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Monday, 13 October, 2008

PLANETNOTION TELEVISION!

CAMERA-FOLK AND FILM EDITORS WANTED!

Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.

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House/Minimal/Dance

Steve Bug presents Bugnology 3

Various Artists

Poker Flat Recordings

House/Minimal/Dance

This is the third installment of Steve Bug’s genre defining legacy, Bugnology; and with each comp so far marking a milestone for Minimal, this is no exception. As usual, Bug has created a mix that seemingly blends a wide array of house vibes, under the minimal banner, to great effect. All chopped, looped and stretched to ensure we get the “smoothest” mix possible, the whole CD flows through a great selection of edits and exclusives. Loads of names to drop here: from Adultnapper, Peace Division, Damian Schwartz, to the monster collaboration between King Roc and Secretsundaze head honcho, Giles Smith, named Two Armadillos. Other highlights include Lee Jones’ ‘Weisses Kaninchen’, a stripped back slice of deep funked tech-house. Elsewhere, Sven UK & Andomat 3000’s ‘O Moresi’, slams down the horns and percussion to shake up any dance floor this side of Berlin . So wird's gemacht! It’s as essential and cutting edge as you’d expect from a Steve Bug mix, showing off his ability to mix in a wide array of sounds and make it accessible; without the eclectic tag.

tags: | steve bug | more...

60s/Folk/Rock/Psychedelic

Light in the Attic

60s/Folk/Rock/Psychedelic

I ain’t nothing but a failed writer. I ain’t nothing but a failed musician. I ain’t nothing but a god-darn, good for nothing, shit-shoveling construction worker. I ain’t nothing but… a cult icon in South Africa? It must have come as quite a shock to 60s folk musician, Sixto Rodriguez, when he heard that his 1969 debut LP, Cold Fact, had made him one of the biggest names in South Africa. A decade ago Rodriguez was discovered by a fan working on a Detroit building site, having called a halt to his career at the turn of the 70s and taking on a string of menial, life-sucking, shit-steaming jobs. His rebellious anti-establishment views, all too evident on Cold Fact, as well as diatribes on poverty and lost-love, became a beacon of hope for the South African people amid the political and religious persecution afflicting their country. There, Rodriguez went platinum but received very little royalties because, well, he didn’t have a clue just how huge he was. And yet his name was spoken in countries as diverse as Australia and Rhodesia, where rumours abounded that he’d “BURNT TO DEATH ON STAGE, MAN”; was a “WASHED UP DEAD JUNKIE, MAN”; was “IN A MENTAL INSTITUTE” because “HE’S ONE CRAZY CAT, MAN”; and so on and so forth… Of course none of these rumours were true. And so, following his find on a Detroit building site and a sell-out tour of South Africa and blah blah blah, this brings us to a new chapter, nay a reopened one, as Cold Fact is re-released for new audiences to gorge on. Lucky, lucky you. Cold Fact is a magical mystery tour, echoing Love’s ‘AHHH! IT’S THE END OF THE 60s’ theme and ‘THE WORLD’S NO LONGER FULL OF FLOWERS, MAN’ scenario. And the great thing about Cold Fact’s social context, lyrically, is that it could just as easily be applied to ’08 as it was to the oh-so famous ’69. What, with knife crime on the up and the credit crunch and all that bloody woe! Everywhere, everywhere, everywhere woe! Opener, Sugar Man, sounds like the back-burner of an acid trip with its hazy vocals, lazy guitars and warped synth-sounds; not to mention the recurring druggy theme of “jumpers, coke, sweet mary jane”. As opening tracks go, it’s a mighty fine introduction to Rodriguez, and Cold Fact’s pretty much uphill from there. Particular highlights include ‘Only Good for Conversation’, with Dennis Coffey’s electronic guitar as staggering as that on The Doors’ ‘Five to One’ solo and Rodriguez’s lyrics delivered with a love-lorn, love-torn bite. Establishment Blues does what it says on the tin, a lament against the establishment and the state of America circa ’69, Rodriguez’s free-styling delivered with the panache you’d associate with a mid-60s Dylan. In fact, the subject of each and every song on the album makes one view the world around them in all its gritty realism; it makes you realize that life ain’t a bed of roses, baby. And for an album 39 years old to ring that Cold Fact home says more than this grotty hack could ever dream of. You should give this album a chance. You won’t regret it… Cold Fact is out now on Light in the Attic Records .

