In the vein of our guide on how to behave at a disco or restaurant here is a guide on various sub-cultures from what we can only guess is from the late 70s or early 80s. Maybe someone could make one for our more current musical tribes? Dubsteppers, deep-housers, daggerers…
Musical and fashionable persuasions
Guitarist Ry Cooder’s soundtrack for Wim Wenders’ 1984 film Paris Texas is an exercise in the beauty of simplicity. Cooder gave a twist on what was fashionable in 80s guitar music, a sort of pastoral and nostalgic take on melodies which would work well for any western. Very few instruments are used throughout, often only a guitar twang and scratching ambience working as mood enhancement (or diminishment) rather than traditional songs to complement this vision of the American mid-west from German master of the camera Wim Wenders. It’s for this reason that Paris Texas is one of the few films where it’s soundtrack can claim to be as equally good as the film itself. Give it a listen, here.
The film tells the story of a man who is found wandering in the desert by his brother who helps him pull his memories back from the life he led before walking out on his wife, 4 years previously. As his memory returns he makes contact with various characters from his past. The film was a deserved winner at Cannes, it’s power of image and story which starts in the imposingly beautiful border zone of southwest Texas. The lilting, eponymous opening song gives the audience an emotional handle to the scraggly, baseball capped man we see wandering alone in the desert.
The crux of the film is a group of characters who although love each other, have competing desires and interests. The various identities are shaped by pulitzer winning writer Sam Shepard and complemented so perfectly by Cooder’s soulful, improvised guitar licks. This goes some way to shaping Wenders’ introspective portrait of a family striving against their own disconnects and the reformation of a classic western hero, an essential loner who is crucial to saving a community of which he can never be a part.
There are few times in music where so few notes have said so much. The album’s opening title track and its closer, “Dark Was the Night,” (originally by Blind Willie Johnson) are prime examples of its plaintive, haunting sound. This is ghostly, atmospheric film music of the highest order. Give it a listen, here.
Check out other soundtrack reviews, here.
JZ
In other Zabiela related news he is currently nominated for top Essential Mix of 2010, a “lush soundscape which cleverly weaves in, and takes inspiration from, Duncan Jones’ movie Moon.” You can vote here. We reckon it’s between James and Four Tet for the top spot, both brilliant mixes as it happens.
Over to you, J Z.
Is there one book that you have read that has been life-changing for you?
No, but I did read Russell Brand’s ‘Booky Wook’ surely the greatest piece of literature since Shakespeare.
Did your parents encourage you to work in music?
Yes, they bought records and my first turntables.
How did you begin to work professionally in music?
I’m not sure at which point I’d say professionally but my first paid gig was for £20 which I was more than happy with.
How do you apply your past experiences to what you do today?
I think I learn something every time I play. No two audiences are the same.
Where is your current studio and what is it like?
It’s in my attic in Southampton but a lot of the stuff I work on is done on the road on my laptop.
James
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
I never thought about that type of thing really and I don’t like that side of it, I just wanted to play records but since the explosion of social networks it means it’s become a competitive place if you want to stay ahead. I wouldn’t say it’s effected my creativity directly but for a while I was spending so much time on these sites keeping them updated and answering every query it took time from my days where it could be beats. I miss the days when I just had a website to update and that was it. I do enjoy a bit of twitter every now again though. That’s the easier one of the lot. Obviously there are other marketing jaunts I’ve embarked on such as giving away my mix album and working with Pioneer which has helped my creativity in a really positive way.
How would you describe your work?
Well the work bit is the travelling and all the ‘marketing’. I’d describe the DJing part not as work but as a pure joy.
Who were your teachers?
Sasha. Lee Burridge. John Digweed. Danny Howells. Now I look to more producer based artists for inspiration rather than DJs as thats an area I’m moving more into so Ramadanman, Modeselektor, Addison Groove, Midland, Apparat, Shed.
Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?
I’d make them tidy my flat.
You have to make one species of animal extinct. Excluding insects, which species would that be?
Humans. Let the machines take over.
If you could spend one week in any period of history, which period would you choose?
