Our homies White Rhino are celebrating three years of putting on killer shows from across the electronic spectrum. Some of the best have been Surgeon, Shackleton, Mount Kimbie, Ikonika and Joker (which they put on with us here at the Morass), just to name a few of a long and braincrushing list.
To celebrate, they’re throwing a free party with deservedly feted Sydney-based producer Dro Carey, who has been on some slow burn blow-up over the last few months. Check a great interview and mix from the young gun here.
Support from Forest of Death (White Rhino sound system) and a heavy line-up of DJs including Vivandiere (Bookery Cook), ATLAST (Dank Morass visual crew – on decks!) , Danck (Morass), Jimmy Larcombe, Beads, Fr1day, Si Clone, Arctic, Samedi Soundsystem and 2-Tonic.
Did we mention it’s FREE?
White Rhino 3rd Birthday ft Dro Carey
Friday 20 May, 9pm
Bar Soma, 22 Constance St, Fortitude Valley, Brisbane
Barcelona’s annual Sonar Festival attracts the cuttingest-edge and the best-selling in modern electronic music from around the world. Invading the city’s contemporary art complex, CCCB/MACBA during the afternoon and a sprawling convention centre-type complex after dark, it’s impossible to see everything on the daunting line-up, especially while making the most of the Catalan culture (mainly siestas and tapas) at the same time. But having come from the opposite side of the world, I was damn well going to do my best. (more…)
Finally emerging from the haze of a 25 hour trip from Hoi An to London (via Danang, Saigon and Bangkok), we tripped down to the Saatchi Gallery. The highlight of the Newspeak show of new British artists was John Wynne’s Installation for 300 speakers, Pianola and vacuum cleaner,complete with pulsating vacuum tube to power the pianola. I was also feeling Pablo Bronstein‘s fantastical architectural sketches. Meanwhile, over at Tate Modern, the Exposed exhibition celebrates over a hundred years of voyeuristic surveillance photography.
That night, it was off to deepest South-East London for Bussed Up, a neat little warehouse party with hazy hip hop, dubstep and breakcore vibes. Inevitably , the two acts I most wanted to check at a two-room party were playing at exactly the same time, so there was much hefting up and down stairs between Blue Daisy’s live opiated hip hop and Zan Lyons’ AV remix of Bladerunner.
Blue Daisy rocks an impressive live rig. Despite having only a handful of releases and remixes to his name, the young producer has one of lushest sounds coming out of the new beat scene. Ostensibly comparable to Flying Lotus with his loping beats and layers of warm fuzz, he’s definitely got his own vibe going on. Rumour has it he’s got multiple releases on the horizon this year, and if what we heard on Saturday night was anything to go buy, we’re in for some rugged and robust future hip hop.
Audiovisual artist Zan Lyons has remixed the visuals of Ridley Scott’s Bladerunner and augmented it with his own soundtrack, in turns ambient and industrial, played off laptop and violin. It was a condensed version of the film, with all the iconic scenes intact. There seemed to be some additional footage mixed in, and I’d be interested to know if it had been filmed specifically for this project, or cribbed from elsewhere. The parts I saw were amazing, and if Blue Daisy hadn’t been playing downstairs I would have been transfixed by this interpolation of a modern classic.
I hadn’t really been up on recent Planet Mu signing Rudi Zygadlo, (check out his Electronic Explorations mix), but he dropped heavily effected dubstep heat and plenty more to keep it interesting.
Catching the night bus brought back a flood of memories of living in London - long, uncertain waits at bus stops, woozy, surreal views out the the bus window, getting on buses going in the wrong direction (which we did) and falling asleep until we were woken by the driver at the end of the line (which we mercifully didn’t, this time).
Last night, we caught the killer free jazz combo of Mark Sanders, Shabaka Hutchings and John Edwards in the intimate surrounds of Cafe Oto in Dalston. Not bad for a rainy Monday night. Next stop: Berlin.
Take‘s new album on Alpha Pup, Only Mountain, is stunningly epic. It bulges with the same density of sound as Amon Tobin and Download, but it’s more organic than either. It’s a hard record to pull highlights from. “Quartz for Amber” propels with clanking background percussion and psychedelic swellings. “Neon Beams” channels a blunted Vangelis, and throughout there are sleeper cells of renegade funk lurking furtively in the recesses of shimmering synths, restrained rumbles and cardiac arrest snares.
Take has a healthy back catalogue, including a recent split 10″ with Matthewdavid on All City, and a remix of “Parisian Goldfish” on Flying Lotus’ L.A. EP 3 X 3. You can also marvel at the diversity on his 60-track Sweatsons Trajectorymixtape under the name Sweatson Klank.
In retrospect, giving my once-heard copy of his Earthtones & Concrete to Swob during a major CD collection clean out last time I moved house was most likely a major fail, but at least it’s still in the family.
