FACT Magazine Jack White plans “World’s Fastest Released Record” for Record Store Day @ Musique Non Stop |  |
- Jack White plans “World’s Fastest Released Record” for Record Store Day
- Their vinyl weighs a ton: Stones Throw boss Peanut Butter Wolf on the records that have defined the label
- Vybz Kartel receives life sentence for murder
- Thrusters
- Martyn signs to Ninja Tune, announces third album The Air Between Words featuring Four Tet and copeland
- Trax releases official statement on Frankie Knuckles and royalties
- How To Dress Well asks What is This Heart? on third album
- Antwon reveals new album Heavy Hearted in Doldrums, shares Lil Ugly Mane collaboration ‘Rain Song’
- Forgotten Classics: Leo Anibaldi’s Muta
- “It’s a stupid title”: Todd Terje talks new album, Monkey Island and DJing in just his socks
- Theo Parrish to play London show of “Sound Signature classics” with full live band
- Against the Clock: Tom Demac
- Wiley gets deported from Canada, explodes all over Twitter
- Download new Drake, ‘Days in the East’
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Posted: 03 Apr 2014 10:54 AM PDT
 White’s latest Record Store Day stunt may be his most ambitious yet. While past Record Store Days have seen Jack White experiment with helium balloons, 3 RPM records and antique voice-o-graph booths, this year finds the ex-White Stripe shortening the record release process to one day. On the morning of April 19, White will play Third Man Records’ blue room and record new single ‘Lazaretto’ “direct-to-acetate.” The masters will be rushed to United Record Pressing, who will begin pressing 45s, which will be stuffed into sleeves printed from pictures of the show. The 45s will be brought back to Third Man to sell to fans, and “as long as there are fans in line waiting to buy the single, United will continue to press and deliver them to Third Man to sell. Even if it takes all day.” As is to be expected, tickets are extremely limited and will be exclusively available to Third Man Records Vault to Platinum Members. Head to Third Man’s site for more info. Earlier this week, White announced his new album, Lazaretto, due out on June 9 via Third Man / XL.   
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Their vinyl weighs a ton: Stones Throw boss Peanut Butter Wolf on the records that have defined the label
Posted: 03 Apr 2014 10:45 AM PDT
 Originally published on The Vinyl Factory. The man behind LA's forward-thinking hip hop institution Stones Throw Records picks five records that helped define the label over the last 18 years and shares the lovely little story behind his first collaboration with J Dilla. Like all great record labels, Peanut Butter Wolf's Stones Throw has never courted the limelight it has helped attract for its artists. However, having quietly gone about its business with consistent and exacting standards for nigh on 18 years now, it was only a matter of time before someone would turn their camera on the label that has given a platform to household hip hop names like of J Dilla, Madlib and MF Doom as well as modern soul superstars Mayer Hawthorne and Aloe Black. Charting its story through testimonies of the extraordinary, nigh-on visionary community of artists that have flocked to celebrate it, the resulting documentary Our Vinyl Weighs A Ton: This Is Stones Throw Records arrives in London tonight as part of an extensive UK screening tour. On tour with the film in tow, holding Q&A's at various venues, Peanut Butter Wolf found time to tell The Vinyl Factory a little about the genesis of the label and pick out a number of records that have helped define Stones Throw Records so far, from first hearing Dilla's beats over the telephone to releasing the label's first "oddball non-hip hop record".
“He started telling me about a guy named Jay Dee who made beats. He'd play me Dilla beats over the phone.”
