Listen to the show from August 25th here.

Following all the Lusophonic excellence, the London based scientist switches the vibe finishing with a few Eglo tracks. Listen in at 1hr 41min for a new Floating Points production with a monstrous bassline.

Oh, and Eglo have a new digital home: http://eglorecords.com

Housed the correct side of the river at Dex in Brixton, the two-tier terrace serves as the main space, they’ll also be a bar downstairs. For the last blast of the Boglewaltz summer the line-up brings together numerous agitators from London’s underground, including Kay Suzuki, Mr Beatnick, Cal Jader, and Hugo Mendez.

Two of Boglewaltz’s creators Guynamite and Analog Jones collaborate as Twin Cities, the third instigator, D.Ablo is a skilled vocalist. To gain a flavour of the affair, here’s a free download (thanks to Nu-Soul Magazine) from the three gents.

Twin Cities ft. D.Ablo – Don’t U Want Me Back (right click, save as…)

As a bonus here’s a couple of photos from the last session:

www.boglewaltz.com

www.dex-london.com

When was the project conceived?
In April a label called Kilawatt approached me to do a project saying they wanted me to work with musicians to re-play some of my tracks. Unfortunately we couldn’t work out an agreement. Fortunately however we were so keen I was like well if you give all the proceeds to charity then I will do it. Simon the label owner was more than happy to make it happen.

Why Save the Children?
For the last 6 years I have been working with young people and children leading workshops and mentoring through music. This experience has given me the chance to see how important young people are to all of our futures. We wanted to choose an international charity that help children and young people who suffer from poverty and who help can help them get a better quality of life. You never know who they can become because of some support, they could be the next Dilla or Einstein!

How did you link with the artists?
All the artists involved are first and foremost friends. As musicians and artists, I’m a fan of all of them. When I told them about the project everyone was willing to help and support in any way possible. This was the same with the studio, engineer, mastering, designer, illustrator and photography! Was great to see people come together and give up their time and incredible talents to a cause that will hopefully make a difference. We obviously hope that this project will generate some support for Save the Children however I also hope this inspires others to think about ways of using their talents to help others.

How were the songs assembled?
We had one day in the studio to lace 3 tracks. Unfortunately we only managed to finish 2. We were really pushed for time but everyone seemed to have a great time and I think a lot of long lasting relationships were made that day. Everyone played their position and I pieced it all together.

Now you’ve created a madly-talented London super-group, what next?
I know that everyone enjoyed the feeling of being together in a really nice studio environment. Some of the artists and musicians had never met before and got on really well. I hope everyone can get the chance to work together more in this way because to me it makes perfect sense.

More photos here or in video montage below

The Team:

Drums: The PSM
Guitar: Ben Jones
Bass, Piano: Akwasi Mensah
Flute: Finn Peters
Synthesizers: Floating Points (although unfortunately not on the finished tracks)
Vocalists: Rahel, Fatima, Sarina Leah, and Szjerdene
Engineer: Blue May
Photography: Lily Lau
Design: Ashkahn
Illustration: T.S Abe
Studio: Fish Factory
Mastering: Fluid Mastering

Available digitally for a paltry minimum donation of £2, purchase Eric Lau & Friends – See & Under Standing (Reprise) at: kilawattmusic.bandcamp.com

www.savethechildren.org.uk

A few months ago I wrote about a feeling I called ‘The Worldwide Effect‘. I suggested that Gilles Peterson’s Worldwide Festival in Sète was an experience made up of magical moments strung together by our favourite music. I recently returned to France to find that in its fifth edition, the festival has grown significantly, so much so that some old faithfuls may consider this a year of transition and change of direction. Although they will perhaps mourn the intimacy lost apropos of previous editions, it is clear on even the most superficial inspection that its valued spirit of familiarity remains untarnished.

