Showing posts with label reggae. Show all posts
Showing posts with label reggae. Show all posts
Monday, 14 March 2011
Tuesday, 11 August 2009
Down and Out with Toddla T
Interview I did last week for Bonafide with Bassboy Toddla T.
With his mixture of gruff Yorkshire burr mixed with rude boy patois, on first hearing Sheffield boy wonder Toddla T, it’s easy to dismiss him as a Northern Westwood wannabee. But this 23 year old club kid from Sheffield has enjoyed a meteoric rise from underage backroom rave gopher to toast of the scene, strictly on the back of his unique take on a contemporary British genre-hopping dance pop sound.
With Toddla about to drop the latest mix on the reliably consistent Fabric live series, home to such unshakable legends such as Grooverider, Tayo and Bukem, its seems he has finally been handed the official seal of approval.
Speaking to him down the phone from Fabrics’ London offices, where he was unashamedly “checking out the leather sofas and the inside of the fridge, “ I spoke to the boy himself about his first high profile mix CD and the background that has made him threw name to drop this summer for leftfield dancefloor aficionados.
“I’m loving where I am man, I came to playing beats through listening to a lot of US rap music and reggae as a kid. We used to go to these little parties, nothing flash just a few speakers and a shit load of bass. That where I learnt what I’m doing now. It wasn’t till later that my man hooked me up with house and techno, but to me it’s all the same, all about moving the crowd innit?”
The Fabric mix is a testament to this streetwise attitude showcasing the breadth of his own productions mixed with the cream of the underground. The 21 track mix is also scattered with a magnificent selection of collaborations, including a liberal selection with ‘red hot right now’ grime poster boy Skream. “Yeah I’ve know Skream for a few years now, his sound is killing it, I’m well glad that boys got the props he deserves and I definitely going to be doing more with him in the future.”
Toddla’s trademark sound is a bass driven mash with a bit of grime and DnB thrown in for good measure, but it’s the West Indian influence that really holds the whole thing together. From Ragga chatting to the sonic textures of his own productions, his sound puts a focus on that key ingredient, the deep dirty bassline. “Its funny really because I think reggae gets overlooked when people talk about electronic music. There are some bat cuts out there that were way ahead of their times, loads of Jamaican producers were using synths and computers way before anyone else, so it aint anything special to me. If I’m spinning and I drop a ragga tune next to a grime or techno cut, as long as it works I aint bothered where it comes from .“
It’s this attitude and passion for his roots that makes Toddla stand out from the legions of his esoteric peers. There is certainly a different texture and flow to both is DJing and productions that marks him out from those schooled in the world of straight up 4/;4 music. Listen for example to Manabadman, his debut single featuring the voice of Serocee. Whilst it packs a heavy punch for the floor, the production style is reminiscent of a cyber version of rave pioneers Shut up and Dance, another crew who came to house music from sounds systems and eschewed traditional club music to plant the seeds for what became drum and bass.
Toddla’s style is definitely something else, and refreshingly future focussed, albeit with a healthy regard for the past. So what’s next for him, planned world domination perhaps? “I dunno man I’m just out there doing what I do, I’m lucky in that I’ve got the best job in the world playing my tunes and Im happy people pick up on it. I’ve just started my Radio 1 show, and with this mix dropping I’m pretty happy about where I am at the moment to be honest. “
Speaking to Toddla T is a refreshing insight into the possibilities today’s pick and grab culture could provide. Maybe through the democratisation of music, kids like Toddla may be able to fulfil the promise that acid house and punk failed to deliver. The idea of real genre crossing, picked from all the recorded music ever made is an exciting and very real possibility. For now he’s busy just starting the party. But if they carry on dreaming, its kids like this that might hold the key to the next big thing, and that’s something certainly worth watching out for.
Toby Hemming
With his mixture of gruff Yorkshire burr mixed with rude boy patois, on first hearing Sheffield boy wonder Toddla T, it’s easy to dismiss him as a Northern Westwood wannabee. But this 23 year old club kid from Sheffield has enjoyed a meteoric rise from underage backroom rave gopher to toast of the scene, strictly on the back of his unique take on a contemporary British genre-hopping dance pop sound.
With Toddla about to drop the latest mix on the reliably consistent Fabric live series, home to such unshakable legends such as Grooverider, Tayo and Bukem, its seems he has finally been handed the official seal of approval.
Speaking to him down the phone from Fabrics’ London offices, where he was unashamedly “checking out the leather sofas and the inside of the fridge, “ I spoke to the boy himself about his first high profile mix CD and the background that has made him threw name to drop this summer for leftfield dancefloor aficionados.
