It’s becoming a habit, yo-yoing in and out of London on the train. Here at Hotel Washington, in Bristol, the sound of someone wonderful practising clarinet drifts in through the open window. If you look hard enough you can see the notes floating on the balmy air. The clarinet is singing plaintive old songs, memories of mists and mellow fruitfulness, sleepy slow loneliness, while I rest my head on the single bed, waiting for my time to play. Why is this sound so romantic, so beautiful, so alluring, so charged, like a secret, like a promise? So beautiful, the way it dances on the background sound bed, the familiar rumble and swoosh of city traffic, the constant of urban life. It is human energy, movement, tracing a twisted pattern of thought as it runs round my head, spilling technicolour balls of wool, unravelling like magic wires, dancing themselves beyond the laws of science and nature, every rhythm a dream, every note a new idea. Then Iâm in the club (Big Chill Bar for the record), talking, and Iâm saying, above the sound of music: This is the first time in the history of making music that itâs possible for the music never to exist physically. Itâs a revolution, perhaps as massive as the point, only just over 100 years ago, when music was recorded for the first time. I never thought about it so specifically before but listening to that clarinet then going to the bar has really brought the thought into focus. Much of the music I like now never leaves the digital domain. It is made on a laptop using virtual instruments / soft synths; it is mixed in a software programme using plug-in effects; mastered in another programme with more plug-ins; then distributed digitally for people to download it and listen to it on their computers. Thereâs nothing ârealâ in the old sense of the word, about it. Itâs all, always, ones and zeroes, it doesnât actually, at any point, physically exist in any form. And the covers of the records we used to buy and cherish are now used as cheap, quirly artwork on the walls of the bar. And when Dave Westernsoul plays his 7â singles he admits that lots of people donât know what they are. What does that say about the people who make digital music? What does that mean for that lovely person practising the real clarinet in a real flat in a real city called Bristol? What does that mean for the future of music? I donât really know, but in some way it changes everything or at least shifts it somewhere else and that somewhere is going to be really interesting.
buy on Juno Download listen to clips on The Normalites Myspace page The Normalites – Street Corner Classics – Subatomic Release Date: 8 November 2010 1 Original Mix 2 Boozoo Bajou Remix 3 A&A Remix After the success of their cover version of the Belovedâs Sun Rising on Defected/Bar Grooves, The Normalites return to their spiritual home, Subatomic, for the release of their next single, Street Corner Classics. For this outing our virtual duo leave the beach behind and venture out into the big city for a party in the streets. Taking inspiration from the bass frequencies emanating from the sound systems at Notting Hill Carnival, the boys have come up with a stone cold urban indie electro blues dub classic, celebrating the feeling of freedom to be found when thereâs music in the streets. Remixes come from legendary German mellow dudes Boozoo Bajou who keep the song and guitar and up the party ante to create chugging funky groove; and UK rising stars A&A who stretch the original into a slo-mo space disco epic. Whew, what a package. The Normalites are chillout don Steve Miller aka Afterlife and DJ producer Chris Coco playing with sounds, ideas, poetry, dub and pop; confounding expectations; thinking outside the box; having genre-hopping fun; making music. Note from Desmond Dekker : Normalites is pronounced Normal-ites, just like the Isrealites.
This episode has real international feel with some new advances in abstract post-dubstep and electronica from Germany and England, some cut-up disco from Uraguay; some Balearic disco from Russia and some Balearic Balearic from Ibiza. All that and a tune of the week from Melodica favourite Nicolas Jaar and acoustic exclusive from Hafdis Huld. Itâs all here. [setlist] Munk – La Musica – Gomma Gold Panda – Vanilla Minus – Notown Maxxi & Zeus – MZ Medley – International Feel Nicolas Jaar – Love You Gotta Lose Again – Double Standard Velour – Booty Slammer – Night Slugs Babe, Terror – A Capital Federal (Appleblim Rework) – Phantasy Bok Bok – Say Stupid Things – Modeselektor Hafdis Huld – Synchronised Swimmers (Acoustic) – digital file Jose Padilla & Kirsty Keach – Dragonflies (Cantoma Remix) – digital file Fritz Kalkbrenner – Facing The Sun – Suol Dizzi Heights – Would I Find Love (Memoirs From Future Edit) – digital file D Pulse – Velocity Of Love (Hot Toddy Mix) – Theomatic Russia Chris Coco & Captain Bliss – Harmonica Track (Deep Mix) – Leaders Of The New School
Get tunes that I have played on recent Melodica shows here: Juno Download
[description] Abstract visuals created by Anthony Burrill and Jack Featherstone to accompany a track by Chris Coco called 8808 taken from his current album Feel Free Live Good on The Big Chill Label. Anthony and Chris are long-time friends and collaborators. Anthony also designed the album artwork with the help of the No Days Off team.Â [/description]