Rogue Wave To Host Benefit Concert

It’s been made known to the music world that Rogue Wave drummer Pat Spurgeon is in need of a kidney transplant, and for some reason that’s a procedure not covered by medical insurance. So the guys got resourceful and decided to pull a few of their friends in, namely Ben Gibbard (Death Cab For A Cutie) and Ryan Miller (Guster) to throw a benefit.

Head down to SF’s Independent next weekend to show your support, and if you can’t make the show you can always donate online.

Saturday, September 30, 2006
Benefit Concert For Rogue Wave’s Pat Spurgeon

Music By
Rogue Wave
Ben Gibbard
Matthew Caws
Ryan Miller
Guests TBA…

The Independent, 628 Divisadero St., SF
8.30pm, Buy Tickets

Podcast 2: Modular

Exclusive DJ mix from Sydney, Australia’s Modular Records! Features tracks from The Presets, Van She, Yeah Yeah Yeahs, Cut Copy, MSTRKRFT, New Young Pony Club, Klaxons, and Soulwax. Mixed by Beni and Goebles.

Subscribe to this podcast: iTunes or mp3 format. For help, click here.

Download MP3
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Podcast_Mix_2006_09_20

The XLR8R Podcast DJ Mix Series, Sept 20

Our next installment of the XLR8R Podcast DJ Mix Series features tracks courtesy of Sydney, Australia based Modular. Specializing in a carefree sound that covers anything from retro rock to digital pop, the label is home to artists like The Presets, Soulwax, New Young Pony Club, and Van She. Modular was also named in the Labels We Love section of Issue 99.

Mixed by Beni & Goebles

Tracklisting
1. Yeah Yeah Yeahs “Cheated Hearts (Peaches Remix”
2. The Presets “I Go Hard I Go Home”
3. Van She “Kelly (Alan Braxe & Fred Falke Remix)”
4. Cut Copy “Zap Zap (Spencer Parker & James Talk Edit)”
5. MSTRKRFT “Work On You”
6. New Young Pony Club “Tight Fit”
7. Klaxons “Atlantis To Interzone
8. Soulwax “Krack”

modularpeople.com

Pack FM: Punchlines and BK Bounce

“It’s time for Brooklyn to step it up again,” declares outspoken MC PackFM direct from the noisy streets of his BK ‘hood. “The grime that we had has been lost. Everybody’s trying to be pretty now.”

More concerned with making listeners’ necks snap than being a fashion plate, Pack is ardently helping to resurrect the raw energy that Brooklyn-proud groups like Audio Two and M.O.P. brought to hip-hop. “I’m just trying to bring that bounce back,” says Pack. “Everybody’s following trends–I’m just trying to represent what’s natural to me.”

Pack is a natural-born showman. Coming up in the NYC battle circuit of the late ’90s, this punchline king has long had the opportunity to flaunt his larger-than-life presence. “When I used to get on stage, I wouldn’t just go on there and kick rhymes,” explains Pack. “It was just about making fun of somebody and being really funny and entertaining.” Part of his showmanship once included wrapping up his competitor Apathy in police caution tape in the middle of a battle.

Pack knows how to have a good time on stage, and his first singles, like “Freestyle Marathon,” laid his humor onto wax with amusing one-liners like “I’ll call you up collect and battle you for your phone bill.” But almost nine years after first heading into the studio, he finally gets a bit more serious with his long-overdue debut album, WhutduzFMstand4? Here, Pack doesn’t bother battling imaginary MCs. Instead, he utilizes his cunning sense of humor when necessary and gets solemn just as often–all atop a medley of internationally flavored beats from his QN5 crewmates.

“I wanted to make sure that this was an album that you could take and listen to every single day as you walk out the house,” Pack says of his debut. “There’s something on there for every mood you’re in. It’s all shit that I went through that I know people can relate to some way or another, whether it’s funny or sad­–it’s just real life. And there’s a way to make life entertaining without being depressing.”

A prime sample of Pack’s reality-based entertainment is “Excuses,” in which he fesses up about the outlandish lies he tells to cover up for always being late (“Baby’ know I’m late/but check it out/I can explain/I had to rescue a baby from under a train“). But sometimes Pack is simply out to get a crowd moving, as on the rowdy, Bollywood-tinged single “STOMP.”

