• Watch Skrillex & The Doors “Breakin’ a Sweat” Video
• David Guetta on Deadmau5 spat: ‘I don’t just show up and press play’
• Jamie Jones on cracking the Top 40: “This is in no way selling out”
• Q&A: Thom Yorke on Atoms for Peace’s ‘Mechanistic’ New Album
• John Talabot Readies Deluxe Edition of ‘ƒin’
Watch Skrillex & The Doors “Breakin’ a Sweat” Video
The collaboration between Skrillex and The Doors has finally been given an official video. ‘Breakin’ A Sweat’ is now live on YouTube and it’s huge.
Last October (has it really been a year already?!) Mixmag revealed that the renegade dubstepper would be teaming up with the remaining members of the legendary rock band for a documentary project orchestrated by the GRAMMYs. When it was then released on Skrillex’s ‘Bangarang’ EP it hit number 32 in the UK singles chart.
Now the tune has been made into a glorious technicolour video. ‘Breakin’ A Sweat’ is huge, featuring Skrillex’s trademark monster riffs and The Doors’ trippy melodies. And there’s also that prophetic Jim Morrison sample, which goes: “I can envision one person with a lot of machines – tapes, electronic set ups – singing and speaking, and using a lot of machines.”
Check the video below.
David Guetta on Deadmau5 spat: ‘I don’t just show up and press play’
David Guetta has defended himself from claims by rival dance act Deadmau5 that all he does when playing live is turn up and “press play”.
Guetta’s live show was criticised by DJ Deadmau5 for lacking skill and relying on pre-programmed music, stating that Guetta only needed “Two iPods and a mixer” to play his shows. “We all hit play,” he said.
However, Guetta has taken exception to the comments, and in a new interview withVibe, says that every sound in his stage show has been made by him: ”For so many years I DJed in clubs and learned the hard way. The big DJs start by being bedroom producers and they have a hit and suddenly start playing in front of thousands of people,” he said, adding: “But the way I did it was by working six nights, playing eight hours sets every night. I’ve learned a lot about how to communicate with the crowd, so when my music crossed over that stayed. The connection with the people is what makes the difference for me.”
Guetta also claimed his job is different to that of a regular club DJ, stating: ”If you listen to a hip-hop DJ, he’s not playing his own music. It makes a huge difference. When I perform, everything you hear is me playing my own music. You’ll hear unreleased music; every record I play, I will edit and use parts of another record to make it unique. I’m not gonna play what you hear on the radio.”
It was claimed earlier this year that Guetta was working on a new album with Paris Hilton. His last studio album, 2011’s ‘Nothing But The Beat’, featured collaborations with Sia, Nicki Minaj, Chris Brown, Jessie J and Snoop Dogg.
Jamie Jones on cracking the Top 40: “This is in no way selling out”
Leading on from a weekend spent DJing around Australia, house hero Jamie Jones has found himself in the UK Top 40 charts. Hot Natured, Jones’s production project alongside L.A. identity Lee Foss, has snuck in at the #40 spot with its Ali Love-assisted Benediction. Following on from Hot Natured’s previous summer anthem, Forward Motion, Benediction is another warm, enveloping house jam, carried along by Love’s slick vocals.
The Hot Natured band – Jones, Foss, Ali Love and Infinity Ink’s Luca C – have been writing in Los Angeles, London and Ibiza this year to create an album for 2013. If the LP has as much crossover appeal as Benediction, expect to see this posse of Ibiza-worshipped house heads sharing the UK Top 40 again with names like Nicki Minaj, Calvin Harris, Florence + The Machine, Disclosure and Rihanna.
Given his standing in the DJ world, Jones seemed prepared for some backlash to Benediction’ssuccess. “For everyone who was expecting my next collaboration to be with Akon, here’s the lowdown,” he wrote on his Facebook page, following a mixed response to his announcement that Hot Natured had crept into the charts. “So interesting to see the differences in opinions overBenediction getting into the top UK top 40. Personally I’m very very proud that with the Hot Natured band project we were able to touch so many people with this record. But I also want to assure people that this in NO way selling out. Selling out is making music that you don’t particularly like purely for money. We just make songs we love (this will never change) and it seems that a lot of people like them. So for us to then turn around and say you can’t like my music you’re not cool enough is ridiculous…”
“Saying that,” he adds, “I do understand peoples passion for underground music, I share that passion, and have done for most of my life, so I would like to take this chance to let everyone know that I have a brand new more underground label starting next month, which I’m very very excited about.”
As well as launching the new ‘underground’-focused label, Jones and co. are also working on the Hot Natured live show, which will get its first run on Saturday 13 April 2013 in London. The guys are clearly confident about their hometown pull, booking out the stately Brixton Academy for the occasion. You can cheer on/snipe at the success of Benediction while you listen to it below.
Q&A: Thom Yorke on Atoms for Peace’s ‘Mechanistic’ New Album
On a weirdly balmy afternoon in September, Thom Yorke, the singer-guitarist of Radiohead, sat at a table in his New York hotel room, with an enviable view of lower Manhattan from the adjacent patio, and talked about the long-in-birth, finally completed debut album by his solo-project band, Atoms for Peace. Titled AMOK, the nine-song record is due out early next year on XL. Yorke recently issued “Default,” one of the tracks, as a digital-single teaser.
