Following up on the last post/review, I’m running the next in the triad I described there: a series of book reviews written over the last few years which together bring matters of form — and its institutional (re)production — to the fore.
This one — a review of Mark Butler’s Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music (Indiana 2006) — was written first of the three, and is a lot less recent. Indeed, this first saw the light of day (if in the dark corner of a subscription-only music theory journal) way back in 2009, though I wrote it in 2006! And here I am finally sharing with you in 2012. Don’t ask me why it took so long. (One funny result is that one term I use throughout, EDM — an umbrella-term long wielded by scholars of “electronic dance music” — has in the last year or so become a new buzz word in the music biz, more or less akin to electronica in the late 90s. I do not mean it in that way here.)
Ok, I’ll tell you, at least in part, what took me so long. One reason I’ve not re-publicized the review until now is that I had an email exchange with the author where he bristled at the treatment the book was receiving. “Thus far, then, my work has been reviewed solely by ethnomusicologists,” he explained to me, since at that point — the point where he also happened to be up for tenure — the only reviews to emerge were by me and Vijay Iyer (who, no, is not an ethnomusicologist). Butler also took umbrage at my suggestion that disciplinary pressures served as a significant force in producing his book. He wanted to own it as a work of theory, which I understand, and which I agree with.
If that’s the case, I guess I still find such works of theory lacking. And I’m glad that one of the premier journals of the field, Spectrum, gave me the chance to say so, even if the implication to Butler was that they didn’t care to send it to a theorist. I can see how one might feel doubly on the margins in such a situation, and as a (white) popular music scholar trying to work in either Music or Africana Studies departments, I can relate. All that said, I’m happy to report that Butler received tenure some years ago and enjoys some stature as a Professor with a big P. I, on the other handâŠwrite a well-regarded blog.
Anyway, here’s one thing I said in my emails to him, to put too fine a point on it:
Frankly, I respect your work immensely and I’m glad that you’re doing it. The gist of my review is that, for all of the book’s strengths, it still seems reigned in by the rearguard of Eurocentric/elite/art theory. I’d rather read the book you’d write if you weren’t up for tenure, if you know what I mean.
I mean, I do think it’s important to be generous in a book review, but I’m no fan of simple summaries. Given how much time goes into them (and how little career reward), I also think it’s important to say something with teeth — to take the opportunity to make an essay out of it. That’s what I was invited to do by Spectrum at any rate.
So, although Butler’s objections gave me pause, I still stand by the piece and its critiques — which are, in my opinion, more about institutions than about one particular scholar. And I remain proud a few turns of phrase, which aspire to the ideal I’m arguing for. At least, I do think I finish with a kicker of a kicker:
âŠmusic scholarship not only needs more theorists that dance, it needs more theory that dances.
And though I don’t think I myself often (ever?) match up to that standard, it’s certainly something to strive toward, and I’m heartened by increasing signals that the sea is changing in this regard. I’ll excerpt the juicy intro below, but it’s far too long to reprint here in full; if you want to read the whole dang thing, here you go.
In an infamous exchange set up by The Wire magazine in 1995, Karlheinz Stockhausen was asked to comment on music produced by several contemporary electronic music makers thought to be, according to well-worn narratives, his techno-musical heirs. Taking the so-called âTechnocratsâ to task, Stockhausen decried their use of what he called âpermanent repetitive languageâ and recommended that they each listen to various compositions of his own that might lead them away from âice cream harmoniesâ and other âkitschyâ indulgences. To Richard D. James (a.k.a. Aphex Twin), he offered the following advice:
I think it would be very helpful if he listens to my work Song of the Youth, which is electronic music, and a young boyâs voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were [not] varied to some extent and if it did not have a direction in its sequence of variations (Witts 1995, 33).
Yoking his unrepentant elitism and staunchly Eurocentric modernism to Adornoâs critique of the culture industry and the fashioning of fascism, Stockhausen raises the specter of corrupting, repetitive âAfricanâ rhythm yet again in order to assail a track by Richie Hawtin (a.k.a. Plastikman):
It starts with 30 or 40âI donât know, I havenât counted themâfifths in parallel, always the same perfect fifths, you see, changing from one to the next, and then comes in hundreds of repetitions of one small section of an African rhythm: duh-duh-dum, etc., and I think it would be helpful if he listened to Cycle for percussion, which is only a 15 minute long piece of mine for a percussionist, but there he will have a hell to understand the rhythms, and I think he will get a taste for very interesting non-metric and non-periodic rhythms. I know that he wants to have a special effect in dancing bars, or wherever it is, on the public who like to dream away with such repetitions, but he should be very careful, because the public will sell him out immediately for something else, if a new kind of musical drug is on the market (Witts 1995, 33).
Although Stockhausen and the Technocrats seem to talk past each other rather than truly converse (âDo you reckon he can dance?â asks James in a cheeky retort), the exchange is a valuable one at least insofar as it provocatively puts questions of (electronic) musical craft in the context of a broader conversation about the cultural connotations and social implications of quite divergentâif, for many, rather relatedâmusical aesthetics. The value for todayâs music theorists, perhaps, is that Stockhausen issues a challenge, at least to those whose iPods place Hawtin next to Haydn, to find a new language, a more appropriate poetics to describe, defend, and even to dissent from todayâs âelectronic music.â For it would seem clear that Stockhausen demonstrates to anyone who values the kind of music one hears in âdancing bars,â or wherever, the utter inadequacy of traditional (or even avant-garde) music theory for understanding the power and, if one must, the complexities of electronic dance music (EDM).
The central position of repetition in the debate, and its dubious racialization as â(post-)African,â is not only deeply revealing of the texts and subtexts at hand, it directs us to the vexing question of so much discourse around electronic dance music: how to argue for the aesthetic value of deeply repetitive musicâa quality utterly taken for granted and celebrated by EDM devoteesâwithout falling into two common traps: (1) searching for the hidden complexities of seemingly simple sounds; (2) foregoing any sort of music analysis at all, in favor of socio-cultural exegesis, and thus implying that EDM does not need it (but also, perhaps, does not merit it). A great many journalists, cultural critics, ethnomusicologists, practitioners, and aficionados have been involved in the intertwined projects of explicating and celebrating EDM as social phenomenon, as cultural product and practice, andâif, ironically, less commonlyâas music. Music theorists may be (fashionably?) late to the party, but I reckon they can dance (if they want to). More important, I reckon that if anyone can convince the Stockhausens of the world (if one could possibly posit such a singular plurality) to attend more closely, and openly, to the forms and contents of EDM, it would be music theorists. The next obvious question, of course, might be: why bother? But letâs set that aside for now.
I’m happy to announce, and not a moment too soon, that I’ve arranged some festive music for today.
When I put together my first St. Patrick’s Day mix some years ago, it was an obviously tongue-in-cheek gesture. You might recall that I began with House of Pain before bringing in the romping stomp of the Timelords’ (aka KLF’s) “Doctorin’ the Tardis” — a formula-breaking (if formula following!) ravetastic classic that seems to anticipate mashups and jock-jams alike.
