iCon the Mic King Mike & The Fatman

Former battle champ iCon the Mic King and producer Chum the Skrilla Guerilla took a sizeable risk in making a concept album relatively early in their recording careers. While they include skits and the whole nine yards, what’s frustrating about the blaxploitation-inspired Mike & The Fatman is how iCon doesn’t always remain in character. Instead, this MC often uses his badass, Shaft-esque alter-ego to create a slight extension of his already-animated self atop Chum’s robust, cinematic beats. There’s no doubt iCon’s on the right path with his inventiveness-now he just has to refine it.

Ulrich Schnauss Goodbye

Goodbye‘s sweetly melancholy vocal melodies, lush layers of electronics, and effects-heavy guitar recall Cocteau Twins and the UK’s dream pop and shoegaze movements of the ’80s and ’90s. Indeed, the German’s equally hazy previous albums landed him remixes for former members of genre bands Slowdive and Ride, not to mention Depeche Mode. On his third record, tracks like “Stars” and “Here Today, Gone Tomorrow” immerse the listener even deeper in a shimmering psychedelia that sometimes washes into Enya territory, most notably on “A Song About Hope.” Schnauss notes that Goodbye caps a chapter in his sound-good news, as it’s hard to see him moving forward without a change in direction.

Furry Phreaks with Terra Deva All Over the World

This time, the Furry Phreaks’ world-famous “All Over the World” gets remixed by heavyweights Jazzanova and Atjazz. Jazzanova kills it with a stunning 4/4 mix: Shuffly, loud, and percussive with a ton of synth- and electro-tinted arrangements, this one ravishes any dancefloor. I prefer the Atjazz Dub. What deep is all about, with killer basslines, Detroit-esque keys, and drums; Martin Iveson’s the man on this one. An absolutely essential piece of wax that will be released as a limited 12″ on Miso now, and on Defected (with new mixes) later.

Henrik Schwarz’s Artist Tips

Henrik Schwarz‘s latest mix disc, part of the venerable !K7 DJ-Kicks series, isn’t quite what you might expect from the man who’s been redefining tech-house for the past couple of years. Instead, he folds together Moondog’s bop-jazz classic “Bird’s Lament” with Double’s low-slung house jam “Woman of the World” and carries on through tracks from iO, James Brown, and Pharaoh Sanders while injecting moments of electro-tech greatness from Drexciya and Rob Hood with aplomb. How does he do it? Here are the Berliner’s five steps to creating a killer DJ mix.

1. Have an Idea
In my opinion, if you want to do something special you’ve got to have an idea. When I did the DJ-Kicks mix, I had the idea to combine the sounds of soul, funk, jazz, and techno or house with some additional production from the computer to be able to melt the different styles together much more than would have been possible with two turntables. However’ didn’t want to do one of those ultra-perfect computer mixes–they can get a bit boring sometimes.

2. The Music
Before you start mixing, select the best music you can, of course. The result should be a selection that is powerful and soft, loud and silent, fast and slow, analog and digital, minimal and maximal, warm and cold, new and old.

3. The Mix
Of course, the selection is very important but even more important, for me, is the way you combine two pieces. If you choose the right combination, you create something powerful and new. Sometimes it just sounds great, however sometimes you can feel a whole universe within the interspaces of the two tracks. I like the space that opens up in between.

4. Intuition
I think music is something that you can think and talk about a lot, but in the end you just cannot describe it in words or get it under control with the power of your brain. When it comes to music, making a plan is good but the [ability to] bring the right things together comes from somewhere else. Music comes from where we all come from.

5. The People
Finally, I believe that music is a connection machine. It brings people together. A new piece of music or even a mix CD can bring different people together. The more, the better; one from here, another one from the other side of the world.

Podclash In Cyberspace

UK sound system Clash Hi-Fi has taken its collection of mixes, sound tape archive,s and radio broadcasts to the web on its multifaceted Soundclash.org site. The London-based, French DJ duo of Augui and Flex host weekly reggae shows on the site (Wednesday 9-11pm GMT) that cover the gambit of new and vintage roots, lovers rock, and dub, all available 24-7 via their pop-up imbedded Clash Player or as a Podclash link.

