WELCOME TO MUSICNEWHOT

Strange Breaks & Mr Thing, coming soon

Coming soon on BBE, check that mean steel drum cut...

"Five years on from the last instalment of Strange Breaks we're proud to present Strange Breaks III! UK Hip-Hop producer and acclaimed DJ Mr Thing has been busier than ever, filling dance floors around the world as well as adding rare 45s to his ever growing record collection.

"In between the dizzying DJ schedule, he has been compiling this new instalment ; a compilation that reflects brilliantly on his dedication to digging for those untouched and unrivalled samples and breaks as you hear him use in his DJ sets."

Amalia and the Social Lovers newie

Out April 29 on 7"vinyl/digital on Cherries Records, very cool slice of modern boogie funk.

"For their 7th release, Cherries brings a different sound to your speakers, created by the return of ‘the first lady of modern funk’ AMALIA, in collaboration with a new group, straight out of the West Coast underground, SOCIAL LOVERS.

With this release, the Social Lovers sound takes you downstairs to the basement after-hours party, where people dance close into the wee hours of the night.

The A-Side, ‘So Right (feat. AMALIA)’ leads off with an enchanting arpeggiation, while the synth and drums connect with AMALIA’s spacey and soulful vocals to create a lush, warm pillow of funk to your ear drums. AMALIA waxes deep on a lover who is the perfect one, but soon becomes the wrong one, a melodic reminder that we are all looking for something real.

‘Call Me Up’, the B-Side brings Cherries closer to its Chicago roots with an instrumental, soulful house inspired tune, full of percussion and natural ebbs and flows of synth chords and strong melody. Social Lovers’ lush and polished production is showcased here with a brief taste of the smooth street soul sounds that the collective five thrives on, to keep you dancing in the basement ‘til the break of dawn."

Bossacucanova

Bossacucanova - Balança (Não Pode Parar) (2013) from Miolo Filmes on Vimeo.

Off the latest album from Bossacucanova, called Our Kind Of Bossa, stream, it here.

Free download of the above song here

Tanya Stephens remixed

Two cool versions on the same tune, hat tip to Dylan C for the links...

Lorde vs media

Via Consequence of Sound... " In a post on her Tumblr, Lorde attacked Complex magazine for publishing a negative review of Iggy Azalea’s debut The New Classic shortly after featuring her on a print cover. 

As Lorde wrote, it “bugs me how publications like complex will profile interesting artists in order to sell copies/get clicks and then shit on their records? it happens to me all the time- pitchfork and that ilk being like “can we interview you?” after totally taking the piss out of me in a review. have a stance on an artist and stick to it. don’t act like you respect them then throw them under the bus."

Azalea responded to the post via Twitter, writing, “I agree @lordemusic media LOVE to flop about, But when you’re completely spineless Im sure its hard to stick to even ur own opinion #GoGirl.”

Complex Magazine's Associate Editor Insanul Ahmed responded, with "Why Lorde, Iggy Azalea, & Grimes Are Wrong About Criticism and Journalism." 

Part of his response starts by playing on Lorde's age, which is perhaps trying to suggest she's young and naive. But anyone who follows her on social media knows otherwise. She's plenty media-savvy, which makes her attack on the media seem a bit odd. Ahmed goes on to say...

"... Lorde declaring “have a stance on an artist and stick to it” is a bizarre notion for an organization like Complex, which is to say bizarre for any media organization that claims to have any journalistic integrity. No one should stick to their opinion when new facts (possibly in the form of new music) are made available that can alter your views...

"... If Complex—or the media at large—operated the way Lorde wished, it would do away with journalistic integrity all together. Lorde—as well as Iggy—seem to confuse press as “respect” and criticism as being thrown “under the bus.” Truth is, not every media interaction will be mutually beneficial...."

Conclave: Clockwork

Some very cool bleepy music from the Philippines that turned up in my email inbox. Very succinct bio - one liner that says... Song Info: "Inspired by vintage clock designs, beatboxing, and dusty vinyls."

Free download...