Consistent with the track’s logic — and often in shuffle-step with its triple-time roll — I mushed together a bunch of iconic Irish jigs & ballads and (corn-)beefed them up with electronic dance propulsion. Not all the festive selections had the 6/8 swing that interlocked with the proto-shaffel Timelords track, so I teased it in and out of the mix. Here ’tis again:
But that was then, and this is now.
Readers here are no doubt familiar with tribal guarachero, the Mexican techno mutation centered in Monterrey and DF, which has enjoyed an enthusiastic, international reception among DJs, listeners, and bloggers in the last year. You might also be aware that the genre’s distinctive rhythms happen to line up perfectly with some of these jiggy Irish jams. Or maybe that’s never occurred to you. Given this tempting correspondence, I decided to cook up a little tribal irlandese for El DĂa de San Patricio — or, if you’ll permit an irresistible but probably awful pun, tribal greengo.
Before I launch into the backstory, let me present the 2011 version for your St. Paddy’s party pleasure (some standalone tracks are available at the end of the post, FYI):
You may have heard the story, recounted here, that the term gringo derives from 19th century pop songs sung by Yankee invaders that began with (and repeated in every chorus) the words “Green Grow,” a sound that became so associated with foreign presence, it became the name for it.
John Ross, the longtime resident of Mexico (City), American activist, and recently deceased author of the epic El Monstruo (which I’ve quoted here before), tells the tale of the “greengos” in a section of the book bearing the heading, PINCHES AMERICANOS. “Of all the invading armies,” writes Ross, and he recounts a great many in Mexico’s history, “the Yankees were the most annoying.”
The US had long coveted and sought to annex, as Ross carefully puts it, “the vast, sparsely populated (except for 200,000 native peoples) northern territories of Nueva Galicia that Mexico had inherited from Spain.” In the mid-1840s, the “expansionist” President Polk began taking action. As Ross explains, despite its association with another set of conquistadors, “greengo” was not always clearly an epithet:
With his headlights set on the 1848 election, Polk promised the American people a “short war” (where have we heard that one before?) and orchestrated a Gulf of Tonkin-like provocation at Matamoros, drawing Mexican troops across the RĂo Bravo where they managed to whack a few Americanos. Polk wept at the death of the Yanqui soldiers — “our blood has now fallen on our own soil” (sic) — and organized a five-point invasion of Mexico. The U.S. Navy sailed into San Francisco Bay, and Los Angeles was besieged by Kit Carson and his irregulars in Alta, California. Marines landed at MazatlĂĄn on Mexico’s Pacific Coast. Zachary Taylor would swoop south from Tejas, and grizzled old General Winfield Scott landed in Veracruz and followed Cortez’s footprints to the Halls of Moctezuma.
Starting out in the spring of 1847, General Scott directed his army to take TenochtitlĂĄn, encountering, as expected, little resistance from the Mexicans. Indeed, like Cortez, Scott forged alliances with disaffected Mexicans along the route — the “Polkos” rejoiced in the Americano invasion. As the Yankee Doodle Dandies climbed into the antiplano (highlands), the sang the popular songs of the day, one of which, “Green Grow the Lilacs Oh,” became their signature tune, and forever they would be known as “greengos.” (71-2)
Whether affectionate or pejorative initially, the term survives today, and over the years I think it’s safe to say that it has taken on some real sting. (That gringos remain perennial invaders of Mexico can’t help.) And why shouldn’t it sting? What we in the US call the Mexican-American War is remembered in Mexico as “El Gran Despojo — the Great Robbery.” Here’s Ross again, taking stock of what was settled by the Treaty of Guadalupe Hidalgo (signed on 2 feb 1848), which
ceded the Americanos all the land from the RĂo Bravo to Wyoming, 13 western states from Iowa all the way down to California where gold had just been discovered, 1,572,741 square kilometers, a land grab the size of western Europe and fully 51 percent of Mexico’s geographical territory. Mexico got nothing in return. (74)
The story of the “greengos,” regardless of its veracity, offers a provocative opening for a little musical project I’ve been plotting. The prominence of music in the term’s myth of origins is, of course, a nice touch — not to mention the color green. But the Irish-Mexican connection, and the significance of this story (and this war), is deeper than a colorful coincidence. Irish people have been living in Mexico for centuries. (Indeed, an image search for some fodder for this post turned up a small cottage industry around “Irish-Mexicans” — with or without injunctions to kiss one.)
Perhaps the best known Irish arrivals in Mexico are a group of soldiers who famously switched sides during the Mexican-American War. These notorious turncoats, a preponderance of whom were Irish, are known (fondly in Mexico) as St. Patrick’s Battalion, or El BatallĂłn de San Patricio — national heroes of a sort, whose sacrifices (many were ultimately hanged as traitors) are celebrated every September 12 on the agreed-upon anniversary of their executions, as well as on March 17, today: the feast of Saint Patrick, patron saint of the Irish in general and this battalion in particular.
Many reasons are given for their extraordinary act: not merely deserting, but taking up arms for the other side. Like their European compatriots in the BatallĂłn, Irish immigrants enlisted in the US army in exchange for pay and land, many having fled the Potato Famine. Mistreated at the hands of Protestant superiors, some soldiers found themselves more sympathetic to the cause of their Catholic brethren in Mexico. (Notably, Catholic churches in Texas were terrorized in the years of provocation that became the “run up” to the war.) Indeed, such sectarian appeals were allegedly part of a Mexican recruitment campaign. They fought bravely alongside Mexican militia members — sometimes a little too bravely: a few desperate San Patricios, refusing to surrender (for it was death on the battlefield or death by hanging, perhaps after a good lashing and branding), physically rescinded their comrades’ attempts to wave a white flag, even killing a couple Mexican soldiers in the process.
While reading up on the Battalion, I discovered a felicitous fact: they “first fought as a recognised Mexican unit in the Battle of Monterrey on 21 September 1846, as an artillery battery.”
Battle of Monterrey? Artillery battery? Sounds like 3ball to me!
The foregoing isn’t intended as an elaborate bit of cultural baggage to freight some frivolous mixing and mashing. I simply mean to share some of what goes through my head as I work on such a juxtaposition and reflect on what it means for someone like me to make something like this. Far as my relation to the San Patricios, it’s not all that clear to me that we’re not already embroiled in a war with Mexico (and one with a grossly disproportionate deathtoll), but if the US ever did formally declare war on our neighbors to the south, I’m pretty sure where my sympathies would lie.
Beyond the connections I trace above, and the shared rhythmic sensibilities of jiggy & guarachero shuffles, tribal irlandese cultivates other types of possibly productive symbolic ground too. For just as St. Patrick’s Day and Irish heritage more generally (at least in the US) have been blown up into cartoonish proportions (certainly a sickly green sometimes) — in a sort of auto-essentializing practice — tribal/3ball producers in Mexico frequently play with figures of “tribal” identity whether Aztec or African (and often both, as Jace notes in his excellent profile of the scene). I didn’t go so campy on this mix as with Doctorin’ the Guinness (which includes a version of “Danny Boy” for chrissakes) but I want to note that a certain kitsch factor is unavoidable given my points of departure.
