It would seem that the majority of the tunes I have been listening to lately feature a four-to-the-floor kick drum. So if you’re of the opinion that most of that “nst’ nst’ nst’” crap sounds the same, you should probably stop reading now and find something else to listen to… However, if you have read this far already, my guess is that you have a sense of what you’re getting into and that you too will share my enthusiasm for many of these funky soulful gems.
In this instalment of The Bootleg Tapes, you will hear new material from the likes of Duke Dumont, Disclosure, Booka Shade, Mount Kimbie, and Daft Punk alongside a handful of selections from the stacks…
TRACKS Hey Now – Romare [Black Acre] Rewind – Omar S [FXHE] Take Your Shirt Off – Cocolores [Compost] White Noise ft. Aluna George – Disclosure [Island] Confunktion – Dark Sky [Tectonic] Work It Out – Kastle [self-released] You Naked (Jimmy Edgar remix) – Jamie Lidell [Warp] Sicko Cell – Joy Orbison [Swamp 81] 1960 What (Opolopo Kick Bass re-rub) – Gregory Porter [Tokyo Dawn] So Into You (Inner City radio mix) – Michael Watford [Rhino Atlantic] Close – Squarehead [Sounds of Sumo] Wear It Well – Locked Groove [Hot Flush] Send A Prayer pt. 1 – Motor City Drum Ensemble [Rush Hour / MCDE] Black Out White Noise – Booka Shade [Blaufield Music] Waiting All Night ft. Ella Eyre (Kidnap Kid remix) – Rudimental [Warner Music UK] Too Much – Amateur Best [Double Denim] Headlock (Graphics remix) – Mr. Fogg [Kicking Ink] Ebonics – Theo Parish [Sound Signature] saṃsāra – unknown [unreleased] You Rock My World – Michael Jackson [Epic] Need You 100% – Duke Dumont [Ministry of Sound] Makin' Love – Sound Stream [Sound Stream] A Girl Like Me – Mason [Great Stuff] Same Old Place – Genius Of Time [Aniara] Made To Stray – Mount Kimbie [Warp] Get Lucky ft. Pharell Williams – Daft Punk [Daft Life \ Columbia \ Sony Music]
New single ‘You & Me’ featuring Eliza Doolittle in from Disclosure. You can pick this one up on the 28th, and their album ‘Settle’ will be out on the 3rd of June. Poppy dance vibes, as per-usual from the UK brothers.
Details for the show can be found here.
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*The winner will be chosen randomly from the group of rule satisfying individuals and announced at 2pm April 15th, pacific time.
See you there-
L O W – L I F E
Following his remix of Lulu James’ “Closer,” Matt Kidnap has come through with yet another track that, as Rader and T so aptly put, is fated to become one of your summer anthems. This time around, Kidnap Kid has taken on UK drum & bass outfit Rudimental’s “Waiting All Night.”
Why is this mix series titled “The Bootleg Tapes”? I have been pondering this question… Wikipedia describes a “bootleg recording” as “an audio or video recording of a performance that was not officially released by the artist or under other legal authority.” The article goes on to explain that “the process of making and distributing such recordings is known as bootlegging.” To be honest, I did not pay for any of these tracks, and some of them have not yet been released by their respective labels. I did not receive permission from the “copyright holders” to re-distribute this content, (as SoundCloud’s copyright infringement detection software pointed out to me when I tried unsuccessfully to upload the mix the first couple times.) In short, these mixes are conceived and distributed in contravention of music copyright law. For this reason, it would seem that the title of the series is fitting.
For this tenth episode, I put together a special two-hour mix comprised of an eclectic selection of house, techno, UK garage, and soul. Most of the tracks are contemporary, but you will hear a handful of classics from the likes of Fingers Inc., Rhythim Is Rhythim, Inner City, and Carl Craig.
Special thanks to the other Low-Life staff-writers who helped me find a great deal of this music–as well as to our followers.