Conclave: Facebook // Twitter // Instagram

Ring The Alarm playlist, April 26

George Benson  -World is a ghetto
Gary Bartz - Celestial blues
Blundetto - Nautilus - dub version
Rhythm and sound feat Cornell Campbell - King in my empire
Rhythm and sound feat Jennifer Lara - Queen in my empire
Nitin Sawmhey - Dead man - Fink dub
Dub asylum - Jumping jack skank
Estere - Culture clash (Free download)
Quantic - Duvido
Oddisee - Viva Brasil
Marva Whitney - Things have got to get better
Yvonne Fair - I found you
Lyn Collins - Rock me again and again and agaiun
Fred Wesley and the JBs - You can have Watergate but give me some bucks and I'll be straight
Society's bag - Let it crawl
Young Holt unlimited - Wah wah man
La Toya Jackson - If you feel the funk
Ebonee Webb - Something about you
Sola Rosa - Can we get it together
Mo kolours - Little brown dog
Fat Freddys Drop - Barney Miller
3 generations walking - Midnight bustling
Round four feat Tikiman - Find a way
Tony Allen - Ole - Mauritz von Oswald remix

(We Don't Need This) Fascist Groove Thang

A mate of mine made an outstanding pun using the song title (We Don't Need This) Fascist Groove Thang on Twitter the other day, and I've been wanting it ever since. Found a copy of the album Penthouse and Pavement featuring it in Real Groovy today for the grand sum of $6. Worth every cent, and also features some other great tunes. It was the first single off their debut album, and the BBC banned it. 

The cracking bass solo in the middle of the song is played by a kid who had owned a bass for a total of one week. Seriously.

"A surprise star of the song was teenage bassist and guitarist John Wilson, whose buzzes and thrums and eight bar bass solo earned many accolades.

Ware told us the story behind teenage bassist and guitarist John Wilson's contribution: "We wanted a bass solo in the middle eight. We thought it would be really cool to go with the electronics, but we didn't know any real musicians at all because we were basically just kids messing around with the tape recorder and synths. 

At the time Glenn was working at the local theater in town in his spare time to make ends meet - because we weren't paying ourselves very much - at a place called The Crucible where the world snooker tournament was going on as well. He went into the greenroom. He said, 'Oh, I'll ask around because it's theatrical people, there's bound to be a musician in there somewhere.' He walked into the greenroom of the theater and said, 'Does anybody play bass?' Literally. This is not some apocryphal story. This is literally what happened. 

And one of the stage hands [John Wilson] was this young guy who had just started, 17 years old. Black guy. Very shy, quiet was reading the newspaper. He put his hand up without looking up: 'I play a little bit of bass.' We asked him to come down because we just wanted to see if the idea would work. He said, 'Oh, I'll go and get my bass. I just bought one last week. I bought it for 20 quid, so it's not a very good bass.' It really doesn't matter. It's just the idea. We want to see if it will work. 

So he came down and the first thing he played was the solo in the middle of 'Fascist Groove Thang' and we all went, excuse my language, 'Fu--ing hell!' Literally, in my entire life my jaw's never hit the floor. All of us, we were going, 'This is phenomenal!' And so I said, 'Would you like to see if you can play some bass on the rest of the tune?' And he went, 'Sure.'"

Ware continued: "After he finished the bass on the track, he said, 'Is that alright?' I said, 'I think it was alright.' 'Because,' he said, 'It's not really my main instrument.' I said, 'What's your main instrument?' 'Oh,' he said, 'I'm a rhythm guitarist.' And I said, 'Do you think you might want to go home and bring your guitar in, like, right now?' So he came back in and he sat down and plugged it in. And I said, 'I think we'd like something that sounds a little bit like Chic.' 

I knew it would be good because this kid's got the funk, but it was on another level. I've since talked to Nile Rodgers about this and he says, 'Wow, that kid is just awesome.'" Source; Songfacts

Southern Freeez, featuring Emanuelle Araújo

This Record Store Day exclusive 7" probably won't pop up on our shores any time soon, but it's a mean taster for something new from Gilles Peterson..

"Taken from Gilles Peterson’s new album project Sonzeira, Southern Freeez, featuring Emanuelle Araújo on vocals, is an electronic bossa re-work of Freeez’s famous UK jazz-funk hit, due for exclusive release on 7” for Record Store Day Saturday 19th April.

The album Sonzeira – Brasil Bam Bam Bam features all new material produced by Gilles Peterson and is the product of him being a fan and a champion of Brazilian music in the club and on the radio for last 25 years; culminating in him bringing together the country’s finest artists all on one record for the very first time - under the artist collective Sonzeira."

