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Lynx @ K4

Lynx @ K4

Posted on 04 October 2010 by Kavselj

Lynx is known as ultimate producer of deep and minimal drum and bass. But was it always like this? Whats quite funny is that his first pseudonym was Sicknote and I am quite sure he got it from Ed Rush & Optical. If you look at his discography first releases were brought out in 2001/02 when his main sparring partner was DJ Skinny (better known as Nu Balance and his strong collaborations with Friction). It’s not hard to notice that style was a bit different and it has evolved miles since then. Especially for the sound since the first releases had bass lines and rhythm sections that were quite in the manor of the times, yet musically on high level.

Next period was mostly marked by two collaborators Flow and Fatal. He did some tunes with Flow that lean more towards the ‘liquid’ (soulful) sound (Time Out was more noticed one) and with Fatal he tried more rough and hard sound, which was probably a turn in the wrong direction. But 2007 made it all right again. He joined the crew at Soul:R (run by Marcus Intalex and St Files) and his path also crossed with MC Kemo.

The synergy between two artists that are really into deep and subtle sounds is incredible and while it is a bold statement, we can say that new sound and new era were born in drum and bass. This goes especially to massive hit of that year, which was without Kemo, but it truly paved the path for this new sound in the music genre. Disco Dodo.

The following year served us some great collaborations. And what do we get when artist like Lynx joins beats with artist like Nu:Tone? Nothing less than a masterpiece. Deep bass, breaky rhythm, minimal pads and strings. Everything is just where it is supposed to be.

The Raw truth was debut album for Lynx and Kemo. Put out on Soul.R and featuring artists like Alix Perez, Henree and DRS was yet another beat towards the essential things in music and in drum and bass. With very consistent play list it is a good example of sharing good things in life and with their new label Detail they only reconfirm that attitude towards the fans of meaningful sound. Yes, The heart is in the details.

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Pat Metheny Group @ Krizanke

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Pat Metheny Group @ Krizanke

Posted on 28 January 2010 by Kavselj

Its hard to summarize Pat Metheny’s work as his consistent quality doesn’t allow much omission. With 17 Grammy awards in styles from Rock to Jazz and collaborations with musicians like Jaco Pastorius, Herbie Hancock, Ornette Coleman I will only present a small part of his works with his Group. Pat Metheny actually formed his Group with album called ‘WaterColors‘ even if this one wasn’t carrying the groups name. Band was originally formed with musicians Lyle Mays on keys, Mark Egan (Eberhard Weber preformed on Watercolors) on Bass and Dan Gottlieb on drums and had many various jazz musicians featuring on 15 albums till date. Watercolors was turning point in many ways as it practically defined new musical form blending folk, world, pop, rock and electro elements with jazz. Their unique style was widely recognized with first official release ‘Pat Metheny Group‘. This album is still reference to jazz musicians that are searching for new musical expression and was real revolution in that period especially because of the strange sound as Metheny and Mays used different synths and effects (for example Synclavier). It marked Metheny as ‘new age’ jazz musician, and evoked different reactions among traditional jazz scene.

Their first album that received Grammy award was Offramp where Mark Egan was replaced by current band member bassist Steve Rodby. The album starts with beautiful string theme from Lyle but true character was given with unforgettable piece that revealed the true soul of Metheny. Starting slow atmospheric and building the tune into something gloriously ascendant and groovy that after 9 minutes leaves you begging for more.

Next stop on exploring various styles around the world was Brazilian influenced ‘Still Life (Talking)‘. Metheny describes it as one of three most important records of the Group (besides First Circle and Letter from Home). There are at least two grand and unforgettable moments with Minuano (Six Eight) and epic Last train home.

This record was also important because of quite extensive use of vocals and vocal effects, that gives it even wider perspective.

‘We live here’ is a great project where synergistic effects of collaboration with Lyle Mays came to its peak. With many guest artists performing this is by some critics the most difficult work to love. But with ‘To the End of the World’ its also one of the essential records to have in your collection. We live here was followed by the extensive world tour and beautiful documentary was done from it. Drummer on this release was Paul Wertico that has replaced Gotllieb from ‘First Circle’ on.

part 1 of 11

Latest masterpiece is dated to 2005. ‘The Way up’ is almost 70 minutes long piece that is split into four tracks and shows the groups ability to improvise in harmonic and dynamic aspect. Antonio Sanchez that joined the band with ‘Speaking of now’ strongly affirms himself here and all the other members progress and create this unbelievable work.

Even if it’s not in the Groups frame I have to at least mention latest Metheny solo project. Orchestrion is by far the most complex project and best described from Pat himself.

