SURF BOUNDARIESCHRISTOPHER WILLITS

AvAILABLE NOW ON CD AND gHOSTLy DIgITALWWW.gHOSTLy.COm

10 Letters to eddie turbo12 re:uP rewiiiind!!!14 baby’s First thrash band16 reggae aLbum Covers17 Frosty’s Corner Bass N*Space18 the big Cover uP Danny Holloway20 Q+a DJ Exile22 Chromeo’s dave 124 rub n tug26 in FLagranti28 nouveLLe vague30 CarLos niño32 aLoe bLaCC34 Kid KoaLa36 united visuaL artists40 dJ shadow42 Michael Showalter48 ego trip58 re:uP ChoiCe Cutters The Gaslamp Killer, DJ Medhi, Aaron LaCrate, Tiombe Lockhart, Curtis Vodka, Tom Burbank, Menomena, Escort & C-mon & Kypski69 middLe signature Dave Kinsey, Stevie Gee, Grotesk, Fighting, Friends With You80 re:uP Photo editoriaLThe Hand Painted Signs of Baja California86 re:uP reviewsMusic, Gear and Games96 garth trinidad A 10 Year retrospective of Chocolate City

= Cover story pictured right ego trip’s the biz Puppet page 53 photographed by todd macintire

Manual 12

RE:UP ManUal 12Published by Re:uP Media inc.

PubLisherJoshuaLynne

editor-in-ChieF BeauLamontagne

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ProduCtion assistanCeJonEwell,AdamMatar

CoPy editors SarahKielty,JasonAcosta

Contributing writers PeterAgoston,StephenBolles,JustinCarter,$mall¢hange,Cuttyman,RachelDoyle,DavidFisher,MariaGonzalez,DJDopeshoes,JesseHenderson,WalkerHolland,EwanHuzarmi,SarahKielty,BeauLamontagne,AdamMatar,Mark

‘Frosty’McNeil,KristopherMonroe,DavidRath,JustinRoberts,RobShepherd,ChandraTeitscheid,GarthTrinidad,MiguelVega,JonWesley,@Large

Contributing PhotograPhers PeterAgoston,DavidBaren,$mall¢hange,MauricioCouturier,egotrip,Frak,AlexGloor,Irwin,TheoJemison,MichalKicior,DirkLinder,JoshuaLynne,ToddMacIntire,Menomena,JessicaMiller,PatrickPosta,SekondHandProject,UnitedVisualArtists

Contributing artists egotrip,StevieGee,LukasGeronimas,DaveKinsey,JoshLynne,NiallMcClelland,

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THeSe ARe THe BReAKS – CORReCTIONS FOR MANUAL #11 Onpage80intheChungKingStudiosstory,weincorrectlylistedapictureas

JohnKingandLindsayLohan.ItshouldhavebeenlistedasJohnKingandNicoleRichie.RE:UPdeeplyregretstheerror.

RE:UP wants to thank our advertisers, Garth and Morgan at KCRW and the good people at ego trip for helping make this issue complete

RE:UP would like to congratulate Jason & Ally Parnell on their new lil’ jumpoff Gianna Grace. Nice work!

MANUAL 12 COVeR DesignedbyJoshuaLynne/PhotographbyToddMacIntire

Hopeallisgoingwellforyou,Beau.We’regoingthroughHOTweatherhere(100degrees).GladtohearRE:UPisstillgoing,butwhymustyouhavethose‘nudies’layingaroundinthemagazine?– Edward Turbo’s Grandmother / Bethesda, MD

Wevalue&lookforwardtoyourinput,critiques,praise,pictures,andgeneralnonsense.Feelfreetosendyourthoughtstoinfo@reupmag.comorsnailmail(guaranteedplacement)to:RE:UP Magazine c/o Eddie Turbo 236 Moore St. / #411 / Brooklyn NY 11206

Youguysneverranourteesbecausethat[dandy]thatwas“styling”itsaidwewere“toohip-hop”andhewantedittolookmore“rock”!ThemostAMAZINGpartofthisstoryisthis:Theshirtwesentthat“stylist”hadanimageofablackmetalkidflippingofftheHollywoodsign,andanothershirtwithacloseupofHendrix’sface,andanotherofaDeaths-Headskull!Hip-Hop?So,youguysranaNYthingPuertoRicanflagteeinstead.Iwouldsaythat’snothip-hop,wouldn’tyouagree?PleaseRE:DEEMyourselfandstoppushing“hip-hop”dancepartiesandrunourtees.ThankYou.

PS:canIaskonemorequestion?Whydoeseverymagazinethathascomeoutinthepast3-4yearsfeeltheneedtohavesomesortof“celebration/anniversary”partywithDJs?Pleasedon’ttakeoffense,Iamjustcurious,consideringweareALLgonnadieinWW3soon.Thissortofputsallthis“Hip-Hop,Rock,FUCT,aNYthing,BuffMonster,HomosexualStylist,BlackMetal,Hollywood,DJparties”intoperspective,wouldn’tyouagree?— E Brunetti

Yo,checkoutcheckoutwww.loveleafgarden.com.Theysellawesomepsychoactiveherbslikekratom,kanna,salvia,indianwarrior,andmore.Theyalsosellseedslikeyopoandopiumpoppyseeds,Incense,Teas,Extracts,andotherstuff.Ihangoutintheirforum,youshouldjoinandtalk..youwon’tgetyelledatabouttalkingaboutcannabiseither...amazing.— Mary Jane / Manassas, Virginia

SAMEEVENT?(RE:UP#11ReleaseParty)

Yo,Iwasverydisappointedw/howtheSanDiegoMorganGeistpartywentdown...PRETTYWEAK!Justthoughtyoushouldgetsomefeedback.— Bitter Dude / Santa Ana

YourpartyinSanDiegowasgreat!MyfriendsandItrulyenjoyedit.IloveGhostlyInt’landIamgladthatyouhaveanissueallforthem!Loveit!— Ardee / So Cal

Subject:IshouldBody:Beinyourmagazine!!—Peter Hadar / New York There you go, wasn’t that easy? -Ed.

10 RE:UP MAGAZINE

(Manual 08)It’sgoodtotakealookbackfromtimetotimeandseehowfaryou’vecomeinthepastyear,n’est-cepas?HereareupdatesofthreeartistswhowerefeaturedinRE:UPManual008:absurdisttheaterchampPleaseeasaur,de-signerBillMcMullen,andTurntablesontheHudson’sNickodemus.Sonicelet’sreadittwice...canIgetaForward?

Pleaseeasaurwhat is the name of your debut Comedy Central album?ItistitledTHE AMAZING ADVENTURES OF PLEAS-EEASAUR.TheCDisessentiallyanewalbumof11songswhichfeaturesafewoftheolderhits,becauseitwouldbesuchashametodeprivethemillionsofnewfansoftheoldergemssuchas“NoProbLimo”and“BowlNoodleHot.”TheDVDisactuallyquitemassiveinitssheergirth.Itfeatures11musicvid-eos—oneforeachsongontheCD—aswellasa28minutecartoonadventuredonebytheanimatorsofSeaLab 2021fromtheCartoonNetwork/AdultSwimposse.WhentheviewerpressesPLAYontheDVD,theprogramwillruninsequenceofVIDEOtoANI-MATIONtoVIDEOandsoon.Thecartoonadventuretiesallofthesongs—andtheirvideos—togetherintoonecohesivepleasureconglomerate.

now that you are a favorite at the tom green show are there plans for more television appearances? Yes.ThereareseveralappearancesplannedforLateNightcircuit,checkyourlocallistings.WewillhopefullybebackontheTomGreenshowinthenearfuture.

what is up with the american sheriff? AmericanSheriff—whichisacountry/rapsideproj-ectwithmyfriendPlastiqPhantom—isreleasingthedebutalbumThe Long Arm of the Lawsometimelaterthisyearontheimputor?label.

have you introduced any new characters into your act with the Comedy Central signing?Yes,withtheadditionoffreshorhotnewtrackstothenewCD/DVD,severalnewcharactershavebeencreated.SuchasRandyNormal(ofRandyNormalJeans)andthenewsteamfromActionCityNewswithanchorsDaneRexrothandCindyDebbie,sportswithRazzRallyandofcoursemeteorologistRogerFeatherdoppleramongmanyothernewcharacters.

you tour extensively, do you feel like you attract more fans of comedy or fans of music? IsupposeitdependsuponthecontextinwhichanaudiencefirstwitnessesPleaseeasaurlive.Forexam-ple,ifsomeoneseesustouringwithamusicalact,likesayPinbackorBuckethead,ideallyiftheylikeittheymaythinktothemselves,“hmmm...herearesongsthathappentobefunny.”ButifwetourwithsomeonelikecomedianNeilHamburgerorevenLouieAnderson,thenideallyiftheylikeittheythinktothemselves,“hmmm...herearejokesthathappentobemusical.”Butthenagaintherearepeopleinbothcampsthatsaytothemselves,“hmmm...IamaboringpersonandIhatethis.”

how are you received by foreigner in foreign countries?WellifIamtoanswerthisbasedontheexactques-tion“howareyoureceivedbyforeignerinforeigncountries?”–thenyouobviouslyarereferringtothattimewhenweplayedspecificallyforthemembersofthebandForeignerwhileinthatoneothercountry.Thatwassofunandsuchanhonor.

Nickodemuswhy is your first full-length Endangered Species being re:released on 18th street Lounge music? WhenStudioDistributionwentbankrupt,theyhadjustfinishedsellingtheirinitialorderoftheoriginalEndangered SpeciesalbumonWonderwheel.Theynevergottopayingmeontime,sowelostLOTSofmoney.ESLandIhavebeenflirtingwiththeideaofsigningmymusicforover5yearsnowsowhenthishappened,weallfeltthatthisalbumneededmoreat-tentionandtheyaskedtore:releaseit.Insteadofsign-inganartistdeal,ESLislicensingEndangered Specieswithsomenewtracksandmixesalongwiththeremixalbumforthenewyear.RemixesfromBoozooBajou,ThieveryCorporation,FortKnoxFiveandmoreareallfinishedandreadytobeondancefloors!

what have you learned in the past year about running the wonderwheel recordings record la-bel that you wish you’d known a year ago?Simplyput,ittakesmoneytomakemoney!Asalabel,vinylhasalwaysbeeneasytomanage.CDsareanotherthingentirely.That’saseriousfulltimejobthatrequireslotsofmoney.Digitally,we’redo-ingcrazyamountsofdownloadswithlittletonoadvertising.Allinall,it’sstillmybestoptionforthemusic-fullcreativecontrol,andIworkonmyownschedule.I’llcontinuetoreleasealbumsand

compswithmynewdistributionandlicensesomeprojectstoseewhat’sbestforeveryone.WithsomemorehelpatWonderwheel,we’recurrentlyworkingonafulllengthreleaseofZeb’snewestalbumStop the Earth, I Want to Get Off! Thisalbumisnojoke!

what was your favorite party played at this past year?TurntablesontheHudsonattheFrying Pan.Allourfriendsarethereandthevibeismyfavorite.I

cherishedeverypartylikeitwasthelastandsureenough,theywerecloseddownrightafterour8yearanniversaryparty.

so what’s up with the Frying Pan getting re-modeled? They’removingabitmoreuptownandgettingintotheHudsonRiverParktrustwhichmeansomenightlifechangeswillhappen.Knowingtheowners,they’llkeepitfunkyandrustic!

and your future plans?WehavesomebigTOTHshowscomingthrough

NYCatElement.I’mtouringabunchmoreonmyownandworkinghardonthenextalbumwhichis

alreadyastepupformepersonally.

Bill McMullenon himseLFMan,whatayear.MarkedadecadeinNewYorkCity.Ilovethisplace.I’mnothingbutgrateful,butit’sbeenbusy.Firstoff,IdidtheAdicolorNYCseries,whichgavemeachancetobepartofthelegacyofoneofmyfavoriteshoes-theAdidasSuperstar,a.k.a.TheShelltoe.Ididsevendifferentversionsoftheshoe,that’sawholeweekifyouwant!Myfavoriteistheblackone,althoughI’vebeengettingalotofuseoutoftheplainwhiteones.Theyweregreattoworkwith,veryopentoideasandveryrespectfulofmyartwork.ThentheysentmetoHongKongforashoereleaseparty,andgotmeapairofticketstoseetheBrazil/GhanaWorldCupmatchinGermany.IwaspullingforGhanainaCinderellamaneuverbutactuallyseeingRenaldosetthe“goalsinWorldCupgames”record,I’mdefinitelynotmadatthat.

ThenKidRobotputoutatoyI’vewantedtodoforyears,theShuttleMaxwhichisahomagetotwoofmyfavoritethings:thespaceshuttle,andtheAirMax‘95.Thattookalotoftimeandwork,butit’sanamaz-ingpiece,theyreallynailedthefeelofmyoriginalillustration.Also,afteryearsofbeingonthesideline,theJapaneseT-shirtcompany2KputmeinplayandIhavethreenewshirtscomingoutwiththeminthespring...Checkforthe‘RobotSuperstar’one!

I’vehadahecticyeardoingsomethingIhadsortofdippedoutofforawhile:Musicpackaging.AlongwithworkingonthenewBadBrainsalbumgraphics(yes,originalline-up,yes,newmaterial)I’malsodoingthealbumpackagefortheBayArea’sFederation,thedudeswhoputouttheNoCalanthem“Hyphie,”andarekillingitwiththeirsingle“IWearMyStunnaGlasses@Night...”andIdidtheposter,pack-aging,andmenusystemfortheBeastieBoysDVDoftheirconcertmovieAWESOME; I Fuckin’ Shot That.

Onmyownprojects,I’mupdatingmywebpagetoFINALLYgetanonlinestorejumpingoff,solookintothat:www.billmcmullen.com.I’mworkingonmyvideopodcast‘AmericanMixtape,’whichiscomprisedofinterviewswithfriendsandartiststhatI’vebeenfortunateenoughtomeetinmylife.I’mtryingsomenewdirectionsforsomemoreart,postersandt-shirts.Workingonsomebeatswithmycrew,BandofTheLost.AndI’mtryingtolocatealeakinmyroof.

photodavid b

aren

Isla Cheadle PurPLe Crush

what was the name of your band? Itwasn’treallyabandatfirst,morelikeanartproj-ect.Let’sjustcallit“DanceOffPantsOff.”

what instrument did you play? JaredloopedguitarandmadenoisewhileIdidim-provisedmoderndancemixedwithsporadic,visceralsounds.Itwasvery“downtown”andIhadjustbeenkickedoutofartschoolforbeingtooambitious.

who was your band trying to sound like? MeredithMonkmeetsMarcRibot

what was the song or artist that influenced/in-spired what you’re involved with today? AfterwatchingCurtisJacksongofromamixtapeempiretopopradio,Idecided,forgetMadonna,I’mgoingtobethenext50Cent.

Andrew Turner PLaid

what was the name of your band? Profit

what instrument did you play? Wehadamonophonicsampler,amonophonicsynthandacheapdrummachine.

who was your band trying to sound like? DerrickMayproducedbyTheBombSquad.

what was the song or artist that influenced/in-spired what you’re involved with today? “WeAllStandTogether”byPaulMcCartney&TheFrogChorus.Beautiful.

Adeem gLue

what was the name of your band? Adeem&Shalem

what instrument did you play? Iplayedtherap,thehairyharmonica,andwhenIdidn’thavetheharmonicaIplayedtheskinflute.Thecombinedsoundofall3wouldmeltyourface.

who was your band trying to sound like? TheRootswithnoinstruments,TheBeatlesminusthesinging,andDeLaSoul.Wedidn’tcomeclosetoanyofthosethings,butwewerestillNewHampshire’sbestfrigginrapgroup.

what was the song or artist that influenced/inspired what you’re involved with today? Thesongs“IamIBe”(DeLaSoul)and“Latryx”(Latryx)turnedmymusicalworldupsidedown.DeLaSoulhadalyricaldepththatwasalwayshonestandpaintedamazingpictures.Latryx’sinnovationwithstylemademewanttolearnhowtorapineverydifferentpatternoverrealdrumbreaks.

Tommy Guerrerowhat was the name of your band? FreeBeer.Peoplewerepissedwhentheyfoundoutitwasaband,toomanyliteralthinkers.

what instrument did you play? Bass

who was your band trying to sound like? Noone,justobnoxiousanddrunk.

what was the song or artist that influenced/in-spired what you’re involved with today? BillWitherstosomedegree...

S1 strange Fruit ProJeCt

what was the name of your band? SymbolycElementz

what instrument did you play? Beatmachine

who was your band trying to sound like? Ourselvesasalways.

what was the song or artist that influenced/in-spired what you’re involved with today? Toomanytoname,everyoneinhip-hophasinfluencedStrangeFruitProjectinsomeway,shapeorform.

Vinnie Paz Jedi mind triCKs

what was your first mC or group name? MCCrash–Iwrotemyfirstversesometimeinthemid‘80s.

what instrument did you play? MC

who was your band trying to sound like? Latee,Run-DMC,UTFO

what was the song or artist that influenced/in-spired what you’re involved with today? KoolGRap

Emilie Simonwhat was the name of your band? SunfishDaze

what instrument did you play? Iwasthesinger.

who was your band trying to sound like? Likeus!

what was the song or artist that influenced/in-spired what you’re involved with today? It’shardtochooseonename,butIcansaythatIlis-tenedtoTheBeatlesalotwhenIwasachild.

BABY’S 1stTHRASH BAND

BABY’S 1stTHRASH BAND

photo murray b

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les

14 RE:UP MAGAZINE

FEBRUARY 2002Teenybopper hearts pump in double-time to boy band beats. The phenomenon is in full frenzy and *NSYNC lead the pack. With every highly choreographed shuffle and spin legions of little lassies twitter, flutter and flip with the fever for the *NSYNC flavor.

Lance Bass is backstage at MTV’s Times Square studio, his hair getting a final frosting be-fore show time. Lance’s publicist is multitasking. She buzzes around the dressing room yapping on her Bluetooth headset while scanning a Blackber-ry screen and scribbling frantic notes delivered to her assistant with agitated grunts. Outside rages a rabid surge of girls crashing into the fortress walls. Ten of NYC’s finest boys in blue are barely enough to keep these banshees at bay as they screech for Bass and wave homemade signs proclaiming their undying devotion.

Lance stares into the mirror. He can already see the wide “shit for breakfast” grin of his face’s future. Inside, way deeper than x-ray vision can pierce, his spirit is a small flame desperately shielded from the wind of the world. Agents, man-agers, the press and the public are swirling whirl-winds threatening to snuff him out. Lance twists and shouts on cue while his bank account mounts but his tiny flame goes flicker flicker.

“Ok, Carson’s ready for you.”

Lance flashes a weak smile that grows bigger as the lights get brighter.

Carson to Camera 1, “Welcome back to TRL. We’ve got Lance Bass in the house! What’s new lady killer?”

“Hi Carson. It’s great to be back. You’ve always got the hottest audience around.”

He flashes a sly smile and the studio audience erupts in ecstatic applause.

“Thanks ace. Soon I hear you’re going to be facing a very different audience, green creatures with ray guns.”

“I sure hope there aren’t any ray guns up there but yes, I will be entering a new frontier. I’m headed into outer space later this year to practice my moonwalk.”

Wooooooooooooooooooo!!!!! Girls go wild. The shallow volley continues for twelve minutes to be followed by an advertisement for *NSYNC’s new album. Nobody plays for free on MTV.

APRIL 2002 Lance is stranded alone in a deep Russian forest without food or water. It will be three more days before he sees another soul. Between his busy schedule of smiling wide and jiving for dollars Lance has spent weeks at the cosmonaut training facility in Star City outside Moscow. He was spun in a centrifuge until his eyes switched sockets, he was dropped by helicopter into the Black Sea and left bobbing in its frigid chop and he’s been swooped up and nauseous down in rusty planes to simulate zero gravity. Tomorrow he’ll be licking magazine seams, spewing lies about how thrilled he is to be one of the sexiest suckers alive but tonight, sur-rounded by the cold howl of wolves, he feels alive for the first time since fame came knocking.

AUGUST 2002 Bass sits wedged between Russian flight com-mander Sergei Zaletin and European Space Agency astronaut Frank DeWinne. He nervously shakes his well-insulated leg as the Soyuz Rocket pulsates around him. He can feel the power of the Cold War era projectile growing in anticipation of its launch. Then comes a thick-voiced Russian countdown.

dvenádtsat…odínnadtsat…désyat…dévyat…vósem…sem…shest…

All is white heat and rumble. Through his foggy visor he hallucinates. The MTV Music Video Award astronaut mascot floats by the cockpit warning,

“You’ll never escape. Our satellites surround.”

…pyat…chetíreh…tree…dva…odéen…***^***

The instant velocity feels like he’s swallowing a very pregnant woman while being pulled back-wards. Lance vomits into his mask and it drains with a wet, sucking sound. His guttural groan resounds through his in-helmet microphone and he hears the cosmonauts laughing deep. Their guffaws multiply into a roar from master control. He pictures them swigging home-brewed vodka as warning lights flash unnoticed.

Suddenly the intensity ends and the Soyuz is coasting in a gentle arc around the Earth. Oh my, the Earth! It spins so huge and beautiful blue. Lance’s gaze is filled with wonder as he lifts weight-less from his seat. The straps easily hold his body back but his mind floats on lightest of all. It slips through his visor and fades past the cockpit into space. His spirit is a silvery reflection of the stars, wide open to the awesome silence that surrounds.

The universe embraces Bass’ being in its infinity. His soul echoes the Sun’s rays resonating in radiant waves. Deep anxiety evaporates and is replaced by an awareness and exaltation of all. This epiphany occurs outside of time. His fully expanded mind has transcended the tic-tock of Earth clocks and shines in super simultaneous space. He was here all along and shall be forevermore. Floating in the womb of the galaxy Lance is fully in-sync and open.

OCTOBER 2002 Immediately upon returning to Earth, Lance disappears. The media buzzes non-stop with wild rumors: terrorist ab-duction, drowning, drug rehab. Let it buzz for with the golden dawn of an October morning Lance arrives unexpectedly at the home of fellow *NSYNC member Justin Timberlake. A shocked Justin is led by Lance to his expansive backyard. They sit together under a wide bowed oak alive with the sweet smell of morning dew and stare at each other.

“Where the hell have you been?” blurts Timberlake.

“I’ve been right here all along. You’ve heard me riding on the songs of morning birds and felt me amongst the flowers of your garden.”

Justin’s head falls into his waiting hand and shakes.

“I’ve chosen to come to you because I know you have the capacity to understand the meaning of my metamorphosis.”

“Meta-fucking-morphosis! Like the metamorphosis of our band crumbling and the metamorphosis of me losing millions of dollars because you disappeared off the face of the planet, literally, to lose your fucking mind?! If you’re talking about that meta-morphosis I definitely understand. It’s crystal clear.”

“I knew you might feel this way Justin. It’s perfectly natural. I’m sorry I caused you suffering but this pain can be a gateway to your glowing future. The world tells us we are stars but we are not the stars they bend us to be. We do not twinkle through telescopes built with false glass. We are not material light refracted through the mechan-ics of money. We are galaxies burning bright! Our starlight is unveiled through our art. Music is an expression of our electric potential. Sing with ev-ery breath and you shall evolve endlessly.”

Justin starts to reach for his phone in order to ar-range a loony bin pick-up but this urge dissolves the moment Lance sings a sequence of pure tones. Justin feels a radiance rushing on Lance’s breath. It fills his entire being and explodes into a shimmering spectrum. Suddenly he hears bird songs and smells flowers like never before.

NOVEMBER 2002 Justin Timberlake releases Justified, a progressive pop gem produced by the Neptunes & Timbaland. It is an album filled with sparkles of the future but still accessible enough to reach the masses. His fol-low-up, Rosaviakosmos Revolution, is produced by Lee “Scratch” Perry and Brian Eno. It features Alice Coltrane, Steve Reich, Caetano Veloso, Holger Czukay, Robbie Shakespeare, Saul Williams, Ravi Shankar, Björk, Tony Allen, Kraftwerk, Thom Yorke, TV on the Radio and Animal Collective. Lives are changed

through the energy of this music. Lance Bass is

never seen again.

“See I’ve got my eyes on the skies,The heavenly bodies up highand if you’re in the mood to take a rideThen strap on a suit and get inside.”

— *NSYNC “Space Cowboy”

In 2002 *NSYNC’s Lance Bass nearly had his boy band butt blasted into orbit. Los Angeles based television studio Destiny Productions offered the Russian Space Agency 20 million dollars to make Lance the world’s third space tourist. His journey to the International Space

Station aboard a Soyuz Rocket was to be the latest and greatest in reality TV but after months of negotiations the deal evaporated. Here’s what might have happened had the plan not gone awry…

This story was fi led with the optimistic futurists of RE:UP by > Frosty www.dublab.com RE:UP MAGAZINE 17

BUMBoclaat!we don’t need no photoshopFromtheunmistakablecartoonsketchesofLimonioustothewilddepictionsofartistshammingitup,LPcoversaresecondonlytothemusicitselfasJamaica’sgreatestcontributiontotheworldofreggaeculture.Takeapeakatsomevintagestyleandfashionfromthe‘70s,‘80s,and‘90sunearthedbyTribeofKingsSoundselectorRashi.

When Josey ain’t attending class at the esteemed Ganja University, he’s making honeys’ pink Sassoon’s drop.

Punnany and yams will always sell records, but using a waterslide—or is it a walker—to pose on is pure platinum.

Three piece suit in The Colors? Are you kidding me? No need to rock an undershirt when you’re coming THAT fierce.

Cross Colours were last season, but laser beams will NEVER be played. FP going for the Glamour Shot.

Toting the child-porn line, a pre-pubescent Tristan Palma doing his best Barrington Levy tribute... sweet matchstick font!

This one is as random as the “She Blinded Me with Science” dub version on side A. Is that Superman and what appears to be a orchestra conductor’s baton?

So much going on here, kinda makes you forget about the record and wish they included a comic book inside. And yes, the rats ARE grinding.

“If Tristan did it, why can’t I?”“Put down the mic and turn off the mixer, rudeboy... we gonna sekkle this ‘pon the pitch!”

Note the off-the-back-of-head headphones technique so as not to disturb the hi-top fade.

Apparently, Kareem smokes spliffs with Lee Perry too.

you LiKKLe

soundbwoy...

baCK weh wit

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artworK! this

CoLLeCtion is tuFF

LiKe Leather!

16 RE:UP MAGAZINE

The Big Cover UpSelected by D

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RE:UP MAGAZINE 19

in case you didn’t get the declassified memo, “the big Cover up” is my lil’ column dedicated to the hardest of hardcore under-

groundvinylaficionadostraversingtheglobetoday.Justaswedigthruthestacksandstaxofre-

cordstofindthoseobscuregems,we’rediggin’thruthestacksandstaxofrecorddiggerstofindthoseoverlookedmofos.Yes,yes,let’skeepsearchingforthosewaxartifacts.Butwhataboutthearcheolo-gists?Whataboutthemofoswhospend10hoursinawarehouseinRiodeJaneiro,whentheycouldbeonabeach?Dedicationpeople,dedication.Thisisn’taboutthelatestfad.Thisisaboutdiscoveringthoserecordsthatsoundfresh10,20,30+yearsaftertheywererecorded.Howmanyhypeduprecordscomingoutnowwillbeabletopassthattest?

30+years.TheothernightIwasalil’tipsy,listeningtosomeliveRashaan,echoingsomewordsaboutthemadnessthatNixonhasputuponus,andIwonderif30+yearsdownthelinethingshavechangedallthatmuch.Patheticthatithasn’t,right?Fuckallthesemotherfuckers.Theyhaveachancetoputthecarin5thandinsteadtheyoptforreverse.Whatawonderfulworldwelivein.

Andyetitis.Wehavethose‘BrightMoments.’Wehavethosethingsthatprovethathumanityisbetterthanthemessagesthatarefedtous.Wehavethoseartisticexpressionsthatgobeyondwhatweknowanddon’tknow.Ofcourse,thesemofostrytohideit.Theytrytoforgetit.Theytrytomakeitlikeitneverhappened.Andperhapsitneverwouldhave.if it wasn’t for folks like danny holloway.

Doyoulittlebratsrememberdiggin’beforethefriggin’internets?Doya?Diggin’pre-Google,pre-slsk,pre-eBay,pre-GEMM,pre-blogs,pre-SoulStrut,pre-takethatshittothe-breaks.com,pre-funk45s.com?Maybeyoucameupinthe‘90sandhadyoucomps.Maybeyouhadthebootlegsbeforethecompscameout.Myquestioniswherediditallorig-inallycomefrom,theknowledge,thediscoveries?Whowastheretofindthisshitbackinzeday,andthencareenoughaboutittospreaditoutthere?

MuthaslikeDannyHolloway.Homesliceisway,wayOriginalGangsta,andit’sanhonortohavehimprofiledinzeBigCoverUp.Hisresumeisquitere-tardedsoI’lldomybesttofititallinhere.

Dannystartedhismusicalcrackaddictionatage5in1955,snatchingupLittleRichardandFatsDomino45s.InhisteenstheBritishInvasionhit,andlikemanymofosaroundthecountryheandhisfriendswereingaragerockbands,intheLongBeach,CAarea.EventuallyhemadehiswaytoLon-donin1970,writingextensivelyforNME.“Ididthesinglescolumnweeklyandgotanamazing[number]ofgreatreggae,soulandjustplainweirdrecords.”Thinkaboutthatpeople.Gettingmad45promosofsoulandreggaeintheearly‘70s.Nowthat’swhatIcallliving.PlusinterviewingfolkslikeZappa,Bowie,StevieWonder,MickJagger,andBobMarleyandTheWailers.IthinkalotofuswouldhavelovedtositdownandrapwithSteviein‘72.Iwould’ve.

ThroughNMEheeventuallyhookedupwithChrisBlackwellfromIslandandstartedworkingforhim,masteringrecords,recordingdemos,puttingto-gethercomps.HecompiledthefirsttwoThis Is Reg-gae MusicLPs,recordedsomeliveBobLPs(Live at LeedsandBob Marley “Live”),butwasnevercreditedontheLP.Rightfullypissed,helefttheU.K.officefortheJamaicanoneinthemid-’70s.Anotherpointtoponderkiddies:HomeslicewasworkingintheIslandJAofficeinthemid-’70s,signingfolks,producingLPsliketheHeptones’“NightFood,”andhangingoutwithanot-yet-crazyLee‘Scratch’PerrywhilehewasbuildingthelegendaryBlackArkstudio.Wha?!Andbuyingmad45satstoreslikeAquariusandGG’s.Gettingtheshitwhenitcameout.Dudewasliving.

Dannysez:“JamaicabackthenlookedthesameasinthefilmRockers.Nobodytroubledany-bodytoomuch,mainlyspliffsmokingandalittlebeerdrinking.VibesweregoodandJamaicancul-turewasmorequirkythantoday.IalsolovedtheirsenseoffashionbackthencoztheydressedlikeJamaicans,notlikeNYCrappers...thedanceswerereallygreat.Thebestoneswereneverlocatedinthecity.Youhadtodrivetothecountryanditwouldbeanordealtofindthedance.Butonceyouwerewithinamile,you’dstopthecar,listenforthelowendrumbleandfollowthesound.”