Brasil Bam Bam Bam is released 19th May. First official single Brasil Pandeiro, a rework of the original 1940s track written by Assis Valente, out now. Listen here. Watch the album trailer below

UK readers can check this: "Gilles will host a launch party, 'Club Bam Bam Bam' on Thursday 15th May. Playing back to back with DJ Nuts all night long - a very rare billing especially in London. ‘Club Bam Bam Bam’ Parker Street, London, WC2B 5PW from 9pm-2am, with tickets available in advance from www.musicglue.com/brownswood-music

Shapeshifter remixed by Unmap, free DL

Radio Ponsonby closing down

Radio Ponsonby announced on their Facebook page today they are shutting the station... 

"Unfortunately, next Wednesday 30th April will be our last day on air. Despite 4 years and one month of making the best boutique Radio in Ponsonby, and the world, it is no longer viable to continue without the support of the advertising market. 

Our thanks to all of you, our supporters and friends and a special thanks to all the DJ's, Hosts and hangers on that have made this a great little radio station."

The station originally started out above Chapel Bar by Luke Dallow and co, and moved to Ponsonby Central when that opened.

Estere debut album, and it's free!

Wellingtonian songstress Estere recently wowed the crowds opening for Erykah Badu, and now she's dropped her debut self-produced album. Features guest spots from Tay Ninh and Mara TK from Electric Wire Hustle. Give it a listen.

Upcoming live dates for Estere: Sat 18 May - Erupt Festival, Taupo / Thurs 22 May - Tyler St Garage, Auckland

Record Store Day videos

From New Plymouth's Vinyl Countdown...




Spelling Mistakes live instore at Real Groovy in Auckland...




And spot the New Zealander queueing outside Amoeba San Francisco...



And Jack White make the world's fastest record.

Ring The Alarm playlist, April 19

Nina Simone - Seeline woman - MAW remix
Nightmares on wax - Ease Jimi
Fat Freddys Drop - Hope - Sonsine remix
Rhythm and sound feat Sugar Minott - Let Jah love come
Thievery Corp - 38-45
Jackie Mittoo - Voodoo moon
Esso Trinidad steel band - I want you back
Silvertones - Tamborito swing
Mala - Como como - Theo Parrish remix
James Brown - Get on the good foot
Bill Withers - You got the stuff
Gonzalez - Just let it lay
Parlet - Help from my friends
James Blood Ulmer - Litte red house
Mulatu and the Heliocentrics - Cha cha
Longsy D -This is ska - Greg Churchill edit
Laurel Atkin - Skinhead train
The Survivors - Rawhide
Adrian Younge and the Delfonics - Lover's melody
Dennis Edwards - Don't look any further - Bobby Busnach edit
Bobby Womack -You're welcome, stop on by - Beaten space edit
Dexys midnight runners - Geno

Lorde wins Taite

Lorde and Little, winning stuff since last year/forever

Lorde won the fifth annual Taite Music Prize this evening, collecting $10,000 and recording time at Red Bull Studio, plus a years worth of Red Bull. In her acceptance speech, via video from Las Vegas, she graciously offered to give up the prize money to the other finalists.

Lorde said "I think everyone is kind of sick of me winning stuff at the moment and other people are in more in need of the funds and exposure right now. So if you will accept it, the prize money and the studio time have been split between this year's nominees. If you don't want it, that's cool too."

The other finalists were Unknown Mortal Orchestra (who won the Taite Prize in 2012), Beastwars, Sheep Dog & Wolf, the Phoenix Foundation, David Dallas, @peace, and Jonathan Bree. They will get approx $1600 each. And a few Red Bull. If Lorde doesn't drink them all. [kidding]

Grant Smithies, one of this year's judging panel, said "Lorde's LP was a rare example of an underground pop record being so damn good, it went mainstream, not just here, but worldwide."

It seems a long shot to try and argue Lorde's album was ever going to be underground, given it featured a global hit single, and got released in late September 2013, on the last possible day of eligibility for this year's Grammys. There is no question it was going to go mainstream. Only question was how big would it get. Maybe Smithies is referring to the sound of the record. It will be interesting to see the reaction to such a commercially successful artist winning an award based solely on originality and artistic achievement, not taking into account any commercial success or otherwise.

The prize giving took place at Galatos in Auckland, the location for Lorde's first ever live performance. Also awarded was the IMNZ Classic Indie Album prize, with a very moving and funny speech from Kerry Buchanan, celebrating AK79. 

Buchanan noted that AK79 was part of the cultural change of 77-79 in NZ. It didn't happen apart from current events. 