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House

15 Years of Paradise

King Street Sounds

To celebrate their 15th year in business, US label, King Street, has invited 15 A-listers to choose their favourite King Street moment. Some of the choices are inspired, such as Joey Negro picking the piano haven of Kimara Lovelace’s Only You . Others are blatant self indulgences, like David Morales picking his remix of Urban Soul; which, in fairness, is a cracking remix in a true Morales dubbed-out style. Joe T Vanelli gets the accolade for the most obvious choice, selecting Most Precious Love , which despite its commercial success, still causes mayhem on any dancefloor, be it credible or not. However, for me, the highlight of the double CD comes from Tony Humphries, with a choice of 95 North’s Find A Way To Believe . On an album dominated by vocal tracks, which King Street is pretty much famed for, the incessant groove of skippy hats and dirty beats, layered over a filtered disco loop, makes it the standout cut. The downside to the album is that a few tracks sound a little dated in today’s market, though that’s a situation retrospective compilations may always find themselves in. Although this may not be to everyone’s taste, with electro currently being championed by most, if you’re after a brief history of one of the leading US dance labels, you need look no further. Words: Curtis Zack King Street Sounds Present 15 Years Of Paradise (2CD) is available NOW!

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Hip-Hop

WLIB AM: King of the Wigflip

Madlib is a weird one; one minute he’s producing a certified banger for the likes of MF DOOM or Talib Kweli, the next he’s producing something that sounds like someone banging pots and pans. Add to this his Quasimoto albums and Bollywood album, and you start to wonder what BBE were thinking when they lined-up Madlib to complete their beat generation series. Giving Madlib the opportunity to make music exactly how he wanted it, with no restrictions, was a brave move, and when he came back with an album called WLIB AM: King of the Wigflip, BBE must have been thinking, in true Pharcyde-style, “Ohhhhh shit.” They need not have worried though, because WLIB AM: King of the Wigflip is brilliant. Nothing sounds better than a hungry emcee destroying a Madlib beat, and Guilty Simpson, Prince Po, Murs and MED shine on this album. The album also has two of the best hip-hop tracks of the year on it – Gamble on Ya Boy, featuring Defari, is a classic west coast bounce, which is strangely addictive, while I Want it Back, featuring Madlib’s younger brother, Oh No, is as epic a sounding song as you’re likely to hear - calling for the return of quality hip-hop. Occasionally Madlib lets the pace slip with Beat Konducta instrumentals, something that would sound better on a separate album, like he and J Dilla have done before. These tracks feel like a bit of an anticlimax to surrounding tracks, but they don’t majorly affect the overall quality of the album. His music may sometimes sound as mad as a hatter, but that’s Madlib’s genius, and like Picasso, Madlib now has a masterpiece to his name. James Descombes

tags: | madlib | more...

Hip Hop

The Metaphorcast

Reain AKA Wha's His Face

Stand Alone Recordings

Reain AKA Wha’s His Face is renowned as one of London’s finest battle MCs. Being a stranger to the scene, Planet Notion attempted to look it up on wikipedia. Unfortunately, we couldn’t find that much information on the whole shebang, but we presume it’s when two MC’s go head to head in an attempt to out-rhyme each other or something. Kind of like when intellectuals try to outdo other intellectuals with their knowledge of slow-growing plants native to the south-westerly region of Withernsea. Anyway, Reain demonstrates his MCing skills from the get-go on debut album The Metaphorcast - diving in and grabbing the listener’s attention like a rabid pit-bull to a dangling schlong. The intro witnesses the hip hop artist freestyling about battles on the streets and rather than being an egotistical “I’m the fucking greatest, bow down and kiss my arse until your lips bleed” lament, it represents Reain’s passion for battle MCing and the respect he has for his peers. It’s refreshing in the hip hop scene that a guy can come along and MC about something other than shooting some home-boy in a Lambeth COOP because he flogged you an eighth of Oregano or a gram of Bicarbonate of Soda. And here’s the thing: The Metaphorcast is clearly a bit of a change for Reain. One would assume that going from the ad-lib MCing of battle and being thrust into carrying across an eleven-tracker alone, is a pretty heavy load to carry. But, in fairness, Reain carries it across mighty well. The beats are head-shaking, shoulder-shuffling gold and even the Hip Hop haters are likely to be drawn in by tracks like ‘Carnival’, a fun and frolicking breaks-tinged ode to the Notting Hill Carnival or, um, something along those lines. Other tracks, like Beauty, represent the album’s sublime production skills, with a fantastic lyrical account of what Reain finds beautiful. Soppy? Sure. But mighty emotional and a track the knife-wielding MC and Hip Hop wannabes should take note of. So there we have it. The Metaphorcast may be a wee bit patchy in parts, but overall it’s a mighty fine debut. The Metaphorcast is available now on Stand Alone Recordings. To visit Reain AKA Wha’s His Face’s MySpace page, CLICK HERE .

tags: | reain | more...