This year’s edition confirmed that the Worldwide Festival is a space for friendships to be made and consolidated. As soon as I landed in Sète I was met with warm faces, both old and new, and it was not long before a spontaneous crew was assembled that would see us through the weekend. This friendly outlook also found expression on another level, as the frequent collaborations between performers – conveyed most notably by Gilles Peterson, Norman Jay, and Laurent Garnier’s playful sparring on the last night – indicated that this festival is also the place where the artists get a chance to get together, relax, and enjoy the convivial atmosphere. Furthermore, on a strictly utilitarian level, these friendships were fundamental to the festival’s success this year. Untimely cancellations from Gil Scott Heron, Joy Orbison, Flying Lotus, Ross Allen, and Kev Beadle forced significant and hasty readjustments that could not have been met without the good will, flexibility, and energy of artists of the calibre of Laurent Garnier, LeFtO, and SBTRKT.

The festival was organised into four arenas that, whilst complimentary to one another, remained clearly distinct experiences both atmospherically and musically. In past editions the festival has, to a degree, felt like a DJ’s playground but this year the organisers have really hit the winning formula with regards to live performances: energetic music with strong percussive foundations and the single-minded aim of bringing the audience to its feet. The festival’s live repertoire began at the street party on the Thursday afternoon at the Centre Régional d’Art Contemporain in town. The sounds of Half Seas Over gently shuffled the audience into cool before Dorian Concept matched the blistering heat with an infectious and feverishly energetic performance. Soon after, as Gil Scott Heron’s cancellation was announced, the momentum that had gathered waned. Nevertheless, his brilliant band kindly took to the stage, but through no fault of its own, it struggled to hold the crowd’s attention, which missed the charismatic presence of its frontman. It was, however, the two evenings at the wonderful Theatre de la Mer that were the most memorable, as its sloped seats became an impromptu ballroom for the sun-kissed crowds.

The evening music was dominated by big bands, big sounds, and big horns. In its exploratory tour of the urban influences currently touching Afro Cuban traditions, Gilles Peterson’s Havana Cultura project effectively integrated hip hop and club shades into rumbas and high energy latin jazz. Danay Suárez’s controlled and personal delivery was a particular stand out, as was Roberto Fonseca’s muscular playing, which brought necessary intensity to the danzón numbers. The pair’s matching in the mournful ballad ‘Lágrimas de Soledad’ gave me a real feeling of presentness, as if all my senses were momentarily in absolute harmony with the experience. Then, the Orchestre Poly-Rythmo de Cotonou thrilled the crowd by propelling the complex rhythmic heritage of Benin’s Vodoun traditions with a touch of analogue Africa. A cheerful disposition accompanied bellowing horns and agile guitar licks and, with a little help from an intense thunderstorm, the band provided a memorable finale, continuing to play as the stage crew covered the musicians in loose sheets of golden foil in a scene reminiscent of James Brown’s infamous cape routine.

My personal highlight of the festival came on the second day, courtesy of Hypnotic Brass Ensemble’s irrepressible, raucous, and theatrical stage show. Blaring bold melodic hooks, the nine-piece band drew from the ceremonial street music traditions of the earliest days of both jazz and hip hop, teasing the audience into rhythmic and vocal call-and-response games over the dark basslines served up by the mighty sousaphone. However, their show was not all party: as the band abandoned looping lines in favour of crafted harmonic fanfares, the real depth behind their music was brought into view. When the chance comes, make sure to seek out these boys. After the Hypnotic Brass Ensemble’s pulsating display, I seriously feared for the Quantic y su Combo Bárbaro performance that would follow. In spite of that, my doubts could not have been dispelled more quickly or thoroughly, as Will Holland’s lush band furnished us with the perfect soundtrack to the summer evening. Like the members themselves, the music was a multicultural blend of upbeat tropical numbers that moved from cumbias to latin funk to boogaloos. Although Alfredo Linares’ extravagant piano and flavoursome montunos merit special mention, the general musicianship was exceptional. For my money, Quantic’s ensemble is one of the best latin bands in the world at the moment.