Essentially, what I’ve slapped together here is a series of mashups, in both mini-mix and standalone form. I didn’t have a lot of time to work on these (and, at bottom, it’s still a novelty act — I don’t expect these to be listened to beyond mid-March, or just today), so I went looking for relatively easy correspondences, matches that didn’t demand too much pitching around, tempo tweaking, or super-precise attention to form (though, naturally, I’ve attended in some detail to all those things).
If nothing else, mashups always offer a ripe opportunity for playing with titles. That said, I present to you: the mini-mix (again) & three standalones (y’know, just in case you’re DJing just the right gig tonight) —
I could have stuck to more percussive sections of the Mexican tracks, but I wanted to represent tribal bass and melody too, so I was glad when a needling guarachero synth melody seemed to dovetail with the pentatonic heterophony of the jigs and reels. I’m not saying these things ever really match up. There’s a fair amount of strange stuff going on here, harmonically speaking. Pardon any sour notes in your doctored Guinness! Generally, I hope I’ve been able to do the main things I wanted to: 1) let you hear these two musics alongside each other, and 2) give your St. Patrick’s Day just a little extra push in the tush.
Ok, I promise to quit kvetching about SoundCloud soon enough, but the material just keeps piling up. So permit me one more for now, a little ludic repair, if you will, courtesy of Carl Craig, rightly revered innovator of Detroit techno’s so-called “second wave.” (Here’s a recent interview if you’ve got some catching up to do.)
Like fellow Detroiter and techno trailblazer Kevin Saunderson (as recounted here), Craig has taken to SoundCloud to stage a playful response to his discovery that a classic production of his, an early 90s release under the pseudonym Paperclip People, had been “bootlegged” — i.e., edited and supposedly “mashed up” with another track, then released as an anonymous 12-inch (“Track 3″ by “Unknown Artist”) with no attribution of the original.
For the record (ahem), here’s a vinyl rip of a recent reissue of “Climax” on Craig’s label, Planet E.
Rather than simply giving the infringing track away as Saunderson did, Craig has gone one better: he’s remixed the bootleg, no doubt improving it (though it’s hard to say without any comparison), and he has invited others to do the same. (To be clear: though I’m getting to it late here on the blog, Craig’s actions precede Saunderson’s by a few weeks and, for all I know, may have inspired them.)
Now shared globally as “The Climax Bootleg” Craig describes what he’s done as a “re-appropriated re-edit of the appropriated version” —
Quinto did a re-edit of my re-edit of the mash up of my paperclip people version of my original version that was released on Retroactive (my 1st label) back in 1990 and re-issued on my current label, planet e communications (20yrs this year!!!), that also included a fantastic ‘reshape’ by basic channelâŠanyway, Quintoâs version continues this language that i wanted to start. this is why i am giving away this download to you for âfreeeeeeeeeeeeeeâ. so, i want to hear your ‘new’ versions or reedits (theres some work involved) and i will post them here on my soundcloud page which will link to my carlcraig.net site. global forum here folks. much love from detroitâŠc2
You’ll note that Craig’s edit contains a wonky piano line (if not in the strict sense), which is apparently sampled from the unauthorized “mash up” (whether the use of mash up in Craig’s discussion is “strict” is also unclear to me since I haven’t heard the “original” “bootleg”; he does seem to enjoy playing loose with all “this language,” as he puts it). Commenters are torn on whether they like the “re-appropriated re-edit” at all: some express that it fails to improve on the original and hence extends and glorifies an insult; others appear to dig the new version, even the piano part.
Some remixers / re-editors have run with the new elements while injecting their own, others have hearkened back a bit more to the spirit of the original. Here are several, the titles of which, in some cases, get more and more recursive as they go (the sounds too):
Perhaps you’d care to join in the fun and try your hand at one? Gotta love a little collective, creative clowning.
Of course, there’s an interesting, though somewhat vague, distinction being drawn here between remixes, reedits, and bootlegs, generally turning on questions of commerce and attribution. At least for Craig, you get the sense that it’s one thing to edit/remix/mashup something and post it on the web; it’s another to press it up (or compress it up, into an MP3) and sell it without sharing the proceeds or the credit.
One key footnote here, as Craig himself points out, is that there have been many authorized remixes of “Climax,” including a “reshape” by Basic Channel. Here are a couple:
And you might be familiar with this Avalanches track, employing a subtle sample of “Climax” at the 4 minute mark —
— which Craig, in turn, himself (in the guise of Paperclip People) appears to have remixed (?!?!!):
To keep the discussion moving (for I really don’t want the iron to cool too much, lest we lose our fire entirely), I want to talk about a couple interesting uploads I came across this week on SoundCloud.
Briefly, let me preface by noting that I’ve found it pretty remarkable throughout SoundCloud’s relatively short existence that I rarely if ever run across an example of flagrantly unauthorized filesharing. Some users occasionally upload other people’s tracks without explicit consent but more typically as a form of decentralized (and courted) promotional activity than in a yes-you-can-find-that-on-YouTube fashion. To me this seemed like evidence of a good faith approach, wherein SoundCloud was taking a gentle, supportive hand to remixed, DJ-mixed, and otherwise recontextualized music (including as part of field recordings) and balancing that strong stance toward fair use by vigorously removing any blatant examples of bald, untransformative filesharing.
Of course, December’s wave of automated take-downs let the air out of any dream of a concerted, coherent, or particularly robust defense of fair use on SoundCloud at the corporate level. Nevertheless, users of SoundCloud continue — both unintentionally and purposefully — to challenge terms of service, copyright law, practices of attribution, and notions of ownership. I’d like to examine here one example from each camp: the accidental and the intentional. (And, given the fraught status of each, we’ll see how long before this blogpost becomes yet another web2.0 graveyard.)
Here’s one that I would characterize as unintentional, though as I’ll explore, the lines get blurry:
Pop archivist and professor Hugo Keesing, building on the work of radio DJ Mark Ford (post-post update: see here for a detailed parsing of the tape’s twists and turns), spliced together the audio “embedded” in the player up there, just below his portrait in triplicate. It’s a piece he named Chartsweep back when in the pre-Napster 90s, an hour-plus collage comprising short, recognizable samples of every #1 hit in the US from 1956 to 1992 (according to Billboard/Whitburn).
Apparently, the montage, which may or may not have been made from reel-to-reel recordings and/or 45s (see some mythology here [and again, here]), circulated informally and anonymously among radio heads for many years before someone finally solved the mystery and tracked down Keesing. [Though to update again, according to this, the piece was "heard in national syndication, annually, by millions and millions of listeners," so obviously, and interestingly (given this week's amnesiac reception), it has enjoyed a massive audience in the past.]
