New Material from Todd edwards and some really good remixes from Joy Orbison,Feadz and Mj Cole.
Todd Edards I Might Be
Saturday, April 10, 2010
I Might Be
New Material from Todd edwards and some really good remixes from Joy Orbison,Feadz and Mj Cole.
Todd Edards I Might Be
Friday, April 2, 2010
Transmission Interview: Slagsmålsklubben
We Have Words With Slagsmålsklubben
Slagsmålsklubben are one of the more interesting electronic acts to emerge over the last few years. Not quite Transmission Intro material as they’ve three albums and numerous Ep’s already under their belt, including the recently released single; Brutal Weapons on Kitsuné. Slagsmålsklubben’s Björn had a sit down with Transmission. Here’s what went down…
You originally started off being in a punk band, why the dramatic change to the current sound?
Back in the 70’s in Sweden all the enlightened environment people played in prog bands, progg being short for progressive. They tried to make a better Sweden by writing songs for Chile and wearing clothes of wool. That wave generated some kind of ironic response called ‘idiotprog’, which was basically what we took up thirty years later. For shits and giggles. Shits and giggles doesn’t really last in the long run. But that’s how we came in to music making and playing instruments. I guess it’s just your everyday evolution from doing something for fun to doing something for life.
With the band members spread over different countries over the last few years how do you write your music?
At the moment we all live in a big house in Stockholm. We moved in round Christmas. Basically because we want to stay under the same roof, making music. We did the same thing when we recorded our last album. Making music spread out in different countries works fine, but for an album we need some kind of theme or universal thought/sound, and that’s kind of hard if you don’t have at least one studio where you can team up at any time. We still have one guy living in Berlin right now, but he’s expected back in a couple of months.
Performing live as a electronic act is a poison chalice with a lot of acts not being able to recreate the studio on stage in front of a crowd. Having witnessed you perform at the Filthy Dukes Kill Em All night in Fabric and Oya Festival in Oslo during the summer this doesn’t seem to be problem for you, do you spend a lot of time rehearsing your live show?
I don’t know. I guess it’s very much instinctively, since we almost never rehearse. Mainly because we don’t have a rehearsing studio. Usually we go round playing enough so we don’t have to rehearse. If we add a new song to the set we make some kind of temporary studio somewhere and we learn how to play that song in our sleep and then that’s that. I guess our setup is just very suitable for the stage. And, we’ve been doing it for a long time.
With the recent release of Brutal Weapons & Smedby Eyes on Kitsuné will this year see more new material from you?
Yeah, the Kitsuné release is actually a stripped down EP that we sought to release in the spring of 2009. So we do have a lot of new material. That’s what the house in Stockholm is basically for in some aspects. Getting the new album done. Sorting out what gets to go on it.
For a Swedish act you don’t seem to play there often, what was the reasoning behind that? Was it a desire to prove yourself outside the comfort zone of your home country? Or where you trying to make the Swedish concerts special?
It’s a number of reasons actually. One being that that we’ve been playing everywhere here and we wanted the gigs in Sweden to be more exclusive – or special, as you said, not necessary for the audience, but mainly for ourselves. Not letting it become routine. I mean, it is routine in many ways, but people don’t know that when we’re playing in new places. Ha. Ha.
You’ve toured with previous Transmission guests Late of the Pier, how was that experience?
That was in many ways awful. Great Britain is perhaps the worst country in the world to tour. You sleep in the gutter, you get paid in dead rats and if you ask for something there’ll be another band to fill your spot for less dead rats than you acquire. But aside from that it was marvelous, smashing, and brilliant. LOTP are fantastic friends and we lived in their mansion, when not in the gutter, which was a nice. We got good reviews, we didn’t fuck up, we were magic.
Do you enjoy the touring aspect of being in the band?
Indeed. As long as everything is going as planned and there’s no fire in the hotel it’s all good. We have a kick ass all American hi top van which eases things up. Though, we tend to fly a lot these days since the crew and all has expanded.
The best part about touring is that it’s very intense, or compressed, having a lot of dates in a nice row instead of spread out. It makes you concentrate on what you’re doing right there and then, and when you get home you can concentrate on making music.
