miércoles, 31 de agosto de 2016


Explone – Born at the Wrong Time (MP3)

Seattle rock group Explone has been making airy pop with a classic rock undertow with great success since 2005. The four-piece flaunts a guitar driven sound that lead man Patrick Porter explores with his lofty voice and uplifting hooks. It’s certainly music that brings an element of euphoria to its listeners, so it’s no surprise that Porter described their newest album as a “quest for joy.” However, it is surprising that Porter credits the inspiration for the album to a suicide fence on the Aurora Bridge – a not exactly joy inducing object. But while the music of Explone has always been about making joy tangible through music, it has been equally committed to drawing it from a place of melancholy. The sentiment certainly explains why and how Porter found joy in the dark connotations of the bridge, seeing beauty in the possibility that the fence could prevent a suicide and lead to someone possibly living a longer, happier life. The inspiration of the fence, and the theme of generating joy through its absence that it led to, is displayed seamlessly throughout the album as Porter has crafted ten songs full of melancholy laced lyrics that swell and rise with joyous melodies.

Today’s Song of the Day, album cut “Born at the Wrong Time”, captures the duality of the album excellently, as the song generates pleasant sounds while Porter sings “its never going to get easier for you.” The guitar driven track displays both the punch of punk riffs and the guitar driven melodies of classic rock while Porter’s voice climbs and soars. The song’s classic rock tint certainly displays why the group may have been born in the wrong time, and the lyrics certainly highlight what a tragedy it is, but Exploner surely isn’t offended by listeners finding joy in their melancholy.
- Geran Landen, KEXP

Meatballs - Official Trailer

Meatballs is a 1979 Canadian comedy film directed by Ivan Reitman. It is noted for Bill Murray's first film appearance in a starring role and for launching Reitman into a distinguished career of financially successful comedies including Stripes (1981) and Ghostbusters (1984), both starring Murray. The film also introduced child actor Chris Makepeace in the role of Rudy Gerner. It was followed by several sequels, of which only Meatballs III: Summer Job (1986) had any connection to the original.


  • According to the DVD commentary, scenes of the first day of camp were the first day of actual shooting for Bill Murray. He was signed to do the film at the last minute because of his commitment to Saturday Night Live. His outfit, the Hawaiian shirt and red shorts, were the clothes he was wearing when he showed up on set.
  • Harold Ramis said that Reitman did not know for certain whether Murray would be in the movie until he showed up for the first day of filming.[3]

martes, 30 de agosto de 2016

All About Free Music

White Market Podcast
Session 3.04 – All About Free Music

With great records and amazing throwbacks, this week’s session was all about free music. We visited some of the best (in)active netlabels, played some records that were just sort ot out of the press and heard songs in Swedish, Ukrainian and Spanish. This on top of the usual English-sung tracks, of course. This was also a particularly rich session in terms of music genres, as we covered a hand-full of them: indie, rock, pop, house and even tango.
Youthless – The Beasts [Bad Panda Records] // CC BY-NC-SA
Tobias Borelius – Bokslut [23 Seconds] // CC BY-NC-ND
Strawberry Blonde – Young Days [Bandcamp] // CC BY-NC-ND
The Mythics – Love Me Like You [The Beehive Recording Company] // CC BY-NC-ND
Amanda Palmer – Smile (Pictures or It Didn’t Happen) [Self-published] // CC BY-NC-SA
Neon NiteClub – Fly [Jamendo] // CC BY
Mike B. Fort – The Summer Is Gone [FMA] // CC BY
Sykt Barn – Solemn Vigil [Mars Melons] // CC BY-NC
Crossworlds – Rain [Southern City’s Lab] // CC BY-NC-SA
Rowan Box –  Diverdance [M.I.S.T. Records] // CC BY-NC-SA
Push Against New Fakes – Let Me Drown [Stato Ellectrico] // CC BY-NC-ND
LAKEY INSPIRED – Memories With You [Soundcloud] // CC BY-NC-SA
Ancient Lasers – When Are We [Clinical Archives] // CC BY-NC-ND
Veronica Bozko – Nostalgias [Casa Rara] // CC BY-NC-SA


I remember watching the first couple of episodes of this miniseries when it premiered in '87, and then losing interest and tuning out. I remember full well how boring, pedantic and full of itself it was. Anyone involved in this spectacular flop ought to be embarrassed.