“I’m loving where I am man, I came to playing beats through listening to a lot of US rap music and reggae as a kid. We used to go to these little parties, nothing flash just a few speakers and a shit load of bass. That where I learnt what I’m doing now. It wasn’t till later that my man hooked me up with house and techno, but to me it’s all the same, all about moving the crowd innit?”
The Fabric mix is a testament to this streetwise attitude showcasing the breadth of his own productions mixed with the cream of the underground. The 21 track mix is also scattered with a magnificent selection of collaborations, including a liberal selection with ‘red hot right now’ grime poster boy Skream. “Yeah I’ve know Skream for a few years now, his sound is killing it, I’m well glad that boys got the props he deserves and I definitely going to be doing more with him in the future.”
Toddla’s trademark sound is a bass driven mash with a bit of grime and DnB thrown in for good measure, but it’s the West Indian influence that really holds the whole thing together. From Ragga chatting to the sonic textures of his own productions, his sound puts a focus on that key ingredient, the deep dirty bassline. “Its funny really because I think reggae gets overlooked when people talk about electronic music. There are some bat cuts out there that were way ahead of their times, loads of Jamaican producers were using synths and computers way before anyone else, so it aint anything special to me. If I’m spinning and I drop a ragga tune next to a grime or techno cut, as long as it works I aint bothered where it comes from .“
It’s this attitude and passion for his roots that makes Toddla stand out from the legions of his esoteric peers. There is certainly a different texture and flow to both is DJing and productions that marks him out from those schooled in the world of straight up 4/;4 music. Listen for example to Manabadman, his debut single featuring the voice of Serocee. Whilst it packs a heavy punch for the floor, the production style is reminiscent of a cyber version of rave pioneers Shut up and Dance, another crew who came to house music from sounds systems and eschewed traditional club music to plant the seeds for what became drum and bass.
Toddla’s style is definitely something else, and refreshingly future focussed, albeit with a healthy regard for the past. So what’s next for him, planned world domination perhaps? “I dunno man I’m just out there doing what I do, I’m lucky in that I’ve got the best job in the world playing my tunes and Im happy people pick up on it. I’ve just started my Radio 1 show, and with this mix dropping I’m pretty happy about where I am at the moment to be honest. “
Speaking to Toddla T is a refreshing insight into the possibilities today’s pick and grab culture could provide. Maybe through the democratisation of music, kids like Toddla may be able to fulfil the promise that acid house and punk failed to deliver. The idea of real genre crossing, picked from all the recorded music ever made is an exciting and very real possibility. For now he’s busy just starting the party. But if they carry on dreaming, its kids like this that might hold the key to the next big thing, and that’s something certainly worth watching out for.
Toby Hemming
Wednesday, 24 June 2009
DJ Vadim_ U Can’t Lurn Imaginashun
DJ Vadim first entered the consciousness through the Ninja Tunes camp and a definite association with trip hop, a genre so steeped in the nineties I last saw it down the Blue note sporting Carharrt jeans and Nike Huaraches.
Judging by the press release, time has not been kind to Vadim, encountering as he has a string of personal misadventures, including mass bereavement and ocular melanoma (eye cancer). Musically, however this purple patch seems to have invigorated the artist formerly known as Russia favourite cut n paste hero (probably)
Whilst being rather unsure of it role, this album showcases admirably Vadim exemplary production skills, and love for the bass driven end of black music in all its forms.
Schizophrenically switching styles from roots reggae to straight up breaks, via clipped hip hop and soul, the album meanders ingeniously but tastefully across a myriad of musical styles.
Opening with the laidback guitar led ‘Soldier’, lets the album down as the righteous roots vibe recalls a dozen student gaffs thick with the smell of cheap draw. The album soon moves into darker territory with the Kraftwerk meets Jammy’s uptown vibe of ‘Imaginashun’ (and yes this IS a good thing.) Digital dub as genre is about as fashionable as Piers Morgan, but Vadim carries it well, keeping tight to the groove with falling off into noodling territory.
Things get interesting again later on with the instrumental goodness of ‘Game tight’ beautifully sampling ‘Nadia’s Theme’ also used by a certain Miss J Blige, and the bouncy soulful closing jam ‘Hidden Treasure’, what’s known as a ‘banger’ and definitely the highlight of the record.
A few dodgy vocal performances aside, this is a real summer party record, Vadim has managed to throw off the clichés of his past and overcome his personal demons to create, not quite a masterpiece, but certainly a worthy record. Worth Checking.