Cirrus - Bonobo [Ninja Tune]
Harm In Change - Toro Y Moi [Carpark]
You Give Me Fever - Romare [Universal]
Whatnot - Machinedrum [Innovative Leisure]
Everything - Justin Jay [Southern Fried]
Turns Turns Turns (Blue Hawaii Flüchtig Mix) - Majical Cloudz [Arbutus]
Elegante - Squarehead [5AND7]
So Submissive - Citizen [MadTech]
Reykjavik - Brolin [Double Denim]
Guuurl - Lapalux [Brainfeeder]
Local Traffic - Wolfey [White]
The Variable - Wolfey [White]
Can You Feel It? (instrumental) - Fingers Inc. [Trax]
Something We All Adore - Solomun [Supernature]
Desire - 69 [R&S]
Brazil (slow version) - Luke Abott [Border Community]
Sandstorms - Carl Craig [Planet E]
The Fallout - Dark Sky and Breach [Naked Naked]
Tenderly - Disclosure [Make Mine]
Good Life - Inner City [Virgin]
Soul What (Boddika Remix) - Boddika [Swamp 81]
Sunshine (Uto Karem Remix) - Tomaz & Filterheadz [1605 Music Therapy]
Sad - Jerome LOL [Self-Released]
Phosphor (Norman Nodge Remix) - Onmutu Mechanicks [Echocord Colour]
Tomorrow Belongs To Us - Booka Shade [Defected In The House]
Beam Me Up (George Fitzgerald Remix) - Close [Aus Music]
Energy Flash - Joey Beltram [R&S]
Positive Education - Slam [Soma Quality]
Defiant Order - Birdy Nam Nam [OWSLA]
Loose Your - Günther Lause [Laut & Luise]
Mask - Pedestrian & Maribou State [Catz N' Dogz]
Closer - Lulu James [Sony / RCA]
Distant Shores - Petar Dundov [Music Man]
Ford Trax - Baby Ford [Virgin France]
Strings Of Life - Rhythim is Rhythim [Transmat]
Retrograde - James Blake [Republic]
Last month, tucked in a backstage nook of Vancouver’s Caprice Night Club, with distractingly gorgeous go-go dancers preparing for their next number, Daniel Pearce AKA Eats Everything and I exchanged words only moments after his impactful opening set for the legend, Pete Tong. We touched on his familial relationship with the Dirtybird crew, the state of his faction of dance music, and the experimental tendencies of his youth.
Low-Life: Who do you trust to give you honest feedback on your tracks?
Eats Everything: I trust Justin Martin, and Barclay Crenshaw (AKA Claude VonStroke), because if they think it’s shit then they’ll tell me, and if they think it’s good, then they’ll tell me; but they won’t beat around the bush. If it’s good it’s good, if it isn’t it isn’t.
“It’s all about how educated the crowd are.”
LL: In an interview with weareblahblahblah.com earlier this year, you talk about how you change up your sets depending on the setting. You said that at Glade Festival [which is held in a field], the attendee’s “dancing outside vibe” is what enables you to play both more obvious big records, as well as more underground ones.
Can you please delve further into the affect that a gig’s setting has on the set you play, as well as the affect that different working environments can have on the music you produce (your new studio vs. on the road)?
EE: Club environments, gig environments, it’s all about how educated the crowd are. Like tonight, the crowd seemed pretty educated. I don’t know how many people knew who I was, but it seemed like quite a lot, and so I played what I wanted to play tonight, whereas I played in Vegas last, and I didn’t play what I wanted to play, and I still cleared the dancefloor. Then you play somewhere like Glade Festival, and that is the most educated crowd out there, and they just fuckin’… all they want to hear is the newest shit goin’, that’s all they wanna know.
And so with production, I can’t work on the road. I don’t like working with the headphones. So I’ll put ideas down, but nothin’ more than that. I just need to be in the studio, I just can’t work with headphones.
I bought a Jambox, you know one of those big Jamboxes?
LL: Yeah, the big Jambox. My dad bought one because he needed to lose a couple years in a day.
EE: (Laughs) they sound shit, they can’t handle any… I was thinking I’d get the big one, but the thing is, some tracks I play out on it, it can’t even handle the kickdrum, like the hertz level is too low, and you just can’t even hear the kickdrum, it’s fuckin’ shit!
“[BBC]‘s playing cool music, and they’re trying to get people into it… because electronic music’s fucking horrendous.”