I’d like to go back to the 80s and experience the explosion of electro, breakdancing and massive mobile phones in suitcases.
Chicken Horror
Bottin, a producer, DJ and sound designer from Venice, Italy was raised on late 70s Italian disco and kitsch horror soundtracks which shines through in his imitative but always forward looking sound. His album Horror Disco goes down particularly well while cruising down the Autostrada from Milan to Turin on the way to listen to an 18 hour party of Berghain resident techno… as we did here. He shys away from the more soulful and retro elements of disco giving a warmer and less polished aesthetic than his Scandavian nu-disco contemporaries. More influenced by John Carpenter, Lucio Fulci and Goblin-esque robo-cult-disco than the sounds of late 70s NY or Philly.
Stevie Kotey was brought up in a time when definitions were looser and scenes and sounds more indistinguishable than today. As tea-boy for Audio One studios in Soho his belief in being part of the music industry was cemented – lucky us! Under guidance of his Bear Funk label a wide audience were exposed to the likes of Todd Terje, Prins Thomas and Lindstrom for the first time. When it comes to his own production, Stevie Kotey dips and delves into all things nice. Don’t miss his connection to the mighty Chicken Lips with their electro funk, dubby sounds and rocky disco. A true bear knows no hibernation.
So expect a reckless blend of retro-futuristic sounds and contemporary electronica set to light up the floor in El Salon at We Love on Sunday 22nd August. In conjunction with Resident Advisor, expect a special night all round with Carl Craig, Mathew Dear, Miss Kittin, Derrick May, 20:20Soundsystem Live, Steve Lawler, Motorcitydrumensemble and more… phew!
Click flyer for more info...
Is there one book that you have read that has been life-changing for you?
Bottin: The Junior Woodchucks Guidebook. That, and Paul Watzlawick’s Pragmatics of Human Communication.
Stevie Kotey: I couldn’t choose just one, different books for different times, different moods all determine whether your reading something life changing, But I suppose John Steinbeck’s Of Mice and Men and Pimp by Iceberg Slim have all had a lasting effect. Oh before I forget, though it’s not a book The Viz comic equally has had a great influence on my life.
Did your parents encourage you to work in music?
Bottin: No, there are no musicians in my family (apart for one of my uncle that plays flute). My parents did not specifically encourage me but they didn’t try dissuade me either and they bought me my first synthesizer when I was 12 (a Korg M1, the clerk at the shop told’em Pink Floyd used to so it must’ve been a good one).
Stevie Kotey: No not really, unless you’re a classically trained musician or top producer, working in music was always deemed a bit of laugh and not a real job, especially when you’re self employed. I’m sure they hoped for more.
How do you apply your past experiences to what you do today?
Bottin: I often learn my mistake and I’ve done quite a few mistakes. Like trying do music that I don’t actually feel or producing for people I don’t share a similar taste with. Now I know the only way is to develop your own trademark sound and that’s what I’ve been doing in the recent years and I do not intend to stop.
Stevie Kotey: Every minute of everyday past experiences help me to judge new situations, how to judge people you meet, when to be nice and when to be an asshole. Different strokes for different folks. There’s nothing like experience especially in music.
How did you begin to work professionally in music?
Bottin: My first record deal was for a track on Irma Records Italy, in a compilation called Sister Bossa. It had a sort of Brazilian rhythm, acoustic guitar and vocoder. Quite a strange arrangement now that I recall it. Shortly after that I started making music and sounds for commercials and websites.
Stevie Kotey: Lucked out completely, I had a good careers teacher; I studied a bit and just applied myself. You can work in music without the help of anyone, but it usually doesn’t pay well. If you want something hard enough you make it happen, but essentially I invested everything I could both mentally and financially into releasing music.
Where is your current studio and what is it like?
Bottin: It’s in Venice, I have all the gear in my apartment. I’m lucky since my neighbors work till late at night and they never complain about the screaming synthesizers. I have 8-9 synths, most of them cheap Italian machines from the late 70s and early 80s (Farfisa, Siel) among the non-Italians I have a Roland SH09 and a Moog MG-1 Concertmate. Although I believe the most important piece of equipment in any studio are the speakers.
