Deftune

I was lucky to catch up with Chris / Free The Robots for an exclusive interview that provides a glimpse of the new album Ctrl Alt Delete (to be released worldwide March 30, 2010) and a look into the life of a Restaurant, Bar owner / Producer / DJ and IMO one of the most influential artists to come out of Los Angeles’ experimental beat scene.

This is your debut full-length album release. How do you feel right now in anticipation to its release? Excited? Nervous?

I’m very excited about this one. Finally people will actually know the music I’ve been playing live.

Was Ctrl Alt Delete just some random thing you thought should be the album title or is there some crazy deep meaning behind it?

In PCs, Ctrl Alt Delete is the command that overrides the system, which is a metaphor for what it means to free robots. Technically, a robot would be deleting alternate control to be free. Another interesting observation is that there is the same number of letters per word in “Ctrl Alt Delete” as in “Free the Robots.”

(*off the record: this is the stuff you think about on Psychedelic drugs.. I’m just sayin..;)

In your own words, can you describe the album for us, maybe give our audience an idea of what they can expect.

This album is a bit darker and more aggressive than my older works. I took a step back from the classic, sample based, Jazzy-Breakbeat approach, to test myself as a musician. I turned it up a few notches, and added more dirt, more psych sounds, and more bass. About 90% of this record is originally composed from synths and instruments.

How did Free The Robots come about? What’s your vision behind it?

I started this project during a time when I was experimenting with different groups. I was making Hip Hop beats for several MC’s, playing electronic instruments with other bands and DJing full time. Being around so much different music, and having so many interests, I wanted to unite everything together in one project. I took the sample based, Hip Hop, beat approach and blended it with the progressive, melodic, song structure that I learned from playing with bands. Once I built my studio, I knew what was possible, as a soloist, and the ideas kept brewing. I wanted to create a project that, generally, couldn’t be confined by one genre.

Can you fill us in on how you first got into making music?

I started as a DJ in the mid 90s, making 4 track mixtapes, entering battles, and composing scratch routines with my local crew. It was fun times but I got to a point where I wanted to grow even more musically. Digging for records is what really got me interested in different sounds. I started collecting a lot of Jazz, Soul and Psych records, which influenced me to learn music with a more traditional approach. I picked up different instruments and experimented with different bands. When my brother gave me a bootleg copy of Reason is when it really went down. I passed it on to one of my DJ buddies and we spent months learning collectively, different tactics.We shared beat tapes on a monthly basis and, together, developed our own style. About two years into it was when I decided to take it serious. I put out my first batch of 10 songs in 2004 (The Prototype).

Who are your main musical influences?

The music of DJ Shadow, Portishead, and Prefuse 73 is what initially brought the idea of making music into my life, but I’m inspired by all sorts of music. Everything from 60’s Psych, Jazz & Soul from all over the world, to the current Los Angeles beat movement constantly amazes me.

I can’t stop listening to this album. The first thought in my head when I first heard it was…damn, this is music I’ve been waiting to hear for a very long time. Really amazing. I hear elements of various types of music like psyche, funk, jazz, hip hop, electronic, dubstep. Did you already have the idea of how you wanted it to sound or did you basically start playing around with different sounds and instruments and this was what came out? How did it all come together?

I had no idea what this record was going to sound like when I started it. The creation of this album forced me develop myself as a musician, so the sound evolved through the learning process. For the most part, it was all about hours of sound design, recorded improvisation, edits, and reconstruction.

I can also hear a sort of free jazz, improvisational approach? Was that an element that you absolutely had to have in making this album?

A good amount of these songs were based on improvisation. A lot of times I’d start by recording my late night jam sessions. I would take the parts that I liked, and build off them to construct full songs. The jazz element is a part of my roots that I will never let go of. It’s much less obvious in this record then previous ones, but it is there.

You have a track featuring Ikey Owens from Mars Volta / Sublime / Long Beach Dub All Stars / Free Moral Agents. How did that come about and what was it like to work with him?

I’ve been a fan of his work for years, and finally met him at a show we played together. He definitely plays a role in the inspiration for my work, so I figured, why not just get him on it. As large scale it is to for me to work with Owens, it was dope to have such a humble experience.

The session took place in his living room with my laptop, his organs, and two 3” computer speakers on his coffee table. We had to hunch over to even hear what was going on, because the sound of his fingers hitting the keys was louder than what we were hearing out of the speakers. It was ghetto as fuck! He improvised the whole thing in 2 sessions after listening to the track once. That’s talent.