LL: On the topic of Glade Festival, you were asked during a pre-hype interview (the one where you got a make-over) about the current state of your faction of dance music, and about the dance music scene in general. You responded:
“Factions of dance music are getting meteorically worse, but it’s each to their own at the end of the day, but on the whole I would say that the dance music I’m into is as good as it’s ever been.”
“The future for underground dance music will be helped by the fact that you have these Paris Hiltons, these celebrities, that are starting to DJ (and popularize electronic music). They will take away the masses and let the underground flourish as it is, and let the scene grow and evolve.
These answers particularly hit home for me. I was wondering if you could elaborate on this, slash perhaps touch on the boarders that separate the underground from the mainstream, and those artists such as Disclosure, who even you praise for their ability to ride those fine (or not so fine) lines all the way to total popularity?
EE: Well, it’s weird, because when I said that… how long ago was that, six months ago?
LL: You were actually a fortune teller-
EE: Well aha yeah, because now look at Disclosure, and all these people… it’s amazing how quickly it moves. That was what, June I said that? They’re amazing, and they’re lovely lovely guys, and they’re not selling out.
They’re called Guy and Howard yeah.. and they’re twenty and eighteen, and Guy wants to be a pop-star – he always wanted to be a pop-star, and fair play to him. But they make incredible, very very credible pop music. They’re amazing… really talented. So to elaborate on that… obviously, it’s completely changed since what, in six months, it’s like it couldn’t have changed more.
Because of certain people, [BBC] Radio 1 in England (and throughout the rest of the world) has so much power, and as soon as Chris Moyles left the breakfast show and Nick Grimshaw was put in, literally all the hierarchies moved. So Chris Moyles left, loads of producers left, and then all the younger more cool producers like Becci Abbott who produces Pete [Tong] and Annie [Mac], and then Nick Grimshaw gets the breakfast show, and in the day time, they’re playing Teed, fuckin’… Disclosure, Hot Natured, Jamie Jones, they’re playing it because they love it, and they’re like “this is what you want to be listening to.”
At the end of the day, they’re playing cool music, and they’re trying to get people into it… because electronic music’s fucking horrendous.
LL: This time last year, you were asked by spoonfed.co.uk, if you could throw the perfect party (money no object), who is playing, and where is the party?
Such an amazing answer. If you had the same chance today, who and where would you choose?
EE: Same. Exact same. Have you ever listened to that?
LL: Hell yes I have.
EE: Dimitri From Paris, Night At The Playboy Mansion… just imagine, he recorded that live there, so imagine… imagine being there.
LL: Do you have a physical copy of that?
EE: Yeah, I’ve got a vinyl and CD copy. And the vinyl, it’s got the full-length version of The Originals – Down to Love Town, the full ten and a half minute Dim’s edit, and it’s fukkin’ mint. It’s so good. Just imagine bein’ there, like… swanky as fuck, loads of girls everywhere, it would be amazing.
LL: What is the most over-asked interview question?
EE: Do you eat everything?
LL: You get asked about food all day…
EE: It’s my own fault for choosing this stupid fucking name.. But creative journalism… like this is good. Creative journalism goes a long way.
“[Claude VonStroke]‘s the fuckin’ anti-christ… he just makes you write better music.”
LL: Your most recent Dirtybird release, “Vertigo”, is aptly titled to a condition that seemingly has become a large reality in your more recent life [7-8 years]. Can you explain the affect that this inner ear problem can have on your life as a touring DJ? Also if you could say a few words to those of us who suffer from attention deficit disorders, and how you’ve managed to still be productive and maintain your momentum from day to day?
EE: People assume Vertigo is a fear of heights, but it’s not. It’s actually gotten a lot better. Like, I’m still dizzy all the time, but… this tour I haven’t had vertigo at all.
LL: How’s flying?
EE: Flying’s fine. It’s when I get off the plane normally, that’s the problem. It’s the pressure, and readjusting, and it normally takes me ages. But I think as I get used to touring more, my ears are just getting used to it, so it’s good.
LL: Does it have any affect on your hearing?
EE: I wear earplugs everywhere; in the cinema, in the studio, because my hearing’s fucked. Like if I were in here [backstage] for twenty minutes, when I would leave, my ears would just be ringing uncontrollably.
LL: If the Hunger Games were to actually happen, and Dirtybird had to put forth their top contender, who would it be?