Folk/Rock/Pop

Roses Kings Castles

Roses Kings Castles

The Sycamore Club

I am the music man, I come far away and I can play: Pretty much sod all; a claim I couldn’t lay on ‘That Drummer From Babyshambles.’ Planet Notion refers of course to Adam Ficek and his first solo album, released under the guise Roses Kings Castles. The album sees Ficek take up the mantel of singer, strummer and everything in between, spread across ten tracks of melodious-folk and sweet-pop. It’s an indication of Ficek’s ability away from the media storm of Babyshambles and frontman Pete Doherty; an indication that there’s more to Ficek than his Other Band. The question is: How much more? Firstly, a gentle strumming relative to the folk revival is continual throughout the album, accompanying Ficek’s whispering vocals; the lyrics ranging from longing and deep to occasionally comical. Secondly, there’s no escaping the influence of Babyshambles, particularly on tracks such as ‘Horses’ with its Dohertyesque (sic) harmonica breaks. Thirdly, if you’re after the rock-tinged sound you’d expect from the drummer of one of Britain’s most infamous bands, you’ll be bitterly disappointed. Roses Kings Castles is a completely different ball game altogether; a softer, more whimsical affair. Think a Pete Doherty acoustic-solo, minus the scuzzy lyrics and with the kind of musical accompaniment a baby would happily doze off to, and you’re someway there. You see, Roses Kings Castles’ music is a wee bit wet, kinda like Ficek the solo artist is around the ears. Don’t get us wrong, Roses Kings Castles shows occasional glimpses of magic, especially when delving into subtle undertones of soul and psychedelica, most notably on the psych-tinged ‘Fool’s Revenge’ - one of the finest tracks on the album. But as a whole, Ficek’s side-project is a bit too chirpy. I guess if you want ‘nice’ music for ‘nice’ people. Adam Ficek is your man. If you’re a miserable twat like Planet Notion, it probably won’t cut the mustard. DD Roses Kings Castles is released on Adam Ficek’s record label, The Sycamore Club, October 6th.

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Soul/Funk/Roots Reggae

Calypsoul 70: Caribbean Soul 1969 - 1979

Various Artists

Universal Music

Soul/Funk/Roots Reggae

People who say: “Went to the Caribbean for two weeks,” usually follow it up with: “It was amazing” and garner the kind of reaction you’d get if you told people aliens had turned your cat into a Rice Krispie Square. Everyone wants to go to the Caribbean because (A) it looks great, and (B) it means you’ve probably reached the pinnacle of the financial pyramid. Unfortunately not all of us have reached that pinnacle; in fact a lot of us are still stuck at the bottom with all the Geckos and Camel dung. Enter ‘Calypsoul 70’, an album that brings the soul and flavour of the Caribbean direct to YOU! albeit without tasty cocktails, sandy beaches, and really happy locals. In a nutshell, Calypsoul 70 is a compilation encapsulating the broad-spectrum of Caribbean sounds; we’re talking traditional steel bands, roots reggae, and the more recent influences of disco, funk, and soul. This here hack wouldn’t normally purchase an album called Calypsoul 70; it sounds like one of those 20p flat cola drinks they used to sell in the school canteen – bringing bad memories flooding back like a savage No.2 following the flush of badly blocked toilet. Thing is, Calypsoul 70 is so damn cheerful that I couldn’t help shaking imaginary maracas and wiggling my butt-cheeks like a pair of fighting ferrets. Sure, some tracks, like Biosis Now’s ‘Independent Bahamas’, start to grate at the four-minute mark when they go all 80s cop show, but who gives a damn when you’ve got wonderfully uplifting tunes like opener ‘The Little You Say’? Calypsoul 70 may not be the perfect compilation, but it’s guaranteed to bring a little ray of sunshine to your life; even if you do live in a shitty flat in Yarm, where rain’s as common as Chlamydia and people greet you with a grunt. Dangerous Dave Calypsoul 70 (Caribbean Soul: 1969 – 1979) is released on September 2nd.

tags: | calypsoul 70 | more...

