NAROD NIKI is a collaboration project founded by Ricardo Villalobos that was presented for the first time at the MUTEK Festival in 2003. The idea of the project is to bring together a number of techno masterminds to do a live jam, hiding their identities behind a collective alias to keep the attention dedicated to their music. Richie Hawtin, Dimbiman, Monolake, Akufen, Dandy Jack, Daniel Bell, Cabanne and Luciano got together in Montréal, demonstrating that realtime-improvisation and party-factor don’t necessarily exclude one another. No surprise – as all names involved stand for first-class innovative dance music and feel well at home in all parts of the world with their message.
DOWNLOAD THE SET RECORDED LIVE FROM MUTEK IN 2003 HERE
walshy fire interviews rodigan – audio he selects a few exclusives in this too….the ORIGINAL dubplate mix of the sleng teng rhythm from 1985 (2008 – march)
Tracklist:
Lost – Iron Hide – Dub
Skream – Rolling – Dub
Silkie – Headbutt The Deck! – Deep Meddi Music
Kromestar – Live In Experience – Higher Level Records
Quest – Untitled – Dub
Mala – 5 Minutes Later – Dub
Zed Bias – Untitled – Dub
Benga – Desending – Dub
Silkie – Test – Deep Meddi Music
Jay 5ive & Kromestar – Bass 96 – Dub
Silkie – 80\’s Baby – Dub
Harry Craze – Wa.6 – Dub
L.D – Do U Mind Remix – Dub
Benga – Buzzin – Dub
Kromestar – Grey Thought – Higher Level Records
Jay 5ive & Kromestar – Hands In Da Hair – Dub
Silkie – Concrete Jungle – Deep Meddi Music
Quest – The Unknow – Deep Meddi Music
? – No Warning – Dub
Kutz – Untitled – Dub
Truth – The Fatman (Out Now!) – Deep Meddi Music
Silkie – Mucky – Dub
***the new Mala tune!!!? he is quite clearly off his tits.
i recorded this mix pretty much exactly one year ago. im looking forward to recording part ii pretty soon, just waiting on one last special record (if you know, you know!!).
thanks to everyone who has listened already, the feedback has been inspiring to say the least. my favorite had to be from a myspace friend in the states who described it as “a cohesive mass of organic elegance”. i’d like to think thats quite accurate, but see what you think…..
d.r.e.a.m. – part i – dub rules everything around me
1. likhan – uwill
2. pinch – 136 trek
3. likhan – terre
4. pangaea – nest
5. untold – test signal
6. appleblim & peverelist – circling
7. scuba – outmost
8. peverelist – the grind
9. scuba – inmost
10. scuba – beta
11. peverelist – erstwhile rhythm (forsaken remix)
12. 2562 – circulate
13. benny ill vs. hatcha – poison
14. a made up sound – sleepwalk
15. 2562 – kameleon
16. pattie blingh – brother (2562 remix)
17. 2562 – channel two
18. ramadanman – carla
19. kode 9 vs. badawi – den of drumz
20. headhunter – locus lotus
“Not content with snooping on all Internet activity, the UK government now wants to introduce changes to the contentious EU Telecoms Package, which will kill net neutrality in the EU: ‘Amendments to the Telecoms Package circulated in Brussels by the UK government, seek to cross out users’ rights to access and distribute Internet content and services. And they want to replace it with a “principle” that users can be told not only the conditions for access, but also the conditions for the use of applications and services. The amendments, if carried, would reverse the principle of end-to-end connectivity which has underpinned not only the Internet, but also European telecommunications policy, to date.’ To add to the irony, an accompanying text cuts and pastes from Wikipedia, without attribution.”
Big up Highrise for this one….! Sick tee’s by the way, they ooze comfort !……..
“Up and coming Bristolian producer Hyetal has been kind enough to record an exclusive mix for us. Having recently appeared on Mary Anne Hobbs’ Radio 1 show and with an ever increasing list of releases in the pipeline, it is certainly an exciting time for the producer. When listening to his music, the reason for the hype that is surrounding him becomes instantly apparent; his subtle, yet assured use of melody and harmony, along with his delicate use of percussion, creates a sonic fragility that is full of energy and emotion. The picture above was taken from his myspace page and, to me at least, serves as a very good visual representation of his music.
It looks as though Formant Recordings will be the first label to release some of his tracks, with FRMNT005: ‘The Last Time We Spoke’ / ‘Armour’, due in late March / early April. Other releases on Soul Motive and Reduction Records are set to follow, with the latter, ‘Pixel Rainbow Sequence’, being backed by a Peverelist remix. Promoters take note, now might be a good time to think about booking Mr Hyetal…
There’s something majestic about the total immediate connection with the music headphones give you. Contrasted with the pure submersion provided by a stack of amped up speakers, it is of course a very different thing. A closed, rather than open, listening experience. Totally antisocial. It’s just you and your tracks; their acoustics juggling the air between your ears and phones. It’s intimate. In a club you can get close but can you get this close? No interference. No chit chat. No bar queue. No brutal interject for a cigarette.
