Got in touch with Damon Baxter (aka Deadly Avenger) for comment on the David Shire piece for Shook. Damon was responsible for a homage to Shire’s score to The Taking of Pelham One Two Three, called We Took Pelham, on his debut album Deep Red. Now writing film music himself, he’s sent over an unreleased second LP, Blossoms and Blood. Check the Deadly Avenger Film Club on Youtube, and a preview of track The Reveal below, with time lapse footage of an orchid blossoming from inBeta400. More on this later, no doubt. Criminal that the LP isn’t out, Damon reports “getting sidetracked” – by that lucrative ad revenue no doubt (he’s just scored the new Chevvy ad).
New album from Caribou (aka Dan Snaith, aka Manitoba) just dropped on the mat from City Slang. Have pitched this, hip hop albums from Strong Arm Stready and Fliptrix, Infesticons Bedford Park on Big dada, new Ninja signing Poirier, and the Tristram Cary album for review in Clash #48. How much good music? Lots. Phew. Fingers crossed. Read more about Dan here or listen to his set, recorded at Deconstructed Live wayback in 2002, below.
Willis. Morgan. Smith. New trailer and it just gets better, everyone knew that about Bonobo’s right? Feral kids, many ape references, a little bit of Star Wars – Smith on top form, out February 26. As an aside, will someone buy me the Morgan autobiography? Clash ran some quotes and I can’t quite believe that his life is Tracey Jordan’s life…who will provide the funny when I run out of 30 Rocks?
For Deconstructed Live #52, recorded way back in July 2002, I invited Nik Weston down for a set. I knew Nik through his Mukatsuku PR company, which handled all the hot soul and jazz imports from all over the world. Packages from the company were always an education, and he’s since extended this into a label of his own. Having collected records for over two decades – Nik’s reputation as a nu-jazz tastemaker and champion of all things Japanese has seen him throw down a selection of hard-to-find audio trinkets worldwide. A compilation for Jazz FM’s Climate imprint broadened his reach, breaking beats over future soul, and gained full marks from the press and support from such luminaries as Bob Jones and Tom Middleton.
Chanced across this piece on Luke Vibert while I was backing up the computer. I wrote it for a magazine based in LA, and it was first published in BPM Magazine, July 2003. A nice guide to Cornwall’s secret places, from one of its musical sons. Sweet.
It ain’t where you’re at, it’s where you’re from. If releasing records through such notables as Planet Mu, Mo Wax and Virgin wasn’t enough, Luke Vibert returned to long-time compadres Rephlex in 2003 for the five-part Amen Andrews series. This bizarre moniker was a cheeky corruption of a quintessentially English quiz show host from the 1970s, and Vibert used the pseudonym to mine a vein of daft-as-a-brush junglistic hedonism, where drum & bass percussion found itself tied in knots of melodic flim-flammery. (More after the jump).(more…)
Stuart Cullen’s debut album of strip lit electronica, “Antenna,” propelled dysfunctional beats through paper-thin orchestration with admirable grace. He remains best known however, for the chirpy whistling of “Turtle,” which accompanied the one2one ad campaign last year. His set, recorded in 2002 for Deconstructed Live, was a mish-mash of electronica, soundtrack albums and banjo music. Two years later he gave us a tour of his native Barcelona, top man.
A new album from Trunk Records dropped on the mat this morning. This time JBH gathers together the work of Tristram Cary, who passed away in 2008 following a long and esteemed career in composing (writing the music for the original The Ladykillers and Quartermass and the Pit) and creating effects (he made the sound of the Daleks for Dr Who). I’m trying to place a review somewhere now, out March 29th 2010. For more musical oddities, check out Jonny Trunk’s first set for DC Live.
This is for my own reference more than anything, but I wanted to note the state of the burgeoning DC Mix archive of exclusive DJ sets recorded when I ran a club wayback in 2001/2. Of the 40 or so mixes uploaded to the excellent Mixcloud site since November, the Top Five looks like this on 2/2/2010,:
Riton next with 38, Quantic with 34, then everyone else under 20 or so. Not sure what’s driving Bonobo, it was the first one up, but only by a day or so, so assume its maybe the new LP. BMT traffic came through a post on their site, Rephlex on a forum , and Jon Kennedy through his many sites. Personally, I thought superstars like Tom Middleton, The Big Chill and Rob Da Bank would be much, much higher, but inexplicably few listens – all good sets, mind. It’s worth a dig through the archive to find more, my favourite mixes (right now, this changes all the time) are Clair Defocus and Metamatics for electronica, Broadway and Ollie Jacob for epic, Turin Brakes for eclectic, Ladytron for club.
Got in touch with Damon Baxter (aka Deadly Avenger) for comment on the David Shire piece for Shook. Damon was responsible for a homage to Shire’s score to The Taking of Pelham One Two Three, called We Took Pelham, on his debut album Deep Red. Now writing film music himself, he’s sent over an unreleased second LP, Blossoms and Blood. Check the Deadly Avenger Film Club on Youtube, and a preview of track The Reveal below, with time lapse footage of an orchid blossoming from inBeta400. More on this later, no doubt. Criminal that the LP isn’t out, Damon reports “getting sidetracked” – by that lucrative ad revenue no doubt (he’s just scored the new Chevvy ad).