What types of instruments do you play, or equipment do you use to create your music? drum machines? laptop? music programs? Maybe throw in some manufacturer names in there…hint at possible sponsorships to get some cool gear while you’re at it? hahaha.

There’s a lot of room for me to learn but I do play the Keys, Guitar, Bass, Drums and Turntable. To give the full break down of what I use to record: Reason, Ableton Live, Akai MPD32, Midi keys (Axiom), actual keys (Juno-6, Fender Rhodes), synth keys (Korg R3), Technics 1200’s and a Rane.

Besides being known for your production, you’re also known for your DJ skills as well, taking home award for best DJ at the OC Music Awards. what was that like?

To be honest, sort of surprising and weird, considering the general OC DJ circuit. One would think, in the land of the Orange curtain, a Top 40 DJ, or a fashionista, would be chosen. Who woulda thought? Times done changed. People are starting to pay attention.

I’ve seen some crazy clips of you cutting it up with Qbert, The Gas Lamp Killer, and total surprise to me…Nosaj Thing on YouTube BTW. I say scratching needs to make a comeback. what do you think? What’s up with the scratch sessions?

I still cut at home all the time. Not much at clubs, but it’s been a part of me since back in the day. I’m always down for a session!

You’re part owner of the Crosby restaurant / bar / bookstore in Santa Ana. Can you let us know what it’s all about. how you got it started and your motivation behind opening it?

The Crosby is a spot my friends and I created for our selves, in a county that was ready something fresh. Born and raised in this area, we figured it was about time to do something different in the community behind the curtain. When the opportunity presented itself, we took it. Now it’s home base for us, and anyone who’s open enough to understand and appreciate what we have to offer. Everything from the food, the drinks, the music, and overall vibe works together. It’s pretty much the dream spot I always wanted to open up since I was a kid. You’re not gonna find many places where you can enjoy a gourmet dinner and cocktails, while listening to the Wu-Tang Clan and Finders Keepers comps… Switch gears into different nights filled with some of the worlds greatest talent, from the headliners of LA’s beat movement, to hip hop legends like Beat Junkies and such, to even progressive art-punk & psych bands known to run circles at The Smell; all this for free in quite possibly the most intimate setting possible.

It’s amazing that you’re able to run a restaurant/bar, perform, and still have time to work on such great sounding music. How do you manage to balance everything out?

I have a solid team behind everything I do. My Crosby staff is amazing, Alpha Pup’s been great, OBEY, Windish, pretty much everyone I work with is doing it for the love of it, which is what keeps me going.

A lot of people like myself have seen your mind blowing performances at Low End Theory. How did you get involved with that whole scene?

For me, it really started through Willie (The Gaslamp Killer). We actually go back over 10 years ago, before people really paid attention. He was always on some next shit. When Low End started, he asked me to play an opening slot for Prefuse 73, introduced me to the crew and it was on. It was also interesting to find out Nocando, the resident MC, was someone I had worked with back in 03 without even meeting the guy. Met him for the first time that night. (First show: Dec, 2006)

How did linking up with Alpha Pup Records come about?
It’s definitely taking the independent music scene by storm right now with heavy releases from Nosaj Thing, Nocando, and quality music coming from its growing family of imprint labels such as Flying Lotus’ Brainfeeder, Daedelus’ Magical Properties, Matthew David’s Leaving Records. How does it feel to be part of such an influential family of artists?

After my first live performance at The Low End Theory, I became a regular at The Club. A few more performances later, Kev He hit me up for some current music. we signed the deal and 2 years later, CTRL ALT DELETE was created.

Tell you the truth, I’m still in geek mode. Friends, peers, whatever… I am still a huge fan of them. I think every ones a fan of each other. There’s a great synergy between this group of artists, that keeps me humble and inspired.

If you had never gotten into making music…what would you see yourself doing instead?

I’d probably be a professional gamer.

What’s in store for the future of Free The Robots? Where do you see yourself in 5 years?

I’m planning on a few collabs right now for some different concept projects TBA. One thing don’t want to do is make the same album twice. In 5 years, hopefully 5 more albums deep.

Our mission here is to promote quality independent music. Can you let everyone here know of 5 break out artists that you feel everyone should go check out? Feel free to mention more than 5 if you need to.

