I generally know what my first one or two tracks will be, which I choose maybe 10 or 15 minutes before my set. Then I go from there. If I remember correctly, the show you saw in San Francisco, I started the set with Mark Pritchard’s track called “Question Mark” ‒ an ambient track with no beat. I was really lucky, ‘cause I was the only one to play that record, before it got released. I always try to start with a new track and end with a track that I want people to hear from start to finish. I used to start with Augusto Pablo’s tunes for about a year. He’s an amazing musician/dub artist who plays melodica. Amazing melodies! But now I feel very lucky to be in a position where I’m allowed to introduce people to the new music. Why am I going to play the same tunes over again? Even if it’s a big tune, all the DJ’s play it, which is fine, but I think it’s important to try and play something different to people. So I always try and do that... But you know, once somebody has an opinion about what you do, it makes you become self-conscious. I want the crowd to be pleased, so I want to make sure I play the tunes that want to be heard. But once it starts dominating you, you’re going downhill.

I feel very lucky to be in a position where I’m allowed to introduce people to the new music. Dubstep (or whatever this sound is called) was always about not caring what people say about it. From early days all these magazines (don’t think you’re included, but they know who they are) had nothing nice to say about it. If you have nothing nice to say, don’t say anything at all. And now all of a sudden I see the same faces and same magazines want to write about it, saying they supported it from day one. And it’s unfortunate that some people are fine with it, because they are getting some gain and publicity out of it. But not me, I remember. When you could have said something positive about it, you didn’t want to, so don’t come to me saying you’ve always supported it. I’m sure it happens in every genre, but I’m just not in it, and I’m happy to say I’m not in it. What is the main message of your music, if you have to sum it up in words? There’s no separation between what I’m trying to say and what it says. It is so abstract that I can’t put it into words. What I’m trying to communicate goes beyond words.

This is the reason why we hear more producers and DJs making and playing similar styles and sets, because they are scared to be different and scared to lose what they already have. It ultimately comes down to the person who is listening to interpret what they are listening to. photo by Rebekka Guðleifsdóttir

Because understanding words depends on our conditioning, upbringing, education, and our personal interpretation of a certain word. Sound bypasses all those barriers and limitations. There’s no room for the sound to be misunderstood. So whatever the sound says to you, that’s what it says. One of my favorite albums is 1996 by Ryuichi Sakamoto. I have no clue what he was thinking when he was writing these pieces of music. But what it does to me is different every time I listen to it. Even if it’s the same track. I may have some memories attached to a certain track, so when I hear that track it brings me back to that point...

There’s no room for the sound to be misunderstood. So whatever the sound says to you, that’s what it says. The closest I can get to translating what I’m trying to say is think for yourself and don’t follow anything literally. I think it’s too easy to pick up a newspaper or watch TV and believe every word. We are lazy and cannot be bothered to look into these things ourselves to form our own understanding. We take so many things on hearsay, on propaganda and what someone else wants us to believe. Be your own authority, but don’t think of yourself as an individual separate from the universe. Understand that we are all interdependent. I don’t like things to be forced or controlled, I like things to just take place. That’s why I’m not trying to describe what I do, because I don’t want to put anything in someone’s mind who might be from a totally

different way of living than I am. The reason why I didn’t listen to rock music when I was eight years old was because I saw these guys with long hair and guitars and I didn’t understand it. I didn’t like it just by looking at it. I wasn’t actually listening to it, but I had all these preconceptions in my mind about why I didn’t like it. That’s why I’ve always tried to be as minimal as possible in artwork, flyer designs, describing the releases. I don’t do any promo press sheets or ask for feedback. None of that matters. I just want the track to go out and that’s it. Do you do any promos for DEEP MEDi though? With the DEEP MEDi label it’s different from my own music. Now I sign other artists, and I think they actually deserve a chance to be supported. Silkie’s album is coming out. I think it’s amazing and I want it to do well for him. I don’t want the guys on the label go work at another job. And if I can do something to help them progress, I will try to push their sound forward. But not in a forceful way. I won’t try to sell it to people, but I’ll say, “This is what it is. This is how you can get it.” But I won’t say, “This track was played by this DJ or that DJ, in this radio show or at that dance... blah blah blah...” Who cares? To me it’s about why someone plays a record, not who or how famous they are. It ultimately comes down to the person who is listening to interpret what they are listening to. Trying to use names as a selling point makes me sick! I often get emails from people, “We recently sent you a promo CD, can you give us your feedback, so we can use it in our press release?” Not happening! How do you feel about dubstep becoming popular and almost turning into “mainstream” music? Does it take away from the maturity of the sound or how it used to sound? 15

photo by Wataru Umeda

I don’t feel because something grows into a bigger skin or becomes “mainstream” that it loses its maturity. There is definitely a different energy present when something is in its infancy, but all things change. There are plenty of artists who are massive worldwide who have still kept their integrity, morals and creativity. The fact that an artist has a bigger platform could or should mean that he or she can go deeper into their life and creativity, becoming more experimental and challenging. It would be nice to continue to introduce, share and educate listeners with something new. But unfortunately, the music industry seems to have a way of making some people rich, or famous, or lazy. Often it makes people all three. So what we see over time is more and more “safe” music getting made ‒ same old patterns and formulas that please the masses, but lack the original energy and creativity an artist once had. Something considered new and educating eventually gets attention and therefore starts to influence. What the dubstep genre has now is many people’s attention, so it begins to influence. We see the arrival of new producers and producers from other genres of music wanting to get involved. Either to cash in, or because they genuinely feel they need to contribute something. Which I think is great ‘cause music is influencing music. But unfortunately more often than not what is contributed are just imitations. Some are done well and others terribly, but either 16

way ‒ an imitation is an imitation. This is fine, please don’t get me wrong! We are all influenced by something. But many of the people “jumping on,” so to speak, hide truth and change facts, dressing it up, making all sorts of claims, saying how they are doing this “new shit,” saying they have “always been on it”... blah blah blah, without giving any acknowledgement to those who they are imitating! I think there is a difference in being influenced by something and making it your own, and just straight imitating. And I think deep down everyone knows.

DJ’s making and playing similar styles and sets, because they are scared to be different and scared to lose what they already have... Which is ironic, because it’s the exact opposite that brought this “scene” to the point it is at now. You see what I’m saying?...

I ask myself when it’s all going to end. All this madness and confusion, the killings, the wars, the conflicts of the obvious outwardly and the subtle inwardly...

Is there anything I didn’t ask you that you always ask yourself?

I guess that leads onto the ego, protecting itself and controlling things, whether one wants to admit it or not. For example, when a big tune gets rinsed by every DJ, playing at the same dance, on the same night. What’s that about? Ask yourself. It’s pretty obvious! A big tune is a big tune, that’s not the issue. I just come from a time and place when it wasn’t like that. True dubplate culture used to exist. The attention dubstep has now to some extent feeds the ego, and the ego wants more. This is the reason why we hear more producers and

I guess we all make choices, depending on who we really are, and what we truly represent. And there’s nothing wrong with that. Doesn’t mean that one has to agree or like it. So once you become rich and greedy, famous and lazy, it is more likely you will fall a victim of success. But that’s just the way it goes. One has to think about which path to walk. What do you choose?

You really want to know what I ask myself? I ask myself when it’s all going to end. All this madness and confusion, the killings, the wars, the conflicts of the obvious outwardly and the subtle inwardly... Do you think it will ever end? Not if we continue to think and act the way that we do. What do you think needs to happen? I haven’t got a clue... So if anyone’s got the answer... igottheanswer@dmzuk.com

NEIL DUERDEN

One can never describe the style of Neil Duerden’s art, because it is constantly changing, moving in numerous directions, communicates different moods, uses diverse color palletes and varies in overall aesthetic from piece to piece. Neil can create pretty much anything, hence a brilliant freelance career in advertising for clients like Nike, Adobe, Honda, Virgin, and Nickelodeon. But there’s one common factor in Neil’s body of work: it is an outstandingly powerful visual impact. You can never scroll past, you will always look twice, and you will remember it for a long time. Living in a countryside in a building that’s hundreds years old, Neil is working on a high-end Mac system to create outstanding visual art. And he seems to be having a blast!

interview by Katya Guseva

Do you ever come across so-called creative blocks?

How did you get on the artistic path? I started drawing at a very early age whilst spending time in the Yorkshire Dales in the UK. I’d sit for hours sketching the sheer beauty of the countryside. This gave me my love of art and creativity and I’ve never looked back.

I love what I do, and it shows in my work. The day this becomes a chore is the day I switch my Mac off for good! You’ve done a great deal of commercial work for huge artists and I see your art popping up in advertisements everywhere. Do you like working on commercial projects more than your personal art? I enjoy both, but they are treated differently. The personal work gives me complete freedom and allows me to explore new techniques and treatments, whereas commercial work is all about pushing boundaries within a constrained marketplace. I love what I do, and it shows in my work.The day this becomes a chore is the day I switch my Mac off for good! Speaking of Macs, what does your working studio look like? I work from the middle of the countryside in a building that’s hundreds of years old. This gives me a fine lifestyle that is relaxed and chilled. If I ever need a tenminute break I can open my doors and walk out into nothing but green country goodness. The inside of the studio is filled with technology. I pride myself on the Mac system I run. I have a total of four 30inch screens running to accommodate the graphics I’m working on on the main systems, then laptops and servers hidden all around.

I can’t think of anything worse than ideas not coming straight to you, and having to stress yourself out coming up with a solution. When you work on your art do you pay more attention to the idea fo a piece or the actual process of creating? Both come hand in hand; the technique is needed to create the idea but without a strong concept the art is pointless. In today’s world a brand or service needs to stand out but also fit the consumer’s mindset for a specific brand. It’s a tough job, for sure. What was the most challenging project you’ve worked on so far? The most challenging project so far has been a job for Honda. The work was fun and the art direction second to none, but a fourteen-piece set of illustrations was completed in two weeks! The campaign was the launch of the Honda FIT in the US territory, and although the artwork was beautiful the timings were quite tight. I also had a few other projects on at the same time, so this really was a balancing act in terms of deadlines. Still enjoyed every minute of it though. I like a challenge!

If I ever need a ten-minute break I can open my doors and walk out into nothing but green country goodness. If you were to summarize the message of your art, what would it be?

So when you start out a project, do you know exactly what you’re going to make? And how close to the idea does a piece usually come out?

Hmmm hard one, this.... each piece has a different meaning and idea, some would be about me and others are an insight into my everyday life or even a flight of fantasy.

My art develops organically. Some pieces come out exactly as intended and others will deviate to create a new style or approach. This development keeps my style fresh and constantly growing – which is needed in today’s market to keep ahead of the competition.

Yes, fantasy! You use such vibrant colors in your work... I love color! Color makes the difference in terms of emotions and meaning. Imagine a piece advertising a summer soft drink in just black: the effect would not be as powerful as a full-color bright approach.

I’ve never suffered from this to date. Thank goodness! I can’t think of anything worse than ideas not coming straight to you, and having to stress yourself out coming up with a solution. What’s the soundtrack to your life as an artist? Music is essential. I work with it constantly in the background and listen to everything from Radiohead through to dance. I have a passion for quality hi-fi too. I believe that music should sound as it was intended to and not [be] compromised by poor equipment. At the moment in the background there’s Keane playing, which seems to be on my playlist more and more. Earlier I was listening to PWEI. It’s all good and keeps me going throughout the day. If “Woodland Angel” were a piece of music, what genre would it be? This would be flowing chilled ambient dance. The subtle details coupled with movement make this perfect for this type of music. I did a similar piece for the cover artwork for SupperClub in Amsterdam. It fit the music perfectly and gave me a few days in Amsterdam at the launch parties. Great stuff.

It’s a long hard road to become known; it’s simply easier for most to get a full-time studio job. Any words of wisdom for the up-andcoming artists? Be careful! Luckily enough I’ve still got a good quantity of quality work coming in, but I know of numerous established illustrators [who] are really struggling in today’s economic climate. It’s a long hard road to become known; it’s simply easier for most to get a full-time studio job. When you do make it, however, it’s all good fun and, although the hours can be long, worth every minute!

For more on Neil Duerden, go to www.neilduerden.co.uk

Fuck this grid! Fuck this idea! Now weâ&#x20AC;&#x2122;re going somewhere totally different, because we can! And we should.

FLYING LOTUS Flying Lotus has gone off the grid. Like a warp in the hiphop continuum, his off-world beats shatter preconceptions. Listening to Fly Lo is like crate-digging for vinyl on a distant planet. Dusty, textured rhythms clack beneath strange melodies, like transmissions from the unknown. Sounds float from the speakers in 3D, crackling in the ether with a timeless depth. This is tomorrowâ&#x20AC;&#x2122;s music. Leading an emerging movement of producers worldwide from his Los Angeles home, Flying Lotus is at the forefront of a brave new sound. 24

interview by Ryan Gilbert

Your Brainfeeder label has been breathing a lot of life into the music community. I think it’s some of the best music coming out right now. Where did you find these people?

They treat it like classical music or opera. It’s really incredible to give the music this amazing presentation. That’s something I’m really into lately ‒ trying to find the best way to present my music. Because I’m tired of playing raves and shit.

I’ve been blessed. I was like the Slumdog Millionaire [laughs], know what I’m saying? Along the way, I just met all these crazy motherfuckers, you know? Now that I’ve done what I’ve done, it’s my opportunity to bring some light to some people who I think are really talented. You know the next record, that’s coming out maybe next month, the guy Dr. Strangeloop, he was the one who showed me how to use a computer to make music in the first place, years ago. It’s all coming full circle, it’s really dope to be part of Brainfeeder. I feel the same as you, it’s a really incredible time for music right now, and we get to just listen. We’re witnesses to this really incredible movement that’s happening right now.

I don’t blame you.

I couldn’t agree more. It seems like there’s something in the water in LA right now.

Yeah, but like you’re saying, only at this point is that possible now. I had to earn that shit. So now that we’re here [laughs], we’re gonna try and make sure that the next show is epic, even crazier! Step it up another notch. That’s what I feel has to happen.

I’ll tell you... You’re saying it’s in the water, but really, it’s in the community here. The community has come a long way I think, in terms of what constitutes a good night out. I think people in LA were tired of stepping on each other, first off. I think the thing that people see when they come here is like, ‘Wow! All you guys are friends?” You know what I’m saying? We’re all friends. We all hang out, unlike a lot of other scenes, where cats are out to get each other. I think the thing that makes it so good here is that we’re all trying to win, together. What is it like when you go play in Europe compared to here at home? I’ve had a lot of time to think about it. I love playing shows for people, I love to bring this experience to folks. But the touring, man, does my fuckin’ head in pretty bad. I really do go crazy when I’m not creating stuff. Whether it’s music or video art, or whatever. I have to be doing something like that, or else I just feel little. A little man. A little, frustrated man. [laughs] It’s a blessing to be able to do that kind of stuff though. A lot of people never get to go to the places I’ve been in the past two weeks. What was it like playing in Amsterdam recently? It was a really amazing turn-out! It was a sold out show and a really big venue. Many people came, and it seemed like they were really really enjoying it. I think I could have done a better set, personally, but it was a really amazing place, and I love Amsterdam! But I’d rather play at the Bimhuis, which is this amazing jazz venue that’s looking over the sea and everything. Look out the window and you’re playing in front of the ocean for people!

[Laughs] Know what I mean? I was at one of these parties in the UK, looked on the damn ground, “dude is that brains right there? Is that brains right there, on the ground??” It was just so gross... “okay, that’s not brains, it’s not puke. What is it? Who knows, man!” That is real filthy... I want it to be a spiritual experience, when you go to the show. As close to one as possible. Not a bunch of kids standing around in their own piss and shit. Now that you’ve got a record out on Warp, and you’re going global, do you feel like you need to take a stand for making a more quality listening environment?

So you’re still hungry? Always, man. Always. Your music is hard to label, but it seems like you care about creating something totally new and devoid of boundaries. How do you think this art of music production and performance is going to be different for the next generation? I thought about that, and if I gave you all the answers man, I wouldn’t have any new shit for myself! [Laughs] I feel like the next wave has to be even more crazy for the senses. I think people are really limiting themselves when it comes to visuals nowadays. Because maybe the venues don’t allow for it, or maybe the people are just too busy, but I think that creating a really good visual performance is the way to go. Having synced up visual shows with the music, I think that’s what’s next in the live sets.

