Manage updates with the Download AppJamie Lidell: "You Got Me Up" Video
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A sexy invite from electro-soul master Jamie Lidell, in a video directed by Fredric D.
Pop Levi has led what one might describe as a melodic life. From childhood his life has been steeped in music. He took up piano at age 3, joined a gospel choir at 7, and started record collecting at 9 just prior to writing his first song. It was a precocious start for an artist who has proved to be a prodigious talent. This English born, LA based multi-instrumentalist was a founder member of avant-garde rock collective Super Numeri before embarking on a global roller coaster ride as bassist with electro pioneers Ladytron. All the while he?s been perfecting his modern spin on rock and soul, releasing two singles on the ?Trons Invicta Hi-Fi label', and carefully crafting his debut solo album. August 2006 sees the release of his first EP on Counter Records. Drawing inspiration from such luminaries as Van Dyke Parks, Jimi Hendrix, Marvin Gaye and Syd Barrett, Levi creates his own brand of gloriously funky alt-rock, meticulously piecing together his kaleidoscopic sound from recordings he?s compiled over a ten-year period. The roar of a motorcycle and the Bolan-esque swagger of title track Blue Honey, kicks off this five track EP. Track 2 (A Style Called) Crying Chic sees Levi pay tribute to the sun drenched sounds of 60's west coast America before he struts his stuff on the Zeppelin-heavy guitar riffs of Mournin Light. Penultimate song Baby Again (Midnight Version) has a looser, more experimental feel, prior to more close-vocal harmonising and finger clicking beats from Levi on an alternate recording of album track Skip Ghetto (Echo Park version). The album, The Return To Form Black Magick Party, described by Levi as a truly bizarre whirlwind of classic sounds has been mixed by Thom Monahan, Devendra Banhart's producer, and produced by Pop Levi himself. It is due for release in the New Year. Meanwhile Levi and his band have been astounding audiences with their soulful vocals and guitar pyrotechnics both at home and here in the UK and plan a return trip to the UK in August for a clutch of dates to be announced shortly.
Jamie Lidell takes time out of a shave to expound on urban living in this video directed by Fredric D. This video and many other mind-blowing selections are compiled on the "WarpVision: The Videos 1989 - 2004" DVD.
iPhone 5 On It - The Music Video
Performed by Brian Tong, Produced by Stephen Beacham, Cinematography by Charlie Wagner, Directed by Jamie Yee. 2012 CNET TV.
Ethereal: "Blood Sweat & Tears"
Ethereal Recorded this video in November 2001
Herbert: "Moving Like A Train"
Restless innovator, sampling wizard, classically trained pianist and superstar collaborator, MATTHEW HERBERT is one of electronic music's most versatile and prolific figureheads. Recording under his own name as well as Doctor Rockit, Wishmountain, Radio Boy and others, Herbert has also produced and remixed artists as diverse as Bjork, REM, John Cale, Roisin Murphy, Yoko Ono and Serge Gainsbourg. An alchemist of avant-garde sound in the tradition stretching from Stockhausen to the Aphex Twin, Herbert combines playful pop sensibility with a strictly imposed experimental agenda. In his increasingly conceptual and political albums he has emerged as a unique figure in modern music: a kind of one-man Radiohead, or a Brian Eno for the 21st century. It was in January 1995 that Herbert gave his first large public performance. His instruments: a sampler and a bag of crisps. But long before he discovered the revolutionary possibilities of sampling, he began playing violin and piano at the age of four. When he was seven he sang in the school choir and played with orchestras. At school, he had the good fortune to have a music teacher who considered Reich, Xenakis and Jazz standards to be the equal of Beethoven. During his time as a theatre student at Exeter University, Herbert, the son of a BBC sound technician, continued to invest in his own home studio. Herbert's studies helped to germinate his interest in "musique concrete". Rummaging around his bag of crisps was only the beginning. His 1998 masterwork 'Around the House' (re-released on !K7 in 2002) collected sounds from the house and home: washing machines, toasters and toothbrushes were sampled and processed into swinging grooves and absorbing sound scapes. All the project needed