Subliminial_Kid ist schon seit Wochen begeistert. Inzwischen hat sich die Begeisterung auch auf mich übertragen. Nachdem ich gestern in sein Album “Butter” reingehört habe und fasziniert von seinen verschroben-elektronischen Beats bin, stundenlang den Sounds zuhören kann, für die man sich früher fredmschämte und dies wieder einmal die Musik ist, die neue Akzente setzt, auf die man inzwischen lange wartet, wurde mein Hörgenuss heute noch ein Level höher gehieft.

Denn hier (download) gibt es einen BBC Radio 1 Essential Mix des 22-jährigen, als “Aphex Twin des HipHop” angekündigten Produzenten.
Moderner Electric Funk (finde das passender als HipHop), Breaks, Oldskool und Gerades immer mit dem nötigen, gegensätzlichen Klangfetzen, so wie ein 15-jähriges Cosplay-Teenie auf dem Bett ihres/seines Gelesenkirchener-Barock-Kinderzimmers sitzend. Großartiger Mix.

via Blogrebellen

This is your boy Tak, back with a FRESH new banger from the one and only, Rusko.
That’s right folks, Rusko’s freshest set on the BBC 1Xtra Radio Show is OFF THE FUCKING CHARTS.
It’s got the latest and greatest from DubStep, Grime, DnB, all the genres that really make my heart stomp.

I’ll leave the description short and let this explosive new mix speak for itself.

I bring you… Rusko.

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Sean AKA Nordic Soul is the Decibel Festival Curator and Director, he is my good friend and one of the greatest contributors to Seattle’s thriving underground music community. This is a very insightful summary of electronic music in 2009 with his Top 15 list at the bottom as well:

From Sean:

Every year it’s part of my job at PlayNetwork to come up with a list of top albums and overall assessment of music trends for the year. Below is my brief review of what I felt was a pretty landmark year for electronic music in the US and in general. Barring any incredible releases over the next month, these are my picks for the year. Keep in mind this list is strictly made up of albums; not EPs, 12’s or remixes (i.e 95% of the electronic music I purchased this year).

2009 in Review : Binary Pop, Warp’s Legacy, Dub Mutations and the Return of Sexy Dance Music

2009 has been an incredibly innovative year in relation to music production. Artists like Animal Collective, Fever Ray, Royksopp and Moderat have proven once and for all that digital beats and electronic sound design can appeal to a pop audience that otherwise wouldn’t find themselves listening to “electronic music”.

This year also marks the 20 year anniversary of the greatest electronic music label (arguably greatest label) of all time, Warp Records, which has had an exceptional year across the board with strong indie releases from Grizzly Bear and Maximo Park as well as strong releases from their more obscure electronic artists like Tim Exile and Clark. Warp’s 20th anniversary box set is not only one of the best reviewed collections of they year, it’s also a brilliant testament to the label’s vast catalog of ground breaking artists (i.e. Aphex Twin, Boards of Canada, Jamie Lidell, Nightmares on Wax, Prefuse 73, Autechre, Broadcast, Plaid, Battles, Squarepusher, etc).

In addition, 2009 witnessed the rise of Dubstep as a respected genre in the US through acclaimed UK labels like Hyperdub (Burial, Kode9, Joker, Zomby, Flying Lotus) and Tectonic (2562, Martyn, DJ Pinch, Benga) both of whom continue to blur the boundaries between Grime, Dub, West Coast Hip Hop and Detroit Techno. With the avid support of tastemakers like BBC Radio 1’s Mary Anne Hobbs and Low End Theory’s Daddy Kev (Alpha Pup Records) UK Dubstep and West Coast Glitch Hop / Hip Hop have both become quintessential styles on the electronic music frontline in the US. From Burning Man to this year’s Movement festival in Detroit, Dubstep and Glitch Hop have fully emerged in 2009 as a staple sound in North America.

Another emerging trend has been the Deep House and Tech House revival, which has been experiencing a resurgence the past few years as club-goers have tired of the heady, sterility of Minimal Techno and the frenetic, over the top sound of Electro House. Artists like Gui Boratto, Voodeux, Pezzner, Milton Jackson, Stimming, Mode D, Catz n Dogz, DJ T and Dixon have all helped in keeping underground dance music both sexy and musical.