EE: Barclay [Claude VonStroke]. Definitely. He can just go for… I don’t know how he does it. It’s mental. He doesn’t take drugs, and he stays up for three days.
LL: (Laughs) hell yeah…
EE: And everyone else is just like, we’ve been smashing in everything under the sun, and then we’re all like “home time”, forty-eight hours later, and he’s like “you’re all fuckin’ pussies man… you all fucked off.”
LL: In one or two of your interviews, you’ve been asked “what’s your inspiration for this song?”, and you’ve actually answered: “Claude VonStroke”.
EE: Well, he’s not the inspiration… he’s the fuckin’ anti-christ. Says “no” to SO much stuff, that he just makes you write better music. But it’s not really.. I wouldn’t say he’s inspiring, he’s infuriating.
“I still do stupid shit, but no more eating a cactus.”
“A cactus. How can I put this… it was in my home town when I was about 15 and I’d done some acid and I ate a few teabags, some coffee, then a cactus. It was not good; I don’t recommend eating cooking or preparing cactus is any way. It was a really furry one as well…”
EE: It was a really furry one as well! It was fucking horrendous. It was one of those things where you’d just done acid, and you were like… I don’t know if you do acid or if you’ve done it, but when you do acid… things… seem like a good idea. And you’re like – ‘cause the tea was alright, and the coffee was okay, but the fucking cactus. It was one of the full on furry ones, and it was just in my tongue for hours like… in the bathroom mirror, because I was on acid it looked like my tongue was covered in it…
LL: (Laughs)Oh my god… You were then asked if it was anything like a cucumber? First of all, any comments on that hilarious question – “was it anything like a cucumber”?
EE: It was… it couldn’t be anything further from a cucumber. A cucumber is 85% water, with no spikes. A Cactus is made of spikes.
LL: Well, you ended up answering them: “No it was like a fucking spiky… horrible tasting cactus and I got loads of spikes in my tongue, it was horrendous!”
What I want to ask you, is if you’re still at the point in your life, where eating a tea bag here and there is still a possibility, or have you grown out of these experimental ways?
EE: (Laughs) no, depending on how you look at it, I’ve fortunately or unfortunately grown out of it. I’m too old… I’m 33 now. I’m too old to be eating cacti. It’s gone past the point. I still do stupid shit, but no more eating a cactus.
LL: Lastly, Oscar speech time. AKA Shoutouts-
EE: Uhmmm, I’d like to thank Justin Martin, for being… a fuckin’ balding idiot, I’d like to thank Claude VonStroke for being a bearded idiot, I’d like to thank my management for being really good – and a pair of twats, I’d like to thank my wife for being a wonderful, beautiful person, I’d like to thank Pete Tong for being fuckin’ so supportive, and taking me on this tour and just basically making my career what it is. If I didn’t have Pete Tong I wouldn’t be sitting here talking with you yeah? In fact, Pete Tong should be first on that list because he’s a fucking legend. And then I’d like to thank you for the interview.
LL: Man.. unbelievable. We look forward to being in your continent soon. Thank you for your time Dan.
Connect with Eats Everything:
Keeping on point with their excellent selection of vocalists, Croydon brothers Guy and Howard collaborate with London duo AlunaGeorge to bring the public a new single, White Noise. Featured earlier today on Zane Lowe’s programme via BBC Radio 1, White Noise offers listeners a groovy disco-influenced melody suitable for dark rooms with colourful flashing lights. The collaborative effort is forthcoming through PMR Records.
In case you missed it, two of the UK’s finer acts – Croydon’s Skream and Surrey’s Disclosure – spun a back to back DJ set during Boiler Room‘s W Hotel party in London, November 14th. Perhaps a new Disclosure track was unveiled around the 6-minute mark; bear in mind that this is only speculation, time will prove or falsify.
Download/stream the mix below-
In lieu of Skream and Disclosure‘s back to back Boiler Room fuckery that took place live from the presidential suite of the W Hotel in London this evening, we bring you this feast of a house tune. Skream flatteringly rinsed “23″ only two days after it’s impactful release to the public. This is the title track off Shadow Child‘s 4 track EP of similarly cultured “peak time” house”, and will be the first release for his new label, Food Music. With a co-founder like Kry Wolf and early support from the likes of Eats Everything, and Mistajam, one should expect big things from this newly formed entity.