I want it to be a spiritual experience, when you go to the show. As close to one as possible. Not a bunch of kids standing around in their own piss and shit. As far as producing... I don’t know. I think that more people will look at their compositions on a computer and be like, “Okay. Fuck this. Let me just break this whole thing. This is too clean.

I’m gonna grab all this and throw it away right now, and it’s just going to be a new song...” ‘cause there’s no rules. I think more people will realize that, and they’ll start treading into the new territory, because they’re getting out of their boxes, they’re getting off the grid. That’s something that I’ve been trying to do lately. Fuck this grid! Fuck this idea! Now we’re going somewhere totally different, because we can! And we should. In your track “R2D2”, the lines are very blurred between what was sampled, what was created, and how that all came together. It’s hard to tell where anything started or ended. Do you have an approach that you take to sampling versus synthesized sound? I think I treat it all the same. The way I’m able to work the samples is the same way I work with a synthesizer. That’s what’s fun about computer music now. With the MPC, we weren’t as flexible with the samples. Now we’re able to run a whole range of keys, play in octaves, and do all sorts of freaky stuff to the sound, to where a lot of people can’t even tell anymore if it’s a sample or what. And that’s the fun part! Now people are figuring out new ways of chopping their records. Instead of grabbing a whole loop, people just grab a little bit of it and freak that little bit out. What I did for “R2D2” was all Star Wars. It was all R2D2 sounds that I just freaked. That’s why I couldn’t put it out, because George Lucas will sue me. He knows when he hears his little R2D2 [laughs].

When you see the other side, when you go to the other side, you realize that the music here is wack. How do you make music that bangs on a dancefloor and sounds so crazy in the headphones? I don’t know man, I hate my mixes! I hate the way my music sounds. I’ve been trying not to hate it so much, but it’s a really difficult thing. I’ve talked to my friends from the UK about this, because they’re really dance floor people over there. They’re like, “I’m not making a tune unless I can play it out.” I’m kind of the opposite.I want to listen to it at home, and love it. It’s not about “here comes the bassline!” for me. I’m not that guy. I try not to be, at least. The techniques though, sonically, the way these tracks are mixed, a lot of these big tunes, there’s a formula that I’m still fascinated with. There are those times where it’s like, “Ok. Now you dance! [laughs] Now you move!” It’s all stuff to incorporate into production. I really just try to go with the vibe and how I’m feeling. I try not to work on a tune for too long. I give it two or three days; if it doesn’t come out, then I just move along. It’s all about the moment, you know? It’s hard to get back into that moment three days later, when I feel totaly different. 25

photo by Seckle

You’ve written online about some of your experiences with altered states of consciousness and smoking DMT. How have these experiences affected the way you approach music?

along the way as we’re presenting this experience. Take documentary filmmaking, for example. It’s always best when the filmmaker comes in with a certain idea of what this is going to be, and then it becomes something beyond him.

When you see the other side, when you go to the other side, you realize that the music here is wack. [Long pause]. Seriously. That’s the first thing... you can’t compete with the music on the astral plane. The whole experience of astral traveling, or DMT, is that initially people can’t even get over the “awe” factor. You’re hearing things, seeing things that are beyond human comprehension and imagination. I don’t even think that we’re capable of it, I know I’m not anyway. Some of the things that I’ve seen, in natural states, are beyond me. I take that, and I try to share that experience. I’ve been producing a lot more ambient music lately, because it helps me meditate and get into that space. I use it for my own meditation. I get in a trance state for myself, and hopefully I’m able to create that for somebody else.

When you make a track, does it ever come out like you intended? Never. Never. My ideas are never as good as what ends up happening, I think. When I get in that zone, and stop the chatter, I stop thinking about it, and it happens. The moment happens. And it’s like, “Ok... ok... I’ll go with you right here. I’ll go into this. I’ll take this further.” And I go from there. It really is like trying to put yourself in a sort of trance. You know Dudley Perkins? He was saying, “I’ve been watching y’all, I know what it’s like, when you make beats, y’all be like little voodoo spells, in a trance and shit.” And it’s true. For me, it’s the most beneficial meditation ever. And that’s why I go crazy when I’m not in the studio. Do you have any advice for new artists who are trying to make it?

I try not to work on a tune for too long. I give it two or three days; if it doesn’t come out, then I just move along. I feel like it’s difficult to go to that other side, perceive the music in that way, and translate it back here. Yeah. We’ve been trying to convey the human experience forever, but we’re still learning. So it can never really be honest, because you’re still figuring things out along the way. But it’s the journey into the unknown that makes it fun. We’re changing 26

I meet a lot of kids on the road with CDs, and they’re like, “Yo man, check me out, listen to my shit.” That’s cool, but don’t give me no bullshit, man! Seriously. Wait until you got some good stuff before you’re ready to push. Think about it. Say you give me a CD, and it’s like your second year making beats, and you don’t think you’re great, but you’re alright. I don’t want to be a dick, but I’m getting tunes from Hudson, Zomby, Samiyam... the illest producers are my best friends, you know? You gotta come with some good shit. Don’t come at me with no bullshit unless it’s some heat! Because I will forget you. We will forget, and we will throw it out the window. There’s a lot of music coming out, and I really think that people need to refine it before they push it. If

you can’t compete with these amazing records that are coming out right now, just keep working on it. There’s no time anymore for [mediocrity]. I don’t wanna put mediocre people on. Why would I want to do that? There are amazing people in my apartment complex! [We both laugh] I’d rather work with those amazing people, and we’ll build great stuff. Cats know when their shit’s just okay. Cats know when they’ve only been doing it for two years, and they need to tighten their little bass lines and shit [laughs].

There’s no time anymore for [mediocrity]. I don’t wanna put mediocre people on. Why would I want to do that? There are amazing people in my apartment complex! What is the next phase for Brainfeeder and Flying Lotus? Hopefully we’ll expand the idea beyond the music. I really want to stress the Brainfeeder concept beyond music, and I really want to have a film festival, maybe in October. Step out a little bit, try something different. Who do you want to big up? Ah, I gotta big up somebody! That’s a good opportunity. I wanna big up Dublab out here in LA. It’s a community-driven radio station and label.They’re serious! They put on all these amazing events, and they have a lot of great ideas. They’ve been helping the scene here in LA. Big up Dublab! The stuff that they put on is very forward. They’re trying to make something else happen, and I love it!

“Torq is basically the future of digital DJing—it has way more options than the average program and the production value sets a standard that is so much higher than anything on the market.” —The Gaslamp Killer (DJ/musician; Low End Theory)

photo by theojemison.com

A CREATIVE REVOLUTION

Integrated Hardware/Software DJ Performance/Production Systems As advancements in digital technology continue to propel the evolution of the DJ, only one application gives trendsetting artists like The Gaslamp Killer the creative tools they need to explore new musical territory. In addition to essential cueing, beat matching and mixing, Torq goes beyond all other DJ applications by offering a host of real-time creative options unavailable anywhere else. M-Audio designed Torq to easily transition today’s diverse DJ into the world of production.

• integrated hardware/software systems intuitive operation and rock-solid dependability • includes ten built-in effects and support for VSTs add a new dimension to your style • 16-cell tempo-synced sampler trigger loops and samples on the fly • ReWire compatible with Pro Tools M-Powered and other DAWs limitless production options Torq Xponent

X-Session Pro

Torq Conectiv

© 2009 Avid Technology, Inc. All rights reserved. Avid, M-Audio, the “>” logo, Torq, Xponent, X-Session and Conectiv are either trademarks or registered trademarks of Avid Technology, Inc. All other trademarks contained herein are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice.

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STYLE SPOTLIGHT

Mariner Pea Coat

Left to right: Morelli Fleese Cardigan; Pillbox Blazer; Crime For All Seasons Sweater. mishkanyc.com

Mephisto Leather M.C. Jacket

MRGO

Think of the Kids

MrGo lives in the roof attic somewhere in Brighton and dreams of moving to London to find a job as a stunt man, a pilot or something else weird like that. Weird is the key word. As well as it is the key element in his illustrations of dark but oddly cute fat-bellied, thin-legged creatures. MrGo says he is inspired by people and emotions in his everyday life, which makes his everyday life seem quite surreal. If you google this guy, all you find is a website that says “Click here,” which then will take you to the screen that says “It works.” Nobody knows his real name, and his brilliant work can only be seen in his sketchbook, but then he will have to kill you. We hope this will change soon, but for now enjoy this quick look at what MrGo is up to.

interview by Katya Guseva

Love Hurts

How did your name MrGo come about? When I was at university I lived in a house with my mates. On the gas bills we all had our names registered. So in the little viewing window you get on letters, it was just one long dribble of all our names. Mine was at the end and got partially hidden. Shortened down to MrGo. I liked it, and kept it.

bits freelance, but I’m really heading into graphics and illustration fully now.

I sort of turn my brain off and see what shapes my pen makes. What is your process?

I like the dark side they have, but I also try to keep a fairly cute part to them. A bit kids’-toys-like. Who are these little creatures in your art? Do you somehow relate to them?

What’s your real name? I’d tell you but then I would have to kill you. Don’t wanna risk it. You seem alright, plus your work would be wondering where you got to. You seem pretty discreet about your art and what you do in general. I’m a designer. Graphics and vehicle. Kinda in a crossover period. I trained as a vehicle designer at university, got into vehicle design after graduating and found it to be not as interesting as I thought it would be. I wasn’t excited to follow that direction anymore. So I slowly changed perspective a bit and focused on graphics, and I’m well glad I did. I’m proper loving it! I still do some vehicle

Most of my stuff at the moment has come from mindless doodles at work. Then I just took them further with rendering them. None of them are really thought out. It’s all just been from procrastinating at work. I sort of turn my brain off and see what shapes my pen makes. Do you remember the moment when you realized that you were an artist?

They have developed from all the early things I used to draw. I’m not entirely sure where they started or who they are. I like the dark side they have, but I also try to keep a fairly cute part to them. A bit kids’-toys-like. As for what they represent, it’s just everyday things I see, the rat race, human emotions and situations, including mine sometimes. They seem hurt.

An artist! Shitthebed! I don’t know if I would consider myself that. But I’ve always sketched, designed, colored in stuff, and made a mess right from the go. I’m still always doodling, but I see it as just something I do. I never really set out to sell work.

Well, some of them are. I don’t think its too deep, but they do seem to be in some odd little places. They are a bit macabre, but pretty cute in places. I like “Think of the Kids” as it’s probably the darkest. A bit sinister too. 31

Sweet Child Of Mine

Eye Spy

Pow

Not sure where he came from, but he does a good job of looking fucking odd. I try to get atmosphere into them with the lighting. That one was probably inspired by old school portraits. You know, the ones of old rich people, who get their paintings done of them looking all proud and rich. If “Think of The Kids” was a piece of music what genre would it be? Good question... Probably something dark. Maybe some ‘death thrash for kids’ if that’s even a genre. I bet it’s not, maybe it should be. I’ll pioneer it. Or maybe something a bit more melancholic. Music to damage yourself to. What would you pinpoint as the main inspiration that shapes your artistic taste? I get my ideas from photography, other illustrators, and old paintings. I’m always finding new stuff that I love. I think since I’ve been developing more as a graphic designer, I find a lot more inspirational artists. I’m a big fan of the hand drawn elements in art. Too much computer generated stuff gets a bit dull. Seeing where people have actually marked the work with their own strokes is class. Human element and all that. 34

I’m a big fan of the hand drawn elements in art. Too much computer generated stuff gets a bit dull. Some artist I’m into are Alexandros Vasmoulakis, Jiar, Robert Gregory Griffeth, Pictoplasma stuff. Luke Chueh’s pretty cool, Tracy Hamer... Loads, basically. Jiar is probably my favorite of the lot. His little characters are proper schizophrenic weird. What’s “Drop Beats” about? Any story behind it? He came about on a shitty wet day. He was standing in a puddle looking all sorry for himself. All fat-bellied and a bit past it. I sketched him in Australia, but it got changed when I got back. I suppose he is a caricature of a demonstrator, with a haggard feel to it, and a hint of perceived criminal to him. Plus I added the spotlight style lighting to it.

they came together in a magical moment of creativity. Everyone’s been hurt ain’t they? So this fella is a caricature of that break-up stuff. What about “Pow”? That was definitely too much latenight TV watching. “Pow” was originally called “TV Cowboy.” Do you watch a lot of TV? No way! TV eats your soul and charges you for it! Most TV is bollocks. Real mind-numbing shit. All of your characters are boys. Any little mean, cute girls in the future? Yeah, I got some ideas for girls. I suppose some of them may be a bit androgenous, lacking in any identifiable sex. But yeah, gonna do some girls, as they say. What’s your home like? I live in an attic, in a very much Anne Frank-esque manner, somewhere near Brighton in south of England. Oh, how cool!

What about “Love Hurts”? Yeah, love hurts... Sort of selfexplanatory. Originally it started as two separate pieces, then

Anne Frank didn’t think so. Mind you, she only had a typewriter. [laughs] Yeah, it’s pretty cool, but I’ll be moving to London soon if

my master plan goes well. What’s your master plan? Get a job in London. Not too complex. Don’t want to confuse stuff with too much. Reckon finding a job in London in this shitty little recession-stained economic climate is gonna be tricky enough. Then concentrate on some more art. I’m going to look for a job in graphics. That’s the future. That, and velcro. Is there anything I didn’t ask you that you always ask yourself? You want a cup of tea? What does the world need today? A cup of tea and a sit down. Get over this recession bollocks and get back to glorious days of the ‘60s, hanging out with bitching cars and the sun. What would you be if you weren’t an artist? If I could choose a profession or lifestyle, I would probably be a stunt man or an actor. Definitely not an office job. Maybe a sky dive fella or a pilot. Would be nice to get paid to jump out of planes. That would be class!

Beats Not Bombs

For more on MrGo, go to www.MrGo.co.uk 35

RUSKO

photo by Dan Wilton

If I were to illustrate the sounds of Rusko, it would look something like this: A massive carnival packed with the world’s most enthusiastic music devotees, landscaped with countless fluorescent bounce houses and jumbo subwoofers. The foreground is catered with deep-fried bass guitars, served with a side of hot sweaty headbanging. And of course front and center, the madman himself thrashing the crowd with his lightning bass lines and rollercoasters of high energy. Perched above all this mayhem stands a spectrum of flashing lights that exclaim an irresistable invitation... This Way to Rusko’s Fun House! Christopher Mercer, a 24-year old powerhouse from Leeds, has taken his Rusko name alongside dubstep and propelled them both into a whole new universe, in a fresh explosion of new musical adventure. With his rich energy and smashing bass, Rusko has been a major force for dubstep in spreading the sound to genres that were previously outside of the realm. With flavors of hiphop, house, electro and beyond, he has shown a diversity of skills and expression through his works with artists such as A-Trak, Kid Sister, Chali 2na and Kid Cudi. This man is not joking when he describes his work as a “takeover!” 36

interview by Ivy Something

You’re currently smashing cities around the globe with your Rusko Live tour. Do you feel a significant difference between your live performances with Rod Azlan and your solo DJ sets? Yeah, defo! The live show is kinda complicated, so there’s a lot to go wrong! It’s really satisfying to do though, because we put a lot of work into it. Most UK and European shows I bring Rod with me to MC anyway - and we’ve been working together for a couple of years now. He’s a real proper rasta, so he’s a real cool guy to travel with. Roddy’s a ledge! Have you ever combined the two for a single event? Not yet, thank goodness! I have my DJ stuff, just in case my live setup fucks up! Once or twice I nearly had to run behind the decks, but we’ve always pulled it off so far! I still do both in equal amounts so it’s cool. Both have their good elements. People at your Los Angeles show in April literally went into shock once they saw you performing live with a bass guitar! Even though your history with music performance and live instruments go way back, there are still those who naturally expect to see you solely behind the decks as a DJ. How does it feel to witness your public image expanding beyond the DJ/producer and back into the realm of your roots as a live-action musician? Yeah it’s crazy, really. Everywhere we go with the live show I get most people expecting me to be DJing! It’s cool though, we do different versions and dub styles off tracks [that] the crowd knows, so it’s kinda more special. Plus, it’s really new. We’re still changing and tweaking every time... so it’s nice and creative, which I like!