Stevie Kotey: Well I don’t really have one, I couldn’t afford to have a bespoke studio anymore, I have a little set up at home Mac G4 (old skool) some outboard synths and sound modules. If you know what you’re doing you don’t need much.
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
Bottin: No marketing issues at all. I’ve been doing this type of music since a while, then when Lindstrom and all the so-called “nu disco” came out I was sort of lucky since label started wanted to sign my stuff, the same stuff nobody seems to want before. I’m very active promoting my stuff on the internet though: twitter, facebook, soundcloud… I only use those for promotion, I very rarely write about personal stuff.
Stevie Kotey: Well yes you need to promote your own shit these days but, I’ve never been one for self promotion, nothing makes me cringe more than receiving weekly emails from DJs about what they are doing and where they playing etc, surely your music and your DJ sets should do the talking for you? I’m only on facebook five months ago so I’m trying to do more, as for affecting my creativity I say less profile updating and more music making.
How would you describe your work?
Bottin: Artisan-like and restless.
Stevie Kotey: A&R, production, remixer, a thinker, bringing people together and hopefully something that will be remembered when I’m no longer here.
Who were your teachers?
Bottin: My teachers were the records of Steely Dan, Earth Wind & Fire, Claudio Simonetti, Celso Valli. I took piano lessons when I was a kid, but that was the only proper music education I got – though later (at 18) I took some jazz and orchestration lessons and I also learned a lot by playing piano and hammond organ in a big bang.
Stevie Kotey: Well my teachers are my record collection, everything I want to know about music or life can usually be found in a record I own or want.
Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?
Bottin: They will have to buy me an extremely sultry dinner at a very expansive restaurant of my choice.
Stevie Kotey: I say we get medieval with that shit, flogging in the town square. naked embarrassment of the highest order, then a t-shirt that’s say’s I’m a fucking scumbag thief that has to be worn for a couple of years.
You have to make one species of animal extinct. Excluding insects, which species would that be?
Bottin: Pigeons and people who feed them.
Stevie Kotey: I can’t wish that on any animal no matter how naughty they have been; only the big man upstairs decides who stays or who goes.
If you could spend one week in any period of history, which period would you choose?
Bottin: I would love to see Venice when it was at its prime, before the plague, Napoleon and all…
Stevie Kotey: Easy April 26th 1977 at Studio 54 Bianca’s birthday party
Thanks to Ben Terry and Matty J at The Pool London / Tirk for the original article at their blog The Loop. More 11 Questions here. For a little taste of something to expect from Bottin and his horror disco roadshow, check the video below…
Hop on a plane!
The Black Rabbit gang are descending on the White Isle for a summer residency with us at We Love. The idea behind the move is for all their guests to play alternative and unconventional sets in El Salon throughout the summer. Expect the likes of Shaun Reeves, Pete Herbert, Thomas Gandey (Cagedbaby), Luca C, Ali Love and a slew of other established and upcoming producers and DJs to be gracing the decks. El Salon (by day, an unassuming white lounge bar / back room, but the minute the sun starts to fade, it turns into a retro-inspired groove-tastic rave space for the Black Rabbit crew) will be swaying to the sounds of leftfield disco, analogue house and live vocals once a month starting on our opening party and ending fortuitously at our closing. In rabbiting style, expect the odd bit of 80′s party pop thrown in for good measure.
Bones and Guy, balearic bunnies
Formed in 2006, the Black Rabbit contingent of Chris Bones, Kelly Love, Justin Robertson and Guy Williams quickly gained appeal by their renowned residents Bones and Guy playing a refreshing, uplifting mishmash of musical styles. Highlights of the summer look to be Luca C and Ali Love live on the 13th of June, there’s sure to be a few unreleased licks from Chemical Brothers collaborator Ali Love’s anticipated new album. The 4th of July aptly brings Detroit native Shaun Reeves of Wolf + Lamb out to play his distinctive mix of American and Kraut House, both classic and contemporary. On Sunday the 1st of August be advised to expect the unexpected with Paradise 45, brainchild of Thomas Gandey (Cagedbaby) and Guy Williams dropping everything from italo, dub, funk and beyond. Also out that day will be disco king Pete Herbert – a constant force in dance for the past 15 years. The Rabbit’s final date, 5th September brings fellow Londoners DDD Simon Morell and Ryan Shaw, as Kelly says it’s going to be “fun, messy and Balearic all the way!”
