Category Archives: CKUT programming

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Concert Review: DF EP Launch @ Art Lounge

Montreal-based audiovisual duo DF released their new EP abcdf this past week, marking the occasion with an evening of stellar local music at Art Lounge that featured sets from Justin Lazarus (Look Vibrant) and Joni Void, as well as DF themselves.

I was fifteen minutes late to the soirée; by the time I arrived the huddled audience was already seeped in the wooze of Lazarus’s characteristically idiosyncratic, adventurous songwriting. Lazarus and his two accompanists had a stripped down set up of vocals, sampler, bass and keys that glowed with analog warmth. He took the crowd to chord school, teaching us to celebrate mixing disparate colours in the same song. Whatever emotional arc Lazarus’s songs demanded, he always chose the sounds that were right for them. His set coupled this free-spirited vision with earnestness and vocal abilities bent to his will, making for an unfailingly exciting live experience.

Following Lazarus was Joni Void, who performed found-sound electronic music, backed by projections. For the most part, he kept a filter over the projector’s lens, lightly distorting the visuals so the audience had to recall them from memory. Void began his set with a dusky lullaby of a rarity from his side project, Boy With a Red Cap. Its serene sine blips were spare but not reaching for anything more, twinkling enough that the crowd could lock into Void’s vision. The set’s highlight was a song based on an ambulance siren that flashed before the audience, running to and from opposite ends of the stereo image. During this song, Void showed us video clips of city life, but never the ambulance itself. The siren passed again and again, suspending me in a daily moment I rarely otherwise think about. Off-kilter harmonies formed around the visuals and a discernable beat took me into a bizarre trance, where the sound and visuals of daytime were bent to rhythms typical of nightlife. Joni Void uses an impressively sparse set of sounds to command of the listener’s mind, and in this set he had me captivated.

Headliners DF performed next in front of their own massive light fixture, an array of panels that visual artist Dan Freder puppeteers in pulses and patterns, responding to Dustin Finer’s saxophone. Throughout the set, Freder hopped from dimension to dimension, switching between altering the patterns on the light fixture and projecting various visual mapping schemes against the venue walls. Prior to this show, I had only seen the duo’s music video for “She’s Great and All…,” which superimposes 3D animations against real life footage. When the two played the song live, Freder opted for alternate imagery, casting ripples on a set of delighted dots. Through innovations such as this, DF made sure the night didn’t feel like a playthrough of the EP, and Freder demonstrated versatile imaginations that paired well with his partner’s music.

On the music end of the set, Finer ditched the potential baggage of the solo-instrument-loop-pedal performance by making sure to get the most out of his tenor sax. Digging deep in the sax’s sound, he reached Hammond-organ-like bass tones and created mechanical glitchy percussion by tapping his horn’s keys. Finer had a family of hearty, triumphant tunes ready for the communal vibe, but he also made time to rip freeform solos through a yummy stacked-4ths harmonizer.

My personal favorite piece of the night was the manic “Hobgoblin,” where Finer squealed through his horn as Freder shook a piece of foil against a beam of light. The fact that “Hobgoblin” lasts only one second is further testament to its reckless creativity, and the duo’s broad, promising conception of art. The nature of AV shows demands they be experienced live, so DF are a group you should see for yourselves – and there will definitely be many more opportunities, as this duo’s future has plenty in store.

– review by Rian Adamian

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POP Past The Poster: What To See This Week

POP Montreal is finally here, folks. Montreal’s most massive music festival (say that five times fast) has descended upon the city, promising a week of stellar shows, panels, films and more. But POP’s best feature is also its most intimidating: there’s just so much good stuff. The festival has literally hundreds of amazing artists worth seeing this week, which is both very exciting and very overwhelming. With so many bands, the smaller shows at POP can sometimes be easily overlooked. That’s why we’ve put together a schedule of the less-publicized POP shows – none of the artists below are featured on the POP poster. So, in between Austra and Weyes Blood, maybe I’ll see you at one of these sweet gems this week:

Wednesday Evening:
Naomi Punk // Phern // Mundy’s Bay @ La Vitrola

Start your POP off right with the experimental art rock of Naomi Punk, whose new album Yellow is a jerky, jolting masterclass in breaking down your expectations of punk. Opening up are locals Mundy’s Bay and Phern, whose gazey post-punk and off-kilter smart pop definitely warrant arriving early.

