“Van Halen and The Meters”?! Don’t take the piss. Van Halen and The Go! Team more like. This only sounds like The Meters in the sense that it sounds nothing like The Meters at all. Still, I’ve heard worse. Press guff below video:
(PRESS RELEASE) From the forthcoming album Record Collection, ‘Bang Bang Bang’ sees Mark Ronson doing what he does best – smashing disparate genres and artists into each other headfirst, before standing back and admiring the controlled, party-starting chaos left behind. Featuring the talents of Ronson’s old mucker, rapper Q-Tip, as well as vocals from MNDR, who moonlights as the Yeah Yeah Yeahs’ live keyboard player, the first single from the Mid-Atlantic mastermind’s new album ‘Record Collection’ – the follow up to ‘Version’, which went triple platinum in the UK – is a playground funk triumph.
Released through Columbia, it’s a collaborative effort, with Ronson at the production helm. The song was built using a classic Eighties Duran Duran keyboard idea (‘Setting 32 on the Prophet V,’ says this self-confessed trainspotter and crate-digger) and a version of French nursery rhyme Alouette (MNDR’s idea). Add to this a writing contribution from Nick Hodgson of Kaiser Chiefs and ideas culled from Ronson’s experiences touring the festival circuit and the result hangs – bangs – together brilliantly.
‘When we played all those festivals in 2007, we’d end up in the dance tent. And I got so jealous when Justice or Soulwax or Pendulum would go into their double-time breaks, and all the kids would start jumping up and down. And we never had that tempo in our set. So I just wanted that in one of our songs’ – Mark Ronson.
Zane Lowe will be giving ‘Bang Bang Bang’ an exclusive first play on his Radio 1 show on Monday 24th May, while Ronson’s 16-bit styled instrumental ‘Circuit Breaker’ has already gone viral, getting the blogs burning like an aural Bunsen burner. ‘Bang Bang Bang’ – it’s the kind of explosion you’ll be more than happy to stand next to when it goes off.
Yeah alright, so this has been out a while – bite me. Anyway, it’s not like my tardiness is entirely at odds with a compilation that was initially supposed to have been released about two years ago. In fact, last I time I checked, German modster Frank Popp was in charge of the compiling. Still, better late than never we find veteran crate-digger Jazzman Gerald has capably taken the reins and delivered a polished finished product. It does have to be said that a fair proportion of the cuts on Let’s Boogaloo Volume 5 are licensed to his label Jazzman Records funnily enough – but then you would wouldn’t you? Some of these include super heavy funk by original soul sister Keisa Brown’s Dance Man and seventies Bermudan funkers The Invaders’ monster-break-toting Spacing Out (sampled last year by Mako & The Hawk on Spacing Rasco) among others. Then there’s the more esoteric nuggets like The Natural Yoghurt Band’s Soft Cheese (which seems to have jacked Money Mark’s steez somewhat), jazzy shit like John Heartsman’s Mr Magic (well – he is called ‘Jazz’man Gerald) and Latin bangers like The Soul Fantastics Funky Puggin. Among the highlights are understated gem Newborn courtesy of the mysterious Shade & The Soul Destroyers and the gravelly-voiced Billy Larkin’s ancient Funky Fire with which, it transpires, Gerald seems to have turned up the track upon which crazy blues-funk Frenchman Don Cavalli has based his recent career. Props to JG then for the best and most varied funky comp this year – even if the competition has been somewhat thin on the ground and (lest that praise seem too faint) let’s also add that with Volume 5 he’s respectably held his own against Andy Smith’s Volume 4. Volume 3 is still the daddy though. Ssshh.
P.s. I vote we have the foxy lady cover theme back for the Volume 6. I’m also available for compilation duty too…
Argentina’s The Crabs Corporation get all irie in this top-skanking, King ‘ska legend’ Hammond-produced version of Herbie Hancock’s Blue Note original Bring Down The Birds. That’ll be the track sampled as the basis of Dee-Lite’s early 90s crossover banger Groove Is In The Heart then. You can’t need any more explanation than that to get the picture surely? Difficult to fault really and I ain’t even gonna try. Still not sure about the band name though… (Out now on Record Kicks)
‘King of Geordie soul’ Smoove keeps ‘em coming with the latest Wack 45 hot on the heels of his first Wass imprint release by Renegades Of Jazz. Both Pulp Fusion and Flying Fish modern-up the funk quite satisfyingly in these remixed cuts but what’s really puzzling me is the similarity between the names of Smoove’s two labels. In idle moments I’ve speculated that, maybe, just for a split second, when he was setting up a separate imprint for jazzier releases that the impulsive part of his brain considered altering the name ‘Wack’ into ‘Wazz’ (to rhyme with ‘jazz’), before thinking better of it and arriving at ‘Wass…’. Then he tells me ‘Wass’ is short for ‘Wassive’ which is northern slang for ‘massive’. That’s what he’s claimin’ anyway. I wouldn’t know – one doesn’t venture north of Gloucester, as one simply can’t abide coal dust. (Out May 2010 on Wack Records) Listen to WACK 09: Pulp Fusion/ Flying Fish
(PRESS RELEASE) Wack 09: A side: Pulp fusion Feat Carolyn Vox – Deeper In My Soul (Valique Remix)
A track that started as a collaboration on ‘my space’ between Swiss producer Thöny Terence ( Pulp fusion) and U.K singer songwriter Carolyn Vox. The track started out as Crazy Funk Drum workout, reminding Carolyn of her Pentecostal Church upbringing where everyone sang from the inner most depths of their SOUL, so “Deeper in my soul” was born. The track was then passed to Russian producer Valique (Freestyle Records) who totally flipped the track with synth bass and breakbeat funk drums turning the finished product into this dynamite club bomb! B side: Flying Fish – Mr Matatwe (Keep It Up remix)
Flying Fish aka Malachi Trout and Ed Morris from south london, bring you the long awaited remix vinyl release of the monster hit Mr Matatwe as seen on T.V 2006 world cup keepy uppie’s. Stompin B Boy drums over killer hammond licks in a cut n paste style creating a dancefloor monster! N.B. VERY LIMITED on Wack Records vinyl and Taken from the forth coming “Football and Funk” compilation on Skyline Recordings.