OK, let's start at the beginning and put where Stones Throw Records is now into a bit of context. How did the label come into being, what was your initial aim and how did that develop? When I started Stones Throw, I was really into a very specific type of hip hop, influenced by people like Pete Rock, DITC, Large Professor, KRS-One, Nas, DJ Premier, etc. It was called the "keep it real" era where indy labels were popping up to fill a void that the majors created by focusing on "giggy music". Really, my background as a music fan was disco, soul, funk, electro, new wave, electronic, and reggae besides hip hop, but I had really stopped listening to all that stuff and really focused on "backpack/boom bap" hip hop and the original music from the 60's and 70's that it was sampling from back in 1996. And I was only interested in vinyl. I couldn't find a CD distributor that was interested in what I was releasing yet anyway, so the first releases were vinyl only, which was fine by me. This was like 4 years before iTunes or any concept of paying for songs or albums digitally. Stones Throw has gone many different directions since then. We now sell a lot of music (and merch) directly through our website, we now put out lots of different styles of music which include but are not limited to "traditional" hip hop. The main thing that is the same is that I choose all the artists that are released. What are your early memories of working with Dilla and how did that come about? I first heard about Dilla before I started Stones Throw. It was 1994 or 1995 and I had just self-released a record of my beats called Peanut Butter Breaks on a label I called "Heyday Records", but I didn't know at the time there was another label with that name. So the phone number on the record was my pager number with a VM, and a DJ named House Shoes who worked at a record store in Detroit called the number on the record and left a message. I called him back and sent him some records to his store and he started telling me about a guy named Jay Dee who made beats. He'd play me Dilla beats over the phone. We stayed in touch and one day he told me Q Tip signed Jay Dee to management and that things were starting to take off for him. Eventually, Q Tip showed Dilla's music to every rapper and R&B singer and Dilla would do remixes for them on spec through the major labels and a lot of the times, they wouldn't get chosen because Dilla wasn't a big enough name. So House Shoes called me and told me he and Dilla wanted to press a vinyl of those remixes and asked if I wanted to get involved. By that point, I was doing Stones Throw and knew how to deal with pressing plants and distributors and that sort of thing. We pressed up 1000 copies on green vinyl and I sold them ONLY in Japan. That was my first project with him. It was around 1997.
“What I like best is when artists who I sign become friends with other artists on the label and/or fans of each other's work.”
It feels like there's a real community around Stones Throw, as if basically everyone's just mates. How important is that for you? What I like best is when artists who I sign become friends with other artists on the label and/or fans of each other's work. Even Mayer Hawthorne, who has become a major label artist but still is in our crew and when I saw him a few weeks ago, I played him some of the new signings and the next day he contacted me and asked me to send the music to him because he'd been thinking about it since I played it. That's what it's about for me. Away from the label, could you put your finger on one or two records that have done it for you over the years? I guess "Beat Box" by Art Of Noise and "Buffalo Gals" by Macolm McLaren which more or less both came out the same year, both were produced by Trevor Horn out of the UK, and both melded the art scene and the hip hop scene of NYC, which is what I have tried to do with Stones Throw for many years. Over the next pages, Peanut Butter Wolf picks five milestone Stones Throw records that have been particularly important or definitive for the label over the years.
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Posted: 03 Apr 2014 09:52 AM PDT
 The Jamaican dancehall star was found guilty of murder last month. Adidja “Vybz Kartel” Palmer and his three co-defendants have received life sentences for the murder of associate Clive “Lizard” Williams, according to the Jamaica Observer. Prosecutors maintained that Williams was beaten to death at Palmer’s home in 2011 after being lured there to account for two missing illegal guns. Palmer was found guilty by a 10-1 majority verdict, which his lawyers have indicated they will appeal. Update: Palmer is to serve 35 years in prison before he becomes eligible for parole.  