Keesing discusses the project, and his background, in this interview with Jon Nelson. Allow me to excerpt a bit to show how the assemblage, which Nelson says he “couldn’t help but think of as art,” emerges both out of Keesing’s capacious love for popular music and his embrace of mashup poetics, if you’ll permit the anachronism, as a form of multimedia pedagogy:
The concept and term “Chartsweep” both originated in the late 60s with a syndicated radio show called “The History of Rock ‘n’ Roll.” I listened to it on WOR-FM in New York and recorded portions of it on an old Wollensack reel-to-reel tape recorder. As you know, the ‘sweep presented segments of every Billboard #1 single starting with “Memories Are Made of This” (Jan 1956). I don’t recall where it stopped, but it was around 1968/69. Six years later I began teaching an American Studies course at the University of Maryland called “Popular Music in American Society.” To provide a setting for each class I dusted off the concept, took it back to January 1950, added a number of songs based on Joel Whitburn’s re-definition of #1 songs, and continued where the original had stopped. I added each new #1 until fall, 1991 when I stopped teaching the course. “Set Adrift on Memory Bliss” was the 900th. At the start of each class I played a portion of the ‘sweep that corresponded to the years we were covering that night. To accompany the tape I made 35mm slides of either the original sheet music, 45 rpm record sleeve or something similar, so that students could see as well as hear the pop music history. Copies of each night’s tape went to the undergraduate library. I assume that an enterprising student or two made their own copies and it is a copy of a copy of a copy that remains in circulation. That’s the story in a nutshell.
But, of course, the saga continues. In the last week Chartsweep has risen to “viral” prominence after a complicated — and possibly incestuous — round of re-posting and re-blogging and re-posting and re-blogging. Although uploaded to SoundCloud just two days ago, as of this writing, the two parts have cumulatively garnered nearly 150k plays!
Key to this unprecedented explosion of exposure is, of course, the unauthorized uploading of Chartsweep to SoundCloud, the special affordances of which — namely, embeddability and scalability — make it a lot easier for Keesing’s collage to travel and be heard and shared than if it were simply residing as mp3s on a server here or there.
Precisely because Chartsweep has been around for years, enjoying a more modest audience and addressing a narrower public, the piece’s performance on the so-called platforms of web 2.0 could prove instructive as we dispute what constitutes fair use, and what doesn’t, in an age of “automated diminishment.” At the moment, it remains to be seen what — and whether/when — Audible Magic will have to say about all the unauthorized samples it sniffs in this.
The samples are sitting there, clear as day. Here’s part 2, stretching from Men At Work’s “Land Down Under” (itself embroiled in silly copyright wrangling) to the fitting closer, Whitney Houston’s “I Will Always Love You”:
Now, Chartsweep It may not be the sort of thing you’d like to listen to all the time, and it’s certainly not a replacement for any, never mind all, of the songs it includes. I feel little need to explain why this sort of thing has the right to exist. The answer to that question is audible and obvious. Indeed, just a glance at the reactions Chartsweep elicits, whether at SoundCloud or on blogs, turns up a great variety of ways that such a transparently derivative and transformative work can reveal, uniquely even, all manner of things about pop and charts and us. Among other things it nicely demonstrates, as one commenter notes, “This is so awesomeâŠyou can actually hear the British Invasion happening in 1964″ (emphasis mine).
But what about questions of attribution and fair use and ownership not with regard to the maker of the montage but the uploader of the audio? It’s notable that mjs538 provided no information about who put the piece together — or anything else. Indeed, he even gave it a misleading (and erroneous) new title, “Five Seconds Of Every #1 Pop Single.” But despite these possibly suspect procedures, plenty of listeners recognized Chartsweep immediately, and some — like DJ Empirical — felt compelled to leave a comment providing proper attribution. (The confusion here seems to stem from a case of lazy reblogging and meta-data erasure by the very same affective laborer, Matt Stopera, who (re)posted it here — where he oddly indicates that it was “Made by” Ubuweb, who have merely done the simple, if awesome, [& actually, slightly misleading] service of re-archiving the audio and interview — and who also re-blogs stuff like “The 30 Best Pictures Of Asians Wearing Engrish Shirts” — clearly a man of taste and honor.)
Can we imagine a better set of practices for sharing Chartsweep with a new set of publics? I suspect we can. Would as many people have heard it this week if such a system were somehow automated? Doubtful, at least at this point. Does that matter?
These thorny questions echo in the second example I’d like to discuss here…
Earlier this week, Detroit techno pioneer Kevin Saunderson took to his website, Facebook, eager amplifiers like Mad Decent and Resident Advisor, and, yes, SoundCloud, in order to clown a couple Italian producers who centrally employ an obvious sample of Saunderson’s 1987 classic, âThe Sound,â without giving credit (or publishing for that matter) where due. In response, Saunderson is giving away digital copies of the original track while posting a copy of the offending track to SoundCloud — for free, without Supernova’s permission, and in 82mb wav file splendor (not that it’s such a splendiferous track, a rather wan paint-by-numbers production rightly derided in comments as “beatport minimal” and “ableton techno”).
Here’s the story according to Saunderson (& hear the original here, if you don’t want to download it c/o his righteous largess); note the nuance in Saunderson’s position here — this is hardly copyright extremism:
I recorded âThe Soundâ back in 1987 and released it on my own KMS Records label. It was a massive hit at New Yorkâs Paradise Garage and in Chicago and of course Detroit. Once it hit the UK it became one of the earliest Detroit anthems right acround Europe, a huge underground record across the globe – a true desert island techno track. It is such a special record to me because it was one of my first really successful productions and I hope that you all will enjoy this free, fresh digital download of my original 1987 version.
The reason I have decided to give this track away for free is because of a situation that recently developed involving the unauthorized sampling of âThe Soundâ by Italian producers Giacomo Godi & Emiliano Nencioni (Supernova) in their release âBeat Me Backâ on Nirvana Recordings. It came to my attention that they are licensing and selling, with considerable success, this track which is nothing more than a continuous loop of the main hook from âThe Sound.â
For me to hear âSupernovaâ taking an extended loop of âThe Soundâ and claiming that this is their own original composition and production is both dishonest and disrespectful. My first thought was that they were perhaps naĂŻve, but as they have apparently been recording together since 2002 this seems unlikely. In any event this is completely unacceptable, we cannot continue to let this kind of wholesale rip off go unchallenged and tolerate âartistsâ who completely sample recordings, add nothing of their own and then release the results as their own work.
I have a huge affection for sampling, itâs how some of the most inspiring and ground breaking tracks of our times were created. Weâve pretty much all sampled records at some time, and cleared the sample so we can use it on our releases, but it is just not cool to take someone elseâs music, create a big old loop of it and then put your name on it and try to have success entirely off the back of another artistâs efforts. This really has got to stop. For this reason, I have uploaded the Godi/Nencioni version of âThe Soundâ to Soundcloud so that you all can download this for free if you so wish. These producers and their record label should not be profiting from my back catalogue… this is not their track to sell.
Here it is (and do note the title!), though I recommend clicking over to SoundCloud to check the convo happening there (and over at RA too):
As of this writing Saunderson’s instantiation of “Beat Me Back” at SoundCloud has been listened to over 10k times and downloaded almost 2k times. I can only hope that the original will enjoy a lush new life despite the strange circumstances of its revival. It’s definitely vexing that someone like Saunderson — who can be credibly described as an architect of the very sound, the very aesthetic conventions (never mind specific bassline), that Supernova are working in — might find himself so rudely excluded from deserved techno dividends in the age of Beatport. And I quite support the sort of public gesture he’s making.