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Nick Drake (1948 – 1974)

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Nick Drake (1948 – 1974)

Posted on 06 October 2010 by Kavselj

I ran into English songwriter/musician in my teens when I was getting to know many folk musicians from late 60′ early 70′. Nick Drake was always a bit special for me as was for everyone else around him during his short life. My first contact with him was compilation Time of no Reply, which has some outtakes from his first album Five Leaves Left and also some home recorded demos, which were only released postmortem. He fascinated me with his melancholic, tender melodies and meaningful lyrics. As I tried to play some of his songs on guitar I first noticed that almost every song has a different tuning. With very precise finger picking his songs were really hard to play for me as an very amateurish player. Time of no Reply was strong musical experience for me especially with Clothes of Sand, Strange Meetings II, Been Smoking to long and of course Time of no reply.

When you discover music that touches you deep down, the need for more is quite logical. With reference of Time of no reply, I bought Five Leaves Left which is his first album done and recorded when he was student at Cambridge. I later found out facts about his life and his early death. He had many problems with guest musicians, covers, studio work etc. when recording as he was very delicate about his work. Completion also wasn’t very dramatic. His sister said in many interviews that: “Nick walked into my room and said, ‘There you are.’ He threw Five Leaves Left onto the bed and left.” It was very strong album for me with some highlights that were also on TONR and some new gems for example River Man with beautiful string arrangements.

Nick was a very bad performer as he was quite shy and later struggling with various frustrations. On rare occasions when he preformed on live concerts, they were awkward and usually ended soon. This led to the end of his concerts and his frustration led to depression. Second album Bryter Layter wasn’t very prosperous even though its one of his best produced and arranged album with mix of folk, string and jazz arrangements. Producers thought it would sell since it was a bit popish but unfortunately it didn’t. For me this is a step away from his inner sound, and therefore least likable one.

3rd and last one Pink Moon is total opposite. Solo guitar and his voice. Very intimate and personal. No other words needed. His depression led to his death in June of 1974 with overdose of painkillers and only small amount of masterpieces he carried within himself were released. But Nick, thanks for all of them…

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Parov Stelar @ Kino Siska

Parov Stelar @ Kino Siska

Posted on 17 October 2010 by Kavselj

11. September 2010 / Kino Siska, Ljubljana

Parov Stelar is without a doubt one of the most promising producers in Europe today. His music combines jazz and swing samples with electronic elements, which somehow gave him a reputation of being a former of a new genre/style called electroswing.

More than a decade ago, being a DJ increased his interest in music production which soon resulted in releases for various record labels including Bulshido Recordings, Auris Recordings and Sunshine Enterprises under different aliases as well as his own name Marcus Füreder.

By 2004 he abandoned all his previous aliases and began producing as Parov Stelar. In the same year he founded his own label Etage Noir Recordings, whose debut release “Parov Stelar – KissKiss EP” shortly followed by the “Rough Cuts” album was an immediate success. Widely approved by the audience all over the world, it provided him an instant breakthtough on the international electronic music scene.

Parov Stelar – KissKiss: (Rough Cuts, 2004)

While it could be said that the title song of the EP, KissKiss (see video above), is more dancefloor oriented, in combination with the others it represents a different story. Deep jazzy samples, soulful vocals and smooth hiphop grooves create a specific atmosphere more appropriate for dimmed easy listening area than in the club. And this is one of many features of this versatile Austrian producer. Whether in a club, at home or driving a car, Parov Stelar will deliver.

Parov Stelar – Odessa: (Rough Cuts, 2004)

Second album “Seven and Storm ” (2005) makes it worth a while as well. Evolving his style in a deep jazzy matter that takes you through a range of emotions, supported with skillful sampling, which determines and separates him from others.

Taking first two albums aside, next in the row, “Shine” (2007), opens a new chapter in his musical career. With sometimes cheesy, but in a humorous way, mixture of breakbeat, swing, jazz, live trumpet, saxophone and vocals, it attempts to please not just the listeners on the jazz side, but also the ones on the pop one. And it does an awesome job! It still has soul and it makes people happy, which has been Parov Stelars intention all the way.

Parov Stelar – Shine: (Shine, 2007)

Parov Stelar – Charleston Butterfly feat. Gabriella Hanninen: (Shine, 2007)

And with “Coco” (2009), the latest addition to his discography, still jazzy but upgraded with synths and slightly harder beats, Parov Stelar gave electroswing a true meaning. It’s intentionally divided into two parts, one with storytelling moody compositions to satisfy the listening needs and the other taking care of the dancefloor, giving the opportunity for everyone to find something they like. The line between both sometimes becomes a bit blurry which, as stated in a release info quoted below, the artist wanted to achieve.