Brutal weapons/Smedby Eyes is out now on Kitsuné
Slagsmålsklubben are one of the more interesting electronic acts to emerge over the last few years. Not quite Transmission Intro material as they’ve three albums and numerous Ep’s already under their belt, including the recently released single; Brutal Weapons on Kitsuné. Slagsmålsklubben’s Björn had a sit down with Transmission. Here’s what went down…
You originally started off being in a punk band, why the dramatic change to the current sound?
Back in the 70’s in Sweden all the enlightened environment people played in prog bands, progg being short for progressive. They tried to make a better Sweden by writing songs for Chile and wearing clothes of wool. That wave generated some kind of ironic response called ‘idiotprog’, which was basically what we took up thirty years later. For shits and giggles. Shits and giggles doesn’t really last in the long run. But that’s how we came in to music making and playing instruments. I guess it’s just your everyday evolution from doing something for fun to doing something for life.
With the band members spread over different countries over the last few years how do you write your music?
At the moment we all live in a big house in Stockholm. We moved in round Christmas. Basically because we want to stay under the same roof, making music. We did the same thing when we recorded our last album. Making music spread out in different countries works fine, but for an album we need some kind of theme or universal thought/sound, and that’s kind of hard if you don’t have at least one studio where you can team up at any time. We still have one guy living in Berlin right now, but he’s expected back in a couple of months.
Performing live as a electronic act is a poison chalice with a lot of acts not being able to recreate the studio on stage in front of a crowd. Having witnessed you perform at the Filthy Dukes Kill Em All night in Fabric and Oya Festival in Oslo during the summer this doesn’t seem to be problem for you, do you spend a lot of time rehearsing your live show?
I don’t know. I guess it’s very much instinctively, since we almost never rehearse. Mainly because we don’t have a rehearsing studio. Usually we go round playing enough so we don’t have to rehearse. If we add a new song to the set we make some kind of temporary studio somewhere and we learn how to play that song in our sleep and then that’s that. I guess our setup is just very suitable for the stage. And, we’ve been doing it for a long time.
With the recent release of Brutal Weapons & Smedby Eyes on Kitsuné will this year see more new material from you?
Yeah, the Kitsuné release is actually a stripped down EP that we sought to release in the spring of 2009. So we do have a lot of new material. That’s what the house in Stockholm is basically for in some aspects. Getting the new album done. Sorting out what gets to go on it.
For a Swedish act you don’t seem to play there often, what was the reasoning behind that? Was it a desire to prove yourself outside the comfort zone of your home country? Or where you trying to make the Swedish concerts special?
It’s a number of reasons actually. One being that that we’ve been playing everywhere here and we wanted the gigs in Sweden to be more exclusive – or special, as you said, not necessary for the audience, but mainly for ourselves. Not letting it become routine. I mean, it is routine in many ways, but people don’t know that when we’re playing in new places. Ha. Ha.
You’ve toured with previous Transmission guests Late of the Pier, how was that experience?
That was in many ways awful. Great Britain is perhaps the worst country in the world to tour. You sleep in the gutter, you get paid in dead rats and if you ask for something there’ll be another band to fill your spot for less dead rats than you acquire. But aside from that it was marvelous, smashing, and brilliant. LOTP are fantastic friends and we lived in their mansion, when not in the gutter, which was a nice. We got good reviews, we didn’t fuck up, we were magic.
Do you enjoy the touring aspect of being in the band?
Indeed. As long as everything is going as planned and there’s no fire in the hotel it’s all good. We have a kick ass all American hi top van which eases things up. Though, we tend to fly a lot these days since the crew and all has expanded.
The best part about touring is that it’s very intense, or compressed, having a lot of dates in a nice row instead of spread out. It makes you concentrate on what you’re doing right there and then, and when you get home you can concentrate on making music.
Brutal weapons/Smedby Eyes is out now on Kitsuné
Friday, February 12, 2010
Transmission Interview: Holy Ghost!
Transmission Talks To Holy Ghost!
Interview by Thomas Lennon
-
So you finished the final mix of your album this week, How the experience of the last few weeks?