Continuing the ‘short’ theme of late as the monkey catches up with a backlog, today’s guest review style is that of shit, free, UK newspaper Metro. Obviously, this review is literate though…
Much has been made of the fact that for this LP the band availed themselves of the legendary soul studios at Muscle Shoals to lay down their latest offering of scuzzy blues-fuzz. There’ll no doubt be wordy analyses of The Black Keys’ Brothers all over the interweb but why waste time suffering the pretension when it can be pithily summed up as having (on the one hand) the subtler melodies of the Dangermouse-produced last LP Attack & Release rather than the instant-fix hooks of the first three LPs, while (on the other hand) they’ve gone back to sounding like they recorded the whole thing in Victorian public toilet. Or to put it another way, better overall than (say) the largely dirge-like Magic Potion but lacks a Your Touch.
There you go, shorter than a Guardian single review and frees you up an extra 20 seconds to check your email again, deny some shit application access to your Facebook account or just look at porn. Or something.
Last Thursday evening, Sony mysteriously pasted the link to this video (watch below) on Stereogum into the subject bar of an empty email to me presumably in an attempt to make it ‘go viral.’ Obviously the monkey has given the impression of being some sort of slave to the web, barely able to leave the laptop for a piss, let alone go to work, then have a night out followed by a hangover which I’m claiming is why this hasn’t been posted for three days. Of course in the intervening time Ronson’s new video is all over the net like a money-shot without the monkey’s help and every man, his dog and his dog’s fleas have checked out the Legend Of Zelda-inspired video. But what of the music (?) – that is if you’re one of the elite few who actually has a life and not actually seen the video yet. Just like the original funk and soul scene – Ronson has now tired of horns and come over all synthesized. Those too lazy (or afraid) to move the cursor to the ‘play’ symbol on the link below could try imagining Ronseal’s usual ‘Pound Shop’ breakbeat/ horn melody combo as interpreted by a Bontempi Organ demo programmer and save themselves the bother. Rumour has it that the man has also stepped up to the mic for forthcoming LP Record Collection. Apparently Lady Gaga put him up to it – nuff said. Look out for forthcoming single Bang Bang coming soon… Mark Ronson – Myspace markronson.co.uk
It seems Renegades Of Jazz’ Karabine EP might have been heralding the start of something the other week as even more summer sophistication is now on offer with the imminent arrival of Phuture Motion’s The Thief LP (Listen HERE). Who’s the thief? Judging by the range of influences on this – they are, as they’ve taxed aspects of just about everything from Mariachi to dubstep to create a broadly Latin-flavoured pile of musical plunder that gets the drop on lots of Latin stuff by actually having bottom end. Mine’s a Mojito please barman – be generous with the rum! (Out 14 June on Freestyle)
(PRESS RELEASE) From the opening atmospheric LLuvia via the frantic yet latin broken beat of La Gallina through to the dubstep leanings of Ship of Monsters, Phuture Motioncreate a diverse and coherent soundscape. The Thief, weighing in at 18 tracks, pinches an influence from here, takes a bit from there and brings it all together for something different.
Long time musical collaborators Danny Mager, Levi Bussue and Chris Welch met and worked together as DJ’s and promoters at the highly respected and long running club night Phon-etics, they have made a name for themselves as resident and guest DJs at a variety of nights over a number of years using these sets and their radio show to push their love of of a wide range of upfront music ranging from the nastiest, bassiest grumble to the most beautiful, soulful singsong.
The album features a new, toughened up vocal version of the first single, latin drum n bass bomba Carne Negra which first appeared in 2008 receiving support from the likes of Gilles Peterson and Freddie Cruger amongst others. The new version features two of the UK’s finest latin MCs Magico & Flowrian(who also raise the temperature on the digi-reggaetonish cut ‘Electricidad’).