Overall 2009 has been a phenomenal year for technologically driven music, proving that creativity is truly catching up with the tools used for musical expression in the digital age.

Here are my Top 15 albums of the year:

1. Animal Collective “Merriweather Post Pavilion” Domino Records

2. Various “Warp 20” (Box Set) Warp Records

3. Moderat (aka Apparat & Modeselektor) “Moderat” Bpitch Control Records

4. Fever Ray “Fever Ray” Rabid Records

5. Phil Kieran “Shh” Cocoon Recordings

6. Nosaj Thing “Drift” Alpha Pup Records

7. Jon Hopkins “Insides” Domino Records

8. Various “5 : Five Years of Hyperdub” Hyperdub Records

9. Lusine “A Certain Distance” Ghostly International

10. Grizzly Bear “Veckatimest” Warp Records

11. Gui Boratto “Take My Breath Away” Kompakt Records

12. 2562 “Unbalance” Tectonic Records

13. Modeselektor “Body Language Vol. 8” Get Physical Music

14. Tim Hecker “An Imaginary Country” Kranky Records

15. Voodeux “The Paranormal” Mothership Records

What a lovely interview.

I think it only added to the fact that the original interviewer overslept and someone else had to step in.  Definitely gave them something to talk about!

Source.

Special Thanks:  RobAndHisLadies

I’m still absolutely mindblown by the intricate works of Dimlite, a Swiss producer I’ve been following for a while. Real name Dimitri Grimm, with an album out next year on Stones Throw, he deserves your undivided attention. Here’s hoping he’s London bound soon.

I’m also really happy to notice Ben Frost getting some profile radio play, a longtime favourite of PBP and something for the future.

Props to Mary Ann Hobbes for her latest show featuring both these chaps, a solid justification for my license fee. Bigup the BBC.

Download / Listen Here

Dimlite – Byrdshot & Bye

Ben Frost -The Carpathians

Mary Ann Hobbes 12/11/09 Radio One Mix

This week the Ambassadress of Dubstep Mary Anne Hobbs graces the West Coast with her lovely presence once again at the Scion House Party along with Plastician, SCUBA and 12th Planet. The show is at the Roxy on Wednesday, November 18 and is free with RSVP here.

Earlier that day catch the SMOG showcase on Mary Anne Hobb’s Experimental show on the BBC Radio 1 from 6-8PM Pacific Time as she features some of the filthiest bass talent from madhouse Los Angeles including DLX, 12th Planet, EMU, Pawn and Evol.

Yes that is the title given to my piece on UK dubstep for the “British Sessions Part I” issue of Covers Magazine. I am not 100% happy with the edits made (a lot of coke in the Thames WTF?), but it is meant to be an intro piece for people who have never heard of dubstep before.

Read it here.

Har egentligen ont om tid att uppdatera idag på grund av skolarbete men det får vänta. Jag kunde inte hålla mig! Därför blir det en litet inlägg med en ny fräsch “Mini Mix” Swedish House Mafia har gjort. Annie Mac spelade den på BBC Radio 1 så fram till 0:46 pratar hon. Vi föredrar att posta nya tracks men imorgon tänkte jag droppa ett “Classic” inlägg med några schyysta låtar jag hittade på min förra dator.

Swedish House Mafia – Mini Mix

Mirror 2

Tracklist:

In today’s world of the internet and mp3 downloads it’s hard to imagine a time when pop music was not available to the listening masses.  Well, that was the case back in the United Kingdom in the 1960’s when there were no pop radio stations on the BBC airwaves, instead most of the stations were bland and full of news and radio dramas, with little to no pop at all.   This all changed in 1964 when rouge radio disc jockey’s from the United States decided to set out on the high seas to bring pop to the people of the UK.  Pirate Radio, (starring the uber-talented Phillip Seymour Hoffman) which opens this Friday,  is the wild and entertaining story a wild bunch of Americans who brought pop music to the airwaves and changed the way an entire country listened to their music. The combination of great acting, a true life story, and a totally rocking  soundtrack make this film a must see to any music lover.

After 3 years of broadcasts the pirates became such a nuisance to the conservative British government, that they passed the 1967 Marine Broadcast Offences Act, effectively banning all pirate radio broadcasts and ending this short but no doubt very influential act of musical rebellion.  This led in turn to the BBC to create their first fully dedicated pop music station, BBC Radio 1.