A track cuts in that wants to make you clasp your cups to your ears; the experience is like nothing else. This is of course assuming you’ve invested. This ain’t no ting ting earbud thing. Only cans can give you serious sound-orama. Without synesthesia, sounds can emerge which are unrecognised from the reproduction of your home audio set up. It’s an escape far better than trivial television, downloaded memories, youtube nostalgia or anything.
I find great pleasure in the fact the space around you is so comparatively quiet. It doesn’t matter. It’s just you and the music. The connection is a mantra. The rhythm is encompassing.
The notion of headphone club nights is a bizarre one as Transpontine points out. In a club, it’s what happens between and during the sounds which validate your presence. At home, or in transit, it’s your surroundings, if anything, which provide the context and even then you can shut them out in favour of you selection. But right now, as i type, i’m listening to music in the dead of night. Flat mates asleep. I’m alone, truly with the tunes. In front of me i see my speakers, dead and redundant. And it’s quite satisfying to bypass them. It feels as though the connection between the music is stronger. From source to ear; something has been eliminated, the sound is closer.
Headphone space is quintessential to the appreciation of music. Setting that time aside to connect, away from distraction is important. The difference between hearing you favourite tune in a club, blaring out of a passing car and on headphones in your own space is massive.
It’s Friday night. I didn’t venture into nightlife. I didn’t saddle myself up next to the speaker stack. Instead i’ve had an intimate evening with some of my favourite records. And i think it’s important to have that space. Like someone else talking about your favourite book, music in the social can mutate what it means to you.
Dub War Podcast vol. 6 – Raz Mesinai aka Badawi aka Ladyman aka one half of Sub Dub aka Absolute badman…
Raz Mesinai’s “String Quartet For Four Turntables” is a composition for string quartet (comprised of 2 violins, 1 viola, and 1 cello), with each instrument recorded separately in the studio and then pressed onto 12″ vinyl. The 12″s are played by 2 dj’s who each have 2 copies of the 12″s and 2 turntables. It was first performed by Dj Olive and Dj Toshio Kajiwara at the Lincoln Center Festival in New York City in 2000 but was never recorded or released until now. Mesinai insisted on letting the vinyl sit, uncovered, for 9 years (so that the crackles and pops would be more present) before finally re recording the piece exclusively for Dub War. In this version Mesinai performs it himself, focusing on the tuning of the turntables, creating intense dissonant textures.
“During 2000-2002, a brief but influential window opened in urban music. Drum & Bass moved out of its London heartland and UK garage imploded under the weight of commercial expectation. Between these forces one man, Lewis Beadle aka El-B, assembled a production crew in Streatham, south London. The Ghost Camp took a little from both scenes – the bassy masculine edge from drum & bass and the sexy feminine swing from UKG – and made a new mutation, later to be named dubstep. “The Roots of El-B” is the first retrospective to pull together all the ultra rare white labels, lost remixes and dusty DAT tapes, to preserve for posterity the output of this transient but seminal moment. The roots of dubstep were sewn in a shed at the end of a winding garden path in Streatham. Paid for by the funds of a failed album deal and built by hand by the crew themselves, the shed contained Ghost studios, where during the night hours, El-B and the camp built a sound all of their own. Edgier than UK garage but sexier than the cold onslaught drum & bass was moving into, the Ghost sound was unique. At its core were El-B’s incredible talents as a producer. Having rolled on the edge of the Metalheadz camp as a teenager, never getting a “let in,” he’d gained fame in UK garage as one half of UK garage outfit Groove Chronicles. Out of the ashes of this partnership grew El-B’s signature sound of sharp woodblock snares, ghostly edgy textures, dark bass combined with a little black secret technology: the dark art of swing. Even at that time, the effect of this sound was self evident, as producer after local producer, from Skream to Kode9 and later Burial, became influenced by it. “The thing about those drums: they’re still the future” Burial insisted before his first album. “It’s not a lost art – people still don’t know how to do those drums. It’s an unknown thing. It’s like the last fucking secret left in music: how you do those drums. I’ve tried…” Eight years later, as dubstep blossoms into an international phenomenon, the El-B sound remains peerless. It’s perhaps fitting now that, for the first time, El-B’s seminal work is lifted from treasured record collections and lost vaults. These are the roots of El-B: they run deep“
