He might be best known as one-half of hip-hop duo Mad/EQ, but Matthew Peters (a.k.a. Mad EP), isn’t looking to be pigeonholed into one genre. Part sound designer, part storyteller, he runs the gamut of breakbeat, classical, jazz, noise, hip-hop, and funk in his many projects, setting himself apart from the crowd.
Panther “How Well Can You Swim?”
Bring forth the unpredictable and energetic debut solo project from Portland’s Panther, the self-proclaimed ‘one-man disaster squad’ and currently one of the most bizarre-yet-addictive guys making music today. Secret Lawns only furthers his aim to mash as many synth freakouts, falsetto lyrics, and jittery dance routines as possible together.
New At INCITE Online, March 20
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Mad EP – He’s best known as one-half of hip-hop duo Mad/EQ, but Matthew Peters runs the gamut of breakbeat, classical, jazz, noise, hip-hop, and funk in his many projects, setting himself apart from the crowd.
Panther – Bring forth the unpredictable and energetic debut solo project from Portland’s “one-man disaster squad.” On Secret Lawns, Panther only furthers his aim to mash as many synth freakouts, falsetto lyrics, and jittery dance routines as possible together.
Digitalism – Many show dates and remixes later, the French duo releases its debut full-length. Idealism makes for an album of distorted, rough grooves, blankly delivered lyrics, and some pleasant hints of rock and roll.
ZAMAN 8 – The San Francisco-based world/electronic duo draws on Persian and Indian classical traditions, jazz improvisation, African rhythms, and modern dance grooves to create music that’s eclectic, likable, and built to last.
Move.meant – Comprised of producer J. Beats, DJ Spider, and MC Champ, the group brings a certain energy to its music reminiscent of the genre’s “golden age,” which makes for a refreshing change of pace in the current age of hip-hop.
Sonar 2007 Lineup Announced
Barcelona’s Sonar Festival returns to the city for its fourteenth year, from Thursday, June 14 – Saturday, June 16. It’s a surprisingly diverse lineup this year, one boasting the most mainstream of artists alongside the up-and-coming acts who’ve only recently begun making headlines.
A Beastie Boys and Narod Niki instrumental double bill at Barcelona nightclub Fira Gran Via (M2) kicks things off, followed the next day by the Beasties playing all their collection of hits during Sonar by Night. Devo will also be making a rare appearance, the band’s first in Europe in 17 years.
Kode9, Skream, and others will be representing the heavy British dubstep army, while, straight from Paris, Justice, Uffie, and DJ Medhi of the Ed Banger crew will do stage time. Digitalism, Simian Mobile Disco, and New Young Pony Club attempt something akin to rave, and techno is conspicuously absent this year. Noise and drone nerds fear not, Wolf Eyes and KTL (feat. Stephen O’Malley of Sunn 0))) and Pita) will be holding it down, perhaps even levitating.
XLR8R’s WMC Gig Guide
XLR8R is once again headed to Winter Music Conference in Miami, FL, from Tuesday, March 21 until Saturday, March 25, 2007. Join us at the events below, and check back every Friday for full updates.
Tuesday, March 20
Filter Magazine and Finlandia Vodka Present
The Presets
Additional Music By Peaches, Junkie XL, Fisherspooner, DJ Hell, Brazilian Girls, and Crystal Castles.
Venue Mansion, 1235 Washington Ave.
Details Doors Open 10 p.m., 21+
Made Event Presents
Border Community Showcase
Music By James Holden, Mistress Barbara, Mirko
Venue B.E.D., 929 Washington Ave.
Details 10 p.m. – 5 a.m. $20, 21+
Diamonds Tour 07
Music By John Digweed and MSTRKRFT
Venue Pawn Shop, 1222 NE 2nd Ave.