I also look forward to hearing, if anything, what happens to something like this on SoundCloud. Will Supernova sue? Will they settle? Will SoundCloud / Audible Magic intervene first? It’s tricky terrain, to be sure. But I suspect there are plenty of “brave” lawyers ready to leap into the breach.
But before this seems like another round of ammunition for the copyright wars, I want to return to the importance of nuance and context when we make efforts to distinguish between fair and unfair uses of musical recordings. While I am sympathetic to Saunderson (and would happily help him make his case), I don’t think it’s so simple as to say that any track built on a loop in this way is necessarily subject to the kinds of ownership claims he’s making. In contrast, I can think of any number of hip-hop tracks that are similarly loop-based and yet still stand as undeniably “original” and perhaps even deserving of commercial (and, of course, non-commercial) lives of their own.
As it happens, this very example offers a fine test case, for Supernova are not the first to build a track around a central sample of “The Sound.” Way back in 1988, just months after “The Sound” started hitting clubs across the burgeoning post-disco diaspora, New York’s Todd Terry enlisted its distinctive bassline for one of his trademark sample-laced burners, “Back to the Beat” —
Listening to the three versions alongside each other, we’re invited to think about whether “Back to the Beat” > “Beat Me Back” — or, more precisely, what makes one loop hackish (and hence disrespectable) and another inspired (and thus tolerated). Note how this commenter on another instantiation attempts to tease out what Terry has borrowed from what he has created:
Of course, the amazingly amazing and idiosyncratic bassline was sampled from Reese & Santonio’s Detroit classic “The Sound” just as the the choirish sound has Kraftwerk circa anno? 1986 and “Electric Cafe” written all over it. However, the heavy rhythm, the eclectic melange of samples from everythere and – yes – the stuttering quality is very characteristic of Todd Terry productions.
I really appreciate the way a sense of community norms — however local or contested they may be — undergirds a comment like this, and it’s that sort of community-wide interpretation and peer-level censure (or approval) that should be at the heart of how we collectively regulate public culture in an age of click-and-drag remediation.
Last week a daily newspaper from Abu Dhabi, The National, published a piece I wrote about “nu world” music under the title “Sounds of the wide, wired world” (29 Oct 2010). As usual, while I think my editor — here, the mighty Dave Stelfox — did an utterly admirable job of making my prolix prose ring pretty damn clear, it still feels weird for stuff to fall under my byline that didn’t come directly from this horse’s mouth. And there are lots of words and phrases and names and things that I’d rather like to cram back in. So as with other things I’ve written for newspapers and magazines, I’m providing here at W&W a “director’s cut” (which nonetheless preserves many of Dave’s careful cuts and amendments). Thx again, Dave!
Sounds of the wide, wired world
In the autumn of 2009, Dave Nada, a Washington DC-based DJ, was playing a midday party in a basement for his cousin and a couple dozen of his high-school-skipping friends. The DJs preceding Nada warmed up the room with bachata and reggaeton: mid-tempo dance music from the Dominican Republic and Puerto Rico that offered deep, familiar grooves to the Latino crowd.
At 32, Nada was the oldest person at the party, and more of a techno/electro guy. In a flash of inspiration, he decided to drop something out of the ordinary on his young audience. Afrojack’s remix of Silvio Ecomo & Chuckie’s “Moombah” – a typical example of Dutch “dirty house” – already had all the elements of a reggaeton club banger: thumping kick drums, piercing synth-lines, cut-and-paste party chants, and a distinctly Caribbean cross-rhythm in the snares. The only problem was that it was too fast. To make the track fit the vibe of the gathering, Nada reduced its speed by 20 beats per minute. This simple adaptation sent the kids into a frenzy.
Unexpectedly, it also birthed a new genre that embodies a much broader phenomenon: a reclamation and redefinition of global street music for the internet age that we might call world music 2.0. Spurred by the success of his experiment, Nada recorded an MP3 edit of his Afrojack remix and constructed several more slowed-down interpretations of house tracks. These were circulated on the internet, representing a sound that its creator, perhaps not entirely seriously, dubbed “moombahton.” Ever hungry for the new, the global dance music blogosphere seized upon this strange, hybrid sound. By March of this year, Nada had been featured on the website of The Fader magazine; by summer he was running a popular weekly club night, Moombahton Mondays, in DC.
Back in the Netherlands, meanwhile, an aspiring producer stumbled upon Nada’s work during a routine trawl of the web. Like the kids at the party, he was floored. A 20-year-old Dominican, born and raised in Rotterdam, Rayiv “Munchi” MĂŒnch was a long-time fan of bachata and merengue, especially a recent streetwise version of the latter, known as mambo; Dutch bubbling – a mid-1990s collision of hyperspeed gabba techno and Jamaican dancehall; and hip-hop of all kinds. In moombahton, however, he heard a new future for reggaeton, a genre he loved but believed had become creatively stagnant.
He worked all night long, emerging the next morning with a digital “promo” package of five new songs. Rather than editing pre-existent tracks, Munchi built his productions from the ground up. Using samples from his ecumenical music collection, he injected influences from Brazilian funk carioca, Angolan kuduro, Latin American cumbia and more. In April, he wrote to a number of bloggers, myself included, to share his music. Over the next few months he maintained a prolific work rate, producing 50 tracks in all and releasing concept-driven online promo packs every four weeks. These circulated rapidly via blogs, tweets, and the SoundCloud account where he streams them and provides links for free downloads, either there or at free (but ad-riddled), temporary âdigital lockersâ such as MediaFire.
The feedback loop doesn’t stop there. In just the last month DJ Orion, a producer from Austin, Texas, uploaded 30 tracks to his BandCamp site (where customers are asked to pay as much or as little as they like to download the music), in a style he is calling “boombahchero.” Many of the songs are second-generation interpretations of Nada’s and Munchi’s remixes. However, Orion has gone a step further, infusing his edits with the strains of Mexican tribal guarachero, an emergent form of electronic dance music mixing cumbia, techno, and a distinctive triple-time swing – often produced by teenagers, the genre has been making the rounds recently as the latest local fusion of global elements to resound more widely than, say, the clubs and communities in Monterrey and Mexico City where it sounds right at home.
These interconnected stories form but one knotty vignette in the wider narrative of world music 2.0. Largely brought together online, this tangle of diverse street-level sounds is bound by common tools and shared reference points. Its accelerated interactive pace is driven by the proliferation of accessible music and video-production software, and the connective possibilities of the social web or, in marketing parlance, web 2.0 – the key feature of which is the explosion of networked platforms that enable anyone with access to publish their music and dance moves to a limitless audience. Needless to say, this is precisely what thousands of young people are doing.
The commonplace use of cracked or demo software in many of world music 2.0’s more rough-hewn productions produces a patina of piracy, an unintentional but marked aesthetic effect that privileges participation, immersion and immediacy. On YouTube, Colombian teens dodge “Free Trial Version” watermarks as they do a modified Melbourne shuffle at the local mall. Robotic voices interrupt homespun raps from Los Angeles to remind us that weâre listening to music made with unlicensed programs. Pop-up ads piggyback on the networked DailyMotion of young people across the Francophone world trying on and showing off the latest steps from the tecktonik and logobi scenes. Chains of compression lend a sizzle to MP3s of reggaeton and Baltimore club music, filled with uncleared samples and made everywhere from the Dominican Republic to Romania.