“You gotta really just give people what they want and what they need,” says Pack. And, if you ask him, everybody could use a little more Brooklyn bounce right about now.

Tonight – XLR8R’s Issue 100 Release Party In San Francisco

Wednesday, September 20, 2006
XLR8R, Popscene, DFA Records, and Mezzanine Present
XLR8R’s Issue 100 Release Party – San Francisco

Music By
James Murphy (LCD Soundsystem/DFA)
The Juan Maclean (DFA)
All Teeth & Knuckles

Mezzanine, 444 Jesse Street, SF
9pm-2am, $10, 21+
Commemorative 100th Issue Hats From New Era Caps and T-Shirts from Puma available to the first 00 people through the door.

FULL EVENT LISTING

Kid Koala On Tour

With the recent release of yet another full length, Eric San, better known to his fans as Kid Koala heads out into the great wide open of North America for a tour. Known as a renaissance man who specializes in turntablism, graphic design, production, and probably the most creative album artwork out there, San has ramped up his arsenal of musical tools for Your Mom’s Favorite DJ, and we’re excited to see just what he can do with them in the live setting.

Your Mom’s Favorite DJ is out now on Ninja Tune.

Tour Dates

10/26 Kingston, Elixir Night Club
10/27 Toronto, The Mod Club
11/02 New York, Merkin Concert Hall
11/03 Edmonton, The Powerplant
11/04 Calgary, Broken City
11/05 Vancouver, Richards on Richards
11/06 Seattle, Neumos
11/07 Portland, Doug Fir Lounge
11/09 San Francisco, Mezzanine
11/10 Los Angeles, Ex_Pix
11/16 Boston, Paradise
11/17 Brooklyn, Northsix
11/18 Baltimore, Sonar
11/19 Philadelphia, World Cafe
11/22 Chicago, The Abbey Pub
11/15 Montreal, Le National
12/20 Singapore, The Loof

Banksy, Barely Legal (Updated)

Born in Bristol, England, Banksy gained notoriety in London and throughout the world with his anti-war, anti-capitalist, anti-establishment, and pro-freedom stencil art. His “guerilla art” has appeared in most major cities around the world and has earned him underground fame and a place in contemporary pop-culture.

His confirmed stunts have been seen in such museums as the Tate Britain gallery, New York Museum of Modern Art, and the Metropolitan Museum of Art. In August 2005, Banksy painted nine images on the Palestinian side of the Israeli West Bank barrier, including an image of a ladder going up and over the wall and children digging a hole through the wall. Most recently, he planted a life-size replica of a Guatanamo Bay prisoner (complete with hood) in a ride at Disneyland.

Shown here are images from Banksy’s recent show, Barely Legal (Sep 15-17, 2006), at a vandalized warehouse in Los Angeles. The use of a live elephant in the show will surely incite debate.

Update: While combing through our photo archives, we found dozens of pictures from this exhibition and chose a few more to add here. Visit our Photo Blog section to see other exhibition photos, event wrap-ups, and more.

Barely Legal

Hunter St, Los Angeles

September 15-17, 2006

XLR8R’s Top 100 Albums

There seemed no better way to commemorate our 100th issue than with what brought us here in the first place: the music. We combed through all of our back issues, nostrils filled with dust and fingers blackened by old newsprint, to see what we’ve reviewed over the last 13 years. In the early days, Banco de Gaia and R&S trance 12″s ruled, but our palette widened and our pages began to include indie rock, electronic folk, hip-hop, and other substrains of underground goodness. This isn’t an exhaustive list of every album that influenced us. Put simply, it’s a list of 100 records that were important and groundbreaking to XLR8R–and probably you readers as well. And we’ve pulled out 10 that were particularly memorable. Enjoy, and we look forward to bringing you a 200 list in the year 2016.