Thursday Afternoon:
Joni Void // Sea Oleena // Desert Bloom // Best Fern // Ohara @ Phonopolis

This lineup (curated by CKUT’s own Underground Sounds) brings together some of the best ambient and electronic artists in the city for what is sure to be an entirely enveloping afternoon. From the calming ethereal pop of Best Fern to the eerie experimental music of Joni Void, this is a lineup to immerse in and drift away on.

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CKUT x MUTEK: An interview with Beatrice Dillon

As part of our ongoing MUTEK coverage, CKUT’s own Cyan (of Modular Systems) chatted with the London-based artist, producer, and NTS resident Beatrice Dillon. Read the full transcript below and get to know this prolific, boundary-pushing sound wiz.

C: Does your work as a DJ / radio host influence your own music production?

BD: It’s usually the other way round, I approach DJing as a musician so I search for music that connects with my own in some way – through production, attitude etc. Being on NTS gives me the chance to showcase all sorts of music and hopefully highlight some of the more unknown weirder stuff.

C: Are there any common musical themes/connections/processes that you draw on?

BD: I try to look beyond the 4/4 as that is covered really well by other DJs across NTS. I’m more interested in reduced ideas, unfamiliar time structures etc, I also like to balance newer and older music but to be honest it’s up to the listener..  I actually just play things I like!

C: What do you personally find interesting in a dj set as a listener?

BD: I’m always excited by twists and turns in DJ sets, moments where it could go wrong. I love watching DJs that enjoy the full capacity of a sound system – highs/lows etc..so the set becomes quite sculptural.

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C: One of the aims of Mutek is to showcase digital creativity. I was wondering how you would see your work in that context, or not?

BD: Well I use a computer and digital instruments all the time so it’s a huge part of what I do. Like a lot of people, I slightly obsess over technology and what might be possible for me but there’s always an interest in combining approaches. I’ve just produced a commission for a German artist, Jorinde Voigt, who makes beautiful large-format drawings which connect ideas across pattern language, diagramatic expression, algorithmic impulses, colour theory etc and I invited classically-trained cellist, Lucy Railton and Japanese percussionist, Kenichi Iwasa to perform with me as a contrast to the digital.

C: I wanted to know what motivates your collaborations – are you looking for particular types of collaborators, projects or ideas or does this just happen through personal friendships for example? How do your collaborative experiences influence your individual working practice?

BD: Usually through friendships. There’s always something to be gained from listening to someone else.

C: What are some of your upcoming artistic projects post-Mutek?

BD: I have a 12” on Hessle Audio which is a more club focused collaboration with Call Super and a remix for Ploy on the great Bristol label, Timedance. Then I’m focusing on a commission for a sound piece installed in a large cave in the north of England this autumn. Finishing a new solo record, a remix and continuing with some some new solo visual work. Plus, there are live and DJ sets booked too, so it’s a busy few months ahead, looking forward to it!

To learn more about Modular Systems and Traktion, check out Cyan’s website

 

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Free Samples Playlist

With last week’s article on DJ Khaled marking the end of Free Samples, here’s a playlist featuring some of the best tracks from the series. Thanks to everyone who followed this project throughout the summer!
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Spirit in the Dark” by Aretha Franklin
School Spirit” by Kanye West
Gold Digger” by Kanye West
I Got a Woman” by Ray Charles
Hotline Bling” by Drake
Cha Cha” by D.R.A.M.
Do You Mind (Crazy Cousinz Remix)” by Kyla
Glow” by Drake feat. Kanye West
Devotion (Live)” by Earth, Wind & Fire
i” by Kendrick Lamar
That Lady” by The Isley Brothers
Loyalty” by Kendrick Lamar feat. Rihanna
24 Karat Magic” by Bruno Mars
Izzo (H.O.V.A.)” by Jay-Z
I Want You Back” by The Jackson 5
Maria Maria” by Carlos Santana feat. Wyclef Jean
Wild Thoughts” by DJ Khaled feat. Rihanna and Bryson Tiller

– Matthew Martino

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CKUT x MUTEK Present buffalo MRI’s Montreal Sessions