Amerika – suggesting a Russified name for the United States – is an American television miniseries that wasbroadcast in 1987 on ABC. The miniseries inspired a novelization entitled Amerika: The Triumph of the American SpiritAmerika starred Kris KristoffersonMariel HemingwaySam NeillRobert Urich, and a 17-year-old Lara Flynn Boyle in her first major role. Amerika was about life in the United States after a bloodless takeover engineered by the Soviet Union. Not wanting to depict the actual takeover, ABC Entertainment president Brandon Stoddard set the miniseries ten years after the event, focusing on the demoralized American people a decade after the Soviet conquest. The intent, he later explained, was to explore the American spirit under such conditions, not to portray the conflict of the Soviet coup.
Described in promotional materials as "the most ambitious American miniseries ever created," Amerika aired for 14½ hours (including commercials) over seven nights (beginning February 15, 1987), and reportedly cost US$40 million to produce. The miniseries was filmed in the Golden Horseshoe and southwestern OntarioCanadian cities of TorontoLondon,[1] and Hamilton,[2] as well as various locations in the U.S. state ofNebraska – most notably the small town of Tecumseh, which served as "Milford," the fictional setting for most of the series. Donald Wrye was the executive producer, director, and writer of Amerika, while composer Basil Poledouris scored the miniseries, ultimately recording (with the Hollywood Symphony Orchestra) eight hours of music – the equivalent of four feature films.

In its summary of the 1986–87 US television seasonTV Guide called the miniseries "arguably the most boring miniseries in a decade," adding that "ABC'sAmerika tried to hold America hostage for seven tedious nights (and a stupefyingly dull 14½ hours)."

martes, 23 de agosto de 2016

White Market Podcast: Copy Me, Copy You


On this week’s show, we had the pleasure to talk to Alex Lungu from Copy-Me. Copy-Me is a platform that tries to debunk myths around copying… So, they talk a lot about issues such as copyright, remixing, creativity and so on. The project started as a webseries and was crowdfunded on Indiegogo. Now, Copy-Me is a hub of knowledge and creative resources related to said topics. Much like White Market Podcast, because copyright is such a complex issue, they often delve into parallel themes, such as piracy and web surveillance.
Following the current transformation of White Market into a syndication platform for community radio stations, the interview is also available for download as a standalone piece (two parts), in both WAV and MP3. You can find extra details about the content on each part and extra credits on https://archive.org/details/WMP_Inter...
Session originally aired on July 28th 2016.

Sound Motives episode 3: Mala (Deep Medi/Brownswood)


Earlier this summer, I had the chance to speak with Mala, a DJ, producer, promotor and record label owner from south London, who over the last decade, has played a central role in the development of the dubstep scene. Both his own productions as Mala, and those as Digital Mystikz alongside Coki, are sited as some of the key releases that defined those early days of the genre, and his record label, Deep Medi, has catalogued releases from many of the scene's innovators over the past 10 years. His now legendary club night, DMZ, alongside FWD, has played a seminal role in incubating the genre from it's early form through to today.

Despite dubstep's ever-morphing progression and partial shift into the mainstream through EDM, Mala has remained true to his own personal vision. He's expanded his horizons, and developed both as an artist and a person through his solo album projects which explore the musical and cultural traditions of other countries, firstly Cuba in 2011, and now Peru, fusing them with his south London sound system-focused productions.

In this episode of Sound Motives, we explore Mala's early influences from jungle to Augustus Pablo, his perspectives on the emergence of dubstep, his relationship with the dance floor and club culture, and how the future looks.

