Boys Noize: Party Thrasher

Like many of us, Berlin’s Boys Noize (a.k.a. Alex Ridha) got a jump-start on music as a youth thanks to an older sibling with good taste. “When I was about six, I heard old-school rap and house coming from my brother’s room. It must’ve stuck,” Ridha says with a laugh. During his childhood, he took up piano but quickly switched to drums because, as he puts it, “Somehow I was always into beats.” At just 14, Ridha started DJing and producing, playing his first gig two years later (for 500 people) in his hometown of Hamburg.

While he’s been making music ever since, international acclaim didn’t come as quickly as that initial live show. Ridha released the first Boys Noize record, “The Bomb,” on DJ Hell’s Gigolo imprint in 2004, and another on Datapunk a year later, but in minimalist Berlin, folks were slow to pick up on his maximal sound. “After [those records] I didn’t get many bookings,” he says. His style–floor-shaking techno with a distinct club appeal–owes much more to French house than, say, Kompakt. But in 2004, Ridha, a skilled remixer, tweaked a track by a then-barely known Bloc Party. His buoyant reworking of the Brit post-post-punkers’ “Banquet” caught the ear of many notable DJs–including Erol Alkan and Turbo label boss Tiga– and dovetailed with the hype that the band was enjoying. After more production work and thunderous DJ sets, Ridha started his own label, Boysnoize Records, in 2005. Just a few more high-profile remixes (one in particular for Kaiser Chiefs’ “Everyday I Love You Less and Less”) later, Boys Noize had become a hot item on the European club circuit.

Cut to 2007, and things have come full circle from those early obstacles. While Justice and the Ed Banger crew–sonic relatives and close friends of Ridha–garner massive worldwide attention, Boys Noize’s once uncool sound has become all the rage (though Ridha’s the first to point out the differences between his and Justice’s work). And Boys Noize has an excellent new album–a collection of 12-inches, actually–Oi Oi Oi, to accompany his newfound attention. The songs that appear on the record, such as the booming “The Battery” and the anthemic “Let’s Buy Happiness,” are singles that Ridha initially produced for his DJ sets because, as he explains, “I couldn’t find many tracks that I liked enough in the record shop.” Here, they’re bundled into a roaring hour of techno that incorporates Bomb Squad-esque production, Modeselektor-ish glitchiness, and, occasionally, Justice-like distortion. But Boys Noize’s sound is all his own–cleaner and harder than that of his French counterparts. And if you haven’t pumped your fists to it already, you will.

His Name Is Alive Xmmer

The ethereal pop of Warren Defever and his rotating cast of characters doesn’t miss a beat. From the Neil Young-esque chill-rock of “Put It in Your Mind” to the military murder of “Young Blood” delivered with Andrea Francesca Morici’s stark breathlessness, Xmmer is a rewarding trip. And I mean trip: Defever’s lo-fi freak-outs on “Sangaree” and “The Wolf Put His Mouth on Me” mind-meld with the disc’s mellower acoustic moments like “Go to Hell Mountain”–a sequel to Detrola’s “I Thought I Saw You Moving”–with stunning ease. The result is an assured collection of electronic craftsmanship as compelling as anything His Name Is Alive has done before.

Ticklah “Want Not”

And you thought only Madlib was in the midst of a musical identity crisis. Ticklah, co-producer of Easy Star’s Dub Side of the Moon release, keyboard player for Antibalas, and founding member of Sharon Jones and the Dap-Kings, splits his personality in half for the third Ticklah/Victor Axelrod release. Recently noted on XLR8R as “a battle in dub reggae against his own perfectionism,” Ticklah Vs. Axelrod is a near-perfect album of crisp reggae, Latin, and African beats, tightly arranged songwriting, and endless energy.

Ticklah – Want Not feat. Tamar-Kali

Dub Trio Preps Ipecac Debut

There is absolutely nothing wrong with a band that sounds like a cross between The Melvins and King Tubby. Listen to Dub Trio’s third album, Another Sound Dying, and you’ll understand why.

Set for release January 29 on Mike Patton’s esteemed Ipecac imprint, Another Sound Is Dying is a quite a break from early-2007’s live album, Cool Out and Coexist, which featured rough, though thoroughly punk, production. Another Sound… employs heavier riffs, reverbs, and delay, and even some shades of math-rock. But from a band who’s members have already played and/or toured with the likes of 50 Cent, The Fugees, Helmet, and Matisyahu, is anything really surprising anymore? Look out for Dub Trio dominating a soundsystem near you.

