Outlook Festival 2012 | Fort Punta Christo, Croatia
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?
[Addison Groove]
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.
[Boddika]
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,
sam.i.am
Low-Life Does Tomorrowland | Boom, Belgium 2012
I know what your thinking; “what is Low-Life doing at a place noted for their unparallelled line-up of “the world’s biggest EDM artists,” (shudder); at what Dimitri Vegas and Like Mike (don’t ask) so eloquently predicted to be “one hell of a crazy weekend;” a place where names like Avicii and David Guetta are spoken with either a religious solemnity or with the volume and duration of one of those travel-sized air horns? Why, Low-Life? Why?”
[case in point...]
Why not? It may be all of those things, but it is also one the world’s largest dance music events, seeing more than 180,000 bodies over the course of the weekend, and besides the main-streamlined artists mentioned above, Tomorrowland is also host to a slew of artists whose names have graced this very URL amidst words of appraisal; Jamie Jones , Clockwork , The Others , Martyn , Jackmaster , Locked Groove , Ben Klock , Terence Fixmer , Green Velvet , Fake Blood , Surkin , Eats Everything , Dubfire , Hatcha , Emalkay , Plastician , and Sgt. Pokes , specifically. Between this, the purported millions of dollars flooded in to the aesthetic experience, and, lastly, the rumour that TL is something of an annual congregation of the most beautiful girls in Europe, why not, I ask you; why the hell not?
So we did.
You know when you’re faced with prospect of eating a bag of Doritos and your like, “nah, I’m not into that,” but you go for it anyway because “what the hell, everyone else is eating them,” and they’re fantastic, and cheesy, and you go for a few more, and your enjoying it even though your constantly making snide remarks about people who eat Doritos on the regular just to divert any possible notion that you do, in fact, love Doritos?… So there you are with the empty bag tilted over your palm to get those last few crumbs and you lick that radiating orange off your pinky finger and, just for a moment or two, you cringe because you know you liked it. Yeah, Tomorrowland was kind of like that bag of Doritos.
For instance, imagine 60,000 people belligerently spouting that incessant “Levels” melody (“da-da-dah-dah-duh-duh du-du-du-du-duh-duh-duh-dah-dah”) while a giant bookcase is breathing fire and tribes of goat-men are doing back flips through waterfalls. Now, this is a spectacle that is hard not to, at the very least, be impressed by. And yes, if you’re putting two and two together, I did see Avicii, and it wasn’t completely insufferable. Well, beer helped.
But aside from the musical lollipop that was the main stage, there was a number of truly phenomenal and accordingly innovative, albeit under-attended performances over the course of the weekend:
Jamie Jones ‘ very funky set was laced with nuances of new-wave, which was surprising to most but received with joviality nonetheless.
Carl Cox earned his title of legend, not that he needed to in any respect, as he hit the 1′s and 2′s with care into the wee-hours of his 50th birthday.
Eats Everything played Prodigy ‘s “Smack Your Bitch Up” under a giant mushroom. Enough said.
The whole experience was truly a dance-music feast. With 16 stages and over 400 Dj’s booked over the weekend, there was a style for every taste. If you don’t like David Guetta, which, if you’re reading this, I can assume that you do not, then you didn’t have to have anything to do with him because on the other side of the Tomorrowland playground, Martyn was mixing a subtle exhibition of We Play House Recordings ‘ releases along with his own; two very different worlds co-existing in one fantasy. This label, in fact, has an appropriate and thoughtful contemplation on this subject of taste:
“There is no such thing as tech house, there is no such thing as deep house, there is simply house music, good or bad. And even that depends on the ear of the beholder.”
[via WPH ]
It just so happened, though, that the majority of the ‘beholder[s]‘ at Tomorrowland preferred the music of Swedish House Mafia . But that’s okay, because I like the occasional bag of Doritos too.
sam.i.am
Mala | Interview
Escaping the frost-biting winds of Montreal’s Old Port at the world’s hottest sub-zero festival, Igloofest , I was blessed with opportunity to converse with a legend in the sanctuary of a booze-riddled trailer, heated with its own external generator. Member of Digital Mystikz , co-founder of DMZ , and creator of Deep Medi , Mark Lawrence is one of the few bonafide pioneers of a genre we’ve come to know and love. Take your time and digest his teachings because it is a veritable rarity to learn a history from the mouth its author.
LL: What were you looking forward to coming to Montreal?
M: When I play shows, its always the same things really. You never know what to expect in places, so. The reason why I enjoy doin’ what I do is because of people and because of music. And its about bringing them two together. So that’s why I enjoyed comin’ here. I knew it was guna be really cold as well.
LL: I can see you that you brought your jacket.