-
The last few weeks we have been strictly mixing the record, doing very little actual "recording." We did manage to pull one new song out of our asses last minute, but these last few weeks have really about mixing. This was new for us - to have the long time period dedicated to mixing. We had the producer Chris Zane (The Walkmen, Passion Pit, Les Savy Fav) working on the mixes with us. He is a much better engineer/mixer then we are and he really took the songs to a place we could have never gotten on our own. In my opinion, the record finally sounds like I imagined it could.
-
The album has had a long gestation period, was it a conscious decision not to rush the process?
-
Yeah, for sure. We were busy with remixing and DJ'ing over the past two years, so circumstance played a role in the wait too. I’m happy we waited and didn't rush anything. Maybe the next album we will go away and try to sit down and do it in a few months, but for this one the time was necessary.
-
Caroline from Chairlift features on the album, how did that come about?
-
I met Caroline and Patrick from Chairlift in the summer of 2008.
We were supposed to work on this song I made in my dorm room in college but it never really panned out. Then, if I remember correctly, Nick and I had this song in the works with a fleetwood-mac-y vocal pad thing for the chorus and we both thought of Caroline immediately. We got in touch with her and she did it very quickly and very well. Just last week, we had to have Caroline come back in and re-sing it because we switched the key of the song. If it was possible for her voice to get better, it did. She's a fucking pro. She did an adlib track that gave me goose bumps. She's a star.
-
It come across from your music that you have a love for analogue equipment, why do you lean towards it?
-
We started buying analog gear and vintage pianos when we were young, 17/18.
We had signed this deal with Capitol Records right out of High School and had a bit of an equipment budget. Our practice space was a few floors down from this vintage keyboard shop and we bought a Rhodes, a Roland Paraphonic, and a Roland Space Echo because we wanted to sound like Radiohead and the Roots. After that, we were hooked. God bless those who can make emulation work for them, but for us, in order to sound like the records we love, we have to use the same equipment they were made with.
-
You are in the process of preparing for your live show, how is that progressing?
-
It is coming. We made a lot of headway earlier this year but then our drummer and dear friend Jerry Fuchs passed away unexpectedly. He's impossible to replace, both as a friend and as a musician. But we're gearing back up now and we'll be focusing 100% of our energy on Live starting next month. We have new players in place and the first practice is slated for early February. Nick and I are really looking forward to it.
-
Any plans in place to bring it to Europe?
-
First confirmed gig is Calvi on The Rocks festival in July 2010 in Corsica. That's Europe right? But there may be a few dates before then as well.
-
Aren't you afraid of losing or damaging your vintage equipment with your live show?
-
As far as damaging our precious vintage gear, sure, we're very worried, that's why we won’t be bringing most of it! We've (more Nick than me) spent alot of time researching newer synths that come close to emulating our Prophet 5, modular synth, and other fragile items. And luckily, we've found some great replacements in the classic Juno 106, Dave Smith's new products ( endorsement please! :-) and the new Moog's. We'll bring a Rhodes and our guitars/bases/drums, but there will be alot of newer synths standing in for the older, more delicate ones.
-
What’s was the process you went through writing the album? Did you always start with one particular element and work from there? Not really, each song comes about in its own way. Some are written with just voice and piano, some are written as "beats" with vocals added at the last possible moment. It really depends. Drums are always important.
-
The 'I Will Come Back' video features Arthur Baker reprising his role from New Order's 'Confusion' video how did you pull that off?
-
Long story short: We were at a club in Manhattan and Arthur was there, along with James Murphy. James has agreed to reprise Arthur's role for our video. I went up to Arthur and said, "Hey man, just want to say I'm a huge fan of yours and we're remaking the video for Confusion. James is going to play you!" And Arthur said, "Fuck that man. If someone's playing me, its me. Buy me a ticket from London (where Arthur lives) to NYC and I'll do it." A few weeks later we were shooting with Arthur in Brooklyn. Sometimes things just work out..
-
-
Your remix of Curses! was one my favorites of 2009, did that come about because you went to high school with Curses!?
-
Yep. Luke aka Luca aka Drop The Lime aka Curses! is an old friend. He asked us to do the mix and we we're more than happy to oblige. I (Alex) actually played the piano on the original version too. I think we did that at 5am one drunken night at the apartment where he grew up in Tribeca.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Saturday, February 6, 2010
Transmission Interview: Annie
I've been doing some interviews for the transmission website first of all with Annie and with interviews with Holy Ghost! & Slagsmalsklubben upcoming.