One of the things I like most about the Worldwide Festival is the clear and attainable time slot given to each performance. Although circumstances conspire to make the audience relax, with a little organisation, you can see virtually everything. After the evening performances came the festival’s clubbing experience in the fondly dubbed “car park rave” at the Phare du Mole. Foreign Beggars got the party started on the opening night before an expansive and uncompromising set by Mala, which enveloped the crowd in a penetrating and almost tangible sea of bass. Floating Points and Fatima delivered an elegant and versatile house session that set the tone for a soulful contribution from Mr Peterson. High off the Orchestre Poly-Rythmo de Cotonou performance, the second night at the Phare du Mole brought to stage a badly mistimed, careless, and arrogant performance by Gaslamp Killer and Gonjasufi which provoked the only negative audience response I heard at the festival. Nevertheless, along with any residual irritation provoked by Joy Orbison and Flying Lotus’ impudent absences, such woes were swiftly forgotten the moment the first strains of Laurent Garnier’s relocated surprise set kicked in. Garnier delighted the audience with a multifaceted performance that combined moments of dubstep and drum and bass with his signature techno sounds. To close the night, SBTRKT featuring Sampha lay out some subtle neo-soul vocals over crashing, grimey beats. On the Saturday, the unwavering few that made it down early were lucky to be eased into the night by a carefully constructed set by Jeremy Boon, who drew on warm disco, soul and house sounds. Kyle Hall’s tight deep house set lived up to its promise, with a welcome touch of acid chucked in to the mix. In stark contrast, the much hyped techno-cabaret act dOP was wildly disappointing and will be remembered only for the frontman’s nude antics with two progressively uncomfortable audience members. Thankfully, Josh Wink’s bass-flavoured techno rescued the night by holding the audience in tense raptures until the strings of an immense edit of fellow Philadelphia native Teddy Pendergrass’ ‘The More I Get, The More I Want’ came to a final fade.

During the day, the crowds descended upon the ACD beach for some sunshine, detox, retox, and late afternoon dancing. Early sets by Hugo Mendez and Klub Des Loosers generated a relaxed atmosphere that was much welcomed, but it was the late afternoon shows by LeFtO and Simbad on the Friday, and Ladybugz on the Saturday that really smashed it. LeFtO and Simbad closed last year’s festival and their beach performances are without question one of the festival’s consummate acts. These boys could happily play the entire four days and I doubt either they or the audience would get tired. This time they displayed an astonishing fluency and range, flying seamlessly through Brazilian to hip hop to pure party jungle. On Saturday, the Ladybugz adopted a similar celebratory and eclectic stance, bringing a bit of West London to the sea. Featuring Marshmello on MC duties, the girls dropped a sunny selection of bouncy classics, drawing from broken, UK boogie, and big edits – Yam Who’s reworking of Grace Jones, Maurice Fulton’s remix of Alice Smith, and Todd Terje’s excellent edit of Chic’s ‘I Want Your Love’ – to drench the beach in bright and hugely catchy sonic goodness. Peven Everett has never sounded so awesome.

For the final day, the beach was transformed into a fifteen-hour party. Norman Jay encapsulated the mood of the festival with his singularly uplifting sounds and disco-inspired shakers, but it is Jeremy Ellis and his magical fingertips that deserve to be remembered. His electrifying cyborg-funk performance was a genuine revelation to me, combining live sampling, dirty vocals, and keyboard wizardry. My attention then turned to the World Cup Final for a couple of hours, until nerves finally became elation. As the final whistle blew, my handful of Spanish friends and I discussed whether we would rather be here or in Madrid tonight, but soon our doubts were overcome with the joy of watching three giants – Garnier, Jay, and Peterson – fight for a moment’s glory in a night they too recognised as special. The host could not contain his enthusiasm and guaranteed that with the possible exceptions of Madrid and Barcelona, we were all witnessing the biggest party in the world. Indeed, as the final hour approached and Cee Lo’s evergreen ‘I Want You’ came out of the speakers, there was no other place and no better company that I would have rather been in. It was nothing short of amazing.

