Michoacan: Catch the Fever

From his mile-a-minute chatter, you’d never know Fernando Miranda Rios is fighting a fever. Rios is high on Cubase VST plug-ins, rave memories, and the tracks he makes as Michoacan–and there’s some cold medicine in the mix too.

A native of East Palo Alto, CA, Rios got his start making hip-hop tapes with his brother, but a fateful disco encounter changed all that. “I heard Space, the ‘Magic Fly’ record, and it was very hip-hop to me!” he recalls. “It was very stripped down, very basic.” That French electronic novelty from 1977 paved the way for Rios’ summer of rave. “I didn’t even know this [scene] existed. I loved disco and old grooves. Music was my thing since I was young. So when I found house music, techno, whatever, I just got captivated! I still make rap music with my brother, but this was about 1994, and raves were tight! We’d go to parties Friday, Saturday, even Sunday.”

As a nod to his parents’ background, Rios adopted the Mexican state of Michoacan as his nom de wax, and started building a home studio piece-by-piece. Like mad home-brew studio predecessors from Lee Perry to Giorgio Moroder, Rios subscribes to the theory that if it fits in a track, it goes in–be it a new sound effect or his own singing voice. “I do everything on my MPC 2000XL and my computers,” he explains. “I can spend hours dropping in plug-ins and it sounds like I bought 10 new synthesizers.”

Listening to records like 2005’s “2 Bullets (Disaster)” on Grayhound, it’s easy to see why Rios is pumped to spend all day experimenting in the studio. Over a stealthy programmed groove, Rios croons a disco-punk chorus (even backed by obligatory cowbells) that gives way to soothing synth chimes. On more recent releases, like the Play Your Part EP and “Basshead,” the mix becomes even more eclectic, with new wave and computerized textures bumping against rock vocals, all smoothed out by an insistent disco-house pulse.

It all bodes well for the day Michoacan settles in with a label and concocts the epic LP that right now bumps only in his head. “I like waking up at eight with a cup of coffee, go in the studio, stay in there ’til midnight,” says Rios frantically. “I just get a bass sound, a dope kick going, and start experimenting. I don’t want to get stuck in a certain sound; I change it up. I want to sing more, make fuller songs. I want to have live musicians, make indie-rock-psychedelic-spaced-out shit.”

Don’t expect Rios to stop the torrent of 12″ records, though, as a fast response time is the only way to keep up with his caffeine-fueled production. “Right now”m living beat to beat. My dream is to be a producer with people, bands, artists, just myself. My thing is the studio, that’s where I feel really comfortable.”

Betty Davis Gets Reissued

The late ’60s and early ’70s are often remembered within the context of rock n’ roll–complete with visions of free love, liberal drug use, protesting, and partying. While far from Janis Joplin or Joe Cocker, Betty Davis is the epitome of the rock lifestyle–an uncompromising artist who never once stepped into the box.

Betty Davis is a true badass. She turned down Eric Clapton from producing one of her albums; she introduced aggressive sensuality into her music far before Tina Turner; she penned the songs that lead to The Commodores signing to Motown (Davis later turned the label down for a record deal due to ownership issues); she married, influenced, and divorced Miles Davis; she was part of a crew that Carlos Santana referred to as the “cosmic ladies”; and she may have been the first artist to use the term “hater” in a song. On top of this summarized history, she produced her own records and wrote everything all by her damn self. Holy shit.

Davis’ ferocious punk-funk-R&B has played an immense role in contemporary hip-hop as well. MCs from Talib Kweli to Ice Cube to Ludacris have rapped over her beats and she’s been sampled excessively. Fortunately, she hasn’t died from a drug overdose or suicide. Unfortunately, she’s broke as hell and living in a Pittsburgh ghetto–, having never received proper royalties for her records.

Light in the Attic Records is paying true homage to the queen of anarchic-funk by re-releasing her 1973 self-titled debut and her sophomore effort They Say I’m Different (yes, she will get the royalties now!), setting up what was to become one of the most influential and unique forms of hard-funk. From Karen O to Kelis, it would be pretty fucked up not to attribute their aesthetics to Davis (usually perched on her album covers dressed as an intergalactic Egyptian or afro-topped party-vixen).

