http://www.mediafire.com/?1qmkzzm0zjn

The Slew: Forging the new chapter of rock. 100%: The iconic rock turntable experience.

What started as a soundtrack to a film never made has spun into an amps-at-11 turntable rock experience.

Four and a half years ago, Eric San (aka Kid Koala) and Dylan J. Frombach (aka Dynomite D) started working on a rock record. The pair, who met on the Beasties Boys tour in 1998, had been approached to soundtrack a documentary feature film. The film was eventually abandoned, but with Mario C on board for mixing, San and Frombach were already deep into the psych rock-influenced score and there was no turning back.

Teaming up with Chris Ross and Myles Heskett, the former rhythm section of Grammy Award-winning band Wolfmother, The Slew set out to put together a full-blown rock band experience to do justice to the material in a live setting. And justice was served: The truly excessive six turntables, drum, bass, keyboard and wall of amps that made their way across North America this October made for a full-on raw, pummeling rock experience. The Slew bring punk rock attitude back to the turntable unlike anything you’ve ever heard.

The Slew’s album, 100%, was given away online ahead of the tour, and limited quantities were made to sell at the gigs. Due to overwhelming post-tour demand,100% is now hitting record stores, distributed by Koala’s longtime record label, Ninja Tune. Backstage rumors suggest more shows and new material from The Slew may emerge at some point, but for now, enjoy 100% in all its rock excess.
@ hangout.altsounds

The follow-up to the first compilation, this one featuring tracks by Kid Koala, Steinski, Mix Master Mike and Ursula 1000 and some others.

No DJ Shadow here but still pretty cool.

Enjoy

Info

The Bristol sound, also known as trip-hop, was born from the British hip-hop and house scenes of the mid-1990s. Artists like Massive Attack, DJ Shadow and Portishead took the hybrid genre and turned it into a hip-hop-influenced electronica that harnessed a fanbase that reached between the Atlantic. The listening experience, likened to a “musical trip,” is one intensely focused on the abstract, atmospheric qualities of the genre. It has grown over the years to encompass turntablism, acid jazz, electro and dance into a hybrid genre that continues to expand into the contemporary hip-hop scene.

So what’s the very best of trip-hop? 20 Watts’ JOHN LUPOSELLO has the answer in our eighth 20 installment. Watch for new 20s each Thursday, only on 20 Watts, and check out our previous 20s below!

Be there for the rap battle. It’s going to be interspectacular. Fantabulous. It’ll blow your socks off. It’s one of those things where machine vs. man, man vs. woman, woman vs. your mother. Be there intergalactic rap battle. It’s instupituous.

Here is the link to Rock of Monsters! Twenty Must-Have Halloween Songs, an article by Geoff Carter: http://monkeygoggles.com/?p=1558

It’s the coolest Halloween compilation that I’ve come across. And, if you’re anything like me, you might enjoy these songs year-round.

Warning! Wesley Willis’ Vampire Bat (www.youtube.com/watch?v=wjAAL3PWBXI) WILL get stuck in your head. Which is not necessary a bad thing.

Return to homepage.

Been listening to “The Slew”-project lately a lot and started to check out some old Kid Koala music videos. This is really mind-bending:

Michael Buble's Crazy Love's record sales skyrocketed past New Moon's this week after an appearance on Oprah

Not even the New Moon crew could use their vampire powers to outdo Michael Buble’s release of Crazy Love, reports Rolling Stone. The crooner appeared on The Oprah Winfrey Show, causing album sales to skyrocket to over 55% more than during the record’s first week on shelves, outdoing the new Twilight soundtrack by a score of 203,000 to 115,000, respectively, according to the Nielsen SounScan. Oh, the power of Oprah.

Stereogum gives us a look at last night’s Grizzly Bear gig at the Hollywood Palladium in L.A. with some pretty sweet pictures courtesy of Andrew Youssef. Beach House, the opening act, played a few tracks that will appear on their new release, Teen Dream, due out from Sub Pop Records on January 26^th.