- Sound Motives

domingo, 21 de agosto de 2016

Kevin Morby: NPR Music Tiny Desk Concert

 by BOB BOILEN • The music of Kevin Morby is fairly straightforward and acoustic for the most part, with traditional, folk-based rock at its core. The mystery and intensity lies in the lyrics. His biting song "I Have Been To The Mountain," performed here at the Tiny Desk and on his 2016 album Singing Saw, was inspired by the 2014 chokehold death of Eric Garner at the hands of a New York City police officer.

That man lived in this town
Till that pig took him down
And have you heard the sound
Of a man stop breathing, pleading?

In this set, Meg Duffy's guitar provides a strong example of the care and craft that goes into these songs — and there's even more of that on Singing Saw, the album that finally hooked me on Morby's music even after good records he'd made with the bands Woods and The Babies, as well as two other solo albums. If you're a latecomer like me, dig in here. If you're already a convert, you'll likely love the clarity of these songs and their stark arrangements.

Singing Saw is available now:
iTunes: https://itunes.apple.com/us/album/sin...
Amazon: https://www.amazon.com/Singing-Saw-Ke...

Set List:
"Cut Me Down"
"I Have Been To The Mountain"

martes, 16 de agosto de 2016

DJ Rupture on The Warm Up


In this episode, Jace Clayton (DJ /rupture) talks with Yulan Grant, a.k.a. SHYBOI, about Jamaican soundclash, the state of club culture in New York, #KUNQ, and her zine BD GRMMR.

About the Podcast

The podcast presents new interviews with musicians from the 2016 line-up. Warm Up curators speak with artists about their process, inspiration, sounds that excite them, and what's to come.

Warm Up

MoMA PS1's acclaimed outdoor series introduces audiences to the best in experimental live music, sound, performance, and DJs. The annual series is held in MoMA PS1's courtyard and complemented by the winner of the annual Young Architects Program.

lunes, 15 de agosto de 2016

René Marie: NPR Music Tiny Desk Concert

by PATRICK JARENWATTANANON • The Colorado River — better known for running through majestic National Parks and powering hydroelectric dams — forms an unlikely backdrop for the creation of a jazz song. But René Marie was answering phones at Denver's jazz radio station KUVO when she sat down across from a fellow volunteer fundraiser. He would soon invite her on a canoeing trip and, without yet having seen the eponymous river, she wrote the giddy "Colorado River Song" on the way there.

René Marie's is the sort of voice which first comes to mind when someone asks for a jazz singer — big and expressive, at home in classic swinging settings and comfortable in crowds. There's plenty to set her apart, though. She made her first recording in her early 40s, so she's a late bloomer by any standard. Her tastes admit many influences, and she's got a penchant for original songwriting, especially where social justice intersects with personal biography. Her folky story-song "This Is (Not) A Protest Song" addresses homelessness and mental illness even in her own family.

Joined by her Experiment In Truth band (John Chin on piano, Elias Bailey on bass, Quentin Baxter on drums), Marie visited NPR headquarters to play songs from her new album Sound Of Red. She never specified the exact nature of that synesthetic idea, though the title track would seem to indicate that it's about the addictive and lusty blood-rush of performing — of seeing red while singing the blues. In the audience was the bold KUVO volunteer from that day 10 years ago. His name is Jesse, and they're now married and live in her home state of Virginia; they drove up together for this Tiny Desk concert.

Sound Of Red is available now:
iTunes: https://itunes.apple.com/us/album/sou...
Amazon: https://www.amazon.com/Sound-Red-Ren%...

