Deep House movers and shakers / co-founders of Night Supply Records based in Denver Colorado have just burst into our world with their new like to download original, ‘This Life’ . Needing no encouragement to keep rolling out jams as the duo has spent much of 2014 in the studio to do just that. Keep them peepers peeled. Do the download thing HERE.
The Mosh Pit remixes were released about one month ago. Six tracks including the instrumental and acapella, and the unofficial remixes keep on coming. There is currently a contest in play on Beatport featuring some amazing revisions you would’t think possible when you first heard the original. The contest features this gem by Slow Graffiti that sports his signature Trapeeziness.
What appeals most about Jess Glynn’s voice is it’s similarity to iconic 80′s vocalists. There were some amazing records in that time and with Jess’ help your taken aback. She certainly would have had a place among them. Truly great pop vocals to be working with. As for the lightning rod bearing Slinger he went in for a very punchy, sweep full Garage esq. revision as the latest of a remix slew he has been on. Definitely providing a background supportive of Jess’ 80′s dance level sound.
Experiments in the sub frequencies are more prominent than ever. And what remains the most exciting part be involved in a listener or fan is being alongside an artist as they grow. Soundcloud, although in jeopardy of abiding by the majors rules and decisions it does still provide an ample place to follow and contribute.
The great debate and issue falls in with licensed music. Of course the obvious step to take is to create ALL your own material. Samples, drums, vocals, just go all original. This brings us to West Philadelphia’s MAYBEWISE, bringing their first release Belgian Man Records, the home to a wide array of experimental and Bass producers. ‘Welcome to the Fishbowl’ certainly hooked our eardrums and inspired this feature and come up storey. We spoke of their beginnings, productions style, flow and inspirations.
How long has MAYBEWISE been in effect? And where did the moniker come into play?
Welcome to the Fishbowl marks the first release of the MAYBEWISE venture, but Peter has been producing and djing for nearly a decade, going under a number of other monikers and concepts. Patrick is pretty new to the game, but he brings the X factor and the life of the party.
The concept for the project started as an exercise in synergizing all the different styles of UK bass music we liked and then kind of took on a personality of its own.
How does the duo function, i.e. what roles do each of you share or assume?
Our process really has two stages: Sample gathering and production.
Most of our sounds are field recordings (percussion especially), so we go out pretty often to random places and record ourselves hitting things with sticks. A recent trip to Home Depot was a highlight; you walk around there and you’ll realize its just a giant warehouse of percussion. Other times we’ll just watch old movies and record the sounds we like. Our personal sample library is massive.
When it comes to studio work, Patrick is the wildcard. He usually comes up with a number of substance-fueled sketches on any given night and then Peter polishes them up while Patrick sleeps off the debauchery.
Where about’s is the studio located and what does it consist of?
The studio is Peter’s bedroom; we’ve got it set up to be a pretty verb-dry place so sonically it’s nicely inert. We’ve got a couple guitars, an amp, a bunch of pedals, some home made noise maker circuits, a turntable, a computer, a number of interfaces/controllers, a mic, and a flash recorder to get the field recordings. Most of our production-end work is done digitally, but nearly all our sounds are recorded. We don’t mess with midi or soft synths as its more our style is more to get in close and rip frequencies.
What had either of you been doing before you banded together to make music?
Peter graduated from school a couple years ago and has been working as a graphic designer since. Patrick competed in pageantry. Actually.
How is Philly today, or as you see it, nurturing of artists?
There’s certainly active artist communities in Philly, but its a bit tough to find good UK bass music in the city. You definitely have to go looking for it, and it’s not like there are top notch shows every weekend. That being said, people are open minded about it here, and the absence of a scene is more likely due to lack of exposure rather than lack of curiosity.
The punk and noise scenes are huge in West Philly and have been for a long time, so we get out to a few of those shows every now and then. That’s more Patrick’s dig though.
Who are the biggest influences to MAYBEWISE?
Oh man, too many to name. Our background is primarily in UK bass: we’ve had some kind of obsession in almost every underground UK scene you can name and a few in the US. UK side, our influences range from the older dubstep vibes of DmZ and Hyperdub to the autonomic project of dbridge and Instra:mental. Patrick particularly likes the gully stylings of Niche 4×4 bassline and Wiley’s eski beats, especially when its 40s night, while Peter has a soft spot for Remarc and the oldskool jungle scene. In the states, we’re big fans Symbols and Tri Angle records; most of what we know about UK bass was actually introduced to us by a friend who is signed to the latter and whom we consider our mentor. We can’t give names.