Because most of this activity happens on corporate “platforms,” the unruly openness of online enterprise is constantly vulnerable to the caprice of bottom-line logic and rearguard legal attacks from twentieth-century copyright giants. Videos disappear regularly, sniffed out by audio-detection algorithms. Entire sites vanish overnight. In the last year alone, imeem and Jamglue, two popular audio-streaming sites which played host to such burgeoning scenes as Chicagoâs juke and LAâs jerk, suddenly shuttered, falling prey to licensing nightmares and hostile takeovers. Down the ether hole with them went thousands of conversations, personal playlists, home-produced gems, and peer-to-peer connections.
But who cares about quality control or posterity? Clearly not the kids who keep uploading. They’re hacking their way through contemporary media ecologies, motivated more by making and doing than by legal strictures or commercial profit. The result is a vivid picture of a truly global youth culture. Kids doing what kids always have done: dancing, performing, goofing around. The difference is that they now broadcast it to the world – if often as an afterthought, the result of default settings that encourage openness.
Public culture is being remade by all this so-called “user-generated content,” including the ever curious category of âworld music.â In some contrast to its creation by a consortium of British music-industry players in the 1980s to market recordings that represented musical traditions of the non-western world, a multinational network of grassroots producers, DJs, and bloggers are now renegotiating and redefining this freighted yet inclusive term.
Their work embraces a fluid but thoroughly urbanized idea of worldliness. The stylistic signposts of world music 2.0 are utterly contemporary, grounded not in traditional instrumentation but the ubiquitous structures of hip-hop, reggae and house. The music’s themes are more often than not as unvarnished as its sound: sex, social domination and the travails of life in the big city – be it London, Johannesburg or Rio. Nonetheless, and more than likely as a direct result of this fact, it resonates widely.
A wealth of websites have sprung up, bringing these far flung sounds together. On Ghetto Bassquake (London), Generation Bass (Tilberg, Holland), Dutty Artz (New York) and many others, New Orleans bounce, Colombian champeta, Jamaican dancehall, desi bhangra and South African house all find common ground. Many of these sites have also become record labels, releasing music from and inspired by urban dance scenes from around the world – and around the corner.
A prime example is Dave Quam’s It’s After the End of the World, an open-eared blog from Chicago focused on the city’s juke scene but often extending its remit to Dutch bubbling and Memphis rap. Quam launched a digital label called Free Bass last month by giving away a three-song EP by Cedaa. A teenager from the small city of Bellingham, Washington, Cedaa’s music takes flight from juke’s stuttering drum machinery and adds a certain, synthesised Pacific Northwest pastoral. It’s glorious stuff that could only have happened now.
As the vibrancy and resiliency of youth culture from the inner-cities of the world inspires urbane curators and globe-trotting DJs, it animates another new strain of world music: Trinidadian soca filtered through Montreal’s Ghislain Poirier, funk carioca via MIA and Diplo, the cumbia of Buenos Aires’ slums recontextualised by the uptown crew ZZK. In a sense, this slicker, commercially released music by savvy interpreters of the Global North recalls the earlier, successful mediations of Paul Simon and David Byrne – albeit rather more modestly, at least in terms of sales.
Informed by the diasporic settings that so many cities have become, the “bottom-up” revision of world music is a valuable development, offering new ways of engaging with the world, often undergirded by intimate, everyday experiences of cosmopolitan conviviality. However, certain queasy connections with its earlier incarnation also persist. Despite the necessary translation and filtering provided by metropolitan mediators, the xenophily animating their work can cloak familiar fetishes of otherness in slum chic.
Another name for world music 2.0, in this regard, might be “global ghettotech” – a term I floated on my blog a few years ago, hoping its implicit critique would be clear. Surprisingly, it has since been unironically embraced by a number of artists and entrepreneurs across Europe and the Americas. The ghetto remains a major signpost in this new world, but its romanticization or exploitation as a signifier of edginess, especially by those not of it, will always create tensions. Teamed with a recent embarrassment of tropical tropes and neo-tiki motifs, it’s almost enough to return us full circle to hearing the world as kitschy exotica rather than the noise next door.
Fortunately, critiques are not the sole preserve of critics. They can come in musical form, too. In June a New York/Vancouver collective called Old Money, with Jamaican, Guyanese and Polish membership, posted a track to SoundCloud called African Kids! A sardonic send-up of the use of generic African imagery, it fits seemingly random lyrical fragments – “shapes, colours, African kids!” – to a bass-wobbling beat that nods to several recent UK dance genres all at once. The only tag added to the track reads “TribalTribalAfricanKidzzz,” a lyric in the song. It was amusing, but also discomfiting. Old Money sent it around to the usual network of websites and blogs, some of whom had helped hype their previous recordings. No one wanted to touch it. Perhaps it hit a bit too close to home. Or maybe it’s not such a brave new world after all.
a moomba, apparently — no relation to afrojack, i don’t think
Reggaeton doesn’t die, it just continues to fragment and reconstitute in a thousand different ways. (Sorry about the passive language there — I don’t think reggaeton has viral/memetic agency, but I still find myself using that sort of shorthand/emphasis even when what I want to think about primarily is how particular people in particular places× do something with the “genre”.) In this case, I’m not just talking about Dominican dembow or jerkbow, but other, equally odd revivalist fusions. I mean, it’s practically a personalized genre at this point!
First case in point: a couple weeks ago I got an email from a guy named Munchi, connecting dots and introducing prototypes —
There is this new thing going on that just has started but has huge potential. You see, I love Reggeton. But the things that came out these years (Regge-Pop) weren’t even Reggeton. I still have those great tracks on my mp3 in the time when Reggeton still was Reggeton. Althought there is a movement going on in my home country (Dominican Republic) where they use the Dembow with chopped up vocals or just make a party track, but that itself seems to be destroying the Dominican Hiphop market. Since everyone sees that the money is in the Dembow party tracks. But that is a whole other story. This type of Reggeton is just like those oldskool Playero songs.
This is a good thing but i dont see Reggeton getting out of the hole it is right now with this movement.
However, like i said there is a new thing.
You see i live in Holland and here we have Bubbling.
Holland always had its own thing i guess and with the Dutch House going strong at the moment, you certainly cant miss the Bubbling influence in it. Then of course when a couple of years ago Baltimore Club came out of nothing destroying every club in Holland ”Samir’s Theme” that influence got in it also. It evolved, just like the raggamuffin to bubbling and then dutch house (with the other genres of course). Puerto Rico and Panama had their own evolved version with Reggeton.
Now we come to the States, where the Dutch House thing is pretty big right now. Like the rest of the world. I don’t know about Reggeton but I guess it still gets played over there.
Those 2 genres met eachother there.
Dave Nada played Afrojack’s ”Moombah” (Huge Dutch House Track) & Sidney Samson’s ”Riverside” at 108 BPM. Almost Reggeton speed (96 BPM). He saw that the crowd loved it and he made the Moombahton EP.