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Posted: 03 Apr 2014 07:34 AM PDT
 Available on: Ramp Recordings Speaking to FACT, Drew Daniels of Matmos characterised psychedelia as ability to "take a tiny thing and extend it, extrude it into something much more extensive", or "level down the question of what's got priority and what's important versus what's just a meaningless detail, so you get lost telescoping down into those details." All of which is very relevant to Nochexxx’s interests. The Cambridge producer is one of the most genuinely psychedelic acts in Britain at the moment, and it’s this ability to conceal deep weirdness and even sublimity in microscopic detail that makes his music what it is. It would be really easy to mark his tracks down as throwaway – they are, after all, wilfully low-tech and full of signifiers of kitsch, kookiness, lo-fi and retro-ism, and you could see each as a silly game with reference points, deliberately undermining any seriousness with musical pratfalls and wacky samples (the extended riff about "staring at shit" that forms the intro to ‘Rinse Dreams’ here being case in point). It seems rickety, bodged together, not the kind of finessed stuff where you’d think microscopic production detail was relevant. But that’s not how it works in practice. To continue with ‘Rinse Dreams’: after the scatological intro it turns into a piece of 200bpm 1980s digital dancehall splattered with squacky acid riffs, detuned bleeps, an insistent 4-note Detroit techno high-pitched synth-string riff and some electro vocal cut-ups. It should be a bloody mess, it should come over as knowing and smart-arsey, or at best it should just be a bit of fun – yet somehow it a) grooves and b) draws you in to its deeply, deeply weird contrasts of finesse and roughness, minuscule tweak and big clonking gesture, until you’re not sure which way is up any more. Same goes for the ’80s sci-fi theme dub of ‘Crying Bamboo’, the bassline-house-glitch-acid of ‘Cola Duck’, the John-Carpenter-does-kids-TV-ghettotech of ‘Swat Erect’, the Gameboy-doing-bird-impressions of ‘Exholst’ and so on… Like the meaningless but disconcerting titles, what seems like fun and games constantly wrong-foots you, but not in a "ahaaa, look at this clever subversion" way. Quite the opposite, in fact. It does it by just working on the instinctive level that all proper dance music gets to, by giving that back-brain instant engagement with the strangeness and sensualism of the sounds that pre-empts any conscious assessment of its oddity. I had this album playing the other day, and my iTunes decided for some reason to jump to an old Aphex Twin Caustic Window track. The comparison was illuminating: both are made on rough-and-ready, mucked-about-with hardware, but both transcend the sonic limitations of their recording by virtue of fresh and funny sounds that carry within them traces of, or windows into, big, weird, barking mad thought processes, like some Lovecraftian ancient god hiding in a wendy house. Don’t be fooled by the foolishness, this is real-deal mind-warping.  
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Posted: 03 Apr 2014 06:28 AM PDT
 Dutch ex-pat Martyn has inked a deal with UK underground outpost Ninja Tune, and his third album is already complete. Entitled The Air Between Words, the record comes three years after Brainfeeder’s crunchy Ghost People and is billed as “an entirely new sonic direction.” Sadly there are few other clues as to where the DC-based producer could have taken his sound, but we do have a full tracklist, which reveals collaborations with Four Tet (who we’re guessing rarely leaves the studio at this point) and ex-Hype Williams knob twiddler/singer Inga Copeland (aka copeland). Just before Christmas, Martyn hinted at The Air Between Words‘ completion with charity single ‘Be My Own Pupil‘. It was apparently culled from the album’s “lengthy sessions,” so we’re guessing it’s the best way to get at least some hint as to the record’s new direction. Take a listen below. Tracklist: 01 Forgiveness Step 1 02 Glassbeadgames (with Four Tet) 03 Empty Mind 04 Drones 05 Love of Pleasure (with copeland) 06 Two Leads and a Computer 07 Forgiveness Step 2 08 Like That 09 Lullaby 10 Fashion Skater  
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Posted: 03 Apr 2014 06:27 AM PDT
 As previously reported, there is currently a campaign to get ‘Your Love’, a single by Frankie Knuckles and Jamie Principle, to #1 in the wake of the former artist’s death. The campaign has faced some opposition, due to the fact that ‘Your Love’ was released on Trax – a label that Knuckles had severed ties with, and in one of his last interviews, said that he didn’t want to be associated with (the campaign then changed the link to target Noctural Groove’s issue of the track). Trax have now released a pair of statements on the issue – one from label president Screamin’ Rachael, and the other from ex-creative director Jorge Cruz (generally speaking, issues between Trax and the label’s artists were related to label co-founder Larry Sherman). You can read them below. A gigantic archive of Frankie Knuckles mixes was launched this week, while RBMA have put together a playlist of 50 classics from the Warehouse, the club where Knuckles was a resident. From Screamin’ Rachael, Trax Records’ President: I want to thank people around the world, especially those in dance music culture for honoring Frankie Knuckles. There is no doubt that his music, and the love he shared has changed the lives of so many. Though tragically we have lost him in the physical sense, his legacy and the music he created will never die…House Music would