Party favourites. What kind of shows do you like to attend? Are there any vibes or selections that you seek?
Nothing says party like raggacore. Any amount of amen flips and gabber kicks will get us hyphy to the moon. And oldskool rave breaks, though they’re impossible to find. Peter actually may or may not have an anonymous side project in the works to address these interests
When someone ask’s you what your music sounds like, what feels do you associate your music with to them?
You could probably call our stuff anything from dubstep to UKG to autonomic, but, because it kind of changes all the time, we just call it deeptone (which is not a thing). We could say we try to blur the lines between genres, but its really more that we don’t want to commit to one groove. The way we see it, the unifying aspects of our music lie in two core principles: a respect for ambient space and subtlety in the context of beat oriented music, and a tactile, visceral approach to our percussion. Peter is a sound-touch synesthete, so he takes care of the latter.
Of all the things expanding the music world, every element, from accessibility to broader individual tastes, what is each of your favourite thing about the music world as it is today?
The internet is one of the best things to happen to creative evolution. The communities of artists have not only allowed us to get completely obsessed with a style of music we’d otherwise have no contact with, but also serve as massive creativity incubators, so musical ideas evolve incredibly rapidly. And, if the future scares you too much to deal with that, it also serves as a comprehensive archive of past music so we never forget. It’s absolutely mind blowing how much amazing music is out there; for all intents and purposes it’s infinite. We rest easy knowing we’ll never run out of things to listen to and discover.
While you’ve been in studio as of late, what’s been cooking? Heaters in the kitchen?
We’ve got a forthcoming single on the ЯΛRΞ ИNUĐΞS imprint that’s a nice little UKG jawn, a bit brighter than the Welcome to the Fishbowl EP stuff (you can hear an early build at the beginning of the mix). We’ve also got a couple collabs with some other artists coming up that will explore footwork and oldskool dubstep. Looking forward a bit further, we’re going to probably get a little darker and more experimental, and start to move away from the really vocal heavy stuff from the EP. Not that we don’t like it; we just don’t want to produce ourselves into a corner.
It’s official, we are indeed knee deep in festival season. There’s under one month until BC’s infamous forest nestled, BPM top five 2014 festivals to watch list, home away from home, independent festival returns. Located at the Salmo River Ranch just north of the American border in BC’s interior with all the natural beauty of the provinces Southern Interior and climate. Being as long lasting as Shambhala has there is a culture of it’s own surrounding it. Surrounding and extending it’s culture and influence through western Canada to DJ’s, producers and musicians of all walks alike year round has had profound impact on the culture of the coast. August 8-11th the festival returns to shape the community and provide a home away from home party escape for thousands of Electronic goers and connoisseurs.
Tickets are still available on their website and from many local retails BC & Alberta wide.
Max Rael comes from an experimental black metal background to give us his solo EDM project Raelism. This catchy and harmonious five-track EP is perfect to listen to anytime you need a fun and catchy pick me up.
get happy with this upbeat, poppy little electronic cover of a favorite Strokes track. Aubergine Machine is internationally renowned producer Ian Carey, who has toured worldwide with Diplo among many others, and the ethereal vocals of Shanti Ellis.
The Four40 Records roster has been pumping out all kinds of deep n’ dirty bass heaviness. Official or Un the crew knows how to take things down to the lows and shake em about. The labels West Mindlands connect with the fresh Right Here.
Our mutual Tropical friend Kalibo, between djtricks.com and Future Classics has a new premier for yall. A pretty big one at that, through Vices Thump Canada. Remixing Winnie Cooper’s / Vancouver BESTiE and calling it a slice of “sangaria House” is another for the summer collection. You can also listen to his latest mix in the djtricks.com mix series:
Sydney’s Carl Elliot has emerged from a three month period without release only to premier his latest on EDM.com to huge effect. The time spent payed off immensely. Lush vocals, perky xylophone chimes, together alongside a full on What So Not feel make this a must have. Free download for a like, HERE.
“Like the bear in which he adopted his name, Kermode’s music is soft, and peaceful at times, but one blink and you’re dealing with a massive, roaring, wild beast. Both live and in his production, Kermode puts heavier emphasis on songwriting and unique sound design to take his listener on an epic journey.”
Kermode’s story is one of my favorite to come out of the Canada Day weekend. An hour’s drive down a loggers road out into the middle of nowhere, I met Kermode at Eden Prime, which I found out was his first music festival ever. On the second night, by complete chance, one of the DJs played a song Kermode had produced in his set!
His music has a lot of variations in focus and style so I recommend you give a listen to his earlier EP Emit Time (and grab the free download while you’re there, too!)