Wednesday, 27 May 2009
Slave to the Rhythm
Last night I went to the very brilliant Island 50 showcase gig at the Shepherds Bush Empire. Celebrating 50 years of Chris Blackwell's hugelly influentual label, the line up featured August Darnell aka Kid Creole, Sly and Robbie with The Compass Point All Stars and of course the original diva Grace Jones.
Sometimes these industry events tend to be full of back slapping smugness, but this was a real party with extra sub bass to match. Grace Jones is a faultless performer, unwilling to acknowledge the freak show nature of her image, instead relying on a truly electriying persona matched with titanic vocals.
Thanks to @allgigs for the tickets, follow them on twitter.
Wednesday, 20 May 2009
Way in Mi Brain
Reading the Mighty FACT magazines twenty best Ragga post last week, I was interested in the omission of the classic 'Sleng Teng' rhythm.
Reggae music is often overlooked in the official history of electronic music, but along with the not inconsiderable gifts of DJ Culture, soundsystems, dub, MC's and raves, the creation of Sleng Teng was a significant moment in the spread of electronic production techniques and values.
Created on a vintage Casio Beatbox by Wayne Smith and Tony Asher in 1985, the rhythm built around an old Eddie Cochrane riff, underpinned the first digital reggae release.
The rock 'n' roll rhythm on the Casio was slowed down and rebuilt by Asher at Jammy's St Lucia Road studio, and launched on an unsuspecting world at the historic sound clash between Jammy's and Black Scorpio at Waltham Park Road on February 23, 1985.
Many blame Sleng Teng for unleashing the cacophony of slackness and gunshot that became Ragga, but that aside its a great bassline tune, and surefire party starter.
All you ravers might reciognise Sleng Teng as it turned up later as the key sample n SL2’s rave blockbuster ‘Way in My Brain’
Reggae music is often overlooked in the official history of electronic music, but along with the not inconsiderable gifts of DJ Culture, soundsystems, dub, MC's and raves, the creation of Sleng Teng was a significant moment in the spread of electronic production techniques and values.
Created on a vintage Casio Beatbox by Wayne Smith and Tony Asher in 1985, the rhythm built around an old Eddie Cochrane riff, underpinned the first digital reggae release.
The rock 'n' roll rhythm on the Casio was slowed down and rebuilt by Asher at Jammy's St Lucia Road studio, and launched on an unsuspecting world at the historic sound clash between Jammy's and Black Scorpio at Waltham Park Road on February 23, 1985.
Many blame Sleng Teng for unleashing the cacophony of slackness and gunshot that became Ragga, but that aside its a great bassline tune, and surefire party starter.
All you ravers might reciognise Sleng Teng as it turned up later as the key sample n SL2’s rave blockbuster ‘Way in My Brain’
Friday, 16 May 2008
Paradise Garage
I found this on YouTube- short clip of The legendary New York nightspot The Paradise Garage. Larry Levan spinning Eddy Grants 1982 proto house/disco/electro groover Time Warp.
Download it here...
Eddy Grant (Coach House Rhythm Section) Time Warp
And a modern day re-edit to keep you dancin....
Chaz Jankel - Glad To Know You (Todd Terje Edit)
Download it here...
Eddy Grant (Coach House Rhythm Section) Time Warp
...and another Garage floorfiller from 79
Dinosaur (Arthur Russell) Kiss Me Again
And a modern day re-edit to keep you dancin....
Chaz Jankel - Glad To Know You (Todd Terje Edit)
Wednesday, 20 February 2008
FUNKY NASSAU - The Compass Point Story
Published In Notion Magazine- March 08
FUNKY NASSAU
THE COMPASS POINT STORY
STRUT
REGGAE/DISCO/FUNK/SOUL
Of the many musical legacies bestowed upon the world by Chris Blackwell; founder of Island records and commonly known as the man who bought Bob Marley to the world; the opening of a recording studio in the Bahaman hills is one of the lesser known.
Founded in 1977 by Blackwell as a chic retreat amongst the cool Caribbean vibes; Compass point became not only a state of the art recording facility, but also a musical reference point amongst the widening musical influences of post punk pop.
At this time the bass pulse of reggae was emerging as a worldwide phenomenon. Compass, armed with reggae legends Sly & Robbie, engineers Steven Stanley, Alex Sadkin, and the Compass Point All-Stars house band, became a focal point for bands willing to display a little vision in production and embrace the groove.
Issued by rejuvenated Strutt records, renowned for their impeccable attention to detail, Funk Nassau documents the influential period where the pulse of reggae invigorated the popular music of the time, whilst challenging the very nature of what pop should be.
Kicking off with Jamaican born, NY raised Grace Jones’ Jamaican guy, a maelstrom of dark grooves and sparse bass. This signature sound developed with Jones became a house sound that ultimately bought Compass Point to the world’s attention.