Intheearly‘70sDannyalsocompiledaclassicsliceofNewOrleansfunk,a Best of the Meters forIsland.ThiswasmaterialfromtheiressentialearlyJosiesides,whichatthetimewereoutofprint.ChrisBlackwellhadgottentherightsandDannyputtogetherthewholeproject,includingthecartooncoverartofthemplayingataMardiGrasfest.IfyouhavetheLP,lookonthecover,youcanfindDanny‘drawnin’thecrowd,hehasabig‘D’onhischest.HowmanymofoscanclaimtheirlikenessisonaMeters’rekkidfrom‘74?!AndthisisakeyrecordbecauseithadwaybetterdistributionthentheOGJosieLPs.IdiscoveredTheMetersbyfindingthisLPinmycollegeradiolibrary.Asdidlegendarycrat-ediggerEgon.ThisiswhyIrantaboutpre-internets,comps,bootlegs.Howdidyoufindoutaboutshitbackthen?Recordslikethisone.Madpropssir.

Inthe‘80shewasworkingandsettingupIsland’sFilm+SoundtracksDept.,buteventuallygotoutofthebiz,setuphisownproductioncompany,managedandproducedthePlimsouls,signedSub-lime,andwasinvolvedwithahip-hopradioshowintheearly‘90swithmofoslikeCutChemistandnotedphotographerB+.Stillverymuchahardcorecollec-tor,hemakeshishustledoingconsultingjobsandstilloccasionallyDJsout.

Here’s a few more insights from the man himself.

on collecting:Ihavestartedtotrimmyrecordcol-lection.Atonetime,Ihad30,000or40,000pieces.Nowmydesireistowhittleitdowntoessentialre-cordsthatgivemegoosebumps.ThisisnotbecauseI’mgettingolder,it’sbecauseI’vebeendiggingforover35yearsandgotalotofwhatIwantanddis-likepayinghighstoragefeeseveryyear.IoncewenttoKebDarge’sLondonflatandhehandedmeover30045stolookthrough.WhenIaskedhimwheretherestofhiscollectionwas,hesaid“That’sitMate,IonlykeepwhatIcanspinattheclub.”So,thathadanimpactonme.

on diggin:Ithinkmostofthefunkgrailshavebeendiscovered.Theremaybeafewthingsrecordedinthe‘70swhichhaveremainedunreleased,butforthemostpartdiggershavebeenrabidlyunearthingdiscsfor10years.So,asfarasfunkisconcernedIthinkit’salmostinafinitestagerightnow.ThefutureliesinnewgenreslikeWeirdGearandDirtyDiscoandothergenresyettobenamed.It’shardtodefineWeirdGear,it’smusicwe’vefoundwhilediggingthatdoesn’tcleanlyfitanyparticulargenrecozthere’ssomethingweirdaboutit.

on age:Theyoungstersneedtoknowtwothings:theytoomaygetoldonedayandageismisasstu-pidasracismandtwo:neverquitdoingthethingyoulovemost.

Andontopofallthat,here’saselectionoftopsecretnuggetsfromtheman’spersonalstash.Every-thingisabittooeasypeazyinthisinterwebagesowe’vescratchedoffthetitlesforyourinconvenience.Butyoustillhavethemusicands’morewerdsofwisdomfromMr.Holloway.Gotoreupmag.comandgrabthetracks,popinoneofyour30¢CD-Rs,burnitlikethewitchinMonty Python,andyouhaveyour-selfoneheavypieceofplasticthat’sworthitsweightinlead.Thenbreakouttheexactoknifeandcutthecoverout.Assemble.Dropitatyournextparty,havethekidsrushupandaskyouwhatitis,andhappilyexclaim,“Idon’tknoweither!”Andthentell‘emtoshutupandkeepondancing.Thelittlepunks.

The TRacks

SplooieThisisadimerecordIfoundwhileonaroadtriptotheBayAreainthelate‘90s.Itseemedgoofy,soIfileditandaboutayearlaterIlistenedmorecloselyanddiscoveredit’sthesamesongas“SuperFunky”byThunder,LightningandRainonSaadia.Lovethefastchipmunkrapping.

PinotIheardthisinadiscoonaverysmallGreekIsland.MostofthemenontheIslandwereonorsupportedthelocalsoccerteamwhohadamatchinAthens.So,thediscowaspackedwithwomenandwhen[theDJ]playedthisparticulartune,theyalldancedtogetherliketheyweredoingtheJamaicandancecalledtheButterfly.

MexsambaI’mashamedtoadmitmyfavoritesambacutisbyaMexicangroupmasqueradingasaBrazilianoutfit.But,thistuneispurebutterandIlovethewaythesingerrepeatscertainsyllables.Greaticebreaker.

SuperstitionThismightbefromFrenchCanada.Theguy’sdefinitelysinginginFrench.ItsoundsliketheycribbedthelickfromStevieWonder’s“Supersti-tion”andflippeditenoughnottogetsued.Thisonegetsalotofrecordgeeksrubberneckin’‘roundthedeckswhenIspinout.

Aries CrewTheWackieslabelwasrunbyaJamai-canguycalledLloydBarnesinBrooklyninthe‘70s.Hereleasedanincrediblenumberofgreatrecords.ThisoneisafunkyreggaeversionoftheOhioPlay-erstune“SkinTight.”

NomoHereisaBrasilianrockgroupcoveringanAmeri-canTVdetectivethemefromthelate60’s.IlearnedofitfrommyfriendDJNutswhenhecametospininL.A.Nutsisdeepwithrecords,afunguyandagreatDJ.

Neil McArthurThisisagroupfromNJ,[$mall¢hange’s]neckofthewoodsandpressedasaregional45.It’stheirversionoftheZombiestune“She’sNotThere.”

CarbonaGreatunpredictablearrangement,withsomeinfectiousfunkyparts.Thisoddball45isjustoneguyover-dubbinghimselfondifferentinstru-ments.Founditfor50cents.

High School FriendMylastyearofhighschoolIhadtogotocontinuationschool.SomeofusguysinrockbandshungaroundtogetherandImetthisguynamedSteveRunolfsson.Hewasamusicalgenius,butwasareallysensitiveguythathadtakenwaytoomuchacid.Hediedwithinacoupleofyears.This45wascutin1966andisoneofthemostcollectiblegaragerockrecordsofalltime.“Sweetgina”bytheThingsToCome.

Face CardI’vebeenfriendswithdrummer/chefSteveRooshsinceIwas6yearsold.Weplayedinbandstogetherasteens.Heplaystheüberfunkydrumsonthisstellardisc.Thisrecordcameoutwithabunchofover-dubswhichkindofspoiledit,butthisisjustthedopehardrhythmtrackfromanac-etatethatStevegaveme.

Collie DreamIlovethelate‘70sandearly‘80speriodinJamaicanmusic.Thetuneis“SmoketheChalice”anditaccuratelycapturestheelationinachalicecircle.

More PainSamerhythmas“Pain.”RootsRadicspopularizedit,butusuallytheygobackevenfurther.

HawkeyeThisisavocalistcalled[classified],butitsoundslikeagroup.Thesingingisjustgreatonhere.

Barry GBarryGwasatopradioDJinJamaicaforalongtimeandreallyhelpedtogetrootsmusiconthera-dio.Beforehimthey’donlyplaywackByronLeerecords.

Hey-ZeusThisisaprivatelypressed45byagospelgroupfromSouthCentral.Listentothesingerblowhisvoiceoutonthebridge.Rawdeepfunkysoul.

Jesus 2IliketheMoogpartonthisrecord.TheMoogistkindafreestylessolosandhekillsit.

text + photo $mall ¢hange CD artdust la rock

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dJ exiLeislikeabigfriendlyteddybear.Hislatestblammy,Dirty ScienceoffSoundinColor,isasuperlativecollec-tionofSouthernCalibreezybreaks.WithMCsfromtheStonesThrowfamilyrepresenting(AloeBlacc,Oh

No,Roc‘C’andM.E.D.)aswellastheupandcomingSiCcroonersJontelandBlu,Dirty Scienceislikeagirlfriendthat’ssmartANDhot.ThrowinaSlumVillagecutandahiddenGhostfacetrackandyouhaveyourselfanicepieceof‘truhip-hop’pie.Exile’sbeatsmitherycombinesthestagger/swaggersnaresofclassicDilla,themelodicsamplesofPeteRockandthecrispyurgencyofAlchemist.Soyeah,youshouldknowaboutthisguy.OhandJurassic5andMobbDeephaverecentlyscoopedupsomebeatsfromthisnotsolil’dunny.DidwementionthatSnoopDogglaiddownanexclusiveraponExile’soutgoingansweringmachine?Leaveamessageatthebizzle...

textedward turbo

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Essential Discography of Chromeo(Dave 1 & Pee Thugg)

Chromeo releasesTitle Label YearFancy Footwork Vice 2007Ce Soir on Danse Disque Primeur 2006 Un Joli Mix Pour Toi Eskimo 2005She’s in Control Vice 2004 Le Mix Vice 2003

Chromeo singlesTitle Label YearNeedy Girl (Bloc Party mix) Back Yard 2005Rage! 7” V2 2005Needy Girl (Zdar mix) V2 2004Me & My Man (Whitey mix) V2 2004Destination Overdrive (DFA mix) Turbo 2003 You’re so Gangsta (Playgroup mix) Fabergé 2002

prodUCTion & remix CrediTsSong (Artist) Label YearI Am Somebody (DJ Mehdi) Ed Banger 2006Breathe (Lenny Kravitz) Absolut 2006Ketchup vs Genocide (Sébastien Tellier) Recordmakers 2004Future (Cut Copy) Modular 2004

we’re not from a musical household and none of our family members are musicians, but my father was really into records and as a kid i was always listening to his music... always,” says

Dave‘1’MacklovitchfromhisapartmentinuptownManhattan.YoumayofpeepedDaveonthelowintheclub;theillMontrealian,kinda-SimonLeBon-ishleadsingerofChromeo,mainproducerofObscureDisorderandtheolderbroth-erofonetime-wunderkindAlain‘DJA-Trak’Macklovitch(now,justairrefutablepresencebehindtheboards).Theco-creatorsoftoday’ship-hopsceneinMon-treal,DaveandAlainbroughtmoreheatthanAndreDawsonandGaryCarterdidwiththeExposbackintheday.

Growingupasmusicaldevotees,thebrotherswereupwardlymobileenoughtoputtheirhobbiesintopractice–notjustcreatingalocalmovementbutcarvingadefinednicheforeachotherindividuallyincontemporaryunder-groundpop-cultureasawhole.A-Trak,ofcourse(ascoveredinthefirstinstall-mentofthispiece)theturntabletacticianforKayneWestwithmorecompetitiveaccoladesandawardsthanTigerWoods.Dave,thementor,whoblazedthetrailwithlilbrointheflankposition,weldingtheplexi-glasselectricguitarnottomentionawickedpenasalongstandingrapjournalisthimself.

“WhenIwasinfourthgradeIstartedplayingelectricguitar.Iwasreallyintothat.AllthemusicIwasinto—HendrixandLedZeppelin—mybrotherwasintoatthesametime.It’salreadyyoungtobeintothatmusicinfifthgrade,youcouldimaginemybrotherinfirstgradelisteningtothatstuffaswell.InhighschoolIgotintohip-hopandmybrotherfollowed,aslittlebrother’sdo,”Daveremembers.Havingestablishedhisfunk/fusionbandTheRubadoids‘roundtheearly‘90s(includingemceesfromObscureDisorderandhispartnerinChromeo,PeeThug),Davewashoningtheelectricaxeandwaxingacidjazz.“Thatwasinlike‘92-’93,aroundthenyouhadalotpeoplelikeJamiroquai,Incognito,JazzmatazzandTheBrandNewHeavies.Itwasabigtrendtodosoulmusic.Ithinkitwasaroundthattimethatmybrotherwastwiddlingaroundwithrecordshimself.Andatonepointhewasdoperthanthedudethatwasscratchingwithus.”

Itwasthenthattheirprofessionalmusicalconnectwasmade.Theybeganperformingtogether,A-Traknotevenateenatthetime.DavequicklybecametheMontrealhip-hopscene’sflagbarer.“From‘95Ihadara-dioshow,calledRap Attitude.ItstartedasaFrenchrapradioshow.Myfriendsbroughtmeon(cont’d on pg 94)

Brothers Gonna Work it Out pt 2

text + photo Peter agoston

“Yo, i goT The same sYnTh soUnds as JellYBean!”

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who or what is rub n tug?Thomas RubnTugisThomasandEricandourfamilyoffriendswhogatheraroundthejams.We’repartofdowntownNYC’scommunity.

where did you guys grow up? EricLosAngeles.TCambridge,Englandwhichwasbrilliantandstrange.

as wee little nippers, what were some of the early musical experiences that lead you to get into dJing?TInPrimaryschoolonthelastdayoftheyearwehadadiscodanceintheclassroom.Iwastheonlyonewhobroughtrecordsandtheywereworkingtoo.

Just what exactly are you rubbing and tugging?TYourmindyourassyourgirlfriend?Idon’tknow...E It’smoreadefinitionofwhat’shappeningonthedancefloor.

what record has not left your bag in the last year? EGaryMartin-“TurkishTavern”

how does one ‘keep it nasty’?TOnewayistokeepthe‘keepthepartygoing’spiritallthewaytounconsciousness.

what has been your favorite party to play at in the past year? EIt’stoughtosay,thereareafew...butonethatstandsoutwouldhavetobetheSarcasticDiscopartyinL.A.thispastAprilFool’sDay.

how did you guys get involved in the Fabric series? TByturningitoutattheclubIguess.

which remix are you guys most proud of and why? EIsaythe!!!“H.I.T.T.O.”remix,itwasourfirstandit’sarealburner.

what else do you guys do?TIhavetwobandsonWhateverWeWantrecords.MapOfAfricaandBobbieMarie.One’sapsychrockdiscovibeandtheotherisanelectronicrockabillything.BothbandshaveLPsfinishedandinthecanwithanyearly2007releasestampedonthem.

will you be rubbing and tugging for the rest of your life?T Ihopeso.

what is your idea of a happy ending?TCambridge,funnilyenough.

Essential Discography of Rub N Tug rUB n TUg mixTapesTitle Label Year Fabric 30 - Rub N Tug Fabric 2006Better with a Spoon Full of Leather aNYthing 2006Rub N Tug Present Campfire Eskimo 2005

rUB n TUg remixesSong (Original Artist) Label YearThe Main Thing (Roxy Music) Virgin VST 2006Rub N Tug’s Macho Mix (Beastie Boys) RNT 2006Futures (Zero 7) Atlantic 2006Snakes and Ladder (Sly Mongoose) Mule 2006 Square One (Coldplay) White Label 2006Too Much Love (LCD Soundsystem) DFA 2005It’s For You (Out Hud) Studio !K7 2005Love Do Me Right (Rocking Horse) Eskimo 2005Crackhouse Warming Party (David Gilmore Girls) Relish 2004 Hello, Is This Thing On (!!!) Warp 2004Watersnake (LTG Exchange) Rong 2004I’m a Man (Chicago) Rong 2004

From a chance encounter in california to reuniting 3000 miles away in the nyC underground circuit, eric duncan and thomas bullock took house music back from the glamour of the mid ‘90s

NYCclubscene.AdecadelatertheRubNTugduostillkeepitbumpinginthenameofgoodfriends,thecommunity,andofcoursestrongdrinks.Theyhavebeenrunningsoireesaroundthetri-statelongbeforeitwaskitschtoplayclassicpartyanthemsonrooftopsforBushwickscenesters.TheRubNTugeventshaveacultfollowingofindulgentparty-goerswhoarehellbentonkeepingitmovingwayaftertheafter-hours.Severalremixesandworldtourslater,RubNTugdropsanewmixonLondon’sFabricLiveseries,aswellasafewcompilationsonthe‘communityapproved’aNYthingimprint.HereareafewthoughtsRE:UPpriedfromtheprofessionals...

The Push Pulltextthe hound dog

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Beyondthemusic,though,AlexusesthevisualaspectofInFlagrantitoguidetheproject.“MostofthetimeatCodekIdesignthecoverfirstforareleaseorcutavideowithsomemusic,”hesays.“Thatgetspeoplemotivated.It’sanoldwayofworkingIlearnedfromgraphicdesignerslikeLudwigHohlwein.Hewouldpaintpostersandleaveouttheproductorcompanyname,andshowittosomepossibleclients.Thenaftertheyselectedtheimagehewouldpaintinthenamesofthecompanyorproducts.”AccordingtoSasha,“[Alex’s]influencevisuallyandhiswholewayoflookingatthingsmakethemusicsoundthewayitdoes.”

I’mhomefromthebar,havingseenSashaoffintothecity.Ipulloutthenewtwelve-inchandCDhe’sdroppedinmybag.Thepackagingforthelatestvinyl,“It’sAllRubbish,”hasatypewriter-printedarticleaboutaformerPlayboyBunny’sfailedlovewithRodStewart.Ontheothersideisablown-out,greenandpurpletingedpictureofthemodelwearingafurcoat.IputtheCD,Wronger than Anyone Else,intomyplayer,turningituptooloudfortheneighbors.Itkillsme.AmyPoplazilyhalf-rapsthelyricsof“GenitalBlueRoom”overtheparadiddlingpunkfunkbassline,andaharshmixdropsinto“BangBang.”It’satouroftheircutandpastecatalogue,anexhibitionofsomethingfamiliarflippedonitsheadandturnedintosomethingcompletelyunknown.ThenewincarnationoftheCodekmovementisbrilliant.Let’sjusthopeitdoesn’tendtoosoon.

Codek Begins theCut and Paste MovementtextJustin Carter imagealex gloor

Essential Discography of In Flagrantiin FlagranTi alBUms & mixTapesTitle Label YearWronger than Anyone Else Codek Europe 2006A Decade of Hero Worship Promo 2005

in FlagranTi singlesTitle Label YearIt’s All Rubbish Codek Europe 2006In the Silver White Box Gomma 2006Genital Blue Room Codek Europe 2006We Make Love in a House Made of Glass Codek Europe 2006Teaching Children How to Swear Codek Europe 2005Melodymaker Codek Europe 2005Bang Bang Codek Europe 2005Nonplusultra Codek Europe 2004Just Gazing Kill the DJ 2004Superego Codek Europe 2003Day In Day Out Codek Europe 2002

in FlagranTi remixes & prodUCTion CrediTsSong (Original Artist) Label YearKelly (Van She) Modular 2006Eye Wanna C U (G. Rizo) International Deejay Gigolo 2006The Animal’s Claw (Lark) Care in the Community 2006Rock-A-Boogie (The Diskokaines) Diskokaine 2006Blood on the Moon (Mekon) PIAS/Wall of Sound 2006Bar Star (Kudu) Nublu/Discograph 2005The Class (Artanker Convoy) The Social Registry 2005Control (Hardrock Striker) Skylax 2005Dazed & Confused (L’amour Is the Answer) No Phono 2005Out the Door (Whomadewho) Gomma 2005

“‘JustGazing’hadbeenpickeduponacouplecompilations,andJockey Slutrateditintheirmagazine,sowewerelike‘Wow,there’sawholethinggoingonlikethat.’IstartedtostreamlineitbecauseIrealizedthattherewereactuallypeopleintothatsound,”saysSasha.TherewasalreadyasecondrecordonthewaywhenInFlagrantimadetheirdirectionaldecision,butonthethirdrecordtheaestheticwasfullythere.

“Nonplusultra”isamoderncutandpastemasterpiece.Electrosynthsarestuckontopofbasslinestornoutofdiscotwelvesandmutedguitarlicksobviouslysampledfromfunk45s.Therecord’sdesignandtheshortfilmsthataccompanyeachtrackonlinemakethepackagecomplete:thecoverlookslikeastillfroma1970scosmeticscommercial,andtheshortfilmsarelo-fire-editsofb-moviesandgoldenageporn.“Nonplusultra”providedauniquetemplateforAlexandSashatocontinuemakingrecords,evidencingnotjustthepossibilityofworkingwitheachotherremotelybutalsoexploitingthesideeffectsofsuchcollaboration.

Forthemostpart,theycorrespondbyemail.“Andifwetalkonthephone,it’sneverbusiness.It’sjusttochat,”saysSasha.Theresultisanexchangeofideasthatisonlypossiblevirtually,acommunicationofimageandsound.“Whereweconnectisultimatelywhenhesendsmesoundsofthemonthwherehe’sbeenrecordcollectingandhejustrandomlyrecordsshit.Imeanjustlikeonepieceofit,afewsecondslong,oraminutelong.Ican’twaittoputsomethingtogetherandemailitbacktohim,atrackwhereIonlyusewhatwasinthosesoundsnippetshegaveme.”

Alexelaborates(viaemail,ofcourse)ontheircreativeprocess:“Weareintunewitheachotherwhenitcomestomusic.Iknowwhathelikesand[itworks]theother-wayaround.OurearsaretrainedtoheareverylittlenuanceintracksIfind.Therecouldbesomeobscurecowbellonsomeshittyrecordfromwhoknowswhereandyoucouldbetonit,webothwouldimmediatelypickuponit!”

it’s late, and i’m walking through Brooklyn alongside Sasha Crnobrnja, one of the founders of organic grooves and Codek records, and one half of in Flagranti. he’s wheeling his bike over the sidewalk;

I’mcarryingaplasticbagofrecordshejustgavemeandwe’relookingforaplacetodrink.We’rechattingaboutbeginningsandendings,speculatingonthelifespanofNublu,theclubandlabelwhereIworkandDJandwhereSashaplaysandDJs.Realmovementsdon’tlastlonginNewYork.

Sashaknowsallaboutthat.OrganicGrooves,whichstartedasanAfroandworldbeatmusicalcollectivein1995,becameanundergroundlegend(seeRE:UP#002).Butafter8years,OrganicGroovesendedasquicklyandenigmaticallyasithadbegun.SashaandIwalkintoawell-litbarwitholdanatomicalpostersand1970smiddle-schoolmapsonthewalls.Heordersadarkwheatbeerandchoosesaseatinfrontofabookshelffullofoldnovels.

“We’dhadourmoment,”hesaysashesipsthebeer,“andyouknowyou’renotgoingtohavethatmomentagain.Youhavethisthingthatkindofworks.Butwhatdoyoudowithit?Investmoneyandgotothenextlevel,whereyoudo[few]partiesbutyouadvertisethembig?Thenit’snomorewhatitwas.ThisisnotwhatIwant.Becauseitwasaboutustoo.”

“Itbecomesabusiness,”Isay.“Yeah,abusiness.”AsSashabegantothinkaboutlettingOrganicGroovesgoandAlexGloor,

hislabelpartner,returnedtoEuropein2002,anothermovementwasturningpeople’sheadsinNewYork:electroclash.LarryTee’sweeklypartyatLuxxwasbringingkidsouttoWilliamsburgtocelebrate‘80skitsch.WhileOrganicGroovesneverhadanysuchleanings,Codekdroppedanalbumin2002thatgaveitshomagetothedecade.ThenodcamefromFreddieMas,whoseself-titledrecordexportedthesoundsoftrueelectro’sdrummachinesandfunkybasssynthlineswithoutaninchofsarcasm.Sasha’sremixoftheB-sidecutastheCosmicRockershowedthathisheadwasstillcomfortableinthedubbed-outmindsetofGrooves,buthisplaywiththeelectronicdrumsfromtheoriginaltrackshowedthathewantedsomethingdirtier.

“IfeltlikeIwasstillinthebeginningofthewholemusicproductionthing,likeIhadn’treallyexploredwhatwaspossible.ManytimesIstartedworkingonnewtracksforOrganicGrooves,butIwaslike,‘ManIcan’tdoit.’”

“Whydidn’titseemright?”Iask.“Itjustcouldn’tbethesameagain.”“Wewerelookingforanewsound,experimentingwithdifferentelements,”

explainsAlex.“DayInDayOut,”theduo’sfirstInFlagrantirecord,reflectedasmuch.Itwasallovertheplace.ThetitletrackwasadubbyAfrobeatjam,while“OnceinaWhile”wasakey-gracedhomagetoBristol,and“JustGazing”wasadiscohi-hat-filled,cowbell-dingingfloor-filler.

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RE:UP MAGAZINE 29

Quand est-ce que vous avez commencé à chanter avec nouvelle vague?Mélanie Pain Alors,moij’aicommencéàchantersurlepremieralbum,etçafaitdeuxansetdemimaintenantquejechanteavecNouvelleVague.Phoebe Kildeer Pourmoi,yaunanetdemi,jepense.J’aicommencéàchanteravecNouvelleVagueenMars2004;enfaites,pourledeuxièmealbum[Bande à Part]ilscherchaientdeschanteuses,etvoila.

Qui étaient les chanteuses qui avaient le plus influence pour vous?PMoi,j’aimebienRickieLeeJones,j’adore...MMoi,j’aimebienPJHarvey,etdestrucscommeça.J’écouteplusleschanteusesquisontdifférents,queleschanteusesquisontpareilles.PJ’aimebienKateBushaussi.M[enanglais]IloveCatPower!

est-ce que ces éléments ont influencé votre propre style de chanter?MPasforcément,non.PJepensequ’onestinfluencépartout-partoutautourdenous.

a votre avis, comment est-ce que les versions des chansons de nouvelle vague ont donné quelque chose de plus aux émotions dans les chansons originales, ou changé les sentiments des chansons originales?PJepensequeMarcvoulaitpasserlemessagedesmotsdansleschansons,etlesmélodiesaussi.Maisonentendaussipourquoileschansonsétaientécrit,etlestextesderrièresquisonttrèsimportant.MOui,ilyadeschansonscomme“InaMannerofSpeaking,”oumême“BelaLugosi,”oùonnecomprenaitpastrèsbiennilesmots,nilamélodie,maisonpeutlerefairepourprouverquec’estunevraiejoliechanson,quandonchanteavecplusdedelicatesse...etjepensequepourNouvelleVague,c’estçaquimarche,quoi.

Quel est le chanson préféré que vous avez chanté pour nouvelle vague, et pourquoi?PMoi,j’aimebien“BelaLugosi”parcequec’estthéâtral,etçamevabien(ellerit).MEtmoi,mapréferé,c’est“SweetandTenderHooligans”parcequej’adoreMorrisey,etj’adorelesparolesdecettechanson...(enanglais):Ilovethat.Andthemelodyissonice...

The Essential Discography of Nouvelle VaguenoUvelle vagUe releases Title Label YearThe Killing Moon 10” Peacefrog 2006Ever Fallen In Love 10” Peacefrog 2006Band à Part Peacefrog/Luaka Bop 2006Nouvelle Vague Peacefrog/Luaka Bop 2004EP 2 10” Peacefrog 2004EP 1 10” Peacefrog 2004

when did you start singing with nouvelle vague?MIstartedsingingwithNouvelleVagueonthefirstalbum,andthatwastwoandahalfyearsagonow.PFormeit’sbeenayearandahalf,Ithink.IstartedsingingwithNouvelleVagueinMarchof2004whentheywerelookingforsingersforthesecondalbum[Bande à Part].

who were the most influential female singers for you?PIadoreRickiLeeJones...MI’mintoPJHarveyandthingslikethat.Itendtolistenmoretosingerswhoareuniqueandstandoutthansingerswhoallsoundthesame.PIlikeKateBushalot,too.M[inEnglish]IloveCatPower!

did these influences have an impact on your own singing at all?MNotnecessarily,no...PIthinkthatbothofushavebeeninfluencedbymanythings-byeverythingaroundus.

how do you think the emotions of the original songs are altered or enhanced by nouvelle vague’s interpretations?PIthinkthatMarc[NouvelleVague’smainproducer]wantedtopassthemessageofthewordsfromtheoriginalsongs,alongwiththemelodies.Butyoucanalsohearwhythesongswerewrittenandwhat’sbehindthetexts,whichisveryimportant.MYes,therearesongslike“InaMannerofSpeaking”oreven“BelaLugosi,”wherewemaynothavecompletelyunderstoodthewordsorthemelodyintheoriginalversion;butwhenthesesongsaresunginadifferentwayitshowsthattheycanbeveryprettysongs,too.AndIthinkthatforNouvelleVague,that’swhatreallyworks.

what is your favorite track you’ve sung for nouvelle vague and why?PFormeit’s“BelaLugosi”becauseit’sverytheatricalanddramatic,andthatsuitsmewell[laughs].MMyfavoriteis“SweetandTenderHooligans”becauseIloveMorrisey,andIlikethelyricsofthesong.[inEnglish]Ilovethat.Andthemelodyissonice...

Bossa Nova New Wave Girls:The Who, What, When, Where, How and Why of Nouvelle Vague’s Chanteusesinterview sarah Kielty photo Patrick Posta

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The Essential Discography of Carlos NiñoThe liFe ForCe Trio releasesTitle Label YearLiving Room Plug Research 2006Space Flowers 12” Plug Research 2006Equipoise 12” Ninja Tune 2005Trio Equipoise 12” Ninja Tune 2005Love Is the Answer Ninja Tune 2005

ammonConTaCT releasesTitle Label YearWith Voices Ninja Tune 2006New Birth Ninja Tune 2005One in an Infinity of Ways Plug Research/Ninja Tune 2004Beat Tape Remixes EP Soul Jazz 2004Brothers from Another EP Plug Research 2004Sounds Like Everything Plug Research 2003Beat Tape Personalities EP Soul Jazz 2003Beats from Bina’s House 12” Eastern Developments 2002

BUild an ark releasesTitle Label YearAcknowlegement for J.C. 10” Kindred Spirits 2006Remixes 12” Plug Research 2005You’ve Gotta Have Freedom P-Vine 2004Peace with Every Step Plug Research/Kindred Spirits 2004 Peace with Every Step 12” Plug Research/Kindred Spirits 2004

hU viBraTional releasesTitle Label YearBoonghee Music 3: Universal Mother Soul Jazz 2006Boonghee Music 2: Beautiful Soul Jazz 2004Remixes 12” Soul Jazz 2004Boonghee Music 1 12” Eastern Developments 2002

An Easy Labor of LovetextJon wesley photo michal Kicior

when it comes to creating fulfilling, meaningful, soul-powering music, someone like Los angeles’ Carlos niño could teach us a thing or two about what is hard or what is not.

“Nothingiseverdifficult,”hestateswhilediscussinghisexperienceworkingwiththetalentedartiststhatmakeupTheLifeForceTrio,Ammoncontactandmanyofhisnumerousmusicalprojects.Ofcoursehe’scommentingthatworkingwiththesefamiliarpersonages,andtheiramicablecreativeprocessinmakinganalbumsuchasTheLifeForce’slatestLP(The Living Room)isnotdifficult.Butthereisprobablymoremeaninginthatstatementthanjustamereworkingmethod.ThingsthatyouandImayfindtobeextremelydifficult—suchaschoppingupbeatsonanMPCordeftlyfingeringthekeysofaubiquitousRhodes—seemtocomequitenaturallytoNiñoandtherestofhismusicalfamiliars.TheyworktogetherinaseeminglyeffortlessfashiononmanyofNiño’sexpansiveanddiverselaborsoflove.