Seattle’s post-hardcore pioneers The Blood Brothers practiced one of the 2000s’ most unique forms of punk, and after their breakup in 2007, fans were left with little to cling to other than their old Blood Brother’s records. Until now, that is. Epitaph Records is planning to re-release the entire The Blood Brothers‘ catalogue, minus their 2000 debut, This Adultery Is Ripe, reports Pitchfork. Look for it to the reissues, which will come stocked by B-sides, videos and live performance videos, when they drop on November 17.

Canada’s Kid Koala, Dynomite D and Wolfmother’s ex-rhythm section Chris Ross and Myles Heskett make up the psych group Slew. Their debut release, 100%, is set to be reissued by Ninja Tune, the label responsible for the likes of Amon Tobin, Blockhead, Bonobo and The Bug, just to name a few, reports Pitchfork. Look for the turntable-heavy sounds of Slew when the record drops on November 24^th.

– John Luposello

W listopadzie oficjalną premierę będzie miał album nowego projektu Kid Koala – DJ-a, podopiecznego wytwórni Ninja Tune. The Slew zaistniało na potrzeby produkcji filmowej, która nigdy nie doszła do skutku. Po kilku latach współpracy, Kid Koala z ekipą ngrali “100%” – krążek przesiąknięty starym dobrym rockiem.

Cztery i pół roku temu Eric San (aka Kid Koala) oraz Dylan J. Frombach (aka Dynomite D) rozpoczęli pracę nad krążkiem rockowym. Duet, który poznał się podczas koncertów z Beastie Boys w 1998 r., został poproszony o stworzenie soundtracku do filmu dokumentalnego. I chociaż pomysł filmu po krótkim czasie upadł, to zebrana do projektu ekipa – Mario C, San, Frombach – tak mocno zaangażowała się w rockową schizę, że prace postępowały dalej.Album został nagrany tak, aby dać mu szansę pełnego brzmienia także podczas koncertów live. Do projektu dołączyli także Chris Ross i Myles Heskett, którzy zajęli się intensywnie sekcją rytmiczną. W efekcie The Slew wkręcają punk rock w turntabilistyczną imprezę tak mocno, że ciężko się od niego oderwać.

(info: Nina Tune)

Z muzyką The Slew zapoznacie się na oficjalnym Myspace Kid Koala.

Hey y’all! I just got back from an AMAZING concert, Jedi Electro. Remember them? And I vow, I VOW TO SEE EVERY SINGLE LIVE SHOW OF THEIRS IN MONTRÉAL. I don’t care. They are without a doubt, the top 10 shows of this entire year for me…maybe ever!

Ahem. I am FIVE hours away from heading out to New York. I hate that I have no time to make more complete updates but I figure, two minutes in heaven, is better than one minute in heaven. So, one sentence reviews and thoughts are all the time I have right now. BECAUSE I’M GOING TO NEW YORK! Woohoo!

—

Why am I going, you might ask? Well, I am going to first and foremost see Kylie Minogue at the Hammerstein Ballroom on Sunday. JA JA JA yes laugh all you want, but she is amazing. I adore her. And it will be INCREDIBL(Y SEXY). I am also going for the CMJ Marathon…hopefully I can find a cheaper way in. Mwwwwaaajajjjaa1

So, quick update on POP MTL. Great festival. The third day I went to see the Slew (Kid Koala + Wolfmother). Great combo, but the bass for Wolfmother tooooooooooooootally faded out the turntable skillz but regardless, Wolfmother kicks total ass! They toured for the one and only time but worry not! You can check out their album for FREE here! After that, I checked out the Japandroids. A band whose album I’ve had for so long but still have not listened to because of the hype. Were they good live?! Yes, they totally rocked it. Such great energy for a two person band. There was crowd surfing, moshing, arm flailing and nails flying. But, I didn’t dig it despite this. I STILL wouldn’t listen to the album. Maybe it was because I was gettin’ puuuurdy tired.