My mum was in a country band and played the mandolin, so she wanted me to learn banjo as a kid. You’re also trained in playing the saxophone. Any chance of seeing you bust a move with one at your live shows in the future? Haha, maybe! I’ve been looking at electronic saxophones that send out a midi signal so I can blow a bass line. Puff puff, wobb wobb. That would be sweet!

I know you play a bit of banjo too! Any forthcoming Rusko hoedown parties? Oh god, no! My mum was in a country band and played the mandolin, so she wanted me to learn banjo as a kid. That shit’s hard! Man, my fingers can’t move that fast and there ain’t really any hillbillies in England. It’s not that cool! You’re currently touring like a mad man right now with back-to-back gigs! Have you pulled off any legendary superhero stunts while on the road? Oh, most of it feels like it! We did seven [shows] in a row... a day off... then eight in a row last month in the States with a flight everyday! I definitely don’t feel like a superhero when I wake up at 8 am to get on another flight!

I order the free whisky, sit back, smoke my inhaler and it’s nice! I think maybe I’ve already gone crazy. What keeps you sane while on all those planes, trains and automobiles? Three things: nicotine gum, a nicotine inhaler, and my lovely iPod Touch. I put my fave TV shows on there. I love Tim and Eric and Robot Chicken. I just fill it full of Adult Swim stuff. I order the free whisky, sit back, smoke my inhaler and it’s nice! I think maybe I’ve already gone crazy. Any travel tips you want to share? If you wanna beat jet lag on a night flight... if you can, don’t eat on the flight at all, whether you sleep or not. Then have breakfast when you land and you’re off the plane. I read it once and swear by it! It really works! I was so stoked to catch you and Rod Azlan perform live at the Apple Store in Miami during WMC this year. People of all ages were huddled around bobbing their heads and stroking their chins. A lot of them were actually hearing dubstep for the first time! How did it feel performing for a brand new crowd of all ages with vast musical tastes? Weeirrrrdd! It was proper strange ‘cause it was bright daylight, really quiet, and kinda sedate! It was being recorded, so I was kinda concentrating [and] the video I saw looked rubbish! It was cool though! That’s the thing about the live show versus DJing: you

can play different things and there’s more opportunities. Like next month, I’m playing loads of new festivals and doing a Radio 1 live session. It’s a different vibe. I specifically recall this older couple in the Apple Store who were mesmerized by your proficient headbanging skills! Even I caught the bug and started jamming after a few minutes of watching you. So I have to ask, which came first? The dubstep or the headbang? The headbang! I play a bunch of instruments as you mentioned, so I spent my youth in ska and punk bands. I’ve always headbanged! My hair’s getting a bit rock-n-roll actually. I need a trim. I noticed your laptop was PC. Were you at all intimidated by the plethora of surrounding Apple products giving you the evil eye? Haha, yeah they made me put a sticker over the sign! Ahhh... they’re okay. We’re doing a big promotion on iTunes for my album together, so I gotta big ‘em up. They’re really good to have on your side. When it drops, it’ll be all over the place! You’ll be sick of Rusko! You and Rod together have such true harmony on stage. You really create an incredible vibe that is consistent from beginning to end. How long have you been working with Rod? We met at a gig. I traveled from London to Brighton on my own to see Iration Steppas and he had done the same! We were two strangers skanking on our own at the back! We got to chatting [and] as pure chance he was a dubstep fan too! When the gig finished, we sat in his car and smoked and chatted... and smoked and listed to tunes... and smoked some more. He gave me a lift home and I got back at 9 am. We linked the weekend after and did a dub and dubstep set at Dragon Bar in East London. It was wicked. He came along next week too! And the rest as they say... is history. How often do you perform side by side? 90% of the time. He’s a family man and he does a lot of other stuff; but as much as possible really. We have that “spidey-sense” thing where we just know what to do. Are there any specific gigs that stand out as memorable? Oh, so many! Rod is always at the front of the stage, so he has to deal with a lot of craziness. 37

photo by Dan Wilton

We get crowd surfers landing straight into the DJ box on top of the decks, speaker stacks falling, fire extinguishers being let off, MC’s punching ravers. Oh god, we’ve had it all! We’re peaceful, easy guys though... we just mash it down with the tunes, have a few drinks and nice it up. You do get some mentalists in the clubs though! The latest buzz on the street is all about your upcoming LP on Mad Decent! What can the world expect? Well, at the moment we got seventeen tracks on the list. Reggae, electro, dubstep... all the flavors of the rainbow. It’s been a long time coming and I can’t wait to get the tracks out. Some I’ve previewed already, but there’s plenty of surprises! Surprise guests? Yeah, totally! There’s some I can’t say, but there’s collaborations with Chali 2na, Santogold, Kid Sister... and more! I can’t say! Where do you feel this release will take you? I’m really confident about the vocal tracks. I think we can get a lot of radio play. Hip-hop is waking up to dubstep right now and I think people are ready for the Rusko business. There’s a lot we have planned... it’s a takeover!!! What future Rusko collaborations would you like to see happen? 38

I’m open really. I really wanna work with Tim and Eric... maybe on a video for a track. That’s like my favorite show ever.

We get crowd surfers landing straight into the DJ box on top of the decks, speaker stacks falling, fire extinguishers being let off, MC’s punching ravers. Oh god, we’ve had it all! Last year, you were greatly influenced by the sounds of techno. Does it still play a role in your music production? Anything else good on the inspiration menu for this year? I’m really into skweee at the moment. It’s kind of Scandinavian 8-bit R&B squeaky music. It’s from Sweden and Finland. I actually did a skweee remix of a Kotchy track, Sing What You Want. It’s on iTunes ‘cause I love it so much. Check out Eero Johannes on Planet Mu. Real Swedish skweee. Anyone you’d like to Big Up? My wife Belinda. She looks after me on the road and keeps me sane! I’d like to big up all my LA crew: 12th Planet, Danny, Tony K, Switchy, SMOG Ravers... and all the crew that came out to my US live show – it was awesome! I ate too much food though, haha!

photo by Dan Wilton

photo by Megan Cullen

WARRIOR QUEEN Lyrically bawdy and brash, Annette Henry aka Warrior Queen is a defining, pre-eminent dominator in Dubstep and Roots Culture. She champions the scene with provocatively shameless declarations and undeniably unapologetic anthems. The vigilance, zeal, and ruckus that she creates through her seductively jaw-dropping chants, drizzled over bass-heavy tracks, arouse possibilities and eradicate vulnerabilities. Warrior Queen’s merciless commitment and motor-mouthed capability, reverberates beats through her intense and hypnotic rhyme style, triggers hip-winding and grinding, bulldozes inhibitions, and renders spectators into submission. Naturally, she comes from a place of bad gal ferocity, but on the contrary, when she’s not performing or on the mic, she’s unassumingly bashful and softer than her tunes suggest, and is ready and willing to reveal her “Real Cool Deal”. Check it!

interview by Crystal Guerrero

Warrior Queen the Conqueror! How’s things? Things are good. Real good. I just got back from a couple gigs in Copenhagen, Denmark. Now I’m back in London, so I got few days to chill and then I’m off to France. You are definitely in demand and have been from the start. You were born where legends are made, in Kingston, Jamaica, and spent copious amounts of your childhood singing over the flip side of records on the sound system in your Uncle’s record shop at age 12, and by 14 you were ranking at contests and competitions. Were you always so steady on the mic and on stage? Deejaying and singing on the mic has always been a fun thing for me to do. I loved seeing the people, standing and watching! It was amazing. The first time I did a proper riff I was so nervous, my knees were shaking. My knees were… not… my own! Trust me. (Laughs) At that gig, my friends were like “Annette! You’ve got to go on and hold the mic, man!” I was so nervous and said “No, No, No! I can’t!” and they literally pushed me on stage. I did my set, but my knees were wobbling the whole time.

I had to go by a name that dominated and made it clear, that I’m a ruler, strong, and represent for the ladies. Who are your influences? Definitely Bob Marley, Burning Spear, Brigadier Jerry, Marcia Griffiths, Al Green, Millie Jackson, and Diana Ross. Since I was a child, I practically lived in the record shop. I knew their songs by heart by always hearing music playing. There were so many emotional feelings from intensely listening to their songs, and their music really spoke to me and was telling me to do something. I was also a big fan of a local artist called Bobby Culture. All the way! He had an amazing voice, and I actually ended up taking the name Wendy Culture.

girl at the controls? Her style is wicked”. And we started doing tracks and tunes together at Tuff Gong Studio. I’d come to find out there was more money available for singers and it was no problem for me to make the transition. In three days, I did vocals on eight tracks! So Fatis put those on his Vena Label. He was my first producer; I also did a recording for Dave and Tony Kelly from Madhouse, and was the first female MC on their label. I continued to do more tunes with producers Specialist, Shocking Vibes, Steely & Clivie, Donovan ‘Penthouse’ Germain, and Flabba Holt from Roots Radics.

Sometimes a beat will take something out of me, that I never knew was inside of me. It digs up melodies, or even evil.

sometimes, and sometimes I’ll sing a little something to myself and the producer will say “Oh my Gosh! That’s perfect”, and I’ll try to do it again, but sometimes that moment gets lost. When the beat speaks to me, I make it fit. I make it match. Share with readers the meaning, motive or message behind a couple of your tunes. Poison Dart: To be honest, it was a spur of the moment creation. Kevin ‘The Bug’ let me listen to the tune while I was in a rush, so I didn’t have a lot of time to listen to it, but it immediately gave me a feeling of like… a deep cut. It stuck with me. This tune is for the real ladies, or those who don’t feel strong enough, because naturally “through me na sling no gun”. So it’s about standing up for our rights, when others think we’re soft or assume that we don’t have it in us. We have it in us, yeah? It’s about keeping a cool head.

Then came the dawn of Warrior Queen? At the end of 2000, I left Jamaica, and it was time to change my name. Wendy Culture was all about roots and cultural, a little x-rated, but not too much. What really turned me on, is when I went to record a tune with Shocking Vibes and he said “Do ya got any gun tunes?”. I said “No”, he replied “Do ya got any XXX tunes?”, which I didn’t either. I thought about it, and in 20 minutes I had me a gun tune! And from then on, I realized that, it’s not what ya have sometimes, but sometimes ya gotta give the public what they want to hear. So I focused on the gun and x-rated tunes. This is truly what the people want, so this is what I’ll give. So I had to go by a name that dominated and made it clear, that I’m a ruler, strong, and represent for the ladies. There used to be a TV show, called Xena the Warrior Princess. and I said “This is it!”. There was already a gal going by the name Warrior Princess, so I let her be, and said “Well, I’ll be the Queen.” I’ve been fortunate to work with The Bug, MC Ras Bogle, MC Soom T, Sunship, Skream, Kode9, Two Play, Mafia & Fluxy, DJ Zinc, Sarantis, Dubterror, The Heat Wave, Mungo’s HiFi, Secret Agent Gel, and Kush Arora.

Tell us about Wendy Culture.

How do the dubplates, that come around your way, instigate and activate your creativity?

When I first started it was all about Wendy Culture and roots cultural. The name was derived from my pet name Wendy, and I took the name Culture from Bobby Culture. When I was getting started, there was a lot of female MC’s named Sister or Lady, like Sister Nancy. So as I left the country to the city, I met many DJs and MCs. I met producer Phillip “Fatis” Burrell and he said “Oh my gosh, who is this

A producer will give a track or two, or three, and I’ll do a vocal over it. I listen to that beat, real hard, and that beat talks to me and tells me the type of lyrics that are needed to fit with the criteria. Is the tune meant to be x-rated, or gimmicky, or girly? Sometimes a beat will take something out of me, that I never knew was inside of me. It digs up melodies, or even evil. I’m a bit shy to sing

Almighty Father: Well, the title is quite different from the lyrics. Sometimes there is just that one special guy or person in your life, that makes you feel like “What was I doing before you?”, “Where have you been all my life and all this time?” or “Where did ya come from?”. Like with the song Check It, I was bigging up the real men, bigging up those, that really take care and show love and respect in every aspect. Of course I was talking a little bit about the bedroom thing, and making ya ultimately feel alive, ya know? (Giggles)

My point is that nothing can stop us from dancing and enjoying ourselves. In the tune Insane, You ask the question “What wrong with the world? Has the world gone mad?” Give us some clarification? All is getting better. Things change. It’s not the world that’s gone mad, but it’s we, as a people, that have. Everyday issues can drive us insane and out of our minds. It’s not just the politicians or the inflation, but it’s our daily lives, our whole relationships, that happen to drive us crazy sometimes. And if we’re not strong during these times, we can be taken over the edge. It all comes down to “We the people” and the”System”, and what we are made to think and believe, and the things we must do to survive. My point is that nothing can stop us from dancing and enjoying ourselves. I believe it’s important to get some of that craziness and day-to-day angst out on the dance floor and enjoy yourself! Instead of going over the edge, just take it to the dance! 41

What about them Bad Boys? There’s these boys on the street, that don’t know nothing about being bad, but are just posted upon the corner. See, life is not about getting in peoples face or going for the gun and things like that. These bad boys need to understand the consequences, and the life ahead, and achieving goals. The youth now think the gun thing is a fun thing, and they need to put down the gun and reach for the money. Which no one is doing! Which is so essential! Take a stand, man, and check yourself before you wreck yourself!

You know, I love my audience, and I respect them for being there, but sometimes I am looking over their heads, to the back of the crowd, trying not to look at them. Because if I do, my eyes will go back and I’ll faint. Which one of your releases is your personal favorite? To be honest, I love all of them, because they all have a message. But the one most special is Dem A Bomb We, because of the message that I am trying to communicate. I want it to reach people, and for them to understand what I am saying, because that all really happened to me, and I wrote exactly what I felt. My condolences to everyone who was on that bus, and that is all I got to say about that tune. You’ve been all over the world, but where do you consider home? That’s a good question. For me, home is... Jamaica. When I think of “home”, I think of Jamaica, no matter where I am. I spend a lot of time in London and travel, but I’m always looking forward to going home, to Jamaica. What other places do you like to visit? Well, the thing is every time I come to America, it’s only for like one night, so I don’t get to see a lot. But I got to spend days on end in Australia. Oh wait, can I pick one more place?

Hollywood, because as soon as I got out of the car, people were taking pictures. I really felt like a movie star. I was also taking many pictures of my own. I was posing next to everything in sight. I was so excited! It was amazing going down the streets and didn’t have a care in the world there. I took a picture next to a sign in Beverly Hills, because I love the Movie Beverly Hills Cop. I was laughing the whole time I was there. Is that your G-Rated answer? (Laughs) Do you watch the audience when you perform? You know, I love my audience, and I respect them for being there, but sometimes I am looking over their heads, to the back of the crowd, trying not to look at them. Because if I do, my eyes will go back and I’ll faint. I try not to see their reaction, believe it or not. Trust me, sometimes, when I do interact with them or talk to them, my eyes are closed, and I’m just trying to concentrate.

Stay focused. Life is always testing you, and you can be aggressive. It’s about breathing what you’re believing. Hearing you say that reminds me of a Mae West quote “When I’m good, I’m very good, but when I’m bad, I’m better?” You feel me? Cheers! It is important to believe in yourself, to be strong, to observe everything, and not be ignorant, especially if you want to be a real ol’ warrior. If someone tries to get you upset or get you out of control, think ahead of the situation and find the answers within yourself. Be brave, don’t be a coward and coerced. Stand up tall, and keep a straight mind. We need to think ahead and not simply react, which is a weakness. Stay focused. Life is always testing you, and you can be aggressive. It’s about breathing what you’re believing. What is your biggest obstacle?

Of course! Tel Aviv, Israel! Oh my god! When I was there I did not want to go back to Jamaica. It was really beautiful. Where’s the craziest place you’ve ever been?