The two offerings are both remastered and come bundled with an extensive booklet documenting Davis’ well-deserved place in history. I believe Ice Cube stated it best when he said: “Betty was a G, for real.” For real.

Betty Davis and They Say I’m Different are out now on Light in the Attic.

Tracklisting
Betty Davis
1. If I’m in Luck, I Might Get Picked Up
2. Walkin’ Up the Road
3. Anti love Song
4. Your Man, My Man
5. Ooh Yea
6. Steppin’ In Her I. Miller Shoes
7. Game is My Middle Name
8. In the Meantime
9. Come Take Me
10. You Won’t See Me In the Morning
11. I Will Take That Ride

They Say I’m Different
1. Shoo-B-Doop and Cop Him
2. He Was A Big Freak
3. Your Mama Wants Ya Back
4. Don’t Call Her No tramp
5. Git In There
6. They Say I’m Different
7. ’70s Blues

dublab Makes Fans Cry

Los Angeles-based dublab throws a party every year, with the sole purpose in mind of ruining your day. Or at least, attendees should feel pensive and melancholy by the end of the festivities. Give Up: Stop Dancing and Cry is held at The Redwood Bar and Grill, a nautical themed restaurant on Second St. The event is thrown complete with live silkscreened shirts and, as dublab’s site so eloquently states, “bummer movie scenes splashed on video screens.”

The event happened in March, and sorry if you missed it. The good news is that DJs Jimmy Tamborello (a.k.a. Dntel) and frosty–who both played–have compiled a CD of the night’s music, currently available for a mere $10 via the dublab site. A mix of everything from Paul McCartney’s mournful guitar strumming to Colleen’s tear-jerking ambience will aid you in reliving heartache and teeth gnashing, with or without an accompanying party.

Give Up: Stop Dancing and Cry is available through dublab.

Tracklisting
Jimmy’s Heart Sinking Songs
1. Tarwater “To Describe You”
2. Ulver “Silencing the Singing”
3. Lucky Kitchen “Rain and Hail, X-mas Eve”
4. Neu “Lieber Honig”
5. The Pale Saints “Hair Shoes”
6. A.R. Kane “Up”
7. Neurosis “The Road to Sovereignty”
8. Susanna and the Magical Orchestra “Love Will Tear Us Apart”
9. Colin Newman “Can I Explain the Delay?”

Frosty’s Misery Melodies
10. Gary Higgins “Unable to Fly”
11. Espers “Byss & Abyss”
12. Boduf Songs “Lord of the Flies”
13. Colleen “Your Heart is So Loud”
14. Papa M “Petals Weep”
15. Paul McCartney “Waterfalls”
16. Susan Christie “Rainy Day”
17. megAfarmer D “Weepin’ and Wailin’”
18. Phyllis Dillon “A Thing of the Past”
19. Phelan Sheppard “The Plantagenet Whore”
20. Mia Doi Todd “In the End”

Stateless Readies New Album

Though a brand-new quintet, Stateless, !K7’s newest signing, has already toured the world alongside turntable virtuoso DJ Shadow, worked with highly sought-after producer Jim Abbiss (Arctic Monkeys), and the band’s singer Chris James was a guest on Shadow’s last release, The Outsider.

As hot as the band has become in its own right with its ethereal, orchestral rock, it’s going to be hard to shake comparisons to the almighty Radiohead (and perhaps, a bit sadly, Coldplay). While James’ vocal range exceeds the realm of dynamic, the band’s shameless use of piano-derived, emotional soundscapes may alienate some diehard !K7 dance fanatics more accustomed to the likes of Herbert, Funkstorung, and Joakim. Still, with Shadow backing these young Brits, they’ll likely have no trouble finding a wide audience, wherever it may be.

Though Statelesss is ultimately a rock band, its use of alternative instrumentation like turntables, keys, effects, and live programming is a treat for the genre. The band’s scratchy glitches, layers of strings, and James’ passionate vocals on the self-titled debut is definitely worthy of buzz–even if it’s from the Coldplay sect.