not exist as it does today without Frankie Knuckles. He inspired and championed the pioneers and new generation to continue making house music and building DJ culture. I humbly admit that I don't have the words to really say what Frankie means and represents to many. With his passing we are all reminded about his contribution to music. I only wish he had more of this appreciation and attention from the industry during his lifetime… Though Frankie Knuckles was not on Forbes top ten highest paid DJ's list, he meant a lot more to his fans than money. Unfortunately there are those who judge talent by those standards. In 30 years from now will those DJ's be remembered and loved as he… Only time will tell but I think not. I first became aware of Frankie when I was in the Punk scene at the Space Place. Coincidentally, was around the corner from the Warehouse. It was during a raid for having what was termed as an illegal party by authorities that someone came up to me and said that Frankie Knuckles was mixing my record down at the warehouse. It was the song Fantasy that I recorded with Jesse Saunders and Vince Lawrence. I had never heard the term mixing, and I was intrigued by the name Knuckles so I decided to find out what that was all about. The moment I entered the warehouse and heard him spin my life was changed forever. The way his music moved the crowd was truly spiritual. I am so personally saddened by this loss that up until now I've been unable to collect my thoughts and decide how best to honor Frankie both personally and on behalf of Trax Records. Due to matters beyond my control I can only speak for myself. I have decided to give my share of all monies collected for the sale of "Your Love" To Frankie Knuckles estate, or to a proper charity. I hope that others involved will do the same and I'm doing my best to encourage that. I'd like to see a foundation set up in his honor, but I can't do it alone and frankly would not know where to start. I know that our distributors are doing their best to honor Frankie and to show appreciation. We would like to receive any information about Frankie's estate or ideas for what can be done to preserve this great man's legacy. It goes without saying that he can never bereplaced. From Jorge Cruz, artist, and Trax Records’ ex-creative director: Over the past five years of working with the label, I can only speak from what I know, have done and seen. And unfortunately, for most "fans" they have not cared enough to pay attention to the things that have been going on with the label for almost over 10 years – some only care to listen to hearsay. When I began there was literally nothing being done mainly because there were legal battles. What was occurring was that all control of all the catalog was taken over.Though things are better now unfortunately litigation is still ongoing. We can’t pretend that money was not being made, but the reality is that it was going towards fighting to retain the rights to the catalogue here in Chicago. Not elsewhere. The overhead of the label is way above any of the money coming into the label. For years the overhead has been out of pocket thanks to Mark Suchoki, Rachael's Husband, and all because Rachael can’t fathom the idea of the label being bastardized and taken away. We have been fighting people, literally, to stop them from profiting from the catalogue but it's nearly impossible because the reality is that legal problems are expensive, let alone when you are fighting major corporations. The artists I worked with who are close to the situation will all tell you that since Rachael has taken over the label as President there has been nothing but fairness and a fight to help out the artists, who sold away their rights, was implemented. Over the years I've seen countless times Rachael trying to help people out by providing what she could, all while other companies were profiting from our hard work. Most of which could never see the light of day as companies feared involvement as they were threatened with lawsuits. When I began at Trax I made sure to include all these people in everything that I could, and I hope that someday all misunderstandings with some of the artists can be resolved. When Darryl Pandy passed away both Rachael and I made sure to attempt to raise money for Darryl by giving all the profits that we could from his music. But unfortunately, we never even made a dent because people were buying his music from the powers that were in control. The same thing occurred when Paul Johnson was sick. What people fail to realize is the reality of the size of the actual label vs the influence that it has on the world today. Because people think that fame is money, and they see a lot of TRAX all over the world, they believe that we are sitting here making money til' high heavens. But the reality is that the Trax Records name is making money but much of the money is not reaching the label or the artists. We cannot change the past or the legal battles that are tied to it. And Rachael and I both as independent artists feel nothing but passion for artists’ rights. In 2010 to help combat this issue I set up our official Trax Records’ Bandcamp. Proceeds from sales of Frankie’s music bought through our bandcamp will go straight to Frankie’s estate. http://traxrecords.bandcamp.com Independently of anything, I am honored to have been able to work as closely with Frankie’s music and am honored to have been able to learn about and expand the sound of the people and of Chicago. Without people like Frankie we would not have had half of what we know, or been able to live many of the experiences that this music has created for us.  