Details 10 p.m. – 5 a.m., $30, 21+
Wednesday, March 21
Onbeat.com and WMC Present
Official Onbeat WMC Launch Party
Music By Mendez, Tom Cesa, DJ Exzakt, Dennis Sebayan, Hector Romero & Audiofly, Marco Bailey
Visuals By Psyberpixie, Hosted By Damian
Venue Miami Beatch Resort & Spa, 4833 Collins Ave.
Details 12 – 6 p.m., Free to WMC Badge Holders, 21+
NextAid, Bodog Music, and Dubspot Present
Beats Build Hope
Music By Nazanin, J-Boogie, MUSAICS, Rob Slac, Jojoflores, Roy Davis Jr., Liquid Todd, and Dustin Cook.
Venue The Marlin Bar, 1200 Collins Ave.
Details 12 – 7 p.m., FREE, 21+
Scion Presents
Sound Ceremony
Music By Kruder & Dorfmeister, Ben Watt, Kraak & Smaak, DJ Kutmah
Venue The Penthouse at Raleigh Hotel, 1775 Collins Ave.
Details 1 – 8 p.m., RSVP, 21+
Immigrant Records Party
Music By Slam, Silicone Soul, and others
Venue Miami Beach Resort & Spa, 4833 Collins Ave.
Details 8 p.m. – 3 a.m.
Swank
Music By Groove Junkies, J-J, Kikko, Navarro, DJ Dealer, Christian Alvarez, Joey Youngman, JT Donaldson, Justin Michael, New Mondo, Morrisson, Sarah Foote, Ronan, Alix Alvarez, Halo, Jask, Jami Thinnes, Master Kev, Keith Evan, Carlos Sanches, Matthew Bandy and Amir Javasoul.
Venue Club Deep & Ruby Lounge, 6th & Washington
Details 9 p.m. – 5 a.m., Free Before Midnight
Gotsoul + Therapy
Music By Osunlade, Jojoflores, Mike Fresco, Trackheadz, and Thenextgeneration
Soul Revival Patio Hosted By Zumbi feat. Danny Krivit, DJ Spinna, Adam Gibbons, KC Hallet, and FLX
Venue Dek23, 655 Washington Ave.
Details 9 p.m. – 5 a.m., $25, 21+
Made Events Presents
Made In Pawnshop VI
Music By Danny Howells
Venue Pawn Shop, 1222 N.E. 2nd Ave
Details 11 p.m. – 8 a.m., $25, 21+
Culture and Contagious Musiq Present
DJ Craze: Bass Sessions
Additional Music By Z-Trip, A-Track, Scratch Perverts, Klever, Netik, Stanton Warriors, Krafty Kuts, Deekline & Wizard, Scratch-D
Venue Studio A, 60 NE 11th St.
Details 10 p.m. – 9 a.m., $20, 18+
Thursday, March 22
Blue Collar/Basic NYC, and Dirtybird Present
Music For Your Working Class Azz
Music By Slater Hogan & John Larner, Joey Youngman, Demarkus Lewis, Nikola Baytala, Troydon, Hipp-e, Johnny Fiasco, Q-Burns Abstract Message, Diz, Justin Long, Claude VonStroke, Jesse Rose, Justin Martin, Mike Monday, Diplo, Worthy, Christian Martin, Matt Trolfrey and Mark Ashken, Tanner Ross, and Alland Byallo.
Venue The Beach Plaza Hotel, 401 Collins Ave.
Details 12 – 11 p.m., RSVP [rsvp @basicnyc.com], 21+
Cielo Celebrates 4 Years & “Seventh Heaven” Album Release Party
Music By Behrouz, Blaze, Charles Webster, JoJoFlores, Kiko Navarro, Nicolas Matar, Pippi, Roog, Tedd Patterson, Willie Graff
Venue The Raleigh Hotel, 1775 Collins Ave.
Details 1 – 10 p.m., RSVP, 21+
Scion Presents
Penthouse Pyre
Music By Andy Smith, MSTRKRFT, Justice, Static Revenger, The Rub
Venue The Penthouse at Raleigh Hotel, 1775 Collins Ave.