This was just a month ago.
And I came across it and when I heard it, I couldn’t believe what i was hearing. The idea was so simple, yet THE chance for Reggeton to get out of its hole.
Eventhough that i love Reggeton, there are so many genres that are new and interesting to me. It’s all so inspiring and i want to make them all. So i haven’t been making Reggeton besides Dembow.
Yet when i heard this I immediatly made a Promo CD.
I worked the whole night and got 5 tracks.
You see Dave Nada had this fantastic idea, and with the Dutch House hype there is at the moment, its perfect. The genre is in its beginning, i dont know which way taht its going to go. I hear the Uncle Jesse rmx of whatyoudoin and i hear alot of percussion work. I hear people making the same as the original Dave Nada idea with just editing and slowing down dutch house. I also heard a juke moombahton rmx of Moombah which was fantastic. And what i did was make a house at a 108 speed with Reggeton samples. Also mixing it with cumbia/baltimore club/baile funk/merengue/miami bass/dominican dembow.
It felt so good that i could make ”Reggeton” again, with the inspiration i used to have while making it. I can see this becoming big. It has alot of odds for it, but im not even talking about that.
You see, like i mentioned before it all started with Raggamuffin. 2 different genres that evolved out of that in two different worlds are meeting eachother again after a long journey. And i think they will be stronger than ever.
This all happened today/yesterday, and im stoked.
I can’t wait to see this evolve and grow to something.
Let me know what you think and I hope to hear from you.
He included the five song EP, and I’ve been bumping it. (He also followed up with a buttload of bubbling videos, which I’ve not yet had the time to peruse. But, as Dave & I get grindin on that dreampipe of a book, I’ll be digging in.)
Up where they are, tempo-wise, Munchi’s tracks work well alongside Dave Nada‘s bangers and Chief Boima’s techno rumbas, and they flow well from slightly slower dancehall and reggaeton tracks. Like dembow or bubbling at their core, we hear a mix of styles indexed and flexed, suffused with some of the most cherished sounds and patterns casting about. And yet, for all their nods to the back and the side, they sound as here and now as anything. Which is to say, they sound inspired —
I also kinda love that someone can be sent on a beatmaking binge like this. I suppose the same thing that Dave Nada put his finger on when he slowed down some Dutch house and sent a bunch of Latino highschoolers into frenzy is also vibrating over in the Netherlands (for Dominican kids especially?).
Or in California for college-going Colombian kids who grew up in Chelsea, Mass?
I’m not sure if you guys do promo stuff but let me know if you like the sound. DIGITAL REGGAE for the world!
When I wrote to Johnny to ask about the track, he mentioned that a friend had played the track at a couple parties in Lawrence, MA, and “people were seriously diggin it.” Having done some beatmaking workshops up in Lawrence and neighboring Lowell, where I think I learned more about reggaeton than the kids learned about anything from me, I was intrigued to hear more about reggae/ton parties in Lawrence. Per Johnny:
Lawrence is the dancehall capital!!! (Strangely, I noticed that in Boston, reggaeton was bigger at spanish parties, yet in Lowell/Lawrence it was dancehall). I’m sure you probably heard of him, but if you haven’t, definitely check out Dj Styles on myspace. I remember in high school people would literally play the music straight from his page at parties, it was like the radio for Spanish people around Boston haha.
Although Johnny’s tracks could use a little help in the mastering realm (which I learned pretty quickly when trying to play them in a club setting — and which, yeah, kinda goes without saying in this brave new world of DIY/p2p music industry), I dig the mix of references in them and the way he mines the reggaeton oeuvre in the same way that reggaeton mines dancehall and hip-hop (and trancey techno too) for its own suggestive palette. Like Munchi’s experiments, Johnny’s music seems to express a return to roots (of a sort — DJ Blass is a root, right? rhizomatically speaking?) while offering an audible sense of reinvention.
I also found his description for “Dembow Dynamics” pretty interesting/provocative, especially the level of disclosure:
I want to sex dembow. This song is my representation of the night when dembow becomes a living female. My second credible riddim.
It’s funny how people say reggaeton is “dead” when in fact its creativity that’s dieing. Dembow is in my fucking SOULLLLLLLL!!!@!@!!!@!!!
I got shit from 7 different tracks:
Notch – Hay Que Bueno
Ranking Stone – Quiero Hacertelo
Don Chezina – Tra
Yaviah – Wiki Wiki
Unda Wata Riddim
Wisin & Yandel – Por Mi Reggae Muero
Those are directly in the track. other influences would include:
Dancehall, Diplo of course, Dj Blass, Electronica, SALSAAAAAAA, and whatever else I forgot.
Taking all these together, it’s striking how this sort of sound, shared among a few producers, can seem to voice a zeitgeist, to stand in for a multitude, when the evidence is emanating from 2-3 “bedrooms.” Funny how we can imagine a wider community of practice abstracted from but a few examples. (Or is that my tendency alone?) It makes me wonder how limited one’s claims about the meaning of this sort of “phenomenon” must be. But the fact alone of resonance — of, say, Moomahton especially, based on the rapid bloggy uptake and effusive, inspired acts like Munchi’s — seems to speak volumes about a broader (dare I say?) structure of feelings modulating with the music.
I hesitate to subsume this under the banner of global ghettotech or, as seen this week, “global ghetto house.” While there are global-ghettoey cross-currents here, as borne witness by Munchi’s and Johnny’s references to Bmore and Diplo, we might better attend to the far more specific genealogies that Munchi and Johnny draw, not to mention awesome myths of origins like Dave Nada’s. That the palette of what we’re calling here reggaeton (sometimes anachronistically) can go from largely based on hip-hop and dancehall to including a panoply of styles not limited to techno, (Dutch) house, electro, bachata, cumbia, and funk carioca, does seem to suggest that the old signposts have shifted.
The goalposts too?
[Update:Toy Selecta rightfully objects to me leaving raverton out of the constellation. He's been mining the same turf for two years now, and raverton certainly fits into the picture here. Beyond simply rounding out the picture, Toy's toying with reggaeton arguably made space for the likes of moombahton, finding favor at the Fader long ago. As it happens, just this week Toy unleashed his latest raverton opus, which I highly recommend.]
[Update II: Talk about timing, I see via Catchdubs that Munchi has posted a whole heap of other productions in this vein to his SoundCloud page. The Flashing Lights blog also includes a bunch of descriptions of several tracks, which go further into the sources & influences in the mix.]
note the ZUNGUZUNG at 1:04! [Leila K.]‘s of Moroccan descent but from Sweden & this song was number one in sales in Europe in the 90s
#1 in sales un Europe in the 90s?! Can anyone confirm this? That would be surprising in itself, and it would make for yet another rather significant instantiation — if an oddly tuneless one — of Yellowman’s well-propelled vocables —
second, from @nila, my source for sepia mutiny of all sorts, is this bit of “desiton,” a track which very clearly riffs on Yankee’s “Gasolina” gallop with its 32nd-note stutter-step synthline —
These days, and for the last several years really — ever since the rise of the mp3/blog mix (h/t L-R?) — I listen to music mainly in mixed form. I download mixes at the rate of about one per day (though it feels like more than that). They range anywhere from 15 minutes to 2.5 hrs and from genre-hopping/mashing exercises to downright “purist” explorations of a particular style, subgenre, or artist.