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Posted: 03 Apr 2014 06:20 AM PDT
 Following last month’s gorgeous ‘Words I Don’t Remember‘, Tom Krell has finally revealed his third album. It’s entitled What is This Heart? and like its predecessor, 2012′s Total Loss, is again poised for release on the Weird World/Domino imprint. Krell seems to have absorbed a new hand of influences since his quirky, noisy beginnings, and What is This Heart? is billed as an “ambitious 21st century pop album that takes influence from artists as varied as Prince, Lou Reed, Burial and Tracy Chapman.” We can hardly say any different – new album track ‘Repeat Pleasure’ (which you can hear below) is yet another example of Krell’s evolving songcraft, and is incredibly hard to pigeonhole. It’s got a few modern tropes, certainly, but there’s an aura of classic pop that drips from each note. What is This Heart? will be released on Weird World on June 23. Tracklist: 01 2 Years On (Shame Dream) 02 What You Wanted 03 Face Again 04 See You Fall 05 Repeat Pleasure 06 Words I Don’t Remember 07 Pour Cyril 08 Precious Love 09 Childhood Faith In Love (Everything Must Change, Everything Must Stay The Same) 10 A Power 11 Very Best Friend 12 House Inside (Future Is Older Than The Past)  
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Posted: 03 Apr 2014 05:53 AM PDT
 West Coast rapper Antwon returns with a fresh collaboration and a brand new full-length. Last year’s In Dark Denim mixtape and its excellent predecessor End of Earth stood on their own as examples of Antwon’s confounding style, as he muttered lyrics over backdrops laced with references but seemingly operating just outside of the rap world. Heavy Hearted in Doldrums is due to drop on May 6, and has been put together in collaboration with LA “lifestyle brand” UNF. It’s going to be released as a free download (of course), but will also be supplied on limited edition picture disc vinyl – no doubt thanks to the success of last year’s unmissable ‘Dying in the Pussy‘ 7″. We don’t know a great deal more about the album at this point, but first leak ‘Rain Song’ certainly sounds as if he’s on the right track. Sporting a guest verse from FACT fave Lil Ugly Mane, the track drips with woozy, tape-saturated attitude, but retains a euphoric quality that shouldn’t be a surprise to anyone who peeped Antwon’s guide to Brit dream poppers Cocteau Twins. Check it out below.  
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Posted: 03 Apr 2014 04:56 AM PDT
 Forgotten Classics is a new weekly feature where we ask FACT contributors and noted diggers from across the spectrum to pick an obscure gem that they think has been unfairly brushed under the carpet and explain why it's worthy of re-appraisal. This week:
Leo Anibaldi
Muta (ACV, 1993)
Picked by: Mordant Music founder and curator of the curious Baron Mordant.
 I first imbibed this LP a few years after its release while reading Autumn of the Patriarch by Gabriel Garcia Marquez – thinking they’d make the right kind of imperfect coupling with neither one in tandem imposing too heavily on the other…they duetted for many months – the tome eventually took a decade to finish in fits & starts but from the outset Muta has remained a consistent staple in the Mordant Nesst… I wasn’t a fervent follower of labels like ACV at the time & remember generally reading that era like an intermittent Blind Pew latching onto only a handful of LPs here & there…Muta was the first Anibaldi record I’d heard, and it totally satisfied my murky electronic leanings – it’s as much a suite for the decay of derelict structures as it is a contextual mood-changer while squashing foodstuffs in Lidl…If You’re Into It, I’m Out Of It by Christophe De Babalon has a similar gait… The album itself is presented as two distinct stylistic halves, and it’s the first half that has prompted this outburst of square quilling…there’s a quality to both the poise of the music & the detuned artwork that’s not quite right, but which ends up being its strength & allure…in truth the album, particularly the gatefold artwork, has a fair deal in common with Italian progressive rock, & the suite of untitled tracks, particularly on Disc One, could effortlessly score any Argento flick – perhaps not quite out-Goblining Goblin, but there’s a brooding malevolence in the overall mood that spews techno-prog entrails across the canvas… The LP exhibits an exotic palette of vintage analogue sediment – this is how I hear it & what it conjures up in the greyscale library: a pair of herniated bellows, the insistent circuitry of a locked video-game, the tightest flanged hats in Rome, spectral whistles from ransacked battlefields, distended FM voices asking for more time, searing percussive Aphexisms, drums running on the spot & the sound of empty entrance halls & vestibules the world o’er… The second disc finally finds the baccarat party in full swing as the rusticated faces of all participants get tuned to perfection – in truth it’s a little nondescript compared to the first disc, but nevertheless the LP remains a stunning paean to overstretched opulence & detuned lakeside villas hired out as archival storage dumps…a maze in grace…BM Mordant Music’s website is here.  