Flowers In The Rain, by The Move was the first song played on the inaugural BBC Radio 1 broadcast in September of 1967

The BBC’s editorial complaints unit has partially upheld my complaints about September’s Newsbeat website feature based on an interview with two members of the British National Party.

While it didn’t agree with my overall assertion that the interview – where they set out what they and the party believed in – was “just a puff piece” for the racist party, it said members “Joey and Mark” should have been challenged when they said England and Chelsea defender Ashley Cole was not “ethnically British”, implying that he wasn’t born in the UK. (He was born in Stepney, east London.)

Head of editorial complaints Fraser Steel writes:

“The view that Ashley Cole wasn’t ‘ethnically British’ (expressed by Joey) rested on assertion, not explanation. The distinction between those who are ‘enthnically British’ and those who are not is clearly an important one in the BNP’s presentation of its policies, but (at the least) contentious, and not self-evidently coherent or well-founded. I think it is correspndingly important for BBC interviewers to subject it to scrutiny when it is put forward. In this respect I believe the interview fell well short of the guideline I have quoted, and I’m therefore upholding your complaint to that extent.”

Mr Steel also upheld my complaint about the feature linking only to the British National Party’s website, and no other source of information.

“I don’t think the views put forward on behalf of the BNP were treated with sufficient rigour for a sole link to the party’s homepage to be justifiable, and I agree that it would have been better either to provide links to a range of viewpoints or not to have provided the link at all. I am therefore also upholding this aspect of your complaint.”

I should point out here that I used to work for the BBC for 10 years on its news website, so found making the complaint particularly awkward because it involved making a formal grumble about people I’d happily worked with on a professional level and got on well with personally. (The Newsbeat website is run by the Newsbeat team, and not my old colleagues in the news website team.) But as a piece of work it was so slipshod, so shoddy, and because of the subject matter, so dangerous, that I felt that action needed to be taken. And I’m pleased that the editorial complaints unit agrees with me on some of my points. (I’m also grateful to them for dealing with my complaints civilly and swiftly – a strange feeling after dreading their interventions for a decade!)

I hope that lessons will be learned from this. The website story was based on a broadcast interview, which has belatedly been attached to the page in question, but my complaint was solely about what appeared on the website. I know that in my own time on the BBC News website, all hell would have broken loose if anyone had tried to publish anything as sloppy as that. Like most media outlets, the team there are fully aware that reporting the BNP is fraught with danger, and on the vast majority of occasions they handle it well. Seeing Debbie Randle’s cheerfully naive Q&A with these bigots was alarming, because it drove a coach and horses through those high standards.

But put yourself in her shoes for a moment. Why would you publish something like that? The answer comes from above, high in the BBC hierarchy, where it has been decided that the BNP should be treated like any other political party.

Fraser Steel again:

“Rigorous testing doesn’t necessarily mean adopting a confrontational style of questioning, and I would consider the views of a political party to have been tested with appropriate rigour if the questioning were to leave audiences (or, in this case, readers) clear about the nature of those views and equipped to form a judgement on their merits.”

But nowhere in the Labour Party’s history has a senior activist tried to blow up the Lib Dems’ offices. Members of the Conservative party don’t go around wearing swastikas. Green activists don’t have their own paramilitary force. And, believe it or not, UKIP supporters don’t go around beating up people who want us to join the euro. Yet BNP activists and supporters have done just that over the years. Who says? The BBC said, in its 2001 special BNP: Under The Skin.

On a journalistic level, the BNP is a news story on stilts, because it represents danger to most people – a political refuge for the ignored and misled which also threatens the safety of our fellow British citizens. In crude news terms, the frisson of violence associated with the party makes it interesting in a way, say, the Liberal Democrats aren’t. Even this summer, its leader on Epping Forest council said the party could not have been behind an alleged firebomb attack on a man’s home because: “Firebombing is not a British method. A brick through the window is a British method, but firebombing is not a way of showing displeasure.” As a journalist, why wouldn’t you quiz a BNP member about why they’ve joined a party which has officials spouting that stuff?