SowhoarethecohortsinvolvedinTheLifeForceTrio?Niñobreaksitdown:“TheLifeForceTriois[meand]DexterStoryasaproductionandwritingteam,butit’salsoacollective.Andres[Renteria]andGaby[Hernandez]aremusicalpartnersandfrequentcollaboratorsofminewith[theprojects]AmmoncontactandBuildanArk.MiguelAtwood-FergusonisthemainpersonImakemusicwith.Fabian[Ammon]isalwaysaroundmakingmusicandsoIbringhiminoneverythingIcan,andDwight[Trible],Derf[Reklaw]andJesse[Sharps]allcameinforacouplesongs.Allofthesefolksareclosemusicalfamily.”Throwinproductionassistancefromfellowbeatmakers(andDublabrats)NobodyandtheloveableDaedelusandyouhavequiteafamilysittingatthedinnertable.

Likemanyproducers,Niñoisinvolvedbehindthescenes,directingtheoutputofhisfriendsandfamily,craftingMPCsoundscapesandwritingsongs.Unlikemanyofthe(mainstream)producersoutthere,he’snotdoingitforworldlyriches.“Itrytostayawayfrommoney,”hesayswhilediscussingtheco-optionofgreedy,youngurbanprofessionalsinLosAngeles.“Ifyougivemesome,I’lljustbuyakeyboardorgoonatrip,ortakemyfriendsandfamilytodinner,ordonateittoTheSouthCentralFarmers.”(SouthCentralFarmersisanL.A.-basedfarmcommunitywhoconstantlyhavetofightforthechancetosimply (cont’d on pg 94)

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Essential Discography of Aloe Blacc aloe BlaCC releases Title Label YearShine Through Stones Throw 2006Dance for Life / Patria Mia 12” Stones Throw 2006You Should Know 7” Stones Throw 2006Want Me / Arrive 12” Stones Throw 2005Ordinary People 12” Underclover 2005La La La / Ooh Wahh (Nathaniel) E.A.R. 2005Me & My Music EP Self-Released 2004Personal Business EP Self-Released 2003

emanon releases (aloe BlaCC & exile)Title Label YearThe Waiting Room Shaman Works 2005Count Your Blessings 12” Shaman Works 2005More than You Know 12” Shaman Works 2005Emcees Like Me 12” Single Tone 2003Anon & On Ill Boogie 2002What You Live For 12” Ill Boogie 2002Imagine / Yes You Should Know 7” Sub-Level Epidemic 2002Four Track Files Self-Released 2002Sometimes / Detour 12” Self-Released 2001Steps through Time: 1997-2000 Self-Released 2001Emanon / The Price 7” Self-Released 2000Atomic Zen / The A-List 12” Rocketship 1999Move Step 12” Self-Released 1999Acid-9 EP Self-Released 1998P.S.I. / Outside Looking In / Lambland 12” Rocketship 1998Imaginary Friends Self-Released 1996

aloe BlaCC appearanCes Song (Artist or Album) Label YearParty of Two (Blu) Sound In Color 2006Spittin’ Image (Exile) Sound In Color 2006Tell You (Exile) Sound In Color 2006Keep Tryin’ (Oh No) Stones Throw 2006Second Chance (Oh No) Stones Throw 2006Watching You (Roc ‘C’) Stones Throw 2006My Life (Roc ‘C’) Stones Throw 2006Liquid Love [Latin Mix] (Roy Ayers) Rapster 2006Bailar (J. Rawls) Polar Entertainment 2005The Real War (The Blacklover88rs) Black Love Music 2005There’s A War Going On (The Family Files, Vol. 2) Shaman Works 2005Me (The Family Files, Vol. 2) Shaman Works 2005Watchu Gon Do? (The Family Files, Vol. 2) Shaman Works 2005Oopdeewopdee [Remix] (NSS16) Casablanca Music 2004L.O.V.E. (Kazi) B9000 2004Professional Tactics (Blame One) Access Hip-Hop 2004Risin’ (Josh One) Myutopia 2004Getaway (Oh No) Stones Throw 2004Keep It Live (Steve Cole) Warner 2003Get Down Tonight (Poet Name Life) Immergent 2003Not the One (We Came from Beyond, Vol. 2) Razor & Tie 2003What’s Real (Jazz Liberatorz) Kif 2003

emanon appearanCes Song (Artist or Album) Label YearDown for The Count (The Family Files, Vol. 2) Shaman Works 2005Get Down (The Family Files, Vol. 2) Shaman Works 2005And Ya Don’t Stop (The Family Files, Vol. 2) Shaman Works 2005Motivation (The Family Files, Vol. 2) Shaman Works 2005I Remember (The Family Files, Vol. 2) Shaman Works 2005 Feel the Sound (Sol Uprising) Shaman Works 2004Due Credit (Mum’s the Word) B9000 2003All Is Nothing (Mum’s the Word) B9000 2003Blind Love (DJ Damage) ULM 2003Bubblin’ Bubblin’ (Pina Colada) (Rahzel) MCA 1999

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The Coolin’ Croonertext david Fisherphotos theo Jemison

if aloe Blacc was incarnated in any other physical form, he says he would be a tree. but he wasn’t. he was born a musician. Classically trained in trumpet since the third grade and experienced with the piano

andguitar,Aloemakesmusic,justmusic.Hecallsmuchofit“alternative,”notintheKROQsense,butratherasatermdenotingnoeasycategorizationorgenreassignment.Hecraftstunesinthecornerofhisbedroomamongstheapsoffreet-shirts,oldbills,booksfromcollegeandhalf-(un)packedsuitcases.Hisrecordingbooth:aclothpartitionedclosetwithamicthatdanglesalongsideovercoatsandbutton-ups.Notthemostelaboratetoolsofthetrade,buthissoundisonethatboomsouttheboxwellbeyonditshumbleorigins.

AsmoothandcollectedRenaissancemanofsorts,AloebeganasonehalfoftheL.A.undergroundtandemEmanon.AlongwithproducerExile,thetwocre-atedintrospectivehip-hopwithintellectuallydrivenrhymes,culledatatimewhencreativitywasbuddingintheindiesectoroftherapgame.InfluencedbyahealthydietofFreestyleFellowship,Hiero,HoboJunction,Digable,DeLa,Tribeandthelike,Aloeandhiscohorts(DJDrez,June22,ZaireBlack,Exile)vowedtoventurefromtheirsuburbanSoCaliupbringingtoL.A.tocarveouttheirowncubbyintheeverexpandingmid‘90sWestCoastscene.

“AlotoftheearlystuffwasveryintrospectivebecauseoftheliteratureIwasreadinginschool.Mymind-stateatthetimewasreallywideopen.Iwasexplor-ingdifferentreligiousbeliefsandunderstandingsabouttheworld…readingThoreauandEmersonandlearningaboutmodernism,post-modernism,existen-tialismandalsopayingattentiontoconspiracytheoriesaboutworldgovernment[and]secretsocieties.Allofthatstuffwasinthelyricsbackthen,”Aloerecollects.HenryDavidThoreauasanintegralinfluence?Blaccwassurelyonsomeotherish.OnoneofhisfirstEPs“Acid-9”hequarrelswithahypotheticalrecordexecwhoencouragesAloeto“holdaglockorchewonastickoratleastrollupapant-legorsomethin’.”Nosuchconformityorcompromisetobefound.“Igottabeme,”Aloeretorts.

Andthathedoes.AfteraslewofsuccessfulreleaseswithEmanon,Aloeforgedanaturalprogressionintohisownsolocreations.Embracinghisinclina-tiontosing,Mr.Blaccbegancraftingsongsforpersonalenjoyment,shiftingthestressfromhislyricstodelvemoredeeplyintosalientconcepts.Regard-inghisdeparturefromstream-of-consciousnessstylewritingAloereflects,

“CollegemademewanttobemorespecificwhenIwrotesongs,mademewanttocompleteastory.NowI’mtryingtobringforthandcompleteideasandthoughts.Sobytheendofthesongyoucouldtellsomebodywhatitwasabout,ratherthanbeinglike,‘Itwasgreatbut,uh,Ididn’tknowwhathewastalkingabout.’”

Shine Through,Blacc’slatestfulllengtheffortoffStonesThrow,marksapointofemergenceforAloeasanartist.Veeringoffthestraightforwardavenueofhiship-hoproots,Blacchasfoundspacetopayhomagetothemyriadofinfluencesthathaveguidedhispreviouseffortswithouthidingbehindamaskofposturingbravado.Aloehasnoproblemwearinghisinspirationsonhissleeve,whichrangefromCatStevenstoStevieWonder,JoniMitchelltoBillWithers,andEltonJohntoDonnyHathaway.Recognizingthesample-basednatureofhip-hop,Aloefounditpropertoallowthosefundamentalformsofjazz,funk,soul,reggae,andfolktocometotheforefrontofhistracks,whileacknowledgingthateverythinghedoes

isstillregulatedbythehip-hopaesthetic.“I’mpayinghomagetowherealotofBlackmusiccomesfrom…evenifIdoabossanovacrooningjoint,myunder-standingofitisinformedbyhip-hop.”

ALatinflavorisheavilypervasivethroughoutShine.RaisedbyPanama-nianparents,AloegrewupinaSpanish-speakinghousewheresalsa,meringue,calypso,dancehall,reggaeandothermusicfromtheCaribbeanIslandsandCentral/SouthAmericawereinconstantrotation.“Igrewtoloveit,butInoticedthatinmyearlyyearsIneverincorporateditintomymusic.ThemoreIplayedtrumpetonmysongs,[thatelement]startedtoplayinwithit.”Thealbum,ripewithfolktales,affirmationsandgoodol’booty-movers,isatestamenttoAloe’sfree-spiritedloveforlife.Hismusicpulseswithavitalityandexuberancethatheaccreditstojustlettinghis“soulshinethrough.”

Thetitletrackofthealbumactuallyaroseonedaywhenhereturnedhometofindahousemateinthemidstofanimpromptujam-outontheguitarinthelivingroom.“IstartedsingingandwentinmyroomandpressedrecordontheProTools,hopingtopickupwhatwasgoingonintheotherroomandthat’swhatendeduponthealbum,Ididn’taddoreditanything.Itwasacomplete,spontaneous,effortlessspillofsoul,”Aloerecounts.

Theneo-soulstylingsofShine ThroughhavegarneredAloeattentionfromBET,The Washington Post,andNPRwithloftycomparisonstoJohnLegend,R.KellyandKanye,butitwasStonesThrow’sPeanutButterWolfwhofirsthoppedontheone-man-band’swagon.Aloefirstconnectedwiththecampwhenhestowed-awayonaLootpacktourthroughEurope,fillingMadlib’svacantspotwhilehewasbusyrefreakingtheBlueNoteplayers.Aftersparkingastrongcon-nectionwithOhNo,Aloe’sdemosfoundtheirwayintotheStonesThrowofficespeakersandPBeventuallysatdownwiththesongwritertoselectthecreamofthecropintheearlystagesofthealbum’sfruition.

“Mysisterwasthesinger,sheusedtoclownmewhenItriedto.Ineverreallyconsideredmyselfasinger.Istillreallydon’t.IjustfeellikeIcanwriteagoodsongandcarryanoteonceinawhile,”Aloemodestlyadmits.“AlotofthesongsIwritearen’treallyforme;they’rebettersuitedforsomeoneelse’svoice.Soformetodoitisastretch.Butuntilpeopleareholleringatmetogetjoints,I’mgonnajustgoaheadandpresentthem.Shine Throughinalotofwaysisre-allyjustademotomycontemporaries,justlettingthemknowthatIwritesongstoo.Andifyou’relookingforasong…Igotplenty.”Infact,dudetoutsthathe’sgot400of‘emwaitinginthewings,buttimeconstraintshavekeptthemfromevolvingfromthepagetotheproductionbooth.

Blaccstaysonthegrindlikecoffeebeans,jugglinghisowntourscheduling,in-stores,coordinatingpromotionefforts,licensing,loadsoftravelandaweeklyeventheemceesinHollywood.“Thepracticalityoflifehaskeptmymusicverypracticalaswell,”musicwhichmaystillbeunderground,butnotbychoice.Aloeattributesittoexposure,“Mymusicisforeverybody.Inessence,Ifeellikeit’sbiggerthanwhereitis.Iwanttoeventuallyhaveallmymusicbefree.Makeitandgiveitawayandhavethemoneycomefromelsewhere.Ifeellikemusicshouldbefree.”

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Essential Discography of Kid Koalakid koala lps and mixTapesTitle Label YearYour Mom’s Favorite DJ Ninja Tune 2006 Short Attention Span Audio Theatre Tour (CD/DVD) Ninja Tune 2005 Some of My Best Friends Are DJ’s Ninja Tune 2003 Nufonia Must Fall Ninja Tune 2003 Carpal Tunnel Syndrome Ninja Tune 2000Scratchcratchratchatch (Cassette) Not On Label 1996

kid koala singlesTitle Label YearBasin Street Blues 7” Ninja Tune 2003 Scratchhappyland 10” Ninja Tune 2000Emperors Main Course in Cantonese 10” Ninja Tune 2000

kid koala remixesSong (Original Artist) Label YearAn Elegy (The Free Design) Light in the Attic 2005Bamboo Flute Blues (Yusef Lateef) Verve 2005Semi Sweet (Lederhosen Lucil) Supermuscle 2005The Gonk (The Noveltones) Universal Island 2004Check Fraud (Fog) Ninja Tune 2002Third World Lover (Bombay 2) Motel 2001Vad Forgive Me (DJ Vadim) Ninjat Tune 1998More Beats & Pieces (Coldcut) Ninja Tune 1997

kid koala sCraTCh appearanCesSong (Artist) Label YearFive Seconds (Peeping Tom) Ipecac/Anticon 2006Mojo (Peeping Tom) Ipecac/Anticon 2006Caipirinha (Peeping Tom) Ipecac/Anticon 2006Celebrity Death Match (Peeping Tom) Ipecac/Anticon 2006How U Feelin? (Peeping Tom) Ipecac/Anticon 2006Breakdown (Handsome Boy Modeling School) Elektra 2004I’ve Been Thinking (Handsome Boy Modeling School) Elektra 2004The Hours (Handsome Boy Modeling School) Elektra 2004A Day in the Life (Handsome Boy Modeling School) Elektra 2004Gorillaz on My Mind (Gorillaz & Redman) Immortal 2002Everyone Has a Summer (Lovage) 75 Ark 2001Koala’s Lament (Lovage) 75 Ark 2001Push the Button (Mark on the Mic) Toy’s Factory 1998Tale of Five Cities (Peanut Butter Wolf) Stones Throw 1998Rock n’ Roll (Handsome Boy Modeling School) Tommy Boy 1999

kid koala prodUCTion appearanCesSong (Album) Label Year Skanky Panky (Undercover Cuts 10) Undercover 2004Untitled w/ Amon Tobin (Collaborations EP) Ninja Tune 2003Carpal Tunnel Syndrome w/ Money Mark (Funkungfusion) Ninja Tune 1998Static’s Waltz (Return of the D.J. Vol. II) Bomp Hip-Hop 1997

delTron 3030 releases(dan The aUTomaTor, del Tha FUnkee homosapien & kid koala)Title Label YearThe Instrumentals 75 Ark 2001Positive Contact 12” 74 Ark 2001Virus 12” 75 Ark 2000Deltron 3030 75 Ark 2000

Heoftenspeaksofbeingin“thezone.”It’sclearthathe’sprogressedfarbeyondthecompetitive,battleaspectofDJingandhassethissightsfarintothefuturepossibilitiesofturntablism.CitingLouisArmstrong,MontyPython,JimHensonandtheCoenbrothersasmajorinfluences,heremainsexcitedandhumbledbythejoysofboththearchaeologicalandanthropologicalaspectsofdiggingupandre-appropriatingoldrecords.Heisalsoconfidentastothepo-tentialfordevelopingoftheartofvinylbricolage,particularlyintermsofmelodyabovetechnicalshowmanship.

It’sthattrueDJaestheticofexperimentationandoriginalexpressionthatunderpinsallofhisdiverseprojects.“Youtakeaformatandyoutrytosqueezesomethingnewoutofit,ortwirlyourownpersonalityintoitsomehow,”heexplains.“Yougivemehalfanhourandaboxofrecords,andI’mgoingtoseeeverywhereitcango,andtrytomakeitallmakesense,withoutitbeingapain-fulexperience.”Painful?Neverthat,KK.Turntablismhasneverbeensodelightful,intriguing,orjustplainfun.

KidKoalachucklesalot,butyoucantellhe’sonesharpcookiecutter.Astheintrotohisnewalbumstates,“He’sidioticandyetIfindhimcompletelycharming.”SomeDJsbringheat;theKidhasfront,backandsideburnersallbubblingawayinhiscreativekitchen,andit’snotjusteucalyptushe’scookingup.Hisnewhalf-houralbum/mixtape,Your Mom’s Favorite DJ,isavirtuosodemonstrationbyperhapstheworld’smostinnovativeandgenuinelylistenableturntableartisan,repletewiththeastutecheek,goofyesotericaanddeftfinessewehavecometoexpectfromthemild-manneredmarsupial.There’sdopebeats,there’ssweetblues,there’shardrock,there’swhimsicalragtime,andthere’sallmannerofdaftbutappositespokensamples,allmasterfullylayeredandsegued.Plussomebonuscrickets.

ButfromKidKoala,yougetthesensethatit’sacaseofdoitwell,treatitasanongoingexperiment,andforayonintothefrontier.He’salreadytalkingaboutthefive-monthchunksthathe’ssetasideafterthealbum’spromotionaltourtocompleteabook/CD,about(whatelse?)aclarinet-playingmosquitowhowinsatalentcontestandjourneystothebigcitytomeethisartichokehero.Forthis,he’sworkingagainwithLouisaSchabas,whoinkedthesell-outwordlessgraphicnovelNufonia Must Fall,butthistimethecharactersarepainstakinglymodeledandpho-tographedforeachpanel.It’sintensivework,butgreatfun.“Welaughalot,”hetellsme.“Howcanyounotwhenyou’remakingdungareesforcobsofcorn?”

Inasomewhatsimilarvein,KidKoalaisalsoplanningamusicalpuppetshowwithsomeofhissetdesignerfriendsfromhishometownMontreal.HeandhisDJchumswillmanaturntableorchestrapittoprovidepiano,bassanddrumsaccompanimenttoataleaboutarobotwhoworksinacookiefactory.Thewayhedescribesit,itallsoundssostraightforwardandnormal.

Thenthere’scollaborativeworkwithDelandDantheAutomatorforanewDel-tronproject.The Second Eventpaintsapictureofacivilisationwhosetechnologicalprimehascrumbledintoapost-apocalypticwasteland,leavingsurvivorstowanderthroughtherubble,beatingeachotherupforcansofbeans.Thoughit’sinanearlystageofdevelopment,KidKoalareckonsit’sheavier-soundingthanDeltron3030’sdebut,thoughmoreup-tempoinplaces,and“stillverycinematic.”

Anddon’tletthenewSlewprojectpassunderyourradarwhenitcomesoutnextyear.Thoughdetailsofthatremainmysterious,thegroupconsistsofKidKoalaandtwootherDJsbasedinSeattle.Theteaserpitchisthatthey’rethe

“Nirvanaofturntablism,”sounding“somewherebetweenBlackSabbathandtheBombSquad,”andalldoneusingstrictlyvinyl.Ifthatstretchesyourimaginationtoincredulity,checkoutthe‘test’tracksonthelatestalbum.

Allthisfromanexceptionallymodestandseeminglyverycalm-centredindividual.TheKidseemsalmostbashfulwhenItrytotellhimhowpopularhe’sbecomeoverintheU.K.,enjoyingacertaincachetamongfemalesinparticular.

“Idon’treallythinkrockstarDJsexist,”hereckons,“becausetheguysinhighschoolthathadtheacousticguitarandhadthecircleofgirlsswooningoverthematlunchtime,that’snotwhoIwashangingoutwith;IwasintheA/Vroomtryingtofigureouthowthismachineworks.Idon’tcarehowcoolyouthinkyouare,ifyou’reaDJ,yourcultureisshy.It’smeditative;onceyougetdeepintoscratchingandyou’respendingthatmuchtimeadaydoingit,youfindsome-thingaboutitthat’sactuallyquitesensitive,moreinward.Eventhoughmusicallywhatmightbecomingoutiscrazyviolenttotheears,thezonethatyouhavetobeintopullthatoffisquitetranquil.”

“We laugh a lot.how can you not when you’remaking dungarees for cobs of corn?”

text ewan huzarmiphoto sekond hand Project

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Massive Attack 100th Window World Tour 2003

Kabaret’s Prophecy Permanent Installation London 2005

V&A Museum Transvision Installation 2006

Interactive Installation Prototype 2006

UVA Live Performance Institute of Contemporary Arts London 2005

Kylie Minogue I Belive In You Music Promo 2004

Light 3000 Sound Responsive Light Sculpture 2005 Travis World Tour 2003

In a Space Outta Sight

UniTed visUal arTisTs Interviewmiguel vegaimagesCourtesy of united visual artists

london-based, United Visual artists, are a collective that found an artistic expression channel through mediums such as Led, traditional lighting, and projection technologies. using them as

sculpturalelementsandintegratingthemwithcustomsoftwareengineering,theydeliverreal-time,immersiveandresponsiveexperiencesthatrangefrominteractiveinstallationsfornightclubs,galleriesandmuseumstoartdirectionandproductionofstagevisuals.TheyhaveworkedformusictalentsuchasU2,KyleMinogue,BasementJaxx,andMassiveAttack.UVA’sInteractionDesigner,JoelGethinLewiswaskindenoughtodonateabitofhistimeforthisinterview.

In a Space Outta Sight

UniTed visUal arTisTs Interviewmiguel vegaimagesCourtesy of united visual artists

tell me about the history behind uva.MattandChrisformedthecompanytopitchfortheMassiveAttack100th Win-dowtourinlate2002.Havingwonthejob,theybroughtinAshasafreelancertowritethecustomsoftwarethatwasneeded.ThesuccessofthisapproachledAshtobecomethedirectorofUVAin2004.Althougheachofusisflexible,inpracticeChrishandlesrunningthebusiness,managingprojectsandproductionissues;Matthandlesartdirection,artcontentcreation;andAshisinchargeofwritingthesoftware.In2004theytookonAnnikaStarkasaproductionassistant,althoughherresponsibilitieshavegrownsincethen.

In2005Ijoined,freshfromastintatFabrica.AswellasresearchingnewtechnologiesandinterfacesandcreatingtheUVAwebsite,thissummerI’llbeoutontheroadwithMassiveAttackexperiencingthejoyoftourbuses.Thisyearwe’vealsotakenontwotalentedyoungmotiongraphicsartists-JamesMedcraft,whoweencounteredduringourpreparationfortheU2tour,andDaveFerner.Finally,we’vejusttakenonDaveGreen,anexperiencedC++andvisualscoder,tohelptakeoursoftwaretothenextlevel.

how did you get involved with vJing?IstartedVJ’ingsoonafterstartingatUVA,doingseveralnightsamonthattheKabaretclub.BeforethatIhadbeendoingmoreDJingthanVJing.IhaveneverreallyconsideredmyselfaVJ...orUVAasVJ’s.

what kind of music do you spin?Ohallkindsofthings!GenerallyspeakingIlikethingsIcanlosemyselfto,oronesthathaveaspecialassociationforwhateverreason.Ipickedsongsforemo-tionalimpactratherthangenre.Ihadashowoncollegeradioforawhile,andhavealwaysdonetheoddDJgighereandthere.

the term vJ might be a bit small when you take in consideration uva’s in-volvement in art direction, production design and even software engineer-ing. do you feel more identified with the term “visual artist”?Definitely.Ihaveaveryvisualimagination,butnotonethatIfindeasytoexplain.Thechallenge—ortherewardofwhatIdo—isfindingotherpeoplesreactionstomyideasandwork.Iamveryinterestedinhowmemoryorcontextcanaddorsubtracttowork.Alsowhathappenswhensomeoneiswithoutmemoryorcon-text,purelyinthemoment.

i was blown away by your work with massive attack on their 2003 tour. Can you tell me about the visual concept behind their most recent tour? is there a specific process you guys followed in order to come up with it? WereallywantedtoplaywiththeideaofwhataLEDscreencouldbe,butstillkeepitsimpleenoughtodoafestivaltour,withthepracticalitiesofbeingabletomoveitonandoffstagequickly.Thebrakingwavelookwasonethatwewereverycurioustosee.

does the content of the show suffer variations on different geographic stops of the tour?Thecontentchangesforeverydate.Weareconstantlyaddingtotheshow,writ-ingnewsoftwareandaddinglocalizeddata.AudioreactivityisabigpartofthistourandIamkeentocontinuedevelopmentthroughouttherun.Insomeofthesmallerstages,wetakeoutsidebeamsasnecessaryonthephysicalside.

what is d3 and how does it work?I’mnotallowedtotellyouhowitworks!D3isDragonfly3,ourcustomsoftware.ItwaswrittenbyAsh,withsomeextraontopfromme.It’sthesystemthatweusetodriveallourcommercialandpersonalprojects.Itallowsavarietyofinputsources—camera,beat,audio,3Dvideo,websource,midisignal—tooutputtoavarietyofoutputssuchasLED,conventionallighting,conventionalprojectors/screens,audio,andmidi.

if you could choose the most rewarding project you have worked on so far, personal or commercial. which one would it be and why?TheVictoria&AlbertMuseumdefinitely.Itwassuchasimpleidea,thatdaredtobealittlebitdifferent.Itwasjustamazingtoseetheideaexecutedsoquicklyandsosimilarlytotheoriginalconcept.

do you mind telling me a little bit about the concept behind it?WewereinvitedbytheV&A,alongwithseveralotherinteractivegroupstocreateinstallationsintheV&Agalleries.Wedidn’twanttocompetewiththeamazingworkinthegalleries,sowedecidedtousethegarden.Themonolithjustseemedlikesuchaninterestingcontrasttothedesignoftherestofthespace.Wecreatedacamerasystemfromwhichwecouldtellthepositionoftheclosestvisitor–andmovedupanddownatimelinebasedonthemovementofthatperson.Thetime-linewasloadedwithvisualandaudiothatwastriggeredbythemovements.

where do you see visual performance going 10 years from now? Increasinglyintoinvisibleinterfaces,oronesthataredriveninmoreartisticratherthandigitalorbinaryfashions.Gesturalinterfaces,multitouchsensing,3Dsensing.Thepossibilitiesofmasscollaborationarealsofascinating.

any advice for the newcomers? Justfindsomethingyoulikedoing,andkeepdoingit.Trendsaremeaningless.Makemistakes,butquickly.Enjoyit.

For more info on UVA, click over to www.uva.co.ukMiguel Vega is a graphic designer / live video artist and can be found performing at numerous events in Southern California. For more info, visit: www.shikakufx.com

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Massive Attack 100th Window World Tour 2003

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when DJ Shadow released his critically acclaimed Endtroducing... album a decade ago, it wasn’t intended as a style-defining mechanism, though it thrusted him into something of a pigeon-

holethathe’stiredofbeingin.HisnewalbumThe Outsiderisadirectresponsetothosewhowould—iftheycould—puppeteerhimintomakingEndtroducing...againandagainandagain.Butit’salsoanhonestrepresentationofwhereShadowisatmusicallyandwhatinspireshimatthispointintime.“Withthisalbum,”hesays,“whatitwasallaboutformewasobliteratingallofthelittleboxesthatweashumansconstructforeachother.Asanartist,rightlyorwrongly,IfeltlikepeopleweretryingtodefinewhoIwas.Ifeellikealotofpeoplewerefetishizingthissortofimageofmelivinginthebasementofsomerecordstorewithahoodieon.ThatisapartofwhoIam,it’sjustnotallofwhoIam.ButIthinkalotofpeoplelatchedontothatandidentifiedwithit,andromanticizedittothepointwherepeoplewerereallyresistinganythingelseIhadtosay.ItwasgettingtothepointwhereIfeltlikepeopleweretryingtoaggressivelypartakeinmymusic-making,likemakingarecordbycommittee.[Therewas]thisreallypassionateon-linecommunitythatseemedtobeveryopinionatedaboutwhatIdid.AnditsuddenlydawnedonmethatthisisnothowIwanttowork.IdecidedIwasn’tgoingtotrytopleasethesepeoplebecausesomeofthemwouldjustkeepchangingtheirmindsanyway.”

Enter:The Outsider.Notonlyisitadramaticdeparturefromthesoundthatmadehimfamousallthoseyearsago,butit’salsoextremelydiverseinthesty-listicterrainitexplores.The Outsiderincludesacoupleof‘hyphy’collaborationsfeaturingtheartistsattheepicenterofthatBay-areamovement,KeakDaSneak,TurfTalk,AnimaniacsandFederation.Hyphyisaprettyroughstyle,borderlinehardcore,andprobablywon’tbeeasilydigestedbymanyofthebloggershespeaksof,butthat’sexactlythepoint.It’sthetruthaboutwhathe’sfeelingrightnow,anditdoesn’thavetoproveanythingtoanyone.

Therealwindowintothealbum,conceptuallyspeaking,isthefirstsong(af-terthesci-fimoviestyle“OutsiderIntro”),“ThisTime(I’mGonnaDoItMyWay)”.It’sa40yearoldvocalsamplewithaclassicsoulsound,andservesas“amani-festo,inaway”declaringtheintentionbehindtherecord.“IsortoffeltlikeforthelastfourorfiveyearsthatIhadbeenholdingbackalittlebitfromgoingasfarasIwantedtomusically,”headmits.“Mytasteshadbeenchangingforyears,butIfeltIhadanobligationtomyfans.Butultimately,itwasimpingingmyabilitytofullyvoicemyjoyforwhatIwasbeinginspiredby.AndsoitwasreallyimportanttomethatthisalbumbeaverypurerepresentationofwhatIstandformusicallyrightnow.”

Afterdeliveringarunofrough-and-tumblehip-hoptracks,thealbumswitchesgearscompletely,andgoesintoanassortmentofrockandrollwrappedinhip-hop,anarms-lengthfromalternativepop,withafootfirmlyplantedinrawblues.It’sadiversitythatisquiteuncommonandsomemightconsiderrisky.Butweknowthatifanybodycanpullitoff,it’sShadow.Inkeepingwiththethemeoftherecord,itsstylisticroller-coasterrideisamicrocosmofhisownlisteninghabits.“It’snotunusualformetolistentoafunk45andthenthrowonahyphyrecord,andthenthrowona1982nowaverecord,thenthrowonaKoreantra-ditionalrecord.That’ssimplythewaythatI’vecometodigestmusic,andIdidn’twantthealbumtoshyawayfromthat.”