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Posted: 03 Apr 2014 04:01 AM PDT
 Ten years on from his debut single, it’s finally Album Time for Todd Terje. The Norwegian producer has seen his star soar in recent years, with singles ‘Ragysh’ and ‘Inspector Norse’ achieving unlikely crossover status. Next week, he releases his debut album – a glitzy blend of piano jazz, synth-pop and, naturally, disco, with a cover of Robert Palmer’s ‘Johnny and Mary’, voiced by Bryan Ferry, at its centrepiece. FACT’s Bjørn Schaeffner quizzed Todd on becoming a parent, Monkey Island and DJing in just his socks. What have you been up to recently? Working hard with diapers! My son was born a while ago, which has kept me pretty busy. You could say, with the production of my album finishing, that it felt like a simultaneous pregnacy coming to an end! How do you find being both a DJ and a parent? Good. Thankfully, I got more disciplined a while ago. Which seemed necessary, as I was getting slightly worn out with my DJ schedule getting tighter and tighter. No more afterparties? Well, I guess I stopped going to afterparties about… a zillion years ago, hehe. The late hours in clubs make it difficult to do anything useful the day after anyway, but for some I suppose it would be possible to go straight from an afterparty directly to the studio to make something brilliant. Not for me though. I remember when I was younger and a bit more “fascinated” by all the new sounds I heard in clubs, I could actually sit right down as soon as I came in the door after a long night out, and start making a tune. How did your son’s birth impact on your studio work? People say that you become more distracted once the baby is here – yet I experienced just the opposite. So, it's kind of ironic: though my arms have been up in poop, I've become more focussed. I work more efficiently these days. What are you working on? I started preparing my live set. My first live set ever, that is, I never did one before. So, I had to get into all that and setup everything. I bought myself a new computer, a keyboard and some more outboard synths like the Dave Smith Mopho x4, the Tetra and a MFB Dominion X, plus a few effect pedals such as the Eventide Space. It has to be hands-on, it has to feel natural, because in this regard I'm like a traditional musician. I would really hate to be one of those guys staring with a blank face into a laptop screen making my mouse click.
“It’s a stupid title. I could also have gone for It’s Money Time or It’s Bestseller Time.”
Your debut album is called It’s Album Time. No one will argue with that. The time seems ripe. It’s a stupid title, a joke, of course. I could also have gone for It’s Money Time or It’s Bestseller Time. I’ve always had a thing for jokes like these. Was it planned from the beginning that ‘Inspector Norse’ and other previously released tracks would be on the album ? No, my initial intention was to do something altogether new. But then it seemed reasonable to include ‘Inspector Norse’, also from a sales point of view. And the two ‘Swing Star’ tracks fit themselves in quite comfortably. In the end, it felt just good that way. How did the idea of doing a Bryan Ferry cover version of Robert Palmer’s ‘Mary and Johnny’ come about? Isaac, Bryan’s son, invited me to the studio. We’ve collaborated on some stuff before. They actually planned to do that cover anyway. It went down really fast, it was done in no less than half a hour. The instrumental was pretty much the same vibe as the original Robert Palmer in 155bpm, done with simple drum machines and a monotonous Jupiter 8 riff. It wasn’t my actual choice. But I daresay a Robert Palmer cover is not so bad. I might have changed my mind if it was a Britney Spears cover! ‘Delorean Dynamite’ feels Moroder-ish. Agreed, but it wasn’t necessarily my take on him. That track was inspired by this library music guy Tony Carey. What I like about library music is that it’s so visual. And I always wanted to do something like that. So, here’s my acoustic image of a car racing through Miami with flashing street lights passing by. What about ‘Leisure Suit Preben’ who materializes in two tracks? Is he some sort of Norwegian Leisure Suit Larry? Leisure Suit Preben is this figure my label illustrator Bendik Kaltenborn designed. Actually, having Bendik on the team for Olsen Records is great. He makes excellent artwork that sticks out quite well in the ocean of boring whitelabel vinyls out there. Bendik asked me to make two tracks for a book project of his. Both tracks were also released on a 7″ single coming with the book. The Leisure Suit Preben character is this rather pompous guy, a true hedonist. And, yes, it’s a twist on the adventure game. Which you probably