M: I actually bought a jacket at the airport. Cus it had some 50% sale on.
LL: I didn’t know you could buy jackets at the airport.
M: It was in Belgium actually I bought the jacket. Lucky I did cuz I knew it was gunna be cold out here, but yesterday was cold man.
LL: Balls cold.
M: Yeah.
LL: Anyway, I’ve heard from a little bird called the internet that you recently, or are planning to go down to Cuba with your friend, Mr. Giles Peterson . I was wondering what’s going to come from that Cuban influence.
M: Um. I went to Cuba twice last year to work on this project. I worked with a guy called Roberto Fonseca and his band. If you check this guy out; If you check a lot of musicians out in Cuba, their ability to do what they do is unbelievable. Overwhelming actually, because I don’t really see myself as a musician.
LL: No?
M: When I get on the computer and make music, to me, its like playin’ computer games. Ya know, I’m from that Nintendo generation.
LL: Donkey Kong, Super Mario..
M: You know what I’m sayin’. I see music in maybe a different way from those guys because they understand music in terms of it being pitch perfect as well as musical scales and those things there.
LL: They’ve been clapping the clave since they were in diapers.
M: Ya man, unbelievable. So you know what I mean? I didn’t know what to expect. And I still don’t know really what to expect. Cuz, you know, the album’s still building. So, you’ll just have to wait and see.
LL: We most certainly will. So how did you start up that relationship with Giles?
M: Like most of the things, just through music. It reaches people and, ya know, someone like Giles, he’s championed so much music over the years. You know, that guy. When you see his record collection… And I know for a fact that I’ve probably only seen a quarter of it. It’s ridiculous. And I was very lucky that he invited me a couple of times to his Radio One show and I did a Brownwood’s podcast with him. And yea, just bouncin’ like that. Ya know what I mean?
LL: Yea.
M: He’s been doing this work in Cuba.
LL: Mutual respect.
M: Yea, its just one of those things. Luckily, he decided to bring me with him on his adventure, ya know.
LL: Ya. So, now, who do you find yourself being influenced by? Other than the musicians of Cuba, of course. But, present day, what are you listening to and making music after you listen to it?
M: I listen to so much music and I’m on the road a lot as well, its not always music that influences or inspires me. Its more the experience of people and places and certain things that happen. So, its kind of a difficult question to answer now a-days because, ya know, if you’d go back to when I first started writing music, there could be definite musicians and producers and I could say ‘Yea, I draw influences from these guys.” But now, I’ve been doing it for so long, I don’t even know what happens. This is just what it is, ya know. It’s who I am.
LL: Yea… you see a piece of art. You see a building…
M: You know what I mean.
LL: Absolutely. You mentioned earlier that you could pinpoint things that influenced you back then better than you can now, so what were the things that influenced you?
M: The main thing was Jungle music. You know, I grew up as a teenager early in the 90’s and Jungle was on a lot of pirate radio stations. So when I started hearing hard-core Jungle in ’92-’93 it was that sound there that made me wanna get involved in music, some how. You know what I mean? I didn’t know how at first. It was just something that like kind of just overwhelmed, overwhelmed me. And from that I kept listening and kept searchin’ for new sounds and somehow I just started tinkering, ya know what I mean? But, Jungle was an interesting sound ‘cuz those guys there, they drew influences from everywhere, so you’d hear like a Roots or a Reggae sample in there, or you’d hear a Hip-Hop sample, or you’d hear some Acid, or you’ll hear some Jazz, ya know? You just heard everything. And from Jungle music, that expanded my mind really, and I just started diggin’ deep all over. No prejudice, ya know what I mean?
LL: Absolutley.
M: You neva’ know what you’re gonna’ like so I never not listen to nuffing, whenever someone sends me something to have a listen to. I always have a listen.
LL: What brought you to the co-founding of DMZ?