My Hollow Drum (I’m really amped for Teebs’ album), Tokimonsta, Mono/Poly, Lorn, MatthewDavid & pretty much all the artists of Brainfeeder.. Nocando and the entire Hellfyre Club, Friends of Friends, Phil (the guy who plays with me sometimes for FTR shows) is working on his project as well… the list goes on. It’s gonna be an interesting year.

Anything else to add? Any words of wisdom, closing words for all the Deftune peeps?

Have fun!

Thanks again Chris for giving me this opportunity. Be on the look out for his new album Ctrl Alt Delete on March 30th on Alpha Pup Records.

Ctrl Alt Delete Teaser Trailer

Tour Dates

MAY 1 – CHICAGO, IL @ DOUBLE DOOR
MAY 2 – DETROIT, MI @ MAJESTIC THEATRE
MAY 3 – CLEVELAND, OH @ GROG SHOP
MAY 4 – TORONTO, ON @ WRONG BAR
MAY 5 – BOSTON, MA @ MIDDLE EAST
MAY 7 – NEW YORK, NY @ HIGHLINE BALLROOM
MAY 8 – BALTIMORE, MD @ BOURBON STREET BALLROOM
MAY 9 – RICHMOND, VA @ HAT FACTORY
MAY 10 – GREENSBORO, NC @ GREENE STREET CLUB
MAY 12 – ASHEVILLE, NC @ CLUB 828
MAY 13 – KNOXVILLE, TN @ VALARIUM
MAY 14 – NASHVILLE, TN @ LIMELIGHT
MAY 15 – ATHENS, GA @ NEW EARTH MUSIC HALL
MAY 16 – ATLANTA, GA @ MASQUERADE
MAY 18 – MOBILE, AL @ ALABAMA MUSIC BOX
MAY 20 – NEW ORLEANS, LA @ HOUSE OF BLUES
MAY 21 – HOUSTON, TX @ RICH’S
MAY 22 – AUSTIN, TX @ LA ZONA ROSA
MAY 23 – DALLAS, TX @ TREES
MAY 25 – OKLAHOMA CITY, OK @ CITY WALK
MAY 27 – ST. LOUIS, MO @ 2720
MAY 28 – KANSAS CITY, MO @ CONSPIRACY ROOM
JUN 02 – VICTORIA, BC @ SUGAR
JUN 03 – VANCOUVER, BC @ VENUE
JUN 04 – PORTLAND, OR @ ROSELAND THEATER
JUN 05 – SEATTLE, WA @ SHOWBOX MARKET
JUN 06 – ARCATA, CA @ ARCATA THEATRE
JUN 09 – SANTA CRUZ, CA @ CATALYST
JUN 12 – SAN FRANCISCO, CA @ FILLMORE AUDITORIUM

“Orion’s Belt Buckle”

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Download From Alpha Pup Records

Berlin based producer and label owner Robert “Robot” Koch is preparing the world for his long anticipated full length Death Star Droid. It has quickly become one of our favorite albums of 2009 here at Deftune and we hope that you will all appreciate it as much as we have. We were lucky enough to cut into Robert’s busy schedule for an exclusive interview session.

Robot Koch is definitely an ear/eye catching name. Can you tell us about its origin?

My real name is Robert Koch. My bandmates in Jahcoozi started calling me Robot as a nickname, because I don’t sleep much and make tons of music all the time. So I adopted that as my artist name.

What was the one life changing moment that inspired you to start making music?

I guess that was sitting in front of my stereo and listening to heavy metal tapes.

I started out playing drums when I was 14. I had piano lessons before but was not really into it as a kid. But when I listened to the stuff from Slayer, early Metallica and Pantera I was really stoked mainly by the drummers and wanted to be able to play music like that myself. So I started out with metal, punk and hardcore but soon got into all sorts of music.

Important milestones were Wu-Tang Clan (36 Chambers), Beastie Boys (Check Your Head), John Coltrane (A Love Supreme) and Moon Dog (Everything).

With hindsight i`m happy I had piano lessons too, cuz the whole harmonic education really makes a difference when I produce. But being a drummer is really the key advantage in my productions.

Where do you draw your inspiration from today?

It`s actually still the same like back in the day really. I hear some music that rocks me and inspires me and that makes me wanna make music myself. Not exactly the same like what I hear of course, but the nice thing about inspiration is that some other people`s ideas spark your own unique ideas…I hope some folks find my music inspiring as well and transform that inspiration into some new dope music. Like that music keeps evolving and new ideas come about. But also the weather inspires me, I made a lot of rain tracks, snow tracks and a few springtime tunes as well…books and movies inspire me. I sometimes see my music like a soundtrack to a film that still needs to be shot.

