I like James Blake. I guess I’ve always been into a spread of music but when ‘CMYK’ came out R&S it sounded new and fresh. I know it’s a long way away from what we normally cover but hey it would be boring if we wrote about the same stuff all the time. So James Blake went from this twisted bass-heavy garage-business to appearing with a lovely slow beat based number called ‘Limit To Your Love’ with him showing his voice. It was a nice surprise. Anyway, I was at my mate Emma Warren’s house the other day (check her blog if you’ve not read it) and she had the new album.

Emma is a long-time journalist who wrote for Jockey Slut from the early days and then The Face and other influential types of things. Anyway, point is she got lost in a world of dubwise stuff a while back and hasn’t been out of it since. Oh and she’s got a show on NME radio that we mentioned before that runs form pure soul to the best in house with nigh on 100,000 listeners which is pretty tidy. So, she posted a review on her site which I’ve ripped wholesale here. Not to blow too much smoke, but she could write a review far better than I ever could so here you go.

My friend came round yesterday while I was playing James Blake’s debut album through the speakers in my front room. “It’s Erykah Badu with white noise,” he said, turning it up.

I’d been looking for the right R&B reference when I posted about this album yesterday but I couldn’t quite find the right one. It wasn’t quite D’Angelo and it wasn’t Curtis Mayfield, but there was definitely a specific R&B influence underneath the 11 songs on the self-titled release. And Badu’s the right reference: Blake’s voice sits over rim shots and slowed down snares on the opening track ‘Unluck’ in a way that reminds me of ‘Rimshot‘. It’s a powerful opening shot, and one that sets the scene beautifully for the rest of the record.

“Wilhelm’s Scream’ is the second single, and it’s more soulful and straightforward than ‘Limit To Your Love’, although straightforward, Blake-style, still means mournful organs hanging halfway on the horizon and submarine-depth bass implosions over circular lyrics that fall in and out of the music, which by the end of the track sounds almost like a gospel house record – albeit in about five million little pieces.

James Blake ‘James Blake’ is a properly good album. It’s strong, cohesive, and powerful. You still want more when you get to the end, and it stands up to repeated listening. I reckon that most of my music friends will like it (though there’ll always be people who either like to hate on whatever’s hot or who who find Blake’s style a touch too emo). But I think my other friends, who work normal jobs and hang out at home with their families, will like it too. But that’s because Blake has brought genuinely interesting, soulful material into his pop songs. Take ‘I Never Learnt To Share’ with it’s repeated lyric ‘My brother and my sister don’t talk to me/ But I don’t blame them’. It’s totally odd and definitely shouldn’t work (one lyric repeated ad infinitum, over restrained CMYK beats isn’t the usual recipe for a memorable pop song) but it does. And that’s one of the marks of actual genius as executed by the likes of Aphex Twin or OutKast; doing things that shouldn’t work… and making them sound brilliant.

The middle section of the album is the Bon Iver patch. I can imagine Justin Vernon listening to consecutive tracks Lindesfarne I and II and going ‘yes! that’s exactly what I meant!’. And it’s the range of this record that makes it so appealing. After riffing on Bon Iver’s themes, we get Blake and his piano, with a short, sweet folk song ‘Give Me My Month’ that Crosby, Stills and Nash would have been perfectly happy with. It sits next to ‘To Care (Like You)’ which you could easily imagine hearing at FWD>>, despite the fact that it’s gospel-tinged, falsetto R&B-goes-techno at minus eight. The album is packed with compressed silences, the kind of sonic drop-out that few people would attempt (there’s at least seven seconds of silence at one point in ‘Limit To Your Love’), and which I know makes radio engineers panic because that silence sounds a hell of a lot like dead air. John Cage would be extremely proud.