Guy Williams has kindly provided a mix to give a taste of things to come this summer. You can download it here. Thump thump thump.
Being an experimental art and media project, researching The Residents is one of the strangest but most interesting experiences you can have online. I don’t think we’ve even touched the the tip of the iceberg on this one. Their whole project appears to be at once a riddle, a hoax and some kind of high concept obscurantism. To quote from liner notes of the album below, “The Residents don’t support racism, Catholicism, fascism, Judaism, cynicism, realism or journalism.”
the brain-numbing catchiness of pop music is fascism in disguise
The Residents are an avant-garde music and visual arts group largely shrouded in mystery and myth. They formed in 1969 but after several decades in music business, and still actively creating and producing to this day, they have never revealed their names or faces. Their best known device for preserving their anonymity has been covering their heads with giant eyeballs tastefully accented with top hats and tuxedos. On trying to find names for the constituent members of the band you are met with a cryptic message of: ‘If the question is “what are the names the parents gave to the people making up The Residents,” then I would say that those names belong to individuals and not the group. The group doesn’t have names within its structure. If the question is the real “who,” meaning the philosophy and outlook, then that is all clearly stated in the work. I would find it difficult to summarize.’ However the same official website does helpfully surmise that the people who started the group are exactly the same as now although the number of people who have been in The Residents is probably over a hundred at this point and still growing. The FAQ of the website (how many bands have a frequently asked questions page?) explains the disguises and refusal to be subjected to interviews thus: ‘Say you have a tank of goldfish. Say you have given each goldfish a name. A stranger wanders into your house and sees your tank of goldfish and wants to know who they are. Considering that he is a stranger, you tell him it is a tank of goldfish.’
Meet The Residents
Intermission
Demons dance alone
I found her crying in the morning
Sitting in a chair
She was wrapping something up
And wrapping it with care
I did not mean to hurt her
When I fell asleep last night
I was just exhausted
From the act of being polite
Yes, I was just exhausted
From the act of being polite
Personally we hated the track, and him, but this is a great article and he seems oddly influential in the world of rap…
Nice Ice Baby
It’s just before 8 a.m. on a recent Friday at Mom’s Kitchen, a country-style breakfast joint in Wellington. In walks a six-foot-tall, 42-year-old man in cargo shorts, a navy-blue hoodie, and a black ball cap with the flat brim nudged ever so carefully to the side. Tattoos cover his body and hands, and his hair — once a tall, creamy-blond pompadour — is now dark, cropped short. He takes a seat next to a bearded man at the counter, his back to most of the restaurant. Regulars barely notice him. Strangers stare for a moment before recognizing him, their eyes tracing the familiar broad shoulders, the staunch jaw, the glowing white teeth. To the staff here, he’s “Rob.” But to most of the world, he will forever be known by one moniker: Vanilla Ice.
“Morning, Rob,” a smiling waitress says. “Know what you want today?”
Check out the rest of the article here.
He also has recently apologised to everyone, for everything it seems – we forgive you Rob VanWinkel…
In villages they say that, if you don't fix you house, it will fall apart. That appears to be true
Chernobyl was by all measures a 20th century disaster – mixing nuclear meltdown with the cold war and the iron curtain. A biker called Elena from Ukraine rides his Kawasaki Ninja through northern Ukraine to Chernobyl, the so called “dead zone”. Why do this? In his own words: “Because one can take long rides there on empty roads. The people there all left and nature is blooming. There are beautiful woods and lakes. In places where roads have not been travelled by trucks or army vehicles, they are in the same condition they were 20 years ago – except for an occasional blade of grass or some tree that discovered a crack to spring through. Time does not ruin roads, so they may stay this way until they can be opened to normal traffic again … a few centuries from now.”