John M. Gómez

Worldwide Festival

Benji B warmed up room one with songs to please the soul crowd in attendance, including Stevie’s ‘Too High‘, Yam Who’s long percussive edit of ‘Skyy, Can You Feel Me?‘, and Nas’ ‘Get Down‘. Eager to get a spot for the first of two live sets people edged towards the stage, before long Fatima and band began.

‘Higher’ opened the show, although it was in the second track (‘Lil’ Girl‘) when things really got going. Taking a backing role on keys, Floating Points’ solo in Shafiq Husayn’s composition demonstrated his terrific piano playing, skills often overlooked when he’s leading the show. Adding the final ingredient to a well-balanced line-up (others members being on drums, bass, guitar, and three backing vocalists) FunkinEven ghosted on to man his MPC and red microKORG XL, chatting into the vocoder to signal the start of ‘Kleer’.

Midway through, ‘Mind’ commenced. The most complete song to come so far from the Floating Points Ensemble, it’s one where Fatima seems to always excel, “What’s the use of running? When noone’s waiting at the finish line…”. Without the live strings of previous shows, super-crisp rimshots helped the fine rendition have necessary clout.

Charming as ever and witty in her on-stage talk, Fatima introduced ‘Warm Eyes’, a driving-with-the-top-down groove produced by Dam-Funk. ‘Soul Glo’ followed, complete with a brief cameo from Alex Nut that fell a bit flat but amusingly attempted to recapture the vibe in the video. ‘On the Go’ closed the show, though sadly the vocal harmonies were muddy in the mix. For Fabric to compete as a live venue these technicals need tightening. Minor hiccups didn’t distract from the overall quality of the performance; it’s a treat to see a  performer as talented and humble as Queen Fatima in such an ambitious set up. Another extraordinary Eglo production.

As Ronnie Herel DJed the crowd packed in even further, squeezing in tight during Jill Scott’s ‘Gimme‘. Shortly after midnight the main event arrived, Bilal with a 4-piece band.

Dressed in suit jacket and shades, it wasn’t long before ‘Something To Hold On To’ had spines tingling. The lead-in song from the album that never was (Love For Sale), it was one of many older tracks to send the crowd loopy. Cuts from 1st Born Second pleased Dilla heads, notably ‘Reminisce’. A breath-taking rendition of ‘Love Won’t Let It’ offered evidence on why Bilal’s vocals are so revered.

Weaving in material from the forthcoming Plug Research album, Airtight’s Revenge. The 88-keys produced ballad, ‘Think It Over‘ cooled the mood before ‘Restart’ showed how his new material has a rock-element, bridging soul with prominent electric guitar and crashing drums. Tight from their time touring the band backed Bilal brilliantly.

‘Sometimes’ was a joy to hear live, a 21st Century soul classic. Equally emotive, the new take on ‘All Matter’ contrasts to the Robert Glasper version but the familiar vocal means it still packs as much of a punch. Especially when audiences cry back “What is it?” to Bilal’s call of “What is love?”.  The delicacy of his voice never ceases to astound, as heard in the falsetto passages of ‘White Turns To Grey‘. Every bit as hair-raising as the recording, ‘All for Love’ showed his ability to ease through octaves.

Clocking in at almost two hours, Bilal fans could not ask for more. A wine-swigging encore finished with a female eruption when the man from Philly asked where his “Soul Sistas” were. Leaving the stage professing his love for London Bilal can rest assured that the feeling is reciprocated.

Fatima’s second outing with her band is at 8pm Saturday 17th July for Flomotion Live at London’s Royal Opera House.

Bilal’s European dates continue with shows in Oslo tonight, Saturday at the Dour Festival, and finally in Rotterdam Sunday.

Thanks to Ashes57 for the photos.

DOLDRUMS PRESENTS:

OMAR S THE BEST (DETROIT, FXHE)
SOURCE DIRECT (LONDON, METALHEADZ)
KASSEM MOSSE (LEIPZIG, MIKRODISKO)
FLOATING POINTS (LONDON, EGLO)
PETCHY w/ MC TOPSEE (LONDON, LIVEFM)
JOY ORBISON (LONDON, DOLDRUMS)
JOSEY REBELLE (LONDON, NONSENSE)
THE BPM (LONDON, BROWNSWOOD)

2100 – 0500
£8 advance, £12 on door.