Tracklisting
1. Not For Nothing
2. Jog On
3. Bay vs. Leonard
4. Felicitation
5. Martyr Dub
6. Regression Line
7. Who Wants to Die
8. Respite
9. No Flag
10. The Midnight Rider
11. Safe and Sane
12. Agonist
13. Fuck What You Heard
14. Funishment

DJ Bitman Latin Bitman

On his second stateside release, Santiago, Chile’s DJ Bitman (of Bitman & Roban fame) ditches his sample-leaning tendencies and crafts a breezy and organic experience. While there is a decrease in loop-digging here, Bitman still scratches and delivers knocking, programmed rhythms, which are topped off with a host of live instrumentation and vocals from an able cast of Latin American artists. At times Bitman’s compositions can be stripped down to a simple, feel-good groove, like on the Caribbean-inspired “Tropilove”; elsewhere, on “El Diablo,” the producer gets markedly more daring, mixing hip-hop with touches of Latin rock, dance, and traditional South American music. But whichever route Bitman chooses, he surely won’t leave listeners bored.

Various Well Deep: Ten Years of Big Dada Recordings

Well Deep: Ten Years of Big Dada Recordings, an extremely tight-packed double-disc-plus-DVD compilation, celebrates the decade mark of the finest English hip-hop label ever to steal its name from an absurdist art movement. Weirdly, Well Deep ignores the first two years of their decade (compiled elsewhere) and truly kicks off where the label entered the collective conscious–in 1999, when a baritone half-rapper, half-raggamuffin calling himself Roots Manuva slung idiosyncratic lines of mysticism and London in-jokes over pillowy trip-hop bass and homemade effects.

The result was refreshing: At the time, the Big Apple was the home of the underground, with noise and fury pouring out of every record; somehow, journo Will Ashon convinced Ninja Tune (never strangers to conventional hip-hop despite their instrumental leanings) to launch a sister label aimed to give those inspired weirdoes who were cropping up on both sides of the Atlantic a chance to be heard. Naturally, things started with a bridge of sorts (Luke Vibert and Juice Aleem’s collaboration as Alpha Prhyme; check your favorite online shop as it’s left off here) but the handmade space-cadet beats and superstar charisma of Mr. Manuva laid the early blueprint. Soon, Big Dada was distributing Slick Rick’s spiritual successor, smooth storyteller Ty (check “Look for Me” here); thrillingly incomprehensible pirate crew New Flesh; and drawing in free-spirited Yanks like Mike Ladd and his insular, hilarious Infesticons/Majesticons projects.

Its place in the underground already secure, Big Dada incubated a crucial critical success from cLOUDDEAD, a splinter of the Bay Area’s art-house Anticon collective. Represented here by a sing-along live version of “Physics of a Bicycle” (from the Peel Sessions, no less–art recognize art), cLOUDDEAD’s dreamlike, psychedelic nasal-hop garnered attention, incited a thousand message-board fistfights, and connected with the children of “Golden Era” rap. For all that, Big Dada has always remained aware that its place is in the headphones and the underground club, and Well Deep’s best banger comes from its most unlikely source: French rhyme crew TTC, whose “Dans le Club” from 2004 would still fit in the bassbins next to Timbaland’s latest, with hyperactive acid lines spiking the mix.

In that context, it only makes sense that Big Dada is now home to the (maybe retired) Wiley, once tipped as a superstar from the U.K.’s clattering grime scene, who found himself eclipsed by protégé Dizzee Rascal. Despite his brush with fame, Wiley’s “50/50” remains compelling, with nearly off-beat raps bouncing off squashed bass and pitiless synths, and nestled perfectly among the rest of the restless bohos who found a sympathetic ear at the label. But for all the grimy, occasionally dour authenticity of Big Dada’s original crew, it might be the carefree absurdity of one the label’s newest acts that sums up the possibilities represented in its first decade: Spank Rock’s “Sweet Talk” leads the pack of new contributors with its punk-electro rhymes and sing-along hooks.

A decade of the U.K.’s most intriguing hip-hop label can hardly be summed up in two discs, and if there’s anything journalists love more than knotty beats and dense rhymes, it’s freebies, so there’s a throw-in bonus DVD with every promo clip made by the label (check Roots Manuva’s audacious school-sports romp for “Witness”) and a video mix, all adding up to proof that Big Dada deserves its place among the vanguard of underground labels, without question.

Jennifer Johns Painting on Wax

Many R&B divas start their albums with mellow mood-setters. Not Jennifer Johns. She opens up Painting on Wax in full-on blaze mode, kicking old-school lyrical ballistics, segueing into sexy, sung harmonies, then topping it off with some dancehall business. That’s the first indication that the Oakland-born artist is different, but not the last. A collage of hyphy collabos, reggae- and world-inspired cuts, hip-hop love songs, poetic sensuality, and a torchy ballad or two, Painting on Wax covers a wide stylistic range. Guests Kaz Kyzah, Zion, Dun Dun, and Gift of Gab barely counterbalance Johns’ strong, confident presence, which goes from seductive to saucy to “slow down, ma, you killin’ ’em” in about 0.2 seconds. Forget Jenny from the block; make room for JJ from tha Town.