This is not a normal political party. To treat it as such is not only cowardice, but a basic journalistic failing. The BBC acknowledged this when it invited Nick Griffin onto Question Time – and the vast majority of the programme was dedicated to his being there, with host David Dimbleby turning master interrogator as well as benign chairman.

It also strikes me as a little contradictory that while the interview was not rigorous enough to warrant just a single link to the BNP’s website, it was still deemed rigorous enough to be published. If you link to a range of viewpoints, then they need to be reflected in the story itself. If you were to link to, say Hope Note Hate, Unite Against Fascism or Nothing British (there’s a range of viewpoints for you) then to give that link context, you’d need to include a contribution from that organisation in the story. But the intention here was simply to give the BNP a platform to state its case, and not give a voice in the copy to any opposing view. I suspect that element of the ruling will be causing some scratching of heads inside Television Centre.

While I’m pleased to see some of my complaints recognised and acted upon, the BBC needs to realise it can’t go on in this fantasy land of treating the BNP like another political party, if only out of fairness to its own journalists. The mess which was the original Newsbeat piece was the result of this muddled thinking. With a general election due in the next few months, it needs to get its act together on the BNP – and quickly.

My correspondence with the BBC:
My complaint to the BBC, dated 6 October (PDF, 17.2K)
The BBC’s response, dated 11 November (PDF, 1.3MB)
(NB: I didn’t mention the identities of “Joey and Mark” – who turned out to be senior BNP activists – in my complaint because I wasn’t aware of them at the time I made my first complaint to the Newsbeat team.)

Past posts:
BBC’s website cosies up to bigots
The Mail? Peter Hain? What the…?

Vandaag was het iets rustiger qua voorbereidingen…. Of wat je rustig kan noemen natuurlijk deze dagen…

Van thuis uit werken heeft wel het voordeel dat je over internet beschikt. Normaal vindt ik het niet erg zonder internet te moeten werken, maar vandaag was Robbie te gast in de Live Louge bij Fearne Cotton op BBC Radio 1. Daar deed hij naast een interview met Fearne ook nog een klein mini optreden en bracht een akoestische set. En dat is natuurlijk altijd wel leuk om zo eens enkele nummers te horen. Ook bracht hij de akoestische cover van “Human” van The Killers.

Morgen nog een dagje school, hoofd even op helemaal iets anders richten… en dan is het D-Day I guess…

Zane Lowe (foto: BBC)

Voor het derde jaar achtereen zal Zane Lowe tussen 30 november en 3 december zijn vier “musical masterpieces” laten horen. Dit zijn albums die, toen ze werden uitgebracht, het muzikale landschap hebben aangepast.

Dit jaar zijn de vier albums “Metallica” van Metallica uit 1991 (op maandag 30 november), “Original Pirate Material” van The Street uit 2002 (dinsdag 1 december), “London Calling” van The Clash uit 1979 (woensdag 2 december) en “Discovery” van Daft Punk uit 2001 (donderdag 3 december). Tijdens de uitzendingen worden de albums in hun geheel, onveranderd uitgezonden. De uitzendingen worden verder aangevuld met interviews.

Alle uitzendingen zijn op BBC Radio 1 en beginnen om 20:00 uur NL tijd. Deze zender wordt door de meeste aanbieders in Nederland aangeboden, en is via de iPlayer ook legaal in Nederland te horen.

Wale spittin’ 8 minutes of fire for BBC’s Radio 1 with Tim Westwood.

The Brand New Heavies – Spend Some Time

Upptäckte till min fasa att jag aldrig haft med The Brand New Heavies på bloggen. Så nu råder vi bot på det med det här lilla örhänget. Hade egentligen tänkt ha med låten Sometimes men tyvärr så finns ingen av de mixarna jag gillar på YouTube. Får väl ta tag i saken och ordna till det själv vid tillfälle.

Minns att jag som en tokig jagade Sometimes i en version kallad “Diti’s French Touch” för ett par år sedan, och det hela slutade med att jag numera är en stolt ägare till en vinylbox med fyra tolvor fyllda med enbart remixar på Sometimes. Minns att boxen var rätt dyr så egentligen var det vansinne att spendera så mycket pengar bara för att få tag på en uddaversion av den låten.