Jay Dee
Welcome to Detroit
(BBE/UK/CD)
When Jay Dee (a.k.a. J Dilla or James Yancey) passed earlier this year, it was an eye-opener for XLR8R to see that his influence was felt in more than just underground hip-hop circles. The music community at large–indies and megastars–all stopped to mourn one of the genre’s finest producers. But Dilla didn’t have to die for Welcome to Detroit‘s unmistakable bass and organ intro to send shivers up our collective spine­–it always did. And for anyone from Detroit, for whom Dilla’s solo debut seemed exclusively made, it felt like someone was finally attempting to paint the underdog city in a fair light. It didn’t have to be positive; it certainly didn’t have to be negative; it just had to be true, and Dilla nailed it–for techno and hip-hop fans alike. Kraftwerk’s influence (made particularly clear on the “Trans Europe Express”-aping “Big Booty Express”) was as central to Welcome to Detroit as that of Dilla’s favorite jazz artists. Industrial-sized drum machine knocks pushed into the red (“Pause”) were as important as his proprietary “rushed snare” sound or the sweet, off-kilter horns on “Think Twice.” Dilla was a crate-digger of the highest order, and he knew how to use a record. He’d made brilliant beats for his own group, Slum Village, and countless big-name rappers like Q-Tip and Common, before the release of his masterpiece, but this one stood on its own: Welcome to Detroit, this showcase of his finest beats, and even his own rapping, was monumental.

Boards of Canada
Music Has the Right to Children
(Warp/UK/CD)
Before you even dropped the CD into its player for the first time, the chillingly creepy concepts built into Music Has the Right to Children jumped out at you. The album’s cover, which kind of looked like a bell-bottomed hippie family (kids, too), all with their facial features erased, came with a Braille sticker for extra-sensory title information (MP3s can be so insensitive to the needs of the visually impaired). BoC implied that a state of blindness (either controlled or natural) was completely suitable–maybe even recommended–for such a listen. Music, as the title expressly stated, had the right to children–and it claimed all sorts of them: ravers, techno heads, rockers on the verge of electronic experimentation, even garden-variety hippies. Soon enough, your Pink Floyd-lovin’ friends were telling you about BoC, and it didn’t matter that they only discovered the band after a day-long peyote trip in the Mojave. For better or worse, Boards of Canada were, momentarily, the most important thing on pop’s unreliable radar, and they’d go on to influence electronic music’s most successful ambassadors, Radiohead. With Music Has the Right to Children as its support, IDM was willing to step out the closet and allow so many other substrains of underground electronic music to finally cross over.

Plastikman
Sheet One
(Plus 8-Novamute/US/CD)
Nearly 15 years after the then-23-year-old Richie Hawtin crafted his debut opus from his bedroom “under the kitchen” (it’s credited to UTK Studios) of his parents’ home in LaSalle, Ontario, Sheet One is still one major headfuck of a record. It’s legendary for many reasons, and the music–a trippy composition from front to back, filled with sparse 808 drums and squiggly 303 synth lines–is just one of them. Sheet One introduced one of electronic music’s most long-lasting and iconic personas–Plastikman. The Plastikman graphic itself–a gakky, gooey, alien-like figure whose eyes and hands morphed on album covers and screens behind Hawtin’s complex live setup–has come to symbolize more than just the sound associated with Hawtin’s unique brand of tempered minimalism. It represents a very distinct vibe–one that’s been honed over the course of countless warehouse parties (in Detroit, abroad, and all points in between) and introspective 12″s and albums. Add to the mystique the Texan kid who, as the story goes, was arrested for having a copy of Sheet One in his car’s glove compartment (the cover was originally printed on acid blotter sheets), and you’ve got one of techno’s–nay, music’s–absolute diamonds.

Dizzee Rascal
Boy in Da Corner
(XL-Matador/US/CD)
The last three years have seen the rise of many grime MCs with cartoon character-like names and trademark lyrical tics, but even now few measure up to East London’s Dizzee Rascal. Released when he was 18 years old, 2003’s Boy in Da Corner found Dizzee capturing UK ghetto life with tenderness, wit, and skill surpassing that of rappers twice his age. While “Fix Up, Look Sharp” made an acceptable bid for US hip-hop airwaves and the big ‘n’ bashy “Jus A’ Rascal” rocked many a hipster’s iPod, the real headphone gems remain dark, murky numbers like “Jezebel” and “Brand New Day,” an emo rap hallmark where Dizzee ponders a bleak future over nursery-rhyme-on-acid beats (“When we ain’t kids no more, will it still be about what it is right now?/Pregnant girls who get no love, useless mans with no plan”). And as soon as things seemed too bleak, Dizzee came back swinging with a one-two punch of street drama on “Stop Dat” and “I Luv U,” paving the way for a whole new genre of industrial bass beats and double-time merking on the mic.