Transmission Talks Exclusively To Annie
Interview by Thomas Lennon
-
Annie achieved much acclaim and success with her debut album ‘Anniemal’. Since then she contributed a mix in the long running DJ Kicks series and she recently released her second album ‘Don’t Stop’ on Totally/Smalltown Supersounds after much major label trials and tribulations. She took some time for her live show rehearsals to speak with transmission.
-
With all the false starts with Don’t Stop’s release are you glad it is out there finally? (I won’t ask about the circumstances as you’re probably sick of discussing it at this stage)
It feels amazing and I’m so glad that ‘Don’t stop’ is finally out there. I was at some stage thinking that it would never be out. So I’m really glad that it is out there. -
In previous interviews you have stated that you felt that your music was well produced but the song writing needed an improvement, how did you approach the song writing approach this time around?
I’m a perfectionist, so I’ll always think that I can do better. I wrote so many more songs this time around and choose the best ones out of the 350-400 tracks I wrote. I used to write very slowly and while I was writing ‘Anniemal’ I could sometimes spend a month looking out the window. Watching the birds and the moon and just writing one sentence a day. I guess I’m a bit quicker these days... thank god-
-
You’ve recently begun writing for others acts such as Mini Viva with I left my heart in Tokyo, How easy was it to adapt to that aspect of the song writing? Do you have clear mindsets when writing say a song for yourself or a song for another act? Is writing for others an area you plan to concentrate on for the foreseeable future?
It’s funny because ‘I left my heart in Tokyo’ was actually suppose to be an Annie track, but it didn’t’t suit me that well. But I’ve been writing for others and I really enjoy it. At the moment I’m writing for an artist that I know a little bit about. It’s sometimes easier that way. I don’t usually think about my own project while I’m writing for others. But it always inspires me to write more music for myself and that always great.-
A lot of the current pop music seems to be missing personality which is something that that doesn’t‘ come through on your music, why do you think that is? Interference of labels? Lack of belief in the artist?
I think a lot of labels are just so desperate and are totally panicking because records are not selling anymore. In desperation they contact some producer/songwriter that maybe doesn’t understand the artist or her/his mind, voice or basically anything. Then it all goes wrong from the start. A lame start like that is often the end of great music, just bad business.-
You worked with Paul Epworth (Phones) on three songs for the album, how was that experience and how is working with Paul differ than with other producers?
He’s a great guy, really hardworking and a brilliant drummer too. The good thing was that I knew him from before and we have similar musical taste. It was easy to start off, I wanted to do some club tracks and he was up for that too. It was really fun to record those songs with him.
-
Any plans to release another official mix album like your excellent contribution to the DJ Kicks Series?
Oh I’m so glad you like it!! I actually did a mix cd that I sold on the net some weeks ago called the ‘Wednesday Mix’ but its already sold out. But I might do some more maybe a ‘Friday Mix’. I love to do mixes so much fun.-
-
Since you’ve established your own record label totally will we see more Annie material in the near future? Any plans to work with any producers yet?
I’m starting to record some new songs in February… and there will be some more singles from 'Don’t Stop' soon. I just received a remix of ‘I Don’t Like your Band‘. sounding good. -
It will be the 10th Anniversary of The Greatest Hit’s initial release this year. Any plans to celebrate that? Given that ten years in the music industry these days is something of an achievement.
He he, to be honest I did forget about that. I’m really bad with remembering birthdays, numbers and so on, oops but it should be celebrated I’ll have a party soon.. It’ll put on my new dress and have a party at my house…. Your all invited-
Do you plan to concentrate on touring the album this year?
Yes, I’m going to do some more do gigs and some live shows too. I’m rehearsing on the live set as we speak...
-
You played supported Saint Etienne for their London shows recently, how was that?
It was fun. I’m such a big fan of Saint Etienne , so I was excited, it was packed with people. I’m not if they all knew who I was. But it looked like they enjoyed themselves. At least I did. -
Now that you run your own label how are you coping with the business side of music? Is it hard adjusting to it?