I´d like to go deeper into making film music or creating images for my music. I am actually working with a filmmaker from Cologne on the visual concept of my live show at the moment.

You have your own label Robots Don’t Sleep! How did that come about? What is your vision for the label and what can everyone expect from it?

I started the label because I was tired of waiting. Running on other label`s release schedules can be really a drain. You got something hot that you wanna put out and they tell you to wait. Or they tell you its gonna come out soon and then fuck up so many things that it takes more than a year before that record eventually came out. I had all sorts of negative experiences with labels I released on in the past, so I figured i`ll just do it myself.

What`s Robots Don’t Sleep all about? Well, Cerebral Vortex kinda put it well when he said it`s like Motown with lazers. Its open minded music beyond genre boxes with a unique sound to it. Electronic and cutting edge but yet soulful.

The first release, the Aftershocks EP, did extremely well. It was number one on the dubstep sales charts at junodownloads.com for weeks.

The 2nd release is my album now. I´m curious how that will do…I`m not gonna sign any artists in the beginning, I wanna see how the label develops and drop my own stuff and collabos with other people first before I start taking the responsibility of signing other artists.

Robots Don’t Sleep is by definition open to collabos, I think with things being difficult in the music industry these days it`s even more important to do stuff together instead of against each other…

For “Death Star Droid” for example I made a bunch of collabos happen: There is a t shirt collabo with Japanese designers and shirt manufacturers GRANIPH, there is a collabo with clothing company Rollo who did a special limited edition robots don’t sleep sunglasses that will come as a bonus item if you order the vinyl and I made a license deal with fellow label project Mooncircle from Berlin who are taking care of producing and releasing the album on CD and Vinyl, which I could not have done alone financially.

Can you enlighten us about your other projects Jahcoozi and The Tape?

Jahcoozi is my band. It’s a 3 piece and we released two albums and a bunch of EPs since 2003. We played a lot of shows all over the globe, everything from tiny art galleries to major festival stages. We`re just finishing off our 3rd album which is gonna drop on bpitch control in spring 2010. it has some nice features on there, like Sayyid from Anti-Pop Consortium for example. We just played in Nairobi which was cool too, cuz we also took some time to record with the local Kenyan artists. Maybe one of these tunes will make the album as well…

The Tape was my first solo project. It was a homage to the mix tape culture. The first album “perpetual dubbing” from 2004 was some instrumental indietronic/post rock affair, the 2nd one, Autoreverse, also featured my man RQM on vocals. The 3rd album, Public Transport was the closing chapter for that project. It’s a trilogy, that feels complete to me now. That’s why I didn’t continue making more stuff as the tape. this project was, in many ways, like a prototype of what i`m making today as Robot Koch.

The reason is started The Tape was, because in a band the music you make is always a compromise to a certain extend. 3 people, 3 opinions sometimes….a lot of discussions sometimes. So I needed to have that freedom to make exactly the music that I envisioned, uncompromising, without discussing it with anybody.I like making music with Jahcoozi in a band context because it’s a different work flow but I could not limit myself to only that.I need to make my solo stuff as well…so I enjoy both because of that duality:Working with my bandmates and working alone.

What are your thoughts on your newest album? What can we expect?

I`m really happy with it. I stand behind every single track and feel its maybe my best work to date. The first feed backs are really good as well, that makes me happy of course. One of my favorite press quotes so far is:

“if, in some distant post apocalyptic future, robots will make folk music, this is what it would sound like” (Crack Magazine).

I like to combine an analog, handmade and soulful aspect with digital sounds and electronic production methods. If I was a painter i`d make collages out of different materials with different textures: wood, paper, watercolors, metal, high tech fabrics and found stuff, old photos and some ill graph styles.

For all the gear heads like myself, can you tell us what you use to make music? type of analog, digital, instruments, software, etc.

As I said before I`m all about mixing digital and analog in my sound.
That`s how I produce also. I record a lot of live and acoustic stuff like a piano on “While” or flutes on “Hard to Find”. But my production is always digital, I use Ableton Live as a sequencer. I like chopping up sounds, getting really detailed about it, working with little tiny sound snippets and building syncopated patterns out of them. I use some analog synths as well (Prophet, Moog, Roland, Korg). And my old Bontempi kids keyboard that has a great sound if you record it not line out but pic up the sound from its onboard loudspeakers with a mic: that is slightly distorted and really analog sounding. I made a bunch of tunes on that album with this kids toy keyboard.

