Archive for October, 2010
Bleep.com is an online music store owned by renowned media company Warp Records. We are a high quality retailer of music and media from some of the worlds best independent record labels.
Based: Kentish Town, North London
Expenses: Travel Expenses only
Length of placement: 2 months + minimum.
Hours: 10am – 6pm / 2-3 days a week.
The placement will involve assisting with the creation of features, editorial, promotional tools and marketing assets. Within the role you will work within a small team and gain a grounding in the handling of online promotion and marketing.
You will report to the Marketing Manager to discuss workloads, task-lists and priorities on a daily basis
Typical Tasks will include:
1. Helping organise the output of the weekly Bleep podcast
2. Assisting with the creation of newsletters
3. Assisting with creation of features / editorial
5. Editing audio and visual assets for marketing campaigns
A successful candidate will display:
- A high level of literacy
- The ability to familiarise oneself quickly with new computer software and technologies
- A passion for both music and the internet.
- A desire to learn more about working in online music
Advantageous skills include:
- HTML coding
- A basic understanding of XML
- An eye for design and knowledge of Adobe Creative Suite
- Experience editing and manipulating audio files.
- Familiarity with a variety of social networks and online music tool/websites
NYC, 1981 – Ike Yard, the vanguards of NYC’s ‘no-wave’ scene, released their debut EP and and an album followed shortly after. Their unique, ‘outsider’ approach to the primitive electronic style of post-punk elevated them to the cult status that they have today. We caught up with one of the band’s founder members, Stuart Argabright, who has recently reformed the band and released their second album, ‘Nord’.
BLEEP: Can you tell us about the genesis of Ike Yard? Alongside ESG, you were the only other American band to sign to Factory records. Can you tell us how this happened and what it was like to work with such a cult label?
STUART ARGABRIGHT: Ike Yard came together after The Futants fell apart. We were all looking to do something next, found each other and grew rapidly from pre-recording drums on cassette or reel to reel to drum machines and a central MIDI controller.
During that time , we would get comments from other group’s about us ‘doing electronic music’ but after being invited by Suicide to do our first show with them and 13:13 @ Chase Park, Lydia [Lunch] asked us if we would be her backing band.
Once we felt ready and the first and only demo we mailed got picked up by Michel Duval @ Crepescule, we set about doing the “Night After Night” 12″ for them. Soon we were ‘on Factory Records America’, playing with Section 25 and New Order @ The Ukrainian National Home and dealing with the sound man there and at the Studio where we recorded the Factory album .
Tony Wilson popped in while we were tracking, we needed to educate the engineer there about recording our music and utilized some toys to get certain drum machine and perc. processing you can hear on say, “Loss”, “M Kurtz” and “Kino”. It was always a lot of work to prepare for shows, so each one was an evolution.
Someone at Maxwell’s commented one night that we sounded like “dinosaurs making love” – of course that was exactly our plan!
B: You’ve been involved in quite a few bands since Ike Yard began. Can you tell us about them?
SA: Looking back – keeping on the move, literally sometimes without a home, while moving the music forward was a crazed challenge. But in the early ’80’s everything was exploding all around you and you wanted to dive into it all. So a pattern did emerge where Ike Yard, then Death Comet Crew formed and both recorded two records and then looked around to see any reaction, any label or energy that could entice us to continue. Sometimes no one asked for another release, sometimes things fell apart but when you are 24, you just move on.
Always a fan of pop music , after IY I left for W Berlin with the concept for doing the club track “The Dominatrix Sleeps Tonight”.
I had been involved with this dominatrix from some last days in Washington DC and once she moved up to NYC, the early morning hours spent in her Apt. set the scene for the Dom. project.
One night @ Dschungle with Christlo Haas and Blixa, Daniel Miller [Mute] came in and walked up to us with these young boys in tow – the soon to be leather and rubber-clad Depeche Mode! Very lucky to have such good friends who helped me survive in Berlin!
Once back in NYC fall of 1983, requests for productions started coming in and I found a new Studio partner to work with – Steve Breck who had worked with Kurtis Blow and The Fat Boys early records.