As part of our ongoing Montreal Sessions residency, CKUT and MUTEK are thrilled to be welcoming one of our favourite local sound-benders, Dominique Alexander, back into the studio. Familiarize yourself with her excellent work below and catch her live on the air from 3-5pm, streaming from your faithful source ckut.ca.

buffalo MRI is the solo project of Montréal-based experimental musician Dominique Alexander. Since 2013, Alexander has developed an approach focused on prepared tape, field recordings, sampler performance, and fluctuation between structure and improvisation. Her creative process employs a wide range of techniques and sound sources, from voyeuristic moments and spontaneous background noises caught on tape to plunderphonics-style sample work and everywhere in between. From a given handful of recordings, Alexander manages to extract minute details and reconfigure them, weaving unrelated sounds into new images in performance.

As well as having made solo appearances at numerous one-off events and festivals in Montreal, including POP and Suoni Per Il Popolo, Alexander has performed elsewhere in Québec, Ontario, and the United States, with further touring slated for this fall. Her work has also taken the form of collaboration both within music and across disciplines. She is currently one half of experimental duo Urlapse with Joshua Bastien, and in 2016 she worked with visual artists Chloe Lum and Yannick Desranleau and choreographer Sarah Wendt to compose and perform a live score for their work The Rules, debuted at Montréal’s OFFTA Festival.

Outside of music performance, Alexander has worked in curatorial and academic capacities, giving guest lectures at Concordia University on the history of musique concrète and tape music as well as on the representation and visibility of women in electronic and experimental music. For a one-month residency at McGill University’s CKUT radio station, she hosted the weekly experimental music program If You Got Ears and will continue to appear as a regular guest on the show for future editions. While working to prepare her MUTEK debut, Alexander is also crafting a future release that functions as a reimagining of the “DJ tools” format, her first released work as buffalo MRI in over two years.

You can hear her hosting CKUT’s MUTEK x Montreal Sessions on Tuesday, August 22nd from 3:00pm to 5:00pm.

Photo: Thomas Boucher
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Free Samples: How DJ Khaled Dominated the Summer

 

While we can all thank Justin Bieber for teaching us how to speak Spanish this summer, DJ Khaled also had his fair share of success these past few months. The Miami producer’s tenth studio album Grateful debuted at No. 1 on the Billboard 200 chart and has remained in the top four for the past six weeks. The album has now been certified gold. His smash hit “Wild Thoughts” featuring Rihanna and Bryson Tiller peaked at No. 2 on the Billboard Hot 100 and is nominated for three MTV Video Music Awards including “Video of the Year.” If that wasn’t enough, the chart-topping “I’m the One” featuring Justin Bieber, Chance the Rapper, Quavo and Lil Wayne has now been certified three times platinum. So basically, if you wanted to sum up Summer 2k17 in a sentence or two, the words “DJ Khaled” would definitely be in there — along with “hangover” (but maybe that’s just me).

too short“For Free” feat. Drake (2016)
Song Sampled: “Blow the Whistle” by Too Short (2006)

The lead single off Khaled’s previous album Major Key, “For Free” samples lyrics and cadences from Too Short’s “Blow the Whistle” and interpolates Akinyele’s 1996 track “Fuck Me For Free.” In addition, one of Drake’s verses references Kendrick Lamar’s song “For Free? (Interlude)” off To Pimp a Butterfly with the line, “and like your boy from Compton said/You know this dick ain’t free.” The track is the fourth collaboration between DJ Khaled and Drake, following “No New Friends,” “I’m On One,” and “Fed Up.” Khaled claims he received Drake’s second verse while shooting the album cover for Major Key. He said, “I had a real lion on the album cover. I was sitting on the throne, and the lion was right here. Drake texts me with the second verse done. Mind you, I’m shooting my album cover, the lion is in front of me, and I’m on the throne. I swear on everything this is a true story. I even snapped and said, “The Drake vocals came in!” And the lion roars. This is all real. I’m not lying! You can go document and go find this. I thought that was so powerful and spiritual and amazing. I couldn’t sleep at night until it was done.”