Hopefully like us, you enjoy this tune infinitely more than the sluggish crowd seemed to, who were lucky enough to be in attendance in that pillow feather ridden hotel room.
This unreleased cut, courtesy of the virtually infallible duo Disclosure, has become quite the staple in their sets in recent weeks. Last week, the bootleg made its way onto Annie Mac’s BBC Radio 1 show, however, we haven’t yet heard news of a release. In the meantime, feast your ears on the BBC rip of this infectious future-garage tune.
Update: Disclosure just threw the track up for free- available for a limited time only.
Waze & Odyssey haven’t carried out a drastic overhaul with their remix of Disclosure’s “Lividup” from their smash debut EP The Face. Nevertheless, I think this adaptation is definitely worth listening to. It’s a little bit meaner than the original.
[Waze & Odyssey]
[Guy and Howard Lawrence, a.k.a. Disclosure]
This afternoon, prolific UK bass duo, Disclosure, treated followers by uploading a brand-new track on their soundcloud account. Latch is one of those songs that demands jurisdiction over your limbs, cueing your arms and legs to jerk in time. With the addition of newcomer Sam Smith‘s sensual vocals, the club-driven, ‘tailored-for-the-dance floor’ composition is ideal for listener’s Friday night festivities.
Rumour has it that a full length LP is in the works, expected to release next year.
The minds behind Croatia’s Outlook gathering have self-confidently dubbed their brainchild to be “Europe’s leading bass music and sound system culture festival.” Now this may read as just another self-serving and over-zealous sale’s pitch, but I am happy to inform you that most every bit of zeal in this statement is justified. In fact, through a breif calculation of logic, this proclamation may prove even modest;
If Outlook is indeed the leading bass music and sound-system culture fetsival in Europe, which, from my experience, appears to be quite true, and if Europe is the world’s leading continent in that same category, which, again, I can attest to, then Outlook festival may in fact be the leading bass music and sound system culture festival in the world.
Now, this is a bold statement, so let me begin to tell you why I think so:
First off, the event takes place in, on, and around, an abandoned fortress, which, by my degree of knowledge of 18th Century Mediterranean Architecture, is essentially a castle, and not only is a castle one of the most exciting and appropriate settings that I’ve had the opportunity to indulge in a variety of deep sounds and styles, but acoustically speaking, its almost as if those determined Croates of yesteryear built it expressly for the ideal presentation of contemporary bass music.
Speaking of which, the music was thrilling, utterly so, and I know that I stand risk of sounding like a jittering fan-boy, but today that’s something I may very well be.
So, who was good? Jackmaster, playing his typically eclectic mix of dance music – from Usher to Joy O; Scuba, proving he that he was worth his steep price-tag; Sepalcure, Plastician, XXXY, Eliphino, Disclosure, and, of course, Skream with Sgt. Pokes, were all a bonafied pleasure to catch. Also making it into this congratulatory category is Kode9, Loefah, Oneman, Black Acre newcomer, Alby Daniels, Silkie, and Ben UFO; A tip of the hat to all of them.
Some favorites heard from this category:
Now, who was fantastic?
If I had a crown to give, it’d have to go to Addison Groove. He threw down the most exciting set of the weekend; at the end, mixing from his trade-mark grit-house jams, to a combination of Hudmo‘s “CBat” and Earl Sweatshirt‘s “Drop,” and finally into a booty shaking version of The Chordette’s barbershop classic, “Mr. Sandman,” of which I have yet to track down. A round of applause is more than in order for Mr. Groove. If he’s coming to a club near you, do not miss out, just go.
Dark Sky rounded off the Black Acre party on Saturday night, and even from outside the fort, one could tell it was the place to be, with a line-up extending easily over 50 meters out the gate. The beats from their Black Rainbows EP sounded ripe and juicy on the Courtyard system.
The Swamp 81 party was yet another stand-out, with Boddika standing as the personal highlight of the exhibtion, though only just ahead of his more than worthy label mates, Oneman and imprint-boss, Loefah. And since we’re on the topic of dubstep, big ups to Joker for up-staging the DMZ showcase in a big way. Sorry, Mala and Coki, we still love you.