My dream is to one day have a recording studio of my own, so I can work with local artists, and make beats for me and others. I don’t want to be so much in the limelight. You see, it’s all about talent, experience, having fun, and people listening to you ranking and giving them what they want to

hear; I’m a bit shy about that. I am not good at hyping myself up. I really want to focus on helping others in the business.

With the recognition, love and respect that I receive, I always try to give it back. Share with us your greatest achievement or accomplishment? Being recognized! What I am doing is strictly underground, but I’m being recognized world wide! People give me so much love! When I perform, or when I’m at the record shop and even on MySpace! The fans are so gracious, when they meet me in person, and know my songs! It’s been a great accomplishment so far. It gives me a thrill. I give so much thanks to the people out there, each and everyone who show me love, and to the producers, friends and family that encourage me. With the recognition, love and respect that I receive, I always try to give it back. I’m also very proud to have had a song in a movie Children of Men, which was huge! If you weren’t an artist, what else would you be doing? I’d be a nurse or an accountant, and I think about it everyday. What is on your horizon? What’s next? Warrior Queen, doing solo things. Reaching on. Working on my album and new releases. Getting things into perspective. Different genres of music, but definitely dubstep, and some ragga. Describe yourself in 5 words? Intelligent, observant, shy, friendly, caring Complete the sentence: “Never again will I...” Doubt myself. Who would you like to Big Up? All of my fans, Crystal, Big Up Magazine, the Bug, Skream, and all of my producers, and out to all of my friends and family. What are you gunna do after this interview? Make some fish, pumpkin and carrots, and then just CHILL!!!

SNAPSHOT

All photos by you

ELSE He was arrested many times; has been in jail twice for over five years at maximum control lockdown prisons of California; he was shot at, stabbed, and beat down by cops; he has run across freeways chased by helicopters and jumped off rooftops. Then graffiti changed his life. Now Elser of Mad King Society, ICR and The 7th Letter graffiti crews is one of the very few graff artists commissioned by Los Angeles Mayor, and doing work for clients like Disney and Etnies. He paints large scale murals all over the world and works on numerous projects for clothing and skateboarding companies. But his feet still stay strongly rooted in the streets, because thatâ&#x20AC;&#x2122;s where it all started for him and for graffiti.

interview by Katya Guseva

Tell us about your very first graff piece? What do you remember about it?

I felt like I had done something, something not everyone in the world could.

I had done small quick letters before, and even done basic spell outs of my name and bubbles before, but my first real piece was by my house. My first real graffiti piece was at what turned into the Woodman graffiti yard in the SFV of Los Angeles. It said SEXEE, and I did it for some girl I was into when I was 14. I had done bubbles and was a street writer at that age, I just hadn’t practiced piecing all that much.

In one of the interviews you mentioned graffitti saved your life. Can you elaborate on that?

There weren’t that many writers in LA then, back in 1986, so I felt like I had done something, something not everyone in the world could. I would walk the railroad trax everyday to school and had been eyeing the walls in the yard and one day I just realized I had enough paint to put a piece up. Besides the X all the letters were in my name so it went up on the wall really easy, and I was suprised it looked as good as it did. I was writing full time with cans on the street, so my can control was there. I remember it made me itchy, like I just wanted to do more and more pieces. I remember I wanted to be one of those all-around writers that could do it all − tag, rock bubbles, lay out fresh pieces, have all the styles down. It was fun! There weren’t that many writers in LA then, back in 1986, so

I know graffiti saved my life. I saw that on a sticker VYAL gave to me that he made, and it really sunk in on me. I had a long gangbanging career, and an active gang and prison life. I loved the gang life, couldn’t get enough. I wasn’t willing to stop until I was one of the worst of the worst. I’m sure I had terrible self-destructive things going on inside of me. When I turned 18 I went of to LA county jail, then on to years of prison. I went to five different prisons. In my first term I joined a prison gang, because that’s what I knew and liked and could strive and excel in. I was good at hurting people and myself. The further I got in, the harder I pushed to run myself into the ground and try and ground myself and everyone around me down, the more I lost touch with the person I was growing up. I lost touch with being the kid that liked art and got into graffiti, the kid that liked to figure things out, to read, and so forth. Years went by. I did more gangbanging on the streets, I went back to prison, it was a vicious cycle. I would see old writers that remembered me and they would trip out on how deep I had gotten into the Life. My crew ICR always kept strong gang ties, so all of us were wrapped up one way or another. There

were so many crazy nights, crazy fights, crazy shootings, it took its toll on us all.

I went to five different prisons. In my first term I joined a prison gang, because that’s what I knew and liked and could strive and excel in. In 2002 my friend and one of the two leaders of ICR, Pure passed away, and it really hit me. I felt unsure of my footing in life. At the funeral Pure’s mother cried and told me that when we were kids and always at the house, that she remembered those as the good times in Pure’s life. It reminded me of the movie and book The Outsiders, when they say to Ponyboy: “Stay gold.” I felt like graffiti is what brought my friends and myself together for the golden time in our lives. After that I started painting again and it reconnected me to my past self. It was as if it reawakened the part of myself that was gone or asleep. It made me realize that there have to be kids like I was out there − confused, angry, feeling like they don’t fit in or have nowhere to go. A lot of these type of kids end up in graffiti. So it made me realize: maybe I can help these kids, maybe I can save these kids from going through what I went through. Because a lot of it I barely survived, and maybe these kids aren’t as strong and need to be shown how to change to keep them alive. 47

collaboration with KOPYE K2S

So now I go into juvenile halls and juvenile work camps and work and talk with the kids. I feel by helping them and maybe saving some of them, I’m saving myself. The reason I do it is because of graffiti. Because if I didn’t do graffiti, it would have been gangs full time for me. There would have been nothing there to connect me to the person I once was, there would have been no good friends and no golden time in my life. Graffiti gave me that and graffiti saved me.

Being a street writer is not for everyone, it’s a tough sport. What are the legal issues you had to face being a graff artist? I had to give up bombing because of MySpace. My face is everywhere on my page, so no more of that. Other legal problems haven’t been too bad for me. There is a hard line to follow in keeping your street credibility and getting legal graffiti jobs. It’s like being on the highwire. I guess, I get more concerned with my arrest record than with graffiti. You are one of the few graffiti artist who has been commissioned by the mayor to do a graffiti piece. How

do you feel about that? How does it fit in with the graff being illegal and antiestablishment? Business is business. I think graffiti still is anti-establishment and it will stay that way. That’s good in a lot of ways, because it draws in kids and people who don’t want the mainsteam. Graffiti is getting bigger and bigger all the time. In the ‘90s it started to spread, now it’s everywhere in the world. More kids, more people, more walls, more companies, more product, more money, and probably more problems. The mayor needs graffiti because it speaks to the kids, and he needs their support in communities and votes. We need him because we need our legal walls, our stores that carry graff products, our permits for larger and larger shows. We need him for all the growth we’re gonna have. I needed him to help give me credibility with non-profit organizations because I want to reach out to and work with the kids in trouble, the kids that were like me. How do you think graffiti will change if it ever becomes legal? I think graffiti has changed already. That’s the thing about graffiti, it constantly evolves. Even when you look at the letters of graffiti, you see new changes

and styles constantly emerging. Will it ever become legal? No, not all the way. There’s always going to be bombers and street writers, and we need that. It can’t all go into galleries and onto legal walls. It will lose its soul, if you ask me. Graffiti can evolve and take on different mediums, but to be graffiti, it has to keep part of its raw, street, illegal side. That’s where it was born, and it needs to keep some roots there. I think real graffiti artists have to have time on the streets before they can move on and up in graffiti. Having said that, I’m glad there’s so many legal spots for kids to paint these days. Being a street writer is not for everyone, it’s a tough sport.

Graffiti can evolve and take on different mediums, but to be graffiti, it has to keep part of its raw, street, illegal side. What project are you most proud of? It’s hard for me to judge these days. I look at my productions and I always want the next one to be better, or bigger, or more detailed or somehow a step above. I get frustrated and see all the parts of my work I feel

need improving. I have to relax sometimes and look at all the walls, all the productions I’ve done, and realize: yes, I do want to accomplish more, but I have painted and done a lot. I feel good that not all my work looks the same, I want to be able to rock many styles, many themes. What artists inspire you? That’s tricky. I feel as my name gets bigger, there’s more of a spotlight on what I do and where my influences come from. I think it’s like that for any artist trying to rise up. I get inspired by artists that are breaking away from the norm. There’s so many talented artists out there just doing the same shit over and over again. Heads need to get off their asses and come up with their own shit. I think right now it would be Swoon out of New York. She’s my favorite. She definitely has inspired me with the work she has created, and with how original it is. I’m going to start doing wheat paste posters, and I have had to try really hard to make my work not look like hers. I get inspired by what she does, I just don’t want to copy her, out of respect, and because I want to invent my own style of wheat pasting. But she’s amazing, years ahead of everyone else.

What’s in store for Else MSK? Well, I hope a lot more graffiti, I want to travel more, and when I say travel what I really mean is do graffiti in other parts of the country and the world. I’m going to as many cities this year as I can, to rock graffiti. Plus I plan on more tours with homeboys, painting different cities and shops. I plan on growing as an artist more, like I said, I’m going to wheat paste, plus I’m going to tackle canvases and shows more aggressively. I’m hoping that at the end of the year I will have started my own non-profit anchored in graffiti and the streets, helping kids. I guess I’ll see where it goes from there. I plan on doing more of what I already do − working with kids − but I’m going to go into the jails and camps more this year. The more I give back, the more I feel I grow. 51

ADRIAN SHERWOOD photo by Ally Pally

Adrian Sherwood has shaped the UK dub landscape for well over 25 years, with an assortment of futuristic releases on his On-U Sound label. Having worked with such diverse artists as Mark Stewart, Lee â&#x20AC;&#x153;Scratchâ&#x20AC;? Perry, Skip McDonald, and KLF, his production prowess continues to push genre-defying boundaries. Back from a brief hiatus, Adrian Sherwood has been in the studio touching up numerous new releases that have landed in the UK and Japan, and expects global releases due shortly. I was lucky enough to catch up with this production genius to find out what he had to say about his past and upcoming musical accomplishments.

interview by Lud Dub

You started your own On-U Sound label, and have been associated with numerous other labels. What advice would you give label owners? Well, it’s more difficult now. It was a lot easier when there were more record shops. Nowadays, it’s like fighting to get people to notice you. I would say create a scene, a little market, and in every aspect have something available to sell. Make it more than just running a label. Have other aspects of your company. It’s all about tactics now. Stick to them. You can’t just run a label; you almost need a club or art gallery. Maybe not literally, but something more interesting to have people pay attention to. Put events on, to create an extension, a crew as well. Some of the musicians you worked with in the past didn’t come from a dub or reggae background. What was your approach to making dub music with them and what were some of the challenges and highlights? People use the word “dub” now as a trend, like they have “dub” plug-ins on their laptops. The real roots dub stuff goes back to the Kingston sound systems and the history of “versions.” The people I worked with were all like me; even though from other areas, they were all fascinated by it. It was the fascination with having your own sound. People started studying sound from listening to those records that were more sonic, interesting and more experimental, with reverbs and delays. Lots of people like Factory Records Martin Hannett and people like Joy Division were using space echoes and effects, because they loved them on reggae records... another genre of music. I generally worked with people who loved their sound, but were also fascinated with the areas of Jamaican stuff I was listening to. Can you describe the Dub Syndicate sound? What do you think is unique about Style Scott and his work with Dub Syndicate? Originally, that was a name I had. I used it on records. Root Radics were kind of not getting along, so Style Scott and I started working closely together. He took over the name Dub Syndicate, and over the years he’s been building riddims starting here in England and then in Jamaica. We basically worked that for 27 years or so. The first time Dub Syndicate appeared on a record was in ‘77, when I did the first record. We used to call us “Produced by the Dub Syndicate,” which was myself, Dr. Pablo and couple of others. It evolved into the band with the great Style Scott drumming on the record.

How did African Head Charge come about? African Head Charge started out as a studio project that I had an idea for, and was built around Bonjo. he was an interesting character, who grew up in a Rasta camp in the hills of Jamaica. He has a proper Rasta Nyabhingi background. He had also studied Afro Cuban music and other things when he came out to England. Around his playing we had loads of experimental ideas of taking diverse things that were unbalanced with American production. We had the drums and guitars purposely unbalanced and added sounds like flowing water, hissing and things like that. So we made it kind of a psychedelic African sound on a shoestring budget. If you listen to it now, it sounds very interesting still, and no one has really ventured into that area. I would describe it simply as psychedelic African dub. Ironically, there is a new album coming out called Vision of Psychedelic Africa.

Dubstep, and even jungle, is like a new reggae to me. It sounds great! It’s an evolution, and it gives [people] a chance to make Jamaican stuff sound evolutionary. In the last couple years you released a few solo albums. What made you decide to pursue a solo career and how was it different from collaborating? To be honest I restarted my label last year after a 4-5 year hiatus, which was really forced on me, because of some distributors going out of business. So I was doing more and more dub shows and gigs, which were really glorified DJ gigs, cause lots of producers don’t do DJ gigs. So I would be out, doing loads of shows, either with a percussionist or an MC like Ghetto Priest or Brother Culture or even sometimes on my own as DJ sets. So I thought I might as well do a couple albums on my own, with my name on the cover, instead of the back. So basically, because of some distributors going broke I took this approach on my own.In essence, it was a survival tactic, which has gone well for me, really. It’s been over twenty years since you released your first album with Lee “Scratch” Perry. What made you decide to work with him on the new album The Mighty Upsetter? How was it different working with him this time around?

We get along really well when we’re working together. He turned 73 last month. He’s got a beautiful spirit, real strong, with great ideas. He’s an absolute joy to work with! He’s one of my all-time heroes, so I wanted to make sure we made a record that linked to his heritage and was also contemporary. I also wanted to put my touch on it. He’s the artist and I’m the producer, so I wanted to make it proper with links to the Black Ark and try to emulate that sound, but with a modern twist. Some of the singles from Lee Perry’s new album are being remixed by Kode9 and Moody Boyz. How did you decide to work with these artists and what drew you towards their production style? Tony Thorpe, a.k.a. Moody Boyz, is a friend of mine. I love his work and his DJ’ing. He’s been around since KMF times (being half of KMF) and is a big music fan. I love his sonic style and I asked him to remix “God’s Smile,” the first remix from the album. Kode9 did a version of “Yellow Tongue.” I got Horsepower and even Widdler from the States to work on one. I’m also in discussions with Mala from Digital Mystikz on another remix. Honestly, I’m trying to get club-friendly with these remixes, and it probably will evolve into an album with the versions we get. What do you think of the recent popularity of dubstep? Are you going to venture into the sound? It’s very important! With reggae you end up getting nostalgic, like everybody is like “it’s supposed to be sounding like Channel One, or this and that.” You end up getting locked into nostalgic mode, where everybody is like “we love this, and it has to be like this.” If you stay like that, your music dies, and it doesn’t become something else. Dubstep, and even jungle, is like a new reggae to me. It sounds great! It’s an evolution, and it gives [people] a chance to make Jamaican stuff sound evolutionary. Unfortunately, there have been unhealthy lyrics from Jamaica recently. Dubstep and jungle have been very healthy and both evolved from England, second- and third-generation Jamaican legacies. We now can play the old stuff and drop in the new stuff back-to-back! What other genres besides dub and reggae intrigue you right now? What are you currently listening to that inspires you? This sounds like a complete departure, but I do like the noise ingredients and the funk stuff. I have quite a bit of old funk sounds at my house and I’m thinking of what to do to get that sound back in gear. 53

photo by Ally Pally

I did a funk album with an artist called Ian King. We used a production technique like a reggae arrangement with horns, etc. I don’t want to stay doing one thing; I want to try other avenues and production techniques. Maybe even jazz, who knows? You’ve done remixes for Nine Inch Nails, KMFDM, etc. How did you get involved in the industrial music scene? We had a band called Tackhead, and those lads like KMFDM, Trent Reznor, etc. used to follow us before they got signed. With KMFDM we hang out one day and did like six tunes. The next couple years my name was all over tunes with them. With Nine Inch Nails I did one track in three hours, which sold hundreds of thousand of copies. Mark Stewart and Mafia were kind of leading the way with the noise stuff honestly. Which artist would you like to produce for, that you haven’t already had a chance to? One that sells millions of records! [laughs] I’m a little bit older now, so it’s not like it would be anyone who would be trendy or young, but with a proven track record. I think the ones which I already worked with, that recently passed away, like Bim Sherman and Prince Far I. I’ve worked with almost all my heroes, so I’ve been lucky. I don’t have interest to work with Beyoncé or someone like that. What will be will be. Some of the artists I’ve worked with didn’t sell millions of records, but it brought loads of pleasure to me and my fans, and that’s what it is really about. In what direction do you think dub is headed in the future? A very healthy direction! What happened with the jungle scene is it didn’t explode, due to the lack of vocalists on the tracks, so people are going to want to hear vocalists to go to another level. It didn’t really matter with jungle, as it’s still healthy with the underground scene. 54