It’s a lot of work. Sometimes too much but I get some help so I don’t have to sit by the machine 24 hours. It’s mostly great to see that it’s so much interest. It’s better to be busy then not having anything to do.-
Here's two tracks from the new album:
http://www.rcrdlbl.com/artists/Annie/track/Dont_Stop
http://www.rcrdlbl.com/artists/Annie/track/I_Dont_Like_Your_Band
Don’t Stop is out now on Totally/Smalltown Supersounds
Transmission Talks Exclusively To Annie
Interview by Thomas Lennon
-
Annie achieved much acclaim and success with her debut album ‘Anniemal’. Since then she contributed a mix in the long running DJ Kicks series and she recently released her second album ‘Don’t Stop’ on Totally/Smalltown Supersounds after much major label trials and tribulations. She took some time for her live show rehearsals to speak with transmission.
-
With all the false starts with Don’t Stop’s release are you glad it is out there finally? (I won’t ask about the circumstances as you’re probably sick of discussing it at this stage)
It feels amazing and I’m so glad that ‘Don’t stop’ is finally out there. I was at some stage thinking that it would never be out. So I’m really glad that it is out there. -
In previous interviews you have stated that you felt that your music was well produced but the song writing needed an improvement, how did you approach the song writing approach this time around?
I’m a perfectionist, so I’ll always think that I can do better. I wrote so many more songs this time around and choose the best ones out of the 350-400 tracks I wrote. I used to write very slowly and while I was writing ‘Anniemal’ I could sometimes spend a month looking out the window. Watching the birds and the moon and just writing one sentence a day. I guess I’m a bit quicker these days... thank god-
-
You’ve recently begun writing for others acts such as Mini Viva with I left my heart in Tokyo, How easy was it to adapt to that aspect of the song writing? Do you have clear mindsets when writing say a song for yourself or a song for another act? Is writing for others an area you plan to concentrate on for the foreseeable future?
It’s funny because ‘I left my heart in Tokyo’ was actually suppose to be an Annie track, but it didn’t’t suit me that well. But I’ve been writing for others and I really enjoy it. At the moment I’m writing for an artist that I know a little bit about. It’s sometimes easier that way. I don’t usually think about my own project while I’m writing for others. But it always inspires me to write more music for myself and that always great.-
A lot of the current pop music seems to be missing personality which is something that that doesn’t‘ come through on your music, why do you think that is? Interference of labels? Lack of belief in the artist?
I think a lot of labels are just so desperate and are totally panicking because records are not selling anymore. In desperation they contact some producer/songwriter that maybe doesn’t understand the artist or her/his mind, voice or basically anything. Then it all goes wrong from the start. A lame start like that is often the end of great music, just bad business.-
You worked with Paul Epworth (Phones) on three songs for the album, how was that experience and how is working with Paul differ than with other producers?
He’s a great guy, really hardworking and a brilliant drummer too. The good thing was that I knew him from before and we have similar musical taste. It was easy to start off, I wanted to do some club tracks and he was up for that too. It was really fun to record those songs with him.
-
Any plans to release another official mix album like your excellent contribution to the DJ Kicks Series?
Oh I’m so glad you like it!! I actually did a mix cd that I sold on the net some weeks ago called the ‘Wednesday Mix’ but its already sold out. But I might do some more maybe a ‘Friday Mix’. I love to do mixes so much fun.-
-
Since you’ve established your own record label totally will we see more Annie material in the near future? Any plans to work with any producers yet?
I’m starting to record some new songs in February… and there will be some more singles from 'Don’t Stop' soon. I just received a remix of ‘I Don’t Like your Band‘. sounding good. -
It will be the 10th Anniversary of The Greatest Hit’s initial release this year. Any plans to celebrate that? Given that ten years in the music industry these days is something of an achievement.
He he, to be honest I did forget about that. I’m really bad with remembering birthdays, numbers and so on, oops but it should be celebrated I’ll have a party soon.. It’ll put on my new dress and have a party at my house…. Your all invited-
Do you plan to concentrate on touring the album this year?
Yes, I’m going to do some more do gigs and some live shows too. I’m rehearsing on the live set as we speak...
-
You played supported Saint Etienne for their London shows recently, how was that?
It was fun. I’m such a big fan of Saint Etienne , so I was excited, it was packed with people. I’m not if they all knew who I was. But it looked like they enjoyed themselves. At least I did. -
Now that you run your own label how are you coping with the business side of music? Is it hard adjusting to it?