The boys have amassed 100-plus hours of downloadable and playlisted radio shows, as well as reviews, lyrics, and tons of other goodies. They frequently give-away music-related items on their weekly shows, and take requests via email. These are some tech-savvy cats who blog, broadcast, playlist, chart, and upload all-things reggae. Their interviews with guest artists like the UK’s YT, Bitty McLean, and Brother Culture are as intelligent as they are fast-paced and informative. 

The site’s moto states “Our goal is to help you discover new sounds to make your life groovier. Our battle is a soundclash against mainstream radio broadcast and their lack of diversity. Our pleasure is to promote the reggae and vinyl culture, by bringing fresh 7″ sounds to your computer.” I salute the Soundclash nation!

Nordic Trax Miami Sleepover

Saturday, March 24, 2007
Me.dium, Basic NYC Presents
The Goods: Celebrating a Decade ofNordic Trax

Music By
Jay Tripwire
Kelvin K
Pete Moss
Luke McKeehan
Lawnchairs Generals
Members Only
Gawron Paris
Sleepy & Boo
Latenight Society
Jazzy Eyewear
Adan Lopez
& more TBA

Projections By
the Labrat Matinee & the Masses

Complimentary tea will be served throughout the night. Bring pillows, blankets, bean bags, sleeping bags, and cushions. Lay down and listen deep.

Beach Plaza Hotel, 1401 Collins Ave., Miami
12 -11 p.m., RSVP

Jarvis Cocker Jarvis

As Damon Albarn dabbles in pretentious super-groups and the Gallaghers wallow in boilerplate pub anthems, Pulp frontman Jarvis Cocker remains Britpop’s true gent, and a razor-sharp wit. Jarvis, his first solo album, finds the affable rogue performing with the perspective, and none of the baggage, of a seasoned artist. Clever observation, though not as much personal engagement, infuses tracks like “Black Magic” and the political “From Auschwitz to Ipswich.” Cocker adds details and pathos to finely crafted pop better than most. Decades into a career baptized during the birth pangs of post-punk, he shows more wisdom than wear.

Jin ABC

You gotta feel for Jin. After a promising welcome by Ruff Ryders, this exceptional MC has been struggling to make his voice heard. ABC shows Jin going the way of Coco Lee-another Asian-American artist marketed to foreign audiences, rather than his US fans-a depressing reflection of the music industry’s continuing attitude towards Asian-Americans in 2007. ABC cries for a stronger producer: Jin’s raps surge with passion but require edits, with misdirected food references and a dated pop sensibility catering to overseas listeners. Don’t give up, Jin: Asian-Ams will wait for your next American album, forever.

Various Artists Fuse Presents Steve Bug

Germany’s Steve Bug has always been something of an anomaly: A minimal techno DJ with a deep-house soul who managed to embody the divisions between his own trio of stylistically distinct labels (Poker Flat, Dessous, and Audiomatique). Bug’s new Fuse mix skips through tech-house territory with trademark style: Big dancefloor tracks get heavily doused with techno and clean melodies, all expertly nestled within his easy manipulation of tricky rhythms. Johnny Dangerous’ familiar refrain “Beat That Bitch” delivers an old-school house throwback, while Bug’s own beat study, “Wet,” is a standout rhythmic cut. A solid precursor to your next club night out.

Kalabrese Rumpelzirkus

Sascha Winkler was due for a full-length outing, and the wait has definitely been worth it. His snazzy, loosely shuffled production casually arranges found-sound fragments and bitmapped bloopery behind an eclectic balance of organic instrumentation, inspiring subconscious booty wiggling that could turn lounge floors into dancefloors. Meanwhile, cuts like “Heartbreak Hotel” and “Body Tight” shift into sultry downtempo mode, ultimately shedding the notion of tempo altogether with the exotic interlude of “Hou Anthem.” Winkler’s opiate-like vocals can be an acquired taste for some, but the album’s rich, tasteful character will undoubtedly help wash them down.

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