Any downsides? None that hit me straight away. It’s cool and clever, emotional not emo and packed full of sophisticated sideways soul and deconstructed songs that still feel bizarrely memorable. It’s not as in your face as ‘CMYK’ and it’s more substantial than the barely-there threads of ‘Klavierwerke’ EP. I guess the only downside is that you’ll eventually be sick of hearing it everywhere, but only in the way that Portishead or Massive Attack were momentarily diminished by being so heavily overplayed. And that’s hardly a bad thing. One lovely record.

Emma Warren’s blog can be found here and the radio shows here.

[Emma Warren/Apiento]


Wandering Feet Podcast
Red Bull Radio
What has Steve Beckett talking about Aphex’s lucid dreaming got in common with a tune from Darkstar called ‘Aidy’s Girl Is A Computer’? Apart from sharing an interest in the sideways approach to life, they’re both on the new episode of my Wandering Feet podcast. There’s also an interview snippet with Egyptian Lover about old-school electro parties and new tunes from Parallel Dance Ensemble (aka Robin from Owusu and Hannibal and friends), hotly-tipped UK MC Bubbz, Hotflush Records top boy Untold and dreamy low-end dude Lukid. And a D-Bridge remix of UK funky girl, Meleka. Subscribe on iTunes if you’re enjoying.

Wandering Feet: October Podcast
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[Emma Warren]

Radio Show: Sole Music

September 20, 2009

Emma Warren, journalist and contributor at Test Pressing, has been part of the Red Bull team for some time now. Here she is talking about her lovely Wandering Feet show…

Wandering Feet

I’ve been doing these podcasts every month since January now. They’re linked to the Red Bull Music Academy, which is coming to London in February and March next year, but they’re mostly about what I’m tagging ‘new music and old-school knowledge’. This month we have music from Taken By Trees; an exclusive forthcoming track from American basshead and new Hyperdub signing Faltydl; a Wiley mix of Speech Debelle, before she won the Mercury; and Venezuelan dubstepper Cardopusher on a funky tip. We also have a few words from Candi Staton (did you know You Got The Love started life as the theme tune for an American dieting product?) and DJ Zinc came down to the studio to talk about junglist influences and his new jump-up house tunes. It’s worth taking a look at the Red Bull Music Academy site anyway, because there are hundreds of video interviews with everyone from Arto Lindsay to Bob Moog to Sly and Robbie. Ditto the radio site, RBMA Radio. My top recommendations would include the Warp special currently on the frontpage. And the new Wandering Feet, of course.

Get the show here.

[Emma Warren]

DBC Tape

Dred Lepke was the man behind the Dread Broadcasting Corporation, the first black music pirate station in the UK. He began broadcasting from a shed in his Neasden back garden in in October 1980 with an aerial that sent his reggae and community vibes out as far as the end of the street. Soon it became a cultural phenomenon, the literal grandaddy of today’s vibrant pirate radio scene. I interviewed Lepke in 2002 for a Mixmag feature on the history of pirate radio and he kindly sent me this cassette tape, with a handwritten cover, of recordings from the station – something he later turned into the brilliant Trojan compilation ‘Dread Broadcasting Corporation: Rebel Radio’. It’s still got pride of place in my front room. As Lepke said: ‘tune in if yu rankin’.

DBC Online

DBC Radio
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[Emma Warren]

Feet First

June 30, 2009

Wandering Feet

Emma Warren, one of the Test Pressing contributors has been producing various radio shows/podcasts for the Red Bull group, so we thought we’d post one here and ask a little about what the shows are about. Over to Emma…

I’ve been doing a monthly podcast for the Red Bull Music Academy since January this year. Each month I make my way up to Clerkenwell Green, clutching a handful of my favourite tunes of the day, ready to step inside the vocal booth and get recording. I’m working with the team who create content for the RBMAradio.com site which means that we get access to amazing people. So far I’ve had interviews with Baaba Maal, William Orbit and a customised jingle from Tippa Irie as well as full access to the catalogue of couch interviews that happen each year at the academy. But anyway, this is the current Wandering Feet podcast. It’s got music from Goldielocks (above) and Mark Pritchard, Sa Ra’s Om’Mas Keith and Debruit plus new school Portuguese techno boys Photonz as well as interviews with Subeena, Dirty Projectors and Baaba Maal. The one before had Musinah and a fab new tunes from kizomba hip hop duo Ritchaz e Keke and the next one, which I recorded this week, will have new music from Little Dragon and a TRG mix of Moderat as well as a super-sweet interview with dubstep’s Mala. Til that goes up next month, here’s Wandering Feet.