Details 1 – 8 p.m., RSVP, 21+
NextAid Mixer At Earthdance’s “Maimbient”
Music By J-Boogie, Sake One, Cool Rob G, DJ G O V.
Venue The Standard Hotel, 40 Island Ave.
Details 2 – 6 p.m., FREE
NextAid Presents
Mixology’s 7th Annual Party
Music By J, Seb Fontaine, Mark Lewis, Dave Ralph, DJ Rap, Oliver Moldan, and DJ Romero.
Venue Nikki Beach Club, 1 Ocean Drive
Details 9 p.m. – 5 a.m., $50, 21+
NextAid Presents
The Sole Channel/WonderWax Throwdown
Music By lix Alvarez, William “reelsoul” Rodriguez, Mr. V, DJ Spinna, with live performances by Miss Patty and Malena Perez.
Venue Club Deep, 621 Washington Ave.
Details 10 p.m. – 4 a.m., $10, 21+
Made Event Presents
Above & Beyond
Venue B.E.D., 929 Washington Ave.
Details 10 p.m. – 5 a.m., $25, 21+
M_Nus Showcase
Music By Richie Hawtin, Adam Beyer, Clark Warner, Gaiser, Loco Dice, Magda, Marc Houle, Marco Carola, Matthew Dear, Troy Pierce.
Venue Pawn Shop, 1222 N.E. 2nd Ave
Details 11 p.m. – 8 a.m., $30, 21+
Embrace, EQ Recordings, TCA, and Future Mob Present
Porterhouse Miami
Music By Steve Porter, Eli Wilkie, Bon Johnson (Live), Ryan Mishkin & PG
Venue The Fifth, 1046 5th St.
Details 10 p.m. – 6 a.m., Buy Tickets, 21+
Dax Presents
SLIDE Into Miami
Music By Honey Dijon, Hipp-e, Phil Weeks, Justin Long, Lance deSardi, Q-Burns Abstract Message, Nikola Baytala, Christian Martin Miami, Sharon Buck, and Paul Thomas.
Live Video Mixing by Dax & Borister
Venue Budios Gallery, 74 NE 17th St
Details 11.30 p.m. – 10 a.m., $10, 21+
Friday, March 23
Scion Presents
Sunset Yacht Soiree
Music By Masters At Work, Jazzy Jeff, DJ Haul
Venue Boat departs from dock across Fontainbleau Hilton, 4441 Collins Ave.
Details 3 – 8 p.m., RSVP, 21+
Spectral Sound Presents
The Spectral Social
Music By Audion (DJ), Ryan Elliott (DJ), Pär Grindvik (live+DJ), Seth Troxler (DJ)
Venue The Clinton Hotel, 825 Washington Ave.
Details 9 p.m. – 2 a.m., $10, 21+
Made Event Presents
Loco Dice
Music By Steve Bug, Martin Buttrich (Live)
Venue B.E.D., 929 Washington Ave.
Details 10 p.m. – 5 a.m., $25, 21+
Future Mob and Embrace Productions Present
One+One Launch Party
Music By James Zabiela and Nic Fanciulli
Venue The Fifth, 1045 10th St.
Details 10 p.m. – 5 a.m., 21+
Saturday, March 24
Diesel Event
Music By Kate Simko, Pär Grindvik, Ryan Elliot, im Baker
Venue Diesel USA, 817 Washington Ave.
Details 12 p.m. – 8 p.m., free
Basic NYC Presents
Freerange Records Party
Music By Jimpster, Justin Martin, Troydon, Kaje, Hipp-e, Fred Everything & JT Donaldson, Sleepy & Boo
Venue The Beach Plaza Hotel, 1401 Collins Ave.
Details 12 – 11 p.m., Free, 21+
Raw Fusion WMC Party
Music By Karizma, Daz-I-Kue, Freddie Cruger a.k.a. Red Astaire, Markus Enochson, Simbad, Lil’ Tony, Mad Mats, Scribe, Linn, Amon
Venue Jazid, 1342 Washington Ave
Details 10 p.m., $10 or Free w/ WMC Badge b/f 11, 21+
Made Events Presents
THe Burridge Barrage III
Music By Lee Burridge
Venue B.E.D., 929 Washington Ave.