played when you grew up as a kid in rural Mjøndalen? There’s really not much to do in Mjøndalen! You have to play Leisure Suit Larry. Or Outrun, Monkey Island or Kings Quest. Being bored also made me dive into the world of Pascal programming and Scream Tracker, where I made my first music. Did you also listen to DJ Strangefruit’s radio show back then, who was a kind of Norwegian Electric Mojo? Yeah, he had this way of making underground stuff very accessible. He showed us a lot back in the day. Turns out, the same radio station actually refused to play ‘Inspector Norse’ years later, because they said it sounded like beach bar music. Those were the words the musical director used. Which started quite a debate in Norway. And now they’re playing ‘Delorean Dynamite’ big time. As if they’re on a guilt trip! Norway’s biggest open-air festival Øya booked you this summer as a headliner. For the first time. Were you surprised? The fact that they booked me means that their office is gambling that the album will be doing well. Well, I’m assuming so as well. Doesn’t it sometimes feel weird to be the frontrunner now? It is kind of weird, yes. I’ve been comfortable with my underground thingy for the past years. There you feel like you’re more or less in control off the hype surrounding you. So, for a while I was afraid to lose my crowd, as I was getting more and more recognition. But over time, it’s has come to feel natural. It’s been going uphill with my career for the past seven years, and I’m not scared anymore. It feels like a natural progression. Between 2007 and 2010 you did a lot of edits and remixes. How do you go about selecting the sources for your edits? Well, it has to be good for a start. I think my best edits are of tracks that already are quite playable. I´m not a big fan of the heavily processed remixing, I prefer to use the original drums, for instance, as they very often sounded more dynamic and punchy than todays drums.
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Posted: 03 Apr 2014 03:14 AM PDT
 Detroit producer Theo Parrish will perform with a full live band at the Barbican. Said band will feature Parrish on beats and keys, Detroit mainstay Amp Fiddler on more keys, Akwasi Mensah on bass, Duminie DePorres on electric guitar and Myele Manzanza on drums. The press release promises revisits of “old and new Sound Signature classics”. The event takes place on July 12 – for more information head here.  
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Posted: 03 Apr 2014 02:00 AM PDT
Against the Clock is a series on FACT TV where we give an artist 10 minutes in the studio and see what they come up with. You can watch all the past episodes here. In the latest episode, we set the challenge to Tom Demac, a London-based producer who’s been releasing music for a decade now. It was 2010 where things really started to take off for Demac, however, with the release of ‘Critical Distance Pt. 2′ – a track that Seth Troxler publicly said that he wished he’d signed. Since then he’s released on Aus Music and Drumcode, as well as his regular home Hypercolour.  
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Posted: 03 Apr 2014 12:47 AM PDT
 Judging from a series of tweets last night, the Godfather of Grime has been deported from Canada. Wiley has been holed up in Canada for a little while now, but his time in the country seems to have come to an acrimonious end. Set to play a show with Swindle and others last night, his first tweet on the matter was the reserved “Immigration have got me and are sending me back to london …..Sad story.” Then, things started to erupt. Here are the best tweets: TELLING ME I HAVE A CRIMINAL RECORD IN AMERICA …….WHAT ARE THE SAYING …I HAVE NEVER BEEN ARRESTED IN AMERICA B4 .Even worse, Wiley wasn’t even sent straight back to London. He had to make his way back there… from Scotland. He even had to face the horror of a Lorne sausage: OMG IMMIGRATION ARE SENDING ME BACK TO SCOTLAND WTF ……CAN YOU BELIEVE THISStill, at least he found time to be philosophical: Hold tight the youngers ….stay away from the police you don’t want these dumb things too happen to you keep your record clean ….pleaseAlready this year, Wiley has scrapped his new album Snakes & Ladders, and released a new mixtape. Here’s our round-up of his best quotes of 2013.  
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Posted: 03 Apr 2014 12:40 AM PDT
 Drake goes Asiatisch! Not really. ‘Days in the East’ (the Eastside, not China) features PARTYNEXTDOOR and 40 on production, and dropped this morning on Drake’s Soundcloud. It follows recent cut ‘Draft Day’, and the Erykah Badu bit is completely (and presumably unintentionally) hilarious.  
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