Wandering Feet – June
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(Image courtesy of Debbie Bragg/Everynight)

[Emma Warren]

Strictly Dub Wize

Last time man like DB told all about his early days as a producer, and about hanging about outside cutting houses whilst Jah Shaka prepped his soundbombs. In the second part of his interview about cutting houses, how disco stole Sly and Robbie’s flying cymbal and turning sound system clashes into band clashes.

How much of a disadvantage were you at, making English reggae? And how much of a problem was it that you didn’t come from Jamaica in the first place [Bovell moved to the UK from Barbados aged 12]?

I had to go the extra mile. I had to make sure my stuff was stinging. By the time I done ‘Silly Games’, I showed them my craft and it was totally FM sounding and wasn’t off the radio – still isn’t off the radio! – and I’d created a new drum beat. The intention was to make every tune with that drum beat in that reggae style, but the success of it… I couldn’t. People would have thought it was all I could do. Sly Dunbar had the same one on every tune! We called it “Flying Cymbal” but it was so infectious disco had it and called it disco.

Lloyd Bradley told me that cutting houses had a very specific job in that world of reggae, and didn’t move out of that world until punk came along…

The invention of the cassette ruined it too. D’you know, by the time Lovers Rock had hit I’d stopped using Hessle because by the time I cut Yuh Learn I’d learned not to cut my stereo tapes in mono any more. I wasn’t aiming at sound systems any more. I was aiming at radio and the wider ear.

Was there overlap between what you’d call ‘wax culture’ and the uptown places?

The dub cutters were John Hessell and a place in the West End called LTS, London Transcription Service. LTS was owned by a friend of mine’s brother, Bill Farley in Tin Pan Alley, Denmark St. Shaka used to use there. I quickly stumbled on a guy called John Dent. John Dent was first called Sound Clinic and he was the cutting room that was attached to Island Records. That’s where I cut The Slits, Linton Kwesi Johnson. This guy has cut all Bob Marley and all U2. As cutting engineers in this country go, he’s the man. He built another cutting room called The Exchange in Camden. Him and Graham, then he left and went and opened his new cutting rooms called Loud.

Can you give me an example from the time at Island, with John Dent, when something clicked for you as an artist?

There was another guy called Aaron Chakraverty at Master Rooms. He made me realise how far I could push that piece of plastic to reproduce and enhance, even, what you intended from the mixing room.

That post-punk period was really interesting…

I produced Orange Juice. There was a song called ‘Wheels Of Love’. I’d done what I call a skid mix, which involved lots of backwards sequencing. If you hear the 12” version you’ll hear it. Once I’d done it I needed to go to the cutting room to hear how they sounded.

Why could you not know that in your studio?

Too much bass makes the wave got like that (shows jump in the air). The skid was a piece of information backwards that could trip the cutter head and make the cutter head think it’s a square wave, and think it can’t read it. If you printed a record like that, it would jump. The first few copies of the Pop Group album I cut, I lifted the cutter head before conventional standard dictated. It was just another crazy idea.

Was there a link between early pirate radio, back in the early ‘80s, and cutting houses?

You’d have to ask Dread Lepke about that. He’s going to open a radio station in Ghana, for his sister. You know, Rita Marley.

Who would you bump into at a typical cutting house?