Name 10 of your current favorite artists who you think we should all be listening to right now?

- Moon Dog
- Fela Kuti
- Tim Buckley
- Loops Haunt
- fLako
- Shellac
- The Clonius
- sia
- Stereotyp
- Graciela Alatorre

What do you envision the musical landscape to look like in 10 years?

Interesting question. We talked about inspiration earlier. I hope people will respect music more again, it has become somehow less valued I feel, especially by younger kids that grow up with the net and the idea that music is for free. Right now I think there is a more music available than ever before but there is a lot of mediocre stuff out there as well. Sometimes I feel more people are talking than listening. I hope that will change. I hope in 10 years there will be more quality than quantity and that people will value good music that inspires them.

Any closing thoughts?

With all the internet and social networks I wonder sometimes:
Are we living for our avatars or are our avatars living for us?

Listen to “Away From” From soon to be released Death Star Droid

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Big Tone Interview by: Conrad Magabo (couple questions also provided by Alex Tshering)

A few days ago I posted up a piece on Big Tone letting everyone know about his album that’s about to drop at the end of this month. Fortunately I was also able to get an interview with BT thanks to Chikara from Tres Records. Check out what he had to say:

CM: Thank you for taking the time out of your schedule to interview with us.

BT: Appreciate y’all for having me.

CM: Your upcoming album “The Art Of Ink” is AMAZING! How long have you been working on it. How did it all come together?

BT:Good looking out…I worked on the album for just about a year. I work rather sporadically, so it wasn’t really a consistant thing…2 or three songs here or there. After a couple good weeks, it just kinda came together. The concept came about after it dawned on me that this is the first project that I had written out. Alot of what I had previously released had came together in the booth, freestyling, scribbling here and there. But this one is the first where I actually had notebooks with all the verses written down. So I kinda got stuck on the word “Ink”. Plus, I was in the process of designing a tattoo that I’m getting ready to get. It all kinda went hand-in hand.

CM: At what point in your life did you say, alright, it’s time to get serious with this. This is what I need to do? What inspired that?

BT: I don’t know if serious is a good word. I can’t say that I’m even serious right now. I think I’m alot more passionate about releasing music than I have been in the past, but serious? I don’t know. I think when my peers started impacting the world with music they were creating. Music that I was present to witness, inspire so many people around the world. Maybe I got more serious about it then. But really, I just enjoy the creative process and the response from people who appreciate it. That keeps me pushing. And there’s so much opportunity to grow, so I’m working on it.

CM: Can you tell us 5 random things about yourself?

BT: I’m shopping for cologne right now like it’s going out of style. I’m also growing an interest in acting (like, really…I’ve always enjoyed writing, so I think I wanna write a short film, and then find a role in it for me. Hotness, son). I’ve read more books this year than I’ve read since middle school. I am a pancake master, real skills with a skillet. Been rhyming since I was 10.

CM: Who/what are your main influences? (doesn’t have to be specifically music).

BT: My family, My fiance, and My fam. I don’t know what life would be like if any of these areas of my life were different.

CM: What goes through your mind when you’re writing/creating music?

BT: Whatever the track makes me feel like, in regards to my life. Some tracks sound like they’re meant to be the backdrop to my love song, my “I just gotta check” song, my “I just learned something new” song, etc. The right track is just whatever track fits the mood for the theme of the day. I just go from there.

CM: What do you think about the current state of the music industry? It’s changed a lot during the past decade. What direction do you think it’s going? where do you see it going?

BT: I think people who appreciate music, will always support it. I think people who are jaded about it, who
once genuinely appreciated music, can’t let go of the past and accept that music is different now, BUT it’s still some quality shit out here. And what’s fresh is we’re being reminded that you don’t need a record deal to be an artist. I think that’s beautiful. I’m not concerned with the industry. I just wanna keep making music.

CM: What do you think about MP3/MP3 players and it’s effects on you/artists? Do you own an I-Pod?