It’s a lot of work. Sometimes too much but I get some help so I don’t have to sit by the machine 24 hours. It’s mostly great to see that it’s so much interest. It’s better to be busy then not having anything to do.-
Here's two tracks from the new album:
http://www.rcrdlbl.com/artists/Annie/track/Dont_Stop
http://www.rcrdlbl.com/artists/Annie/track/I_Dont_Like_Your_Band
Don’t Stop is out now on Totally/Smalltown Supersounds
Tuesday, June 2, 2009
a public enemy
Dj Mehdi has kindly given away a alternative version of Mapei's song public enemy from here debut ep Cocoa Butter diaries with a Spank Rock appearance, well worth checking out
Mapei ft Spank Rock Public Enemy
Mapei ft Spank Rock Public Enemy
Monday, April 20, 2009
Done with you
Seems I should update this blog abit more, so made a quick 24 hour trip to London on Friday.
Caught The Whitest Boy Alive play rough trade east in the evening, really great little record shop though doesn’t compare to the fopp store on Shaftsbury Avenue.
Got to Cargo in shoreditch in time for The New Wine who were supporting TWBA that night, pretty impressed with them, very much in a similar vein to TWBA and Kommode.Cargo is a great venue shall be heading there again in the summer for Amanda Blank.
Erlend Oye dj set/Live set after the TWBA set was pretty amazing, playing some of his Unrest solo album material.Definition of a under rated album.
The New Wine happen to be giving away an ep of songs for free which is available below.
the new wine ep zip
Trespassers William has a new ep out on Gizek records, far better than the previous noble house ep. Have it as my night time listening these days. Gizek are giving a label sampler with one of the new trespassers William tracks on it so get that below.
GIZEH Sampler2009.zip
The fact magazine review of the little boots album is pretty funny
On heavy rotation these days
ESG South Bronx Story
Amanda Blank Might Like you better
A-trak Infinity plus One
The Juan Maclean One day Ep
Pantha Du Prince Beyond the Stars
Phoenix wolfgang amadeus phoenix
Thursday, April 9, 2009
Friday, April 3, 2009
public enemy
Listening to Public Enemy by Mapei alot over the last week.
Caught her live with spank rock in brixton academy supporting beastie boys and she was a good substitute for Amanda blank that night.
Caught her live with spank rock in brixton academy supporting beastie boys and she was a good substitute for Amanda blank that night.
Don't stop
For the last few years Tim Sweeney Beatsinspace has proven itself to be the most consistent radio show i listen to on a weekly basis.Working with Tim Goldsworthy of DFA under T&T moniker they released a great re edit ep which you can cop here.
Along with some other dfa acts such as Juan Maclean and Holy Ghost! they played the Moma DFA party.
T&T's dj set along with the Holy Ghost! dj set are available below
t&t at the museam of modern art
Holy Ghost at the museam of modern art
Along with some other dfa acts such as Juan Maclean and Holy Ghost! they played the Moma DFA party.
T&T's dj set along with the Holy Ghost! dj set are available below
t&t at the museam of modern art
Holy Ghost at the museam of modern art
Saturday, March 21, 2009
Wednesday, March 11, 2009
Get Fresh
Nice Alex Gopher remix of Kid sister single, really liking this,
http://rcrdlbl.com/artists/Kid_Sister/track/Get_Fresh_Alex_Gopher_Remix
http://rcrdlbl.com/artists/Kid_Sister/track/Get_Fresh_Alex_Gopher_Remix
Monday, March 9, 2009
1973
Enjoying this track over the last 24 hours, really nice mellow pop.
http://www.rcrdlbl.com/artists/Tahiti_Boy__the_Palmtree_Family/track/1973_Para_One_Remix
http://www.rcrdlbl.com/artists/Tahiti_Boy__the_Palmtree_Family/track/1973_Para_One_Remix
911
Given how much i loved Gang Gang Dance's Saint Dymphia i'm pretty excited about the new project from Lizzi of GGD in the form of I.U.D. First track from the debut album is available over at rcrd lbl
http://www.rcrdlbl.com/artists/IUD/track/911
http://www.rcrdlbl.com/artists/IUD/track/911
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