You’d try not to bump into people. It was inevitable at Hessle’s, because people would just turn up, typical sound system stuff. Count Shelley, Neville The Enchanter, they’d be everywhere cutting dubplates. You’d have to phone up and book a particular cutting time: here on Monday, there on Tuesday. come the weekend you have to have dubplate!

It hadn’t occurred to me the volume of music people would be getting. How important have cutting rooms been to UK street music?

It was the only means to liberate the stuff that was being recorded. Before I pressed Matumbi’s ‘After Tonight’, that song was on the sound systems of Great Britain for about two years. People were flocking to London to see me to get a dubplate of that, from Birmingham, from Manchester, from Leeds, from Coventry, from Doncaster, from Bristol.

What did they have to do to get their dubplate?

Chat to me at the right time…. and pay me, basically. They’d be cut to order. People would bring their deposit or cash or a postal order. You had to go to the source, to get a dubplate. If cut a dub for someone and I heard they let someone else cut it, they weren’t getting no more dubs from me. You had to go to the source.

Going to the source. What impact does that have on the music?

It just allows me to know where the music’s gone. It would allow me to know if I was popular enough to do a live show. If my tune was being played on the Bristol sounds, I could safely go to Bristol with my band and do a show there because people knew my music, people would come. Birmingham, the same.

Who else was in the same position as you? A DJ and producer and musician?

I used to get a lot of flak from the band: what are you? A sound man or a musician? Sometimes the rehearsals might clash with the sound playing out. They’d be like, ‘I’m fed up of going to hear your sound!’

So what are you, soundman or musician?

I am me. I’m both. The soundman did win, back then. This was a time when sounds were more important than bands. It was sounds and oh – there’s a group playing too. I remember arriving once at Acton Town Hall with Matumbi. We arrived and all the sounds had lined the stages with their boxes. I was like ‘Ya! Move dem!’ They deemed it their right. ‘We’re the sound! You’re only a group!’ It was only because I was in both worlds that people would listen. That kind of thing would cause friction. Groups were disrespected by sound systems, people getting turned off so the sound could play. Luckily no-one would do that to Matumbi. We’d plug a desk from the stage into the sound so it went around the room in this enormous PA system. We used to have group showdowns. There was this group called Black Volts, that was led by Michael Bruno, Frank’s older brother. Our band would clash Black Volts in Pountney Hill, just up the road from the Beaufoy, that was the scene of the big sound clashes between Duke Reid, Sir Coxon, Count Shelley, Neville the Enchanter. Those big sounds would have soundclashes there. So we decided to do a group clash. It was a show of strength.

Do people need to know why all this was important?

We found a way to bring [the music] from the studio to the living room, via the cutting room. From the control room, to the cutting room, then to the living room. It’s all rooms, isn’t it? There was room for improvement, in maximising the quality, and the best way to do that was to get it right at the cutting room stage. Even if it lacked something in the control room, in the studio, you could inject, elasticate frequencies, then it would lock them in, so that any reproduction of it would be regular. They are the heroes. Of ears.

[Emma Warren]

Dennis Bovell

Dennis Bovell was born in Barbados and moved to England when he was 12. At school in Wandsworth he discovered tape looping, with the help of a broom handle, and created his own cut-up of Bob and Marcia’s ‘Young, Gifted And Black’ with a teacher-performed trombone piece on top. The sound system top boy created Lover’s Rock smash ‘Silly Games’, formed UK reggae band Matumbi, wrote the soundtrack to seminal south london flick ‘Babylon’ (check it if you can) and produced a host of post-punk gems from Orange Juice to The Slits to The Pop Group. But this interview is mostly about that forgotten area of UK sound system culture, the cutting house – the place where DJs and producers have been going to get their dubs cut since reggae arrived in the UK in the 1960s.