Set List:
"Colorado River Song"
"This Is (Not) A Protest Song"
"Sound Of Red"

Anenon: Non Projections


"Non Projections is a monthly free form radio show hosted by Non Projects founder Anenon. Expect improvised performances each month, different guests and unheard Non Projects music along with new and old favorites. This month is an offering of refined sounds that will send your ears soaring into the outer spheres where all is harmonious."

domingo, 14 de agosto de 2016


Nine hours, back-to-back, live from Robert Johnson

As a duo, Danilo Plessow (Motor City Drum Ensemble) and Jeremy Fichon (Jeremy Underground) make total sense together. They both got their break as house DJs, fond of classic and rare grooves, before their styles broadened significantly to include jazz, soul, disco, funk and boogie from around the world. They both find plenty of this music through obsessive digging, going to great lengths to source unheard and underappreciated records. As part of this ongoing pursuit, they both belong to a loose community of like-minded "digger DJs" that also includes Floating Points, Sadar Bahar, Red Greg and Hunee, among others. Needless to say, Plessow and Fichon both cherish vinyl. They prefer to play on rotary mixers, and both practice a type of modern disco DJing that's as much about technique as it is attitude. And, as Plessow explains below, they both have plenty in common when it comes to "life and experiences." 

Despite the obvious chemistry, Plessow and Fichon have only become friends and collaborators recently. They played together for the first time last year at Dimensions festival, an impromptu back-to-back closing set. (Fichon is returning to Dimensions this year, and will be joining Suzanne Kraft for RA's boat party.) They've DJ'd together since, but as part of RA's ongoing In Residence series we were excited to give them the canvas of an entire night—Offenbach's Robert Johnson from opening to close. If we can say this ourselves, the night wound up being pretty legendary. The club was packed throughout, with everyone hanging off the pair's every beat. RA.530 is a full recording of the party, an unprecedented (almost) nine-hour podcast that's something of a DJing master class. 

jueves, 11 de agosto de 2016

Rachel Barton Pine: NPR Music Tiny Desk Concert

by TOM HUIZENGA • The music of Johann Sebastian Bach is essential, like air and water, for many classical musicians. Pianist András Schiff starts every day with Bach — sometimes before breakfast. "It's like taking care of your inner hygiene. There's something very pure about it," he says. Cellist Matt Haimovitz notes that he's been playing and thinking about the Bach Cello Suites for more than 30 years. He even plays them in bars.

Violinist Rachel Barton Pine began playing Bach in church at age 4. Ever since, she's been mastering and re-mastering Bach's set of six Sonatas and Partitas—more than two hours of solo violin music that looms like a proverbial Mount Everest for any serious fiddler. The trick is getting the details down. Bach left us with the notes but not much else. Pine recently analyzed every measure of these works, and prepared a new edition of the music with her own dynamic markings, phrasing indications, bowings and fingerings.

For this performance, Pine chose three contrasting movements from the set and plays them on her Guarneri del Gesu violin, which was built in 1742 — eight years before Bach died. She highlights the spirit of the dance in the "Tempo di Borea" (a Bourée from the First Partita). She unfolds a serene melody, just lightly accompanied, in the "Largo" (from the Third Sonata), and she closes with the intertwining "Fuga" (from the First Sonata), which sounds like three violinists in deep discussion.

Although the Sonatas and Partitas brim with technical demands, Pine says that every time she plays them, it's as if she's "conversing with the very best of friends."

Testament: Complete Sonatas & Partitas For Solo Violin By J.S. Bach is available now:

iTunes: https://itunes.apple.com/us/album/tes...

Amazon: https://www.amazon.com/Testament-Comp...

Set List:

J.S. Bach: "Tempo di Borea" (from Partita No. 1)

J.S. Bach: "Largo" (from Sonata No. 3)

J.S. Bach: "Fuga" (from Sonata No. 1)

miércoles, 10 de agosto de 2016

Simple Minds - Book of Brilliant Things

Sparkle in the Rain is the sixth studio album by Scottish rock band Simple Minds, released in February 1984[1]by record label Virgin in the UK and A&M in the US.
A breakthrough commercial success for the band, the record peaked at number 1 in the UK Albums Chart on 18 February 1984,[2] and reached the top 20 in numerous other countries around the world, including New Zealand,[3] Netherlands,[4] Sweden,[5] Canada,[6] Switzerland,[7] Germany,[8] Norway,[9] and Australia. Receiving mostly positive reviews in the United Kingdom and the United States,[10] Sparkle in the Rain was ultimately certified double platinum in the UK by the British Phonographic Industry, and significantly increased media interest in the band.[11]