The album makes you tap your feet more and more with every track. The musician himself sees the whole thing as a “book for musical readers” which is classically defined in introduction, middle part and end.
(release info, EtageNoir)

Parov Stelar – Catgroove: (Coco, 2007)

Parov Stelar – Hotel Axos: (Coco, 2007)

Parov Stelar – Coco (feat. Lilja Bloom): (Coco, 2007)

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Meanwhile, in 2005 to be exact, Parov Stelar decided to spice up his on-stage perfomance with a full band. With Markus Ecklmayr aka Max the Sax on the saxophone, Willie Larsson jr. on the drums, Michael Wittner on the bass and Beate Baumgartner aka Yola B on the vocals, it became a reality and they’ve been performing together ever since. The facts that the band is booked for months ahead and that they are sold out almost every time, speak for themselves.

Definitely a night to look forward to!

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Vicente Amigo

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Vicente Amigo

Posted on 15 October 2010 by Kavselj

Vicente Amigo is one of the most important and progressive artists in modern Flamenco and also a very influential guitar player. Among his successes in music field the thing that stands out the most is probably winning a Latin Grammy but he also received many other prestigious flamenco awards. His main influences were logically Paco de Lucia and his long-time mentor Manolo Sanlucar.

The concert in Open Air Theater Krizanke was a special privilege for Slovenian audience since he is not touring much this summer. It was quite normal that it was almost exclusively in line with his current album Paseo de Grazia (Walking Grace) but also preforming few songs from Un momento en el sonido (A Moment in Sound). Paseo de Grazia is special album in Vicentes discography featuring many collaborations and guests and as such it evoked many different critics. Even if it might be a small step outside his combination of tradition and innovation, this time this is a step that is good for us.

Concert started with only Vicente on stage (and unfortunately a bit loud traffic outside the theater). His opening song was a beautiful piece from Un Momento en el sonido ‘Mezquita’. Start was slow and lyrical and it made nice grounds for special experience. Interpretation was fabulous and playing impeccable.

At the end of the song the band came to the stage and show continued more diverse with two percussionists, bass player, guitar player and singer. Crowd was a bit reserved at the start and Vicente was still catching the right relationship with us. But incredible music inevitable led to this unique bond. As there is a lot of singing (free and rhythmic) on new album this was also very present at this show, creating many special moments. For me the highlight of the night was incredible interpretation of Autorretrato. Sound of the flamenco cante is always very expressive and singer didn’t hold any horses down. Even if in a moment or two it was rather high for him, its the one to cry to…

Musicians were enjoying themselves as they also demonstrated ‘amateurish’ flamenco dancing in the end. They were a bit shy, but it was all in the line of intimate and sweet atmosphere. Really nice spontaneous gesture for the audience. The concert quickly passed with lovely boleros, rumbas, tangos from new album and even though it wasn’t so crowded, the beautiful atmosphere led to four bises and concert ending with ‘Demipati’ from Un momento en el sonido. If they are near you sometimes its highly recommended concert as I am quite sure its always special experience.

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MMW @ Kino Šiška

MMW @ Kino Šiška

Posted on 27 October 2010 by Kavselj

On Wednesday 29th of September at Kino Šiška you will witness jazz at its finest. There aren’t a lot of jazz groups that can be lined with Medeski, Martin & Wood, especially if you look from prespective of new jazz form that they established often called ‘avant-groove’ or sometimes ‘groove-jazz’. The group is consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar. All three are incredible artists in aspect of musical form, improvisation, innovation and maybe most important: feeling. They started their travel almost two decades ago with a gig at The Village Gate and soon released their first album ‘Notes from the Underground’ which is acoustic all the way. Even if from this critical distance isn’t the most MMW standard album it still basically tells what it is to tell about the trio. Combining free jazz improvisation with grooves that are more common to hip-hop in songs like ‘Uncle Chub’ or nice easy listening and more build up jazz in piece ‘La Garonne’, wild improvisation and experimenting on ‘Querencia’ or on the other side more straight ahead with ‘United’.

Second album ‘It’s a jungle in here’ goes a bit further in experimental mood but also continues to deliver these groovy feelings. With songs ‘Benesha swing’ which is a Monk/Marley rework and ‘It’s a Jungle in here’ they firmly build a model for combining heavy bass lines with strong rhythm section but also stay far from clichés or ‘have heard’ music. There are few ‘heavy’ songs, which rise their artistry above more market orientated projects, but somehow don’t leave that twangled feeling in the stomach.

Fourth album ‘Shack Man’ probably affirmed them as innovators in the field of combining free jazz with strong and straight grooves and also shows whole repertoire from the fingers of Medeski which is playing variety of different pianos and synths. Its very interesting how also post creators (Roadhead) used two songs form this album ‘Dracula’ and ‘Jelly Belly’ and turned them into interesting funky jazz composition.

In the 18 LP discography there are few titles that stand out in various ways. First is probably fifth album ‘Farmers reserve’ which completely brings out the experimental side of them and delivers a project that is most out of this note product. Second is very fruitful collaboration with John Scofield on ‘A Go Go’ and ‘Out Louder’ which gave them wider audience, a push further into funk and also step forward in live performances. ‘Chunk’ form first one in 1997/8 gives us pretty good example.