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“To the Max” feat. Drake (2017)
Song Sampled: “Gus Get Em Right” by Jay-O (2015), among others

DJ Khaled began teasing the song on his Instagram, asking if “the Drake vocals came in yet,” attempting to recreate the success of their previous collaboration. Most of the “To The Max” production is a sped up sample of Jay-O’s “Gus Get Em Right,” which is heard prominently in the intro, chorus and outro of the song. The track also contains a sample of T2’s “Heartbroken” and sounds very similar to DJ Jayhood’s 2007 remix of the song, which the New Jersey beat-maker claims has “the exact same chops.” He wrote on Twitter: “I don’t want to say Drake DJ Khaled stole my ‘Heartbroken’ track.. I don’t own the sample but they were inspired.” Jayhood then went on to say that he respects both Drake and Khaled and that there is no “bad blood.” In an interview with The Fader, Jayhood said, “It was definitely sampled from the version I did. The chops are not the same from the original, it’s from the one I did. My drop is even in there.” T2 later confirmed that he was asked by Khaled’s team if they could sample the song, and although he agreed, he claims he hadn’t officially signed anything to approve the sample. “That was a bit of a surprise,” he said upon hearing the track. “I was not aware it was going to come out. I need to speak to people there [his publishers Sony/ATV] to get a clearer picture.”

 

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 “Shining” feat. Beyoncé and Jay-Z (2017)
Song Sampled: “Dionne” by Osunlade (2013)

Released as a surprise single right after the 2017 Grammy Awards came to a close, this track samples “Dionne” by Osunlade, which itself uses Dionne Warwick’s 1970 tune “Walk the Way You Talk.” DJ Khaled came up with the idea for the song while at a restaurant a week after his son was born: “I was at Nobu eating and I heard this sample. I put my phone up and I Shazam’d it [saying] ‘Man, this is my single!’ [Then] we went in the studio and we flipped it. So we sampled it and we chopped it up […] and it ended up being a masterpiece.” After signing a management deal with Jay-Z’s Roc Nation early last year, Khaled presented the beat to the rapper at the entertainment company’s Christmas party:

“I just got to do ‘I Got The Keys’ with him, so I ain’t wanna ask him for another record;          but I knew the record was so dope so I’m like ‘Let me play it for you.’ And the first 20,
30 seconds he was bopping his head, I seen him already rhyming in his head. And after I   played him the record I was like ‘Yo, I know the answer is “No,” but if you wanna play this to your wife, man, that’d be dope.’ I remember I was at the Roc Nation Christmas party [and] Beyonce came up to me and she was like ‘Yo, I like that record.’ I damn near   passed out! I was just speechless […] So, what happened was the night before the Grammys, Jay-Z hit me up and said ‘Record done.’ Meanwhile I was wondering if they were even gonna record it. So I had kept that beat and that vibe and I didn’t touch it. I was gonna hope that, you know what, my prayers are gonna come true. [It was] meant to be. I knew they liked it, but I didn’t want to keep asking them because they’re two big people. I just let the vibe take control.”

Khaled and his team then mixed, mastered, cleared the samples and got Jay and Bey’s approval all in less than 24 hours before dropping the record. Sounds like a Christmas miracle if you ask me.


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”Wild Thoughts” feat. Rihanna and Bryson Tiller (2017)
Song Sampled: “Maria Maria” by Santana feat. Wyclef Jean (1999)

A serious contender for this year’s Song of the Summer, “Wild Thoughts” heavily samples the main riff from Carlos Santana’s 1999 smash hit “Maria Maria” featuring Fugees frontman Wyclef Jean. During Grateful‘s recording, Khaled invited Tiller to his house for dinner and played him the initial demo of “Wild Thoughts,” asking him if he could do something with the song. Tiller returned home, quickly recorded his verse and sent it to the producer who used it on the final recording. As for Santana’s reaction to the track, the latin guitarist said he was “honoured” that Khaled, Rihanna and Tiller “shared this summer vibe with the world.” He went on to say that “there is a reason that the infectious groove/theme that Wyclef and I created on ‘Maria Maria’ still resonates today. It speaks to the heart. DJ Khaled, Rihanna and Bryson take that vibe and bring it to a new dimension with ‘Wild Thoughts,’ but the groove and essence of the song is still intact” — which is exactly what a good sample should do.