Yorke was on a break that day from his current year of live shows with Radiohead. His hair was pulled back in a tight but unruly ponytail, and he had a sandy-blond beard. An hour into our coffee and conversation, he was joined by two other members of Atoms for Peace: drummer Joey Waronker and Radiohead co-producer Nigel Godrich. The missing two, bassist Flea of the Red Hot Chili Peppers and that band’s touring percussionist Mauro Refosco, were on the road in Europe.
The album they’ve all made together was born after Atoms for Peace played eight North American shows in the spring of 2010. The group, formed by Yorke to play live the songs from his laptop-driven 2006 solo album, The Eraser, was so good in rehearsal that Yorke arranged for three days of studio recording in Los Angeles, after the last concert. Beats and licks pulled from the jamming in those sessions were subsequently processed, edited and, over the next two years, meshed with other laptop composing and studio work by Yorke and Godrich. The result, Godrich says, “is something that hasn’t been done before, because of its origins. It was sort of a backward idea – and a step into the unknown.”
Yorke puts it this way: “One of the things we were most excited about was ending up with a record where you weren’t quite sure where the human starts and the machine ends.”
This is how they got there, according to Yorke.
You went into those tour rehearsals, at Electric Lady in New York, to learn how to play songs from The Eraser onstage. It must have sounded like much more than that, right away.
It was a nice dynamic between us – a good buzz. But there’s this funny thing where the music I do on my laptop is so angular. When you get people to play like that, it’s so peculiar. Most of it, technically speaking, they can play. But there were times when we used the electronic sounds, because it was more brittle, more exciting.
What did you have, material-wise, when you went into the studio in L.A.?
We had nothing.
What did you come out with?
A fucking mountain. [Laughs] It was a form of madness. We’d go in at midday and pretty much work through to 10. We were playing all the time. It was bonkers. We’d stop to change beat. Joey and Mauro would scribe the beat out, using whatever weird notation they have, and then go off on it for another hour.
What was your role, especially amid strong, technical players like Flea?
Definitely conducting. Nigel and I were like, “That’s good! That’s not good!” [Grins] It was about trying to get interesting grooves. When we first hung out, we were at Flea’s house. We got wasted, played pool and listened to Fela Kuti all night. It was that idea of trance-ing out. But there are still songs here.
How did you decide between live and programmed sounds in building those songs? Can you give an example?
“Default” started with a mistake on a sampler in my studio [makes telegraph-like drum-machine noise]. I hadn’t patched it in right. It was giving me a tone that, when I put it with a melody, I was like ‘That’s nice!” I had that when Nigel and I were doing The Eraser.
But then, at one point. Nigel said, “I need some more stuff. What have you got?” I thought, “I’ll try that.” We literally played it with the band. I asked Flea, “Can you scribe that out?” It was horribly complicated, everything in a weird length. And they could all physically play it. But actually, it didn’t sound as tight as the machine. It’s one of those things that if we ever get it right live, it will be fucking mental.
How much did the music determine your lyric direction in songs such as “Reverse Running” and “Judge, Jury and Executioner”?
“Judge, Jury and Executioner” was a funny one, because the rhythm is so odd on it. The phrase just spewed out when I was playing the song on guitar. It was like a key, opening a door into all this other stuff that was going on, that I was desperate to get out.
“Judge, Jury and Executioner” – that’s pretty angry. “Reverse Running” has this weird desperation in it. It’s a head-space thing, rather than a storytelling thing. I’d love to be a storyteller. But I can’t do it.
Are you going to tour again with Atoms for Peace, after the album comes out?
I hope so. We all want to.
Ironically, because of the blend of electronics and live playing, you’ll have to relearn all of the songs with the band.
Yes. [Laughs] It’s fucked up! I’m going, all the time, “Hmm, this is too human. Can we make this a little more mechanistic?” But as much as I try to resist the temptation, I really want to say, “This is the beginning of something.”
And this was after three days in that studio. God help us if we’d had a week.
Near the end of the conversation, after Godrich and Waronker sit down with their coffees, the topic turns back to the songwriting on the new album. “They are songs,” Godrich says of the nine tracks, which include the liquid-African dynamics of “Before Your Very Eyes,” the eerie, propulsive “Dropped” and the spaced-funk chant and jangle of “Stuck Together Pieces.”
“But you also have to give people something that moves,” Godrich goes on. “This is the eternal battle with Thom. He’s like ‘I really want to make a dance record. But I have to sing on it, or nobody’s going to fucking care.” Yorke, sitting across from Godrich, howls with laughter.
“This,” Godrich says of the Atoms for Peace record, “is his compromise.”
“But the best tunes I dance to always have at least one good vocal idea.” Yorke insists. “There’s no such thing, to me, as a good tune with no vocals.”
(via Rolling Stone)
John Talabot Readies Deluxe Edition of ‘ƒin’
Mark your calendars for November 30, because Barcelona producer John Talabot is set to release a deluxe edition of his XLR8R Pick’d album ƒin via Permanent Vacation. The deluxe version of the LP features outtakes—including “Tradedial” and “Mai Mes,” which were previously only available as a 7″ sold on Talabot’s recent tour—and the handful of remixesdelivered by the likes of Bullion, Kenton Slash Demon, and Pachanga Boys. You can see the tracklist of the bonus disc released as part of the deluxe edition of ƒin below.
02 Destiny feat. Pional (Bullion Version)
03 Matilda’s Dream (LP Version)
04 Mai Mes
05 Last Land (Kenton Slash Demon Remix)
06 Zanzibar (80?s Tapemix)
07 I Want Tonite
08 Journeys feat. Ekhi (Bostro Pesopeo Remix)
09 When the Past Was Present (Pachanga Boys Purple Remix)