Found this on http://jekyllethyde.fr/ and decided to repost.
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Yes yes, the academy is back once again, this time in London, UK. I can’t start to let our readers know how invaluable a resource their video archives have been for me. I’ve watched over 50 lectures from artists like – Theo Parish, Moritz Von Oswald (Basic Channel), Goldie, Steve Goodman (Kode9), D-Bridge, Mala, Derrick May, A Guy Called Gerald, … A stunning cast of some seriously innovative legendary artists. These video’s are a godsend for me, and in my opinion better than any classroom oriented instructions you could receive at a music technology college. Of course, the topics of discussion are never centered specifically around one area, like ‘production & techniques’ – instead, the focus is set to encompass a fuller span touching on all areas related to musicianship and the industry. The wealth of knowledge and experience to be had is absolutely unsurmountable.
The application process for the academy can be quite rigid because they’re selecting from a large pool of applicants all competing for a limited number of invitations. You can expect then that if you’re lucky enough to attend you’ll be surrounded by like minded aspiring artists, all with a common love for music and their craft. That being said, I have to pose the question: do you get to choose which lectures you attend? I always find it a bit funny (or frustrating) when audience members don’t know, or have never heard of these lecturers. I can’t help but think to myself “my god, don’t you realize how lucky you are? How the **** do you not know who’s sitting in front of you?” Gilles from Lost Art, a partner of the RMBA, has provided me with a little condensed clip of the lecture from Mala back in 2008.
*edit: just found this mix mala did a couple weeks back and thought i’d share it.
Mala – Live @ KiSS FM 06/02/2010
The academy not only hosts some of the biggest names from House, Techno, DnB, Dubstep, and all the other electronic musics, but also features a variety of artists and industry professionals involved with Jazz, Soul, Reggae, Pop, … Basically, regardless of your background and musical tastes there will be something here for you. Aside from the lecturers there is also been quite a few recent participants that have really launched themselves forward through the academy. Don’t quote me on this bit but I have an inkling that Jamie Woon and Subeena we’re both previous participants. I know at very least that they definitely collaborated on a track together titled “Solidify” featured on the RMBA compilation CD from 2008. Other participants include: Desto, Braiden (Rinse FM), Hudson Mohawke, (Steve Beckette, founder of Warp Records found and signed him here) as well as many other’s that are probably featured on the RMBA compilation CD’s.
This year’s line up is again, an all star back 2 back – But what else does the academy offer? Well, to start with, they host group workshops where the artists and participants together go in depth into the science of sound and music production. Throughout the runnings there is also some great parties to attend. I’m obviously a bit late announcing this but Mala and Goldie both did sets at Culture Clash, a recent showcase in conjunction with the academy. If you’re living in or around the London area, stay tuned on the Red Bull Music Academy website for any information on anymore up coming parties.
P.S. attn. RMBA, please fix the videos for Carl Craig, MJ Cole, and Kieran Hebden. I’m dying here….
dear god, i don’t want to sound like “that guy” but who else saw this coming? maybe this will be the cue for north american producers to get off the stupidness. acutally, that sounds like im singling them out – but for whatever reasons, when the music crossed over seas it lost all its slinky push and pull. i’m not trying to fight against the invisible crowed here – i got enough respect for the whole community; but maybe, just maybe it’s time to think for a second about why the music is called dubstep.
My vinyl purches, new and used from NY. It’s a good oppourtunity for me to share some of my more eclectic tastes without worrying about the material being dated. I can’t be bothered to make any encodes for this stuff but maybe in the future we’ll have little mixes for our readers if there is enough interest.
Amir . Communicate . 12″ . Trapez ltd . 2009
Blind Minded . Tekatek . 12″ . Trapez ltd . 2009
Butch . Muskatnuss . 12″ . Trapez ltd . 2009
Burial . Untrue . 2×12″ . Hyperdub . 2007
Flying Lotus / Joker . Glendale Galleria / Untitled_Rsn . 12″ . Tectonic . 2009
Flying Lotus . L.A. EP 3 X 3 . 12″, EP, ltd . Warp Records . 2009
Miles Davis . Live-Evil . 2xLP . Columbia Records . 1971
Roberta Flack . Blue Lights In The Basement . LP . Atlantic Records . 1977
Slave . The Concept . LP . Cotillion . 1978
Todd Rundgren . A Wizard, A True Star . LP . Bearsville .1973
It’s been a quiet summer from Samuel but that’s because it is about to be a busy fall. After a short trip to Cape Cod with Ellie Goulding‘s, Starry Eyed, on repeat Samuel and The Knocks returned to the studio and cooked up a reworking of Goulding’s track. Samuel will be spending the month of September finishing up his yet to be titled debut album on Startime/Columbia Records with The Knocks. who will also be working with Ellie on more music.
Just love this track! 100% daydream material!
[audio:/0809/Starry Eyed (Ellie Goulding Cover Produced By The Knocks).mp3]
Samuel – Starry Eyed (Ellie Goulding Cover Produced by The Knocks)
Yesterday I visited the memorial for Dash Snow at the Deitch projects gallery in nyc. Known by friends as the ‘Snowman’ and ‘Sace’ in the graffiti underworld, Dash became the sort of poster boy for a care free bohemian-esque lifestyle.
I won’t go into the details of the cause of death here, that’s not why i’m writting this. There is an article in the New York Times that gives more insight than I could about that.
I was first introduced to his work some summers ago. I remember thinking about the ‘gonzo-journalism’ concept Hunter Thompson fashioned and how it applies to Dash’s photo’s.
In the gallery on display along with his polaroids were works done in commemoration, letters, and other gifts from family and friends. There was also a separate viewing room with two small TV displays. The first was a time lapse of what looked like dash and some other unrecognizable naked bodies playing in shredded photocopied cash. The other was a short clip from an interview. He was asked about his personal beliefs to which he replied: “[laughs] well, i’ll tell you what i don’t believe in…”‘
Dashielle’s work in my mind is the most relevant and important testament to our overly stimulated society.
These are some of his polaroids that were featured in Vice magazine.
The rest of the polaroids featured in tiny vices can be found here.