The full feature, by Emma Warren, contains interviews with the UK’s foremost reggae historian Lloyd Bradley as well as drum ‘n’ bass don DJ Zinc and Jason Goz from Transition Mastering Studios, will be in the next issue of the super-fly dancehall and grime fanzine Woofah. Pick up the print version or check it online at Woofahmag.com. And you can check Emma Warren’s monthly half-hour Wandering Feet podcast, featuring music from kizomba hip hop dudes Ritchaz e Keke and Silkie and interviews with William Orbit, Deadbeat and Musinah here.

People know about pirate radio and all that, but they don’t know how important cutting rooms were. Do you agree?

Without cutting rooms we wouldn’t have had what we had. Cutting rooms are most important. The transition of the music, from the studio to the turntable.

How did you discover cutting houses?

About the age of 15 there was a recording studio built in my school in Wandsworth. The school was called Spencer Park, then it was renamed John Archer after the first Mayor of colour, and since completely abolished. The site where it was, directly opposite Wandsworth Prison, was a hospital during a time of war. Then it became a school. There was a bell tower in the building which was turned into a studio. Our school had a thriving orchestra, a thriving drama group and it was positively one of the best schools in Wandsworth. The studio wasn’t built for the drama department, it was built for the English department to record plays. At the same time, I was involved with a group of lads and we were called Roadworks Ahead. We helped ourselves to quite a lot of the Government’s gear, to adorn the stage when we played a gig. The headmaster made us take them back. I’d made friends with lads that lived down the end of my road, and lads who knew I could play the guitar. Norman Hitchock, Colin Short, Derrick Chandler and me: that was Roadworks Ahead. The studio was built and one day I hit upon an idea to make a loop. This involved recording a piece of a popular reggae tune and editing it together so it went round and round constantly in a loop, with a broomstick to keep the tension on the tape recorder. I created a loop from what was the number one reggae tune at the time: Bob and Marcia’s Young Gifted and Black.

Was this a new idea for you? Or were you inspired by other people doing it?

No. I had the idea. At this time I was messing around with tape recorders. No-one had done it before as far as I was concerned!

This was when, ’67, ’68?

Yes. I was a kid of 14, 15, playing with a tape recorder, in charge of the school recording studio. But I was also a musician and I suddenly had the ability to tape from disc on to this tape. I brought in my copy of Young, Gifted And Black and realised there was a bit of the song where they weren’t singing, so if I took that I could then make my own record without having to have a band and no-one would know where it came from.

How many bars did you have?

Two bars.

I thought you were going to say six, eight…

I took two bars of that song and I made a loop. And in order to make it play without going whrrrrrrwhrrrr (does wonky time sound) I needed tension. An old Ferrograph, it was. A broomstick came in handy to steady the tape. Then copying that onto another reel… we were blessed, we had two tape recorders, just ¼ inch two track tape. You’d have to mic the whole band up to record it – we did that as well – but for this purpose we didn’t. That record is why I became known as Blackbeard the Pirate later on, because I’d done this in my school days. I invited members of staff who played trombone and flute to join me in my adventure and to play a trombone version of a very popular song, Guantanamera. To be marrying that with Young, Gifted and Black! I did that.

I guess that makes you the original fusion man. So how did this record lead you to the world of cutting houses?

It was customary for sound systems to play dubplates. Except in those days they weren’t called dubplates, they were called ‘wax’. I took it to the local cutting house, which was owned by R.G Jones. Now R.G Jones is one of the most reputable studios in this country. It’s in Wimbledon, right. And old man Jones, he’s long passed away now…

Reputable how?

Cliff Richards recorded there. The first black group from Scotland, Average White Band, their first album was recorded there. Mutumbi’s first recordings were recorded there. RG Jones were the first people to have PA Systems. Old man Jones was intrigued by this school boy who was cutting wax.

How did you know about him? Did you know about cutting houses generally?

It was probably the Yellow Pages to find him. It was Wimbledon and I lived in Clapham Junction so it was the closest one.

So he was intrigued by what you’d done?