– Matthew Martino

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Free Samples: Jay-Z’s R-Rated Gospel

Jay-Z’s long anticipated thirteenth studio album 4:44 finally arrived late last month and it has already topped the Billboard 200 chart. After a four-year hiatus, the LP is getting high praises from the hip-hop community and reminding listeners of all genres why Hov is without a doubt one of the greatest rappers of all time. Last month Jay also made history by becoming the first rapper to be inducted into the Songwriter’s Hall of Fame (which he could not attend because Beyoncé just happened to be giving birth to their twins). So, it’s safe to say that Jay-Z’s summer is probably going a lot better than yours.

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“Dead Presidents” (1996)
Song Sampled: “A Garden of Peace” by Lonnie Liston Smith (1983), among others

The breakout single off Jay’s debut album Reasonable Doubt, this track was certified gold just a few short months after its release. The song samples Lonnie Liston Smith’s “A Garden of Peace” for the main melody and A Tribe Called Quest’s “Oh My God (remix)” for its percussion, while the chorus is a sample of Nas rapping “I’m out for dead presidents to represent me,” from his 1994 song “The World Is Yours (Tip Mix).” Nas was originally invited to perform the chorus for Jay-Z and appear in the track’s music video, but he declined and thus began their public feud. Nas confronted Jay in his track “Stigmatic Freestyle” stating, “You show off, I count dough off when you sample my voice.” Jay-Z then responded in the song “Takeover” with the lines: “So yeah, I sampled your voice; you was usin’ it wrong/You made it a hot line, I made it a hot song/And you ain’t get a coin nigga you was gettin’ fucked then/I know who I paid God, Serchlite Publishing.” Their feud officially ended in 2005 at Jay-Z’s I Declare War concert, when they performed “Dead Presidents II” together.

annie jay z“Hard Knock Life (Ghetto Anthem)” [1998]

Song Sampled: “It’s the Hard Knock Life” from Annie (1982)

This is undoubtedly the song that skyrocketed Jay-Z to fame. It samples a high-pitched version of the musical number “It’s the Hard Knock Life” from the 1982 film Annie, which is fitting as Jay raps about his rags-to-riches story. The song peaked at number fifteen on the Billboard Hot 100 and was nominated for Best Rap Solo Performance at the 41st Grammy Awards in 1999. Of the track’s inspiration, he says: “[One of my sister’s name is Andrea], but we call her Annie. That’s how the Annie sample came about. When I seen that on TV, I was like, ‘Annie?’ And then, I watched the movie. […] Any person that goes from ashy to classy or, you know, is from the orphanage or the projects—it’s pretty similar.” Jay later wrote in his memoir Decoded that in order to clear the sample, he sent a letter to the song’s copyright holders, lying about how he had seen the musical on Broadway as a child and written a competition-winning essay on it at school.

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“Izzo (H.O.V.A.)” (2001) 

Song Sampled: “I Want You Back” by The Jackson 5 (1969)

The first collaboration between Jay-Z and Kanye West, this track prominently features a sample of “I Want You Back” by The Jackson 5. The song’s main hook, “H to the izz-O, V to the izz-A” uses the -izzle language code (which was invented by E-40 and popularized by Snoop Dogg) to spell out “H.O.V.A.” in reference to one of Jay-Z nickname “Hova,” which is play on God’s name (as in “Jehovah”, aka “Yahweh” aka “Hashem”). Jay debuted the song during the 2001 BET Awards and producer Kanye West explained that it was one of the defining moments in his life:

“I was on the phone with my girl, and she just started screaming, and my two-way                  [pager] started blowing up. I was just thinking, ‘Damn.’ That was like the time in the                [movie] ‘Five Heartbeats’ when they heard their song on the radio and they start running      through the crib. If they ever do a movie about me, that’s one of the spots they’re gonna      have to put in the movie. This song is really gonna change my life […] Until an artist of          [Jay-Z’s] caliber co-signs for you, the industry doesn’t believe in your skills. Now they              know.”

Kanye referenced this track on his 2004 song “Through the Wire” about his near-fatal car accident: “That right there could drive a sane man berserk/Not to worry, Mr. H-to-the-Izzo’s back to wi-zerk.”