Fabric 13: Michael Mayer
(Fabric/UK/CD)
Michael Mayer proved himself the most fun and versatile member of the Kompakt stable on this mix disc, which ushered in our own XLR8R Summer of Love in 2004. Windows wide open, breezes blowing off the Pacific Ocean, we watched bum fights and car accidents from the office windows to a soundtrack of the new European techno: emotive, uplifting, subtle. From the murky, bubbling strains of Villalobos’ “Easy Lee” to the clicky, anthemic shoegaze of Jackson’s mix of M83’s “Run Into Flowers,” Mayer deftly proved that techno doesn’t have to be bludgeoning to work on the dancefloor. And to this day, when the nostalgic piano vamps of Westbam and Nena’s “Oldschool, Baby” tease over the tender strings of Richard Davis’ 4/4 lullaby “Bring Me Closer,” all our carpal tunnel-addled hands go in the air.

(page 2 of 3)

Aphex Twin
Selected Ambient Works Vol. 2
(Sire/US/CD)
If Selected Ambient Works Vol. 1 was the rave chill-out room soundtrack for 1993 ’til infinity, then Vol. II was the earliest establishment of Richard D. James as electronic music’s greatest iconoclast. Where some might have been expecting a rave banger along the lines of his Power-Pill single or a dubby bludgeoning à la club-clearer “Digeridoo,” he brought forth two cryptic discs of mostly beatless ambient wizardry, thus introducing the Pacman ‘n’ Prodigy generation to Eno-esque concepts like drone and space. This record proves a compelling segue from Aphex’s shadowy youth into the drill ‘n’ bass madman he eventually became. And, quite simply, it’s a lovely, soothing album, allowing you to impress upon it a million tiny meanings and significances with each listen.

Goldie
Timeless
(Metalheadz/UK/CD)
You may not be able to tell it now but the core XLR8R staff were huge drum & bass heads throughout the ’90s. Though we all bought tons of ragga and jump-up 12″s, LTJ Bukem’s Logical Progression and Goldie’s Timeless were the albums that bumped in our car stereos and through our tinny office speakers (when we weren’t playing our friends’ mixtapes). While Logical Progression was a smooth, progressive soundtrack for make-out sessions and Sunday comedowns, Goldie’s debut was the first to present drum & bass’ wide array of emotions, from uplifting and house-influenced (“Timeless,” “Angel”) to dark and menacing (“Saint Angel”) to wistful (“Kemistry”). Timeless, rife with groundbreaking production by Moving Shadow label head Rob Playford, will forever remind us of a time when we thought drum & bass would save the world, and Goldie–boss of the pivotal Metalheadz imprint–was the genre’s flaxen-haired knight. Goldie later fell from grace, proving to be too high on his own supply (of ego), but this record still rules.

Disco Nouveau
(Ghostly International/US/CD)
For XLR8R readers, the artists on the back of Disco Nouveau, Ghostly International’s first compilation, are probably household names. But in 2002, when this baby dropped, Daniel Wang and Solvent were just beginning to burble from below the surface. Heck, who knew that the mysterious electro-pushing Charles Manier would turn out to be yet another Tadd Mullinix alias? Just as the passing fad of electroclash was in full swing, Ghostly head honcho Sam Valenti IV nicely timed the release of this genre-defining comp to ride the crest of success of Miss Kittin and the Hacker and Peaches, only to actually give the genre a bit of music-smart cred. Unlike most of electroclash’s nearly forgettable output, there was nothing trashy about the inclusions on Disco Nouveau, from Adult.’s trenchant critique on “Nite Life” to Wang’s disco-versed, Italo-friendly “Pistol Oderso” to Ectomorph’s and DMX Krew’s updates on electro-pop; in fact, they illustrated that despite what was coming out of the sex-and-pills-saturated Berliniamsburg scene, playful electronic music had plenty of depth–and legs. Ghostly proved it, and continues to today, with their steady stream of challenging and amazing tunes.