Together we worked on Dominatrix live tracks (we would do ‘track dates’ comprised of Iggy’s ‘Play It Safe’, ‘Mr. Dynamite’ and ‘Sleeps Tonight’ at clubs like The Copa, last days of Studio 54, Paradise Garage w/ Robert Gorl and Run DMC), programming new bits for DCC [Death Comet Crew] and eventually, the Voodooists project.
The club scene in NYC became diluted with yuppies, copycats and wankers, the feeling of it being a ‘hotbed’ ran down and out by ‘88 -’89.
I had began in punk rock, ‘little Iggy’ I was called in DC’s punk days when The Rudements were banned from The Atlantis Club and we recorded at the then – new Inner Ear Studios where Fugazi and all the DC hardcore went soon after .
So our reaction in ‘89 was to begin forming Black Rain and while finding the final members took a moment, we took things back to hardcore, post-punk combined with industrial. Gigged at Tompkins Sq. Park Anniversary of the riots there and fought the police with our metal perc. and oil drums through to opening for GG Allin’s final show on the LES.
So each of those groups and projects were different, pocket worlds and concepts we inhabited.
Parallel to all this was the development of large scale and tech intensive art projects as Robert Longo and Gretchen Bender’s de facto music director.
Between 1984 and 1989 we did so many things, and worked with artists like Sean Young from Blade Runner and Dune, Bill T Jones (’Fela’ on Broadway now ) and synth guitarist Chuck Hammer (’Ashes To Ashes’ by D Bowie). Thrilling to score and work with Robert and the Rotterdam Philharmonic alongside music by Arvo Part & P Glass in ‘88.
That’s how it ran in the 1980’s.
B: You’ve also worked and produced music for one of hip-hop’s more eccentric characters, the much-missed, Rammellzee. Can you tell us how you started working with him?
SA: We met way back in W Berlin 1983 and DCC made the call for him to join us on “At The Marble Bar” (Beggar’s Banquet 12″ ‘84 ). Rammell rocked it live and we never looked back, continuing to work together through thick and thin, on and off until 2007.
He recorded with DCC and Black Rain culminating with the ‘Bi – Conicals Of The Rammellzee’ LP on Gomma in ‘03 and tracks on the new DCC album after the re-release and shows in Europe & Japan. The Rammellzee stood out in the underground talents pool that brought many things to light during the ’80’s and his legacy in art & sound will roll on.
B: What are your thoughts on hip-hop as it is now?
SA: There was a moment where I found myself contacting Missy Elliot’s people because I just knew I had some bits for her, but quickly there after hip-hop as it was just paled. Got excited about K- Rob producing on an early Jay Z album , dug Timbaland like everyone but looking back, Aaliyah’s passing broke the period’s mood for me. These days I prefer to hear some Kuduro, Kuedo, Jamie Vex’d, Hud-Mo, Mike Slott or Tri Angle Records. Even DCC has moved on into other territories … Might be a little spoiled from working with Z !
B: You compiled the third, fantastic volume of Soul Jazz Records’ peerless ‘New York Noise’ series, which featured some of the most obscure and esoteric music of that period. Boris Policeband, Dark Day and Implog to name a but a few. Was the music that featured on this album part of your collection, or did you know the producers personally from the time?
SA: We all used to do shows together, or at least hung out and knew each other from those days. Boris, Robin and Donny all had unique and hybrid things going on and that made it attractive. If light doesn’t reach some of these artists in these decades of ‘re-release’ , then it may never reach down to really under known creators. I guess it was natural for me though, I was there when it happened .
Many of my own releases have been pretty obscure – and that led me to form REC partly in order to re-release Voodooists and Black rain and more .
B: Ike Yard’s second album, ‘Nord’ has just been released. Why did Ike Yard decide to reform?
SA: Gomma had started things rolling for us with their “Anti NY” comp. The dozens who knew of IY became hundreds and the tracks still sounded good. Once we reformed, toured and recorded new things with DCC, we (Michael Diekman and myself being in both groups) got together up in the New Hampshire mountains to jam. And once we found it did work, wet set about rejigging the Ike Yard machinery.