Mixes are like little worlds to themselves, opening up for me to enter and inhabit. I enjoy the way they can transport me like that — especially when walking, driving, and cooking.
Although I do a great deal of tagging and annotating and sharing my web wanderings, I don’t take the time/effort to shed some shine on every mix I dig. But I wish I did. So here’s an attempt to call attn to a few faves from the last month/year that have caught my ear and remain on rotation —
Timeblind’s Flora had my earbuds on lock for much of the winter. Centered on dubsteppy sounds, but ranging into reggae, hip-hop, and some srsly off-kilter techno, among others, it somehow suited early evenings and long nights.
So did Lone Wolf’s Nightwind, released last spring and still holding a precious spot on my not-so-spacious 4gb iPhone. (For the record, though, I think I most enjoyed it mid-morning on a coffee buzz.) Full of trancey hip-house&b bangers mixed up and sloooooooooooowed down, the tracks keep opening up in unexpected ways. (If ur into “screwed oddities,” you might also like this.)
More recently, I’ve been really getting into all the house and techno coming out of (or filtered thru / inspired by) Africa, especially South Africa. Check Spoek Mathambo’s H.I.V.I.P. (!) mixes (here and here) for wonderfully weird refractions off the global disco ball. Also well worth your time: DJ Zhao’s Ngoma 2 and 3, as well as the “obscurer” followup mix it elicited from DJ Deep. (If you haven’t heard Zhao’s sui generis Fusion 1 btw, it’s absolutely arresting in its old “world” meets nu-whirled aesthetic.) One final tip of the cap to Zhao for pointing me to this DJ Cndo track, which says “funky” house its own awesome way and makes me wish for a South African house invasion.
Finally, far as spotlights go, I wanna shine a lil light on Nicholas Jaar’s recent mix for Air Drop Records. Talk about funky house! What really grabs me about this one, though, is the constant presence of samples from all over the place, especially horns, voices, and percussion — good “earthy” sounds. They add a great deal to the musical and affective texture, especially in contrast to the more mechanical sounding synthwerk, and Jaar does a very nice job weaving them in and out over some smooth-but-bumpy mnml-ish grooves. Sound design indeed!
Finally, just to illustrate/document my willy-nilly collection of mixes (and point you in further directions), here’s a list of all the ones I’ve downloaded since Jan 1 2009, in whatever random order resulted from copying&pasting out of my finder. Google em if ur curious, most should still be up somewhere —
teleost – process part 122.mp3
subfm mix feb 2009 (Timeblind).mp3
Rinse FM – Blackdown & Dusk (29-01-2009).mp3
playa blanca mixtape.mp3
Pandai’a Studio Mix (Feb 09).mp3
noah gibson – process part 121.mp3
Moulay El-Hassan_ Essaouira.mp3
Mishka presents Keep Watch Vol. 6.zip
Luny Tunes Presents Calle 434 (2009).rar
kid kameleon – nse 12.28.08.mp3
H.I.V.I.P – POST COITAL DEPRESSION.mp3
Fairtilizer 24798 – UMB – GLOBAL GHETTOTECH.mp3
Cumbias con bass.mp3
Butterz Ft. Terror Danjah – 13-02-09 – GrimeForum.com..mp3
FACT Mix 30 – Joakim (Feb 09).mp3
djmicron- intertwined mix 10JAN2009.mp3
VA – I Ride on Gilded Spinners
Actionable Flattery 1.mp3.zip
baile funk ol skoolmix.mp3
auratheft – Oceans 11. Jamaican Soul Jazz Originals. Volume II.mp3
Afrocan House Mix.mp3
dj zhao – NGOMA VOL. 2.mp3
dj zhao – NGOMA 3_ Zulu House, Afro Electro, UK Funky.mp3
Dj Sin-Cero – Presenta Guelo Star La Pelicula Viviente ((The Oficial Mixtape)) (2009).rar
Tonight at Beat Research, we’re happy to host Boston techno mainstays Soul Clap!
The Soul Clappers are a vibrant part of this city’s music/dance scene, playing nearly non-stop, blogging and prolifically podcasting, keeping the flame aloft for (weekly) techno in Boston/Cambridge (including some great parties on the Charles when the weather’s right), supporting a broad cross-section of the music scene (I bump into them all over), and increasingly distinguishing themselves as producers of fun, bumpy tracks that never settle too long on a particular idea, representing (for) American techno in the process.
So, should be a vibes tonight at the E Room to say the least, esp since — in fine BR style — the Soul Clap boys have been known to drop all kinds of gems into their techy-housey-DANCEY mix, from new jack jams to golden age classics. Indeed, unless I’m mistaken, I’d gander that their name itself is an allusion to one of my favorite early 90s jawns, the “teakettle”-infused dusty grooves of Showbiz & A.G.’s mighty “Soul Clap.” Might have to play that one tonight… Come clap along!
Not necessarily the most gripping video or anything, but I do like the demystification of the process it presents. Just to clarify, what you’re seeing here is the playback of an arrangement that I’ve already mixed down (live, w/ improv) and then tweaked & tweaked until I was happy with the transitions, etc. So it’s more like a performance of a performance of a performance, or something. Don’t mistake it for the performance itself. To catch that, you gotta come to the Enormous Room on Monday nights.
Again, hope you dig/gig. If you do, gwaan and get some of these fine tracks for yourself!
If you’re not familiar with the modyfier series, here’s a primer, written back at the 50th episode milestone (mine’s #124). Rayna has commissioned tons of great mixes, with ruminations on process, from such lovelies & luminaries as Luomo, Philip Sherburne, Ripley, Catchdubs, David Last, Mochipet, & many many more. I’m delighted to join the list — and happy to deliver after maybe a year and a half of gentle prodding. (Best intentions, knamean?)
Given that my mixes can tend toward the thematic (if not didactic), I was pretty torn wrt what to submit. In the end, wanting to stress process, rather than cooking up something so conceptually organized (several sets of which languished & perished), I decided to go with a refined/revised excerpt from recent adventures in Beat Research. In essence, although you’ll hear me criss-crossing genre & geography as usual, what anchors things here is the long-overdue (long-building? longstanding?) intermixture of global dub and global techno. Post-disco dance music has gotten a lot more polyrhythmic in recent years, and Caribbean club beats have gotten a lot more techy. Hooray for all of that.
I’ve already given away the ending, and I’ve got a bunch more words over at modyfier-modifying that I invite you to digest while/before/after gigging wit it, so I’ll leave you here with what I hope is a tantalizing tracklist (w/ a little linkthink for good measure). I don’t ask for permission to play tracks in the club, and I didn’t ask for permission to include these in my mix. Lots of tracks come direct from friends who produced them or are promoting them. To the artists included, I hope you like hearing your music all mixed&mashed with other people’s. Thx for keeping things moving & letting us gig along —