Stateless is out this summer on !K7.

Tracklisting
1. Prism #1
2. Exit
3. Bloodstream
4. This Language (feat. Lateef the Truthspeaker)
5. Down Here
6. Radiokiller
7. Running Out
8. Crash
9. Bluetrace
10. Inscape

Sean Price Jesus Price Supastar

With rap in dire need of a class clown, Heltah Skeltah/Boot Camp Clik veteran Sean Price might just be the funniest MC in town. Like its predecessor, Monkey Barz, Jesus Price is a knee-slapper, whether Ruck is taking the piss out of himself on the typically self-deprecating “Mess You Made” or spitting sacrilegious gospel on “Church.” Thanks to a committee of producers including 9th Wonder, Ill Mind, MoSS, Khrysis, and Tommy Tee, Supastar is also the sort of impeccably produced album where you can just forget about the beats and get lost in the rhymes and stories.

Serengeti Dennehy

Serengeti’s latest album is further proof that this Chicago native could give two shits about what the rest of the rap game is up to. While the beats used here aren’t that unusual, Geti’s lyrical focus unquestionably is. When he’s not trying to figure out his life, this erratic MC shape-shifts into different characters, including an Italian blue-collar sports fan and a delusional drug addict. These personality studies are just about as creative as you’ll hear an MC get, although, given the average attention span nowadays, not many will want to try and keep up.

Secret Mommy Plays

Abandoning the thematic constraints of last year’s Very Rec and The Wisdom EP, Secret Mommy’s Andy Dixon has gone soft on Plays. Using edited audio from acoustic-only jam sessions with friends, the record cuts and pastes wood, wind, and string instruments into boisterous mini-symphonies. Composed as songs rather than experiments, these tracks reveal a human heart behind Dixon’s glitchy, often scientific approach. Decidedly anti-electronic, Plays is so exciting you’ll want to show everyone; the most expressive record in its field, it transcends Dixon’s previous work, and is a crowning achievement.

The Go Find “Dictionary”

Dieter Sermeus is The Go Find–the quintessential nu-pop experience. Like his Morr counterparts, Sermeus blends the subtle, glitchy electronics of B. Fleischmann with the indie-pop instrumentation of just about any band on the Merge Roster (White Whale, The Rosebuds, etc.). Stars on the Wall is a dynamic step away from his 2004 debut Miami, with a full-live band, bass grooves, and lots of gentle, vintage-synth power. Sermeus’ songwriting is pure fire.

The Go Find – Dictionary

Download: The Go Find “Dictionary”

Dieter Sermeus is the quintessential nu-pop experience. Like his Morr counterparts, Sermeus blends the subtle, glitchy electronics of B. Fleischmann with the indie-pop instrumentation of just about any band on the Merge Roster (White Whale, The Rosebuds, etc.). Stars on the Wall is a dynamic step away from his 2004 debut Miami, with a full-live band, bass grooves, and lots of gentle, vintage-synth power. Sermeus’ songwriting is pure fire.

Download this song as an MP3, or preview a week’s worth of tracks at the XLR8R Podcast. Subscribe using iTunes or with an RSS reader of your choice.

Jimi Tenor & Kabu Kabu Joystone

Finnish keyboardist Jimi Tenor continues to drift further away from his Joss House Recordings roots with Joystone, his surprising debut for Ubiquity. On Joystone, Tenor and Kabu Kabu (a West African trio led by Fela Kuti acolyte Nicholas Addo Nettey) find a loved-up medium between Scandinavian and African sonic sensibilities. Over these 12 tracks, buoyant, undulating Afrobeat rhythms converge with Tenor’s suave loungetronica, and then get embellished with some CTI-like fusionoid brass and woodwinds from skilled Finnish and English jazz players. Tenor & Kabu Kabu’s unlikely conflation of tropical and cool aesthetics results in a distinctive party-centric disc that could be equally effective at a United Nations soirée or a swinging bachelor-pad seduction scene.

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