He talked about the importance of AK79 in capturing a moment in time, and how that spread. He gave an example - of working in a record shop and this guy wearing a bunch of scarves wandered up and shook his hand and started talking to him about AK79  - it was Silvio from The Sopranos, better known as Little Steven - guitarist with Bruce Springsteen, and host of a radio show called Little Steven's Underground Garage. Steven loved AK79.

The award was presented to Ripper Records boss Bryan Staff, the man responsible for the legendary compilation but he wasn't in the room at that moment, so Kerry blagged off with it. Fair enough. NZ Herald's Hugh Sundae caught up with Bryan later in the evening, watch that here.

He tells Hugh about the practical aspects of getting AK79 out - Bryan had all these demo tapes of Auckland punk bands who had been on his radio show, and a colleague suggested he put out a record, and Bryan thought, why don't I do that? Aren't there laws against that sort of thing?

So he went to off Ode Records and asked them if they could take the compilation tape and make a record and bill him. They did that, and he got the record, the inner sleeve, the outer sleeve, and the hardest part about getting the record out was Bryan had to sit there putting the sleeves together, getting numerous cardboard cuts for the next week it took to do the initial 250 copies.

The Record Warehouse bought the lot and gave him a cheque, and Bryan went back and ordered another 500, then that sold and he ordered 500 more from the man at Ode [probably Terence O'Neill Joyce], who said "How can you do this? I've struggled for years to get acceptance and you have this crap record that no one will play, yet it's selling." Bryan said "Wish me luck as you wave me goodbye!"

SJD (the 2013 Taite Prize winner) and his band played a short but utterly delightful set to close the night. SJD made a speech earlier in the evening, highlighting all the joys winning the prize had bought into his life, noting that he with only 17,000 more plays on Spotify, he can afford a new guitar pick. That's the dream, kids. Watch SJD's speech here.

Record Store Day in AK and beyond

Southbound Records at 69 Mt Eden Rd have over 100 local and international Record Store Day releases available, plus 50% off all secondhand vinyl.Live in-store performances from Delaney Davidson and Tami Nielson. There will also be free coffee and homemade baking on offer, plus free eco music bags with purchases. Here's a list of RSD exclusives they've got in stock so far...

Real Groovy on Queen St has a bunch of exclusive Record Store Day vinyl they are releasing, plus live performances from Phoenix Foundation (2pm) and Spelling Mistakes (4pm), and DJs all day. DJ/performance schedule is here.

Conch Records at 115A Ponsonby Rd will also be getting involved with RSD special releases and goodies. They have a live instore PA from She's So Rad and Tyra Hammond, and also a huge collection of rare secondhand dance/drum n bass/jungle vinyl going out on the shelves (pulled from the collection of Nick D), around 3000 records.

My Generation over in Browns Bay will be taking part, with RSD specials.

Marbecks Classical in Queens Arcade has 25% off all vinyl for RSD.

Down in Wellington, Slowboat Records has a live instores from Louis Baker, Julia Deans, and Dave Dobbyn, and RPM Music has the Mantarays live instore plus DJs all day, and Deathray Records are also taking part.

New Plymouth's Vinyl Countdown is getting involved, check their FB page for more info.

Further down country we have...

Napier -  Just For The Record

Nelson – Everyman Records

Christchurch – Pennylane Records, and Galaxy Records get in on the act -Galaxy has X-Ray Charles live instore. 

Dunedin – Relics Music has Kahu and Paul Cathro live instore at 5pm. 14% sales instore all day.

There may be other stores in these towns taking part, but I can't find any sign online. Advertise your ish!

Local vinyl also out for Record Store Day: VARIOUS: DUNEDIN DOUBLE - The Chills, Sneaky Feelings, The Stones, The Verlaines (Flying Nun) 2 x 12" EP

BORED GAMES - Who Killed Colonel Mustard (Flying Nun) 12" EP
AND this gem: SUBURBAN REPTILES Saturday Night Stay At Home 7". A limited gold vinyl edition will be available to the first 20 buyers in-store at Real Groovy with a bonus colour photo print signed by photographer Paul Hartigan of the band in action.

Ikebe Shakedown new album out now

Following up their self-titled debut album from 2011, Ikebe Shakedown's new album has just dropped.