Mish-Mash

The London Book of the Dead

The Real Tuesday Weld

Clearly at odds with commerciality and bosom buddies with pretentiousness, Stephen Coates enfolds simple electronica with jazz improvisations and ragtime samples. A heavyweight concept relying on the philosophies of the Tibetan Book of the Dead, and coloured by the birth of his son and the death of his father in quick succession, it’s a surprisingly fleet listen. Though there are elements of melancholy in the timbre and tone of instrumentation, there seems to be a joyous and celebratory mood across a lot of the album. It almost seems tongue-in-cheek – who would dare throw fiddle solos in the middle of a whispered vocal waltz? – which lifts it above its potentially depressing subject matter. It’s achingly geriatric in places, retreating into a bygone age, and a glimpse of a world far removed from the one we’re now used to. Perhaps that’s the point. It provides a journey away from the nuances and pressures of modern music genres, allowing for personal and difficult subject matter to be tackled without embarrassing musical faux-pas. To its detriment, it’s pretty hard to relate to, whilst still being a relatively enjoyable listen. ‘Last Words’ is by far the most straightforward track, and is most haunting in its falsetto delivery and gentle guitar arpeggio. While some artists could be accused of being obtuse with this approach, there’s a genuine love and passion that emanates from these notes and arrangements. Coates is working with what he knows, in a way that pleases him. Admirable? Definitely. Listenable? Yes, but approach with open minds and hearts. BB A limited edition version of The London Book of The Dead will be released exclusively via Antique Beat on September 15th. The CD will be presented in a full colour hard back book with artwork by Catherine Anyango and exclusive texts. To pre-order a copy, CLICK HERE .

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Blues/Rock/Psychedelic

Free Your Mind and Win a Pony

Happy Parts Recordings

Blues/Rock/Psychedelic

If I did free my mind, would I win a pony? And would that be an actual pony, or 25 quid? I’m already confused over whether I want the pony or money. I could get more than £25 if I sold the pony for glue, but that would go against my brains newly found hippie freedom. Tiz a quandary, and one which doesn’t really get answered on this album. Other questions are answered, such as what influenced the duo to record these songs: A place where a lazy old freight train chugs by; a pure nature wilderness; a few chillums; and some old records by The Doors and Crazyhorse too… Probably. But playing the hippie card is the joker in their hand, because Golden Animals' songs, although full of languid rhythms and stoned wisdom, aren’t really hippie, per se. For instance on ‘My Friend Bill’, bill is rhymed with hill is rhymed with pill in a way that reminds me of Morrison's folly into commercialism; compounded by the lizard kingesque baritone and infectious nursery rhyme melody. Elsewhere, on songs such as ‘Try on Me’ and ‘My My My’, the twinning of Tommy Eisner’s (USA) guitars and Linda Beecroft’s (Sweden) drums roll out tunes that get stuck in your throat with the catchiness of a fish bone. But for me the true hot rock on this album is the closer, ‘Darkness and Light’. Its woozy vocal harmonies and lush rhythm invokes memories of a hot day spent with your favourite girl, a glass of iced coke, and a lump of opium. So far I’ve listened to the album a lot; driving around under clear blue skies with a breeze blowing through the windows and, well, it’s almost as good as not doing anything at all. Almost. Paul Crompton Golden Animals debut album, Free Your Mind and Win a Pony, is released on Happy Parts Recordings, August 4th. For more information, visit the Golden Animals MySpace page.

tags: | golden animals | more...

Hip Hop

Ill Smith Productions

Hip hop ain’t my falte. I say “ain’t”, as opposed to “isn’t”, because it makes me seem “down with the kids” and makes it look like I have some semblance of knowledge on urban music; which in fairness, I suppose I do… I’m aware that there are hip hop artists who don’t just reel off lyric after lyric on waggling a “loaded piece” in some poor bastard’s face like it’s cool to be Public Enemy No.1; and I know enough to know that I prefer hip hop that falls under this category. Thankfully, producer Jon Phonics is an artist against the insanity of gang-culture; therefore he gets an instant thumbs-up. Even when he talks about the violence on the streets, he raises the all important question: What’s the friggin’ point in it all? Phonics views it with the same puzzled glare as the majority of the nation, and you listen to his lyrics because you get a genuine sense he’s experienced it all; that he MCs from the heart. However, his lyrics aren’t limited to just the one subject; Phonics also draws on the ‘State of Hip Hop’ on aptly named opening track, um, ‘State of Hip Hop’. Every track on ‘Half Past Calm’ is perfect fodder for the warm-up or chill-down period of any club-night, with edgy, often brooding beats, and fuzzy, soulful scores throughout. Alternatively, ‘Half Past Calm’ would be just as suitable for a night in with a Family Bucket; chilling with a big reefer and watching yet another repeat of Sexcetra on your digi-box. Phonics has drafted in the crème de la crème of the MCing circuit, with the likes of Triple Darkness, Verb T, Mr. Drastik, M9INE, and Luc Skyz, offering guest vocals. But its Phonics’ work as a producer that sets this debut apart from anything else; from the openers emotional flutes and harps, through to piano-driven track ‘The Lion’s Den’, each song is a polished and varied journey. Will I give hip hop more of a chance in the future? On the evidence of ‘Half Past Calm’, I don’t see why not…