We had written close to another album after the Factory LP anyway, so there was some small feeling of, “hey, that stuff was great too”, and once that was released on the Acute comp – end of 2006 – the decks were clear to move forward again.
Kind of amazing to work with groups from 25 years ago, and find it can still spark. And for us, it’s been about the excitement of making the music, not about getting up to play your old songs and ‘looking back on the ’80’s’.
B: You’ve been working, recently, with a lot of new producers and there’s also a J.G. Ballard project that you are involved with. Can you tell us about these and what else you are doing musically at the moment?
SA: After working with so many labels, and seeing and hearing so many artists come and go, one begins to develop an Innis mode -
a world and information scanning process. Antennae up in the breeze, anticipating what will work, what is just a face or fad and you just never know when super artists emerge out of the crowds. Now that IY, Dominatrix and DCC have been re-released and done with new works, there is an ever wider horizon of possible musics. Things that just need to happen, have to get done in order to go beyond the same beats, the same thinking.
So hard & soft Sci Fi has always had that appeal …
‘Ike Yard’- a name Anthony Burgess came up with for “A Clockwork Orange”
Death Comet Crew- originally Death Star Crew until [George] Lucas sent us a letter.
Calling up William Gibson in 1984 and beginning a collaboration that influenced that early trilogy and resulted in him asking us to do the soundtrack for ‘Neuromancer’ audio book.
Then Longo’s “Johnny Mnemonic”.
Once I was lucky enough to meet JG Ballard at a book signing and slipped him a cassette. Ex-Live Skull guitarist and synthesist Mark C and I were longtime devotees of the master author and had set about pulling things together to do what is now the JG Ballard nights project when he passed. There are so many ‘children of Ballard’ now all grown up around the planet and I see it as essential that his works live on for the current and next, next generations. So we have been collaborating with Judy Nylon, David Silver and WFMU here, with Jonny Mugwup and Manny Zambrano in London to keep a light on the man’s work…
Nov.6 our new group Outpost 13 brings the night to Porto where we will present for the first time the full Chapter One of Atrocity Exhibition along with Time, Memory And Inner Space. Live soundtracks and video films created with a lot of help from our friends Robert Longo, Adrian Altenhaus, Walter Cotten, Jennifer Jaffe and Patrick Quick among multi-talented others.
Building towards doing it in London and beyond in 2011…
Along similar lines, O 13 releases the ‘Vandal Tribes – Audio Movie EP’ on REC Nov.16 featuring the works of the new British author Luca Davis with big help again from Judy Nylon’s narration. This time our music guest is Jamie Vex’d.
Luca’s words make images we render in sound, he’s like a young [William] Burroughs, but tougher, rough as the end of a stick.
But in the neighborhood of those UK dystopian writers like Russell Hoban’s ‘Riddley Walker’, and the last two Margaret Atwood novels cross cut with boy’s adventure stories and flesh of faded society.
B: What’s next for Stuart Argabright and Ike Yard?
SA: IY is into doing remixes these days – the new Metal Fire ‘Remake’ of the Sistol track on Cyan Halo is the first.
Somebody should also get us to remix the Factory Album. We transferred the tapes and they sit in my closet.
For my part, there are new clubby tracks underway for Nomi – former vocalist and focus for Hercules & Love P,
the Dystopians project EP with x Black rain master bassist Bones w/ guest guitarists Pete Jones & Norman Westberg on REC.
On this Europe tour in Nov. I will be writing and programming an album expanding on what we’ve seen in the last decade or so.
‘Solo’, new collaborations, soundscapes from the Phi Phi Islands before the tsunami and high Himalayas before the glacial lake behind Everest burst,
plus a return to club music because things have gotten a bit staid and stiffened.
I mean , our race had better get it’s *hit together, we have climbed out of the oceans and built a few times only to mess it all up again.
We’re not fucking around here.
Got to run, we mix Atrocity Exhibition downtown in 30m !
Bleep: How did you come about making your visual and recorded work?
Carsten Nicolai: Actually, I started being really interested more in visual arts, it was actually through a certain sort of crisis I would call it, I was kind of stuck with my work and looked in to media, and what was more ephemeral or non material. I was really interested as well in time, basically, the philosophical idea of time.