M: Again, it was just meant to be, really. Ya know, I’ve known Coki and Pokes since I was about 11 years old. We went to the same school. We lived in the same area. So we was always doin’ music from young growin’ up. MC’n. Swappin’ tapes. Goin’ to each other’s yard and jamming. We used to play a lot of parties in the area. At a young age we’d become residents at like, under-18 (‘una-ay-een’) clubs. We’d play with people like Mickey Finn , and Kenney Ken , and Randall , Jumpin’ Jack Frost , and Groove Rider . You know, this is when we were like 14-15 years old. We’d MC for these guys, and we met Loefah when we was about 15-16, and what I found is, you know, you probably find it for yourself, a lot of your friends, your common thing that you all love and how you became friends is music (*big grin). And from then your like-minded and you go on a path together. It was just one of those things. We found that we were in a time in London, where the Jungle thing had changed, the Drum and Bass thing was doing its thing. We used to go to a lot of Metalhead’s parties and that. And it just got to a point when we were all making music and there was nothing really happening. We weren’t interested in signing records to major record labels or anything like that. It was… I always think, its very difficult because when you are creative or whenever you want to present something to somebody, when other people get involved, whether it be a distribution company, a record label, or a PR company, or whatever. You have to be very careful, I think, when you’re coming through, that you don’t get misrepresented. We were very, very conscious not to be misrepresented with we we’re doin’ because what we were doing, it wasn’t this and it wasn’t that. It wasn’t Jungle. It wasn’t house. It wasn’t Techno. It wasn’t Garage. It was this. It was a DMZ t’ing. So it only made sense for us to just start up our own thing and start up our own parties. Ya know what I mean? It was just like that really. Just because, you know, Big Apple brought us through. People, you know, Hatcha , Artwork used to also be at Big Apple Records . Jon that used to own Big Apple Records. You know, we would take our tunes down there, and it was Hatcha that first started cuttin’ our tunes onto dubs. And unfortunately Big Apple closed. They released our first record and about 6 months later they closed. So that’s why we just started, we were gunna do our own thing – press off 500 records and see what happened. It trickled through. I remember goin’ to record shops and people bein’ like, “Nah. We can’t sell this. We don’t know what it is.” So we’d take anotha’ and by about DMZ004, I remember goin’ to Soul Jazz Records, dropped off a box of records, and didn’t even get back home – I was on the underground – I went to go back home, and by the time I got off the train there was a voicemail sayin’, “We’ve already sold out. Can you bring us another box?”
LL: Big day.
M: Yea from then, there was a feeling that people started to understand what the music was dealin’ with. At parties – people would come down to our parties and they would just vibe, ya know. There was a certain type of person that’d come down to the vibe, and that just spread out, ya know? I mean, It was just a word of mouth thing; it was an underground thing. It wasn’t just what we were doin’. It was what Kode9 was doin’. It was what Skream was doin’. It was what Plastician was doin’. And people like Chef.
LL: It was the whole movement.
M: It was everyone. We were all together, all buildin’ tunes. It was like sparrin’ with each other. You know what I mean?
LL: Some competition…
M: Not even competition because I don’t see myself or music as competition.
LL: Friendly…
M: Yea. And I hear someone’s tune and its sick and I’m just like “ Wouahh! Right. Bam! Go back in the studio,” like, “Yeah! Wus’goin’ on?” It was that. It was that. It wasn’t just us four that built DMZ in my opinion. It was everyone that’d come to our dance and brought their friend, or every journalist that said, “Yeah. DMZ is this or that.” Or every photographer that came down and took a picture. You know, DMZ is a universal thing. For everyone, nah mean? No prejudice man.
LL: In that case, Why Deep Medi after DMZ?
M: Well, at that time, I was getting sent a lot of music and I was finding that when I was goin’ into record shops and people would be kind-of wanting to listen to what was coming out of DMZ or what us guys were doin’. I was doin’ youth work at the time so it was just where my head was at the time. If I can help otha’ people with the music that they’re doin’ and share it and spread it out , then I’m goin’ to try to do that. I didn’t want Deep Medi to be a side line of DMZ. I didn’t actually tell people that Deep Medi was my label until about 2 years after.
LL: 2 years after the creation?
M: Yeah. So I just wanted the music to speak for itself. I wanted the producer’s, ya know, their music to be recognised in their own right, and not like, “Oh. Its comin’ from DMZ or Mala, so it must be x, y, z.” So I just wanted it to be clean for them on the label. And I think all them, everyone that’s been on the label has gone and played shows around the world. You know, its just if I can get people out, if together we can everyone out, to be self-sufficient, one way or another, I think that’s a good thing.
LL: A very fucking good thing.
M: Cause no one wants to be doin’ this 9 to 5 grind, doin’ things they don’t enjoy doin’. So if I can help people do what they love doin’ then….
LL: That’s noble of you.
M: Nah man its not like that. Its just the way things worked out. It’s a blessing, you know what I mean?
LL: Yeah. So what do you see in the next 2, the next 5 years, whatever, for this genre that you helped pioneer? What’s out there?
M: I never knew what was comin’. I don’t what’s comin’ now. So, you know, I love what I do. I feel very lucky to be able to do what I do. With that mind set I’ll continue to explore and to keep pressin’ in whatever direction I go, ya know? I try not to follow, n’ah mean. Just go wherever it feels right.
LL: Thanks Mark. That was phenomenal.
M: Thank you.
sam.i.am
L O W – L I F E