For more and enquiries email: XX1@doldrumsrecordings.com
http://www.doldrumsrecordings.com/

TICKETS

Flyer by: the trilogy tapes

The man running the dopest party in the world joins forces with the man who just happens to have one of the dopest records out right now. Going down live at LA’s famed HVW8 galleries (http://www.hvw8.com), Jamie Strong and Aloe Blacc got together for a session too great not to share. Just check the tracklisting below:

Indigo Jam Unit – Be
Moodymann – Rectify
Aloe Blacc – If I
Theo Parrish – Secondary Darkness
Floating Points – Peoples Potential
Great Weekend – Lets Do It Again (Do Over)
Theo Parrish – Ugly Edit 10
Aloe Blacc vs Frou Frou
Joy Orbison – Hyph Mngo
Steve Spacek vs Hudson Mohawke
Dam-Funk – Killdat
Starblazers – Dangerzone

Click the be taken through to a stream or right click to download: Jamie Strong & Aloe Blacc Do-Over Podcast

Check the orginal page hosted by HVW8 over at: http://hvw8.podOmatic.com/entry/2010-05-05T21_22_52-07_00

Detroit has worked its magic again, this time the form of 18-year-old producer Kyle Hall. For man so young, his music is steeped in a maturity that belies his age. He runs his own label, Wild Oats, and has enjoyed a lot of hype surrounding his debut 12” on Hyperdub, Kaychunk/You Know What I Feel. With a selection of UK tour dates this month, we talk inspiration, the hustle, and how he wears that Motor City mantle so well.

How long have you been making music?

I’ve been making music since I was 11.

What got you into it?

What got me into making music was hearing it.

Do you feel the pressure of being part of Detroit’s mythical music scene?

No, not at all. I only do what I do. The only time there would be pressure is if someone is trying to compare themselves to others. I believe every artist that has come out of Detroit and has been successful is because of following their own way and not worrying about people in the past.

In your opinion, what is it about the city that’s bred such creative magic?

The reason Detroit has bred such creative magic is because it’s not such a friendly, happy-go-lucky and helpful city. It allows people to naturally create new ways of doing things. Doing things your own way is what I feel is the mantra of many artists here. When it comes down to it, the city isn’t very crew-oriented like, say, places like New York or London. It is a place where every man is for themselves at the end of the day. There are some people that are happy to help you along to an extent, but in Detroit it’s really, ‘do it on your own or else you’re not going to get anywhere.’ So out of that comes inventiveness because of this struggle that you have to go through to achieve whatever it is you’re trying to do. You find new ways of doing things sometimes when people don’t just hand you things.

Are you enjoying the touring? I read an interview that said you hadn’t travelled further than Canada before.

Yeah touring is cool. I’ve learned a lot about clubs, people and sound. So yes, it’s really great.

What’s been your favourite place so far? You met some good people?

My favorite place so far is the UK. I feel the people there receive the music I do the best. In the UK, I’ve also met some really great people.

How’s Wild Oats going? Are you signing any new artists or just concentrating on releasing your own work?

Wild Oats is going great! I’m getting ready to release a new record by yours truly called the Sun Goddess EP. It’s being pressed up right now and I’m shooting for it to be released late June early July. Wild Oats is for releasing my own stuff. Every now and then I might bring someone on board for a collaboration, but Wild Oats is me at my purest.

Kaychunk/You Know What I Feel is getting a lot of heat. It’s a great record. Did you anticipate such positive feedback?

Honestly? Yes. I knew people would eat up a record like that. I put together the ingredients of a feel-good record and had it released on a label where I thought my sentiments and ideas could be most properly expressed for these types of songs. It was a planned and successful experiment, definitely.