At the same time I started experimenting on sine waves frequencies- very high and very low frequencies; and how we perceive not really music, but more like a perception of high frequencies especially. This was around the early 90’s and from this point on I realised that maybe the material I wanted to work with is sound. This really basically was a kind of break through for me – my work really started looking a certain way.
B: How does the output of Alva Noto and Carsten Nicolai differ?
CN: Actually that is very simple, as Alva Noto I use as a pseudonym for all more musical material, like releases that have a musical approach. The is still the Noto pseudonym that I rarely use, but it is more like for more rough material, more like physics, and Carsten Nicolai is really pure, my normal name. You can see Alva Noto as kind of a band name or project name inside of my work.
B: How do you sketch out your ideas and go about their execution?
CN: I have ideas and mostly I am sketching them, like for visual work I have my note books and my sketch books. But mostly I forget about them, and then I remember them, and after two or three times I then realise that ‘ok this idea is really belonging to you and it is not just a moment there’, and that I feel attracted to a certain idea or a certain phenomenon.
The execution is mostly a work process, and the music is very different as to visual arts, but I have a great team, and have a small studio here in Berlin, where we have an incredible efficient team that are around five people that work with me together. Mainly they are doing work, but as well they’re taking care partly of the label – as we do design things of course, because we really like to control our visual output and as well our sound output. The studio is here too, the sound studio, and this is of course work that I will always do myself – I can’t have help here, that’s impossible.
B: Your work investigates the visual correlation to sound, how do you go about deciding the parameters in how this is translated?
CN: Basically I am kind of using any possibility that sound can provide me. I use any kind of parameters from intensity, to frequency, to phasing, stereo imaging, to pure data. I think any kind of information that writes sound, is for me a parameter that I would like to use, especially because I am really looking more for graphical representation of the sound, where the sound grows really the image, rather than inventing a graphical pattern that get triggered by it. This takes time – a little bit of time of research and a little bit of luck as well, to find specific ways how you can do that, and translate it in a nice easy and connected way.
B: You have recently released an album with Blixa Bargeld, how did this collaboration come about?
CN: We were good friends for many years, and of course I grew up in Germany not only with Kraftwerk, but also the influences like Neubauten were really strong for me. Especially the moment when Neubauten started using samplers, I think this moment was really a radical moment, and it influenced my way of how I probably think or what I do now I’m sure. So of course to work with a voice like Blixa’s voice was a great honor, and Blixa was as well very much interested in it opening up new horizons for him.
B: How does working with a vocalist effect your practice, how does this work within a live performance?
CN: Actually from the starting point we really wanted a live performative aspect, and develop the recording out of a live performance idea, you can really hear this I think in the record. The songs sound almost as we play them right away, we did many takes, we did many recording sessions – rather than a multi-track recording situation. We had a studio that was perfect of course.
I created my sounds in a different way, and we wanted to have this collaboration to have some references to my work, but also to Blixa’s work. But in same time I wanted to have a really strong electronic sound, that had a certain sound quality that might reflect a real instrument – but is not a real instrument. Or might use space, like physical space like reverbs, or specific kind of reverbs to create a certain density, to create a room that you share for a collaboration as well.
B: Your work Unitxt has recently been installed in a space in the UK, what is it that you are wanting the audience to experience within this work?
CN: Unitxt is not only a record, it is as well a visualization, which I do a lot, in a quite interesting way – it is a kind of version of the record, which I could describe as a kind of installation version. I was really interested in this real-time translation of this kind of running tape loop. It is a kind of loop, it goes in real time, performed by the visual in a way, so it’s a kind of installed version of the Unitxt idea.
Ok I hope this helps you, thank you, Bye.
Customer Feedback Book from the recent Unitxt installation…
BLEEP: How did Raster-Noton come about? And what is your involvement in the label?
OLAF BENDER: Together with Frank Bretschneider, I founded rastermusic in 1996 in Chemnitz, where the label is still based. It was the result of our experiences we had made as a band (AG Geige) being under contract to other labels. We wanted to take total control!