Simple Minds are a Scottish rock band formed in 1977. They achieved commercial success in the 1980s and, despite various personnel changes, continue to record and tour.
The band scored a string of hit singles, and are best known internationally for their 1985 hit "Don't You (Forget About Me)" (UK #7, US #1, CAN #1), from the soundtrack of the John Hughes film The Breakfast Club. Their other more prominent hits include "Alive and Kicking" (UK #7, US #3, CAN #3) and "Belfast Child" (UK #1, IRE #1, NLD #1). In 1986, the band was nominated for the Brit Award for Best British Group.[3] In 2016, they won theIvor Novello Award for Outstanding Song Collection.[4]
The core of the band is the two remaining founding members – Jim Kerr (vocals, songwriting) and Charlie Burchill (guitars, keyboards after 1990, other instruments, songwriting). The other current band members are Andy Gillespie (keyboards), drummer Mel Gaynor (who first joined the band in 1982) and Ged Grimes (bass guitar). Former members include bass guitarist Derek Forbes, drummer Brian McGee, and keyboardist Mick MacNeil.

Real Scenes: Johannesburg

RA tells the remarkable story of the South African city's thriving house scene.
South Africans are the biggest consumers of house music in the world, and Johannesburg is the beating heart of their scene. If you're looking for proof, there is no need to visit a nightclub. In turning on a television, listening to the radio or walking down the street, it's clear that a 4/4 pulse is the metronome of everyday life. The city's preferred sound—vocal-led, percussive, melodic—is largely at odds with what's popular in other international markets; this coupled with cripplingly slow internet speeds goes someway to explaining SA's absence from the global house music conversation.

Visit the feature page on RA:

Subscribe to the RA channel on YouTube: 

Music in order of appearance: 
Culoe De Song- Webaba [Soulistic Music] 2010
Black Motion- The Documentary [Kalawa Jazmee] 2013
TKZee- Palafala (Midnight Lover Mix) [BMG Records Africa] 1998
Vinny da Vinci- We Love House Music [House Afrika Records] 2004
Culoe de Song- Ambush (Culoe De Song's Voyage Dub) [Soulistic Music] 2010
TKZee- Dlala Mapantsula [BMG Records Africa] 2012
Black Motion- Manghoro [Kalawa Jazzmee] 2013
Infinite Boys ft Coco- Teka Teka [Kalawa Jazmee] 2012
Black Coffee- Trip To Lyon [Soulistic Music] 2010
Black Motion- Thrills [Kalawa Jazzmee] 2013
Jullian Gomes ft Bobby- Love Song 28 [Soul Candi Records]2011
DJ Shimza- Never Loved Anyone [Soul Candi Records] 2012

lunes, 8 de agosto de 2016

Marquis Hawkes

It’s possible that Mark Hawkins has several different groups of fans. If you were buying tough, jacking techno in the early-to-mid 2000s, you might have picked up his 12-inches for the iconic Dutch label Djax-Up-Beats, among others. Hawkins explored techno’s extremities, with grinding, fast-paced tracks that folded in influences from ghetto house. More recently, you may have enjoyed Hawkins’ dusky releases as Juxta Position. It hasn’t been his most prolific alias, with three releases since 2013, but the music has made an impact, particularly Juxta Position Vol.1, which came out on DVS1’s Mistress Recordings. You might even know him as ###, a pseudonym he used in the late ‘00s for a couple of minimal outings.
Then, of course, there’s Marquis Hawkes, the name he’s best know for. This is Hawkins’ outlet for interpreting classic house blueprints—in a string of releases since 2012, he’s tipped his hat to the sounds of Chicago, New York and New Jersey. Respected labels like Dixon Avenue Basement Jams, Clone, Aus Music and Crème Organization have signed his tracks, and Social Housing, his recent album, was the result of his ongoing relationship with fabric’s in-house label Houndstooth. (The album also reopened a debate surrounding appropriation, which Hawkins comments on below.) It featured some of the brightest and most celebratory music of Hawkins’ career, an approach that worked nicely for the transition to the album format.
- Resident Advisor

