RIP Talcy Malcy

A sad loss, one of a kind for sure, the Sex Pistols – whatever. For me it was all about the Duck Rock LP. I wrote this for Wax Poetics #19 back in 2006 for my top ten all time greatest cut and paste records:

Malcolm McLaren “Duck Rock” (Charisma) 1983

More a collage of cultures than literal cut and paste—this is generally considered to be the record that brought hip-hop to the U.K. The rulebook was still being written and McLaren stuck his head in the door, staged a smash and grab and headed off to Africa via Cuba, Columbia and Tennessee with the words “Zulu Nation” ringing in his ears. He got pretty lucky with his big steal too—breaking by the Rock Steady Crew, art by Keith Haring and Dondi White, vocals by the Ebonettes, all dressed up back in London by Vivienne Westwood. Luckiest of all he got Trevor Horn to put it all together before he rocketed to super producer status with Yes, Frankie Goes To Hollywood and Grace Jones. After liberally sampling everything, McLaren left it to Horn and his team to work out which way up the map went before returning to take all the credit.

This is McLaren’s strength, he’s a great A&R man and he was in several right places at the same time. He’s not an artist (Horn described working with him as like “knitting with fog”) he’s an ideas man and a publicist, this time with himself as the star. It always seemed a little weird to me at the time to see McLaren fronting this lot with his ginger curls and pasty complexion, he couldn’t have been further removed from the players and performers surrounding him. The whole thing had the air of someone’s dad trying to be ‘down with the kids’ because everyone knew of his past dealings in the Punk and New Romantic scenes. Even back then people were asking what bandwagon Malcolm was jumping on this time.

This is a record much like “My Life in the Bush of Ghosts”, one that exists in it’s own bubble; white, middle class Brits trying to adapt black traditional and homemade culture into pop music, of sorts, just don’t call it ‘World Music’. What they came up with is a gigantic, mutant version of the reality they sampled, rearing it’s head up into the charts, that could only exist for a very short while before all it’s constituent parts crashed to the ground and scuttled off in their own directions. This is more than a super group combining their talents, more like a super nation all finding themselves at the same party and staying just long enough to make something unique and never to be repeated.

McLaren 650

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Warp 20 (London)

Warp 20

Had great fun last night at the Coronet for Warp’s 20th birthday bash. Nice to see lots of old faces (and T shirts) and be part of the label’s celebrations considering I’m not actually signed to them. The Blech 20 set seemed to go down well even though I’d had little time to prepare anything but I’ll be doing a proper recording this week which will pop up somewhere in time for Xmas.

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Happy Halloween

pumpkinzI know it’s a bit late but I wanted to share these two pumpkins I carved for the kids’ party.

Got back from Bristol Solid Steel where DK and I played with Hexstatic, King Cannibal, DJ Cheeba and Moneyshot as well as D.O.P. of course. The others all rocked it but we fell foul of some technical problems and just plain sloppy mixing in the middle of the set. We’d spent a week making up quite a complex video piece that we’d never tried before and it was a seat of our pants execution.

Saturday night was the Big Chill House alongside Cheebs again (who rocked it amazingly both nights) and Altern8 who sounded excellent up until I left. The city was full of freaks and ghouls, zombies being the big favourite it seems.

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More King Cannibal downloads

Adding to the post below and, on the eve of Dylan ‘King Cannibal’ Richards‘ first full length release:

Both Dylan and I were pretty gutted when Ninja said they weren’t going to do a last 12″ single from the album (not a physical one anyway) as we wouldn’t see the cover image any bigger than CD sized. All that effort and work, lost on a format little bigger than a coaster! I’ve taken the step to have them available as a series of desktops and a high quality jpeg of the cover, twice the size of an LP sleeve, at a resolution that you could make a poster from on the Downloads page.

Let The Night Roar is out now on Ninja Tune

[singlepic id=2015 w=636 h=636 float=left]

Votel vs Vannier

Got sent these the other day by Sean Vinylement who also works for Finder’s Keepers Records. On the left is a rather fine mix of Jean-Claude Vannier compositions by Andy Votel – limited to 69 copies apparently. Alongside it is Sean’s new album ‘Symbiosis’ by his alter ego Demdike Stare, a very deep electronic record that reminds me of Basic Channel and Murcof simultaneously but with something far darker lurking under the surface.

stare

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New record, new website and new radio show

dj-food-weirdworld-ep-12cover-72-dpi
It’s here, you wait for ages and then three come along at once. Yes I finally got round to releasing another record and it’s out today, a 30 minute EP on Ninja Tune called ‘One Man’s Weird Is Another Man’s World’. It features the vocal talents of Natural Self (yes, I said vocal) on lead track ‘The Illectrik Hoax’ and the nifty drums of Dr. Rubberfunk alongside the sampled vocals of Ken Nordine and The Dragons on ‘All Covered In Darkness’. Bundy K Brown is behind the board for ‘A Trick of the Ear’ and an old collaboration with PC makes it’s first appearance in the form of ‘extract from Stolen Moments’. 2000ad artist Henry Flint graciously provided drawings for the cover art to make it something worth having and holding when it folds out to an A2 sized poster. It’s available in the form of a 5 track 12″ with poster cover and download code or a 6 track mp3 bundle.