Later we met Carsten Nicolai and we distributed his activities on the sub-label called ‘not on’. We started to work closer together concerning ideas and concepts. In 1999, we merged to raster-noton. Since then, Frank Bretschneider was not a part of the label politics anymore.
During the last decade, I headed the network and I designed a lot, like covers, books, advertisement a.s.o. But nowadays I’m more focused on my own music.
B: What is the importance of the physical object to the Raster-Noton output?
OB: We love physical things. It’s a question about quality, because there is a difference between a real book and a file on your hard drive. If you are surrounded by physical objects, like books or records, you really feel like living with them. Haptic information is subtle and important, everybody agrees with it in matters of love. We also think it is important in food or any other aspects of life, even record packages. We are not crazy about design. For us, design needs a function. And, as a small independent label, we simply want to show our freedom from industrial-maximum profit-concepts with our products.
B: The overall aesthetic of Raster-Noton is of the highest fidelity of electronic music, how do you see this translating in to live context?
OB: Good question! We are an open platform with an evident visual focus. We often use visual concepts for our live performances, like Alva Noto, Ryoji Ikeda and I do. On the other hand, I totally respect if an artist doesn’t want this second aspect of his music performance. We try to transmit our concepts via label showcases, but generally, a performance represents more an individual personality than the concept of the whole label.
B: There seems to be overarching aesthetic and approach to your label, is there some sort of manifesto (Ton und Nichtton?) that informs the work or some larger idea that you are trying to communicate? What other art / music movements are you interested in or relate to?
OB: We like polarity, noise needs silence to be noise, shadow needs light to be shadow. Often, we find it more interesting to break things down to its basic elements. As we grew up in East Germany, it was normal to share books and music, from science fiction to philosophy, from punk rock to free jazz. There weren’t many possibilities to delve deeply into one direction. We probably looked more for parallels between the directions than for differences between them. If you have a sense for this, you are able to find it in many basic things, even beyond art.
B: The label has such a strong stable of artists, what do you be look for when you sign a new artist?
OB: For personality, for a personal language, for someone who is able to reflect upon personality.
Soooo…. we have been waiting a long time for this live show to finally come to London. And it finally is, this Wednesday with support from Free The Robots and the Patchwork Pirates.
We recently stumbled across this brilliant project from Nick Luscombe of Flomotion Radio and Simon Jordan from Jump Studios design and architecture agency… It is called Musicity and we decided to talk to them about the project.
BLEEP: Can you give some back ground to the project. How did the idea come about?
Simon Jordan: The idea came about because Nick and I have been interested in exploring ways in which we can bring our ‘worlds’ together; Nick’s world being music, mine being design, architecture and the built environment. From a technical perspective, obviously a musician’s skill is different to an architects but if you elevate a conversation around the two disciplines to one of design and the creative ‘act’, how things are made, then there is an interesting correlation. There’s an obvious shared language; musicians might talk about ’spaces’ within music and architects talk about ‘compositions’, ‘rhythms’ and ‘pulsing’ of spaces. I think also that as art forms both are uniquely immersive experiences.
B: You have chosen some fantastic musicians to work with on this project. How were these chosen? What was the reasoning behind your selections?
Nick Luscombe: My aim was to find a cross section of London based electronic music makers to get involved in Musicity – people who’s music I’m really into – kinda selfish I guess! I was so curious to see how each musician would react to the idea, and thankfully everyone got it right away and said “yes”! Since I was a kid I loved futuristic City – Scape music. The emergence of Detroit Techno was a real moment for me and I’ve always dreamed of something like that in London. All the musicians have really engaged in the project – and it’s been brilliant hearing the music they each created!
B: In an age where people expect to access everything from their computers at home instantly there is something special about the act of going somewhere to experience something?
SJ: This is a really interesting area and one that works on many different levels for us but one key thought is that we’ve seen the digital realm totally revolutionize how prerecorded music is consumed but the live event has hardly changed. What I think we are doing, really, is harnessing digital technologies to create something that is a kind of performance where the
main actor is the audience. I think also there is something in creating a different way to experience music that is on a par with a live event in that it’s a shared, public experience. Another view might be that we are re -framing how people might see and experience the city, using music as the catylist.