Pon Di Wire: Beenie Man in Court, Reggae Grammys, Recommended Reggae Podcasts

The artist known as The Doctor and Ras Moses, and who takes the stage as Beenie Man (real name: Moses Davis), has had his share of personal ups and downs recently. But salvaging his career is something he has become a pro at, and this week, amid DNA paternity tests to verify if he is the father of child Marco Dean, Beenie Man announced a gift to children–education scholarships. Davis will sponsor five children at his expense for the school year. Publicist Ray Alexander explained, “For the next school term that begins in January 2008, Beenie Man will be sponsoring five children who will be selected by way of a competition aired on radio stations and published in newspapers. All five will be drawn from high schools. They will receive school supplies for the rest of the school year.”

Meanwhile, Davis’ estranged wife, D’Angel, sued him in court and won control over several jointly created companies the couple formed. A recent interview details her efforts to clear her name with the public.

This year’s Reggae Grammy nominations are in. The 56 album nominations include Anthony B’s Higher Meditation, Burning Spear’s The Burning Spear Experience, Chezidek’s Inna Di Road, Collie Buddz’s self-titled album, Da’ville’s On My Mind, Chuck Fenda’s The Living Fire, Wayne Wonder’s Foreva, plus many others. Since the general public doesn’t get to vote for their favorites, fans should track down their VIP music-industry contacts and recommend the people’s choices!

Jamaican author and Iraq war veteran Laura Johnson recently released her third book, Born As a Sufferer. The now U.S.-based author will return to Jamaica for a book tour. Johnson’s novel depicts the lives of two young people, Shelly and Bobby, who are fighting their own demons in the streets of Kingston, Jamaica. “The song ‘Born As a Sufferer,’ by Bounty Killer, provided me the inspiration to write about how one can grow up as a sufferer and still manage to rise to the top,” says Johnson, who lives in Missouri.

Two of reggae’s fastest rising stars–male vocalist Pressure and female singer Alaine–will both celebrate their album releases on Wednesday, December 5, at Track’s Cafe in Brooklyn. Virgin Islands-born Pressure will release Love & Affection, while Sly & Robbie-nurtured Alaine issues Sacrifice, both on VP Records. Super-producer Donovan “Don Corleon” Bennett will host the event with VP’s Johnny Wonder and DJ Wayne of Irie FM.

Big, upcoming reggae shows in the U.S. include rasta roots legends Ras Michael and the Sons of Negus on December 12 at Dub Club LA, located at The Echoplex, 1154 Glendale Blvd., Los Angeles. Also, the Jamrock Vintage Reggae Fest NYC, December 15 at the Hammerstein Ballroom, featuring Toots, John Holt, Marcia Griffiths, Ken Booth, Pat Kelly, Jimmy Riley, and Lloyd Parks. U.K. digital-dub outfit Zion Train will tour the U.S. in the spring of 2008–stay tuned for updates.

Big tunes and ones to watch include “Our World,” by Elephant Man (featuring Demarco), Busy Signal’s “Jail,” and Junior Pinchers’ (a.k.a. Kemar) “Forever” (with instrumentation by Sly & Robbie). Also, look out for sassy female vocalist Malica, whose new track, “The DJ Special,” pays homage to the females who have inspired her in reggae–Tanya Stephens, Michie One, and Sister Nancy.

Pon Di Wire strongly recommends new dub artist Fried Wire, whose well-crafted, vintage-sounding dubs will shake your speaker boxes. His site features clips and downloads galore.

Recommended reggae podcasts for this week include vintage roots (Augustus Pablo, Junior Delgado, Viceroys) on Algoriddim, Santa Cruz, CA-based Green-Up Sound’s mixes of modern and digital roots, and the multiple dancehall and reggae shows heard on Big Up Radio. All three podcasts offer regularly updated content, so you can get your fix!

Kidz in the Hall Strike Deal with Duck Down Records

Previously signed to Rawkus, who released their debut album School Was My Hustle, the Chicago-meets-New Jersey hip-hop duo Kidz in the Hall (or Naledge and Double-O, if you prefer their solo names) have jumped over to Duck Down Records for their sophomore full-length, The In Crowd. In a press release, the two talked elevation, spreading of wings, and fresh air, so it sounds as though the switch to Duck Down was a much-needed one.

The In Crowd is slated for release in March 2008, but for those who can’t wait, a free download of the group’s latest mixtape, Detention, is available for three days only here.

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