Kyle Hall is playing in London this Sunday 2 May at Hybridlife’s launch showcase. He’s also at the Southport Weekender the following weekend, and is back in London on 14 May for an Eglo Records party at Plastic People, sharing the bill with Floating Points.

Music festivals are places in which myths get disseminated. Their self-imposed boundaries encourage a sense of isolation from civilization, and once inside their physical and imagined limits it is easy to get caught up in a feeling of liberation from the pace of the world outside. However, these places absorb and appropriate whatever events are going on in the real world and imbue them with a significance so particular that it feels impossible to separate them from the context of the festival.

Gilles Peterson’s Worldwide Festival in Sète has such a mythical quality. On one level, the festival is everything its supporters claim: a factor 45 hit of sunshine, music, and dance. On another, it stops being an event in which people go to listen to their favourite music and becomes laden with legendary associations. In 2009, the festival found an emblem in Michael Jackson after his sudden and recent death, and his spirit recurred across sets. This July, the World Cup will undoubtedly shape the mood. However, there are specific Worldwide stories that exist in lieu of real news items and that somehow take precedence to them. Last summer, it was difficult not to overhear someone raving about Gilles Peterson’s marathon back-to-back session with Laurent Garnier at the beach party in 2008. This year, you’ll probably hear about Dorian Concept fighting a thunderstorm with great panache, Theo Parrish rewinding The Crusaders’ ‘Sweet n’ Sour’ on Gilles’ demanding request, and dancing away to ‘Thriller’ on a beach full of people illuminated by a full moon. The festival is made up by these moments, but even if you weren’t there to experience them firsthand, these stories draw you in rather than push you away. In hearing them you participate in their continuation and this process creates an inclusive sense of community that lies at the core of the event’s personality.

This community is not without its characters. Last summer I could not help but notice the emblematic and flamboyant figure Gui l’Amour ambling around in his custom-made Worldwide tailcoat. One night he was seen dancing on the main stage next to Carl Craig, another day he was furiously taking to a set of congas during Jazzamar’s beach set, and on another occasion, he was the man serving me at the bar. Or what about Montpellier’s answer to Kris Kross, in the form of two teenagers in bright matching shorts parading a vintage boombox around the beach on the last night? These people are as much the icons of the festival as the performers. With no overt division between public and artists, the festival feels welcoming at every level. And – as Theo Parrish’s energetic, if carefree performance demonstrated last July – the artists get lured in by the weather and the relaxed atmosphere and return a genuine humility, enthusiasm and friendliness.

Of course, the spirit of the festival is not only encapsulated in its people, but also in its four days worth of performances. Looking through the ever-growing line-up, it is difficult to anticipate who will deliver one of those magical Worldwide moments this year. Having said that, the recent confirmation of Gil Scott Heron opening the festival provides enough material to write a review already. This quality is far from singular, as this year’s edition boasts an unprecedented wealth of talent and variety. The latin-tinged live performances of Roberto Fonseca and Quantic y su Combo Bárbaro, and the voodoo afrobeat of the sensational Orchestre Poly Rhythmo de Cotonou promise to be a perfect soundtrack to the irresistible Sète sunsets in the Theatre de la Mer. And sets by the likes of Joy Orbison, Floating Points, and Norman Jay will put enough pep in your step to glide you deep into the early hours. Nonetheless, it must be noted that this festival buzzes around the clock: not only do the parties keep you up late, but the beach gets you up early too. In other words, just plan on sleeping when you get home.

Last year, a friend observed how the moment the last note of ‘Beautiful’ by L.A.O.S. was played at 4am on a Monday morning, the countdown to this year’s edition had commenced. He was right, and that is the Worldwide Effect: a feeling that amounts to more than the inevitable reshuffle of iPod playlists that will occur during the summer months as people attempt to recreate the warmth, vibe, and happiness of the experience. It is a complete alteration of people’s capacity to think and talk about anything else. The festival’s boundless energy and spirit sucks you in and makes you want to come back again and again. I’m just happy that the countdown is finally coming to a close. It’s almost time for some octopus pie again.

www.worldwidefestival.com

John M. Gómez