B: What is next for Musicity?
SJ: We already have plans for further cities underway, both in the UK and overseas. Look our for news on that. With regards to London, we plan to release seven new tracks every three months to build on those already available and we are already commissioning the next artists. The plan is to eventually have a ‘map’ of each city constructed entirely from good music!
Bleep: Congratulations on your new album, we here at Bleep love it!
Gold Panda: That is so weird, I don’t know how people can think it is so good, I don’t know what to say, it is like a big fluke.
B: How long have you been making music? And how did the Gold Panda project come about?
GP: I started making music when I was about 15 or 16, my uncle lent me a sampler and an Atari, and I was making these stupid little tracks, and sampling my Dad’s record collection, and at first I just sampled the most obvious things and tried do a Puff Daddy Hip Hop beat. Then a friend and I, we were making films at school, just as a hobby and showing it to the classmates and doing little comedy sketches and stuff, and we would make soundtracks for that, and then I just got more and more in to it. As friends kind of left and went to Uni and I stayed back- I didn’t go to Uni, I got a job, and just got more and more in to making tracks I guess, and shutting myself away in to my room.
It was always a bit of a joke. Then a friend of mine who was making techno who was in a group called Subhead who are on Tresor, he passed away suddenly, and he always telling me that I should do music, I was like ‘no it is just a hobby’ and I didn’t really have the confidence to do it, but when he passed away I though ‘shit, maybe I should give it a go’ and it turned out alright, so I think I have been doing Gold Panda for about two years now, maybe three and then two actually releasing stuff, and actually doing shows and trying to make it work.
B: How do you feel releasing this debut out in to the world? Are you happy with it?
GP: I think it is like a little snap shot of how I was feeling at the time when I made the album, I guess it is quite personal and there is stuff about people in there and relationships and family, I don’t know how I have managed that without lyrics. But I guess it was the way I was feeling at the time and that’s why the tracks have the title that they do, I guess I could name the tracks something completely different and maybe to a lot of people it would mean totally different things, I am not sure how far you can push things with just instrumental music.
B: You have had a really good reception to your work in Japan and you have been touring there, why do you think this is the case, and how has the country and the culture effected your aesthetic?
GP: I got really interested in Japan, when I was fifteen or something after seeing Akira, which I suppose lots of people were influenced by. Then I got more and more in to it and started watching loads of Japanese films and started buying the really expensive imported computer games, and decided that I should probably learn the language at some point.
I don’t know what it is, it is something that I feel there…
Tokyo is a really lonely place and I kind of thrive on that a bit when I am there, and the feeling of being totally out of place as well. I am influenced by the way Japan looks, by the way the roofs of the houses look in the rain, and how these big apartment buildings are really repetitive… I am quite visual when I make music, so I can see these all things as repetition, and then there will be one thing out of place. I like that to be in a song as well, where there is loads of repetition and then there is one bit that comes in that never happens again through out the whole track, and you have to go back to listen to that bit. As for being received in Japan, I am not sure how that has happened, maybe it’s that it is instrumental and there is an Asian influence to it, there is something people can have something in common with, I am not really sure…
B: With your work, there are quite a lot of organic elements, which is what you were talking about – these moments in which don’t occur again, are you doing field recording or live recording? How are you going about getting these sounds?
GP: I do some field recording….the problem the way I record is- the tracks that work well, are the ones that aren’t planned, when I sit down and I think ‘right I am going to make a track and it is going to sound like this’, they never work. But when I just come home late and switch the sampler on and make a cup of tea and just muck around, those are the tracks that work, and then they are finished, and I listen back to them and think ‘shit I could have recorded that so much better if I wasn’t mucking around’, but I don’t see any other way to do it, it is just kind of a thing that happens, like almost magic….
The recordings are a lot from vinyl, pretty much most of it is from old records chopped up and the sounds are pitched up and down and put in to a melody. Because I don’t know how to play any instruments, so it is just based on what note or what pitch I think that the sound should be next, I am playing through these sequences endlessly to make a melody. The tracks are not really arranged in a very professional way, I will make a load of sequences on a drum machine and when it comes to record the track as one piece, I will just press play and I’ll go through the sequences in an order that I think is right while it is playing. Sometimes you hit the wrong sequence next in line, but when you go back to it, it sounds quite good, so I think the organic thing comes from not bothering too much and just doing it for fun and it works and turns in to a track.