The band told Wax Poetics that “Our first two releases were very focused on capturing Ikebe’s live sound. Stone by Stone is more focused on developing rich textures and layers that we could achieve in the studio including putting a lot more keyboards on the tracks. Still, we’ve always been committed to tracking everything to tape. Being at Daptone gave us the freedom to explore creatively while keeping us tied to the traditional recording techniques that make the House of Soul [studio] unique.”. 

“We recorded our first releases, the EP Hard Steppin’ and some tracks off our self-titled LP with Tom Brenneck at Dunham Studios,” percussionist Dave Bourla recalls. “Off of that, a few of us started to play in the touring bands of Charles Bradley and Sharon Jones, while other guys were playing with Lee Fields [their guitarist Vince Jones was part of Lee Fields' band for recent Oz/NZ shows]. As a result, a bunch of us had gotten to know the tape engineer at Daptone, Wayne Gordon, whose talents we greatly respect. When he had a couple of days at the studio free, we jumped on the chance to record in a place that’s inspired all of us.”

York St Studios closing

York St Studios is closing down. The owner, Adrien De Croy (of Jelly Music, who own York St, and co-own Siren Records) apparently has plans to turn the space into apartments. 

In mid February NZ Musician reported that York St had announced their closure on April 20 2014 in their Parnell location via their Facebook page...

"Dear Friends.

It is with the deepest of regret I inform you that the lovely building we have occupied for the last 20 years is in the process of being sold. York Street Recording studios will, from the 20th of April 2014, no longer be able to continue to operate from the current Parnell studio.

Through 22 years of making music we have seen good times and bad and ironically business is currently thriving. We are not sure about the next chapter in the York Street Recording Studios story but are looking at various options including re-locating to other premises, and will keep you posted.

We are fully booked until the 28th of February and will be taking bookings at the iconic York Street location for March and April up to the last day. This could be your last chance to get that fantastic sound we offer from York Street and to be part of New Zealand music history!!

This is sad news for us all but please share with your music friends."

York St Studios opened in 1992, and was set up and run initially by acclaimed NZ producer Malcolm Wellsford, engineer Martin Williams, and Killing Joke's Jaz Coleman, who produced Shihad's debut album at York St in 1993. Coleman returned to the studio in late 2013 to produce the next album from Shihad, which they finished mixing in late February 2014.

However, the current studio manager Jeremy McPike, recently registered a company called York St Recording Studio Ltd, so there appears to be a relocation/move in the winds, as suggested above. The new company was registered on 24 February this year. According to the Companies Office website, McPike is the sole director and one of two key shareholders.

McPike told the Rockshop in January 2014 that when De Croy bought the studio in 2000 “The lease was up and the Studio was essentially bankrupt. Adrien bought York Street the business and the building to stop it being demolished by the developers. Adrien saved York Street”. 

But he goes on to say “York Street has not cost any money but has essentially been a break-even business for 12-13 years”. They have diversified to other areas, such as being the regular venue for the NZ Herald's Sundae Sessions live shoot (which have now relocated to Roundhead). 

York St is the current home a vintage 1974 EMI Neve 24-channel mixing console, one of only seven made.  It was first used here in EMI’s Wellington studio from 1975 til that facility closed in 1987. The original cost was 34,000 pounds.  It was first used at the legendary Abbey Road Studios in London for nine months, while they waited on a 36-channel version to be built. It was then shipped to Wellington [source].

According to York St's website "There were 7 of these fantastic sounding consoles made by the legends at Neve specifically for EMI studios around the world, one of which was in Wellington New Zealand. We were able to track down all of our consoles relatives. One is at U2’s studio in Dublin, one is at ICP studios in Brussels, Belgium, two have been put together as one large console and is in Steakhouse Studios in Hollywood CA, Two are currently being put together at the Great Linford Manor in England and number 7 is here with us at York Street in New Zealand

All of these consoles have been heavily modified over the years and ours is the only one left in its original condition. Our console (serial number A3095) is fitted with 24 inputs all with the very rare and sought after 1093 modules (5 band EQ) and has 16 returns. The console uses 1977 channel routing units and 3415 line amps."

Apollo Brown: Cigarette burns [free EP]

Mello Music says " Two weeks from today Detroit producer Apollo Brown will be releasing his newest instrumental soundtrack Thirty Eight. The sound falls somewhere between the end of 70s heroin and the beginning of 80s crack, like day prostitution. The technicolor journey begins today with a three track collection of instrumentals from the project that Apollo has titled Cigarette Burns EP."