I didn’t tell him what I’d done! But he was intrigued that kid of my age wanted to cut an acetate. So he explained to me about the frequencies and the cutter head and I made this acetate and sold it to this soundsystem called Jim Daddy. It must exist somewhere. It was the only one I made. The only other person would know about it was the teacher who played on it, he was a young one so he’s probably still alive. I’d like to find that man again.

So the tune went to the sound systems. And…

From thereon in, I was doing that kind of thing.

Now you had a place to get the music out.

I had a place to get my wax cut. And an outlet. The first one we did, we sold it for £3. In 1967 went a long way. It was a lot of money! A lot of people were getting £3 a week.

What were cutting houses generally like?

After that I found another cutting house, owned by a man called John Hessle. John is the architect of dubplates in this country right across the board. He was less expensive than RG Jones. He was cutting in mono, so it was the same on each side of the record. In fact, a lot of my stereo tapes were melted down into mono by using him, but sound systems were largely mono anyway. So it wasn’t that bad cutting a dubplate for a system on a mono lathe. He was an old Jewish man and they had a lathe in their front room in Barnes.

Another person with a cutting room in their house…

Another person, yes. RG Jones was a proper studio. Hessle’s was in his house. In Barnes. In Nassau Road.

What was the picture when you knocked on his door?

First was ‘what was this black kid doing in this neighbourhood’. John was blind, he’d been wounded by shrapnel and he lost his eyesight but his hearing improved. He had this mobile recordings business. I went on mobile recordings with him as a youth, to record Jaspar Carott. Before he was big on TV he used to record for a label called Sweet Folk All. Sweet Folk All! I’ve got loads of Jasper Carott records from before he was famous. Once I went with Hessle to the Royal Albert to record the Latvian Song Festival. A 500 voice choir no less! And John, he was a neighbour of David Rodigan. I met Rodigan then, before he was Rodigan the DJ, when he was Rodigan the actor. He did one of the first Guiness adverts on TV. Way way waaaay before he was Rodigan the DJ. He was curious what was going on and John Hessel would slip him acetates and he got to meet Shaka, everyone else.

Who else would be there?

Me, Sufferah. Shaka. Shaka would be camped out there all day. Be using the cutting room all day and no-one else could get in, then John would get pissed off ‘I’m not cutting any more tonight, this is my home!’

Shaka was in there, no-one else could go in. So where do you wait?

In the street, van loads of black people, the neighbours going (puts on posh voice) ‘what’s going on dear?’ I didn’t wait in a car. I was the first person, one of the first people, to go there and word spread. I was there before Shaka, before Coxone

So what did these cutting houses do before? Were they linked to soundsystem culture?

Not at all. They were tape to disc. Ordinary transcription service.

So the people who came from Jamaica, who were cutting dubs for their sound systems, where were they going?

John Hessel told me himself that he was intstrumental in building the Treasure Island studio. He was a friend of Duke Reid in Jamaica, before Duke Reid passed away. This was a Jewish guy, a white guy. I owe that man a lot, for taking me as a young man and telling me about the frequencies. He was instrumental in guiding me in how best to put the frequencies on so they reproduced properly. He was afraid of tripping the cutter head. You’d have to send to Germany for a new one and that cost wong. He wasn’t about to trip that for a dubplate for some young black boy. He’d send me back to the studio to remix it if my treble levels were too high.

I’m interested in the fact that cutting houses provided a sort of schooling…

It happened for me from talking to the cutting engineer. He’d been alive during the war, enough to be blinded. Him an elderly man, me a teenager. Whatever he said was gospel. If John said it, I had to do it. By this time I’d moved away from looping and moved into recording. I was recording with Matumbi and engineering. I’m interested in placing microphones and all that. I want the best for my product and I want to sound as heavy as the Jamaican stuff. And John was the best man to talk to.

Part two follows soon.

[Emma Warren]

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