The last day, I was at Divan Orange allll night. I still hold the opinion that if you were a band, this is DEFINITELY a venue you want to play at. Great atmosphere. Great sound. Average priced beer…and a mix crowd ranging from super artsy pretentious folk to super smelly non showering people, oh, and hippies. Sometimes. I saw DVAS, Silly Kissers, and Cadence Weapon. I wanted to see CFCF but I was falling asleep! DVAS played this amazing retro club pop music. I felt like it was italo-disco of twenty years ago. CRAZY GOOD dance party. And Silly Kissers KICK SO MUCH ASS!!

—

Anyways, I’ve been meaning to do these reviews for MONTHS. I’m not kidding. And it’s just getting a bit silly now, don’t you think? I figure I might as well share the music, and if you like it, go and buy it! And go to the shows! And yada yada yada you know how this works. =)

After the jump for somewhat informative and very terse descriptions of AWESOME albums: Heyoka, Tipsy, Washed Out, Basement Jaxx. Sigh, I guess not as large of an update. I wanted to add TMDP, the Islands, the Flaming Lips, Raekwon, etc etc…but I am getting suuuuuper sleep and alas…now it is another four hours before I leave. ENJOY! COME BACK BC THIS WILL BE UPDATED AS SOON AS I CAN!

Heyoka – Gate Code (2009)

HOLY MOTHER!!!! DUB STEP FANS! BASSSSSSSSSS IN YOUR FACE! HOW LOW CAN YOU GO! DRUM’N'BASS! JUNGLE! This San Fran native rips this album UP. Holy shit it is sick. That is all.

A++++++++++++++++++++++++++++++++++++++++

MP3: Heyoka – Flying Dub Sauce

MP3: Heyoka – Sonidas De La Cabeza

Washed Out – Life of Leisure EP (2009)

Love love love this EP. Chill-out. Ambient. Coastal music for the soul and for washing your feet with sound waves. MMMM musical oceans.

A

MP3: Washed Out – Hold Out

Tipsy – Trip Tease (1997)

Discovered these guys from watching the Sopranos. I said hey, this sounds like a super cool song (“Cinnabar”). Since, I’ve checked a few of their albums and especially like this one. Genre: chill, ambient, down-tempo, experimental electronic.

A

MP3: Tipsy – Space Golf

MP3: Tipsy – Nude on the Moon

Basement Jaxx – Scars (2009)

Gave this album so many listens it hurts. To be honest, Basement Jaxx will just never get back to the “Romeo” and “Good Luck” days. Still a great club and dance album. Sometimes housey. And the cameos on this album are pretty impressive and are tooooooootally worth it in the end, unlike other cameo showoff albums. Not their best, but these two songs below and a few others…make Scars pretty alright. That’ll do BJ, that’ll do.

B+

MP3: Basement Jaxx – Scars (feat. Kelis, Meleka & Chipmunk)

MP3: Basement Jaxx – My Turn (feat. Lightspeed Champion)

I don’t like most hip hop I hear. It is unimaginative and full of small egos bragging and running their mouths for whatever. Nothing worth activly scouting out. At least that was what I thought before I stumbled across the likes of DJ Shadow, Krush, Kid Koala and the likes. Suddenly I found that Hip Hop could be an art-form, and I grew some respect for the genré that I didn’t have before. I even started to see where some of the artists I had earlier dismissed came from.

Out in the wilds of the Internet there is a whole lot of creativity going on. Take a listen to Ethan Goldhammer and S. Burke’s wicked off beat excursion down below, and then follow up with an excerpt from the Polyshuffles LP by Comfort Fit. If it ever did for you, P Diddy shoulden’t quite define the broad spectrum that is hip hop any more.