Now that we’ve mopped the sweat from our collective brow and pulled our soles off the sticky floor of the Step Inn, it’s time for a proper shout out to everyone who rolled through to the Brisbane Gaslamp Killer show on Saturday. All the support DJs held it down with aplomb, from Syntax’s ode to Detroit hip hop (not to mention his own concoctions) to Tigermoth’s effects-rich melange and Science Project’s banging live dubstep with MCs on the assist. Extra props to Elgusto of Hermitude, who played an immaculate selection for his first ever DJ set in Brisbane and stepped away with the whole audience hoping it won’t be his last. However, it was The Gaslamp Killer’s night, and he pulled up from a tour schedule that saw him switching time zones every two days to leave a capacity Step Inn in a sweat-drenched frenzy. The man is one of the great DJs of our time, to be sure.
There’s much more Morass in the next two weeks, but for now check out a great set of photos from Tammy via InTheMix. Here’s a small sample.
I threw together this off-the-cuff mix after reading the recently published collaborative novel by William S Burroughs and Jack Kerouac. The book was written some time before both authors’ respective defining works Junky and On the Road, but has only seen the light of day now out of respect to the real life characters depicted in the manuscript. Bill and Jack take alternative chapters from the points of view of bartender and part time private detective Will Dennison (Burroughs) and merchant seaman Mike Ryko (Kerouac). It’s fascinating to see the nascent character types and motifs that would become prevalent in their later works. It’s like hearing an early but very polished demo.
Here’s a grip of mostly unrelated beats for the boiling of river mammals. This one goes out to my man Elijah. Tracklist after the jump, and in the ID3 info.
Dank Morass returns to the fray in 2010 with Dial ‘M’ For Morass, a night of eclectic bass mayhem upstairs at the Step Inn on Friday 29th January. The cream of local selectors will join the Morass to dish out hardboiled servings of beats, dubstep and hip hop. Most importantly, Dial ‘M’ will be FREE before midnight!
The guest line-up features Brisbane’s best that have recently kept their crates to themselves:
Frosty is the man behind the Hard Graft brand that introduced Brisbane to the nascent dubstep sound. He has toured countless artists, including Kode 9, and has supported big names like Loefah and Vex’d. His cool and collected mixing coaxes the dance into a bass-driven frenzy.
British expat Duble E has made carefully selected appearances in Brisbane and Sydney (including premier Australian dubstep night VOID) over the last year, and is currently masterminding diverse bass and beats label Amecca Records.
Dr Dom has a decade of DJing under his belt across more genres than you can name, and has crates of vinyl for days. We’re only giving him an hour, so expect the finest cuts from that extensive library.
For the Morass, Walrii will be getting the razor tusk out in a blaze of backspins and bass, covering post-Dilla, big rims electro and soul loops. Whatever your flavour, the Walrus has it covered. Swob, the man with the sinister dubs, has some of the best ears in the town for all things brooding and soulful and will represent the legacy of dark dancefloor music. Danck skirts the territory between dubstep and dusty downtempo beats in an effects-heavy mix.
For the last two years, the Morass crew has scratched its collective head over the name of the genre which forms its basis. The slow motion collision of post-Dilla hip hop beats and dubstep bassweight has opened up a whole new realm of sound, as well a burgeoning lexicon as journalists and bloggers attempt to pin it down. Tags like future beats, wonky, purple and lazerbass have all been applied to different strands of the rapidly evolving milieu. From the Morass’ point of view, it’s all good. It’s been a long time since a musical movement has so adamantly defied labels. We’ll call it ‘beats’, which is just as confusing, but at least avoids flavour-of-the-month misconceptions.
Once again, it’s the time of month for submersion, with the October installment of SCUBA TANK. As usual, presented by Dank Morass and White Rhino crews, it will entail only the finest in progressive and soothing sounds. The Tank’s new home at 320 in Spring Hill allows us to be liberal with sonics and free party vibes for all the people who appreciate it!
FREE as always this Wednesday October 7, SCUBA TANK will be boasting international steez from the one known as DJ Ripley. All the way from San Fransico, she digs deep to bring forth the unheard sounds and mixing skills to the Brisbane shores.
Dj Ripley has been tearing up dancefloors across North America and Europe for 12 years, in town squares, warehouses, ships, clubs, squats, community centers and activist spaces. Her genre-smashing sets build audiences into heaving monuments unified by dopeness. She has released mixes on the Death$ucker [http://www.deathsucker.org/] label, on Modyfier-modifying, on Spannered.org, Mashit.com, and on her own blog http://djripley.blogspot.com. She recently wrapped up 6 months living and working in Jamaica, where she was djing and researching copyright law and creative practice.
Along with this very special guest, the usual high quality selectors from Brisbane’s own bowels will never fail to sort the masses out with healing music.
White Rhino’s Arku and Dank Morass’ Danck and Walrii will lovingly choose a forward thinking, internationally cutting edge selection of global bass music, roots and soul progressions.
Live visuals and ambience provided by good friends and fine artists Cornish and Micro Matic. They will be manipulating pixels like oreo cookie dough, sporadically seen in Brisbane.