Friday Night at Mungo’s Arena was a breath of fresh for anyone feeling a bit claustrophobic from the prominence of D&B at Outlook. Girl Unit was the highlight of this party. His work on the Club Rez Ep dazzled between the stone walls of the military fort.
Some respect is to be given to trap stalwarts, Baauer and Hudmo, because their numbers, “Harlem Shake,” and “CBat,” were springing up dj’s sets of every genre. Same goes to Julio Bashmore for his summer anthem’s of 2011 and 2012; “Battle For Middle You,” and “Au Seve,” respectively.
So, we’ve run through the good and the grand, but was it a perfect experience? No, of course not. All things are flawed, even the most wonderful.
The major bone I have to pick is with the audience, who whilst being, for the most part, avid fans of these genres, neglected some of the bare necessities of festival etiquette. Muscling belligerently to the front of the bar line was a common activity. Now that I think of it, muscling any where at any time without an excuse me or a patient moment’s wait was standard practice at Outlook. Friends assured me that this was simply the English way of doing things, but I don’t take that as a valid excuse. Thumbs down. Love thy neighbour next time, boys.
The second pickable bone is not necessarily the fault of anyone in particular. It was the simple fact that Mala, Coki, Loefah, and Disclosure, were far from being loud enough at the Harbour stage on Saturday night. The open ocean is no natural amphitheatre. Fortunately, this is where Dimensions Festival comes in.
Opening tonight, Dimensions festival promises an equal if not more impressive line-up of underground artists, an audience of presumably more committed listeners, and lastly, exclusive use of the Fort stages, which means, better sound and smaller venues for bigger artists. Let’s hope it lives up to these other-worldly expectations.
Outlook, thank you. It was a blessing to be a part of. Considering the legend of setting and sound that your team has etched into bass-music’s youthful history, the title of world’s leading bass music and sound system culture festival is yours to loose. Now, to see what your little brother is packing…
See you next year,
Disclosure‘s breakthrough EP, The Face, contains some of the best sounds we’ve heard in 2012 and we say this without a hint of hesitation. Each track from this sibling double-act is undeniable and it’s safe to say that The Face will remain in the rotation for at least the next little while.
A few days back, the boys announced a Remix EP, courtesy of hotly tipped producers Mak & Pasteman, Dixon, Medlar, and Joe Goddard (Hot Chip), and today it drops. Two out of four are available for streaming below and you can listen to the other two over at Youtube here and here.
You could also just pick up the Remix EP at Juno.
“Two youts that are totally killing it right now..”
Whether it be an original, remix, video or set, it seems that almost every day something fresh surfaces with Disclosure‘s name on it. Today’s edition, the duo’s mix for the renowned Boiler Room Recordings, actually emerged a few days back. However, it is already being labelled one of the best mixes of the year. There’s no doubt in our minds that this band of brothers will be among the top names of electronic production in 2012. Watch the recorded set over at Boiler Room here, or just simply download the set from iTunes below. We suggest the latter.
Disclosure, the sibling double-act comprised of brothers Guy and Howard Lawrence, has been on fire since the release of their Greco-Roman debut, The Face. A few days back, the UK-based duo unveiled the first video from the record (and their first video ever)- a simple yet fun and captivating accompaniment to “Control” featuring fantastic dancers who get substantially sweatier throughout the shoot.
Also, it should be noted that in addition to crafting some of the most exciting dance tunes to emerge this year, these boys sure knew how to pick out some scintillating vocal talent. “Control” features the vocal expertise of Ria Ritchie.
Disclosure need no introduction, as their recent bounding success has caught the attention of the industries’ top producers and DJs. Zane Lowe, radio DJ of BBC Radio 1, holds the track in high regard, proclaiming, “Disclosure’s new record, ‘Control’, is tonight’s hottest record in the world.”
Here is a new preview fresh off their sound cloud.
Pre order “The Face” here.
[Julio & Jessie]
Its not every day that we feature a female brit-pop act, but then again Jessie Ware isn’t you’re everyday female brit-pop act, seeing as she snagged the under-ground renowned Julio Bashmore to sit behind the mixer for her latest track, “110%,” due out on June 4th via PMR.
While you’re at it, have a listen to this particularly scintillating remix from UK duo Disclosure, put out in February of this year. I highly recommend it.