Thinkingabouthisownsenseofadventure,andwillingnesstogooutonalimbwiththisrecord,itoccurredtoShadowthatthealbumthatplantedtheseedofpossibilityinhimthatrecordslikethiscananddoworkwastheBeastieBoys’Check Your Head.“Whenitcameout,”hereflects,“itstruckmethatitwasreallybravehowtheysaid‘look,wejustturned30,thisiswhoweare.We’retiredofhidingthefactthatwegrewupwithpunk.Welikepunk,yetwelikerap.Butwealsolikefunkandthissortofacidjazzystuff’thattheyweredoingatthetime.Andtheysaid‘we’retiredofsegmentingourselvesforthesakeofeasymarketability.We’rejustgoingtoputitallononerecord,loveitorhateit.’”

The Outsider,despitethefactthatitshrugsoffthebaggageofopinion-atednay-sayers,definitelydoeshaveacertaincommercialappeal,withthe‘rapvideos’andtheexposureofthehyphyphenomenon.ButShadowunashamedly

discusseshisunderstandingoftheneedtobalancebusinessandart.Hecross-referenceshisowncreationswiththeartoffilm,and,tellingly,thedirectorswhoseworkheidentifieswith.DavidLynch,SpikeLeeandWoodyAllenwereallmentioned“becausetheyhaveaveryuniqueindividualstyle.Andthey’renotalwayscommercial.IlikethewaysomeonelikeSpikeLeepickshisprojects.He’lldoadocumentaryaboutNewOrleans,whichheknowsisnotgoingtomakealotofmoney,buttopayforthat,he’lldoamovielikeInside ManwithDenzelWashingtonandJodieFoster.Ithinkaboutitinthesametermsasadirectorthinking‘whoshouldIcast?’IfIdoabeat,andIthinkitcouldbeaprettysolidpopsongifIcanseeitthroughinthatcontext,Idon’tthinkitmakesyouanylessofanartist.AndIdon’tthinkit’sgoingtodomycareeranygoodtofadeintooblivion.Iwantmymusicheardbyeverybody,despitewhatalotofpeoplethink.Ilikebeingonamajorlabel.It’sapainintheass,andyouhavetoworkreallyhardtogetpeopletofocus,butIalsoknowthatit’sthebestwaytogetmymusicdistributed.Soyouhavetocompromisesometimes.I’mjusttryingtomoveupwardsandonwards.”Hegoesontosay,“I’mnottryingtomakelateralmoves.PeoplewhofollowmecloselyknowthatmorethanhalfofwhatIdoisreallyundergroundandneverseesthelightofdayinamainstream,commercialcontext.Iputitinmycontractthat‘you’regonnaletmedowhatIdo,andyou’renotgoingtointerferewithmeputtingoutalittle45with500copies.’Idefinitelydon’tdothemajorityofthingsthatIdoforthemoney,butifIstartgoingbroke,Ihavetolookatsomethingthatwillpopmebackup.I’vebeendoingthislongenoughtoknowwhatI’mcomfortabledoingandwhatI’mnot.”

DJShadowisamysteriousfigureinalotofways,andtheetherealstylepeoplefellinlovewithadecadeagoisagoodrepresentationofthatsideofhim.Butheisalsonotafraidtostepintothelighteveryonceinawhileandexposeanotherpartofhiscomplexpersonality.It’sencouragingtoseesuchhonestyinart,andknowingalittleaboutShadow’shistory,musicallyspeaking,makesthecontextofarecordlikeThe Outsiderthatmuchmoreappealing.Therehaveundoubtedlybeenafewfanswhosepuzzledlookswerefixedontheirfacesbeforetheshrink-wrapevenmadeitintothetrashcan.Butthetruthofthemat-terisit’sthetruththatmatters.ThemusicalcandorofanartistlikeDJShadowiswhathasearnedhimsomuchrespectthroughouttheyearsandgivenhiscareeralongevityseldomenjoyedintheworldofficklemusicfans.

For a comprehensive (pre-hyphy) DJ Shadow discography, please refer to his feature in RE:UP #008 (Autumn 2005).

“a lot of people were fetishizing this sort of image of me living in the basement of some record store with a hoodie on.”

Pigeonhole Thistext adam matar photo dirk Linder

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as i sit in the brooklyn Public Library(Bushwickbranch)racingagainstmyself(andespeciallythesuitsattheol’rag)tomakedeadlineonwhatcouldbeoneofthemostimportantstoriesof

mypartiallyfabledmusicjournalistcareer(fulldisclosure),IfindmyselfhittingthecreativewallharderthanChristopherMeloni,cockedburnerinhand,onthecaseinLaw & Order.Makingthetransitionfrommusictotheatrically=basedwrit-ingisnoeasytaskandchoosingthePrinceton,NJ-born,Brooklyn-bredwriter/director/actorMichaelShowalterwasaconceptualhot-panprovingasmuchawalkintheparkofjournalisticinspirationasitwasafree-fallflailingbattleofthemediums.Showalter,afoundingmemberofcomedygroupThe State(MTV)andStella(ComedyCentral),co-writer/directorofthecampy-horny-camp-comedyWet Hot American Summerandwriter/director/starofcult-oft-romantic-comedyThe Baxterisatthethresholdofalot-fromtheeditingroomtotheclassroom,fromthestagetoyourgirlfriend’sMyspaceTop8.It’sjusthimandtheBiz-asyoucanplainlysee.

Yetthejournalisticchallengesremain.I’musedtorapperstalkingabouthowdopetheyare,producerspontificatingaboutagedprog-rockgroupsnooneknowsof,andgreennew-jacksconvincedonsellingmetheirprojectasthesecondcom-ing.Clearly,I’dhavetoleavemyfaithfulfallbackrap-writingtechniquesatthelibrary’sfrontsteps.See,Showaltercouldn’tbeheraldedforhismarriageofnew-electronicawitholdjazzstandards;Iwouldn’tbepraisinghimforhowheflippedthatVanillaFudgesampleontheoldSP,orforgoingoffthedomepiecefor9hoursstraightatRocktheBellsthissummer.Hewasn’tinacruciallyinnovativerapgroupofthe‘80s,onlytogobaldandreinventhimselfunderanewmonikerandrustingmetalmask.Hecan’tscratcharecordanddeliverone-linersatthesametime.Orcanhe?ForMichaelShowalter(andhisinvaluablecollectionoflike-mind-edfriendsandassociates)mayhavemoreincommonwithsomeofcontemporarymusic’sbrilliantmindsthanyou’dimagine.It’stheplightofthoseindividuals,whoremainjustmomentsaheadofthecurve,minutesbeforetheirtime,andstridesbeyondtheconventionalmarket.Thoughhisinventionsinscenewriting,characterdevelopment,andthemanylevelsofsweetsubtletyinhisthematiccomedymaybeckontheoccasionalrecognitionoftheHollywoodReporters,VillageVoices,orEbertandtheOtherGuys,it’shightimetostickhimuptherenexttotheotherslept-ongreats.TheThurstonMoores,theEgoTrips,DoseOnes,DavidCrosses,(yournamehere),andtheMichaelShowalters.

ThestoryofShowalter’scome-upinthegameisn’ttoodifferentfromanyupstart’stale.Theproximitywaslaid,rankswereworkedup,andaccoladesslowlyandpersistentlyaccumulated.Intheveinofanycollective(hisThe State),Showisanoff-shoot.ThinkGZAtotheWu,BusdrivertoProjectBlowed,ShadowtoQuannum,TheotothecastofThe Cosby Show.Whollyhisownindividual(butanintegralpiecetotheensemble’score),thiszebra’sstripeswerewononthebattlefieldsofcompetitiveimprovisationalcomedy,whilehisintroductiontothemasseswasinthemid‘90sonMTV’sThe State(actuallyjustabitbeforeonthenetwork’sYou Wrote It You Watched Itmini-serieshostedbyJohnStewart)-anim-prov-heavy,ensemblesketchcomedyshow.Showalter’ssemi-professionalseedsweresowninTheNewGroup(TheState’soriginalensembleincarnation)whileattendingNewYorkUniversityinthelate‘80s.

“[I]wenttoNYUlookingforthecomedygroup,where’sthecomedygroup,where’sthecomedygroup?”Showalterrecalls.Auditionsforthelong-runningSterileYakimprovgroupatNYUfoundthebasisforhisforthcomingcrewallunderoneroof.WithinafewyearswhatwouldbeknownasThe Statehadassembled.Thegroupwouldconsistof11membersintotal,includingfounderToddHoloubek,DavidWain,MichaelIanBlack,JoeLoTruglio,KenMarino,KerriKenney,KevinAl-lison,BenGarant,MichaelPatrickJann,TomLennon,andMichaelShowalter.

ShowalterwouldsoontransferdowntoProvidence,RI’sBrownUniversity,

wherehe’dmajorinsemiotics(atNYUhisfocuswas“drinkingcheapbeeratbarsthatservedminorsandtalkingaboutcomedywithTheNewGroup”).Toclarify,semioticsisthestudyofthelanguageofsymbolsandsigns.Elaborating,“Semiot-icsisbasicallyhowsignsandsymbolshavetheirownmeaningtothem,separatetowhattheyactuallymean.So,themosteasyexampleofthisisinaWestern.TheguywearingtheWhitehatisthegoodguyandtheguywearingtheBlackhatisabadguy.TheideathattheWhitehatsymbolizesgoodnessisasemioticidea.”

Brownhasawholecourse-loaddevotedtosemiotics.Showalterdevouredit,alongwithamassoftextonclassiccinematicscreenwriting,formandtheformulasthatcanbeappliedtoit.“Genrestellus,theaudience,howtofeelandwhattothink.Forexample,thegirlintheglassesissexuallyrepressed,theguywhocan’thandlehisboozeisashittyloverorawimp;all[these]visualsignshaveaddedmeaning;Itrytoplaywiththoseexpectationsandinvertthem.I’mveryinterestedinthewayinwhichwe’retaughttothinkacertainthingbasednotonreality,butbasedontheconsistencyofit.Soinmyhumor,thejokeisn’tthejoke,thejokeisintheformofthejoke.We’relaughingattheconventionoftellingjokes.It’stheintonationofapunchlinelike‘I’mthirsty.Give me a glass of water!’Ifyouintoneitlikethatyou’remakingajoke,butyou’renotactuallymak-ingajoke.”Atthispoint,thegoofyvoiceofhis(self-titled)Stellacharactercomesoutforaveryshortmoment.Note:thiswouldbetheonlytimeduringtheinter-viewthathecracksajoke.Conclusively,hestates,“we’retryingtodeconstructonacertainlevel…what’sfunny.”

SpeakingtoShowalter,youcan’thelpbutnoticehisearnestdemeanor.He’snotmuchayuck-yuck,dyingforlaughstypeofguy.Whiletheroleshewritesforhimselfusuallyopposethis,theyareoutlandish,oddandevenseeminglyoutoftouchwiththeirsurroundings.Abranddevelopedthroughtheimprovworld,sarcasmisadeviceusedthroughoutShowalter’swork,tricked-outifyouwillbutneverabused,effortlesslyintertwinedwithhissignaturestraight-guyrealismhardtopegwithjournalisticgeneralizations.

Theguyispurecraft,clearlyfocusedoncreatingqualityart(whetherfromthelowestoflow-browtostroke-your-beardhigh).RecentlyaguestonTomGreen’snewinternettalk-show(shotatGreen’shouseintheHollywoodHills),Showalterwasbeinginterviewedmomentsbeforeastripperwasbroughtinbythecrewtosur-prisethehostforhisbirthday.Storygoesthattheboozestartedflowin’,theclothesstartedgoin’andtherestishotandheavyhistory,ashereflectsonhiswebsite.Showalterremembers,“IwishIcouldbesuperanimatedandcrazyandOnbutalotoftimesIfeelsortofoverwhelmedbythosesituationsandfeellike“seriousguy,”whichI’mnotatall-butit’shardtobefunnyoncue.It’saskillandI’mveryappre-ciativeofthosethatdoitwell.Ithinkit’ssomethingthatyougetbetterat.”

elementary schoolisoutinBushwickandit’shomeworktimeatthelocallibrary.MyconcentrationlevelismorethanputtotaskasIsharemyspacewithatableof6-yearoldsallof

whomclearlyandvocallyhateschool-relatedwork.(Whowouldn’tthough?)Shiftinggears,Ihightailittotheclosesthip-personori-entedcoffeeshop,tofeelclosertomywork(There’softenakindofindescribableinspirationderivedfromwritingtothesoundsofSonicYouthatacoffeeshop,asschmaltzyasitsounds).Tuckedawayintothehood,it’sawelcomebitofunassumingpretense(anoasisintheblocksofwarehousesandabandonedlots).EvenShowalterdoesallhiswritingincoffeeshops;beingsur-roundedbyeverydayNewYorkersistheinspirationforthecaricatureofpersonalitiesinhiswriting.

ThecharacterofElliotShermaninThe Baxteriseverybitthewriterasthatintelligent-but-cluelessmale

The Deconstruction of

text Peter agoston photos todd macintire

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friendofyours.HisIvyLeagueeducationmayhavelandedthebigaccount,butitbarelyprovidesthemuch-neededvalortorealizeheshouldletlovefindhim,ratherthanpounceonit.Showalterreveals,“It’samovieaboutmovies.It’samovieaboutromanticcomedies.It’sparodyinginmanyrespectsromanticcom-edieswhileatthesametimeitisaverypersonalstory;thatcharacterofThe Baxterlivesinsideme.Andeverycharacterinthemovieissomepartofme,Icouldhaveplayedeveryrole.”

WhileoriginallyintendedmoreasameansforShowaltertoparlayhisscreenwritingabilitiesintoaregularworkinggig,he’deventuallyendupintheleadroleofElliotSherman.“Iwrotethemovietosell,”headmits.“IwrotethemoviesoIcouldgetaca-reerinfilmmakingandscreenwritingandwhatendeduphappeningwasIFC[IndependentFilmChannel]Filmscamealongandwantedtomakethemov-ie.”The Baxtertook7monthstotheoutlineandjust2weekstowritethescript,accordingtoShowalter.Shortorlonginyouropinion,thatallhadnoeffectontherelationshiphehadwiththematerialintheprocessofdirectinghimselfinthelead–thetruequandary.“IfIhadadirectororifIdirectedadifferentactor,Iprobablycould’vebroughtaspectsofthatcharacteroutofhimthatIwasn’tabletodobecauseIwasn’tasobjectiveabouttheperformanceassomeonemighthavebeenorasIwouldhavebeenifsomeoneelsewouldbeplayingtheroll.Ihadmytakeanditwasgoingtohavetoworkornot,becausetherewasnoonetheretoadjustit.”

Wet Hot American Summer,notunlikeThe Baxter,didn’thithugeinmain-streammovieAmerica.Butlikesomanyprojectsfocusedmoreondimensionandlessonmass-marketability,thefilmrestsalongsidethegreatunderdogslikeanynumberofWoodyAllenromance-basedcomediesorsimilarcontemporarypieceslikeThe Squid & the WaleorThumbsucker.

Nottodwellinoneplace,afterThe Baxter,ShowalterjoinedhistrioStella(sharedwithStatealumDavidWainandMichaelIanBlackwhobothalsoactedinThe Baxter)toproducea10episodeseasonforComedyCentralinthesum-merof2005.Whileitwasmetwiththeusualcult-following,thatpraisedidn’tprovidevalidationenoughforthenetworktokeepthemonpasttheirfirstsea-son.Whatwasonceaneo-Laurel&HardyliveshowbredandbasedatthenowdefunctFezCaféinManhattanisnowcontainedinaDVDcollectionofsomeoftoday’sbravestsketchcomedyaround.TheStellasessionswereShowalterandhiscrewattheirmostextreme–truedeconstructioncomedy.Layeringconventionalcurrent-culturalreferencesatopeachotherwithnoregardforexplanation-orreason,forthatmatter.Fromcultivatingtheirfaux-NYCapartmentintoagarden(andsubsequentlyover-harvesting,creatingadroughtandlosingtheirlease)tocreating3competingcoffee-housesbornoutoftheboredomofloafingintheirneighborhoodroaster.Showaltersumsitup:“It’sacraft,likecarpentryorcabinetmaking.90%ofanygoodscreenwriterisacraftsman.TheylearnhowtodoitandI’mafirmbelieverthatinordertotrulyevolveasawriteryouhavetoknowyourcraft,andthenyoucanbreaktherulesofyourcraft.”

it had been about 3 yearsofnonstopworkforShowalterbythesummerof2005.FromThe BaxterthroughStellaandhewasreadyforachangeofpace.Anyonewho’sworkedona

filmortelevisionsetknowsthatitcanbeall-consuming.5:00AMcalltimesbecomethenormand15-hourworkdaysmeltintooneanotherinasludgeofcigarette-and-coffee-assistedsuicide.Ashiscreativemomentumshifted,Showalterturnedtomusicandwritingashispro-ductiverefuge(“Ididallkindsoflittlestufflikethattogetawayfromthatlevelofintensity”),andforastintinNYChe’dbecomeafixtureDJatinconspicuousspotsinParkSlope/CobbleHillandtheEastVillage,evenhittinglargercityclubs,openingfornow-groupslikeWeAreScientists.

Butalasthough,DJinginbarsisnotalwaysbethemostrewardingexperienceandeventuallyShowalter,whoseastute/acuteknowledgeofmusicisdefinitelynotable,hunguptheheadphonesindefinitely.“Icouldn’thandlepeoplemakingrequestsandfeelinglikeIwasn’tplayingthekindofmusicpeoplewantedtohear.AndIrealized,Idon’tneedthisshit.Iwasplayingalotof‘80sBritpop.ThePolice,TheJam,ElvisCostello,JoeJackson,DavidBowie,EnglishBeat,andthensomenewwavestuff.TheTalkingHeads,TheReplacements,Fugazi.That’sthekindofmusicIgrewuplisteningto–thatIlove.“

Inthesamevein,Showaltertookamorestraightforwardap-proachtohiswritingdevicesinthestand-upcomedyfield.Inre-centmonthshe’straveledacrossthecountrytwicefromAnchoragetoAtlanta(withfellowNYCcomedian/friends (cont’d on pg 94)

“We’re trying to deconstruct on a certain level… what’s funny.”

innercurrent.comfresh produce: akello uchenna & jedediah white available on vinyl & digital

ish12 v1.indd 1 9/21/06 2:26:28 PM

textPeter agostonimages Courtesy of ego trip & the brent rollins design explosion!pictured L to R Chairman Jefferson mao, brent rollins, sacha Jenkins, elliot wilson & gabriel alvarez circa “a long time ago”

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vol.1 no.1 Nas, Prong, Beatnuts, Violent Femmes, Warren G, Born Jamericans

vol.1 no.2 Method Man, Mad Lion, Sick of it All, Notorious B.I.G., Shudder to Think

vol.1 no.3 Smif-N-Wessun, ODB, Orange 9MM, D*Generation, Tha Alkaholiks, Mike D

vol.2 no.1 Eazy-E, Glen E. Friedman, Mobb Deep, Cube’s East Coast Challenge

vol.2 no.2 Cypress Hill, Kyuss, Kool G. Rap, Shelter, Bushwick Bill & Kaves

vol.2 no.3 KRS One, The Pharcyde, Into Another, Buju Banton, Why Most Hip-Hop Shows Suck

vol.2 no.4 Q-Tip, Posdnous, Large Professor, Sepultura, The Fugees, Beenie Man, Speed King

vol.2 no.5 Wu-Tang Mansion, Ghostface Killer, Ween, Jeru, Heather Hunter, Guided By Voices

vol.2 no.6 Redman, Mobb Deep, Bad Brains, Manowar, Todd Bridges, Bounty Killer, Keith Murray

vol.3 no.1 Biggie Smalls tribute, Pavement, Scarface vs. Helmet, Punky Brewster Q+A

vol.3 no.2 Rakim Returns, The Beatnuts, Mötley Crüe vs. Cru, O.C., Primus, Pat Smear, U-God

vol.3 no.3 Gang Starr, Portishead, Mase, Marley Marl, Deftones, Monster Trucks, Simon LeBon

vol.4 no.1 Final Issue, Def Squad, Inspectah Deck, Ad Rock, Noreaga, Big Pun, Monster Manget

ego trip’s book of rap ListSt. Martin’s Press 1999

ego trip’s big book of racism!Reagan Books 2002

ego trip’s the big Play backThe Sound Track to Ego Trip’s Book of Rap Lists Rawkus Records 2000

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ifMichaelShowaltertaughtusanythingaboutsemiotics(seepage42),it’sthatthe

conceptholdsmeaning,muchmuchdeeperthanwhatweobserveonthesubject’ssurface.ThatBizMarkieDollain’tjusttherepresentationoftheboogerpickin’,BigDaddyKanerhyme-recitin’,housefullofrecords-havingoldschooloddball.Thisfoam-facedcounterpartmaybecrumbling,butTheBizDollrepre-sentsthehighlyextensivewritingandoffensive,ifnotastute,culturalscrutinizingentitythatisknownasego trip.

Whileego tripwasoriginatedbySachaJenkins(alongwithElliotWilson),itbynomeanswasJenkins’firstpublication.Hestartedat16withthepaper-mag,Graphic Scenes X-plicit LanguageandthenontothefavorablebutobscureBeat-down(dubbedbyJenkinsandthenpartnerHajias“America’sFirstHip-HopNews-paper”rightaroundthetimethatthenowdefunctRap Sheetclaimedthesamesteak).Ameldofhardcore,punk,andhip-hopintellegesia,ego tripinitiallystartedasafreemaginNewYork,butbyitsendin‘98theonetimehomespunzinewasknowninternationallyas“TheArrogantVoiceofMusicalTruth,”abeaconofsmartwritingandsupplehumor.AnchoredbyWilson’sclosefriendshipwithJenkins(whiletheywenttohighschooltogetherinQueens,theydidn’tbecomecloseuntiltheirbriefcollegecareers)andtheirlong-standingcontributor-come-editortheCambridge,Massborn,NYC-bredDJ/writer‘Chairman’JeffMao,ego tripexistedinthisformatfortheirseminalyears.WiththeadditionofL.A.’sGabeAlvarezandsoontobein-housedesignerBrentRollinsvisualizing,the5-mancastofeccentricswereallinplaceformuchbiggerandbrighterplansforthefuture.

Whileego tripthemagazineranforamere13issues,it’saneasydebatetoaffirmthattheegotripcrewcreatedsomeofthemostmemorablemomentsofhip-hopjournalismthroughthe‘90sintoourcurrentmillennium.Theguyscorneredthemarketplacebyworkinguptheranksatthecompetitiveragsofthetimes(Vibe,The Source,Rap Pages,etal)allthewhileharvestingtheirmoredistinctivevoicethroughego trip.Whatwouldthenmaterializeintotwofascinatingbooksego trip’s Book of Rap Lists(St.Martin’sPress,1999)(anditssubsequent,ChairmanMaoexec-produced,The Big PlaybacksoundtrackreleasedonRawkusRecords)andego trip’s Big Book of Racism!(ReganBooks,2002)whichwouldculminateinthecreationofmaturationintothetelevisionworld.Butwe’llgetintothatlater.

Forthe5-manegotripcollectivecrew,theirsemioticrepresentationismulti-tiered,fromthenuevocut-and-pastecollageapproachofdesignerRollinstothebrash-unregretfultoneofanElliot‘YN’Wilson’sXXL-editorials.It’showMass Appeal MagazinemaintainstheR.A.TheRuggedManmeetsChuckNorrismeetsRickyPowellontrickedoutlowriderbikemish-mashthatisundoubtedlyJenkins,orit’showChairmanMao’sfreelanceretainsthesametimelessreverencetomusic(primarilyhip-hop)ofhisirrefutableDJmixesheard‘roundtheworld.OrjusthowformerLarryFlyntemployeeAlvarezcanrollfromclubtoclubwitha20year-oldBizdollstowedawayinasuitcaseandstillgettingdapfromEminem.egotripisthetechnicolor‘70skidethoswhohitthecrescendoof‘80szine-sceneonlytocomestompingintothe‘90sleavingintheirwakefutureartifactsofculturaldocu-mentationrarelyseeninhip-hop.Theirstoryisofpersistence,luck,andabondofworkingbrethrenallofvariedculturalandpersonalbackgrounds.

Myinterviewsstartedinreverse,speakingtotheteam’slatestmembersfirst(albeitsome10years+later)andworkingbackwards:RollinsandAlverez,ontolongtimecollaboratorChairmanMao,concludingwithoriginatorsWilsonandJenkins.Whiletheyembodyararecamaraderieinhip-hopjournalism,individu-allytheyalsoholdahighlyimpressiveamountofindividualaccolades.JenkinsandWilsonbothranrespectfuleditorialpositionsatVibeandThe Sourcethroughthe‘90sandnowatMass AppealandXXLrespectively.ChairmanMao,aworldrenownrecordcollectorandüber-DJ,hashelddownNYCforaslongasmanyoftoday’ssoul/funk/hip-hopgiants.AlverezwasmusiceditorofLarryFlynt’sRap Pagesduringitsheyday,remainsafanofMCShy-Dandcare-takerofTheBizdoll,whileRollinstheUCLAgradnotonlydesignedremarkablysignature/col-lage-stylealbumcoversforGangstarr,Quannum,SadatXandSpankRock,hecreatedthemovielogosforMo’ Better Blues,Dead PresidentsandBoyz N The Hood(andhashisfeetandAirJordansfeaturedinthemovieposterforSpike’sDo The Right Thing).

Theguysnowdefinethepinnacleofhip-hopjournalism,somewhowereoncelookedatasmisguidedyouth,incapableofdecidingonafuture,moresettothetuneofthepast.Whoselineageintheindustryexpandsthroughthe‘80swithamomentumthatremainsgrowingtothisday.Asacollectivecratesofdif-ferentpublicationsintheirwake,2highlytoutedbooks,areveredsoundtrack,someT.V.specialsandnowjustafewmonthsawayfromtheirownwritten&directedbroadcastrealityshow,egotripisliketheNationalLampoonmeetstheMontyPythonofrap-writing.

Andthecollaborativespirit?AsMaoputsit,“We’rejustacollectionofmisfitsthatstumbledintoworkingwithoneanother[who]probablycan’trelatetootherpeopleaswellaswedotoeachother,sowe’vestucktogether.Whenweweredoingthemagazineandbookswe’doftenwriteasacommittee,allofussittingaroundthekeyboardshoutingoutideas,oneperson‘driving.’”ForWilson,“agroupdynamicisnoteasy,it’schallenging.JustbecauseIdoXXLmyheartisstillegotrip.It’simportantthatpeopleneverlosesightofit,individu-allywehavealotofthingsweliketodo,butcollectivelythereissuchastrongchemistrythat’sundeniable.Idon’tseemyself,Godforbid,everbeingatapointwhereIcan’tworkwithmycolleaguesandworkwithmyfriends.Between[my-self],Sacha,MaoandGabe,I’mprobablytheleastgiftedwriterbutIthinkI’magreateditorandIthinkI’mavisionary.IhavemoreofadrivethantheyhavetodocumentthiscultureasvivaciouslyasIhave.ButIfeellikeSachaisthemostcreativemanI’veevermet,IfeellikeMaoisthemostthorough,andGabeisaneclecticmixofboth.It’slikeasuper-team,becausewe’reallleaders.”Continu-ingMaostates,“OnthewritingsideeventhoughallofusstilldoourownthingsindividuallyIthinkweallenjoythedynamicofworkingwithinateam.Topara-phrasetheoldsaying,there’sno‘I’in‘egotrip’...exceptthereis.”

Wilsonsaysitbestinpraiseofhiscrew:“Wegiverespecttoeachotherintheguiseofthehistory[because]wehaveahealthyrespectforourhistory.Alot

“i’m into skateboarding, i’m into punk, i’m into hip-hop. i was that kid that every kid is now [but] back in the ‘80s. either you liked heavy metal, or you liked hip-hop or you were a skater. But there weren’t many kids who had all those interests so i wanted a magazine that reflected a lot of [those] different things.” – Sacha Jenkins

Top left: graphic from ego trip’s Race-O

-Rama on VH

1

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“the bizDollwascreatedforMastaAceforthe“Me&theBiz”musicvideo.AtthetimePatrickMoxymanagedMastaAce;Moxywentontobe

Gangstarr’smanager,hehadacompanycalledEmpireManagement.[ego tripco-founder]Sasha’sgirlfriendhadajobatEmpire.MastaAceendedupleavingEmpireandmovedon,butthedollstayedthere.Rappersuptherewouldmessaroundwithit,fuckwithit.JeruDaDamajaandLil’Dapwouldthrowitateachotherandshit.Thenonedaysomebodyrippedtheheadoff,maybeDaporJeru.Rippedtheheadofthedolloff,intheoffice.[Sasha’sgirlfriend]waslike‘they’rethrowingoutthisBizdollthing,doyouguyswantit?BecauseIheardthatyouguyscollectstuff.’Shehadhergirlfriendsewtheheadtogetherandwejusttookit,andwe’vehaditeversince.

Theproblemwithhip-hopiswedon’treallyrespectourstuff,ourarchives,ourmasters,youknowthingslikethat.Thatwasaclearsignofit.WealsohavetheoriginalYo! MTV Rapssign.‘They’rethrowingoutthissign,doyouguyswantit?’SoGabe,MaoandBrentwentthereandcarriedthesigntoourofficethroughthestreetsofManhattan.It’smorelike,realSanford&Sontypejunkyardshit,wheretheseraparchiveslikeaBizdolloraYo! MTV Rapssigngotodieandegotripresurrectsit.We’rereallyproudofthat,we’relikethescavengerhuntersofhip-hopn’shit.

WhenweshottheRap Listscover,weknewwewantedHarryAllentositintheofficebecausehe’shisownarchive,becauseofhisPublicEnemyrelationship.Afterthatitbecameourthingofhavingasymbol,soBizbecameoursymbol.Wejustbecameenamoredbythedamndoll,itbecameourmascot.Gabegotrealfocusedonit,andweboughtabigbagtopackitin,Gabe’srunningaroundlikehe’safuckin’ventriloquist.He’sgotthedollallfoldedupinabig-assblacksuitcase.He’sgoingtoeverypartyandhe’smakingEminemholditandtakepictures.Obviouslyitleadtotheopportunityinthebookwhereweranallthephotos.Ittookalifeofitself.Ijustthinkit’sfunnythatwehadthewholeGangstarrFoundationplayin’withthisstupiddoll,throwingitaroundandfuckin’withit.”

The sTorY Behind The Bizas told by ego trip’selliot wilsonleft ego trip strictly biz-ness since 1994. “made you Look... back: 10 years of ego trip photography” poster (detail)below the biz Puppet photographed by Todd MacIntire

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ofthenewgenerationreveresthisideaof‘egotrip’andalotofthemhaven’tre-allyseenit.It’sbasedonnotonlytheworkthatwedidthen,buttheworkwe’vealldonesince.AndI’mproudofthat.”

the story goes,thatafterBeatdowndisbanded(duetoanoverzealousbusinesspartner,whoineffectwas,egotrippin’),JenkinsreachedouttohisfriendandmentorHenryChanfantwithhisideaforego tripMagazine.