Some of the artists I’ve worked with didn’t sell millions of records, but it brought loads of pleasure to me and my fans, and that’s what it is really about. But someone will have vocalists on dubbed-out tracks and many bands can successfully go a lot dubbier. I hear vocals appearing in key dubstep songs, that pair the melodies and the heavy duty sounds really well. Almost a bit more feminine. Not to get too wimpy, but some of the dubstep sounds too macho. What else can we expect from you in the near future? I’ve got quite a bit. I’ve got a group called The Mongrols, that I’m working with. I’ve got the two Lee Perry albums The Mighty Upsetter and the dub of the album. Got the Harry Becket album, which I highly suggest, called The Modern Sound of Harry Becket, a beautiful record! Got Ian King, which is a funk record. English funk with our production qualities due to be released by end of year. I’m working on my new solo album, which is basically Brazilian psychedelic “mylife-in-the-bush” Brazilian-sounding thing. I’m part way through that. And there is the new African Head Charge Vision of Psychedelic Africa. Who would you like to Big Up? The underdogs. Some artists who haven’t had recognition they deserved like Little Roy, Bim Sherman – one of my heroes, who touched my spirit. Also DJ Sep and the Dub Mission crew in San Francisco. Finally, if you weren’t producing music, what would you do? I dread to think. Can’t imagine it…

MURO

With a last name that translates as “wall” in Spanish, Muro was destined to become a graffiti artist. Muro lives on Canary Islands and paints street walls with characters who come to him in his dreams. Judging by what Muro’s graffiti pieces look like, one can tell his dreams are pretty intense. 56

interview by Yuan Zhou

When did you start doing graffiti art?

What does “Muro” mean?

I started painting in my hood in 2002. I consider myself a new street artist, because I have not lived through the ‘90s boom of graffiti in Spain. I was too busy skateboarding and having fun with friends.

It’s my last name. It means “wall” in Spanish. Accident or destiny?

What attracted you to graffiti art?

It´s just my friends group. We started with stencils and sticking big posters on the streets. Actually we design t-shirts with this brand, throw parties, shows, etc. We are: not a crew.

I started studying graphic design and arts and quickly got involved with the underground style and all the graffiti scene, because I’ve always been curious about it. When I traveled to Berlin and saw all the movement, I started to make my own characters and give them as much personality as I can. What are your characters’ personalities? How do you come up with them? My characters come to me in my dreams at night. But I can´t understand what they whisper in my ears. They sometimes criticize the destructive human nature, politics or religion. Sometimes they just laugh uncontrollably in my face, just to let me know how small and volatile we are.

My characters come to me in my dreams at night. But I can´t understand what they whisper in my ears.

I noticed, on all your images you say “We are.” What does it mean?

Who is your all-time hero? I have no heroes, just people like you and I that I admire because their work is amazing. I think it´s a consequence of their exhaustive search and experimentation. Artists like Dran, San, Logan, Dibo, Hello Monsters, and many others have influenced me the most. Do you see any limitations to your work? Yes, I must work harder on better ideas behind the characters and murals. I also need to improve my typography. There´s still lots of work to do! Can you describe your process for creating on a large area? For me the process is the same in large and in small areas, just the tools change. I mean if I want to get higher I use a large handle and a paint roller, and if it´s smaller, spray cans, etc.

What was your most challenging work?

Is it difficult to find a spot doing graffiti in Spain?

I painted a mural on a huge club facade once. The problem was that under me there was a fall of 30 meters and a road tunnel where big trailers ride fast. So if I fell down I’d be crushed and 100% dead. It was crazy! I was so scared, and it was hard to paint in this condition. I was younger and inexperienced, but I did it anyway.

Actually there are problems when I paint in big cities like Madrid or Barcelona. I think everybody who does graffiti here has had problems with police some time. But there are many places outside the city, where we can still have fun painting, like big abandoned factories, bridges, etc.

What other jobs have you done besides art? I worked as a pizza delivery man, bartender in night clubs. Right now I work as an art director in an agency and at the same time I do my own projects, shows, etc.

Graffiti artists are like dogs: they mark their territory. How do you react if your work is defaced or destroyed? That’s how graffiti works, so I try to take it easy. But normally I get angry, then I grab my cans and go to the place to make another piece in the spot. Graffiti artists are like dogs: they mark their territory. How do you think you’ll feel when you’re older and look back on the artwork you did when you were young? How would you like to document your work? I think that’s the main reason I do street art, to try to be recognized and do something in the streets that may last for a long time. Compiling all my work and publishing a book would be a dream come true. What have you been listening to? I like all kinds of music but I suppose that all the hardcore, grunge, punk and ska music I’ve listened to during my teen age had influenced me the most. Legendary bands like Pennywise, Bad Religion or Nirvana touched me forever. I love to dance to electronic music like Calle 13, Instituto Mexicano del Sonido, Plastilina Mosh, Chromeo, Tiga. And I enjoy working while listening to something relaxing like Morrissey, Anthony and the Johnsons, and many many more. 57

Are you vegetarian? No, I´m Basque. So I really enjoy eating a big bloody beef steak.

I´m preparing an expo in Berlin for this summer, Tokyo for next year, and who knows, maybe I´ll live forever. What kind of environment are you living in right now? Actually I live in a flat in Canary Islands. It´s a really relaxing place. It´s cheap and big, and there’s no problem to paint in the streets. Everything goes slow here, and people are fantastic. What other countries would you like to live in? I don´t care. Living in Spain is great, but I love to travel as much as possible and stay for a long time in the places I visit. I would like to live in cities like Berlin, New York or also in relaxed places like Indonesia. What’s next? I´m preparing an expo in Berlin for this summer, Tokyo for next year, and who knows, maybe I´ll live forever. For more on Muro, go to www.murocracia.com 60

photo by Georgina Cook

CYRUS Croydon-based Jason Flynn, a.k.a. Cyrus of Random Trio, has been creating and playing dubstep since its inception. With big releases since 2004, outstanding remix work, two record labels and a track on a Hollywood box office soundtrack, it’s fair to say his dark, absorbing sound has established him as a mainstay of the scene. This was reinforced last year when he performed as part of the Generation Bass showcase on Mary Ann Hobbs’s Radio 1 show. On his recent visit to San Francisco we took a day out in the sun meandering around. After getting suitably toasted by the heat, we ducked into a North Beach bar for a different kind of toasting – a couple of pitchers of beer and some conversation. 62

interview by Emcee Child

We can all read the bio on your MySpace, but I’m interested in a more particular experience that started your musical career. It started from deejaying. I was 15 when I first tried my hand at it. At about 17 or 18 I thought of getting into it properly. I was deejaying drum and bass and then progressed into UK garage. Then also the darker side of garage was coming through, and I just kinda wanted to make my own. So I got a cheap PC, a copy of Fruity Loops and tried making some garage. Did you do it on your own? No, at first I did it with my friend Omni, cofounder of Random Trio. We were just trying to make garage at that time. Just real ly dark, a different angle of the sound. At the time we were influenced by the likes of Horsepower, Zed Bias, Wookie, El-b, etc... We wanted to create something along the lines of what they were doing. Horsepower especially. They had a big influence on my early sound... They were so unique, totally broke the mould.

But if you don’t look up, how can you know if the crowd likes it or not?

Back then very few people played dubstep, nobody liked it, nobody had faith in it at all. How do you feel about the sound growing this big and seeing Snoop Dogg getting into it? Wherever I get bookings or go out to events I forget how many people are actually into this sound now. I still expect to walk into an empty room, but I’ll get to the club and the line is around the block. It’s unbelievable how much the sound has grown! And the places I get to go to... I’m very lucky! I’m more than happy about the direction that it’s going in. I don’t understand the negative reaction that Snoop Dogg got over trying his hand at dubstep. To me, that is massive; Snoop is a legend and if he feels this sound’s good enough to bless it with his vocals, then that’s huge. I certainly wouldn’t pass that up. Are you first of all a DJ or a producer?

When did you start putting out records? Hmm... I think it was 2004. There were not a lot of labels, so I started my own label to put my own music out. The first batch of solo tunes I made literally became the first release, Lost City EP. The reason I started the label was to give people more options, another label to buy from really.

Hard one to answer. I suppose I’m a DJ first. I was deejaying way before I was making music, but I now spend more time producing. I love doing both equally. Where is your favorite place to play? Besides my bedroom? [Laughs]

When was the first time you heard your tunes played out?

I’ve spun there too, it’s quite overrated.

Haha, yea, this is shit! Who wrote this? [Laughs] Yea, Kode9 was one of the main DJ’s who’d play my stuff. It’s a big boost to have someone as legendary as him to play your tunes...

Haha, yea, not many people... I don’t know. I enjoyed playing everywhere really. I love coming to the States and playing here. Definitely some of the best vibes this side of the pond. Back in the UK we’ve got some of the best sound systems, and of course I love playing at home, but some people can be a bit picky. They’re harder to please... too much choice I suppose. I think when you come somewhere like the States or some parts of Europe, people really appreciate what you bring as it’s not there on a plate. I really enjoy playing in Holland. Wherever I’ve done a gig there, it’s always wicked vibes. The Dutch go crazy. They’re really into the music. You step up to the decks and you’ll get a few people screaming your name out, which is always pretty strange, ‘cause I tend not to look up, and people might think I’m arrogant... I’m not! [Laughs]

Of course! So then did it all take off?

Why don’t you like looking at the crowd?

Well, it’s hard to say. Back then very few people played dubstep, nobody liked it, nobody had faith in it at all. We only had something stupid like ten people at the club where they played dubstep, and them ten people were mostly us ‒ DJ’s! [Laughs] It was a slow progress, but eventually it caught on.

Must be a shy thing. I can’t relax till I‘ve got the first dub on the deck. A lot of people say it’s hard to talk to me before I play a set. I’m in my own little world, zoned out. I still get nervous before I go on, just hoping the needles don’t jump and the crowd likes what I’m doing.

It was at FWD>>. Kode9 played it. It was “Lost City.” It was actually quite funny ‒ I gave out the CD to people about three months before, and I didn’t really think anymore about it. So I was just at the front, dancing away, didn’t even realize it was my tune! One of my mates goes, “This is you, ain’t it?!” And I was, “oh.. yea!” I always had this image in my head, that if I heard one of my songs played at FWD>> I’d go mad, but I didn’t even recognize it! I just carried on shocking out! It’d be funny if you didn’t even notice it and be like, “who is this?”

‘Cause I can hear them. That’s why I need the crowd to be vocal. [Laughs] It varies from place to place. Some places people are really vocal, some places – really quiet; they won’t make a noise for any tune. I’ll play a tune that I know is a banger and they will not make any sound! But over time I’ve learned that this can be a good thing as they are listening intensely. I’d be sweating behind the decks thinking I’m gonna get lynched at any moment, but after the set people will come up and tell me how much they enjoyed it... Which I always appreciate. But yea, I do have the odd glance up to see what’s going on. It’s a zone thing...We’ll leave it at that. [Laughs]

I still expect to walk into an empty room, but I’ll get to the club and the line is around the block. It’s unbelievable how much the sound has grown! Do you think if you had an MC, it would help the crowd be vocal? I’m not really into the emceeing over dubstep. But I definitely think having a host on a set can help. Especially if they can interact with the crowd and get them involved. I think it’s important, having the crowd involved, making them feel as much a part of the show as we are. After all, they are putting us up there by buying and supporting our music. I’m very grateful for that. Do you plan out your sets? Sometimes. But most of the times I’ll know the two or three tracks that I’m gonna start with, and that’s it. I’ll then just go with the flow. I try to keep people interested by mixing it up. I don’t just play my own production, or any one style. I’ll mix it up throughout the set. I’ll try to cover the whole spectrum. Taking it up, then back down again. I want to keep the crowd’s attention the whole time. Playing one style, be it jump-up or dark, can sound repetitive (in my opinion), so I think mixing it up over the hour or so can be refreshing. So do you play dubs during your sets? Mostly dubs, yes. I love the whole experience of cutting dubs, and I love playing them. It gets expensive cutting dubs though, and you’ve gotta treat them well. If you’re spinning reloads every time, then you’re gonna run the acetate down quick. When the crowd is calling for reloads through my set, it’s just a gentle tap of the stop button and I lift the needle off gently. [Laughs] No crazy wheel-ups! I’ve been playing a lot more vynile as well. I think it’s important 63

Sometimes I decide to write a jump-up tune, I do it, but then it’s not really doing it for me.

photo by Ashley Teylor

to rep released music as well as fresh stuff. Otherwise it seems like everything has a shelf life. How do you feel about reloads? I’m all for it if the crowd is calling for it. Although I don’t agree with reloading something ten times, especially if I’m shocking out. It ruins my flow. But yea, if a tune’s good, why not! What about producing? Do you have any special rituals in the studio? Squat thrusts and lavender. [Laughs] No, I don’t. I just kinda get into the studio, turn everything on and start playing around. I just gotta have a clear head and create something half-decent. Do you collaborate a lot? More so recently. I’ve done a couple of tunes with Distance and more recently Tunnidge as well. We write quite well together. I like seeing how other artists work. Everyone’s got their own way, and it’s interesting to see and learn from each other. I find you write a bit quicker when collaborating as well, as you bounce off each other’s ideas. I’ve started a fair few tunes with Kromestar over the years as well. We must have written like 20 tunes together, but we’ve never gotten any further than four-bar loops. We just end up talking and messing around. I’ve got a few more collaborations in the pipeline though. Hopefully, they will come through. It’s just about finding time in everybody’s busy schedule. You must have a lot of unfinished tunes. A ton of unfinished tunes! It’s clogging up my hard drive. I might do ten loops a day and 64

I will only continue working on one of them. So I have tons of loops that are unfinished. Might be enough for four albums already. Does your mood in the studio affect how your tunes are going to sound? You’re writing a lot of dark tunes. I never really set out to write dark, atmospheric tunes. Sometimes I decide to write a jump-up tune, I do it, but then it’s not really doing it for me. And then I’ll go back into it, take stuff out, and it becomes minimal and dark again. So I guess that’s where my heart’s at… either that, or I’m just miserable. Do you still go out to listen to dubstep? I don’t go out as often as I probably should. It’s not ‘cause I don’t want to go, I’m just trying to do hundred of things at the same time and get tired at the end of the day. Plus any spare time I get I like to spend with my beautiful daughter. Any upcoming releases on Random Trio? Of course. The next one should be out for the summer [check MySpace for info]. There always seem to be setbacks with getting stuff out on RTP, so I never get the amount of releases out as I plan. I hear rumours you’re starting a new label? RTP is solely for Random Trio stuff. So I’m starting another label with Tunnidge that will be signing new as well as established artists. There’s loads of stuff from up-and-coming producers that’s really good, but not getting snapped up. I can’t put it out on RTP, as that defeats the reason why I started it. So the new label will give them an opportunity, and I’d have liked that opportunity when I just started.