Electronicfunkyshit
(Electrofunk/US/CD)
For the eight months after we got this record, it was all that anyone at XLR8R wanted to listen to. As soon as it would finish, someone would hit play again, to the point where the squirrelly electro-funk strains of album opener “Give It Up” were flooding through the office three and four times a day. Almost all I remember of the year 2001 are former managing editor Ron Nachmann and then-production manager Brianna Pope singing the refrain “Pay me bitch, pay me ho” in high R&B falsettos, with editor Tomas Palermo popping his head through the doorway to add the “Ohhhh” note at the end. That our favorite record out of thousands we received that year was made by a relatively unknown Detroit producer named Ade Mainor is staggering. Perhaps more astounding is that the album–which mixes influences from Kraftwerk, Prince, The O’Jays, Roger & Zapp, and DJ Funk–makes the Motor City on a Friday night sound like the best place in the world to be.

Clicks & Cuts
(Mille Plateaux/GER/CD)
There was a time when making music with computers was the furthest thing possible from the DIY ethos. Computer music? How much skill does that take, right? Well, computers, it turns out, could be as finicky as the guy on the other side of the sound booth’s window, but the glitchy stuff they spat out–to some–was golden. The Clicks & Cuts technicians took the Cagean idea that all sounds were welcome, and did it one better. The clicks, pops, scratches, and sounds of complete digital failure weren’t only welcome–they would provide the basis for some of minimal techno’s most bangin’ tracks. With an eye toward the Deleuzian philosophy of A Thousand Plateaus, musical surgeons like Thomas (Esther) Brinkmann, Vladislav Delay, Farben, Kit Clayton, and friends used random mistakes in their digital recordings and grafted, sampled, looped, and EQed them in ways never thought possible. The random cuts were made by humans; the clicks were the machines talking back to us.