And then came ‘Let’s go Everywhere’. They say that when MMW go to a studio they never know what is going to come out. And most certainly no one expected a children’s album. But it happened and if you don’t want for your children to be infected with one day no value pop, this is nice try to present them interesting and quality music. But they say when you address kids you always touch their parents to. So… Where is the music?!

Special chapter is also collab with John Zorn. Album that they arranged is a part of Zorn’s ‘Book of angel’ series that comes from second book of Masada. Book of angels is an composition performed by various outfits or combinations of esablished jazz musicians for example Secret Chiefs that also preformed in Kino Šiška this year. MMW preformed Book of Angels on last years Jazz Festival in Ljubljana.

Blue Note signed MMW in 1998 and in very productive period we have to mention at least two albums. First under BN was Combustication which is also their biggest selling one and last one The End of the World Party in 2004. The progression of the band is vivid. From quite rough sound they moved to quite clean one and as for the jamming which can be measured in high percentage at beginning on Blue Note and sometimes became downside and lost clues in stories they told, this became more thought over and cut at the right places, so that beautiful integrity sprung out.

They left Blue Note in 2005, mainly because they never were true sellers of the music on records, but as great improvisers more live profiled band. And in 2008 they started unique project called ‘The Radiolarian Series’. Project is ingenious also in a production sense, as they released recorded live performances and released 3 albums in good year on the road. In many interviews they mention this accession as they are tired of good old market steps – release and tour.

As their overall progression is concerned, there isn’t a really significant album that would mark their whole musical expression, but with every new release there comes stronger feeling on what they want to tell and what goes on in their heads. It’s often a strong reminder that jazz was originally dance music. So lets go from there on.

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Sub Focus @ K4

Sub Focus @ K4

Posted on 07 May 2010 by Lunik

To Slovenian club K4, this Saturday (8.5.) comes the greatest one in drum and bass, of last season, Sub Focus. In promotional material that was released from promoter of this event, there is vivid introduction: »Until he came, everything was like sad clowns on flashy roundabout with candy floss and lemonade. You could get only nightmares, diabetes or diarrhea from that. But thanks god, history leaves behind all bad, and it is lost somewhere in sea of every day’s trash. And when all faceless entertainers are tired, from sub state doesn’t comes the enemy but Focus. Sub Focus.«

But is Nick Douwma, really that different from those ‘sad clowns’ in dnb scene? For him it started, with Andy-C and RAMs sister label Frequency with Down the drain/Hot Line in 2003. As the Andy C saw Down the drain as a headliner on this release, as it was more in the spirit of the times, surprisingly Hot Line had more long term impact on the scene. Why? From my point of view, this one is really the difference that intro text talks about.

It probably continues the golden ‘hardstep’ era, that was conceived in late 90’ with ed rush & optical, kemal, konflict, usual suspects, bad company and others, and was unfortunately brought almost to the knees few years later. Also second release from Sub Focus is in that manor. On a side more jump upish tune Acid Test and again the real beauty on b side, Get On Up, this time whit nice groovy liquid pattern.

Third one on frequency tells the whole story. Sub Focus is diverse, and can do many genres properly. Junglish SoundGuy and clone of jumpup BlueNote are today seen as classics in the drum and bass. And so it should be, because we were waiting for the shit to end. And it probably stopped a bit with this.

Sure, there is a lot of unwelcome jumpup going on even in this days, but jumpup probably also has two sides.

X-ray was too big for frequency. Even if it’s not my kind of gear, I think RAM is only logical choice. I don’t know if it came at the right time but first place on uk dance chart is definitely thing to be proud of.  Even if its doesn’t mean anything to lovers of drum and bass. Through that 2005 was very fruitfull for Sub Focus, as he was asked to do Prodigy’s  Smack my bitch up remix. A massive one indeed.

In 2006 he was the future with Airplane. If you listen to current ‘liqud-jumpup’ Airplane was their predecessor. The one on b side Flamenco, with nearly flamenco guitar riff, was logically more popular. A bit to cheesy sound of the guitar is thing to look away, but it does the thing with nice harmony in second part.

In strangely periodical manor he released the worst one Special place but on B side another totally different story with hard, uncompromised Druggy.

As one no. one was not enough uk chart accepted Time Warp there also. Tune was big, played probably at every dnb event at least twice in 2007.

No special word is needed for this one as for the biggest of Sub Focus – Rock It which was also among top 40 singels in the UK.

With This Could be real he stepped towards another field – dubstep. Even song has popy lyrics, it can hardly be described as popy, especial because of really sick bassline. Another example of nice, clean genre crossing.

And than came Focus. Sub Focus. The rest you know.

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