Any chance of you returning to Sub.fm? I’m not sure. I’d like to go back to radio. I’ve got too many tunes I’d like to play and I can’t afford to cut them all. I use Serato for radio, so if I do, I could showcase all the music I get sent. So it’s definitely something I’d like to do, just need to see if there’s a spot for me somewhere.. What’s your favorite music besides dubstep? Classical. Shut up! I’m joking. I listen to everything. I’m not into death metal though. I’m into indie, reggae, hip hop, funky house, d&b, the list goes on. What’s in your record bag? At this very moment I have bits from Distance, Tunnidge, Kromestar, Djunya, Skream, Benga, Mala, DJG, Peverelist. Is there anything you haven’t done with your music that you’d like to do? There’s a lot I haven’t done with my music. I’ve been fortunate enough to have had an album out and of course having a track in a movie which I’m very proud of. But I still think there’s so much more to achieve. Many people tell me they could imagine my music in a film. So I’d definitely like an opportunity to maybe do music for movies, TV shows, games, etc. I want to do another album in the near future, as well as take my sound to places it hasn’t reached yet.

CHRIS EDE Australian-born, England-based illustrator Chris Ede creates work that bursts with splashes of color and takes viewers on an exciting journey full of surreal swirling paths, humorous characters and natural textures. His conceptual, illustrative and vibrant work has appeared in The Guardian, Sunday Times, and Billboard, and he recently played a key role in creating the concept, illustration and animation for the 2012 Olympics Handover Ceremony. Chris makes his living doing freelance work, believes in life on other planets, and is completely obsessed with art â&#x20AC;&#x201C; he has a hard time switching his thoughts to anything else.

interview by Katya Guseva

What was the moment in your life when you decided you wanted to become an artist? I don’t recall an actual pinpoint moment in my life. I’ve just always known I would be a creative since I was a child. It’s never entered my mind that I’d be anything else. If you had to describe your art in five words, what would those be? Dynamic, striking, illustrative, energetic and vibrant.

I’ve just always known I would be a creative since I was a child. It’s never entered my mind that I’d be anything else. What is usually the theme of your art? As an editorial illustrator the message is always to convey the column’s ideas or topics. These usually involve human behaviors, cultures and communication. When you start out a project, do you already have the picture of the final outcome in your head?

I certainly have the concept of the idea decided and sketched out very loosely as a thumbnail. But the overall look to the piece evolves through the drawing process and composing these elements in Photoshop. That’s the moment when I can envision the final illustration clearly. When you create art, what’s more important for you, the idea or the process? For my own satisfaction, I would say the process. I love to dive into my own little world and create things from my mind. But the idea is more important, when I wish to address, and communicate with, the outside world. What’s the role of music in your work? I always have music playing while working. It helps me drift away into another world while creating my illustrations. Having the appropriate music helps me capture a certain mood, feel or color visually. Speaking of color, how important is color in your art? Color plays a major role in my work. Color is an important tool to convey the mood of my pieces. In the past I have restricted myself to a limited color palette but recently my confidence has grown and so has the use of my palette. The color is created either digitally or using water-based inks.

What was the most challenging project you’ve worked on? By far, working on the 2012 Olympics Handover Ceremony animation last summer. I was asked to create all artwork for the pitch to the Olympic Committee. This included storyboards, mood-boards, concepts, graphics and illustrations. Once we won the pitch, I created elements for the final animation, created style boards and played a major role in the final concepts. What is art for you? Art controls my thoughts all the time and becomes an obsession. I find it hard to switch off. What’s “Midnight” about? Midnight is an experimental piece using previous drawings of woodland life. I went about achieving a dark and mysterious midnight mood. I am currently adapting this mood board to a new collaboration piece with Ollie Munden [www.megamunden.com], lead designer of McFaul Studio. This triptych of an old masters woodland battle has been long in our minds, and I’m hoping it will create my best piece of work to date. Watch this space!!! For more on Chris Ede, go to www.chrisede.com

Magic Touch

Dior Darling

Power Nap

Sleeping Beauty

Nature At Your Fingertips

Art controls my thoughts all the time and becomes an obsession. I find it hard to switch off.

Safran Manzoor book review illustration

Midnight

photo by Melissa Hostetler

MODERAT MODESELEKTOR + APPARAT

Moderat have been off the radar for seven years, and until now, Sascha Ring (Apparat), Sebastian Szary and Gernot Bronsert (Modeselektor) have continued on separate musical paths − only exchanging a few remixes here and there. This new instance of Moderat creates a detailed blend of trustworthy yet mysterious music that seems to hit that one note you wish most musicians would − and then takes it a step further by creating a few more of those notes, some of which you have never heard before. They present these melodies and musical creations in a disorderly fashion; each and every tune hits you with a new turn of color. I’d like to call them pioneers of musical space, but for some reason, the areas they are exploring seem to have been known about for millennia. Perhaps, it’s their own musical dialect which makes these explorations sound so fresh, or perhaps the radiation of energy and real work they have put into creating their first full-length album prevents any sort of sonic fatigue. Modeselektor’s sub-bass and deep grooves combined with Apparat’s melodies and vocals are almost enough to create the perfect musical situation... Add some indecision and musical arguments that lead to even higher musical ground − and lots of espresso − and the result is an amalgamation of all necessary ingredients for a sound so colorful, the air it moves smells richer. I caught up with Moderat to steal a look into what makes such a complete and distinct musical style.

interview by Donnie Valdez

What kind of musical backgrounds do the three of you have? Any instruments played, or formal education? I know for Sascha’s [Apparat’s] past, that he is really into independent guitar music. He really likes bands like Godspeed, Yo La Tengo, and a lot of guitar stuff, you know... He plays guitar, and he likes melancholic singer-songwriter music as well. Szary and I are into similar stuff. We like any kind of music. I started learning piano as a little boy. Szary was the first one in the early ‘90s who bought electronic instruments to produce music here in Berlin. That’s not really a formal musical education though. We never went to music school or anything like that, so we are all self-made musicians. I really admire the DIY approach... What was it like to work together for this album as opposed to your first Moderat EP in 2002? Any major differences? We are older! [Laughs] And Szary and I now have children, which changes the working rhythm a lot. We need to have fixed studio schedule to be able to spend time with our families. We can’t spend so much time, like in the old days and nights, with a lot of beer and bad food in the studio. This time, we recorded this album like if it were a day job. We would start in the morning and we would stop around six in the evening, so like a usual working day, eight to ten hours. It was quite hard for Sascha Apparat, because he has no family, and he is single. Szary and I are touring a lot with Modeselektor, and we need to take care of our health, because we play about 120 shows a year. And we take care of our families, run a small label, make and produce music. We have a lot of things going on − we can’t party really hard like in the old days, you know... Sascha is still partying really hard, and it was sometimes really hard for him to be in the studio on time on Mondays. It was funny, sometimes he would be sleeping in the back of the room.

We are always looking for special sounds and nice rhythms, melodies, and lyrics, so it was like building a sculpture and destroying it, and building it up again... and destroying it... and building it up again... It was a nice experience, because, you know when you record an album as a band, you usually have a drummer, a bass player, a guitarist, a singer... and everybody has their

job. This time the three of us were able to do all of it. It was sometimes not so easy to make decisions, because we all wanted to make our personal arrangements, you know? Yeah, definitely! Do you feel that the three of you had an equal input? Or was someone more of a leader for the group in the studio? No. That was a problem. I wish we would have decided to have someone act as kind of a leader. But this was totally democratic, kind of a social experiment. Some days we would discuss a hi-hat for hours! It was not easy... We painted this record with our own blood. That’s why it took so long − we never had a plan! We didn’t know how it would sound, or have an idea of what kind of music it would be. We were just happy that we finished tracks!

Some days we would discuss a hi-hat for hours! It was not easy. We painted this record with our own blood. That’s why it took so long − we never had a plan! It sounds like your process for creating this album was very free-spirited! Both Modeselektor and Apparat have had seemingly different paths in your musical careers. How do you think this album is going to progress, or affect this? I cannot tell you yet, because the music we did for this record was very personal. Maybe it sounds a bit overdressed when I say that we made personal music. But I think this was a personal thing because all three of us, Apparat and Modeselektor, are not the type of producers who are able to go into the studio and make a dance song, or a love song ‒ we never decide in advance what we will do. So it’s always about the process that we have together. It’s always about the mood, you know? Sometimes it’s about the food we had! Maybe it’s a harder way to make music, because it takes more time to find something that you like. We are always looking for special sounds and nice rhythms, melodies, and lyrics, so it was like building a sculpture and destroying it, and building it up again... and destroying it... and building it up again... On this album, there are songs like “3 Minutes Of” and “Nasty Silence”, which were one song before and became two songs for the album. Or “Porc #1” and “Porc #2”, these songs are one song. “No. 22” was a remix of “Out Of Sight,” and it was a recycle experiment we had. It was a lot of work. Moderat had brought a lot of ideas back from Apparat and Modeselektor that had been given up on before. Were

you saving these in case you wanted to work on them again? Or were you in the studio looking for ideas, and happened to stumble upon some work you had started before? For this record, we just had a couple of ideas before we started working on it. For example, “A New Error” was based on an idea we had already, or “Rusty Nails.” We maybe had about five old songs on our hard drives that we used toward this record. They were just the base though, we changed it a lot and there is hardly any old stuff ‒ all of the material on this album is really new. The only track that was not entirely new was “Slow Match”. It was supposed to be on the last Modeselektor album, Happy Birthday!, but we didn’t finish it on time. That’s why we finished it with Apparat, and now it’s a Moderat track. Speaking of “Rusty Nails,” how did it come about that Sascha Apparat recorded vocals for parts of the new album? It was not planned. We composed the track, and were working on it, and one morning we came into the studio and he said that he was singing something to the song. We really liked it, so he just did a test recording, which was the best take. We tried for a long time to rerecord the vocals, but we never got the magic from the first take, so that’s why we used the test recoding ‒ spontaneous ideas, you know? Do you have plans for Moderat in the future? Touring. It’s just for four months, from May until September. I have no idea... we may need some distance through the whole thing, and we just need to see how the reaction will be. Playing live with Moderat, and producing music with Moderat are two different things. Being on stage as Moderat is a really nice experience, because it’s so different. We have a huge stage set up. We bring our own screens, and even our own tables. Now we are seven people traveling, with a light designer, a sound guy, tour manager, and two VJ’s! This is kind of exciting, because now we have this band feeling more and more. We don’t need to play in smaller clubs to get big, because as Modeselektor and Apparat we already played the big festivals, and now we have the opportunity to make something totally different.

When we are on stage, we are more in the shadow. The focus is on the visuals, and we, as people, are not important. As Modeselektor it’s really about the dancefloor, it’s about stage diving ‒ but not in a stupid way, you know, like with a little smart smile. We 73

always make jokes about ourselves, get fancy haircuts... This project with Moderat is about the visuals and the music. It’s more serious. It’s not about the person. When we are on stage, we are more in the shadow. The focus is on the visuals, and we, as people, are not important. We communicate with the audience via the music and the visuals. When Modeselektor plays we have personal contact, we tease the crowd, we make them crazy... We try to kill it always, and this pressure, we don’t have with Moderat. Now we have a more quiet way, which we really enjoy, and we see that it works. So the album also comes as a DVD with music videos by Pfadfinderei. Yeah, [the] Pfadfinderei guys, who did the DVD, are the best friends of Szary and I. They created the Modeselektor monkey, and they do all of the Modeselektor artwork, and a lot of artwork for BPitch Control. We have toured with them as “Modeselektor featuring Pfadfinderei” for a long time. They saw that with Moderat we made something different, something special. They were so impressed by it! They were, by the way, the only guys who were always updated with unfinished tracks, so they started recording footage for the tracks. We didn’t need to make music for the visuals ‒ they would say, “this song sounds like concrete,” and they would film some concrete. They are amazing! I have known these guys for 15 years, and I think this is the best work they have ever done. Did you contribute any input to Pfadfinderei’s visuals? Or did you give them total creative control? No, no, we gave them total control! They always invited us to the studios they rented here in Berlin, where they shoot their clips. They would invite us to hang out and to take a look at what they were doing, but we would say that we just want to see it when it’s finished. That was not always easy, because the Modeselektor studio is in the same house as the Pfadfinderei studio, so we see each other every day. They had been working for a long time on it. When they were finished, we had a preview session with a projector, like in a little cinema. We watched the clips for the first time with a good sound system, which was nice. When you tour as Moderat, how much collaboration do you have? Do you need to plan your sets? How does this affect the show? The difference between a Modeselektor show and a Moderat show, is that we cannot change the running order of the songs. We have a few playlists, and we decide shortly before we go on stage which one we play. It’s just about the running order of the songs. So if we decide to play, for example Playlist #1, we cannot change it on stage. When Modeselektor plays, it’s about the feeling we have. When we see that it’s pumping, then we know what track is the best. With Moderat, it’s more like a concert, it’s not like a 74

club. Sascha Apparat doesn’t have a laptop on stage, he plays guitars, and synthesizers, and sings, and makes some percussion stuff. Szary mixes onstage and does some additional stuff. So it’s more ‘banded.’ I had no idea that Sascha would be playing live instruments on tour. Is this something you have been rehearsing for a long time?

No. He’s into it. He’s a band guy, so he really wanted to do that ‒ he didn’t want to have a computer. He sings too, so sometimes it’s acoustic-sounding. You’ve played many cities in the past. Which ones do you look forward to returning to this time around? I cannot tell you which cities were the best, but I had a lot of good experiences in the United States. When Modeselektor came to the US for the first time in 2005, everybody back home was like, “don’t go there” and “it’s all about the politics”, and “it’s not politically correct.” I couldn’t get it, because the people who come to the parties or concerts have nothing to do with some idiots in suits, you know? I was a little bit scared of all the cops in the beginning. Because here, in Europe, in Germany, you see the police and you just diss them. You make jokes about them. When you grow up, the first thing you learn is jokes about the cops, and the “power.” I grew up in the eastern side of Berlin. For a while there was anarchy here. There was no tomorrow, and no yesterday for a couple of years. My whole generation grew up like this, we don’t respect the “power” of the system. That was a very important time for me, because I was 14-15 years old and that’s a very important time for the character of a human being... The first time I visited the United States, I smelled something in the air which I really don’t like. I don’t like to cross the border. They take your finger prints, they take photos of your eyes, they ask you weird questions, they take off some of your clothes. When you cross a border in the European Union, they don’t even make you show your ID!

It’s forbidden to smoke inside, and to drink outside, so you cannot drink and smoke at the same moment! It’s like drinking coke without the sparkling! Last year we played a lot in the States, and it’s getting better, but I don’t like this American security sickness. You cannot drink alcohol on the streets! It’s ridiculous. It makes absolutely no sense! It’s forbidden to smoke inside, and to drink outside, so you cannot drink and smoke at the same moment! It’s like drinking coke without the sparkling! But the parties are really, really good, and I have great friends in San Francisco, New York, Seattle and L.A. Do you think that growing up without such a heavy influence from authority in your life has helped contribute to your creativity and musical ability? I think that’s why I make music. Because I grew up in Berlin, the first music that touched me was techno. It was not Nirvana or Public Enemy, or Lisa Stansfield or whatever, you know, it was fucking underground resistance! For me, that was the biggest thing ever, and a whole generation grew up like this. We were not kids with the stupid cliché colorful neon clothes, and the fucked up sunglasses, or glowsticks ‒ it was real, it was underground ‒ it was punk, you know? After the war, you cannot imagine how it was here! Berlin was a town where nobody knew what tomorrow would be. Nobody. Not even the politicians, police, the parents, or the children... It was a crazy time,

photo by Arrowone

and nothing was important, just the music. That is the thing that all three of us have in common. Sascha and Szary grew up in the same circumstances, and we still try to save a piece of this spirit ‒ of these times. A lot of people in Berlin are doing this as well, and that’s why the techno scene in Germany and especially in Berlin is so big and strong. What are your current biggest musical influences? Oh man, I’m so into the new Animal Collective record! You know Animal Collective? It’s amazing! I think it’s three or four guys from all over the world who live in New York. They recently released a record on Fat Cat Records. That’s a label where bands like Sigur Rós or Múm or a lot of other nice bands release music. I’m really into dubstep. I like the stuff Diplo is releasing on his label. I get so much new music all the time, so I always have a lot of different influences. You have a lot of people following your music in the dubstep scene, and I believe Shackleton remixed one of your tunes. Yeah, Shackleton, and TRG. TRG is the new star on the dubstep sky. You are working with him as well? Yeah, he did a remix for the “Rusty Nails” single. We got Booka Shade, and TRG, and the Shackleton remix will be a bonus track on the CD, because it was too long to put on vinyl. It was like 14 minutes or something. So it will be a bonus track on the CD album, and we will release it later as a white label vinyl. Just dub/promo copies or something. Any other projects outside of this you want to mention?