UpontherecommendationfromChanfantaffiliategraffitidocumentarianCarlWeston(ofthelongrunningVideografvideoseries),JenkinsmetwiththecreatorofStyle WarsinhisManhattanoffice.“Iputtogetheraplan,wentoverthere.Henrysatinthechair,andIstoodup—Iwasnervous—andIgavethiswholelongpitchthatifwehadXamountofdollarswe’dbeabletobuyacomputer.Withthecomputerwe’dbeabletolayoutthemagazineandwe’ddefinitelygetadvertising.Helistenedtomylittle6minutespeech,satthere,waitedthere10secondsandsaid‘donedeal’.Thatmoneywasn’talot,butbackthenwassomething,andleadtousgettingaQuadra605Mac.Beforethatwewereworkingonborrowedcomputers.[Withthatmoney]wedidtheNasissue[#1]andthatwasit.Advertisingkickedin,andtherestishistory.”

Industryperksflowed,andsoonafter,JenkinsandWilsonwereinvitedtoaHoezWitAttitudeluncheon.AfterenjoyingthefreeshrimpandtunesfromHWA’sdebutLivin’ In a Hoe House(DriveByRecords),thetwocrackedjokesabouttheirsurrealsurroundings.RobKeneroverheardtheirabsurdisthumorandsteppedtothetwoaboutcontributingtohismagazineVibe.Inshort,JenkinsfirstpiecefortheQuincyJonesragwasaboutBizMarkieindrag;uponhistriptotheofficetonabacopy,hemeetsthethennewly-hiredmusiceditorDanielleSmith,likesomanyoth-eropportunitiesdowntheline,bychance.Sheaskedhim,“Doyouwritereviews?WanttoreviewBigMike?”Atthatpoint,JenkinsandWilsonwouldworkupthere-view-writing-ranks,fromsmalltobig,eventuallylandingafeature.Jenkinsfirstfor

VibewasonBoneThugsNHarmonyand“wasrightbeforetheybroke,”herecalls,“IwenttoMemphiswheretheywereplayingashowandthestagegotrushedbyThree6Mafia.Turnsout[Three6Mafia]hadbeefwiththembecausetheythoughtBonestoletheirstyle.It’s‘94andI’minMemphis.”Bugging.

Inonlyashorttime,JenkinsandWilsonweremusiceditorsatbothVibeandThe Sourcerespectively,doingego tripatthesametime.“PeopleatVibeandThe Sourceactuallyrespectedego tripandweren’tthreatenedbythefactthatweweredoingourownmagazineontheside.Wecouldn’taffordtopaypeople[atego trip],soitwaslike,‘YougetbetterandElliotwillgiveyouanassignmentatThe SourceorI’llgiveyouatassignmentatVibe,’”remembersJenkins,“ego tripwasafarmteamforyoungwriters.”

JenkinsandWilsonwentoutWesttotherestlesscityofLosAngelescover-ingCypressHillforego trip.ItwasthenwhentheymetwithAlvarezoneofthecommandersofthehighlyrespectablemagazineofthetimeRap Pages aswellashisdesignpartneratthepublication,Rollins.UponreturningtoNY,they’deventuallyreachbackouttoAlvarez,feelingasthoughtheycomplementedeachother’sstyles,offeringthepositiontocomeoutEasttotakeaneditorialpositionattheirmagazine.“Ithinkwewerepayinghim$75.00aweek,wehadnomoney.ButIgotmyMomtolethimstayatherhouse,inAstoria[Queens].Isaid,‘lookMaIneedyoutoputmymanup,he’scomingoutheretoworkonthemagazine’andshesaid‘NoProblem.’”SoonenoughBrentfollowedfromL.A.(toreplacetheexistingArtDirectoraswellascontinuehisownhighlypraisedsolowork)hisinclusionwouldusherinthedefinitiveaestheticofego trip.Themagazine’spaperstockchanged,theirdistributionwasgrowingonanationallevelandtheirinfluencefeltnowmorethanever.

Themarriageofhardcorewithhip-hopwasunfoundedatthetime,synony-mouswithNewYorkCityofthe1990swheretheRickyPowells,HaroldHunters,MattDoo&G-Youngs,andStretchArmstrong&Bobbitos,walkedinaccordwiththeregularly-acceptedeclecticofNewYorkCity.Butalas,allgoodthingsmustcometoanend.Thelastissue,theirthirteenth,featuredamovingimageofDefSquadhuddledaroundanewlyrecoveredBizdoll.The‘90swereoverandthegamewaschangingdramatically.

Sacharecallsontheeventualconclusionofthemagazineversionofego trip,“Ithinkthateveryoneputsomuchofthemselvesintothemagazine.Andwewerebroke.Wecouldofcontinueddoingit,butitwasjusttoomuchofafinancialandemotionalstrain.Ithinkwejust…outgrewit.”Astonotdownplaytheissue,hecontinues,“Thoseguysaren’tmyfriends.I’minabandwiththoseguys,butulti-matelythoseguysaremyfamily.IseealotofthoseguysmorethanIseemyownfamily,andwedon’talwaysnecessarilyseeeyetoeye.MickJaggercanputsolorecordsout,andI’msurehe’sgotafewgoodsolorecords.Butthere’sjustsome-thingaboutwhenwe’reallonthesamepage.It’ssomethingthatIcan’tdescribe,thatitiswhatitis.Ithinkpeopletreasuretheirego trips.IrememberbustingmyassonanissueofVibe,sleepingtheretogetitdone.AndIrealizedIdidn’twanttodothatanymorewhenIwalkeddownthestreetonedayandsawthatveryissueinthegarbage.I’mbustingmyassforsomethingthat’ssodisposable.”

Thefurthestfromjettison,ego trip’s Book of Rap Listswouldbetheeventualoutcomeoftheirtirelessworkinthetrenchesofthemagazineindustry.ChairmanMaorecalls,“SubconsciouslywewantedsomethingmorepermanentandBook of

“i remember busting my ass on an issue of Vibe, sleeping there to get it done. and i realized i didn’t want to do that anymore when i walked down the street one day and saw that very issue in the garbage. i’m busting my ass for something that’s so disposable.” – Sacha Jenkins

Graphics from ego trip’s Race-O-Rama on VH152 RE:UP MAGAZINE

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brent rollins:Always imitated, never duplicated.A selection of works by the ego trip visual artist.

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Rap Listswasthatstatement.”Sachadefinesitas“somethingtangible,it’ssomethingbeefy,it’ssomethingmeaty.Mindyouthatwouldsetthestageforthenextbook,whichwouldsetthestageforthetelevisionstuff,andit’snotlikeweconsciouslymappedthisstuffout.Wejustgottogethertodoamagazinethatwefeltpassionateaboutthatspoketoourinterests.Itwasinthatpassionthatwe’dfoundthelightthatwouldleadtoallthesethingsthatwe’vedone.”Expandingfurther,herecallswhyhestartedthisinthefirstplace:“Me,personally,I’dliketoseeamagazinethatreflectsallmyinterests.I’mintoskateboarding,I’mintopunk,I’mintohip-hop.Iwasthatkidthateverykidisnow[but]backinthe‘80s.Eitheryoulikedheavymetal,oryoulikedhip-hoporyouwereaskater.Butthereweren’tmanykidswhohadallthoseinter-estssoIwantedamagazinethatreflectedalotof[those]differentthings.”

AnundertakingliketheBook of Rap Listsoritsconflicted,eyebrow-raisingfollow-upThe Big Book of Racism!werenosimpletasks.“Theinspirationforego trip’s Book of Rap ListswasabookIusedtoconsultreligiouslyasakidcalledThe Book of Rock ListsbyDaveMarsh,”explainsChairmanMao,“Theverybasicfor-matofRock ListswasadaptedforRap Lists,butobviouslywithdifferentcatego-riesandsubjectmatter,andtheaddedwildcardofoursenseofhumor.Wefeltthatthestoryofthebirthofhip-hophadalreadybeentoldviabookslikeStevenHagar’sandDavidToop’s.Thoseareclassics.Butwethoughttherewasanotherwayoftellingtherestofthestoryupthroughouryearsofcoveringthemusiccloselythatwouldappealtofolkslikeourselves–obsessiverapfans.Soweusedthelistformat.IthinkRap Listsprovidedanicebookendtoaneraofhip-hop.”

AsproductionwentunderforRacism!,thecrewhitawallafter9/11.Gaberecallsthat,“therewasamomentintimeimmediatelyafter[9/11]wherewehadtospendsometimetalkingandtalkingandtalkingaboutwhetherweweregoingtofinishthisbook,becausewedidn’tknowwhatwasgoingtohappenafterwards.”

“Whenitcametimetoworkonasecondbookeveryoneexpectedustodosomethinghip-hoprelated.Butbythattimeeveryonewasdoinghip-hopbooks,andwewantedtostayaheadofthegame.St.Martin’sPresshadtherightoffirstrefusalonournextprojectandwesubmittedaproposalforBig Book of Racism!Ithinktheythoughtitwasajoke,thatwewerejustsubmittingthisridiculousideainordertogetoutofourcontractualobligationwiththem.Butwewerecom-pletelysincere,”saysMao.Echoingthosestatements,Gaberecalls,“itwasaweirdtime,wedidn’tknowhowpeopleweregoingtoreact.Therewasthisfeelingthatpeopleweregoingtogetmoredividedandthingsweregoingtoturnugly.”

WordisthatsomeVH1higher-upsawtheRacism!book,andgavecopiestoherwholestaffasX-Masgifts.Fromthat,acoyinterestinegotripwasbornatthenetworkandthecrewwaseventuallyofferedthechancetodevelopsomeprograms.ExpandingevenfurtherintothedepthsofexaminingracerelationsinAmerica,theirfirstprogramwasTV’s Illest Minority Moments.Nextwastheirtakeonthe‘clip-show’,Race-O-Rama.withthreeone-hourshows,“Blackapho-bia,”“Dude,Where’sMyGhettoPass”and“InRaceWeLust.”Theguysbroughttogetherahugecastofcelebrities,comedians,emceesandthemselvesintoagumbo-super-servingofsocialcommentary.

Whatfollowscouldbeconsideredamagnumopusofsorts,butforthecrewit’sjustanotherproject,anotherstep,anotherjob.Overthe‘06Summermonths,wayupinTheBronx,theegotripcollectivere-commenced.Theycon-vertedawarehouseintoamakeshiftlivingspaceforwhatwillbeknownas The White Rapper Show.Arealityshow,meldingbitsofthecompetitivespiritofsayAmerica’s Next Top ModelorRoad Rulestossedinwiththatlive-inanti-camarade-riebredatThe Real World,onlytobespicedwiththeregularrun-inwithhip-hoproyaltyandhardrockluminaries.Lestwenotforget,thiswillbeashowaboutabunchofwhiterapperslivinginanallbrickwarehousecompetingforabigcashprizeandacontract.Onlyegotripcouldpullaconceptofthisridiculousnatureoffwithoutahitch(atleastinthefinaleditingstages).Whileentiredetailscannotyetbefullydivulged,youcancountonswelteringBronxheat,whiterappingofvaryingtalentlevels,subliminalVanillaIcereferencing,alil’dashofMCSerchandanenvironmentplusscriptneverseenbeforeonrealityTV.

Andhowisthestoryofegotripsemioticyoumaybeasking.Well,inaworlddrapedinidealism,soakedintoconsumerismswherematerialgirlsdanceaboutdudeswithwadsandlittletimeforreflection,egotripprovidesfoodforthethoughtweneedtocompleteourselves.Likehowpunkandhip-hopcanbecomparableyetutterlyincomparable.egotripholdsthetemplatetocontemporaryjournalisticgreatness.

Assorted Flyers from Chairman Mao’s monthly party at APT. Designed by Brent Rollins.

2 posters from ego trip’s The White Rapper Show

ego trip’s White Rapper Show logos

Still frame of Prince Paul and MC Serch during ego trip’s The White Rapper Show.

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name:TheGaslampKillerage:23affiliations / rank:MHE/TheHeadache,RE:UPhometown:SanDiegoCurrent residence:Hellinfluences:MyMother&Father(TheBensussens)andMHEClaim to infamy:TheMusic.one piece of music equipment i could not live without:Myfuckingdrumset.Last night i wascrushingSanFrancisco.10 years ago i wascrushingmyBarMitzvah.Last text message received:“THANKYOUTHANKYOUTHANKYOU!!!!!!!!!!!!”bodypart Quirk:Hugelefttestie.People say my music sounds likeafuckingheadache.artists/albums that changed the way i looked at music: TheFeedback,AmericaGiovanne,Ananda Shankar and His Music,MalcomCattoPopcorn Bubble Fish,Broadcast–Work and Non WorkandThe Noise Made By People,andMHE–The Unreleased LP

ThebestpartaboutWillow—besideshisdark-rimmedspecs,frizzdoo,andmasteryofthefader—ishisgenuineexcitementabouteverytrackhedropsinaset.Whetherit’saDJShadowclassicjointeveryoneforgotabout,orsomewhacked-outTurkishpolka,he’sgonnamovethecrowdlikenooneelse.He’sanillbeatdigga,theGaslampKiller,andRE:UP’s#1DJ.Ohandthisjustin,apparentlyhe’sPrefuse73’s‘newfavoriteDJ’aswell.ph

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iN this biz, you make many friends and acquaintances who possess far greater talent than most of the schlepp that’s slopped on the sam goody racks

o’crap.Youwonderwhythesefriendshaven’t“madeit”thusfar,buttheyseemfinewiththehustleaslongastheycandowhattheylove:makemusic.RE:UPhascherry-pickedsomeofouradmirablecolleagueswhoaresimplykillingitintheirrespectivefields.Oldenoughtoknowbetterbutnotjadedintheleast,thesecatsareboundforlongtermsuccess...catchthemnowataintimatevenuewhileyoucanbeforeitcosts27bucks(plusvaletparking)toseethemattheHouseofBlues.

Ms.Lockharthasgotasweetsetofpipesprimedtomakelovetoyourearhole.CheckforhercollaborationswithLivingLegends’ScarubandofcoursethePlatinumPiedPipers,aswellasherownreleasesoffGiantStepandBling47Recordings.

name:Tiombe“nothingbuttrouble,troy”Lockhartage:16andahalfaffiliations / rank:PlatinumPiedPirates,Bling47/ViceAdmiralofTheArmyofThugshometown:TheSWATTSCurrent residence:Brooklyninfluences:TheBuzzcocks,B52’s,Suicide,MillieJackson,WazmoNariz,IggyPop,BettyCarter,HollyGolightlyClaim to infamy:“IGotYou”–PlatinumPiedPipersone piece of music equipment i could not live without:MyNorwegianfurharmonica.Last night i wasatanESGshow,unsuccessfullywillingthemtoplay“BeGoodToMe.”10 years ago i waspassingthetime,withsomeThunderbirdwine.Last text message received:AnadvertisementforViagra.bodypart Quirk:Hollowtoothfilledwithpoisongas.People say my music sounds:liketheexactoppositeofalittlemanonfire.album that changed the way i looked at music:Suicide–Alive

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name:EugeneChoage:Pushing30affiliations / rank:Escort/Member,AmericanMusicalConference/Supporterhometown:Newton,MACurrent residence:Brooklyninfluences:Beer,TVClaim to infamy:Myprodrugusecommentsforapublicinterestsegment.one piece of music equipment i could not live without:MyTVLast night i waswatchingTV.10 years ago i was watchingTV.Last text message received:Justwaitingtohearbackfrommyuncle‘bout

thatTV.bodypart Quirk:N/APeople say my music soundsfuckingincredible.album that changed the way i looked at music:Pixies–Surfer Rosa

name:DanBalisage:30affiliations / rank:Escorthometown:ChevyChase,MDCurrent residence:Brooklyn,NYinfluences:Notcurrentlyundertheinfluence.Claim to infamy:Noneone piece of music equipment i could not live without:NoneLast night i wasatAdelphiStudios,withEugeneandZena.10 years ago i wasincollegeLast text message received:http://phobos.apple.com/WebObjects/MZStore.

woa/wa/viewAlbum?i=163966986&id=163966956&s=143441bodypart Quirk:NonePeople say my music sounds likemyspace.com/weareescort.albums that changed the way i looked at music:Pet SoundsandThriller.

name:TomBurbankage:29affiliations / rank:Planet-Mu,BrokenBeat/Beatsmith,Go-Getterhometown:St.Louis,MOCurrent residence:Venice,CAinfluences:TurkishSpeedballs(coffee&ganja)alotofhip-hop,ol’skoolfunk&

soul,andadashofd&banddubstep.Claim to infamy:Iain’tgoingoutlikethat.ThePoliceareprobablyreadingthis.one piece of music equipment i could not live without:MyRolandJuno60Last night i wasplayingashowinRosarito,Mexico,eating$1.00tacos,and

gettinghitonbyagirlwhoverywellcouldhavebeenaguy.10 years ago i wastryingtoprogrammyBossdrummachinetosoundlikelegit

drum&bass,probablysoundedmorelikeDefLeppard.Last text message received:FromJega:“ToBrigornottoBrig?”(Alittledive

inVenicethatmeandtheJegamanrolltoonTuesdaynightstocheckoutthisdopejambandthatplaysalotofHerbieHancockcovers.)

bodypart Quirk:I’vegotsomeprettytinynipples.People say my music sounds like:Wabi-Sabi–thebeautyofthingsimperfect

orirregular.album that changed the way i looked at music:Criminal MindedbyBDP

Youcangetanideaofthedirectionabandisgoingbythesupporttheyreceive.AndwhenyougetlovefromTrevorJackson,DimitrifromParis,MetroAreaandBenjiB,yourcareerislookingprettypromising.Escortisdisco;aneightpersonensembleofmusiciansandsingerswhounderstandtheimportanceofamemo-rableliveperformance.Theyalsounderstandtheimportanceofdance-friendlymusic,whichisevidentintheirfirstEP“Starlight,”boastingaDarshanJersanireworkandan118BPMeditfor“peakhourplay.”Needlesstosay,afterwitness-ingthemtearupthePS1SummerWarmUpinQueensthispastsummerwithRubNTug(seepage24),Escortisagrouptokeepyouearsopenfor.

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name:Scott“CurtisVodka”Rootage:justturned20!affiliations / rank:Flamin’Hotz/JeepMusicCrew/PurpleCrushhometown:Anchorage,AlaskaCurrent residence:Brooklyn,NewYorkinfluences:Jazz,OldSchoolRap,Funk,Soul,BaltimoreClub,Juke/DanceMania,

MiamiBass,ElectroDisco,DeepFunkyHouse,FrenchHouse,ElectroCrunk,Madlib,JDilla,FattySynths&anythingthatmakesmewannabustoutinaB-Boycircle..

Claim to infamy:beefwithUffie&Diploone piece of music equipment i could not live without:MyMicrokorg.Last night i wasgettingaCD-RfromLowBudgetandDirtySouthJoefroma

OxyCottontailparty.10 years ago i was10yearsold.Last text message received:myroommateswon10,000dollarsfromAkai.bodypart Quirk:myskinismadsensitive,Ialwayslooklikeaburntvictim.People say my music sounds likestraightfireordumbandridiculous.albums that changed the way i looked at music:BeastieBoysHello Nasty&

WuTang’sdisc1ofthealbumForever.

In1999,TomBurbankwaschoppingupdrum&bassdubplateswithhismanKojakonHive’sCelestial/VortexRecordingsimprint.Acoupleofhot-assgirlfriendsandrawfoodsbusinesseslater,he’ssettoreleasehisfirstfulllengthonPlanetMuRecords.AfterhearingthecuddlycrunkofhisFamous First Words,itwillcometonosurprisethatTomspendsmuchofhisworkandplaytimewiththeComplexPlayaskidandfellowPlanetMu-tronknownasedIT.TomBforPresidentin2008!

Straightouttathe24hourdarkstreetsofAnchorage,Alaska(literally)andtothesoftersideofBK(notsoliterally)comesthehollakidhimself.WithFapesonthemind,this20-year-oldrookiephenomproducerhasbeenbuildingquitetheportfoliowithanassortmentofBaltimorebreaksremixes,assshakinjeepmusic,andtheheraldedCurtisVodka“YetiBounceEP”outonFlaminHotz.Checkforcol-laborationswithAlRipkenandPurpleCrushcomingsoon...JukeitCurtis![ed—hecallsthemfapes]

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How in the hell is he doing that?That’susuallythequestionaskedwhenIrwinperformshisonemanpercussionshow.Franticallywavinghisarmsaround2thereminstocreatehisownsamplesinrealtime,heloopsthenewly-createdsamplestosetthestagefortheriddim.Hethenwhipsoutapairofdrumsticksandstartshammeringawayrelentlessbreakbeats‘ponthepads.Electronicmusiclikethiswasnevermeanttobecreatedlive,yethere’sIrwindoingitrightbeforeyourdisbelievingeyes.

name:Irwinage:Noaffiliations / rank:Nonehometown:ItravelCurrent residence:Istilltravelinfluences:Everything,especiallyvisualart,nature,and some girls.Claim to infamy:None(thatIknowof)one piece of music equipment i could not live without:MeLast night i waskindoflonely,whichisveryrare.10 years ago i wasdonewithplayinginbands.Last text message received:Someonetellingmetheyhit#1insomechart.bodypart Quirk:Rightankle–itfeelsstrangejustbeforesomethingbizarrehappens.People say my music sounds like:Yesalbum that changed the way i looked at music:Ooohhhhsomany.Ilikeallgenresofmusicbut

I’mverypickywithineach.

Menomenaisatriothatmakesaproggy,percussivehybridoforganicandelectronicrock.In2003theyreleasedtheirdebutfull-length,I Am the Fun Blame MonsteronahometownlabelcalledFilmGuerrero,andafewthousandpeoplefreakedout.Sincethen,they’vemadenaryapeepasidefromanalbumofmusicforadanceperformance.Nowthey’regettingreadytodropafull-lengthonSeattle’sBarsukRecordsthatwillprobablybustyourshitopen.

name:JustinHarrisage:29goingon15affiliations / rank:1stSergeant,2ndclass,3rdbattalion.hometown:SanClemente,CACurrent residence:Portland,ORinfluences:LedZeppelin,LedZeppelin,LedZeppelin,LedZeppelin,Led

Zeppelin,TREX,LedZeppelin,LedZeppelin,LedZeppelin,LedZeppelin,LedZeppelin,LedZeppelin

Claim to infamy:IwastheoneresponsiblefortheattackonPearlHarbor.one piece of music equipment i could not live without isMyjawharp(a.k.a

Jew’sharp)Last night i wasplayingtoacrowdof15.10 years ago i was19.Last text message received:“wow!thatisbig!lol.CUSoon.L8”bodypart Quirk:Ihavebothsetsofgenitals.People say our music soundslikeshit!albums that changed the way i looked at music:Led Zeppelin I, II, III, IV,

Houses of the Holy, Physical Graffiti

DJWerorunstingsinTJ’snuschoolofpartyrockersthathavecomeupsincetheNortecchaps’chapswaddledtheirwayontotheinternationaldancefloors.Hipstersbeware,Idon’tcarehowtightyourjeansare,he’llknockyoursocksoffwithblisteringelectroclashthrash.

name:Wero(JesusA.LopezRojo)Iwon’tsaywhattheA.standsfor,Ihateit.age:27affiliations / rank:Radioglobal.org/ProgrammingDirectorhometown:TijuanaCurrent residence:Tijuanainfluences:DaftPunk,SodaStereo,NewOrder,Pulp,StoneRoses,BjörkClaim to infamy:jaja,Ihavemany...one piece of music equipment i could not live without:Myheadphones,they

savedmylife...Last night i wasworking,smokinganddrinking.10 years ago i wasinhighschoolprobablygoingtoalotofMexicanrock

concerts.Last text message received:“imnotgonnabeabletomakeitPONKimstuck

atwork”bodypart Quirk:Ihaveverylittlefingernails,doesthatcount?It’sselfinflicted.People say my music sounds like:they’venevertoldme!album that changed the way i looked at music:SomanybutthemainonesI

guessareDP’sDiscovery,SodaStereo’sDynamo,andPulp’sDifferent Class.

photo meno

mena

photo irwin’s P

assport

photo Frak

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name:MehdiFaverisEssadia.k.a.DJMehdi.age:29affiliations / rank:EdBangerRecordsbaby!hometown:Asnieres–NorthernsuburbsofParis,FranceCurrent residence:Paris20thdistrict.YoumaycallittheEastSide,Ilikethat.influences:John,Jimi,JerryandJay.(Lennon,Hendrix,Seinfeld,andZ).Claim to infamy:I’dliketostayabitmysteriousplease,ifyoumay.one piece of music equipment i could not live without:Myradio.AskLLCoolJ.Last night i waspartyinghardinMelbourne,Australiawiththegoodfolksat

Honky-Tonks.10 years ago i wasreleasingmyoldband’sfirstalbumIDEAL J Sur une mission,

Frenchhardcorehip-hop.Last text message received:“MostlikelyyougoyourwayandI’llgomine.”bodypart Quirk:Oneeyesmaller.People say my music sounds likeKraftwerkwereAfricanalbum that changed the way i looked at music:It Takes a Nation of Millions to

Hold Us Back by Public Enemy,ofcourse.Whatelse,REALLY?

TheEdBangerRecordslabelhasbeenmakingnoiseforawhile,andthereisnodenyingtheParisiantidalwaveofartandmusicthathasbeentakingovertheprimerealestateoutsideFrance.NotsinceLanceArmstrong’slast“win”ofLeTourhasFrancebeengettingStatesidefrontpagenotoriety(Sorry,Zizoubutthatwasabitchmove).Whilethere’samplehypeforDaftPunk,Mr.Oizo,Hell,TTCandEdBanger’smorenotableartistsJustice&Uffie,weatRE:UPfeelDJMehdideservesnotonlyamentionbutawickedillustrationofhislook.Listenup!

illustra

tionJoshuaLynne

HowdoesonegofromaBenz-drivingB-BoystraighttotheGutter...andbeproudofit?AskAaronLaCrate,he’smadeacareerofthisdownwardspiral.He’safull-timehustlerfromCharmCitywhohasbeencarvingoutalifestyleforhimselfthroughhismusicandtheclothingline“MilkcrateAthletics.”LaCratehasbeenkeepin’busycollabingwithBmoreoriginatorScottieB,doingaJ5remix,thatE-40rework,aLilyAllentour,andworkingwiththenewfacesofclubMCs:Spank-Ro&AmandaBlank.Remembersoldier,clubcrack=theslowerclubbeatsmeanwhiletheBmoreGutta=thequickjawns.

name:AaronLaCrateage:28affiliations / rank:MilkcrateAthletics,MilkcrateRecords,B-more

GutterMusic,B-MoreClubCrackhometown:Baltimore,theEastSideCurrent residence:Manhattaninfluences:RaggaTwins,BlappsPosse,KeithHaring,Warhol,ToddTerryClaim to infamy:Club CrackonKoch–outFeb2007one piece of music equipment i could not live without:ReasonLast night i waschillinoutafteracrazyfashionweekNYC.10 years ago i wasstillthesame.Last text message received:askedtospinLilyAllenU.S.tour

alongsideMarkRonsonbodypart Quirk:n/aPeople say my music sounds likecrunkoncrack.album that changed the way i looked at music:UltramagneticMc’s

Critical Beatdown

aboveTheLaCratefanclubrightAaronpostin’upatTurntableLab

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name:Simon‘C-mon’Akkermansage:28affiliations / rank:Producerhometown:Utrecht(Netherlands)Current residence:Utrechtinfluences:DJShadow,RickRubin,HoraceSilver,PublicEnemy,ATribeCalled

Quest,TheBeatlesClaim to infamy:uhmm,I’mhonestlynotsurewhatthismeans...one piece of music equipment i could not live without: myElectrixRepeaterLast night i wasrehearsingfor3rdalbumLaunchshow,thendrinkingbeer&

enjoyinganicespliff.10 years ago i wasstillskateboarding,kindamissitnow;toobusymaking

tracksLast text message received:fromourmanagementaboutaninterviewdate,

nottooexciting.bodypart Quirk:crackingjawPeople say our music sounds likenothingthey’veheardbefore.Mostofthe

time,Iconsiderthatacompliment.album that changed the way i looked at music:Endtroducing...byDJShadow.

That’swhenKypskiandIdecidedtomakeinstrumentalhip-hopbasedmusic.

name:Kypskiage:28affiliations / rank:Turntables,beatsandmelodies.hometown:UtrechtCurrent residence:Utrechtinfluences:Shadow,Beck,Kraftwerk,D-Styles,Qbert,TheHerbaliser,PublicEnemy,

ATribeCalledQuest,BrandNubian,DelaSoul,GangofFour,UNKLE,SlumVillage,Beck,KidKoala,HoraceSilver,WayneShorter,andPrince.

Claim to infamy:TheweathersucksinHolland,that’sabigproblem.Butmaybe,withalltheglobalwarminggoingon,wemightjustgetawarmwinterandgetsomegooddaysofsunshine.

one piece of music equipment i could not live without:Mycomputer.Last night i washavingabirthdaydinnerwithmystepdad,half-brotherandmy

step-dad’sgirlfriend.AfterIgavethempresentsandateallthefoodIsaidexcuseme,IhavetogonowtorehearseforthenewC-mon&Kypskishow.SoIleft.

10 years ago i wasprobablydrumming,ormakingabeatortryingtomakeupanewscratchroutine.

Last text message received:Amessagefrommyhalf-sisteraskingmewhatsupandhowsmymom.Myfamilyiskindaunusual,myrealdadislikeafriendtome,heneveractuallyraisedme,ormarriedmymom,orhadanrelationshipwithher.Iseehimafewtimesayear.Mymomjustdidn’twannamarrysome-onebutdidwanttohaveachild.Andhegaveittoher.Nope,notraumas.Mystepdadraisedmewithmymomandgavememyhalf-brother,Tim.HestolehalfofmynameandcallshimselfDJTimskinow.Hestudiesaudiodesign.IgotmymastersinMusicTechnologyatthatsameschool,theUtrechtSchoolofArts.

bodypart Quirk:Onearflappingout-sonosymmetry.Butwhattheheck!People say our music sounds likeweird,popmusic,experimental,mood

music,diverse.album that changed the way i looked at music:Fear of a Black Planetby

PublicEnemy

name:JoriCollignonage:25affiliations / rank:Keyboardplayerhometown:UtrechtCurrent residence:Amsterdaminfluences:Early‘80spunkmusicisoneofthem.Claim to infamy:Thanksforasking,I’mfine.one piece of music equipment i could not live without:IwouldsayGrand

Piano,butthenagain,I’mlivingwithoutagrandpianoforaprettylongtime.Ireallywantonethough.