Details 10 p.m. – 5 a.m., $25, 21+
Sunday, March 25, 2007
Made Events Presents
P.S. 102: Sunday School For Degenerates
Music By Adam Beyer, Steve Bug, Bill Patrick, Ellen Allien, Adultnapper, and more.
Venue Pawn Shop, 1222 NE 2nd Ave.
Details 5 a.m. – 7 p.m., $30, 21+
Sedgwick and Cedar Join Rap Sessions Tour
As previously mentioned a few months back, XLR8R previewed the 2007 Rap Sessions Tour–a city-by-city panel discussion grappling with misogyny in the cultural realm of hip-hop. Founded and mediated by Bakari Kitwana, author and former editor of The Source magazine, the tour will hit university after university, filling kids and communities with the spirit of critical dialog–a concept rarely embraced on a national platform.
Further propelling the cause, the urban clothing line Sedgwick and Cedar (backed by hip-hop icons Afrika Bambatta, Busy B, DJ Kool Herc) has joined forces with the tour, giving it serious momentum.
Other panelists include Marc Anthony Neal (Duke University), acclaimed director Byron Hurt (Beyond Beats and Rhymes), and seminal hip-hop journalist Joan Morgan (When Chickenheads Come Home to Roost: My Life as a Hip-Hop Feminist), amongst other multi-faceted hip-hop thinkers.
Despite its thought-provoking title, Kitwana, Sedgwick and Cedar, and the panelists aren’t necessarily pointing fingers at the artists. Kitwana best describes the goal of the tour as “a national discussion that asks young people, the hip-hop industry, and policy-makers to assume responsibility for their complicity in making hip-hop synonymous with misogyny.”
Tour Dates
03/20 Spelman College
03/28 Buffalo State University
03/29 Spelman College
03/31 University of Rochester
04/03 University of California, Berkeley
04/04 San Jose State University
04/12 Vanderbilt University
04/18 Case Western University
04/28 University of Chicago
05/02 University of California, L.A.
Tarrus Riley: Family Roots
Like father like son, or like mother like daughter–the adage is true in many family businesses, including Jamaica’s reggae trade. Ancestral offspring have continually renewed the practice of making reggae music for decades, with contributions from notable artistic clans such as The Marleys (Bob’s sons Ziggy, Stephen, and Damien), Denroy Morgan’s Morgan Heritage (http://www.morganheritagemusic.com/) ensemble, and Freddie McGregor’s music minded sons Stephen and Chino.
Now a new singer enters the reggae fold, and brings some quality lineage with him.
Tarrus Riley, son of famed Taxi Records vocalist Jimmy Riley (of the hit “Love & Devotion”), is latest to join the crop of Jamaican singer/songwriters redefining the sounds of contemporary roots reggae music. With analytical lyrics embracing Rasta teachings, and his heart felt romantic delivery, Riley manages to cover both the roots and lovers rock genres expertly. It helps that his debut album, Parables (VP), features saxophonist Dean Fraser alongside an all-star band that includes Sly Dunbar, Robbie Shakespeare, Robbie Lyn, Paul ‘Scooby’ Smith, Glen Browne, and others.
But as the audio clips on his MySpace page deftly prove, Riley can easily hold his own and standout in today’s crowded reggae vocals market. His voice echoes his father’s aching, smooth delivery, along with a touch of Freddie McGregor’s gruff, hearty tones. “Beware” rides a nice reinvention of the Pass The Kutchie riddim, while “Marcus Live,” with Lutan Fyah, is a potential breakthrough single. One thing’s certain; Riley followed his father’s footsteps in the right direction.