Yeah, Szary and I are recording a mix CD for Get Physical Records; it is a CD mix series called Body Language. We are working on it now, I need to work on it this evening.

After the war, you cannot imagine how it was here! Berlin was a town where nobody knew what tomorrow would be. Nobody. Not even the politicians, police, the parents, or the children... It was a crazy time, and nothing was important, just the music. Which format do you prefer: CD or vinyl? I buy both. I prefer vinyl for the dance floor. I can play files or CDs, but I do not deejay that often. I really like the black discs, I need that. I used to work for Hardwax Record Store here in Berlin for a long time, and I have a huge record collection. I’m happy that my little son is growing up with records and turntables. That was my dream, when I was a little boy. When I bought my first turntables, I said, “One day, when I have a little son, he will grow up with turntables and records.” That was, for me, the coolest thing. Now, it’s still like that; I go to the record store every week and pick up my package, and spend too much money for it! But it’s like collecting sneakers, or buying nice cars or whatever. Who would you like to Big Up? Obama. I hope he will do what he was promising. I have a problem with politics, so I usually don’t like to talk about it, but I

hope he can “take the car out of the river.” Do you know what I mean? Not really. When your car is in the river, and it’s almost too late, then you need a guy who can pull it out. So America is the car in the river, and Obama is the guy who has the job to take it out. But he’s just one man you know. So just watch him, and tell him if he starts doing the same bullshit like the others did before him. Make sure he doesn’t push us back in? Haha! The world has a lot of problems at the moment. There are so many things going on... But I’m not a politics guy, I like music. Music’s message is just emotions and truth. When people go to the club to see us, they see the truth. It’s not just Moderat from the internet, or Moderat they read about in Big Up Magazine. It is real what we are doing. Big Up to anyone in the music world? Or are you sick of music after that album? No no no no no! That’s impossible! Without music I would die. I needed a distance from the music for a while, because we worked so long on the album. There will never be another human being that will have heard this Moderat record more than me! But Szary and I just founded a Modeselektor record label called Monkeytown Records. It’s a platform for befriended artists. We signed an old friend of ours, Siriusmo. That’s what I want to recommend. We founded this record label during the financial crisis, and we don’t care if we lose money. It’s all about the music. This guy is a cool musician, his music is amazing! Big Up to Monkeytown Records! 75

ANTI SOCIAL E N T E R TA I N M E N T

photo by Ashes 57

SILKIE If I had to choose five words to describe my sound they would be: dancable, cheeky, comedic, shubanistical, boognationalisation. In the studio I usually waste time. I know the track is finished when I’m bored. When I heard my track played out for the first time I was too drunk to notice! Anti Social Entertainment for me is band of brothers. This year I’m planning to do what I didn’t last year. My most played record is hard to think of, but if I had to choose, I would say “Horizon,” because someone will request it even if I forget. I feel happy when my mum’s happy. Big up to my mum.

QUEST 76

photo by Dettography

Five words describing my sound: progressive, emotional, deep, introspective, sincere In the studio I usually open Fruity or whatever program I choose to work on at the time and pick random sounds for the drum beat and make them work. Music to me is like creating a sculpture: at first the tools and materials might seem random, but I make them work by sculpting and taking away any excess that doesn’t need to be there. I do this in all aspects of my beat. I know a track is finished when there is nothing else I want to do to it in fear of spoiling it. Also when I’ve been listening to it from start to finish on loop for hours and haven’t got bored of it. When I heard my track played out for the first time I had a big smile on my face. Just seeing people dancing and the fact that they understood what I was trying to say and do musically, meant a lot to me. It also encouraged me to make more!!! Anti Social Entertainment for me is a collective of people from different backgrounds, coming together with one common understanding of music. We strive to further the boundries of music by making music with feeling, by coming with a fresh aspect, while incorporating elements of sound you already know. My vision of the future for us is that we will all be individual pillars in music, while keeping the sound together.

This year I am planning to finally finish my album!!! Also to progress in areas of my sound that I feel need improvement. I also want to become more prolific as a producer. My rate of making music hasn’t been as fast as I would have liked. That stops this year! My most played record has to be “Stand,” because it never fails to bring the crowd deeper into the sound that I want to get to. I’ve felt so much from just playing that tune in a club. I feel happy when I see progression, wether it’s musically or just in general. Sometimes I just observe my baby sister and smile at the fact that I’m seeing her grow and how much she has grown. It’s also like that for me and my camp. Looking back over the years and seeing where we have come from to where we are now, the progression has been immense and I am happy for that. Big up to first and foremost Jah, God (however you relate to him), my grandma Josephine, who passed away two weeks ago, I owe you my life! Mum, dad and baby sister Nia, love you loads. My cousins b.a.m and Smoov. My musical family Anti Social, you have progressed me musically and as a person, love you for life! My brother Mala, I am endebted to you, nuff luv. My musical brothers: Heny G, Snedos, Chefal, Skream, Kutz, Benga, Hijack, LD, Beezy, Cluekid, G Double, Cotti, D Fuse, Simon Subdub (respect), Crazy D, Sgt Pokes, Coki, Kidcasual and Bert (uncles for life). And everybody else who has helped me along the way, there are just too many to mention!

Anti Social Entertainment – the band of brothers in dubstep – keep it soulful and deep, representing the sensual vibe of the sound. With Silkie’s brand new album creating huge waves in the scene, and Quest’s album coming up this year, there’s a lot of attention drawn to the Anti Social camp. We had a quick chat with a few members of the crew to get a closer look into the deep sound coming from the group.

photo by Dettography

Five words describing my sound... Sampled Spacey Emo Underwater Cartoon In the studio I usually feel the vibes. I know the track is finished when it tells me. When I heard my track played out for the first time I nodded my head and tried to hold back a maaasive smile! Antisocial Entertainment for me is my family. This year I’m planning to make records and teach. My most played record “Make It Fast” - Rob I feel happy when I’m making beats. Big up to everybody.

HARRY CRAZE

JAY 5IVE Five words describing my sound... As a producer it’s really hard for me to describe my sound. It’s an individual experience which each person feels and hears. I can be in the same room as a crowd of people, all listening to a track, but what I hear and feel could be different from what everyone else does. In the studio I usually begin my creative process from within me. It becomes a personal journey, where I create my music that speaks about the way I’m feeling or what mood I am in at that space in time. I know the track is finished when it doesn’t sound repetitive and when I can hear the track over and over again and not get bored of it. Also I like to think that a track is finished when I try to add to it, and it seems too overloaded. When I heard my track played out for the first time I was overwhelmed and humbled to the response that it received from the listeners.

Anti Social Entertainment for me is a collective of different people, with a passion for a particular sound for music. This year I’m planning to work hard on production and continue to be inspired and influenced by the world of music around me. My most played record I would have to say “Bass 96,” produced by myself and Kromestar. That track has had the biggest response in the clubs and seems to be one of the tracks that people like the most, including myself. Big up to God, my family, my other family Anti Social Entertainment, Heny G, Kromestar, Mala, Rinse FM, Deep Medi Muzik, Dubstar Recordings, Crazy D, Sgt. Pokes, G Double, Dj Chefal, Sned, D-1, Simon Subdub, Benga, Skream, Hatcha, Hijack, Caspa and everyone else I forgot.

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Issue 4, SUMMER 2009

MALA // FLYING LOTUS // ADRIAN SHERWOOD // RUSKO // MODERAT // CYRUS // WARRIOR QUEEN

KUTZ

Big Sound

EL-B

Big Sound

SUMMER 2009

Big Sound

SPRING 2009

EMALKAY

WINTER 2009

ANTI SOCIAL ENTERTAINMENT // MURO // HELLOVON // ELSE // NEIL DUERDEN // MRGO // CHRIS EDE

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EL-B “Ghost Showcase” Of eminent musical descent, Lewis Beadle a.k.a. El-B rose to fame in UK Garage scene in the 1990’s. He has an impressive catalogue of remixes for majors, and has run several labels including Ghost, El-Breaks and Scorpion. Famed for using full RnB/Reggae vocals over hard beats, EL-B coupled this with driving beats and dark Bass into Garage. This was a key element in his second guise as a pioneer of dubstep along with Zed Bias, HorsePower, and Oris Jay.

EL-B

Big Sound

Exclusive mix for Big Up Magazine is a Ghost Showcase featuring El-B’s latest work in dubstep. With the success of his current album “The Roots of EL-B”, and a Ghost album due for release later on this year this boy is sure to look out for, if you like your beats dark, delightful and downright mean. 79

MUSIC REVIEWS Silkie City Limits Vol. 1 [DEEP MEDi MUSIK]

After an onslaught of consistently epic 12” plates embodying the meditative side of dubstep music since 2006, Mala’s DEEP MEDi MUSIK label makes its first move towards a full-length album, with Silkie at the controls. Remarkably emotive, while maintaining a level of irresistible danceability, this young North Londoner displays a distinct mastery in crafting his own sound. Within the first ten seconds of “Concrete Jungle,” you’re immediately pulled into Silkie’s care-free, summery island world of rich soundscapes, refreshing in its balance of instrumental samples and expertly designed synthetics. At its best moments, the album has the ability to make all your worries melt away and send tingles up your spine, leaving you in a blissful, energetic state, like you’re on a rainbow rollercoaster soaring through the expanses of outer space. He delivers his music the way a great linguist delivers prose – igniting feelings and actions from your inner depths. His tasteful use of uplifting melodies, harmonic shifts, and post-garage rhythms send signals to your brain that simply inspire movement in both the physical and mental realms. Most of the tracks make excellent use of bass to drive the tunes forward at the right moments, but some others use slightly typical wobbles, shifting the focus away from the more unique elements of his productions. The standout tunes of the album evoke excitement through pure originality and raw emotion, without much use of LFO. “Purple Love,” for example, is a bubbling ascension of bass-boopage, massaging your senses down from your toes and shimmering its way up to your eyeballs. Another highlight is “Head Butt Da Deck,” beginning with a half-step rhythm that eases its way into your cranium, waits until you’ve gotten comfortable, then cuts out. What enters next is what you’ve been waiting for the whole time but you didn’t expect, and once the beat drops back in, if you’re not bobbing your head with your eyes closed, there’s something wrong with you! The finest opus of the album is undoubtedly the final track, “Beauty.” Carefully constructed from start to finish, it sweeps you off your emotional feet, and floats you up to the top of the castle you’ve been questing for this entire time, and then it’s gone, like a fleeting lover, and you’ve got nothing to do but start the journey all over again. This is Silkie. This is MEDi MUSIK. Due out this summer, City Limits Vol. 1 couldn’t come at a better time, proving itself as a valiant contender for the most imaginative album in the dubstep sphere this year. As an LP debut for Deep Medi, it shows nothing but promise for the label. And with rumors of Quest’s album up next, the future looks very bright. Alex Incyde

Dubblestandart, Lee “Scratch” Perry & Ari Up Return From Planet Dub [Collision]

It’s been 35 years, give or take, since the first dub album was produced in Jamaica and 33 years since Lee “Scratch” Perry’s dub masterpiece Super Ape [Mango] hit the shelves. Neither the genre nor the septuagenarian Perry show any signs of slowing, while Austrian band Dubblestandart have taken it upon themselves to unite punk, dub and dubstep icons on their latest release. The double-disc set, which includes extensive liner notes by Lee Perry biographer David Katz, is a thoroughly realized journey that stays true

to the music’s experimental reggae roots and expands on the remix innovations that dub birthed. This is a relief, given Perry’s regrettable recent output, including ‘08’s un-listenable Repentance collaboration with rocker Andrew W.K. Dubblestandart’s riddim backing straddles modern roots reggae motifs that are occasionally modified with wobbly subs and electronic nuances. Overall, though, the music resembles Dub Syndicate or Mad Professor’s futurist dub blueprints; spacious, melodic and full of swirling echoes. Perry rants and chants more than sings on tracks like “I Foo China,” where he’s accompanied by Chinese harp and bike horns and croaks, “my name is Doctor Doo, do voodoo, what can I do for you?” Perry’s

Dada-esque silliness is mostly restrained, leaving room for heartfelt renditions of his classics “Chase The Devil” and “Blackboard Jungle.” Both of those song’s original versions were covered, sampled or otherwise appropriated by dubstep and reggae producers in 2007-08 showing how mysterious and relevant Perry’s legacy remains. Adding intrigue and weight to the proceedings are Dubblestandart’s collaborations with former Slits vocalist and punk legend Ari Up, film legend David Lynch and remixers Rob Smith (RSD), Groove Corp, Tom Watson and Subatomic Soundsystem. Dubblestandart’s dub approach is modern without sacrificing organic bass and drum foundations, yet they’re open-minded enough to produce a musical protest against political tyranny (“Evil Burma Dub”) and enlist wild souls who add mischief to the mix. All the while they bring the best out of 73-year-old Lee “Scratch” Perry, whose inspiration to multiple generations of fans is a dub vibration all its own. Tomas Palermo

Clubroot Clubroot LP [Lo Dubs]

Bass is the first sound that we hear in the womb. With this knowledge, and with track titles such as “Birth Interlude” and “Embryo,” it seems appropriate that Clubroot’s debut album – his birth as an artist, so to speak, and musical introduction to the world – evokes the

soundtrack to being in a warm, safe, nurturing bubble. The album hits the ground running with “Low Pressure Zone,” a moody drone pensively setting the stage for what’s to come. Gestures of a sparse halfstep beat flit in and out, a reese bassline and sub take turns on low-end duty – it’s an appropriate start, and sums up the tone of the album. Eschewing the seemingly de-rigeur overcompressed dubstep kicks and snares for soft clicks and claves on the rhythmic front, hoovers and low-passed reeses in lieu of ascerbic midrange wobbletry, and possessing more pads and flutes than you can shake a tambourine at, Clubroot leads us through ten tracks which establish his command of melody and harmony, in one of dubstep’s most listenable LPs yet. Which is the object of music, really – to be listened to. There’s no harm in this – if ever there was a time to be sonically soft-spoken, it’s on an album, moreso than a one off 12” vinyl single. That’s not to say the album doesn’t have its dancefloor-friendly moments – “Sempiternal” and “Talisman,” with their swingy two-step skitter, and the hypnotic sub-bass of “Dulcet,” could find their way into a club set. “Lucid Dream” furthermore strikes a balance between uptempo chord stabs and feet-shuffling sensibility, much in the way BT’s “Dreaming” – which it sounds an homage to – did another decade and another scene ago. By and large, however, the intros are long and lush before the meat and potatoes of a track kick in, if they do at all – “Birth Interlude” for example, has no beats until it’s nearly over – lending themselves to lengthy and languid Sasha & Digweed-esque mixes, should a DJ play them as well. Fans of both the Burial LPs, Scuba’s “A Mutual Antipathy,” or the more submissive tunes on Distance’s “My Demons” should find plenty to get their listening gear around on this visceral and ambrosial debut. Christine Clements

Cooly G HDB020 [Hyperdub]

Mount Kimbie Sketch On Glass EP [Hotflush]

Mount Kimbie’s Kai Campos and Dominic Maker have had a good few months to get accustomed to their place on Berlin’s Hotflush roster since the release of early 2009’s Maybes EP, a record that dropped on the scene with little warning and had dubstep and indie heads alike utterly smitten and rewinding it. The pair drop the second verse on HF023, Sketch On Glass EP. Here we see the two true to the fine style established on their first record, drawing from a diverse sonic palette that sounds like the best of what’s happening in electronic

and indie music currently, set to a luminous, bass-ravaged backdrop of daydreams and half-thoughts, city life unfolding somewhere in the middle distance. While the release draws comparison to Rustie, Joker, Ikonika and Flying Lotus in parts, the proximity works in their favor; Sketch On Glass opens with a skippy, bleepy dancefloor number that feels slightly familiar, but still carries with it that trademark lo-fi Mount Kimbie sound. Seated modestly on the flip is the EP’s highlight, “Fifty Mile View,” a glacial stunner that seduces us from the start with swells reminiscent of Autechre’s finest, then promptly delivers us into a lush subaquatic panorama of distorted signal and hollow, waterlogged drums. It’s something new from the pair, and just when we’re getting comfortable in this dark, damp place, Kai and Dom sprinkle some groove on it, bringing the focus back to that melodic, not-toobothered place in the sun that made Maybes such an infectious listen.