NY art rockers Talking Heads had already experimented with what we now know as ‘world music’ but their classic ‘Born Under The Punches’ showcased here, treads a darker more rhythm orientated direction that pointed to the groups fusion future. Whilst TH side project Tom Tom club, included here with the bewitching ‘Genius of Love’, dispensed with rock altogether and incorporated the All Stars into their defining disco smash.
Whilst in the UK we embraced the truth and rights political fervour of Reggae, in the US it was all about the bottom end. One man who particularly felt this rhythm was legendary Paradise Garage DJ Larry Levan, one of those responsible for the mutation of disco into what became House.
Levan was principally influenced by the spacey dynamics of dub and the atmosphere created as much by the gaps in the sounds as the beat itself. This post disco sound is represented here by Levan’s own mix of Gwen Guthrie’s Padlock, as well as the thundering bass work out of Set The Tone Dance Sucker, reworked by NY dance floor contemporary Francis K.
It wasn’t all New Yorkers feeling the vibe however as, Ian Dury showed with his superb, and subsequently banned, riff led groover ‘Spasticus Autisticus’.
Add to these gems workouts from more obscure acts such as French DJ Guy Cuevas, Slits-offshoot band Set The Tone and the queen of exploitation disco, Cristina and what you have is a varied but ultimately cohesive document of the time.
This admirable compilation however is not merely a museum piece; what is most striking its relevance to the dominant music that has shaped the last two decades. From the house explosion through to the bass led domination of R&B and the experimental indie sounds of today’s post punk revivalists; these grooves laid down at Compass led the way for much of the sonic ingenuity we hear today. And for that we should salute Mr Blackwell and his Island retreat.
TH
FUNKY NASSAU
THE COMPASS POINT STORY
STRUT
REGGAE/DISCO/FUNK/SOUL
Of the many musical legacies bestowed upon the world by Chris Blackwell; founder of Island records and commonly known as the man who bought Bob Marley to the world; the opening of a recording studio in the Bahaman hills is one of the lesser known.
Founded in 1977 by Blackwell as a chic retreat amongst the cool Caribbean vibes; Compass point became not only a state of the art recording facility, but also a musical reference point amongst the widening musical influences of post punk pop.
At this time the bass pulse of reggae was emerging as a worldwide phenomenon. Compass, armed with reggae legends Sly & Robbie, engineers Steven Stanley, Alex Sadkin, and the Compass Point All-Stars house band, became a focal point for bands willing to display a little vision in production and embrace the groove.
Issued by rejuvenated Strutt records, renowned for their impeccable attention to detail, Funk Nassau documents the influential period where the pulse of reggae invigorated the popular music of the time, whilst challenging the very nature of what pop should be.
Kicking off with Jamaican born, NY raised Grace Jones’ Jamaican guy, a maelstrom of dark grooves and sparse bass. This signature sound developed with Jones became a house sound that ultimately bought Compass Point to the world’s attention.
NY art rockers Talking Heads had already experimented with what we now know as ‘world music’ but their classic ‘Born Under The Punches’ showcased here, treads a darker more rhythm orientated direction that pointed to the groups fusion future. Whilst TH side project Tom Tom club, included here with the bewitching ‘Genius of Love’, dispensed with rock altogether and incorporated the All Stars into their defining disco smash.
Whilst in the UK we embraced the truth and rights political fervour of Reggae, in the US it was all about the bottom end. One man who particularly felt this rhythm was legendary Paradise Garage DJ Larry Levan, one of those responsible for the mutation of disco into what became House.
Levan was principally influenced by the spacey dynamics of dub and the atmosphere created as much by the gaps in the sounds as the beat itself. This post disco sound is represented here by Levan’s own mix of Gwen Guthrie’s Padlock, as well as the thundering bass work out of Set The Tone Dance Sucker, reworked by NY dance floor contemporary Francis K.
It wasn’t all New Yorkers feeling the vibe however as, Ian Dury showed with his superb, and subsequently banned, riff led groover ‘Spasticus Autisticus’.
Add to these gems workouts from more obscure acts such as French DJ Guy Cuevas, Slits-offshoot band Set The Tone and the queen of exploitation disco, Cristina and what you have is a varied but ultimately cohesive document of the time.
This admirable compilation however is not merely a museum piece; what is most striking its relevance to the dominant music that has shaped the last two decades. From the house explosion through to the bass led domination of R&B and the experimental indie sounds of today’s post punk revivalists; these grooves laid down at Compass led the way for much of the sonic ingenuity we hear today. And for that we should salute Mr Blackwell and his Island retreat.
TH
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