Suecae

http://www.discogs.com/Slew-100/release/1951230

Label: Puget Sound
Catalog#: PSR100
Format: 2 x Vinyl, LP
Country: USA & Canada
Released: Sep 2009
Genre: Hip Hop, Rock
Style: Blues Rock, Cut-up/DJ, Psychedelic Rock, Classic Rock
a od siebie bym jeszcze dodal truntablism, trip-hop

Tracklist
A1 100%
A2 It’s All Over
A3 Problem Child
B1 You Turn Me Cold
B2 Wrong Side Of The Tracks
C1 Robbing Banks (Doin’ Time)
C2 The Grinder
D1 Shackled Soul
D2 Southeast Soliloquay
D3 Battle Of Heaven & Hell

Credits
Artwork By [Design & Layout] – Corinne Merrell
Artwork By [The Slew Logo] – Louisa Schabas
Engineer [Recording / Mixing] – Vid Cousins
Mastered By – Howie Weinberg
Photography – Paul Labonte
Producer – D. Frombach* , E. San*
Producer [Additional Production] – Jorgen E. Steen , Vid Cousins

ciekawy artykul do przeczytania tu http://en.wikipedia.org/wiki/The_Slew

http://www.mediafire.com/download.php?nemgdg4qyjm 320k @ 88.48 MB

Album: Carpal Tunnel Syndrome
Year: 2000
Quality: 320 kbps

Later this week, Science magazine will report the finding of the fossil remains of a “woman” who lived and died at the dawn of humanity in Ethiopia. “Ardi,” who lived some 4.4 million years ago, seems to be the earliest known ancestral human fossil yet (sorry, Lucy!). But while Ardi did walk on two legs on the ground, the species also clambered about on four legs in the trees (as evidenced by her opposable big toe), meaning that Ardi is essentially an ape caught in the act of becoming human, straddling both worlds. More will be up on Thursday at this site for the special edition of Science that will reveal the findings.

In a way, The Slew, a project conceived of and executed by Kid Koala and Dynomite D, is sort of in this no-man’s land. Not exactly turntable electronica, not exactly rock, The Slew’s record 100% is partly an attempt by Kid Koala, aka Eric San, to gain some cred for turntables in the rock universe. As he told Wired.com in an email interview recently, “I think rock kids who hate turntables may listen to The Slew and get over their preconceptions pretty quickly.”

The album is definitley a lesson in dope production and rocking hard, and you can download the whole 100% album free from Kid Koala’s official website.

The Slew is playing at the Music Hall of Williamsburg tonight, and from what we’ve heard, this live show is going to be off the hook and REALLY LOUD. For the tour, Kid Koala will be joined by DJ P-Love on 6 turntables and backed by a live band comprised of the former members of Wolfmother’s rhythm section – Chris Ross and Myles Heskett – on bass and drum duties. They just posted some pics from the show in San Francisco on September 25 if you want a preview of what this might look like live, or you can check out the video below for the track “It’s All Over” from 100%, which appropriately begins: “Back in the beginning, when the ape became a man…”

The Slew – It’s All Over:

-Drew

It’s been over a decade since the last time I caught Kid Koala perform. Last night he completely killed it at the Key Club in LA. He is a consummate performer and a true genius. The fully evolved turntablist. Much more than scratching wikky wikky on a turnable. He is back with former members of Wolfmother! As an added bonus he is giving away the record!!! (It’s fucking awesome, so support them, download it & pass it along to friends!!!)

********Download it HERE********

Here is the tracklisting:

1 ) 100%
2 ) IT’S ALL OVER
3 ) PROBLEM CHILD
4 ) YOU TURN ME COLD
5 ) WRONG SIDE OF THE TRACKS
6 ) ROBBING BANKS (DOIN’ TIME)
7 ) THE GRINDER
8 ) SHACKLED SOUL
9 ) SOUTHEAST SOLILOQUY
10 ) BATTLE OF HEAVEN & HELL

From Kid Koala’s site regarding this record:

A couple of years back Eric San (aka Kid Koala) and Dylan J. Frombach (aka Dynomite D) were approached to soundtrack a new documentary feature film that was in production. Koala was already well known for his uncanny turntable manipulation, whilst Dylan had remixed Money Mark and collaborated with the Beastie Boys, amongst others. The duo worked for a long time on the psych rock-influenced score, only for the filming to collapse and any release to be canned. Although the film may never see the light of day, its music is about to be brought to life on stage.