Cooly G’s debut release on Hyperdub is a lesson in polarization – “Narst” on the A-side is a medley of influences that, due to its broad fusion of disparate sounds, conjures any number of distorted and surreal imaginings. Think cyborg Mayan robot-warriors in loinclothes preparing for some kind of intergalactic space-time battle in different versions of the present... while riding wind-up unicorns. Why not? It’s a startlingly urgent,

progressively building beast that’s got you sweating before the bassline even drops. By simultaneously sounding both ancient and other-worldly, it’s the kind of tune that reminds you that

Hyperdub = future music ...quintessential. Hands down. Back in my player days I had this baby-makin’ playlist on my iPod just for those sorts of sweet-nothing long you-know-what nights... you know the ones (/perversion). “Love Dub” would have nestled like a juicy, glistening little bud somewhere between Massive Attack’s “Protection” and Bjork’s “Coccoon.” It’s the refix of the same tune though, with its

rolling bassline and soothing, sweeping synths that have ‘sexytime’ written all over them. Pretty much made for pressing up against someone naughty on the dancefloor. Do it. Josephine Tempongko

A highly-worthwhile release on Hotflush. Four tracks sure to keep old fans and new properly sated until the next installment of the Mount Kimbie saga. Don’t sleep! Noel Lusano 81

Sukh Knight Cheese Loueez [True Tiger]

Sukh Knight, tricky to pronounce and tricky on the buttons, has recently been at it non-stop, and this release proves no exception. From the inception, “Ganja Dub” makes no excuses for what it is: a smoked

out wobbler sure to make all the ravers wonk out like bonkers when the bass line drops. “Hands in Your Pockets” has a more chill vibe, and signature Sukh-style basslines accompany the vocal hook and a bubble guaranteed to skank ‘em out! “Lick It” is standard UK sound, big and open, Hi-mid range over bass warble, reminiscent of Skream and Benga. Next up is “Beneath Your Blouse.” This is the standout track for me – big, hot, and heavy! Sukh is in top form with a dance floor killer, subtle percussion riding over the top of stompy drums and a throbbing sub bass, tending toward techno. Serious weight on this one! “Up In Smoke” follows and its back-to-thesmokers vibes for the dancefloor. Strangely, it has the “6 million ways to die” sample, which seems out of place in a smokers jam. Closing out the EP is “Faith,” a journey into deeper realms voyaging near house with its off-key skank and dubbed out space chirps. All in all a solid release

recommended for the smokers, DJ’s and the dancers! JSuave

Noah D Hypnotic Elements EP [Subway]

Noah D’s latest EP on Subway is a must

for anyone who wants to rock a party this summer. The Portland native’s trademark aggressive thump and grind permeates each composition on the opus. Noah’s remix of his own track “Unknown Suspect” (with No Thing) is a powerfully updated and jabbing rendition of the original. Along with “The Edge,” both tracks present an emotional landscape of futuristic panicked excitement. Dark, twisting pads

groan behind sonic disturbances dancing nervously around back-breaking sub bass. Noah exhibits his ability to layer and design unique space in each individual work on the EP. “Twister” and “Vibrations,” stand out as spacious, grindy, and full of charged density, while “Got U Now” playfully throws its sub tones up and down like a juggler, and a ghost voice declares in echo-laden disembodiment that it’s got you ‒ all the elements collide to create a spryly dubby, upbeat feel. The most infectious track of the bunch, and a track that you’d better just get ASAP if you want one of this summer’s hottest jams (period), is “Seeeriousss,” the electro lead-line of which we have now collectively whistled to ourselves repeatedly non-stop since the first time we heard the track. Blackheart

Vocals & Versions Vol.1 & Vol.2 [Senseless Records] Scorn In The Margins [Record Lablel Records]

Scorn was the first outrageously heavy bass music I heard in my life that really blew my socks off, back in the mid-’90s in junior high. Mick Harris, the drummer of the infamous grindcore legends Napalm Death, started this project in 1991 and totally redefined the ambient, industrial, and dub communities, simultaneously becoming one of the forefathers of what is now considered dubstep. Senseless Records presents two dynamite-filled compilations of big belly bass. Vocals and Versions Vol. 1&2 showcase Sarantis, Sasquatch and Deville working with various dubstep, dancehall, grime, bassline and garage vocalists. The sound explosion continues with remixes from MRK1, Starkey, Jack Sparrow and Bombaman, to name a few. My personal favorites are Sarantis ft. Warrior Queen, “More Than Money,” remixed by Starkey. The result is an eerie twisted fierce Warrior

Queen voice over some of Starkey’s finest bass-riding drums. Sasquatch ft. Asher Don allows Bombaman to thicken up the already beefy Hangman. “Fall in Love” by Sarantis ft. Honey Brown rocks steady with deep bass and a killer sirens song in Honey Brown’s sweet words. Other stand out tracks feature vocals from Bongo Chilli, Jimmy Love, Bunnington Judah and of course more Warrior Queen! This set of discs is chock-full of great tunes for anyone who can’t get enough good bass music with fantastic variety in vocal talent. The perfect jump-off for summertime listening. Sam Supa

Immacuately produced half-time drums, totally overwhelming and mad sub-bass, and industrial backdrops swell to make a throbbing beast, that never even struck me to remotely relate to reggae at the time. Record Label Records presents this release on beautiful blue marble vinyl, which incidentally took four different master acetate records to properly cut, ‘cause of the bass. In the Margins features airy bell-like atmospherics slowly and subtly twisted and turned amongst raging wave-like subs and reverbs, all blending into a very haunting creature of a tune. What I like best about it is the constant micro-changes happening in between the drums, bass, and ambient sounds, keeping it like a resting dinosaur, ready to destroy. Pin Down spirals deep into madness with a very interesting blend of cold metallic pads and sound design, laced with rugged slug-y sublow riddim where you almost feel like you are drowning in liquid metal. This music may be minimal, but its impact and emotional effect is drastic. An amazing style, years of experience in bass mastery, and a totally inescapable sound make this a lesson in the roots of dubstep. Kush Arora

Raffertie Antisocial [Seclusiasis]

The Croydon Dubheads [Sin City Recordings]

Hatcha’s and N-Type’s Sin City Recordings gets off to a booming start with the Croydon Dubheads compilation: two plates filled

Raffertie’s dubplates have been destroying dancefloors worldwide, and, rather wisely, Phily-based label Seclusiasis are releasing two of them. Antisocial is a powerful dance floor affair that displays real soul amidst a

dark atmosphere of wobblegutter bass. Raffertie is a master of the drop, and uses ambient textures and processed-heavy vocals as a counter to the modulated bass mayhem that follows. No mater how squonky or pulsey Antisocial gets, it sounds overwhelmingly purposeful and musical. This track will light up the dance floor. Eyes Closed starts in a slightly more introspective vein before dropping into what can only be called a wave of sub soaked bass squeeks and sparks.The higher frequencies percolate loudly and abstractly, making the experience an arrestingly pleasant one. The bass lines and synth riffs weave in and out of one another, modulating constantly. These tracks are extremely well produced and musically expressive in surprising ways. For listeners who want to be surprised and maybe a bit over powered, aurally speaking.

with South London sub-low showcasing some the of the town’s best. Long heard in the clubs, Benga’s “On The Edge” pumps the techy hyper bass swing that gets stuck in your head. Chefal drops food for thought on “Obama Bass.” A pensive, deep, soulful slice of the civil rights history and its newfound change in the future. Kutz’s “Spaceman V.I.P.” slays the speakers, keeping the sound extraterrestrial and crucial. My favorite surprise cut is Crazy D’s “Flex Man Ting.” Fucking hell! Sick boom bap in the vein of classic hip hop cuts. If Premier (from GANGSTAR) was doing dubstep it might sound like this. Also featured are sick future classics from Coki, N-Type, and Lost. Sam Supa

XI STNSN004 [Surface Tension]

Ric Baker Christian Andersen, a.k.a. XI, has been producing melodic bass and dubstep on a serious level for five years now, and along with his friends at Independents and Loetech, has begun to make waves on both sides of the Atlantic. With previous releases on Off Road Records and Lo Dubs, this forthcoming release on Surface Tension sounds to be nothing short of an aural experience...

Bakir and Dubsworth Gatekeepers [Dubs Alive]

San Francisco’s Bakir and Dubsworth present the third release in their label’s inception, showcasing the duo’s “live

instruments gone dubstep and post-rock” sound. The vibe is unique unto itself, laced somewhere between NYC live dub and bubbling sub-low. Bakir plays trumpet and Dubsworth plays guitar, which has the crossover appeal for indie rock and metal heads to enjoy the record too.

The A-side drops beautifully with two deep, techy productions in the form of “Dreaming Void” and “Drip.” Chest-rattling kicks and basslines pave the way for subtle, dark melodies. “Dreaming Void” grabs your attention with a twinkly programmed arpeggiator, giving it an almost 8-bit feel. A haunting sax stood back in the mix seems to float over the top of the track.

“Gatekeepers” is an exploration of

post-rock guitar washes and highly cinematic dub. The intro of guitar and broken dubstep riddim slowly evolves into a crashing long coasting wave (reminding me of My Bloody Valentine) of guitar distortion with very finely tuned sub-bass washes and rises. Nice and serious. Long hallways from hell, moans and string pads occasionally massage the background. These two worlds are combined together very tastefully. “Dirty Suthin” is a lively tune featuring cool guitar/trumpet licks interplaying with a whole host of wobbler basses. “Score” is a perfect way to finish the EP as it brings together both styles presented in the songs before and amalgamates it into an atmospheric, but very deep skanker.

Drip provides a 2-step feel, presented in a new light with an undulating bassline that goes straight through the floor, and fast shuffling drums give a sense of movement, a straight-up dance floor riddim. The B-side ‒ ”Trinary” and “Ethereal Plus”‒ walks along a different path, showing XI’s deeper side. Interesting synth work and reverb-soaked syncopated hits provide just the right amount of chill and a feeling of fluidity. The subby bass line makes a great foundation for XI’s very soulful tracks. The rhythmic motifs are well supported and developed as all the elements come together to form these thoughtful tracks.

Dubs Alive is going in a great direction bringing live music into dubstep. I look forward to what’s in store for them.

Having received support from producers the likes of Starkey, 2652 and Bombaman, these tight productions prove this to be a well-rounded EP on an up-and-coming label.

Kush Arora

DJ Fidelity

We love music. Make us smile, send us your new stuff. We will greatly enjoy it. Email the links with mp3s to reviews@thebigupmagazine.com or mail CDs, records, tapes, music boxes, whatever you have to Big Up Magazine, PO Box 194803, San Francisco, CA 94119, USA 83

SOUND CLASH Moderat Moderat [BPitch Control]

It ultimately reads like any other failed relationship; there were some good moments, but it just couldn’t hold itself together.

Exactly what you’d expect from guys who count Thom Yorke, Ellen Alien and Shackleton among their friends.

This album kicks off on a really hopeful note. It makes you feel like a

Collaborations are tricky,

college freshman again you know, it’s all about potential and everything’s just over the horizon. It gets you real starry-eyed, thinking, “This is leading me into a world I can’t even imagine,” and, “If I can just get through this, everything’s gonna be awesome from then on!” “Rusty Nails,” the album’s first single release, follows up with an earnest vocal delivery on the part of Sascha Ring, a.k.a. Apparat. This track is inarguably the most noteworthy on the album; Ring’s vocals have a contagious emotive quality that stay with you all day while you stare at your shoes, and the building crescendo of synths makes you want to raise your arms and close your eyes to the noon-day sun like you’re at some perky Ibiza rave, all sweaty and perverted in a tank top. Life is good. You’re really feelin’ it, man. This momentum abruptly skids into an excruciating halt by the third track though, where things start to feel really uncomfortable and awkward. Moderat: “self-titled” seems more like Moderat: “the album that conquers the time-space continuum by sounding way longer than it actually is.” The remaining tracks wander across a variety of seemingly unrelated and incohesive directions, ultimately climbing off with two tracks that, while beautiful, lose points on originality; “No. 22” gives a heavy nod to the dubtechno hybrid sound, while “Out of Sight” sounds embarrassingly too much like Burial’s “Raver” with Ring’s vocals recorded over it.

With Berlin and techno as shared territory, the glitch-minded Ring had to abandon rigid rhythms to accommodate Bronsert and Szary’s more raggafied bounce. This comes together perfectly on “Nasty Silence,” which brims with shuffling drum patterns couched in soft, layered ambient synth beds. Like Ramadanman’s or Headhunter’s techy dubstep, the music

pulses like blood pumping from the heart to rapidly moving limbs. That driving, epic sound reappears on “Porc#2,” a song that leans tantalizingly towards shoe-gazey indie-pop, tempered with Trentemøllerstyle electronic embellishments. Exactly what you’d expect from guys who count Thom Yorke, Ellen Alien and Shackleton among their friends.

some good moments, but it just couldn’t hold itself together.

The different elements – dubstep, techno, ambient, indie – fuse seamlessly on the album’s penultimate tune, “No. 22,” a fitting zenith that rumbles and builds like a volcano about to erupt. The tune opens with quiet atmospherics, muted voice snippets and an arpeggiated synth before solid beats drop like so many bits of molten lava. Listen to the album uninterrupted, especially the last five tracks, and you’ll hear a conversation that blends dynamic electronic voices into a rich, melodic chorus. The result is uplifting, and yes, heavy.

Josephine Tempongko

Tomas Palermo

Moderat generally sounds less like an album and more like a compilation of timid ideas thrown together by a group of people that attempted a partnership, but for whatever reason failed to form a unit. Instead of creating something singularly more than the sum of its parts, Moderat has released what sounds like a headless brainchild. It ultimately reads like any other failed relationship; there were

especially for artists coming from different stylistic traditions or points of view. When they do work, it can be magic. (Think groups like 4hero, Horsepower Productions, Massive Attack or Smith & Mighty.) Unite the right souls and the sound is heavy. Sadly, for every one or two dope collabos there are a ton of wack ones and a million self-motivated individual producers constantly coming up. In the best-case scenario, two or more distinct producers who share a similar artistic vision and creative context will blend their ideas into one solid whole. Such is the case with Moderat, which pairs Modeselektor’s Gernot Bronsert and Sebastian Szary with Aparat, a.k.a. Sascha Ring, and renders an emotive, well-sculpted set.

Engine-EarZ & DJ Luxy “Kaliyuga” & “Introspector” [+ Thought]

Engine-EarZ and DJ Luxy are a part of music production team Catch 22, based in Reading, UK, that aims to be both self-sustained and willing to support and collaborate with others.Their new release ‒ “Kaliyuga” and “Introspector” ‒ going out on Positive Thought Records, is nothing short of FIYAH! Taking in elements of Middle Eastern percussion and strings, along with grinding techno synth lines and incredibly tight production work, it is no surprise that these tracks have received support from BBC Radio 1 DJ’s Annie Mac, Bobby Friction and Nihal. “Kaliyuga” lulls the listener into a false sense of security with lush stringed melodies on instruments resembling Sitar and Saringda, slowly building momentum, and introducing electronic accidentals, until the monumental change of direction. Menacing synth lines with the ever increasingly haunting strings combine to create a unique

atmosphere and tremendous crescendo in the all important... second drop. “Introspector” begins with organic percussion and an ethereal melody that seems to be built on every 8-bars with more elaborate drums until the breakdown that drops into a grinding bassline, so worth the wait… These elements delicately skate around each other, creating a vibe missing in a large percentage of the productions in the market. With one other dubstep track under their belt � “Lucky by Design” ‒ this is an exceptional release to enter the genre. If Engine-EarZ and Luxy continue to produce dubstep at this level, they will soon ﬁnd themselves being a big ﬁsh in a small pond. DJ Fidelity

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