A lot of the time the track, actually most tracks, I think it doesn’t sound finished, but maybe it is, and maybe it is time to just let it go, I think you could just go on forever now with technology, endlessly changing stuff and you’ll never get a track done, and I think that maybe when something sounds slightly unfinished there is something nice about it.
B: Can we see a photo of your studio set-up?
B: How do you translate your recorded stuff in to doing it live?
GP: Well, I’ve got a laptop and a drum machine which has all the sequences in, and I can record loops on it while it is playing and then I skip to whatever loop I think should be next. I have got a loop pedal where I can grab tiny bits and build them up and take them apart, it is pretty simple and not very professional, but people seem to like it.
…But for laptops, personally, I think that people are using them so much now that and I wanted to get away from it…. I started not using a laptop but I was kind of restricting myself by doing so, and I would like to go back to not using a laptop, but it is going to take time to programme everything and put all the samples in to samplers or whatever, but where as a laptop is just there and just you just turn it on so.. it is really easy.
I think the main reason why I don’t want to use a laptop is that I don’t want to be bored, and I want more stuff to do. I think having gear where your not looking at a screen, you start to get in to the tracks a bit more. I am in two minds at the moment, like I would really love to do a really club friendly set where I can just make people dance for an hour, but I don’t know how to do that at the moment. Because I have never been a person that goes out much, so I don’t really go to clubs or see bands live…. it is not really my scene, so I don’t really get the live thing to go with music, I am more in to just sitting at home and listening to CDs on my own, so I am a bit confused when it comes to live.
B: You used to work at a record shop, how did that effect the music that you were listening to and creating at the time?
GP: It just made me hate music, and want to do music that wasn’t anything to do with music, it just made me want to do noise, it made me want to rebel against all music and read books.
B: Is there any music that you are interested in at the moment, that you get inspired by?
GP: I like all the Raster Noton stuff still and that 12k label… I am pretty pissed off with that stuff that is that out of time Hip Hop rubbish, a bunch of fake Flying Lotus stuff. It is just fucking annoying, I just don’t get it, I just think it sounds really forced and fake. I really like Rustie’s new EP, I think that he has got something really special about the way he puts tracks together and his melodies. I think a lot people who are doing that stuff are always worried about making the most heaviest most banging track, and that the bass has to be the most ridiculous bass you have ever heard and has got to have this ‘crazy’ beat. But I think that Rustie has got this really good chilled sound, and there is a lot of melody and a lot of thought that has gone it to it, rather than try to be like the heaviest thing you have heard ever. I think he has nailed the whole sound. I think it is what a lot of people are trying to do but he has summed it up in on EP.
People keep on asking me ‘are you influenced by the LA beats scene’ but I don’t even know what that is, I guess that is Nosaj Thing and Flying Lotus, but I don’t know, I have heard that Nosaj Thing album and it is quite good, and I like Flying Lotus 1983 – I have got LA, but I haven’t listened to it. I am getting more and more in to the stripped down techno stuff, I think it is more like rather than enjoying tunes or songs or whatever, it is more about the production and the quality of stuff and thinking about how did they do that, rather than enjoying the music, but I mean I enjoy it as well, but I mean it is technically inspiring.
B: What is next on the Gold Panda horizon?
GP: Well it is now endless touring till the end of November -Japan, America, Brazil, Europe then England… then I think I am free. Hopefully I can do another video and start another album, I don’t want to leave it too long. I have been quite aware of people who have disappeared for a while and then come back with album that has fizzled out. I want to strike while the iron is hot really, and not really wait around too much. I don’t want to dwell on stuff too much, and I don’t want to keep releasing at the same thing. My mind is a year ahead of everyone else, because your just hearing the album now and I am ready for the next one.
Gold Panda’s debut album Lucky Shiner is available now on Bleep.
You are currently browsing the Bleep Blog blog archives for October, 2010.