Chart: Future Jazz
Bay Area DJ and writer Tomas Palermo, who also works as xlr8r.com’s expert on all things future jazz, delivers another round of must-haves for your record bags this month. Snap up these singles and get grooving.
DJ Tomas March Future Jazz Chart
Bebel Gilgerto “Bring Back The Love (Prins Thomas Dub)” (Six Degrees)
Quantic “Sabor feat Tempo (12” Mix)” (Tru Thoughts)
Joerg Burger ”Polyform 1” (Kompakt)
Chico Mann “Soul Freedom” (Kindered Spirits)
The Jazzistics “Marcus, Martin and Malcolm” (Stones Throw)
Stance Brothers “Steve McQueen” (Ricky Tick)
Mpho Skeef “What You Waiting For?” (Genuine)
4hero “Something In The Way” (Raw Canvas/Milan)
Sygaire “Oh Bage-Yi” (Sonar Kollektiv)
The Lions “(You Better) Think” (Ubiquity)
Quantic makes the cut for this month’s smoothest picks.
Thomas Fehlmann Honigpumpe
With a rich and extensive history stretching back to the ’70s-and including pioneering turns with Palais Schaumburg, 3MB, and The Orb-Thomas Fehlmann has all but become the music. Honigpumpe, his second album for Kompakt, is a natural succession-an afterhours techno broadcast of the highest order. The rich, atmospheric dub and throbbing 4/4 cadence of “Soziale Waerme” and “Bienenkoenigin” resonate with subliminal echoes of the label’s early days, while tracks like “Dusted With Powder” advance the art of texture and groove to a new level. Finally, “With Oil” finishes with a glistening, ethereal ambience that is unique to its creator. A monumental outing for both label and producer.
Paul Epworth: Totally Epic
Puff Daddy? He’s got no flow,” says British producer Paul Epworth, clicking a mouse on a cluttered desk in the cozy West London studio where he does most of his work. Gnarly, clanging electro blasts from the speakers. Two minutes later, an unremarkable Diddy verse enters the fray. Then all hell breaks loose.
This is Epworth’s just-completed official remix of Diddy’s “Tell Me”; it will be released–should Diddy’s people approve–under Epworth’s Phones guise, and it sounds nothing like the original. “I sped up his voice,” grins Epworth, “because it shortens the distance between his timing mistakes.”
Epworth is used to tidying up the mess made by others: As a producer, his job is to get the best out of artists. But it’s as a remixer and musician in his own right–he releases grinding, peak-time electro as Epic Man on the Kitsuné and Good & Evil labels–that Epworth really expresses himself. Although you may not be familiar with his name, you’ve almost certainly heard plenty of the music that Epworth has committed to tape.
Two years ago, Epworth was hailed as the U.K.’s hottest new producer, a rough diamond whose crisp and edgy signature sound defined the second wave of Britpop. In quick succession, he helmed debut albums by Bloc Party, The Rakes, The Futureheads, and Maximo Park, a crop of quintessentially English art-rock bands who (following Franz Ferdinand’s lead) gleefully ripped off Gang of Four and plunged into the mainstream. After that he produced a host of new British acts, adding a whip-smart, angular disco dimension to records by White Rose Movement, The Long Blondes, Shy Child, and, surprisingly, hip-hop MCs Kano and Plan B. Epworth estimates that he was responsible for 100 pieces of music between the summers of 2004 and 2005, which accounts for his decision to slow things down.
“[At the end of 2005]’ found myself in a very different place, professionally and personally, [compared] to where I had been just one year before. I was working so hard and when I stopped’ wanted to go out and let off steam. But I had to check it,” he says, referring to his dedication to partying and DJing on London’s hipster circuit. “Now I find that whole scene really unhealthy for my headspace.”