Recently Koala & Dylan met the former rhythm section of Grammy Award-winning Australian rock band Wolfmother and began telling them all about the film and its lost music. Chris Ross and Myles Heskett loved the clips and urged that the material had to be heard; subsequently Kid Koala and the guys decided to put a show on the road.

After intensive rehearsals the show is now ready to go. Featuring drums, bass/keys and the DJs working across a truly excessive six turntables, the set is seventy minutes of raw guitar cuts and heavy beats. We can guarantee that you will never have heard anything quite like this and also that you are unlikely to again. It’s a one-off tour, so when it stops in your town you’ll either be there or will have missed it forever.

Anyone who has seen previous Kid Koala events will not be disappointed – from Kid Koala’s incendiary solo turntable spectaculars to the Nufonia book launch, Deltron 3030 live to the Short Attention Span Theater.

Brash, loud and defiantly turned up to eleven. The Slew Tour is coming to your town. Don’t miss it.

Check out the following dates:
Sep 30 Brooklyn, NY – Music Hall Of Williamsburg
Oct 01 Boston, MA – Great Scott
Oct 02 Montreal, QC – La Tulipe (Pop Montreal)
Oct 03 Toronto, ON – Mod Club
Oct 04 Chicago, IL – Abbey Pub
Oct 09 Troy, NY – Revolution Hall
Oct 16 Silver Spring, MD, USA – Gallery
Oct 29 Beijing, China – Yugong Yishan
Oct 30 Shanghai, China – The Shelter

The Slew is the creation of Kid Koala (Montreal’s Eric San) and Dynomite D (Dylan J. Frombach) who were approached some years back to create a soundtrack for a documentary feature film that ultimately would never see the light of day. After spending about four years on the psych-rock influenced score, the resulting album (The Slew – 100%) was done and ready to be released despite its lack of visual accompaniment.

Wanting nothing more than to have his creation be heard and appreciated, Kid Koala has made the album free to download off of his website (http://nufonia.com/ice-cream-news/theslew/) and also decided to accompany the release with a short tour enlisting the help of New York DJ P-Love and the Ex-Wolfmother Rhythm section consisting of Chris Ross on bass/keyboards and Myles Heskett on drums.

Stop three of the “Kid Koala presents The Slew” nine-city tour found itself at San Francisco’s the Independent on Friday, September 25th. The night began with New York based entertainer Adira Amran’s odd sex-tinged soiree of a show full with props, backup dancers, costume changes, and a healthy dose of gratuitous lyrics, cover songs, and unadulterated ass shaking. After Adira’s exit to what seemed like an overwhelmingly positive response (that was soon realized to be mainly the result of a background applause/cheering track), it was time for The Slew to take the stage.

Working with a combined six turntables, Kid Koala and DJ P-Love kept the guitar/vocal samples and scratching at a constant while the Ex-Wolfmother’s supplied heavy bass licks, rocking (like a chair) organ-sounding keyboard riffs, and a running drum beat that brought that extra “oomph” that drum samples often just can’t match. Despite the show being billed as Kid Koala/The Slew, the 70-minute set was absent of any old Kid Koala material and covered songs exclusively from his new production The Slew – 100%. Nonetheless, the performance was enjoyable as the songs were all reproduced with a surprising accuracy that allowed room for the live instruments to breath, the turntables to flow without sounding mechanical, and each performer to take their turn at being in the feature spotlight. The night closed with a surprise visit on stage by Mike Patton who was invited up by Kid Koala to apply vocals to The Slew album finisher “Battle of Heaven and Hell” (as seen by my poor attempt at video work below).

The Slew – Battle of Heaven & Hell (Live ft. Mike Patton)

Ironically, in a past lollapalooza interview, Mike Patton proclaimed “Wolfmother you suck!” after hearing their song “Woman” play in the background (as seen in the video below). With Chris and Myles done with their time in Wolfmother due to “irreconcilable differences”, it was no surprise that Patton and the Ex-Wolves were able to jam and share the stage together while seemingly having a great time as well. And who knows, maybe they even shared a laugh or two of their own at the expense of former Wolfmother frontman Andrew Stockdale.