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The Best Albums of the Last 100 Issues
1. 4Hero Creating Patterns (Talkin’ Loud)
2. Aceyalone Accepted Eclectic (Project Blowed)
3. Ada Blondie (Areal)
4. Aesop Rock Labor Days (Def Jux)
5. Air Talkie Walkie (Virgin)
6. Akufen My Way (Force Inc.)
7. Animal Collective Sung Tongs (Fat Cat)
8. Antibalas Afrobeat Orchestra Liberation Afro Beat Vol. 1 (Ninja Tune)
9. Aphex Twin Selected Ambient Works Vol. 2 (Sire)
10. Aphex Twin 26 Mixes For Cash (Warp)
11. Autechre Incunabula (Wax Trax)
12. Barbara Morgenstern Nicht Muss (Monika)
13. Basement Jaxx Remedy (Astralwerks)
14. Blackalicious Nia (Quannum)
15. Boards of Canada Music Has the Right to Children (Matador-Warp)
16. Booka Shade Movements (Get Physical)
17. Breakbeat Era Ultra-Obscene (1500-XL)
18. Calibre Musique Concrete (Creative Source)
19. Chicks on Speed Will Save Us All (Chicks on Speed)
20. Dabrye One/Three (Ghostly International)
21. Danger Mouse The Grey Album (Waxploitation)
22. Deadbeat New World Observer (~scape)
23. Deerhoof Milk Man (Kill Rock Stars)
24. Derrick May Innovator (Transmat)
25. Devin the Dude To the Xtreme (Rap-A-Lot)
26. Dizzee Rascal Boy in Da Corner (XL-Matador)
27. DJ Shadow Entroducing (Mo’ Wax)
28. Dntel Life is Full of Possibilities (Plug Research)
29. Domu Up + Down (Archive)
30. Ed Rush and Optical Wormhole (Virus)
31. Edan Beauty and the Beat (Lewis)
32. Elephant Man Log On (Greensleeves)
33. Ellen Allien Berlinette (Bpitch Control)
34. Fennesz Endless Summer (Mego)
35. Four Tet Everything Ecstatic (Domino)
36. Funkstorung Appetite for Disctruction (!K7)
37. Future Sound of London Lifeforms (Astralwerks)
38. Goldie Timeless (Metalheadz)
39. Guru Jazzmatazz (Cool Tempo)
40. Herbert Bodily Functions (!K7)
41. Hood Cold House (Aesthetics)
42. Isolée Wearemonster (Playhouse)
43. Jamie Lidell Multiply (Warp)
44. Jay Dee Welcome to Detroit (BBE)
45. Jean Grae Attack of the Attacking Things (Third Earth Music)
46. Kid 606 Down With The Scene (Ipecac)
47. Kid Koala Carpal Tunnel Syndrome (Ninja Tune)
48. Kraftwerk Tour de France Soundtracks (Astralwerks)
49. Kruder & Dorfmeister DJ-Kicks (!K7)
50. Little Brother The Listening (ABB)
51. Losoul Belong (Playhouse)
52. LTJ Bukem Logical Progression (Good Looking-FFRR)
53. Luomo Vocalcity (Force Tracks)
54. Madvillain Madvillainy (Stones Throw)
55. Manitoba (now Caribou) Start Breaking My Heart (Leaf)
56. Massive Attack Protection (Circa)
57. Matmos A Chance to Cut is a Chance to Cure (Matador)
58. Matthew Dear Leave Luck to Heaven (Ghostly International)
59. Metamatics Neo-Ouija (Hydrogen Dukebox)
60. Metro Area Metro Area (Environ)
61. Moodymann Silent Introduction (Planet E)
62. Mouse on Mars Autoditacker (Thrill Jockey)
63. Mr. De Electronicfunkyshit (Electrofunk)
64. Mr. Oizo Analog Worms Attack (F Comm)
65. Mr. Scruff Trouser Jazz (Ninja Tune)
66. Mu Afro Finger and Gel (Tigersushi)
67. Nightmares on Wax Smoker’s Delight (Wax Trax-TVT)
68. Original Rockers Rockers to Rockers (Different Drummer)
69. Out Hud Let Us Never Speak of It Again (Kranky)
70. P’taah Compressed Light (Ubiquity)
71. Pete Rock Petestrumentals (BBE)
72. Phoenicia Odd Jobs (Schematic)
73. Photek The Hidden Camera (Science)
74. Plastikman Sheet One (Plus 8-Novamute)
75. Pole 1 (Matador)
76. Prefuse 73 Vocal Studies and Uprock Narratives (Warp)
77. Radiohead Kid A (Capitol)
78. Ricardo Villalobos Alcachofa (Playhouse)
79. RJD2 Dead Ringer (Def Jux)
80. Roots Manuva Brand New Second-Hand (Big Dada)
81. Squarepusher Go Plastic (Warp)
82. Telefon Tel Aviv Map of What Is Effortless (Hefty)
83. The Books The Lemon of Pink (Tomlab)
84. The Bug Pressure (Tigerbeat6)
85. The Coup Party Music (75 Ark)
86. The Postal Service Give Up (Sub Pop)
87. Total Science Advance (CIA)
88. TV on the Radio Desperate Youth, Blood Thirsty Babes (Touch and Go)
89. Ulrich Schnauss A Strangely Isolated Place (City Centre Offices)
90. Underworld Dubnobasswithmyheadman (Wax Trax-TVT)
91. Various Clicks & Cuts (Mille Plateaux)
92. Various DFA Compilation #1 (DFA)
93. Various Disco Nouveau (Ghostly International)
94. Various Dubstep Allstars Vol. 1 (Tempa)
95. Various Fabric 13: Michael Mayer (Fabric)
96. Various Get Physical Vol. 1 (Get Physical)
97. Various Kompakt 100 (Kompakt)
98. Various Greensleeves Official Dancehall Mix-tape: Bobby Konders/Massive B Mad Sick Head Nah Good Mix (Greensleeves)
99. Various Run The Road (Vice)
100. Various Solesides Greatest Bumps (Quannum-Ninja Tune)

New At INCITE Online, Sept. 19

If you would like to receive weekly updates on our FREE downloads, subscribe to the XLR8R Podcast. iTunes 4.9 or higher recommended.

The Blow – The DIY-rooted duo have been working together since 2004, infusing their pop songs with no-wave and glitch-pop elements that surface on their new album Paper Television.

Another Electronic Musician – Jase Rex has been carving his own niche of thoughtful melodies, minimal style, quivering low-ends, and precise percussion, all of which provide a single head-nodding groove.

The Klaxtons – With melodies that resemble The Happy Mondays mixed with breakdowns and bpms that harken back to rave’s heyday, their new EP is an energetic six tracks of unpredictability, and thank god for that.

Cassettes Won’t Listen – After a full month of remixes, the artist is currently in the studio working on his follow up to the Nobody’s Moving EP released in late 2005.

Voice – This multi-tasker extraordinaire integrates the various cities and experiences that have filed her life, from LA and being broke to Toronto and finding love.

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