Last night i wassmokinganddrinkingwithSimonattheTilt.10 years ago i waspartying,becauseIwonthefirstprizeinanationalmusic

competition.Iaccompaniedmysingingfriendonakeyboard.Ihaven’tseenhiminacoupleofyears,butthiseveninghesendmeatextmessage.

Last text message received:‘Let’sgetdrunk,oldbuddy.’bodypart Quirk:Ingrowingtoenails.People say our music sounds likeamixtureofstyles,playedwithgreatenergy.

AguyfromHawaiisaidthemusicmadehimwannaputabreadbagonhisheadanddancesomestrangedance.

album that changed the way i looked at music:Happensallthetime:ElvisCostello-This Years Model,DaftPunk-Home Work,TheLibertines-Up The Bracket,RufusWainwright-Want Two.

C-Mon&KypskiarechildhoodfriendsfromthesleepyDutchtownofUtrechtandhavebeenmakingmusictogethersinceage13.Thinkingintermsofliveperforming,theyteamedupwithJori&Dantocompletetheequation.AftercompletingtheirfirstEP,“VinylVoodoo,”theydecidedtorentanRV,loaditwithrecordingequipment,anddrivetoMorocco-justforadventure’ssake.TherecordingstheyamassedontheirjourneyprovidethefoundationfortheirStatic Travelleralbum,andgavethemaspringboardfromwhichtoscoopupaglobalaudience.Keepyoureyeontheseguys.They’retakingovertheworld.

name:DanielRoseage:26affiliations / rank:guitarist/bassplayerhometown:UtrechtCurrent residence:Utrechtinfluences:dEUS,GangofFour,DonnyHathaway,Earth,Wind&FireClaim to infamy:always20millisecondslate.one piece of music equipment i could not live without:RickenbackerbassLast night i wasrockin’outwithmyband.10 years ago i waschillin’inMaastricht.Last text message received:‘There’sthisinterviewinyourmailboxyouhaveto

dorightaway..’bodypart Quirk:toenailsPeople say our music soundslikewesmokedtoomuch,butstillrock.album that changed the way i looked at music:Play Bach-JacquesLoussier

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GroteskKimouMeyera.k.a.GroteskisaSwissgraphicartistlivinginBrooklyn.Hisworkisaclashbetweenhisstrictandminimalvisualeducationandflyingplasticbags,bodegastorefronts,burntcars,crooks,andhip-hopbefore‘94.Hisclientlistincludes:www.sixpack.fr,VaultandGoliathRFinHarlem,2kandUniqloTeeShirtsJapan,UpperPlaygroundandFifty24SF,SpikeLee,Staple,Alife,5BoroSkateboard,Complex,CommandV,andVirginRecords.HeisanhonorarymemberofftheAKANYCcrewandtheGoliathRFStoreinHarlem.HeiscurrentlythecreativedirectorforZooYork.www.grotesk.to

Dave KinseyNotoneforthe9to5grind,KinseystartedthecreativedesignstudioBLK/MRKTaftermovingtotheWestCoastfollowinghiseducationattheArtInstituteofPittsburghandtheArtInstituteofAtlanta.Hisworkcapturestheuniversalessenceofthehumanconditionthroughanenergeticportrayalofurbancharacters.Kinsey’sfinearthasbeenshowningalleriesandmuseumsworldwide,amongthesearecentexhibitionattheURBISMuseuminManchester.HehasalsobeenfeaturedinsuchpublicationsasThe New York Times,LodownandBlack Book,andinvitedtospeakatnumerousinstitutionssuchasTheArtCenterCollegeofDesign,UCLA,MontserratCollegeofArtandTheUniversityofFlorida.www.kinseyvisual.com

FightingFightingisthecollaborativeworkofNiallMcClellandandLukasGeronimas.Theircurrentinterestsincludespace,medievalartifacts,quilting,wholewheatbreads,opticalillusions,andthegreyscale(Canadianspellingofthewordgrey).BotharecurrentlybasedoutofToronto,Canada,keepingbusybustingballsandflippinlids.www.shedoesntloveyouanymore.com

Stevie Gee25yearsold.Marriedwith1son-JesseLeonardGeeandanotherkidduethismonth,IliveinNorthLondonEngland.RepresentedbyWildWilsonatSTEMagency.Iplaythebanjoanddrinkwhisky.Musicaltasteisheavyrockfolkmetalwizardry.Wasraisedbywolvesontheedgeofthewindwithonlyknivesandowlsforcompany.Theheartofapirateandthebodyofabear.Clawsshapedlikequestionmarks.www.stemagency.com / www.steviegee.com

Friends with YouSamwasbornwithaninstincttocreateandhasstunnedhisparentsandteacherswithhisskillsinpapiermache,fruitbasketsandnowvideos,motiongraphics,microbetamingandbreeding.HegavebirthtofriendswithyouonlytohaveitenrichedbyhisfriendsMelandTury.Turydabblesinpaintingandstickerswapping,whilekeepingasolidgoalofengineeringvariationsofourfriendstomakeyourlifebetterthanever!HehasakeensenseofsmellandisMel’sofficialrecipetaster.www.friendswithyou.com

The Middle Signature

irresisTiBle

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leTras a manodel oTro ladoARE:UPphotoeditorialbyMauricio Couturier

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richarD DorFMeiSter VS. MaDriD De loS aUStriaSGrand SlamG-StoneRecordings

GrandSlamisafinecollectionofremixesbyDorfmeisterandMDLA.NowwhenIsay“fine”Imeansomethinglikeoneofthosetiredadjectivesweuseallthetimelike:“sick,”“dope,”“fabulous”—don’tactlikeyouneverbustouta“fabulous”ev-erynowandthen—”awesome”…yougettheidea.AnywayI’mbacktotheword

“fine”becauseitworkswellindescribingthesmooth,funkysoundsfoundonthisrelease.I’mnotsupercrazyaboutZero7buttheseguysmostdefinitelyturnedouttheirremixof“IntheWaitingLine”;theyalsocrushedWillieBobo’s“SpanishGrease”withafat,doublebasslineanditsghostlyLatinsoundslurkinginthebackground.Grand Slamisprettymuchahousemusicpartyonthewholediscbutit’sanexcellentqualityofhousethatwillsoundgreattopeoplewhothinktheydon’tliketheverypopulargenre.Therearesomeroughandtoughjamsalittlelaterontoo.LikeKoop’s”Relaxin’atClubF****n.”It’sobviouswhatthatspellsbutthefunkybassactionjustmightgetyoulaidifyouplayitfortherightperson.IneverheardtheoriginalversionofPres-sureDrop’s“Back2Back”(andIlovemesomePressureDrop)butDorfmeister&MDLAmakethemsoundlikefreakingchampions.Ohitgetsbetter.Theyevenhavesomeoriginalsmokersonheretoo.“MakeDisReal”issodamnhotwithitsfunkybreakbeatandslick,soul-manvocal,itwillgetrockedagainandagainbyproDJsandiPod-button-pushersalike.NowifyoulikewhatI’msayingyoushoulddefinitelybuythisdisc,orthedownloadversion,oreventhewaxifyoucanfindsome.Justdon’tstealitbecausepeoplewhomakemusicthisgoodde-servetogetrich.JW

eNSeMBles/tFatCatRecords

In1998,France’sOlivierAlarycreatedEn-sembleashismusicalguise.Onhislatestrelease(sanspartnerChanelle)Alaryhaslefthisexperimentalpopphase,andnotsurprisingly,hissoundhasevolvedintoaskillfullyarrangedmixtureofindieandelectronicathataimstocombine“sym-phonicwallsofsoundwithintimatefolkpopvocals.”Saywhat?Putsimply,theendresultissomethingreminiscentofbandslikeStereolabandBroadcast.AfterChanelle’sdeparture,Olivierdecidedtore-thinkEnsemble’ssoundanddrawupontheartistswhoseworkheadmired.Threeyearslater,theresultofthatisamyriadoftalentedvocalistsandmusi-cianslacedwiththeextraordinaryqualityofhisprogrammingandsoundwork.Theopener,“Summerstorm,”aswellas“AllWeLeaveBehind,”bothfeaturetheme-lodicvocalsofMileece,alongtimecol-laboratorwhomOliviermetwhilestudy-ingsonicartsinLondon.OtherguestsincludebeautifulvocalperformancesfromChanMarshall(CatPower),LouBarlow(DinosaurJr),andCamilleClav-erie;withdrummerAdamPierce(MiceParade/DylanGroup);andorchestralarrangementsbyJohannesMalfatti,per-formedbytheBabelsbergFilmOrchestrainGermany.Aperfectintegrationoftheelectronicandacoustic,thisalbumre-flectsalaboroflovewellworththetimeandeffortittooktomakeit.CT

ezekiel hoNigScattered PracticesMicrocosmMusic

TherewasthisthingcalledtheMadSci-entists’Ballacouplemonthsbackago.Ithappenedinabig,emptyloftwithabig,round,all-encompassing,plasticbubble.Peoplesat,drank,chatted,andmadenice.EzekielHonigplayedmusic,andev-eryonefeltliketheywerefloatingintheserenehumofchatterandspace–eventhoughtheywereinthemiddleofNewYorkCity.Whatwasitlike?Trythis:bringaboomboxintoyourbedroom.Thenstuffpillowsintoyourwindowsandupagainstthecrackatthebottomofyourdoor,soyoucan’thearanythingfromoutside.Makeablanketfortlikeyoudidwhenyouwereakid.Bringtheboomboxintothefort.PutonScattered Practices,andliedown.Thecracklingsamplesofsome-thingunknownwillmagnifythelightthatslipsthroughthestitchingofthesheetsandcovers.Thedroningkeyswillfillupalltheemptyspaceintheroom.Thebassypopsandclickswilltaponyourchest.Andsoon,you’llfloataway–intothehumofchatterandspace.JC

Fat JoN & StyroFoaMThe Same ChannelMorrMusic

MCandproducerFatJon,originallyfromCincinnati,nowbasedinBerlin,iswellknownforpushingtheboundariesofhip-hop.Increasingly,infact,heimmodestlystepswithbothfeetoutsideitswalls,reinventinghimselfanddeliveringaconstantstreamofnewandexperimentalsounds.Pushingtheenvelopefromaflightpatternthat’swellundertheradarofevendevotedhip-hopfans,hisreputa-tionasaninnovatorisgrowingsteadily.Itseemsthatthebetter-knownhebe-comes,themorehedivertshispathawayfromwhat’sexpectedofhim,bothinhisownworkandthenumerouscollabora-tiveendeavorswithwhichhe’sinvolved.The Same ChannelisatestamenttoFatJon’sabilitytobecomfortableinhisexperimentation,andhiswillingnesstoreachintoplacesthatarerarely,ifevertrodupon.Styrofoam,anindieguitar-istandlaptopwizard,invitedFatJontoAntwerp,Belgiumbackin2001.He’ssincemovedtoEuropepermanently,andcontinuestoreleaseinnovativehip-hoprecordswithFiveDeez,hiscrew,on!K7,aBerlin-basedlabel.Otherthanthepres-enceofFatJon’sdistinctivevoice,The Same Channelbearslittleresemblancetoanythingpreviouslyreleasedbytheamplesoulmusician.It’sglitchyandelec-tronic-soundingwithStyrofoam’shypnoticvocalssprinkledthroughout,andcoversawiderangeofemotionalandstylisticturf.Thefirsttrack,“AcidRainRobotRe-pair,”jumpsinheadfirstbeginningwithcascadingsynthtinkling,quicklymovingintoup-tempohip-hopstyleverse,withachorusthat’sDaftPunkmeetsalternativerock.“Bleed”isan(appropriately)pulsingandmysteriousrhythmwithadarkandequallymysteriouschorus,diffused,onceagain,byFatJon’spoeticraps,withoutlosingtheenigmathatencompassesit.Movinginto“RunningCircles,”thetempoagainpicksup,andtheblipsandmechanicalbasssoundsarelightenedwithairypianoandpadsounds,highen-ergyandovertyetstillwithholdingandsecretive.Oneofthechoicestcutsontherecordis“SpaceGangsta.”Shadowyandminimalist,itleansbacktowardhip-hop:

“Cosmos,nebula,thesamechannel/Co-min’atyou/Youknowgangstaandwhat

haveyou.”‘Nuffsaid.“Upgrade”isalittlereminiscentofFatJon’sground-breakingworkwithFiveDeez,buttheadditionofStyrofoam’ssoft-spokenvocalsaddanelementofstylethat’sthematicallycongruenttotherestoftherecord,while

“ScreamItOut”isahigh-energyhead-dip-perwitharoboticbroken-beat,andonecheerfullydeliveredStyrofoamline:“Youcanscreamitout.”Theremainderoftherecordretreatsintoaloofnesswith“TheMiddle”anditssenseofsadnessreflect-edinaninfectiouschorus.Thisretreatcontinueswith“GenericGenes.”Thoughhigherintempo,itstillcarriesanairofunsurewondering.IntheGradePeriodmixof“Upgrade,”thealbumdiveswithfinalityintoapoolofetherealechoesandlooselystructuredguitarlinesthatseemtofloatoverheadandcarryyouoffintowhateverdreamsmightfollow.AnyfanofFatJonalreadyknowsthatevery-thinghedoesisgolden,buttogetherwithStyrofoam,thecreationofTheSameChannelfurtherdemonstratesadrivetopushboundariesandproducemusicthatislikenothingthathasprecededit.AM

glUeCatch as Catch CanFatBeats

TherewasaperiodoftimeseveralyearsbackwhencollegiateMidwesternersnearlydominatedmyhip-hoplandscape.Theseweretheguyswhowerewinningbattles,playinglocalall-ageshows,and(gulp)postingonthemessageboardsIread.ThoughyearshavepassedsinceIhavepurchasedaCopywriteCD(didIeveractuallylikethisguy?),Glue’salbumCatch as Catch Canplayslikeadistilla-tionofwhatIenjoyedmostaboutthisunusualsubsetofrapmusic.Despitetheheadyaspirationsofthelyrics,agreatdealofattentionisalsoplacedonmak-ingthesesongs,well,rock.Thesearen’tclubbangersbyanystretch,butMaker’scrunchydrumsandearformotionwouldbesuretorockjustaboutanyb-boybattle.DJDQ’sscratches,comingfromISPschoolofhelicopterintricacy,areimpressiveyetutilizedwithenoughrestraintsoasnottodistract.TheclosesttherecomestobeingaweaklinklieswiththeMC.HavingseenAdeem(saidAyeDeeEm,ifyoudidn’tgetthememo)winScribbleJamacoupleyearsback,whatimpressedmemostwashisuseofsyncopationandpropensityforactualflow(somethingsorelylackinginjustaboutanycompetitiverhyming).Thoughthelyricsontherecordarecre-ativeandsincere,Iexpectedmorerhyth-micdexterityandaneffortlessfeeltotherapping.Thatsaid,Catch as Catch Canhasalottooffer;morethanenoughtoyieldincreasingappreciationuponrepeatedlis-tens.Thealbum’sabilitytoprovidedepthwithoutsacrificingtheimmediacywhichmakesmostrapmusicsoappealingiswhatmakesthisrecordwork.SB

klaxoNSXan Valleys EPModular

NonchalanceandinsouciancearethetrademarksofscenefigureheadsandLondon’sKlaxonsarenoexception.Mod-ular’snewestsigningsdon’tseemtocareiftheireffusivecutandpastespazz-outmelodies—Iusethatwordloosely—areeasytolistentoorevenmarginallycon-sistent,whichisexactlywhytheirdebutEPisapleasuretoabsorb.Trytowrapyourheadaroundwhatwouldhappeniftantrum-likevocalswerethrowninablenderwithdetunedpost-punkguitars,

ubiquitousravesirens,andthensped-uptohappyhardcoreproportions.Yeah,that’sthewarpedrealityoftheKlaxons.Musicpapersarealreadypretendingindie(orneu)raveisabonafidegenre.Intruth,themusicisprettymuchthesonicequivalentofamentalmeltdown…butstrangelyIloveit.It’sinnovative,notderivativeofformulaicguitarrockinanywaywhatsoever,andremindsmeofwhenTheProdigywasstillgood.ThestandouttracksonXan Valleysare

“Gravity’sRainbow”(asongwhichtendstosoundbetterintheanthemicremixbylabelmatesVanShe)andthequasi-psychotic“AtlantistoInterzone.”Allpro-ducedbyJamesFord,themanbehindSimianMobileDiscoandtheTestIcicles,whowasreportedlytooavant-gardefortheArcticMonkeys(althoughhedidafewtracksforthem).“Yourname’snotdown,you’renotcomingin,”aderangedboyscreamsoverclashingdrumsonabrilliantcoverofKickLikeaMule’s“TheBouncer”–evokingnotjustthesnob-beryoftheelitistpartycircuit,butalsotherampantrecreationaldruguse.Alleg-edlythetrioingestedMDMA(whatyearisitagain?)beforeshootingthevideofor

“Gravity’sRainbow,”whichfeaturesthemclutchingnakedbabiestotheirhairlesschests.Klaxonsareaszeitgeistyasitgets,butinafunsparklyway.Whistlepossepumpitup!RD

aDriaN klUMpeSBe StillTheLeafLabel

Thisalbumremindsmeofwhenmybonsaitreewasdying.AdrianKlumpesisthepianist/keyboardistforTriosk,whoseHeadlight Serenadealbumquietlybe-cameoneofmyfavoritesofthesummerwithitsrefined,abstractedlypost-modernnocturnalexplorationsintothehinter-landsbetweenjazzandelectronica.Aplangent,autumnal,unresolvedsearchforanelusivepeace,Be Stillisamoresombre,seriousaffair,lessconcernedwiththeconjuringofimagerythanitiswiththedistillationofconsciousawarenessitself.Minimalistyetswellingwithemotion,thealbum’scentralaestheticisoneofres-tive,rippling,shiftingintensity.Recordedinonefive-hoursessioninKlumpes’shometownofSydney,Be Stillebbsandflowsbetweentemporaryreconciliationsanduneasy,unflinching,liquidtension.Attimes,italmostswoonswithgriefandpain,atothersitreachestoo-fleeting,hauntedhalf-calmsofwistfulrespite.Itsheavyreverbandsplinteringeffectsshim-merandslidespectralchords,digitisedtonesandgraspsofharmonyfromKlump-es’spianooverandacrosseachotherwithsubtlefocusandrestrainedintricacy:itsoundstomelikeshardsofglassreflect-ingbright,purelightindeep,darkwater.Crepuscular,ethereal,almostcrystallineinitsdetail,themusic,saysKlumpes,is

“abouthonesty;concentratedawareness,acommitmenttofollowtheideathroughwithouthesitationorpretense.”Powerfullyintrospectivewithoutahintofmelodrama,thisismoving,masterful,modernmusic,andamorethanworthyadditiontoTheLeafLabel’sremarkablecatalogueofgenre-defying,breathtakinglycreativeavant-vanguardartistry.EH

eliot lippSteele Street Scraps HeftyRecords

EliotLipp’sgotsomefunkyshitgoin’on.Earlierthisyear,hereleasedhissecondfull-lengthalbum,Tacoma Mockingbird.

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aUDioNMouth to Mouth 12”SpectralSound

MatthewDear’sdirtyalter-egoisAudionandthelatestsingleisvintageSpectral:spooky(afterall,itISthe‘Ghostly’sub-label),minimal,funky,patientandmorethanrewardingwhenthemainchunkoftechnofunkkicksin.“MouthtoMouth”isjustapolitelittlebangerthateventuallystingswithpleasure-pain.Affectionatelyreferredtoas“SwarmofBees”byGhostlybloggerenthusiastspriortotheofficialreleaseofthistrack,youcanimaginethis12-minuteepicasaperfectsoundtrackforCarlosCastenadapeyote-drivenadventureswithDonJuanoutinthedesert.MisterDearmakesthiskindofjointseemeasytomake,yethowcomefewtrackscancomeoffsoclean&sofilthyatthesametime?TheBside(“HotAir”)gallopsalongatitsownslickpacebeforethestockysnaresclampawayoverthefuzz-warbleofbassblasts.Callingallgorgeousbutlifelessrunwaymodels:thisissomeserioushedonisticdecadencethatwillputsomesoulbackintoyourstrut.ET

thaViUS BeckThruMushRecords

Anybodywhocallshimselfa“composerofmercurialsoundtracksforuncertaintimes”definitelygetsmyfullattention.Movin’onupfrom2003’sDecomposition,ThaviusBeckreturnswithanimpressivefollow-upofmorose,dusty,andbeautifulsongsthatonehascometoexpectfromaMushrelease.Anexposéofexperi-mentalhip-hopwithalittleofthedarksidethrownin,themulti-taskingBeck(programmer,engineerandmulti-instru-mentalistextraordinaire!)deliversthirteentracksofdenselylayeredsamples,pulsat-ingsynths,anddizzyingdelayallplas-teredoverfranticdrumtrackswithsomevocalsthrownintaboot.Soundliketoomuchtocomprehend?Beckmanagestopullitoff,andhe’sgotsomepartnersincrimewhohelphimdoit.Thecollabora-tionrosterisaperfect,unforcedmenag-erie,includinghistouringpartnerSaulWilliams,folk-songstressMiaDoiTodd,L.A.’s2Mex,andtheup-and-comingMCNoCanDo.Beckweavestogetherhip-hop,electroandindietocreateavisionarysamplingofsoundsforoneofMush’sfin-estreleasestodate.CT

BiggaBUShIn DubLionHeadRecordings

Takingthemiddlemenoutoftheequa-tion,England’sGlyn‘Bigga’Bush(a.k.a.theformerRockerHi-Fia.k.a.LightningHeada.k.a.oneofRE:UP’sfavoritepro-ducers)hasstartedhisownlabeltosharehismusicwiththeworld.Thefirstreleaseisanexclusivecollectionofhisowndub-orientedtracksproducedespeciallyforthe2006BigChillFestival.Someofthesecutshavesomerecognizabletraces;“BeatDem”isavariationofBush’s

remixofTapperZukie’s“MPLA.”Asimilarversionof“DoninStudio1”canbeheardontheLightningHead2002Studio DonLP,andeven“DubInterlock”hastinysnippetsofBush’smurderous“2ndLineStomp”dancehallriddim(alsoreleasedonStudio Don).Beyondthosethreereworksaresixmorecutsof‘spaced-outbliss’indeed.RockersHi-Fi’s‘hit’“PushPush”getsupdated15yearslater,withwarmguitarchordstuckingyouunderthecovers.Bookendingthealbumare

“Intravenus1”&“Intravenus2”—bothpatientlydrawn=outdisplaysofminimaldubhumsandwhirrsandclicks.Thehiddentrackisanicesurprise,teasingwithavibraphone-orientedconstructionofabreakthateventuallybeltsoutintooneofthemostall-timefamiliarreggaechunesforushonkys...andit’sdefinitelyChiefClancyWiggum’sfavorite.AllinallIn Dubsuccessfullyshufflesalongthetightropebetweendubandambientanddeliversinallthewaysyou’vecometoexpectfromtheHi-FiStudioDon.Avail-ableviaCDBabyorBush’ssite(www.big-gabush.co.uk).ET

BraiNtaxPanoramaLowLifeRecords

Oneofasmallclutchofpremiumqual-ityrapalbumsreleasedinBritainthisyear,whatPanoramamightlackintermsofinnovativefloworillnessofstylingismorethanmadeupforwithhard-hittingtopics,sturdy,up-to-dateproduction,andtrue-schoolmaturity.Astheco-founderandowneroftheU.K.’slongestrunningandbest-respectedindependenthip-hoplabel,JoeyBrainsdidn’tgetwhereheistodaywithoutaredoubtableworkethicandasternaversiontobullshit.Refresh-inglyhonestandstraightforward,BraintaxprideshimselfonbeingaNorthernerand,assuch,sayingexactlywhat’sonhismind.What’sonhismind,itturnsout,isthesameasthatonmanyofourminds:theraginginjusticeofBritishandAmericanforeignpolicy,themendacityofourleadersandmedia,twodecadesofgreyinequalityinnot-soGreatBritain,amountingfearforthefutureoftheenvironment,andadesiretoescape,whetherit’stotheSpanishRiv-ieraortothedrunkenpleasuresoftheclub.

Standouttracksinclude“SyrianaStyle,”anattackonpoliticalandmediacowardiceanddeceitoverIraq,and“TheGripAgain(ADayintheLifeofaSuicideBomber),”abraveandempathicinsightintothemindsetofayoungPalestinian.Theleadsingle“RuntheYards”boastsabrilliantun-quantizedbeatfromrisingstarBeatButcha,allcrazyChinesesingingandcymbalsasBraintaxrailsagainstthepretensionandcorruptionofthemusicin-dustry.Elsewhere,Mystro,VerbTandDub-bledgeturnintop-notchcameoappear-ances,andsomeon-pointsamplesfromnewsreportageandthelikesofGeorgeGallowaycementthethematicunityofin-dependenceofthoughtandself-relianceinashadyanduntrustworthyworld.

Aswell-roundedandconfidentlyexecutedasyoumightexpectanalbumfromoneofthepillarsoftheU.K.hip-hopscenetobe,PanoramafallseasilyintothebracketofnecessaryBritishrapalbumsofthemid-noughties.Ifyouhavebeenwearingmono-continentalblinkersallthistime,thiswouldbeaverygoodopportu-nitytoexpandyourhorizons.EH

cariBoUStart Breaking My HeartDomino

Caribou(néManitoba)hasre-issuedhis2001release,Start Breaking My Heart,withtheoriginalversionofthefirstalbumondiscone,andafull-length,previouslyunreleaseddiscthatmatchessoperfectlywiththeoriginalalbumitsoundsasifitsabsencefromthefirstreleasewaspurelyaccidental.Fromthewarmmelodiesandelectronicjazz-in-fusedbeatsattheendofthefirstdisc,Cariboudrizzlesintothenewmaterial,lingeringfaithfullywithinthesameemo-tionallyevocativetextureslustedafterbyfansofMúmandBoardsofCanada.Theearliersongsonthenewdischypnotizethelistenerwithwaveringmeterandrhythmlikethatfoundunderneaththearpeggiatedchordsandmomentsofanticipatorysilenceon“218Beverly.”On

“EvanLikesDriving,”Caribou’sDanSnaithexperimentswithseveralsamples,includ-inghorn,xylophoneandtherepetitionofasingle,simpleguitarchordlaidoverrhythmicclicksandateasingpercussionthatmakethechordrepetitionanythingbuttediousordull.Justasyouthinkthesongisending,iteruptsintoasweeping,energeticvariationoftheoriginalrhythmandatriumphantreturnofeverysamplethatwasusedleadinguptothatpoint.

“AnnaandNina”isdominatedbyaslap-pinguprightbasslinealongsideasultrykeyboard,bothofwhichdisappearintoastatic-ydistortionoversecondsofsilenceandthenastartlingresuscitationofthesmoky,Portishead-esquetheme.

Thesecondhalfofthenewmate-rialbecomesdistinctlybass-o-philic,withearth-shaking,wall-vibratingbass--thekindthatmakesyourlungsquiverinsidethevacuumofyourchest.Thejocoselytitled“IfAssholesCouldFly,ThisPlaceWouldBeanAirport”explodeswithanaggressive,poundingrhythmandthetinnysoundofanairplaneenginefloat-ingaboveaplunkymelodicline.“Webers”featurestheclinksandclanksofwhatsoundslikeglassesandspoonsinasinkandaxylophonemadeofrecycledmetalswithabottomlessbassdronethatdriftsinandoutofthesong.Theheartbreakinglystandoutsongonthisalbumisthedrivingandgalvanicremixof“Dundas,Ontario,”theoriginalver-sionofwhichappearsonthefirstdisc.Caribou’sremixofthistrackintroducesacrunchy-sounding,sonorousandbassysynthesizerduringthesong’sclimax--definitelymeanttobeexperiencedusingahigh-endsoundsystem.Withabeatthatteetersontheedgeofdrum&bass,itbecomesnearlyimpossibletonotgetlostinsidethedizzyingsamples,blipsandglitchesswirlingthroughoutthemix.OldfansofManitobawillhavenoproblemwrappingtheirearsaroundthisnewestchapterofStart Breaking My Heartandfirst-timelistenersofSnaith’snewidentity,Caribou,willtakeitforfacevalue,interpretingitasexactlywhatitis:animpressiveexperimentinsidethegenreofIntelligentDanceMusic...extraemphasison“intelligent.”JR

coUNt BaSS DAct Your Waist SizeFatBeats

WhatmakesthisalbumremarkableiswhatCountismostunderestimatedfor

–itsmultiplicity.Confusingbutfullofwonderment,Act Your Waste Sizechang-esfacesoften.Asaresult,sometimesforthebest,yettoo,sometimestotheconfu-sionofitslistener.Whenthedirtykitchensinkandthemarbleflooraretreatedwiththesamerespectthereareboundtobesomedisagreements.With20tracksstrong,thealbumisepic.

SimilartoCount’slastreleaseBed-borrowsteal,Actisextendedinitsform,withsongsfallingintoeachother,endingimpulsively,markedwithmorepersonalcharacterthananyfollowingofcontem-poraryform.Counthasbeenproducingmusicpracticallyhiswholenaturallifeandatthispointhecandojustaboutanythinghefeelslike.Andhedoes.

Inhisshortformofsongstruc-ture,Counthasanothing-is-sacredtakeoninfluencesandregular-guysitua-tions.“Junkies”isanincredibletaleofruralSoutherncommentaryandoneofthebestproductionsonthealbumasawhole.BestinthefactthatitjoinsCount’susualexperimentstoalevelthatisrelatableanddigestibletojustaboutanykidontheblockbornafter1988(adelightfullyenlightenedthinginthisdayandage).Bubblingbassbetweenaspiralingsynth-line,CountdropsavividstoryofbassheadshawkingbootlegGos-pelalbumstocopanotherhit.

“HalftheFun”isabeautifulditty-bop,withtricklingpianosthatstepfromthespeakerlikewhenthebeamsofasunnySaturdaymorningreachtheheatofahotweekendafternoon.Count’stonehereisconversationalasalmostalways,slowandlow,waftingaboutlikelingeringsmokefromanoldashtray.Inasimilarfashion,

“LongGoodbyes”and“LeaningontheEverlasting”takeanevenmoresubduedapproachtoCount’sbrandofr&b.Some-howwithproductionthatisbothwhollytranquilbutrougharoundtheedges.Abridgethatlong-termCountfansmayrecognize,joininghisearlierworks(Pre-Life CrisisandArt For Sale)withtherecentincarnationsassuch.