tags: | jon phonics | more...

House/Electro/Other

Raise Your Hands: The Greatest Hits

House/Electro/Other

Now on Skint records, Xpress2 pre-empt the Chemical Brothers ’ imminent collection, as the 2nd wave of dance ‘best of’s’ arrive. This mixes Xpress2’s bigger name collaborations with earlier dance-floor monsters such as ‘London Express’ and, appropriately, ‘Smoke Machine’, which both emerge pleasingly from the dry ice of woolly clubbing memories. Leading with the droll David Byrne-led ‘Lazy’ risks setting a high standard early, but actually provides lesser known gems greater voice, its over familiarity detracting from how jaw-droppingly good it was that first time we heard it. In established dance music tradition, compensating for their facelessness, Xpress2 have roped in such an impressive line-up of singers that, as with other dance outfits, one suspects they exist solely to enable working with heroes. The grindingly buil t gospel house epic, ‘Give it’, is characterised by Lambchop s’ Kurt Wagner’s wry, soulful vocal; while the deep er, hypnotic cut of ‘Kill 100’, with Music ’s Rob Harvey , and ‘Witchi Tai To’s euphoric Balearic electronic sweep, completed by Polyphonic Spree man Tim De Laughter ’s gorgeous vocal , all shine. Obligatory new track, ‘Fire’, has Afrika Bambaataa wrestling with what began as an instrumental favourite in DJ sets and sits firmly in their home-pressed white label origins. Any weakness of this collection is that it’s less representative of Ashley Beadle’s joyful affection for old school pianos, and the omission of their eccentric, whispered collaboration with Yello ’s Dieter Meier, which gives way to tracks like ‘AC/DC’, which perhaps only make sense in the environment they were intended for. Tom Hocknell

tags: | x-press2 | more...

80s/Electro/Dance

Muddytrax Recordings

80s/Electro/Dance

80s nostalgia has a place in every twenty-something guy or gals heart. Who doesn’t get a wee butterfly in their stomach and a need to do the ‘Robo Cop’ when Tears for Fears’ Shout comes on or Prince starts singing about Purple Rain and Bambi? The subject of the 'Elven One' leads us nicely onto Metro Williams and Blonde Peterson, otherwise known as Muddyloop; a duo attempting to play time-machine with the poor frazzled brains of the dance fraternity, and send them zooming straight back to a bygone period of The Raggy Dolls and Poodle Perms. You see, Muddyloop’s debut album, Flight Night, was very much inspired by the likes of Prince and 80s era Michael Jackson; couple this with a love of electro grooves and 80s synths and you’ve got an album so soaked in sweaty sex and a Super-Soaker squirt of cum, you’ll need a bulk order from the Kleenex factory and still have to pop down the 24-hour Garage for more. ‘I Could Do Things 2 U’ is a track that does what it says on the tin. It’s literally about a guy who ‘wants to do things’ to a girl he’s got his beady eyes on; and we don’t mean take her down the cinema to see The Jungle Book 3, followed by a tasty meal in Nando’s. The rest of the album is in much the same vein... Fans of cheesy-electro with a generous dollop of 80s dance will want to make love to Flight Night over and over and over again. Those without a sense of humour and a yearning to hit the town and “pull a hot chick” will despise it. We shouldn’t like Flight Night, but the fact it doesn't take itself too seriously means that we fucking do! Dangerous Dave Muddyloop's debut album, Flight Night, is available now on Muddytrax Recordings. Click here to buy. www.muddyloop.com / www.myspace.com/muddyloop . To read Planet Notion’s interview with the boys, Click here .

tags: | muddyloop | more...

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