BT: I just hate it when people have a whole collection of bold MP3’s. Like the whole “I don’t buy music anymore” mentality. That’s wack when you just sit around and free download your whole library, and then blog/criticize about how this mix isn’t good enough, or that track isn’t strong as the last one you ripped for free. However, I do feel that it is definitely a good tool though. Word of mouth to the tenth power. Accessibility can be a good thing, or it can be a bad thing. Gave my ipod to my girl last year. The only time I really vibe out to music is when I’m in my living room thumbing through albums.

CM: What songs/artists are you currently listening to right now? Who do you recommend that everyone go listen to right now?

BT: Blu, my personal favorite right now. But I’m all over the place with my library right now. I’ve been banging 36 Chambers for the past couple weeks. Madvillain. Guilty Simpson. If I had to make folks go listen to one thing right now, it’d be Suite For Ma Dukes. I’ve only heard a couple songs.Dwele put me up on the couple joints I heard, which was Find A Way, Fall In Love, and Nag Champa …but I’m really checking for that shit.

CM: Where do you see yourself in 5 years?

BT: Doing my best Pharrell Williams impression. I’m really looking forward to advancing into my career as a producer. I’ll be stepping in that direction more and more this year.

CM: Is there anything you want to let everyone know out there? Any knowledge you’d like to drop?

BT: I ain’t good at dropping knowledge. I’m still learning myself, you know? I do believe that music is the gift
that keeps on giving, and we really need to focus on putting more of our divine energy into it. I’m working on it. Being more open. To create with that intention. The Creator allows us to be creators…no halfsteppin’, y’all.

CM: From your experience as an artist, what advice do you have for all aspiring artists out there?

BT: Just stick to the script. Keep the Faith. Be true to you and yours, and don’t let time, money, or fame be the primary motivating factor. Push the envelope.

AT: You Established Mojoe Music System, LLC in 2005 “as a vessel for the preservation of progressive music,” enlighten our readers on exactly what you mean by progressive music, and what direction you see Mojoe heading to in the coming years.

BT: Progressive. There is no timeline or template for good music. Rock. Hip-hop. Soul. Jazz. R&B. Funk. Gospel.
I’d like to bring people together. I want Mojoe to help be a vessel for artists to share their creativity, without compromise. A melting pot for ill shit.

AT: I read that you are video game enthusiast, especially Madden, who was your favorite running back in Madden 93′?

BT: 93? Barry Sanders, of course. And Neal Anderson.

CM: For up and coming artist do you have a day job, or does music sustain your lifestyle?

BT: Yeah, I gotta day job. Kinda in that transition stage though. I got personal time stacked up, and when I need to take it, I do. Honestly, I’m blessed to be able to work my job, and do what I want musically. My job and my music career support eachother. And that’s a blessing. It’s piece of mind. Which allows me to feel no pressure when I create, now.

CM: Thank you so much for your time!

BT: Likewise. Peace.

Much Love To Our Sexy Deftune Fam Member Sara Barrett For Conducting The Interview

Who IS Chris Murray?

Chris Murray is a household name to ska fans. He has engaged in all aspects of creating music: performing, producing, and writing. He is best known for his simplistic approach to producing: a four-track recorder and a one-man band. The result is a sound that more mainstream ska and reggae have strayed from. The sound is simple, yet infectious. Each track is distinctly heard, not overpowered, and the songs emanate the traditional Jamaican sound that originally spurred the popularity of ska music. In opening and hosting Bluebeat Lounge, Chris Murray has proven, once again, that good music needs no fancy packaging.

On any given Wednesday night, among the hectic nightlife of Hollywood, Bluebeat Lounge stands out as a stark contrast to its surroundings. There is no guest list to insist you are on, no VIP line to stand in. Entrance isn’t dependent on the designer of your dress or how well you know the bartender. Bluebeat’s modest venue includes a hardwood floor scuffed from the heels of dancing feet, and a small stage free of muscle-bound security guard or gate obstruction. When not performing, band members can be found sprinkled throughout the crowd. No line is drawn between the artists on stage and the crowd they face. Bluebeat’s appeal comes from the people, themselves. What brings familiar and fresh faces back to Bluebeat week after week is a love for good music. Artists want to perform just as much as fans want to hear. That raw interaction has kept Bluebeat in demand for 6 years.

Q & A

SB: First off, congratulations on celebrating another year of Bluebeat Lounge, and, as a fan of traditional ska and roots reggae, thank you for providing one of the few places where the scene is still cherished.

Thanks back! It’s only through the support of people who love the music that Bluebeat Lounge has been able to keep running for the past six years.