Elsewhere, erstwhile musical raconteur Earl Zinger (2 Banks of 4/Galliano etc) delivers a haunting lament over a dnb backdrop to the cursed inmates of the Freakshow, Brooklyn latin hip hop b-girl and actress La Bruja drops some Spanglish advice on Tu No Sabes Nada as reggaeton meets more familiar UK sounds. Stepping up from Colombia’s highly acclaimed Bomba Estereo is Li Saumet, whose distinctive voice graces the big band sounding cut of Dimelo Ya. Meanwhile Rubi Dan get all ragga over the baile funk bigness of Shape n Size.
Phuture Motion take a healthy dose of latin influence around the corner; ruff it up, shake it down and send it off in a new direction!
For reasons best known to themselves ASM have given the A-side to this the dirtiest name and the B-side the dirtiest beat. Were the B-side the A-side it would be a instant 5 stars (and god alone knows what it would be worth if it had the A-side’s title too) – but we have to take into account that it isn’t. Not that I’ll let that stand in the way of my dealing out massive props to the Derek X (oops, my bad – Sadat X) of Brand Nubian-featuring Certified Organic which flips a huge good-time Main Source-style funky beat that’ll have them dancing in the aisles. It’s the second large Aussie M.C.-featuring track I’ve heard this year (since ASM get on the mic as well as Sadat X) – the other being Sab Famperi’s Joelistics collabo Brand New Day which is also hot shit. Oh yeah – the reggae-tinged Wildchild-featuring A-side’s not bad too…
Two things struck me when this was dropped into my inbox. One was that Cilla Black is now no longer (thankfully) the only singing ‘Cilla.’ Secondly, it’s been ages since I heard any decent RnB – after all there was a time only a few years back when RnB (both good and bad) was as common as lazy euro-trance-inflected electro crap is now. That was until the advent of euro-trance-inflected electro crap of course. Happily Cilla K is here with some decent beats and production from N.E.R.D’s Junius Bervine that recall early Kelis/ Lauryn Hill and a voice somewhere between Erykah and that bird from Morcheeba. Plus she’s very easy on the eye. And she’s very polite. Y’know – I’m thinking you should probably check the album – I’d recommend Drive You Home (Remix), Evil Child, Demain and Easy To Love – get your ears round it HERE – more details below… (N.B. Attention promotion companies – this post should not be regarded as an open invitation to spam my inbox with half-assed Mary J Bilge (misspelling deliberate) imitations. The monkey remains, as always, all about the funky bumpin’ beats. Cilla K is dope. Word.)
(PRESS RELEASE) Cilla K., the French West Indian vocalist and beat maker is releasing her first album ‘Fine Line.’ The album reflects the diversity of musical elements imported from her multicultural background combined with her passion for classic , crafted melodies and lyrics. “At the beginning, I felt like this album had to be done a long time ago but I kept growing and I always felt like I should incorporate new qualities I had gained with time. Truth is, the timing couldn’t be better because it is finally so representative of who I really am”. The artist is on a mission to bring something intriguing to the table, with a concoction of indie and alternative beats, subtle jazz hints, hip hop and soul music sonorities. On the verge of finishing her history studies at Sarah Lawrence College, Cilla K. had randomly ran into David Pattillo, a New York music producer as she was on her way to a casting call. “Modeling was great at the time for paying the bills ” she gladly admits “but I always felt like I should be on the creative side, you know? a photographer, or a designer maybe..because art had always been part of my personality, I always felt like I was more of a creator than a creation”. From their very first collaboration,with the release of the song Lost in you posted on their website, Cilla K. and her producer had managed to attract the attention of several established artists of the industry. “In a couple of weeks, Mr.Khalyil from The Bush Babees was working with us. We also had Danny P. who was working with Joss Stone at the time, write Black and White with us, and the reactions were overwhelming”. The arrival of Junius Bervine in the team, (former COMMON’s musical director, who had worked with D’Angelo,Floetry, Lauryn Hill,Vivian Green and now part of the N.E.R.D team) would prove to be crucial. “He is incredible, he has so much creative energy in him,it’s ridiculous”. Cilla’s dreamy vocals mixed with Junius’ edgy beats has lead some fans to describe this new team as “a cool and different bunch”. “Back in Guadeloupe my family didn’t look very surprised by the interest, but everybody was very supportive, my mother said she prayed for me and was happy I had found balance and happiness in a new home not very far from home. I guess that’s the beauty of New York, no matter where you’re from, you always feel you’re home.” Cilla K – Fine Line – Tracklist
1. We Are One – Intro
2. Fine Line
4. Drive You Home (Remix)
5. Black And White
6. Lost In You
8. Evil Child
10. Child Of The Universe
11. Drive You Home
13. Rise On Me – Interlude
15. Easy To Love (Out now)
It’s been delayed again. The new release date is 8 June 2010 as the various parties involved engage in more wrangling than Nick Clegg in a pit of Tories. Click HERE for tracklist and earlier press release guff…