Forbetterorworse,Count,whoclearlyknowshowtodifferentiatebetweenthetwo,leavesituptothelistenertofeelhowtheyneedtofeel.Neveronetospoon-feedyouwithhisart,thisremainsnodifferent.Foreachsimplesplendorcomesajaggedpill,inthingslike“Tradin’HoeStories”or“FalseorTrue.”Sometimesit’sjustareferencegamethough,andwhilesomeheadsmaybescratchingtheirfitteddur-ing“IMEANROC&RON,”theoldergodswillfindthebug-outnodinthejoint’schippedandchoppedTearsforFearssample.Thus,weasthemassescanonlyhopethatourpeersslightlylessastutewillbeabletograspAct Your Waist Size’ssheersubtleties.PA

reviewers Edward Turbo, Chandra Teitscheid, Ewan Huzarmi, Justin Roberts, Peter Agoston, Jon Wesley, Adam Matar, Justin Carter, Stephen Bolles, Rachel Doyle, @Large, DJ Dopeshoes, Walker Holland, Maria Gonzalez, Cuttyman, Kris Monroe and The Hound Dog

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Out NowJustafewshortmonthslater,hefoundthetimetoknockoutthissequelEP.Justalittleover30minuteslong,the10songsonLipp’salbumareacombina-tionofsongsculledfromtheTacoma Mockingbirdrecordingsessions,alongwithsomethatarebrandnew,somethatarecollaborationsandsomethatareremixes.Iwon’tlie–puttingthisalbumonbroughtmebacktothesynth-basedinstrumentalhip-hopofmychildhoodinthelate‘70sandearly‘80s,withsomeoftheoldbreakbeatsandsynthriffsheuses,butpairingtheoldandfamiliarwithhisownsignaturestylemakesiteasytoseewhypeoplehavebeenmakingsuchafussoverhim.Hisbrandoffunkyinstrumentalhip-hopbringstogetheramyriadofmusicalgenrestocreateamasterpieceofbeatsthat’sdefi-nitelyworthchecking.CT

NicolayHere BBE

DutchproducerNicolay’smusichasbeenassociatedwiththatofNativeTonguerevivalistsLittleBrothereversincehecollaboratedwiththegroup’srapperPhontefor2004’sForeign ExchangeLP.DespitealackofcontributionfromanymemberofLB,Nicolay’sHereshowsthatit’snotexactlyacomparisonhe’stryingtoshakeoff.Thesoulful,well-craftedbeatshavetheslaponeexpectsfromthiscamp,downtothefamiliarsnare.Themusicismelodic,yetbottomheavy,withalyricalemphasisoneverydaylifeandadowntoearthfeel.Tastefulinterludes,acoupleofinstrumentals,andseveralR&Bvocalistskeeptheshortalbumvaried,butthegreatestrevelationhereisrapperBlackSpade.Featuredonthethreebestcuts,hisno-bullshitlyricsandfocusedflowmakeoneofthemoreconvincingperformancestocomeoutoftheunder-groundsince,well,LittleBrother.Hereisbynomeansahackjob,norisitasimplere-tread.Butitisn’tastepforwardeither.Itissimplyasolidrecordwhichislikelytosatisfymostfansoftraditionalisthip-hop.SB

paUze F. SoN oF raNPauzetape: Remixes Vol. 1 Son of Ran 12”sHomegrownBlends

Dillamaybegone,buthislegacyisverymuchineffect.SanDiego’sfavoritesons,theHomegrownBlendscrew,proveitwiththeirfirstpairof12”s,b-boyfreshoutofthebox.Whetheryou’readiehard

“head”scouringthisscorchedearthforraregems,oraTop40typelookingforsomethingtowarmupthehype,neitherwillbedisappointedwhentheserecordssliponfelt.UpfirstisthePauzetape Remixes,whichyoumightdescribeasa“mashup”ifyou’rethetypetopickdaisieswithachainsaw,orswatflieswithashotgun.Yestherearerareacapellas,yestheyarepairedwithoriginalbeats.Classicnew-soulvocalssuchasMosDef’s

“Travelin’Man,”JillScott’s“LoveRain,”andErykah’s“LoveofMyLife”arerefixedoverPauze’ssweetsamples,butthekeyinitialshereareTLC,notBFD.Pauze’sre-workofthelatter,forexample,managesallthesouloftheoriginal,plusaddingastring-filledhopefulnessthatmakesyou

thinkrealhip-hopmightmakeitafterall.Furtherhopeintheol’boom-bapisfoundinthesecondtwelve,thistimeanentirelyoriginalmatchofPauze’sbeatsandrapperSonofRan,thedopestMCyou’veneverheard.FansofactsliketheSoulquarians,LittleBrother,ForeignExchange,orKevBrownwillnotbedis-appointedbytheseconscious,conscien-tiousflows,andsnap-attackbeats.Indeed,anyoneofthethreesongsincludedhere,

“Rumors,”“SongforSurvival,”and“InfiniteLives”couldbethenextsleeperhitonyourmixtape.Theonlyquestionnowis

“When’stheLPdropping?”@L

preStoMagic LPConcreteGrooves

ImetPrestobackin2000inLosAngelesatasmallvenueonSantaMonicaBlvd.wherehewasputtingonareleasepartyforhisfirstprojectConcrete Grooves Impressions.Hewasagenuinepersonwhomyoucouldtellwasallaboutmusicandnotaboutfame.Ilikedhimalready.HegavemeacopyofthecompilationandIworethatsuckerout.Nowfiveyearslaterhe’sreleasedatruelongplayerfullofcrafty,solidhip-hopthat’smadeforcontemplatingaswellasdustingoffanystaledancefloor.Ican’tcomplainaboutthelackofqualityhip-hopmusicnowbecausetherereallyisatonofitouttherethesedays,andit’sahellofalotmoreaccessiblenow.Butthere’sstillaneedformelodicsongcraftthatinspiresandstimulatesthemindandPresto’sworkdoesjustthat.Notthathedoesitalone;he’sverywiseinhischoiceofcollaboratorsandhereallyletstheirtalentsshinethrough,whichisthemarkofagreatproducer.Magic isfullofthelaid-backstuffthatyouarefamiliarwithfromPresto’spreviouswork,butthankstofiercevocaldeliveryandqualitywritingbyLowd,KimHill,In-Q,RaashanAhmad,3rdKhind,LScatterbrain&DJMinoandothers—plussomeuptempoblockpartybeats—thisalbumbumpsandgrindsquiteabit.ItdefinitelyrepresentsL.A.(andhip-hop)verywell,especiallywiththereminiscenceof“Backin‘92”andmissinglostfriendson“SoloistVirtuoso”(featuring:Sach&LAJae),andevencon-tinuingwithaposthumousshowcaseofthedearlydepartedDJDusk.YouhavetorespectthatandthefactthatChrisDouglasandhisfamilyareallself-taught,self-respected,self-empowering,self-financedandauto-replayedagainandagain,workinghardtomakegoodmusicandchilledoutfareforeveryloverofhip-hoptoenjoyinthereallyrealworld.JW

SaDat xBlack OctoberFemaleFunRecords

Deadmanwalking.Well,incarceratedmanrhyminganyway.Ontheserecord-ings,SadatXisn’tlockedupyet,buthisimpendingsentencehasgrantedhimanacuteawarenessofselfandsurroundings.He’snotgettingabstract.Therearenometaphorshere.Black Octoberisthatmomentofclarityrightbeforetheothershoedrops.

Thealbumisaregularbeatwhore,havingbeenpenetratedbyaslewof

producers,includingDaBeatminerz,GregNice,andJ-Zone.Thetitlesong,producedbyhip-hopheavyweightDJSpinna,fea-turesasurprisinglytenderambientvocalmelodydriftingoveragritty,almostin-dustrialtrack.AhypnoticbackgroundforoneofX’smorecontemplativerevelations.ScottyBlanco’s“MillionDollaDeal”isfitforaHovaverse,andDJPawlofHangar18bringsitheavyandmenacingwiththatundergroundNYelectroshit,butmymoneyisonnewbieSpencerDoran.Prob-ablythebiggestflawinthisalbumisonlyallottingthiskidaminutelonginterlude.

Collaboration-wise,DotXhasstuckrelativelyclosetohome,tappingfamiliarheadslikeLordJamarandMoneyBossPlayers,evendoingatrackwithBrandNubian(thoughitlackssomeofthein-toxicatingjazzinessofearlierrecordings).AtthispointtheDotfatherisn’trevolution-izingthegame,onlyreassertinghisplaceinit.Heisbothrandomandsystematic,pensiveandrelaxed,waryyetoptimistic,runningthelyricalgauntletasherecountsmajornewseventsfromtheJune28thNew York Post(it’slegit,Ichecked)andlatertellsanopportunisticlesbiantobackupoffhisgirl.Foranyonewho’sbeenwonderingabouthissideofthehandgunincident:checkoutthefinaltrack.Nobeat,norhyme,nobullshit.DJDS

otto VoN SchirachMaxipad DetentionIpecacRecordings

Myliverdigestedmybrain.Ottosampledit.TheresultingsoundbytecanbefoundonMaxipad Detentionalongwithothersonicodditiessuchassquelches,slurps,blips,glitches,moansandbelches.Alloftheaboveisdigestedandregurgitated,thenmixedwithelementsofgabber,grind-core,gangstarapandMiamibass.Thealbumisacollectionoftracksfroma28-songdemohand-selectedbyMikePatton,formerFaithNoMore/Mr.BunglefrontmanandIpecacRecordsowner.ItseffectonthelistenerissimilartothatofMr.Bungle’s,stimulatingtheimaginationandassaultingearlobeswithabarrageofuniqueandoriginalsounds.Thefirstsignthatyouareafanisifyoumaybegintothinkthatyourgarbagedisposalunitmalfunctioningmakesforagreatsampleratherthanahouseholddilemma.Re-pulsivelynamed,“TeaBaggingtheDead”startsoffa54minutejourneyintothedisturbingandtwistedworldofOttoVonSchirach.“TrickSnitch”,apersonalfavor-ite,disectsthedancefloorwhileasadisticrobotdeclaresrepeatedly“carjacksanddrive-bys.”Therestofthealbumisarrangedbymeansofstructuredchaos,twistingandturning,sloshingtowardsitsconclusion.Gotothedesert,stareatthestarsandlistentothismusic.Youmayneverbethesame.IfyoulikeMaxipad Detentionandareafellowsounddesign-eryoumayalsowanttocheckout“Otto,”a4GBcollectionofinstrumentsreleasedbyFixedNoiseandNativeInstruments.Itmaybeeasierthanexperimentingwithkitchenappliances.WH

SUBtleFor Hero: For FoolLexRecords

Boundbynogenrenecessarily,theodd-man-out6-squadthatisSubtledeliverinFor Hero: For FooltheIllmaticoftheircareer.A10songswirlingmicro-master-piecefindsfront-manAdam“Doseone”Druckerfollowingcuesintoanelec-tronic-musicabyss.Consistentlyscalingtheinclineofanti-convention,Subtle

appraisemodernavant-popandob-scura-throwback-rapforitsrawestvalues,recreatingallalongtheway(IfImaybesoliberaltoquotetheGreatSadatXfromhis1996song“Stages&Lights,”Subtlewilleffectively“takeyoursuggestion,noquestion,andflipit.Addto,thengetbadtoit”).Ofcourse,Doseprovedhimselfasasuperioremceeyearsago(andonhereit’s“MidasGutz”thatonlyreiteratesthispointfurther);embracedandshunnedforhisuncharacteristictakeonbeingarapper,theguy’sdonehistenureintheunderground.Diligentlydevouringthegametomoveup,outandbeyond.Whilehislyricalcontemporarieshavetoiledincomparison,Dose’supwardlymobileartistryhasnotonlyflankedthevariedprojectswithproduction-partnerJel(theundoubtableGuru&Primoofavant-pop)butbrandedthemintosomethingnearlyuncatagorizable.

For Hero: For FoolchannelsGaryNuman(“CalltoDive”)asmuchasitdoesTheD.O.C.,whichinturnbirthsamashofculturalinnuendososurrealitwouldruncirclesaroundtheircom-mercial(commodified)comparisonsàlaRadioheadorColdplay.Leavingmajorlandmarkgroupassuchjustsounding,well,sortofexhausted.Songslike“No-manisisland,”“TheMercuryCraze,”and

“MiddleclassStomp”amazeinasonicdaze,whereDose’severymanobserva-tionsshareequalplatformwiththesheerlive-electronicbeautythatisanythingbutsubtle.PA

ViVa VoceGet Yr BloodSucked OutBarsukRecords

OnenightinAlabamayearsago,ataconcertinanabandonedwarehouse,KevinandAnitaRobinsonmetandfellinlove.HewasaCureandDepecheModekindofguy,whileshegrewuplisteningtomoreclassic,guitar-drivenrock.Still,theyformedaunion,notjustasmanandwifebutalsoassingerandsinger,drummerandguitar-ist,choosingtoformtheirownbandratherthankeepplayinginso-sogroups.AndthusVivaVocewasborn.In Get Yr Blood Sucked Out,theband’sthirdalbum,VivaVocehaverefinedtheirindividualstrengthstoexploreavarietyofsounds.

Anita’svoiceissoftandlovely,andiscomplementednicelybyheraggressiveelectricguitarplayingandKevin’scommandofthedrums.Thelyricsaregentlethroughoutthealbum,theirvoicesrefusingtooverwhelmthelistener.Attimesthechorusescomeoffasironicwithsomeoftheballads,likethecatchy“WeDoNotFuckAround.”Here,Kevintakesleadvocals,followingAnita’seasygracewithwordsandaddingkeyboardforasentimentalmeditationonempowerment.“FromTheDevilHimself”containsthephraseadaptedasthenameofalbum,andismoreofanupbeatkiss-offtoafailedrelationship,completewithaclap-alongtract.VivaVocedon’tholdbacktheirexperimentation,andtheireffortsofferthelistenerauniquecombinationoffuzzed-outrock,pop-rockballadsanddeepersentimentaltuneslike“Believer.”TheRobinsonsmakeitallwork,craftingadiverse,enjoyablealbumthatisatruelaboroflove.MG

DJ wally & DJ willie roSSMrs. Miller’s HousetheAgriculture

Let’sbehonest.SupposedlyMrs. MillerisacollaborationbetweenDJWallyandDJWillieRoss,butI’mprettysureKrushand

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Matthew aFrica & DJ eleVeNDirty Raps: The Best of Too $hortTheRub

Firstoff,youknowthisisTHEofficialwhenyougotourmanToo$hortdoingdropsonthemix.Secondly,hideyourchildrenANDyourbitches.ChalkthisoneupasthebestCDcomingfromTheRubcamp.IknowIt’s The Motherfucking Remixesaregreatandall,butlet’sbereal...ThisisTOO$HORT!!!We’vehadacoupleToo$hortCDscomethruthiswaybefore,whichweregood,butthisonetakestheblueribbonforthedepthofthecollectionandthemixskillsthatareeverpresentinEleven’swork.WhenIsay‘depth,’I’mspeakingmoreintermsofsometracksthatMatthewAfricaandElevenunearthedthatI’vehaven’theardinquitesometimeandcompletelyfelloffmyEastBayradar.Butafteralisten,I’mrunningbacktomymom’sbasement,tryingtoseeifIstillhavesomeofthesegems.Asexpected,thisCDiscarriedbyaniceensembleofmash-ups,remixesandguestappearances,allonsomeclassicclassicToo$hortish....Biiiiitch!!!HD

JaMeS MUrphy & tiM golDSworthyThe DFA Remixes: Chapter TwoDFA/Astralwerks

WemaybeonethelastinlinereviewingthisCD(releasedOctober3rd),regardless,thispieceofmusicdeservestotakeup32linesintheRE:UPReviewsection.The DFA Remixes: Chapter TwoisDeathFromAbovefounder’sJamesMurphyandTimGoldsworthy’ssecondinstallmentofthelabel’sremixcompendium.Andtobe

honest,theseremixesnotonlyoutshinetheoriginals,butrunliketheirownsongsthemselves.Whichraisesthequestion,whatmakesagoodremix?Isitreshapingandsequencinganexistingsong,onlytoaddafewtweakshereandtherethusmakingitalittlemore“DJfriendly?”Or,isitsquanderingtheoriginal,andtakingafewbitsandpiecesandrecreatingatrackfromthedeconstructedmess?Iguessit’stheopinionoftheremixer,andhowmuchthesongneedstogetfuckedwith.The DFA Remixes: Chapter 2takesadvantageofalreadyheraldedsongsandmakesthembetter,whichshowsthegeniusinMurphy&Goldworthy’sears.IncludedareremixesfromdancemusicstaplesTigaandJuniorSenioraswellasreworksofN.E.R.D,Chromeo,UNKLEandDFA’sownHotChip.Theanticipationofthisremixcompisveryreminiscentofadecadeago,whenacertainduoreleasedtheK+D Sessions...aclassictosaytheleast.HD

ta’raachThe FeversSoundInColor

I’verecentlyhadthechancetomeetoneofmyfavoritedesigners(seeegotripfeatureonpage48).Myman’sbeenaround,designedforjustabouteveryoneintheindustry,andhasarolodexthatisfilledwithevery“needtoknow”contact.Liketheegoarticlereads,BrentRollinshasevenhadhisfeetintheDo The Right Thingmovieposter(whiteJordans,upperright).OnemightcallhimtheForestGumpofhip-hop.HowisthisrelevanttoTa’Raach?Well,onemightcallTa’RaachtheForestGumpoftheDetroitSoundthathaslongbeenrunning,butonlyuptoafewyearsago,beenonthe

mainstreammap.Ta’Raach,previouslyknownasLacks(Lacksidaisycal),hasdonehistimeinthestudio,andisnowreadytobementionedinthesamecategoryastheDillas,theSlumVillages,thePPPsandtheFranknDanks.The FeversisaniceFreshmanreleaseontheSoundInColorimprintthatfitsrightintherewiththeaforementionedmentors.ThealbumboastsomenicecollabswithdetroitbrethrenBigTone,AmpFiddler,andFuzzScoota,risingMCstarBlu,aswellasnewschoolersJMitchell,TheBeloved,andCashiusKing.Ifyouareafanofthesound,youneedtogetupwithTa’Raach.HD

JeDiah whiteThe Evolution of an IdeaInnerCurrent

RickatInnerCurrenthitmeoffwithalinktoJediahWhite’snewalbumthatIcan’tquiteplaceinthecontextofinstrumentalhip-hopalbums.LetmesaythatlowBPM,instrumentalhip-hopistheshitHoundDogshuffleshisfeetto.I’veheardalotofthemandstillDJthem,basicallyIfiendforthem.Andafterhearingprettymuchthatwholestyle,The Evolution of an Ideaissomethingfreshthatrestoresmyfondnessfortheloop.LikeearlyPrefusetakinghip-hoptoexperimental,Jediahtakesthebreaktoamoresoul,feel-goodside,yetbreakingupalotofthestandardmonotonywithquickcuts,craftysequencingandtempochanges.Plus,myfavoritepartishismasteryoftheKanye(orRZA?)chipmunkchorussampletechniquethatalwaysmakesasongwaymoreemotional.Hey,ifitsoundsgood,runwithit,especiallyifKanyecangetGrammysandgomulti-platinum...HD

Shadoweachtookahitofacid,watchedPeopleUndertheStairsandthengeekedoutonalaptopfor16hours.DroppedjustintimeforHalloween,Mrs. Miller’s Houseisalittlebeatcandyforyoursack,fulloftricksandtreats.Itisoneofachosenfew;athemealbumthatactuallyworks,largelyduetoitsintricatewebofsamples.DJWally’sinfatuationwithsam-plingisevidentandgoddamningenious.Theinstrumentalarsenalofthisprojectiseclectictosaytheleast.Epichorns,organicfolkguitar,ashamisen,Yiddishclarinet.It’sFiddler on the RoofmeetsJack the Ripper.Theyhaveanuncannyknackforchoosingsamplesthatwouldsoundcheerfulintheirpropercontext,howevertheirapplicationhereissoper-verseit’seery.

Morethanoncethisalbuminspiredmetonodnotonlymyhead,butmyen-tiretorso.Ialmostfelldownintheshow-er.Thisshitbangs.Originallyahip-hopheadwho’sbeenspinninwaxforover16years,DJWallyknowshowtodropafatbeat.DJWillieRoss’drum&bassleaningshaveschooledhimproperintheartofhittingyouintheface.Theyalsoman-agetoslideinsomedowntempotracksthatarejustsoothingenoughtolureyoubackintotherocks.Thisalbumisanaturalextension.Itdrawsontheinher-entdarknessofthegenreandrunswithitlikeabatoutofhell.IfIhadahauntedhouseIwouldputthisalbumonrepeatandwatchpeopleshitthemselves.FornowI’lljustenjoyitintheprivacyofmyownhome.Butnotwithoutfirstshuttingthewindowsandlockingthedoors.DJDS

chriStopher willitSSurf BoundariesGhostlyInternational

SanFrancisco’sChristopherWillitshasmademusicwithsuchgrandartistsasMatmos,kid606(underthenameFlössin),andLatriceBarnett(whomyoumighthavealsoheardsingingoverthebluntedbeatsofHandsomeBoyModelingSchoolorwithfunkbandGalactic).Surf Boundaries,Willits’firstsolofull-lengthoffGhostly(thoughcheckforhisNorthValleySubconsciousOrchestraprojectaswell),doesn’tsoundlikeanyofthoseartists,butdon’tfretbecausethisisstillatastypieceofmorningtoast.Withcom-parisonstoFourTet’sandCaribou’schar-grilledartoffusingelectro’sglitchwithrock’sdistortion,Ican’tsaythatthere’sa“sound”that’sallhisown,butWillitsmanagestocraftaperfectsoundtrackforabriskAutumnday.Bittersweetlikebeingunderablanketwiththeheateroff,songslike“ColorsShifting”and“GreenandGold”areaperfectswirlofatmo-sphericsandrhythmicpatternstotuckyouinforaniceafternoonnap...withcrazy-assdreamstofollow.ET

zeroDBBongos, Bleeps & BasslinesNinjaTune

ZerodB’snewalbumisfullofexactlywhatisneededinthesetimesofsuper-dull,formula-followingmusic.Ifyoulikesamba,hip-hop,jazz,dark,dirtybasslinesandheavyandhotdrumsthenyouwilllovethisdisc.Theduo—ChrisVogadoandNeilCombstock—arenotthefirst

tomixupstyles,butcurrentlytheyaredoingsomeofthefreshestcombinationsthatI’veheardinsometime.You’vegotdistortion,noisytexturesandsamples,plentyofpercussion,banging4/4drumsonsomejointsandheavybreaksontheothers—hell,there’sevenaSundayafternoon,slow-tempovocal(“SunshineLazy”)thatwillcureanyhangoverafteraweekendofheavystomping.Besidestheaforementionedlazytrack,standoutsareplentiful.IfhadtopicksomefavoritesIwouldsaynumbaonehastobethetitletrack,whichisapeak-timepartymonsterforanyonewholikesjazz,techno,rum-blingbassandclickety-clackitypercus-sion.Theylikehip-hoptoo,anditshowsthroughtwoqualitytracks.Thefirst,

“KnowWhatI’mSayin’?”isapoliticallycharged,pop-culture-referencingsignofhopethatifZerodBcouldgetaholdofhip-hopmadeintheU.S.,thenwemightactuallylikewhatisplayedontheradioagain.Thesecondis“Anything’sPossible,”whichreallysoundslikesomesolidPhillyfunkandthevocalist/MCsuresoundsalotlikeBahamadiaandevenalittlelikeJeanGrae.Regardlessofthemysteryoftheplayers’nameswhoplayalongwithourZerodBheroes,they’vealldoneadamnfinejobonthedebutalbum,andshouldbeproudtobepartofsuchasolidrelease.JW

VarioUS artiStSESL RemixedEighteenthStreetLoungeMusic

thUNDerBallCinescopeEighteenthStreetLoungeMuisc

Remixedisare:celebrationofthevarietyoftracksthathaveemergedfromtheESLMusiccampoftalentwithahostofartiststhrowingtheirowntwistoflemontothesetopshelfaudiomartinis.Thisisthe100thlabelrelease(yes,theyhavebeenbangin‘emoutforawhilenow)andgivesahopefullookatthepossibilitiestocome.Acombooforganixandelectro-nixfromthegetgowithalive-ishbandrenderbenderfromShawnLee’stakeonThievery’s“AGentleResolve,”andmoreofthehumantouchlateronwithMedeskiMartin&WoodwhilereshapingKarminskyExperience.FortKnoxFivebumpsupanalreadybumpyChrisJosstrack,Nickode-musaddsalow-propileofpercussiontoThievery’s“SupremeIllusion,”Boca45splashesmorevodkaintoThunderballs’

“StereoTonic,”andSkweewiffspreadsmorejamontoUrsula1000’salreadyjammy

“Boop.”ThelineupalsodisplaysQuantic,LouieVega,Beatfanaticandotherskilledrethinkerstothesemusicalthoughts.Thehands-down-feet-upstandoutisthehard-coreelectrichustleof“Chick-a-boom,”throwndownwithvengeancebyChrisJoss.Pictureasongthatthosehugebad-asssmetaldudeswiththeredblinkinglightsfromoldschoolBattleStarGalac-ticawouldbreakdancetowhenthey’renotdoingthebad-asssthing.Checkitandcrankit‘Joss’henailsit.

CinescopeistheresurfacingofthefunkedupsubmarinecaptainedbyThunderball.Theirthirdfull-lengthoffESLgivesusanideaofwhatthey’vebeenuptowiththenoiseoftheirFortKnox

Recordingslabelthepastfewyearsastheinfluenceisfelt,althoughthisalbumisstraightupThunderridden.Forfansoftheir1sttworeleases(Ambassadors of Style&Scorpio Rising),you’llgetablendofbothonthis,butmorelikeaprogres-sionfromswankydrumandbasstofunkydrumandbreaks.It’sasiftheyaretakingaslightlydifferentpathtothesameslickparty.GoodbutdifferentandmoreontheScorpiosidethantheAmbassadorssidewithsubliminalmessagingfromtheFortKnoxjukebox.Also,justwhenyouthinksitarisplayedout,SidandStevehaveRobMyerstwangin’itcorrect(asusual)followedbyabassbombandagypsytwirlontheopener.Theymoveontoapluggedinorganicbeatfor“ElectricShaka,”featuringbigtimeAfrikaBam-baataawitharoboticMCeffect(rawbot?).Thecleverlyappropriatetitled“ToSirWithDub”givesyouasweepingsubtlebassmelodywithminiorchestralechoeswhile‘Chicachiquita’getsyoursweatydreamonwithasamba-stepper.WealsogetafewtrackswithMustafaAkbarof‘HeartoftheHustler’fametossingverbalsatsomenice-guyhornsaswellasarefreshingmixupofadditionaltalentthroughoutincludingRootsandZeeboofSee-I(ZeehasbeenbusyonthemiconpastThieverytoursaswellasonthedancefloorattheEighteenthStreetLoungewhentheRE:UPcrewdecksoutthedecksinDC).Thetracksarefullofbrassstabs,snarecuts,vocalslices,anddubbedoutfunkyscrapesstitchedtogetherthewayyouhopedtheirnewreleasewouldbe.Wecan’treallysaywel-comebacksincetheyhaven’tbeenoutofthemusicloop,soinsteadhow‘boutitstillsoundssolid.CM

VarioUS artiStSPeanut Butter Wolf Presents Chrome Chil-dren Mix CDStonesThrowRecords[adultswim]

TheStonesThrowguyskindofremindmeofthedramakidsinHighSchool.Pejorativeassociationsabound,butit’sactuallywhatmakesChrome Children,agroupeffortwithcontributionsfrommostartistscurrentlyassociatedwiththelabel,somuchfun.Hereareabunchoftalentedfolkswithaseriousworkethic,noparticularinterestinwhat’sgoingoninthemuchlargerfieldaroundthem,andaconstantdrivetobeuniqueandfunatthesametime.Andit’sobviouslyacliqueaffair.Theinbreedinghereisheavy,withmosteverytrackinvolvingatleasttwoseparateartistsfromthelabel,includingMadlib,OhNo,DudleyPerkins,Koushik,andAloeBlacc.UnreleasedcontributionsfromthelateJDillamaketherecordabittopheavy,butit’sacohesiveyetvariedaffairfromstarttofinish.Asoff-kilterasthesetrackscanget(includingjointsfromspacedoutlonerGaryWilsonandBaronZen,thenewwave/punkalteregooflabelheadPeanutButterWolf),maintainingarequisiteamountoffunkneverleavestheagenda.Simplyput,justabouteverythingonhereknocks.Andwhiletheremaybeacoupleofsidewaysglancesfromsomeofthemoreinstitutionalelementsinrapmusic,thisdegreeoffuck-itexperimenta-tionwithoutlosingsightofthebumpattheheartofhip-hopisenviablefromjustaboutanystandpoint.SB

VarioUS artiStSFabriclive 29: Cut CopyFabricLondon

JustasCutCopythebandcreatesoundsthatwandersomewherebetweenthedanceflooratthediscothequeandthe

oil-stainedconcretefloorofyourneigh-bor’sgarage,themixtheyproducedaslatestadditiontotheFABRICLIVEseriesfindsitselftraversingthesamemusicalneighborhoods.Readingthroughthetracklist,itbecomesclearveryquicklythatCutCopyhavecapitalizedontheartisticlibertiestheyaregrantedinbeingappointedthe“mixmasters”ofFABRI-CLIVE29:theirband’snameappearsfourtimesthroughoutthealbum!Fretnot,though;thisalbumisanythingbutanexerciseinshamelessself-promotion.Onthecontrary,itisamixsoinfectiouslydanceablethatyoumightjustfindyour-selfaskingthenextDJyouseetotradeinhisrecordssothatyoucansingle-handedlyjumpstartthepartywithCutCopy’smagicalass-shakingpowers.

ForFABRICLIVE 29,theboysofCutCopyhaveskillfullyselectednewsongsbytheüber-hipeliteofnewwaveandelectronica,includingNewYoungPonyClubandMSTRKRFT,aswellasolder(butcertainlynot“old”)trackslike“AngelEyes”byRoxyMusicandUrsula1000’sremixof“YourRetroCareerMelted”byTheFaint.These,alongwiththejuxtapo-sitionofWhoMadeWho’sdirty,grungysynthsoundsandthecandy-popbeatofDaftPunk’s“FacetoFace,”deftlyper-sonifythebreadthofCutCopy’smusicalpalate.Themirror-balledproductiononthesongsbyInFlagrantiandB.W.H.payserioushomagetotheclassicdanceflooranthemsofBlondieandtheBeeGees,makingyouwishyouhadbeentheproudownerofafakeIDduringthehey-dayofStudio54.