UNSPECIFIED - JANUARY 01:  Photo of Billy Squier  (Photo by Michael Ochs Archives/Getty Images)

UNSPECIFIED – JANUARY 01: Photo of Billy Squier (Photo by Michael Ochs Archives/Getty Images)

“99 Problems” (2004)
Song Sampled: “The Big Beat” by Billy Squier (1980), among others

In Decoded, Jay writes that he used “99 Problems” to confuse critics by hiding a deeper meaning behind its superficial chorus. The hook “I got 99 problems, but a bitch ain’t one” was taken from the Ice-T single “99 Problems” off his album Home Invasion (1993). Jay’s track was produced by legendary beat-maker Rick Rubin, who provided Hov with a guitar riff and stripped-down beat derived from “The Big Beat” by Billy Squier, “Long Red” by Mountain, and “Get Me Back On Time” by Wilson Pickett. “The guitars were a combination of old records that were sped up or slowed down, scratched in, or in some cases, we played guitars and then made a disc and scratched them in with a digital turntable. It was all processed and made new,” Rubin said of the track’s production. He recalled that it was comedian Chris Rock who was the inspiration for the song. Rock told Rubin about Ice-T’s track and its catchy hook and was convinced that Jay could make an even better song out of it. Said Rubin, “I told that to Jay, and he wrote the song based on the title. The idea was, it’s the opposite song. In the Ice-T original song, it’s all about the girls. Our idea was, ‘OK, this will be a song with the same hook about the problems.'”

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“Ni**as in Paris” with Kanye West (2011) 

Audio Sampled: Dialogue from film Blades of Glory (2007)

Fun fact: Will Ferrell is featured in Rolling Stone’s list of the 100 greatest hip-hop songs of all time. Inspired by Kanye West’s travels in Paris, the iconic song’s production was originally offered to rapper Pusha T by producer Hit-Boy. Pusha turned it down, claiming “it sounds like a video game. Get that shit out of here!” Then Jay and Ye got their hands on it and the track went platinum just under two months after it debuted on the Billboard Hot 100, just shy of two months after the album’s release. The smash hit also racked in the trophies, winning Best Rap Performance and Best Rap Song at the 55th Annual Grammy Awards. During the Watch The Throne tour, the two would perform this track multiple times at each concert. The crowds loved it. When they reached Paris, it was performed 12 times in a row. Talk about balling hard.

– Matthew Martino

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An Interview with Christopher Kirkley from Sahel Sounds

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Christopher Kirkley is the founder of the Sahel Sounds record label based out of Portland, Oregon and the man responsible for bringing Les Filles de Illighadad to Montreal during the Suoni Per Il Popolo Festival in June 2017.

Louis Rastelli, director of ARCMTL (Archive Montreal) and resident CKUT DJ (Montreal Sound Ark on Fridays 3 – 5 pm), invited Kirkley for a conversation at Archive Montreal’s archive centre in the Mile Ex district a few days after the Filles de Illighadad concert on June 21.

There is a local connection to the Sahel Sounds label by way of the old underground record co-op Backroom Records, which ran from the mid 2000s until 2015 in a back alley just south of the train tracks in the Mile End. That’s where Warren Hill, local record collector and Backroom Records founder, began putting out cassette and LP compilations of old blues, gospel and music from around the world on the Mississippi Records imprint. Around 2009, Warren began visiting Portland regularly to coordinate Mississippi Records releases with the local record store of the same name. A chance meeting in the shop with Christopher Kirkley led to the first Sahel Sounds releases. Just a few years later, the label boasts a catalogue of around 50 albums, documenting dozens of Sahel musicians and acts whose music would not likely have ever been preserved otherwise. Among the best loved of these records are two volumes called Music from Saharan Cellphones, compilations documenting independently produced musicians and bands whose recordings were mainly shared through memory cards on cellphones.

Rastelli spoke to Kirkley about how this all began and about how he discovered Les Filles de Illighadad. By the way: don’t forget to catch them on their second swing back in Montreal this Wednesday June 28 at Sala Rossa!

L: I’m curious about the challenges you face dealing with the kinds of artists you work with. For example, all the stuff that you copy off of people’s memory cards, it must be a huge range of digital files?

C: Yeah, I try to copy as much as possible, and I use that to source a lot of material for the albums, because a lot of time they only exist as MP3 and there’s no higher quality version. When I was first doing that for the Saharan Cellphone compilations, they were basically found MP3s. I thought I’d find the artists and contact them to get the master files, but there were no master files.