You can hear selections from it on my Soundcloud and buy it from  iTunesDJ Download /   Play.comSpotifywe7Ninja shop HMV Digital Bleep / Tune Tribe 7 Digital / Juno / Boomkat
There’s an interview in the new Clash Music magazine including a free mp3 and a very nice review by Mark E on Ireallylovemusic

Not only is there a new record but the near mythical DJ Food site is finally ready, choc full of stuff from my Openmind alter ego design work past and present and a full DJ Food discography stretching back nearly 20 years. If you want to know anything about the records connected to this moniker over the years then it will be there along with gig dates, blogs, playlists and more. The site is divided into 4 sections: Diary, Design, Discography and Downloads and you can subscribe to the blog without going through myspace at last. It’s still a work in progress as there is so much to present, especially on the design side of things as most entries provide stories, alternate artwork and release info. A big thanks to Dean at Safe As Milk for all his hard work on making it what it is.

And finally, it’s a Solid Steel takeover this week with an hour long mix from myself based on the EP with tracks from all the contributors, some original sample sources and various things I that inspired the making of it. The second hour is a fantastic mix from The Broken Keys – aka Natural Self and Nostalgia 77 – called ‘Engine Oil and Elbow Grease’, stuffed to the brim with old funk, rock breaks and psyche. You can listen here.

Jim Mahfood and friends – Cafe 1001


I met up with Jim Mahfood, Scott Campbell and friends Saturday night at Cafe 1001 off Brick Lane on Saturday night in the midst of a live painting session. They had covered a corner of the cafe as well as several flattened cardboard boxes and seemed to be having a great time. I had feared that their trip over would be marred by the tube strike but it seems like the show opening on Thursday was packed and they sold nearly everything already. I’ve been a fan of his work for  a while now but this was the first time we had met and we hit it off immediately, resolving to collaborate on something in the future. Food One vs DJ Food, it has to be done…

Awesome Dude!

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Incredible! – Big Numbers issue 3 sees the light of day!

I have a short mental list of things I’d like to see, hear or experience before I die, and today another one of them stepped closer to reality. This list includes things like the KLF‘s ‘Black Room’ album, Richard Williams‘The Thief and the Cobbler’ film and used to include Brian Wilson‘s ‘Smile’ LP until he miraculously finished it a few years back.

Most of these projects will never see fruition as the time has passed and the creators have moved on leaving a few tantalising snippets of material promising much but revealing little. One such entry on this list is Alan Moore and Bill Sienkiewicz‘s ‘Big Numbers’ comic from the great comic / graphic novel boom in the late 80’s and early 90’s. This comic promised so much being as Moore was riding a creative high from Watchmen and From Hell.

Sienkiewicz had done Elektra, Daredevil and Stray Toasters and was, Dave McKean aside, one of the most daring artists working in comics at the time. The run was supposed to be twelve issues starting in black and white, and tones and colour would be gradually added over the course of the story which revolved around mathematics and chaos theory according to Moore.

Frustratingly the comic was halted after issue 2 by the company going bust and Sienkiewicz’s assistant, an unknown Al Columbia, taking over at issue 3 and then having a breakdown and refusing to release the art. The project stopped, people moved on and it was consigned to the pile of unfinished projects that were never to be.

I never thought I’d ever see this but someone has posted photocopies of the whole of issue 3 here. They are reportedly the real thing and Alan Moore has given his permission to have them made public. Also, Sienkiewicz gives and long and fascinating account of what happened to the comic here. Now, if only Moore, Sienkiewicz and Columbia could be persuaded to finish this potential masterpiece…

PS: to see the quality of these pages (2nd or 3rd generation photocopies apparently) against what could have been, 10 of the fully toned pages can be seen on the web as they were printed, sans speech bubbles, in a fanzine sometime in the 90s.

Big Numbers-03

 

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Videocrash 2

Videocrash2.1Well, the second Videocrash was on Saturday night at Koko in London with a line up of Hexstatic, Bomb The Bass, Cheeba, Octavcat and yours truly amongst others and it was a blast if a little bit of a shorter one than before. Seven acts on a bill, including two bands with drummers, is a bit much to cram into 8 hours which was cut down to 7 when the soundchecks overran.

Videocrash2.2Most sets were cut including ours and new Solid Steel member Cheeba‘s. Poor guy had travelled down from Bristol to soundcheck a full 12 hours before his set – he only had an hour and had the graveyard shift from 3 until 4am – only to get 30 minutes before closing time.

Videocrash2.3DK and I slashed nearly half of our set and added some new bits in we’d been working on the past week which worked pretty well. All photos here were taken by the inimitable Martin Le Santo (thanks again mate)

Videocrash2.4Now, back to the records…

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