Theonlypitfallofthisalbumcomesaboutduringitsfinaltwotracks,whichelicittheexactsameemotionalresponseyougetwhenyourwilddancingfrenzyisinterruptedbythelightscomingonandyourhorrifyingrealizationthatlastcallhasendedandtheclubisabouttoclose.Luckyforyou,though,thismachine-funkpartyrecommencesveryeasilywiththesimplepushof“Play”.JR

VarioUS artiStSFabric 30: Rub N TugFabricLondon

Inadditionto!K7’sDJ-Kicksseries,thestringofDJmixesFabrichasbeenputtingoutisdefinitelysomeofthemostdiverseandexcitingstuffoutthere.ThingsgetrollingonthisdiscwithanicevocalremixofRöyksopp’s“WhatElseIsThere”thatkindathumpsalongwithabass-laden,DFA-stylebeatonrepeat,then,onceCur-tisMcClainandtheHousedrops“Let’sGetBusy”withcongaanddivapianointhemix,youknowwhattimeitis.ThehousevibecontinuesthroughGaryMartin’s

“TurkishTavern,”thenthingsswerveintolate-nightdeliriummodewithpunchesofanthemicsynthsanddisembodiedvocals.Occasionallythingsgetabittoomo-notonousandslightlyrave-yformytastes,withnotalwaysenoughinterestinggoingontolatchonto,butthenasonglikeNemesis’“L’Asteroide”perksupwithitsechoingstringsandheavythrobandyouknowitain’tover.BythetimeAmecomesthroughwiththeirclickydancefloorshuffle“Ame,”followedbyMocky’sblissedout“CatchaMomentinTime,”it’stimetopushrewindanddoitagain.Ihaven’thadthechancetoattendaRubNTugpartyyet,butifthisisareasonableapproxima-tion,signmeup.Thesongsonthediscsometimesbumpintoeachotherinsteadofblendingsmoothly,buttheyadduptoaprettyexcitingmixofelectro-funk,disco-housegoodnesswithaslightlydarkedgealwayslurkingnearby.Nobody’stryingtochangetheworldhere.It’sjustaboutfun.Gotit?Good.Nowgetoffyourassanddance!KM

&

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preY 2K Games (Xbox 360, PC)Awesome.Preystartsoffinadivebar!IputTedNugentonthejukebox(youreallycan),playedvideoBlackJack,andgotintoabrawl.OfcoursealienshadtoinvadeandbeammeontotheirshipbeforeIcouldevengetmydrinkon.Jerks.Preyisanalloutfirstpersonshooterwithslickinnovations.Walkingonwallsandshootingalienscumsoundslikefun(itis)?Theweaponsarecreative,andthegameusestheDoom3engine(geektranslation:itlookshot).Pickupagun,takedownthealiens,andhope-fullygetbacktothebarbeforelastcall.It’sajourneyworthtaking. — Rob Shepherd

nhl 2k7 2k Sports (PS2, PS3, XBox XBox360)Tobehonest,Idon’tknowmuchaboutthehockey.ToboostthefunfactorIpretendedNHL2K7wasactually“PONG2K46.”Insteadoftwoplayerstryingtohitawhitedotpasteachother,youactuallyusea“puck”have“teams”andusesomethingcalled“strategy”tosurviveinthepost-apocalypse.IlovefuturePong!NHL2K7boastsimprovedplayerani-mations,expandedcontrols,acinematicmode,andasoundtrackbySubPopRecords!?-allatabudgetprice.Also,expectsexiervisualsonthePS3,andXBOX360versions.Afuntitlebestplayedwithafewsnow-chilledMolsonIcesbyyourside. — Rob Shepherd

40h by MonomeItseemsasifthereisalotofbuzzaroundacertainreconfigurablegridof64backlitbuttonsencasedinabrushedaluminumbox.Thenamemightnothityouasthehottestpieceofgearyouprobablydidn’tknowyouwanted,buttheenvironmentalconsciouspeopleofMonomehavefinallycrafteditforconsumeruse.It’savariationofDaedelus’preferredimplementoflivemusicaldeconstruction“TheBox”andthe40hhasMPCseverywherefeelinggreywithbuttonenvy.

Situatedinthecityofbrotherlylove,thesmallcollectiveofMonomeareworkinghardestablishingthemarketforshortruncustomelectronics.BasedonthemuchlargerprototypecurrentlygainingwidenotorietywithDaedelusashetourstheworld,thesmaller8”x8”40hisabeautifulpieceofartworkaswellasadurablecompanionforanylaptopsetupseekingaliveperformancetoolfortotalartistcontroloftheirmusicalexpression.

Voidofanydistinguishingmarksorlogos,the40hissleekandattractiverightoutofitspost-consumerbrownpaperwrapping.AboutthesizeofaMacMini,the40hfitsunobtrusivelyalmostanywherewitharecessedUSBportreadyforei-therMacorPCconnectivity.Applicationsspanallformsofmediaanddataandthe40htalksserial,midi,andopensoundcontrol.Itisthisopensource,opensoundcontrolthatseparatesthisfromanyproprietarygearcurrentlyinyourrigandal-lowsfortotalcontrolandutilizationofthe40hinyourownpersonalway.

Boundonlybyone’screativity,the40hhasbuttonsthatcanbeconfiguredastoggles,radiogroupings,sliders,ororganizedintomoresophisticatedsystemstomoni-torandtriggersampleplaybackpositions,stream1-bitvideo,interactwithdynamicphysicalmodels,andplaygames.Thecorrelationisestablishedbyeachapplication.

Isuggestcheckingoutthedemovideosforaviewofsomeofthe30opensourceapplicationscurrentlyavailablerangingfromstepsequencerstomoread-vancedlivemotionsamplers.ThemostattractiveapplicationseemstobeMapd,facilitatingcommunicationbetween40handexistingcommercialsoftwaresuchasAbletonLive,andLogicAudio.

Asacatalystinthecreationofacommunitysharedmusicalexploration,Monome.orgprovidesaninformativeenvironmentwhereuserscangatherandexchangeideas,troubleshootandtalkshopaboutthe40h.Desiringtomakemoredevicespushingopen-endednessindesign,andtofacilitatecommunityexploration,theMonomeprojectisnotcontentsittingidlewhilethe40hgainsappreciation.

CurrentlyworkingonfuturedeviceswhichdirectlycommunicateinOSC,(aflexi-blenetworkingprotocol,worldsbetterthanmidi),Monomehintsthatthenotorious16”x16”100hwillseethelightofdayandshouldnotbeunderestimated.Withtheversa-tilityofthe40hweareseeingthebeginningofsomeverygoodthingsnotonlyfromMonomebutthecommunitythathasalreadyembracedthem.— Jesse Henderson

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Blk/mrkT gallerY ONE (Die Gestalten)AnyonewhopaysasmidgeofattentiontoartanddesignisfamiliarwithBLK/MRKT.EvenEddieTurbo,whocouldcarelessaboutthefield,hasfrequentedbythegal-lery.BLK/MRKTONEcelebratesthegallery’slegacyofhostingbothwellestablishedartistsaswellasdiscoveringunknowntalentdestinedtopermeatetheartworld.ContemporaryartistsincludeDeanneCheuk,WKInteract,DaveKinsey,JoseParla,EvanHecox,TiffanyBozic,BenTour,DozeGreenandmanymanymore.(P)Leatherboundandstunning.Amusthaveforanyartbookcollector. — The Hound Dog

J. penrY CastlEs aNd ChristiaNs GHava {Press}Castles and ChristiansmarksthefirstreleaseofGHava{Press},thenewpublish-ingdivisionofthehighlyrespectedGHavisualagencypreviouslyknownasGraphicHavoc.ThebookisalovelyexpositionofNewYorkillustratorJ.Penry.Greatinkportraitsofsubjectsthatarecomicalanddisturbingatthesametime.ItfeelsasiftheyweresketchedoutatthespurofthemomentuponJ.gettingtheideainhishead.Ican’tquitetellifthemeaningtranscendsthiscrazyworldweliveinorifJ.isjuststoned.Eitherway,cooldrawingsthatareworthyofbe-ingpublished.AgreatpickforGHava{Press}’sfirstrelease,limitedto1200pcs.

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Soooo much shite is sent to us. We try to listen to it all. Here are some quick (one listen only) non-disclaiming judgments with ratings pro-vided by song titles of the once youngest in charge, MC Special Ed:

I’M THE MAGNIFICENT (cash in your bonds, get these now!!!)Boss Money Consignment Boss Money Ent. DJ Krush Stepping Stones: The Self Remixed Best SonyJackie Mittoo Wishbone Light In The AtticJunior Boys So This Is Goodbye DominoLyrics Born Overnite Encore: Lyrics Born Live Quannum

I GOT IT MADE (worth the dolo)Brazilian Girls Talk To LaBomb The VerveCulturama Culturama 777 DVD Female FunDarc Mind Symptomatic Of A Greater Ill AnticonForro in the Dark Bonfires Of São João NubluFuture Pigeon The Echodelic Sounds of Future Pigeon Record CollectionHenrik Schwarz DJ-Kicks !K7J-Zone To Love A Hooker Old Mail Dooley O Still Gotcha EP S.O.D.Laurent Garnier & Carl Craig The Kings of Techno BBE / RapsterLove Is All Nine Times That Same Song What’s Your RuptureNobody The Remixes 2000-2005 Plug ResearchPigeon John ...And the Summertime Pool Party QuannumPlus Device Puncture Hefty

THINK ABOUT IT (will still make a nice gift)Beat Kings The History of Hip Hop DVD Nature SoundsBenni Hemm Hemm s/t MorrBonobo Days to Come Ninja TuneDani Siciliano Why Can’t I Make You High 7” !K7Danielson I’m Slow But I’m Sloppy 7” AnticonDosh The Lost Take AnticonFreddie Cruger Soul Search Raw Fusion/UbiquityGuther Sundet MorrHoneycut The Day I Turned to Glass QuannumJimpster Amour FreerangeRena Jones Driftwood Native Statekid606 Pretty Girls Make Raves tigerbeat6Kill The DJ The Dysfunctional Family DiscographLindstrom It’s a Feedelity Affair FeedelityLovett The Breath of New Color 12” LovettMark Ronson & Nick Catchdubs Radio Radio MixCD Not on LabelPete Rock Underground Classics RapsterPsyche Origami Get Gassed-Up 12” The StandardRelay Still Point of Turning BubblecoreScience Faction Bmore Gutter Music Breakbeat ScienceSpanky Wilson & The Quantic Soul Orchestra I’m Thankful Tru Thoughts / UbiquitySquarepusher Hello Everything WarpSteve Bug Bugnology 2 Poker FlatSweatheart So Cherri Tone ArmTM Juke Forward Tru Thoughts / UbiquityVoice Gumbo Featherperm / Public TransitWax Poetic Copenhagen NubluZion I & The Grouch Heros In The City of Dope Om HipHop/Live UpVarious Fear of a Digital Planet VinylRepublikVarious Morrow Choral Orchestra The Designed DisorderVarious Rio Baile Funk: More Favela Booty Beats� Essay

TAXING (maybe... if you see it in the used bin)A.G. Get Dirty Radio LookBashton & Adrock Promo 12” Mischief Corp.Busdriver Kill Your Employer 12” EpitaphDrop the Lime We Never Sleep tigerbeat6Kenn Starr The Starr Report Halftooth RecordsEmily King f. Notorious B.I.G. Walk in My Shoes 12” JK-1 The Kingdom Arena RockPacebo Meds Astralwerksthe1shanti India Bambaataa Flatbush JunctionScience Faction UK Grime Breakbeat ScienceThumbtack Smoothie Fall Back Quake TrapVarious More Plush Kriztal

IT’S ONLY GETTIN’ WORSE (spend your $$$ on a RE:UP subscription and thank us later)Main Flow & 7L Flow Season BrickTall Paul The Beat Technique KochFaithless Renaissance 3D

(Showalter, cont’d from page 44)MichaelIanBlackandEugeneMer-man,respectively).Uponhisdecisiontomaketheshift:“It’sbeengreat;it’sbeenatotallynewexperience.IloveperformingforanaudienceandI’mjustfiguringthatoutnow.”

WatchingShowalterasastand-upisaninterestingexperience,ashisworkuptothispointhasbeenmoregroup-orientedanddiligentlypepperedwithsubtletiesinitswriting,whilehisstandupisraw,crudeandfreeofmostform.Observationalinitstone,hemaintainsaseeminglytruer-to-lifeidentitythanhissometimesfumblingonscreenchar-acters.Hecontinues,“I’malwayswritingstand-upcomedy.I’mlookingmoretocreateaone-manshow.I’mtakingitveryseriously;it’ssomethingI’dliketogetgreatat,[but]I’dneverbetheguyinthecomedyclubwithhissleevesrolledup.”

Whennotonstagehe’sbeenteachinginNYCatThePit(ThePeo-ple’sImprovTheatreCompany),andisintheearlydevelopmentalstagesofacompetitivesketchcomedyrealityshowforMTV(whathedescribesas“Project Runwaywithsketchcomedi-ans.TryingtofindthenextState,thenextKids in the Hall,thenextMonty Python.”).FortheformerProfessorShowaltersays,“It’slessaboutmeteachingthemaboutwhatI’vedoneandmoreabouthelpingthemwritetheirmaterial.Anassignmentwouldbe,‘Writethefirst5pagesofyourmovie.’I’malsotalkingatlengthaboutthetoolsofscreenplaywriting.ThereisacraftthereandI’mdiscussingit.AlotofmydaysIlookatmystudents’work;Idon’tgradeitbutIreaditandIcommentonitandIgivenotes.AndIhaveofficehours.I’mteachingclasses6hoursaweek.”

Regardlessofthemedium,whenthemessageisoneofveracityinarttherearenochallengesindocument-ingit.Showalterisn’talonerangerinhisfield,butheisoneofasmallcommunity,atestamentofthepay-offinriskincomedy.Whilehisworkhascountlessmomentsofridiculoushumorandunparalleledgoofiness,andeventhoughhehasbeenatrule-breakingstatusforquitesometimenow,Showalterisstill“veryfascinatedbythestructureofascreenplay,thestructureofhowtotellanarrative.Thevarioustoolsandsecretsthatgointotellinganarrativescript.Tome,screenwritingisallabouttheoutline.Theactualdraftisthefinalpieceofthepuzzle,whichyoubasicallyhavetodowith3actstructure,plotpointsandincitingincidentsandthewholestruc-tureofkeymomentsinascreenplaythatkeeptheaudienceinterested.It’s

reallythebasicconceptsofhowtotellastoryandthatgoesbacktoAristotleandShakespeare.”

FromThe BaxterandWet HottowritingfortelevisioninStellaandThe State,tothelivenatureofhisoff-the-cuspstand-uproutine,thedeconstruc-tionof‘MichaelShowalter,Comedian’leavestheremainsofthetruecomedypersonified.That’sbetterthanarapperstoryanyday.Alldone!

For tour dates and more info on Michael Showalter: www.michaelshowalter.net and on MySpace atmyspace.com/michaelshowalter

The Stella DVD is out now, TheState episodes have just been released on iTunes, TheBaxter and WetHotAmericanSummer are both out on DVD. All are worthy of purchase.

(Carlos Niño, cont’d from page 26)workthelandandfeedtheirfamiliesduetotheconstantthreatofravenousdevelopers—theyknowthemeaningofdifficult.)

Withprojectsasdiverseasthehip-hopinstra-breaksofAmmoncontact,theaunaturalemusicianshipoftheHuVibrationalproject(wherethemusiciscreatedcompletelywithhand-madeacousticinstruments),andthesavagebeast-soothingtherapythatisLifeForceTrio’sThe Living Room,youwouldthinkthatsomeonesoambitiousasNiñowouldbelookingforwardtobigman-sions,shinycarsandelevated,ass-kissedproducerstatus.ButobviouslythisisnotwhatCarlosNiñoisaboutandit’smostdefinitelynotwhatdriveshim.

“IjustdowhatIfeelfrommyheart,”Niñoex-plainssimply,“MyapproachhasalwaysbeentorelatetopeoplemusicallylikeIwouldinaconversation,withencouragement,compassionandcreativity.”Andregardingyoungpeopleandthequestionofwhetherornottheycanbereachedinthesedarkdaysofsub-stance-free,Top-40,MTV-infectednoisepollution,Niñooffersanopen-endedoption,“Themusicwillalwaysreachpeoplethatarelistening.”

Manypeoplearedoingjustthatthroughthe

avenuesofhisweeklyradioshowSpaceways(onL.A.’sKPFK90.7FM),liveperformances,full-lengthalbumsandone-offreleases.Hehasbeeninvolvedwithradiosincetheageofsixteen,puttingtogetherhisownconcertsearlyonbycombiningartiststhat,inhismind,we’renaturallysupposedtoperformto-gether.“Itallcamefromtheideaoftakingmyradioshowlive.PuttingGilScott-HeronandBrianJacksonwithDwightTribleandKamauDaaood,Brainfreeze,SaulWilliams,YusefLateef,allofit,inmini-festivals.”

AsfarastheSpacewaysprogramisconcerned,theagendaofCarlosNiñoseemstobeonethatissimplyaboutloveandasenseofdutytothemusicandthepeoplewhocreateit.“Itaketheresponsibil-ityofbeingontheradioveryseriously.Ihavemadeitapointtorepresentandfurtherinspiremypeerswiththeshow,”Niñoexplainsdetailingitsimpor-tance,“It’sagreathonortobeabletodoit,Ialwaysfeltacallingtolisten,supportandcreatemusic.”

SpacewaysisamajorconnectioninthelineageofhiscreativeworksincehisfirstproductionswererealizedbyhavingDwightTribleasaguestandsub-sequentlyturningthatopportunityintoanearlyandveryrarerelease:DwightTrible&TheOasisofPeace

Live on All at One Pointreleasedoncassetteonlyin1997.TheradioexperienceisalsowhatbroughthimintocontactwithDublabwherehe(“afteralittlein-vestigationintowhatFrostywasallabout”)becameadailypartofthelabwithashowandasanorganizerofeventsandoutreachprojectsforthestation.FrostyusedtolistentoNiñoonSpacewaysandwhenhestarteddublab.comin‘99,NiñowasaskedtobeoneoftheresidentDJsonthestation.

WiththeamountofproductioncreditsNiñohasamassedsince1997andnowwithhishandinsuchadiverseassortmentofrichprojectsfromtheheart,youwouldthinkhewouldgoinsanetryingtokeepupwithsomanyreleases.“Iplananddon’tplan,”hecommentsaboutmakingitallhappen,“IcandoitallbecauseI’veminimizedthenon-essentialsfromlife,likeworkingatajobIdon’tlove,orgoingouttogetmyenergysuckedbyvampiresataparty.Iworkonaboutfiveprojectsatatime.Probablymoreliketen.”

MorerecentcompletedworksfromCarlosNiño:thenewBuildanArkfull-length,thenewHuVibrationalLPonSoulJazz,aproductiononMiaDoiTodd’snewrecordwithpartnerMiguelAtwood-Fer-guson,andMiguel’sdebutLP.Keep‘emcoming.

(Dave 1, cont’d from page 22)toco-host,theyquitanditbecamemyshow.ItwentfrombeingFrenchraptobeingthefirstindiehip-hopcollegeradioshowinMontreal.ThiswasbeforeIwasincollege,Iwasstillinhighschoolduringtheshow.ItwasSaturdayafter-noonfrom4to6PM,sothewholecitylistened.Webrokemadrecords.

“IremembergoingtoNewYorksometimein‘96andgoingtoFatBeats.ThenightbeforeIheard[Funkmaster]Flexplay‘TriedBy12’[EastFlatbushProj-ect],IboughtitatFatBeatsthenextday.Bought‘IJUSWANNACHILL’byLargeProfessor,whichwascalled‘HundredDollaBill’whenitcameonawhitelabel.Ipremiereditonmyradioshow,andpeoplewouldknowallthewordstothosesongsamonthlater.Iwaslike,that’sbecauseofme.”

TheRubadoidsendedin1996,by‘97DaveandAlainputfull-focusonOb-scureDisorderandtheirlabelAudioResearch.A-TrakhadwontheDMCWorld’sbythispoint.Lifewasmovingfastforthebrothers.Withnostudiooftheirown,herecallstheirearlierrecordingprocess:“Therewerethreedudeswithasam-plerinthewholecity[ofMontreal].Ihadtogotothestudiowithsomeguythathadequipmentandyou’dbringyourownrecords.WhenIthinkaboutit,thisishowMobbDeepusedtodoitonJuvenile Hell.We’dgototheguy’shouseandgo“Aight,loopthis.Aightcool,gimmesomedrumsounds.Programitlikethat.’We’drent3hourblocks,andinthat3hoursI’dmakethebeat,mybrotherwouldhavetodothecutsandtheguysfromODwouldhavetorhyme.Wetimeditby50minuteincrements,wewerebrokeyouknow,wewerekids.”

Fromboystomen,theMacklovichbrothersareundoubtedlystillinthegame,they’vejustaccelteratedtonewlevels.WithA-TrakonpermanentAwardTour-status(alongwithhispendingsoloproductionalbum,whichbigbroD-1lentaconsiderableear)andDaveasequallyfocusedonhisteachingsatColum-biaUniversity(he’saFrenchLitprofessor)asheisontheupcomingChromeofollow-up(Fancy Footwork),thingscouldn’tbelookingbetter.“We’resuchoutsid-ers,mybrotherandI.We’resothankfulwe’vebeenmadepartofthiscultureinawaythateverythingwedoispayingtribute,payingtribute,payingtribute,”hesays,butshitain’tallpraisesandhi-fives.Davestillfeelsasthoughhe’shadtodefendhislilbrothroughtheirsuccesses.“I’vegotalotofissuesnowwith

where’she’sat.EveryarticleIreaditslike‘ATrakisthecoolestkidever,de-spiteturntablism.He’ssocool,butdon’tgetittwistedthisain’tnoscratchnerdbullshit.’Whyisitthathehastocarrythisweight,thisheritageofthescratch-nerdthatallofsuddenheneedstobeembarrassedof?Rightnowmybrotherhastodispelthatwholemythandnexttimearoundit’lljustbeA-Trakforwhoheis.”

SamegoesforhiscelebratedduoChromeo.Whiletheyremainanunder-ground-popfav,they’vestillhadtoshowandproveabitalongtheway.Fancy Footworkfindsthetwointheircomfortzone,unaffectedbytheovert-praiseaswellasanyhardrock-grimacing.“Ihavenoshameinsayingthat[thenextChro-meoalbum]is‘80s-sounding-derivative-funmusic.That’sbecomeourniche,Idon’thavetoapologizeforit.Ifyoudon’tthinkNewEditionandRickJamesaregenius,ifyoufrownonthatshit,thenyou’renotgonnalikeit.Butifyoulikethatstuff,thenwedoitwithanewtwist,cozwe’rewhitedudes.Andwe’refunny.Andwelooklikewe’recharacters.There’sapartofironyinit,butIdon’tseeitthatmuch,cozI’mtoobusytryingtogeekoutover‘Yo,IgotthesamesynthsoundsasJellybean!’”Hepauses,withgenuinereflectionmatter-of-factlystates,“It’sjustus,it’sjustus.We’reaweirdcultbandandwe’rehappythatway.It’smorenowaboutwritingcoolsongswithcoollyrics,morethan‘letsdoajointwithCameo-soundingdrums.’Ittookitsownshapenow.”

Dave’sapuremusicenthusiast,uponthings,acollectorandalong-stand-ingindustryfixture(Wedon’tevenneedtogointothefacthe’sbeenthehip-hopanchoratVice MagazinesinceitscreationinMontreal).Yet,he’sneverbecomegassedonhisownpresence.“Idon’tneedtobesomewhereelseunlessithap-pensorganically.Idon’tneedtobeontheradio,ortohaveabigcrossoverhit.Idon’thavethatmuchtimeanyway.Idon’tdothisforaliving,andit’scooltoobecauseit’smademelikehip-hopinamorefreeway.Beforeitwaslike,ohshithaveyouheardShow & AG Full Scale?Ohword,letmehitthelabnow.NowIlis-tentohip-hopforthefirsttimefromafan’sperceptive,notfromaninvolvedpro-ducer’sperceptive.Ilikealotofcheapbeats,IlikealotofweirdawkwardbeatsthatIwouldoffrownedonbeforebecauseitslike‘OhmyGod!Yousampledthe“Impeach”drums?Areyounuts?”Now,Idon’tgiveashit.I’mhappynow.”

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1993 MaSSIvE aTTack “Unfinished Sympathy”AlthoughI’mleavingoutalljointspre-Chocolate City,thisgetsanhonorablemention.IwasonadatepeepingSharonStonegettingbusywithBillyBaldwininthefilmSliverandthisunbelievablejamwasaccompanyingtheirfornication.Iimmediatelygotthesoundtrackandwashooked.Massive’ssoundatthetimewasaclearexampleofhowhip-hopanddubaffectedthemodernU.K.sound

–samplebased,melodyheavy,rawfuturesoul.OnceIheardJasonBentleydropit,Irequesteditlikeamaniacstalker.It’seasilyoneofmytop10ofalltime.

1996 MaxwEll “Dancewitme” IwasatVirginRecordsatalisteningboothandMaxwell’sdebutjointwasonsalefor$8.99.Thecoverwasfresh,soIpostedupandlistened.WhenIgotto

“Dancewitme”Ikepthittingrepeat.

1997 Sylk 130 (a.k.a. King Britt) “Seasons Change”ThisisoneofthemostplayedsongsonChocolate City.Thesongsoundslikeitcould’vebeenaSadejam,butAlisonCrockettjustmeltsthemic-averyemotional,exquisitepiece.WiththisrecordKingBritthelpedmeseethattheshowdidn’thavetobeallaboutclassicmaterialandraregroove.IthelpedmebelievetherewasanewgenerationmakingprogressivesoulmusicthatIcouldsupportaswell.

1998 JIll ScoTT“Slowly Surely”FormerJillScottmanagerTonyRiceusedtocomebythehouseandchill,playingmejamsfromJillandsomeotherartistsonthecome-up.“SlowlySurely”wasunfinishedandnomatterwhatIsaid,hewouldn’tleaveitwithme.Monthslater,IheardGilles[Peterson]dropitandIdrovetothelabelandwouldn’tleaveuntiltheygavemeacopy.

1998 ZIon I “Inner Light”WhenIcoppedthis12”,itdidn’tleavemybagforalmostayear.IwasproudthatsomeWestCoastcatswereventuringoffintounknownhip-hopterritoryanddoingitwithsuchfinesse.Althoughthejointisamonsterdrumandbassjam,there’sasoulfulthreadreminiscentofAdamF’s“Circles.”

2000 vIkTER DUPlaIx “Manhood”Theevertalented,globetrotting,supa-sultrybrothafromPhilly,tellingitlikeitis.Thiswasabreakthroughfordancemusicatatimewhenthingsbegantowaneintostaleness.AlongwithcatslikeBugzintheAtticandJazzanova,Vikterhelpedbreathenewlifeintodancefloorrhythms.

2003 DJ caM vS caMEo vS J DIlla “Love Junkie”[remix]LikeoneofthememorialT-shirtssays,JDillachangedmylife.

2004 Sa-Ra“Glorious”LosAngeles-basedturntablekillerDJKaleemfeaturedthisononeofhisflawlessBody & SoulmixCDs.BeforethatI’dbeenhearingaboutthesecatsSRCP[Sa-RaCreativePartners]buthadnoideatheywereinmyownbackyard.100someoddjoints,remixes,andcameoslater,Istillcan’twaittoseewhattheydonext.

2006 RhyThM RooTS allSTaRS feat. Aloe Blacc “Calypso Music” Thisjamisamodernclassicwiththatheavyheavymonstersound.It’salsoanexampleofwhatKRScallededutainment.TheAllstarslaydownaslamminglivecalypsogrooveandAloegivesagenrehistorylesson.I’vebeenplayingitallyearandlittledidIknowthejointwasnotavailableanywhere.Aftervariouscallsandemailsfromfrustratedlisteners,Icontactedsomefolksandhopefullypersuadedtalksofanactualrelease.

Chocolate City is described as a “progressive mix of soul, hip-hop, and world rhythms.” The funny thing is this L.A. radio show, running 10 years strong, actually IS progressive. If today’s mainstream ‘JAM’N’ hip-hop & r&b’ poo-poo has got you down, crank the dial to 89.9 on Saturday evenings (that is if you’re a So Cal native, it’s also available worldwide on kcrw.com) and soak in the upper echelon of future soul. Runnit selecta!

perhaps it’s my scatterbrain pisces nature that bleeds every passing moment into a deep blue haze. if it weren’t for increasing musical knowledge, evolution and maturation of style, i would

doubtmyabilitytoseparateoneyearfromthenext.Timetrulyflieswhenoneisblessedenoughtoenjoymakingapassionateliving.In1996IwasaskedtojointhecovetedranksofdeejayswhoenjoyedthefreedomofmidnighthourprogrammingonKCRW.TheveryfirstChocolate Citywouldprovetobeatestofcharacter.ItwasFridaynightat2:59AMwithnosignofmy3:00AMrelief.ThedependablebutterfliesinmybellyshookandmadetimestandstillasIthoughthardandcursedinthedimlylitbasementstudio.Ihit‘Play’ona7minutesouljamandfumbledhurriedlyintothemusiclibrary,snatchingupanyrecognizabletitleIcouldthinkoftoprepareforthenext3hours.Thatnightadeejaysavedliveswith6hoursofblackness.TheinaugurationofChocolate CityremainsahistoricalundergroundmomentinKCRWhistory,evenifit’sonlymeandafewinsomniacswhorecall.

BackthentheplaylistfeaturedolddustiestonewcrispiesfromTheOhioPlayerstoOutkast,RufustoTheRoots,BillieHolidaytoBlackalicious.Thesoundwasconsistentlysoulful,butinretrospect,limitedinitsscope(althoughbroadtotheaveragelistener).Atthetimemyresourceswerespenttryingtojustifycol-legeloansasanillustrationmajor,andIfoundmypieceofmindintheeveningslisteningtoairsaverslikeCarlosNiño[seepage26],TLove,DJDusk,andJasonBentley.Thesecats,alongwithotherjockslikeTomSchnabelandLizaRichard-son,helpedputmeonapathtohighermusiceducation.Theyopenedmyeyestoalife-changingworldofmusicdiscovery.Throughthehazetherearemo-mentsinadecadedefinedbyasinglesongthatRE:UPaskedmetoshare…

A 10 year retrospective by host Garth Trinidadphoto Jessica miller

96 RE:UP MAGAZINE

Presents

Re:uP subscriber Mix cd 03

CiTYFiedMixed by Garth Trinidad

1 TERRy DEnnIS Sunshine2 J DavEy Mr Mister [remix]

3 ERIk RIco Wonderful4 aloE Blacc Exclusive Drop #15 TRE haRDSon Life is Sweet6 DonnIE Atlanta Child Murders

7 Black SPaDE Say So [Mad Villain Mix]

8 aloE Blacc Exclusive Drop #29 ISwhaT?! Writers Block10 STEvE SPacEk I Wanna Piece of Your Love11 JIMI JaMES Roleplay12 TITa lIMa A Conta do Samba

1 TERRy DEnnIS Sunshine2 J DavEy Mr Mister [remix]

3 ERIk RIco Wonderful4 aloE Blacc Exclusive Drop #15 TRE haRDSon Life is Sweet6 DonnIE Atlanta Child Murders

7 Black SPaDE Say So [Mad Villain Mix]

8 aloE Blacc Exclusive Drop #29 ISwhaT?! Writers Block10 STEvE SPacEk I Wanna Piece of Your Love11 JIMI JaMES Roleplay12 TITa lIMa A Conta do Samba