Books left on a classroom desk
First we must learn a little something about radiation. It is really very simple, and the device we use for measuring radiation levels is called a geiger counter. If you flick it on in Kiev, it will measure about 12-16 microroentgen per hour. In a typical city of Russia and America, it will read 10-12 microroentgen per hour. The centres of many European cities are 20 microR per hour, the radioactivity of the stone. 1,000 microroentgens equal one milliroentgen and 1,000 milliroentgens equal 1 roentgen. So one roentgen is 100,000 times the average radiation of a typical city. A dose of 500 roentgens within 5 hours is fatal to humans. Interestingly, it takes about 2 1/2 times that dosage to kill a chicken and over 100 times that to kill a cockroach. This sort of radiation level can not be found in Chernobyl now. In the first few days after explosion, some places around the reactor were emitting 3,000-30,000 roentgens per hour. The firemen who were sent to put out the reactor fire were fried on the spot by gamma radiation. The remains of the reactor were entombed within an enormous steel and concrete sarcophagus, so it is now relatively safe to travel to the area – as long as one do not step off of the roadway and does not put ones nose in the wrong place.
The nuclear reactor is visable on the horizon in this photo
On the Friday evening of April 25, 1986, the reactor crew at Chernobyl-4, prepared to run a test the next day to see how long the turbines would keep spinning and producing power if the electrical power supply went off line. This was a dangerous test, but it had been done before. As a part of the preparation, they disabled some critical control systems – including the automatic shutdown safety mechanisms.
Dead towns and villages only dead in the day, at night all awakes here. Things began to move and rustle.
At 1:23 AM, the operator moved to shut down the reactor in its low power mode and a domino effect of previous errors caused an sharp power surge, triggering a tremendous steam explosion which blew the 1000 ton cap on the nuclear containment vessel to smithereens.
An abondoned city taken over by the forest
Some of the 211 control rods melted and then a second explosion, throwing out fragments of the burning radioactive fuel core and allowed air to rush in – igniting several tons of graphite insulating blocks. Once graphite starts to burn, its almost impossible to extinguish. It took 9 days and 5000 tons of sand, boron, dolomite, clay and lead dropped from helicopters to put it out. The radiation was so intense that many of those brave pilots died.
Classic Soviet arcitechture
There’s a lot more of these beautiful but sad photographs over at English Russia and Elena’s website Kid Of Speed.
If you would like to help children and families affected by the 1986 Chernobyl disaster, please visit Bridges To Belarus.
If your into classic and cult films it would be worth your while to check Shannon Maldonado’s I Love Hotdogs. Several times a week Shannon curates a selection of stills from a particular movie. Her selection process sometimes includes typographic and design details that can easily go unnoticed (think street signs, window lettering, etc.). For fans of the art of film title design, there’s plenty of that stuff as well.
Some of the more benign and banal films appear more powerful in still form. Try the slapstick (but hilarious) Airplane or a bit of computer love with Tron.
Teenage Mother - 1967, The voiceover of this trailer is the best: “Teenage Muhtha, means nine months a’ trouble!” and “May very well be the most impawtant movie you will ever see!”
Total Recall - 1990, Arnold Schwarzenegger in a turban. If I am not me, then who the hell am I? -Douglas Quaid
They Shoot Horses, Don't They - 1969, Who would ever envision a dance contest becoming so grotesque and absolutely heart breaking. Roberts sad eyes, the sleaze ball contest producer, the unraveling of Alice, that poor pregnant girl, the disco ball and let’s not forget Jane Fonda. Aside from the characters: the clothes, hair, the ballroom decorations and soft lighting - all perfect!
Airplane - 1980, Hilarious bits: the dance scene at the dive bar, “Jive Talking” with subtitles (Ah, 80s racism), the inflatable auto pilot.
Tron - 1980, “Trapped inside an electronic arena, where love, and escape, do not compute!”