was the silken voice of Dani Siciliano, Herbert's long-term collaborator, to humanise the album into a left-field classic. In 2000, Herbert wrote a manifesto, the "Personal Contract for the Composition Of Music (PCCOM) (Incorporating the Manifesto of Mistakes)", rules which have defined the compositional methods ever since. The manifesto, not unlike Dogme 95's filmic principles, prohibits the use of any pre-recorded musical sources, as well as any synthetic sounds that imitate acoustic instruments. Furthermore, accidental sounds or errors should influence the process of his production. Herbert considers mistakes in programming or recording as the welcome intervention of random humanity in a sterile world. This is a man, after all, who runs a record label called Accidental. Deriving much of its musical content from human skin, hair, bones and the random contents of Dani Siciliano's handbag, Herbert's 2001 album 'Bodily Functions' was the audible result of putting this theory to practice. But far from being limited by these self-imposed rules, the record unlocked rich new vaults of unique sound and fascinating rhythm from the most unlikely everyday objects. In 2003 Herbert redefined his musical agenda yet again with his big-band album 'Goodbye Swingtime', which was recorded at Abbey Road studios with 16 jazz and session musicians. Despite its self-consciously traditional elements, the album was composed under strict PCCOM rules, and again featured Siciliano on vocals. The subsequent live shows, including Sonar in Barcelona, the Montreux jazz festival, and Roskilde festival in Denmark, were rapturously received by large crowds. From bedroom samplers to concert halls, Herbert continues to expand the horizons of electro-organic music. The political content of Herbert's music has become increasingly overt in recent years. His 2004 album 'Plat Du Jour' was his most rigorously experimental to date, featuring sounds entirely derived from food and its packaging. Unified in concept and content, it used witty culinary metaphors to attack not just giant food companies but also the death penalty, body fascism and war in Iraq. In Britain, 'The Guardian' called the consequent live shows, complete with a chef making live smells "a wild stimulation of senses, feet and intellect". In 2005, Herbert produced 'Ruby Blue', the debut solo album by Moloko singer Roisin Murphy. A fertile garden of flamboyant dance-pop and artfully textured jazz-funk. Herbert's latest album, 'Scale', is probably his most pleasingly pop-friendly mellifluous so far. But beneath its deceptively glossy surface sheen of jazz, disco and sensual house rhythms lie quietly anguished meditations on mortality, global suffering and the end of the oil age. Among the 723 objects sampled on these lush tracks are coffins, petrol pumps, meteorites, an RAF Tornado bomber, and somebody being sick outside a banquet for a notorious London arms fair. More than any previous Herbert album, 'Scale' combines immaculately groomed dance music with subversive subject matter. Herbert is as solid as a rock in these times of "borderless digital arbitrariness," as the German newspaper 'Die Zeit' once described his work. Between programming mistakes and the conceptual stringency of his PCCOM manifest, between divine accident and strict intent, whether he scores films or theatre shows or paints the musical backdrop for fashion shows - Herbert's endless innovation and transgression of genres is never just art for its own sake. His music is always engaged in lively dialogue with the wider world, with the past and future of experimental music, with its own political and economic origins.
Ep. 605: Where we pull the yellow card
Today's episode of The 404 Podcast is all about techy gift recommendations for Father's Day, OpenBook exposing more Facebook privacy issues, and an amazing video of a Japanese beatboxer performing the Super Mario theme song.
Barnes & Noble's e-readers reach new high
David Carnoy talks with Jamie Iannone about the future of Barnes & Noble's digital products.
John Lee Hooker: "It Serves Me Right to Suffer" 1969
In this soul-filled performance, John Lee Hooker plays live on a 1969 television program with his song of hardship. This is from the DVD "John Lee Hooker: Come and See About Me -- the Definitive DVD".
Licorice: "What's Your Status in London?"
New York City Jam Band Licorice performs "What's Your Status in London?" Live in the Fall of 2004 www.licoricemusic.com