SB: How did the idea for Bluebeat come about?

CM: Initially, my good friend, John Pantle, who was main agent at KFLA at the time, offered me an artist residency at Knitting Factory. The idea was to do it for 2-3 months, but by the time Bluebeat hit its third month it was clear something cool was happening, and for Knitting Factory it was good business on Tuesday nights. (To avoid confusion, I must say that Bluebeat has now moved to Wednesday night.)

I connected with Brian Dixon of The Aggrolites, whom I’d known since he’d toured with my old band, King Apparatus, back in 1994, and asked his advice about what to do with the residency. At the start, Brian was a big help lining up bands to play at Bluebeat. That he was in so many bands at the time was a big part of that. I think Brian played on four of the first six Bluebeat bills, with See Spot, After Hours, a Joe Strummer tribute group, and with The Aggrolites.

By coincidence, Luis Correa, who ran Steady Beat Records and promoted most of the rock steady shows in LA during the 1990’s, stepped away from promoting a few months before Bluebeat Lounge began, leaving a big vacuum that Bluebeat filled.

Overall, an opportunity arrived and I made the most of it that I could.

SB: The Knitting Factory has long been a mecca for the local music scene, and the Alterknit is a very intimate setting. Both characteristics work to provide an audience-artist interaction one rarely finds these days. That said, what kind of feedback do you get from both the artists and the audience after shows?

CM: One thing I’ve heard many times is that Bluebeat Lounge is an oasis in the heart of Hollywood. Bluebeat is definitely unpretentious, unlike many things going on in Hollywood. For a lot of people, having a cool, casual evening out with good music and no hassles means a lot.

The musicians involved in the scene really appreciate that there is a good venue to play, and that they themselves can go out to see great bands playing a somewhat obscure style of music they love.

Some of the nicest feedback I get is from the staff at Knitting Factory. The venue hosts all kinds of music, including a lot of metal and hip hop. Sometimes the people attending these shows are pretty rough around the edges and come with heavy attitude. Everyone who works at Knitting Factory really appreciates Bluebeat Lounge, that the nights have truly nice music, and that the people who come to Bluebeat come to have fun, not to be badass.

SB: Describe a few of your most memorable Bluebeat moments over the past 6 years.

CM: There have been many. One that stands out is when Ras Michael played for the Reggae Nucleus Magazine (no longer active) anniversary show during the third month of Bluebeat back in 2003. Eric Kohler, who now manages The Aggrolites, arranged for Ras Michael to perform. Ras Michael’s presence in the room and his performance gave Bluebeat a degree of legitimacy and scope of activity that hadn’t been matched before then. That a truly legendary Jamaican musician was performing at our intimate weekly scene event was fully absorbed by those deep enough into Jamaican music to understand, and exposed those who weren’t as deep into the mix to something they had never experienced before.

Another amazing night was when Tokyo Ska Paradise Orchestra performed what was supposed to be a secret show. Their official LA show was at HOB Sunset, and the group had agreed to an exclusivity clause in their contract, which didn’t allow them to play any other LA dates. On the day of the Bluebeat show, word got to HOB about the Bluebeat appearance and it seemed virtually certain TSPO would have to cancel. In the end, TSPO agreed to take $2000 less for their show at HOB so they could play a $5 show to the people of the true LA ska scene. It was absolutely incredible.

I could go on forever about memorable Bluebeat moments, but I’ll wrap up by saying that many of the greatest moments have been almost spontaneous performances by highly talented musicians who came together very last minute to perform in combinations that had little or no rehearsal. There have been so many of these magic moments, and it has been my privilege as a musician to have taken part in many of them.

SB: Bluebeat has showcased legendary traditional Los Angeles ska bands, such as the Israelites; popular ska acts from overseas, such as Dr. Ring Ding from Germany; major reggae artists of today, such as The Aggrolites; and many various upcoming artists in the reggae/ska scene. From your own perspective, how has this huge range of sounds from different eras, places, and stages of development contributed to Bluebeat’s vision?

CM: From the start, the basic vision for Bluebeat Lounge was to be open to various musical styles connected to and coming from Jamaican music. Bluebeat is a term often attached to the pre-ska Jamaican boogie shuffle that was the sound of the island even before the 1960’s, and the Bluebeat sound drew on various historical influences from calypso to WW2 era big band jazz, and I chose this term for the title because of its inclusive nature.