Men det var den versionen jag hörde första gången då den spelades på Essential Selection med Pete Tong på BBC Radio 1. Tycker än idag att den är den helt klart bästa versionen, har ju lite att jämföra med eftersom boxen jag köpte innehåller sisådär 10-15 olika mixar på en och samma låt.

Det finns för övrigt en till låt med det här gänget som oxå då finns i en speciellt bra mix och det är You Are The Universe.

The Brand New Heavies – You Are The Universe (Curtis & Moore’s Universal Summer Groove)

Precis som med Sometimes så är det den här versionen jag hörde allra först och det var återigen på Essential Selection som den spelades nån gång där i mitten på 90-talet. Även här så finns det ju andra mixar på låten men hur jag vrider och vänder på det så är den här helt klart bäst oaktat att det var den jag hörde först.

När det kommer till herrarna Curtis & Moore så har de gjort mer godis, däribland den här supergoda bakelsen med Sandy B.

Sandy B – You Make My World Go Round (Curtis & Moore Travelling Mix)

Får erkänna att inlägget håller på att spåra ur lite nu med tanke på att det var The Brand New Heavies det skulle handla om. För att återgå till ämnet så är väl deras främsta merit på den svenska musikkartan att ha fått bidra med signaturmelodi till tv-serien “I Manegen med Glenn Killing”. Nu var det nog så att Killinggänget mer eller mindre tyckte att Dream Come True passade så uttans bra till deras lilla tv-projekt och sen kan jag tänka mig att The Brand New Heavies nog upplevt en viss förvåning över royaltypengar som plötsligt tickar in från ett, i deras ögon sett, obskyrt svenskt tv-program.

Sådär, nu känns det som jag fick till något som känns någorlunda vettigt och jag har redan fått ett uppslag till ännu ett inlägg. Det handlar om udda superbra mixar på låtar. De där mixarna som inte finns i mittfåran men som är så bra att man inte kan fatta att inte världen har upptäckt deras storhet.

Tjillevippen

notbugs

Brownstone – Grapevyne(Uno Clio Vocal Mix)

Tar med den här gruppen för den kom upp i en diskussion i samband med en kommentar jag fick på ett annat inlägg. Brownstone var en tjejgrupp som dök upp i mitten på 90-talet. De hade lyckan att bli uppmärksammade av Michael Jackson och signades av hans MJJ-label. Tyvärr var det som att det hela aldrig ville lyfta riktigt för efter 4-5 år så försvann de mer eller mindre från radarn så att säga.

Min första och i princip enda kontakt jag haft med gruppens musik är i den låten som jag har med i inlägget, Grapevyne. Hörde den första gången på BBC Radio 1 och The Essential Selection med Pete Tong. Blev helsåld på låten men har aldrig känt något behov av att utforska gruppens övriga katalog även om jag vid tillfällen även hört andra av deras låtar, men inget som jag lixom lagt på minnen. Värt att notera är att det är bara den här mixen på låten som jag tycker är något att ha, originalversionen är för slö och tråkig.

Men det är ju sällan jag gillar originalversioner när det gäller R&B-artister. Oftast nappar jag på deras låtar först när någon duktig remixare varit framme och piffat upp dem. Sen går det ju lite mode i vilka remixare som är något att ha men en favorit som faktiskt hängt med i bra många år nu är Maurice Joshua. På senare år har han bl.a gjort underverk av flera låtar med Beyonce t.ex.

Tjillevippen

notbugs

კიდევ ერთხელ გავიმეორებ, რომ ძალიან, ძალიან  მომეწონა მაიმუნების ახალი ალბომი. აქამდე მხოლოდ MP3 ჩანაწერებით ვტკბებოდი მაგრამ, რამდენიმე დღის წინ  BBC Radio 1 Live-ვნახე YouTube-ზე და ძალიან  მომეწონა. ახალი სიმღერები მშვენივრად შეასრულა ალექსმა. <3

You were practicing a magic trick
And my thoughts got rude

And even if they were to find us
I wouldn’t notice, I’m completely occupied

I want to see all of the things that we’ve already seen
I want to see you take the jackpot out the fruit machine

I’m goin’ back to 505.
* * *

Arctic Monkeys on The Culture Show (2009)

Mr Hudson was in on Jo Whileys Saturday’s show on BBC Radio 1 doing the Live Lounge. He covered JLS’s monster “Beat Again,” he switched it up nicley!