When someone says that something is refreshing, this could mean (at least) two things. It suggests, obviously, that you have been deprived of it (this definition makes sense, and I think few would question it, unless they don’t know what the word means or what a question is). At the same time, however, there is the implied possibility that this “something” is now made “fresh” again and, perhaps, that it is good for you. Both of these definitions came to my mind during Fortune Sound Club’s Canada Day Long Weekend Party.
When I first came in, Kalibo was already up, playing to a trickling stream of attendees. While there was no crowd in sight just yet, he delivered a subdued and consistent set in tune with what the other DJs would all individually set out to champion: a revamped take on early 90s dance. Kalibo’s material was the kind of foreground sound that doesn’t annoy and the kind of background sound that only rewards. His selection of 90s–themed electronica was a slick presentation of the bold yet intelligent sounds that brought house and ambient together in the first place (the calmer, minimalist sides of The Orb and hints of early club-oriented Kompakt material came to mind). He was perfect for those who had found their seats and were pacing themselves for the long haul. Then, WMN Studies kicked it up a notch, seamlessly carrying the tone over, but bringing more punchy beats and live remixing. He can be accredited for being the first person to give the place a “moving” pulse, as evidenced by more heads turning and more bodies claiming positions on the dance floor (if you wanted to, you could imagine Underworld sneaking in and discreetly pressing buttons, but no one’s forcing you to). His driving beats and low-end throbs were applied sporadically and sparingly. This was, without a doubt, the smart thing to do; having barely reached the evening’s halfway mark, mere suggestions of what is to come manage to compound the anticipation rather than simply cashing it all in prematurely. Ultimately, the guy managed to do just that.
Following the first two sets, Pat Lok took over the controls. Amassing what the two previous DJs had presented, he somehow pushed both styles further, sprinkling in more dance moments and flashy remixes, but also finding more effective moments of singular, minimalist bliss. It was during Pat Lok’s set that I started to consider why 90s dance is so “refreshing.” There is no doubt a component of nostalgia; many generations of late 20-somethings/early 30-somethings may also hear a soundtrack to impressionable childhood experiences with summer breaks, innocent friendships, new places and plenty of sugar. However, there is more to it than that. In a world that has abandoned “plenty,” is easily surpassing “too much” and heading unquestioningly towards “what’s the point?,” I am reminded that less has always been more and- you know what?- will probably continue to be so.
It was around this time that Le Youth took the stage and dove into a full-fledged celebration of what has made his name. Girls flooded the stage and the dance floor came to life as he quickly celebrated nostalgic classics (Salt N Pepa’s “Push It”) and showcased his own tunes (the infinitely-remixed “Dance With Me”). Perhaps the set’s finest moment was the way he played with Corona’s “The Rhythm of the Night,” cutting the thing into pieces to scaffold the emotional pay-off and breaking apart the layers to explore their individual potentials. Though it was a centerpiece, it did not feel elongated or berated; it felt more patient and substantial, and this was the impression brought about repeatedly throughout the evening. Flexible space and a focus on singular ingredients were consistent features of the four artists in the main room. Meanwhile, the crowd was both modest and enthusiastic; when they lost their shit, I didn’t get the impression that it would be super expensive nor easy to replace.
As the pinnacle of the evening, Le Youth seemed to encapsulate the 90s quite well; the clear piano hooks of “Feel Your Love” channeled early 90s dance like Ce Ce Peniston and the reservation/release of Javeon’s vocal performance is reminiscent of what Basement Jaxx is still trying to perfect to this day. The strength of the song for me, like the strongest moments of all of the sets, has to do with giving good ideas the spotlight of center stage, complementing them with clarity, respecting them with patience and providing them with the space to breathe. To round it out, the evening’s DJs all revealed an intuitive mind and an active ear, as evidenced by their understanding of when and how to finally give the listeners what they’d invested in.
At the end of the ephemeral highs, I think even clubbers and concertgoers know full well that less is more. What remains important is how well that “less” is executed. In the case of the evening’s roster, the answer is, quite simply, “quite well.” Some may see Fortune Sound’s embrace of 90s dance for a Canada Day celebration as a desperate grasp at the last available scrap of retro left behind; far from it. If nothing else, the encapsulated summer vibes of 90s dance reflected the dead heat that ended a long, dry June for this northern corner of the west coast. More importantly, for those individuals that remember a world before the internet and this thing I’m typing on, the Long Weekend showcase was both a reprieve for “present” brains and a reminder that there is plenty behind us that we have yet to explore.
Keep up the great work, Fortune.