L: Were you able to contact a lot of them?

C: Yeah, everything on there was fully licensed and I was in touch with everybody, which presented its own difficulties — just finding people based on an ID3 tag on an MP3. Nobody was putting their phone number out there, which they really should be… If you don’t exist on the internet but you’re using this underground network of distribution, it needs some sort of tag or some way to verify that your name is attached to the file. What would happen is you’d have local cyber cafes, and they were the most savvy ones because they knew how to use computers, they would take out the ID3 information and replace it with the name of their own cyber cafe, so for a long time I kept zeroing in on the cyber cafes.

I spent about two years travelling around West Africa writing the Sahel Sounds blog. I was over there on a one-way ticket just travelling and recording without any commercial angle. When I got back to Portland, that’s when I walked into the Mississippi Records shop with a bunch of CDs of recorded music that I was passing around, and I dropped one off at Mississippi Records, primarily because I wanted it in the store and I saw that they were selling music from that part of the world, some of the Sublime Frequencies releases for example. And I thought, “what do these guys know about West African music? Here’s a CD…” But I wasn’t really looking for any label or anything, I was just looking for people to share the music with and talk about it with. Continue reading

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CKUT TOTAL ECLIPSE OF THE CHARTS::: June 20, 2017

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Hello friends,
The past week has been kind of a blur… In addition to catching a bunch of excellentSuoni shows, I was also lucky enough to share a bill with the fantastic HSY and H. de Heutz (above) at Ottawa Explosion — in a church, no less! I ended up staying for a couple days to hang with pals and came back just in time to see Les Filles de Illighadad make their North American debut here in Montreal last night. It was probably the most stunning show I’ve seen all year; in addition to putting on an amazing performance, they also have a pretty incredible story. They’re playing a few other dates on this side of the pond, and please do yourself a favour and check them out if they stop in your town.

xo
joni

:::WHAT’S UP AT CKUT:::
We’ve got a whole ton of fresh new content up on the CKUT music dept blog. Check out our take on Next Music from Tokyo and peruse these reviews of local favouritesEmmett McCleary and Best Fern; or perhaps you’re in the mood for a more detailed read, like our ongoing series tracing the use of samples in modern hip hop. There’s a lot to explore, so turn on some background music and dig right in.

:::CHARTS:::
ckut top 30 – june 20, 2017

1. she-devils – s/t – secretly canadian CC *
2. best fern – covers ep – self-released CC *
3. sick boss – s/t – drip audio CC
4. joni void – selflessness – constellation CC *
5. arto lindsay – cuidado madame – northern spy Continue reading

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Concert Review: Bernice & Charlotte Day-Wilson @ PHI Centre

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The night of April 22nd saw the Phi Centre opening its doors for an unforgettable showcase of two outstanding Toronto acts, complementary in many ways but diverse enough to keep the audience hooked.

Opening the show was Bernice, a six-piece electronic pop outfit fronted by Robin Dann. The band’s presence alone was formidable; there was something immediate in the way they were stationed under the cool lights. The music conveyed a similar power, with their weird knotty songs lying coiled beneath a deceptively smooth exterior. One striking detail of this setup was the prevalence of the electronic elements: synths, samplers, and a digital drum kit laid down a gorgeous, minimal foundation for the clear and understated vocals. The overall effect was one of supreme control and comfort, songs gracefully unfolding with a fine-tuned joy. By the time they hit their stride, the room was already packed and the audience was tuned in for this bracingly original set.

Offering a stark contrast, Charlotte Day-Wilson came with a far more conventional approach, though not unremarkable in and of itself. Backed simply by keys and a drummer, Charlotte tended to the sole vocal duty while busily trading off bass, sampler, guitar and saxophone, the latter eliciting a wild cheer from the crowd. Elements of funk, soul, hip-hop, and gospel coalesced seamlessly beneath her truly powerful voice, and with the aid of her flippant stage presence the room warmed quickly until the crowd was hanging off every beat drop and vocal somersault. All in all it was a head-spinning masterclass in the last half-century of popular music, tastefully arranged and presented by a commanding and singular voice.