Mike Patton’s Lollapalozza Interview on Wolfmother

Chris Brokaw @ The Crocodile, September 18th

Chris Brokaw doesn’t have walk a straight line when he has a guitar in his hand. He can flash his skills admirably with raw, bluesy runs (see his work as a member of the band Come) or with fluttering acoustic mood pieces. But, Brokaw is also a veteran, and likely knows how to read the temper and tone of a room he’s about to perform in. So, picking up on the rather restless vibe of the crowd at the Crocodile, this guitar wizard chose to pull material from his solo albums that played with the linear form of a pop song, allowing him to stick to slashing chords augmented with the occasional effects pedal. It suited the vibe of the crowd perfectly, allowing him to chug through the set in a workmanlike fashion, though still engaging those who tuned in with his evocative lyrics that choose quick snippets of imagery that lock together into a large landscape picture by the song’s end. Taken as whole like this, his work was reminiscent of the solo work of Thurston Moore, whom Brokaw toured with following the release of Trees Outside The Academy. Like that album, Brokaw chose songs that were economic in structure and lyricism, but still packed a healthy wallop. By using these chunks of descriptors – usually of a location – he gave listeners plenty with which to find corollary in their own lives. There was something in this set for everybody. All they had to was pay attention.

Pet Shop Boys @ The Moore Theatre, September 20th

The music of this long-running pop duo has long been matched up with some incredible graphic design, and in a live setting, impressive sets and stagings that do as they should: amplifying the drama and romanticism that Neil Tennant’s lyrics are steeped in. The Pandemonium tour was no exception, using a set that referenced their latest album’s cover art (Tennant and his musical partner Chris Lowe appeared on stage wearing colored squares over their heads, as were the dancers/backup singers that joined them) as well as giving nods to the staging used by Pink Floyd when touring for The Wall and Rachel Whiteread’s installation Embankment at the Tate Modern. Their 90-minute performance started with two 10 foot high stacks of white blocks on stage onto which were projected images. These eventually toppled forward (after the song “Building a Wall”, natch) revealing a larger wall of blocks and small platforms that were shifted visibly throughout the set with the aid of lab coat wearing roadies. Amid this controlled chaos, Tennant and Lowe stuck to their positions, center stage behind a mic stand and behind a computer monitor and keyboard setup slightly hidden behind a white box, respectively. And like the seasoned stage performers they are, they stuck to their roles superbly. Tennant, in fine voice throughout the set, let his singing convey any and all necessary emotion, with just a few hand gestures and costume changes as augmentation. Or it was the work of the dancers/singers who went from acting out the troubled relationship of a song like “Jealousy” or found themselves in wacky skyscraper costumes (for the song “New York City Boy”). The highly choreographed performance left nothing to chance, and no room for ad libs, but that suits the clean lines and primary colors of Pet Shop Boys’ material best.

The Slew @ Nectar, Thursday September 24th

Hip-hop has long looked to the groove and boogie of rock music for inspiration (see: Kid Rock, Run DMC, Jay Z, and many many others). But few have tied the two genres in together as artfully as Kid Koala. For this latest project, the Canadian turntablist scratched together samples of fevered riffs and bluesy vocal samples amid the thudding grooves taken from rock records. It is a masterpiece of theory and practice, and one that is equally suited for the hip-hop heads and the heshers alike. Live, Koala amplified these ideas quite literally, bringing on tour the former rhythm section of Wolfmother to help lay these thick rhythms down deeper, while he and another turntablist (whose name I didn’t catch) moved between three decks each cutting in samples and squirrelly bits of noise. It was obvious just how locked into this project Kid is, thanks to the goofy grin that stayed on his face throughout the loud, pounding set. And you could tell he relished having the live bass and drums on stage with him, as the sweaty attack of Chris Ross and Myles Haskett only egged him into more flamboyant scratching and head bobbing. The concept, unfortunately, was lost on a small segment of the audience, including one gent who spent much of the set yelling between songs, “Less guitar, more turntable!”