Having started with an open mind has been very beneficial, and many great performances have happened that could not have in a setting that was more rigid in its outlook.

SB: How do you choose which bands to showcase at Bluebeat?

CM: In the beginning, I had to approach every band because the series wasn’t established and bands didn’t know it was even an option. Over time, the process has evolved into a fairly even mix of inviting bands and trying to accommodate band requests to play.

As much as I can, I try to put bands together whose sounds will work well together, which doesn’t always mean those bands have the same sound. I try to help new bands be seen by audiences that don’t know them yet. I try to create situations where new ska fans who aren’t familiar with the roots of the music will see the groups that play the authentic style.

SB: Are there any artists that you would like to see perform at Bluebeat, but haven’t yet? What can we expect from Bluebeat in the years to come?

CM: I’m stumped. So many great acts have played Bluebeat and so few ska bands that I love haven’t. The ones who haven’t played Bluebeat yet are typically from far away. One act I’m very excited to see at Bluebeat soon is The Pepperpots from Spain, who will be playing on Wednesday March 25!

SB: Finally, it’s obvious Bluebeat has made a huge impact on ska/reggae fans in Los Angeles, but we rarely ask… How has Bluebeat changed you? Is it what you had originally envisioned?

CM: Great question! Bluebeat has definitely gone much farther than anything I could have envisioned when it started. Ska music has had cycles of popularity over the years, but has really stood the test of time overall. I like that Bluebeat is a stable fixture in the world of ska music, something people around the world are aware of, a show that bands from other places hope to play if they ever tour California.

Bluebeat has definitely changed me, or been a big factor in changes that have happened inside me over the past six years. When Bluebeat started, I was still a bit of an oddball character in the eyes the ska world, that guy who plays acoustic guitar and performs solo. After having worked with so many artists over the past six years I feel truly integrated into the global ska scene and I can see the effect Bluebeat has had on many acts.

So many things have happened as a result of Bluebeat, it’s hard to separate the specific effect Bluebeat has had on me, but I know it has reinforced the “show must go on” attitude that I already had many years back. With a weekly concert series, there is no choice except to push on and make things happen, and having to do that week after week for six years has been challenging, and challenges make a person stronger.

Be Sure To Check Out Bluebeat Lounge On Every Wednesday Night @ The Knitting Factory!

** All Photos Taken By Sara Barrett © 2009

One of the top “Feel Good” records of the year.

If you’re melancholy about the state of our nation’s economy, I apologize for not being the savior to your monetary woes. Fortunately, I can provide you with some uplifting music that will lift you out of your slump. Jamie Lidell’s latest album Jim has more of a Motown and less of his familiar electronica sound, but accomplishes his goal of making joyful record.

Check out this crazy Brit on an interview with Pitchfork’s Nitsuh Abebe.

Here’s “A Little Bit Of Feel Good”

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Super Producer Danger Mouse Interview

Here’s a throwback interview that super producer Danger Mouse did for the 2006 LA Film Festival at the Hammer museum near UCLA. KCRW’s Jason Bentley conducts the interview and converses with Brian Burton, aka Danger Mouse, about the beginning of his career, his approach to making music, and who he’s worked with. To end his discussion, he speaks about the three movies he chose to be shown at the Film Festival.

A lot of the people I talk to know Gnarles Barkley because of their international success, but few know that there are two people that make up the character. Danger Mouse (and Cee Lo Green) has a lengthy track record. Watch this interview to find out what inspires him to make music, even though he lacks the ability to read music or play instruments.

It’s always great to hear how great minds work. I got sucked in and I hope you will too.

Check out the video and to see how Woody Allen (film producer) fits into the puzzle.

Enjoy.

Check out these exclusive videos of Beach House from Pitchfork.tv

Part 1

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Beach House is an indie rock band from Baltimore, Maryland comprised of Alex Scally on guitar and keyboards, and Victoria Legrand on vocals and organ. “Gila” and “Holy Dances” is from their album Devotion.

Part 2

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J Dilla is one of my influences. He is known as one of the most respectable, and most influential hiphop producers of ALL TIME. He will surely be missed. Thank you for your music JD. RIP.

RZA is the main producer behind the Wu Tang Clan’s beats. He’s also worked on soundtracks for films such as Kill Bill. Here he’s interviewed by Kotori Magazine and he goes through his experiences in producing starting from the age of 11!? Enjoy!