Recently engaged and a homeowner, Epworth certainly has more grey hairs than most 32-year-olds, and he puffs four menthol cigarettes down to the filter in little over an hour. He looks tired but healthy, roguishly debonair in jeans and a t-shirt even though he’s currently working 14-hour shifts producing the debut album from electro goths Black Strobe. It transpires that the Parisian duo, comprised of Ivan Smagghe and Arnaud Rebotini, has turned into a metal band. “I’m keen to pull them back to electronica but they’re very much up for rock,” he shrugs. “When Arnaud sings, he could be Johnny Cash. The album sounds like a fight between Tiefschwarz and Muddy Waters.”
Epworth’s last major job was co-producing The Rapture’s second album, Pieces of the People We Love, with Ewan Pearson–in New York and in this very room in Eastcote Studios. It was, he says, a fractured process, which perhaps explains the funky but aimless result. Epworth became the band’s sound engineer when they first toured the U.K. and Europe in 2002, and soon after assisted LCD Soundsystem on the road. He would later apply their disciplined punk-funk approach to bands like Bloc Party.
Epworth grew up to the east of London in the commuter town of Bishop’s Stortford, rave heartland in the acid-house era. Like his father, an electrical engineer who designed optical fiber, Epworth has worked hard to master the technical side of his job. In the mid-1980s, he fell in love with U.S. electro and Public Enemy. At school, encouraged by the Beastie Boys, he got a criminal record for running a hood ornament-stealing racket. “We used to go ’round car parks [prying] VW and Mercedes signs off, then sell them to the rich kids.”
Then he discovered Richie Hawtin and Kenny Larkin and their “soul music using cheap synths,” and flipped out over Arthur Russell and Terry Riley. Inspired by King Tubby and Hawtin, he spent his studio apprenticeships learning to make dub mixes of various tracks. “Before I could program, that was the only way I knew how to make interesting sounds with bland guitar bands.”
Today Epworth is easing off the indie diet. “I get more satisfaction making dance music at the moment than I do working with bands,” says Epworth. “At one point last year’ thought, ‘If I see another guitar I’m going to scream.'”
His early Phones remixes for Annie, U2, and Death From Above 1979, among others, were crude but effective big-room floor-fillers for which he bastardized Bobby O. “They all sound cheap ’cause I did them on a laptop,” he admits. Upcoming reworks for Roxy Music and Black Strobe are meatier and more supple, while his latest Epic Man tracks, “Sharpen the Knives” and “Worryin’,” are nifty, new-rave bass bombs targeting Klaxons kids and the Ed Banger bunch.
“I always look for a fundamental response in the music I make,” he says, stubbing out his fag as Black Strobe saunters into the studio to start work. “I like my hair to stand on end.”
Super Sonics
Epic Man’s Top Five Studio Tips
1. Learn How to Use a Microphone
The sound of an instrument changes depending how far away you place the mic; you can create the tone of something depending where you put the mic. The ‘body’ I’m able to get off a snare drum is partly because you tune it low and partly because you put the microphone as close as you can physically get without it distorting.
2. Learn to Program
When you can ‘fix’ tracks and sound, it allows you infinite creative freedom. For me I felt like, ‘Okay’ can really use my imagination now.’ When I learned how to use software’ knew I could create some of the ideas I had in my head.
3. Keep Everyone Happy
A lot of production is man-management. You have to be sensitive to the overall atmosphere of the studio and to individual members. Sometimes when people are unhappy they won’t say it, and occasionally when bands are happy with something they won’t say so. It’s juggling guesswork, trying to make sure no one’s dragging their heels; if they are, you have to deal with it.
4. Listen to New Music
In my work I’ve tried to strike a balance that’s modern and fresh-sounding and forward-thinking and kind of classic. Obviously I’ve realized now that doing all those things together, you actually create something of the time, which is a shame. There are some records that that just don’t age, like Talk Talk’s Spirit of Eden.
5. Short Cable Lengths
Short cables means better signal quality. It’s the old, purist, Steve Albini style: Don’t use the desk to record. Keep the distance between the mic and the place you’re recording from as short as possible.
And Finally… Employ An Engineer
Get someone who knows what they’re doing, because I’ve forgotten most of it, despite the fact I’ve been doing it for years.