domingo, 7 de agosto de 2016

Lincoln Olivetti 2 Brazilian Disco Don & A.O.R. Ace 1975 - 1997

The world’s attention will soon be on Brazil for the upcoming Olympic Games in Rio de Janeiro. The last time there was a global sporting event in Brazil, the 2014 World Cup, a little mix I had fortuitously just finished, called Lincoln Olivetti: Brazilian Boogie Boss 1978­­–1984, managed to get swept up in that summer’s Brazilianity. I couldn’t believe it at first as my mix was reposted, tweeted and recommended left and right. I knew the music was good, but 86k listens-and-counting-good? Clearly, the quality of Lincoln’s work overpowered my poor mixing skills and nerdy song selection criteria. The mix took on a life of its own thanks to tweets from a KCRW DJ, a glowing review on the Afropop website and repeated listens for the past two years. Last week averaged seventy listens a day.

Then something really sad happened. Last January 15, Lincoln Olivetti passed away. I was of course touched and humbled to hear from Kassin, who knew Lincoln well in his final years, that “the mixtape you did made him really, really happy. Like, we were crying here when we listened. He was so emotional about it to be recognized outside [Brazil]. It was really, really meaningful to him.” As a music lover, the fact that Lincoln listened, approved and was touched by the mix is far more important than the total number of listens, but I’m sure part of what touched Lincoln was seeing just how many people were listening to his work. Just because he’s gone, I haven’t stopped listening to and digging for his slow-jams, instrumental jams, AOR jams, or any kinda jams. The man was so deep and he covered so many genres with many of his productions reaching the top of the Brazilian charts during the ’70s, ’80s, and ’90s.

I wanna relay an anecdote I heard recently from legendary Brazilian lyricist Tibério Gaspar, though I couldn’t find reference to it in an exhaustive five-minute Google search, and therefore cannot guarantee its factuality, but it has sufficient truthiness so I’ll proceed: Creed Taylor, the legendary jazz producer and studio owner, was in Brazil and was asked how he does what he does, how he’s so good? His response was something like, “I can only take credit for so much, I have a great team with talented people, like my engineer, who’s the best and my mastering guy, I have at least seven people. You know who’s impressive? Your guy Lincoln Olivetti, he does it all extremely well while also writing songs and playing in the band!” For those less familiar with Brazil’s funkier side, let it be made clear that there are countless mixes to be made or already in existence with phenomenal funk, disco and boogie sounds from Brazil that have absolutely nothing to do with Lincoln Olivetti and his steady partner Robson Jorge. However, Lincoln and Robson were so prolific, it’s like comparing their output to the collective works of Quincy Jones, Steve Arrington, Maurice White, and David Foster.

With the 2016 Rio de Janeiro Olympics looming it’s the perfect time to head back down to Brazil, musically. I decided to make a new mix to share some more songs that Lincoln graced. The first mix was certainly not exhaustive of his catalog, far from it. Of course I had some superb leftovers that didn’t make the last mix set aside in a playlist: “Lincoln Leftovers.” I started to go through my records again, do some internet sleuthing, and asked some friends for input, namely Brazilian Boogie Professor Júnior Santos, the man responsible for the killer compilation Brazilian Disco Boogie Sounds 1978–1982. By the time I got ready to cull my collected tracks and formulate a mix, it was clear there were enough first rate tracks to make two mixes spanning pop, soul, funk, AOR, disco, boogie, and samba styles. Rather than flood the market with more mixes than it can appreciate, I whittled down my selections to those with the strongest disco and AOR tendencies, all songs that need to be heard by Lincoln lovers.

- Allen Thayer