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Thursday, 04 December, 2008

PLANETNOTION TELEVISION!

CAMERA-FOLK AND FILM EDITORS WANTED!

Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.

Please email lucy(at)musichqmedia
(dot)com if you’re interested in getting involved, cheers!

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Mpho Skeef

Universally regarded as a burgeoning UK ‘urban’ talent, Mpho Skeef has one of those voices you won’t forget in a hurry. With a style you can’t quite put your finger on – ranging as it does between jazz, funk, hip hop and soul, among others – she is gradually turning people on to the sound she’s been bursting to share for years. Mpho Skeef (first name pronounced Mm’poh) is on holiday. Having been working hard recording new tracks, promoting her forthcoming EP, September’s ‘Don’t Like You’ and wowing crowds across the underground circuit, Mpho, who counts Radio 1’s Ras Kwame and Trevor Nelson among her fans, is taking a well-deserved time out. The 28-year old Brixton-ite has so far this year won applause for her outstanding live performances – including making a huge impact at Gilles Peterson’s Worldwide Awards – and that on top of her music. Having provided the vocal for Bugz in the Attic’s enormously successful ‘Booty La La’, Mpho has gone from strength to strength, and her latest offering attests to that. Mpho’s ‘Don’t Like You’ EP is as varied and interesting as the singer’s influences; with an obvious nod to her roots, Mpho cites the importance of African music in developing her eclectic style, as well as acknowledging those more obvious inspirations in modern music: “I’m inspired by a lot of people, from Bjork to The Neptunes to Lewis Taylor. I’m interested in people who are trying to push music in different directions. The music that has influenced me has been the music I heard growing up – a lot of African music and jazz. “Then, when I was a little older, I got into hip hop and soul and funk. Plus I was a kid of the Eighties, so Prince, Shalamar and Cameo were important, as well as Depeche Mode and Kate Bush.” Mpho puts her diverse tastes partially down to her background: “I come from a multicultural family and city. My influences are really quite varied.” The daughter of a black man and a white woman – an illegal mixed relationship in South Africa– she was born at the height of the struggle against apartheid. Her family moved to east London when Mpho was four. Soon afterwards the family moved again, to Brixton in South London, where Mpho still lives – with her five-year old daughter. As an artist in her own right, what music does Mpho now appreciate? “Andre 3000, The Neptunes, Eska… people who aren’t afraid to push the boundaries but are still aware of their audience. Eska is amazing – that way her songs and musical sensibility are so intricate yet accessible. “It’s ages since I really went out. But a good DJ should be able to introduce their audience to new sounds. Morgan, who has worked on my album, is good like that. I like ?uestlove as a DJ and producer.” While Mpho’s in no hurry to complete her album, she is working on it, and the list of producers eager to collaborate with her is certainly impressive; so far she has enlisted some of the best around, including Dizzee Rascal’s DJ, Wonder, Joe Buddha, Morgan Zarate, Fusion, Zed Bias, Baby J and, of course, Bugs in the Attic. So what should we expect? Well, if the ‘Don’t Like You’ EP – a mix of harmonic soul, raw and funky rock-tinged grooves, and offbeat r&b – is anything to go by, expect the unexpected: “It’s all going really well and seems to be happening organically. I want it to be successful. It would be good to show that as an artist you can just be who you are and it will work. I have a great time and am getting lots of gigs and really good press. Ooh, and the radio promo will all kick in soon as well!” “I like it when an artist can bring together different musical styles and make something new and different again. That’s what I aspire to. It’s good for me to always try and be fresh and grow!” she says of her work on the as-yet untitled album. Who else would she like to work with, given the chance? “SARA, Common… I would like to work more with TY too – I’ve known him since I was at school. And Eska. I’d also like to work with Matthew Herbert, and a collaboration with Coldplay would be interesting!” There goes that boundary-pushing she so admires. Mpho Skeef is enthusiastic and unpretentious. Signed to the government-funded independent label Documented, she pretty much has freedom over how she pursues her goals – something she enjoys to its fullest. She is passionate about her live performance, a fact that is certainly evident when you see her on stage. What is a typical Mpho Skeef gig like? “It’s all about energy,” she states. “My band are all young and extremely talented so there’s a lot of energy on stage. I like to communicate with the audience and take them on a journey. I’m looking forward to adding more theatre to the show – it’s really all about the performance for me! Before a show I just rehearse, warm up and pray – that’s it. And then it’s all good fun. Afterwards I really have to sit and calm down, and give thanks. Then sometimes it’s a party – and sometimes I’m off home to bed.” How did she feel about the reaction to her performance at Gilles Peterson’s Worldwide Awards – recognition on a wide scale? Was she surprised? “Yes, definitely! It feels good to be acknowledged for what you do! But it was a pleasant surprise.” What’s been her favourite show so far? “Ah, that’s a hard one! I'm quite self-critical, especially when it comes to the live shows. I really enjoyed my 1Xtra gig,” she says, before adding, “but I think my best is yet to come…” Mpho Skeef’s ‘Don’t Like You’ EP is out on Documented on September 5th. Words: Loriann Luckings

tags: | mpho skeef | music | hip hop | rap | urband | jazz | funk | soul | ep | don�t like you | more...

Mylo

In what’s been a whirlwind year for Mylo he’s gone from bedroom DJ to become one of the most recognized names in dance music. It’s been like one non-stop summer party, and it doesn’t look set to end any time soon. Mylo talks dirty laundry, living in Essex and having problems with deadlines… Taking a taxi into Dalston, east London, I do a quick mental check over everything I’ve researched about Myles MacInnes – also known as Mylo, and widely proclaimed as the ‘saviour of electronic music’. As prepared as I ever am, I clamber out of the car, at what the driver tells me is the right address, a street door that looks like it leads into a warehouse. The response to my buzzing up is instantly recognisable; it’s Mylo, softly spoken and shy-sounding. “Come on up,” he says, “third floor; door’s open.” As I ascend the slender staircase I’m greeted by Mylo, who extends a hand before I’ve even reached the top step. This is his place – the base he shares with various artist friends, and somewhere he’s not seen so much of in recent times. Mylo, born and bred in the Isle of Skye, is just back from Japan, and shortly off to Ibiza. “It’s a tough life,” he smiles, before asking me if I mind if we nip out for something to eat. “I’ve not eaten lunch,” he stretches. But before we set off he excuses himself – to load the washing machine with the laundry he’s not yet had time to do. So I have a little nose around the studio – full to bursting with artists’ materials – while he sorts his socks. Laundry safely in the machine, we walk to a café Mylo recommends: “It’s the quietest place, you’ll be surprised,” he assures me as I suggest that perhaps he might have to shout in order that my recorder picks up his voice. We plant ourselves at a small window table and start the interview – informal and relaxed. Interesting place, I tell him. “Yeah, it’s my base. But I’m hardly ever at home. But I’d quite like to move to Essex.” Really? “Yeah, I like it because it’s downtrodden. It’s a bit uncool. And I really like the fucked up seaside town thing. I was seeing a girl once and we went to Southend-on-Sea. It was just so great, you know. All these kind of weirdo guesthouses.” Mylo’s mobile phone sounds out. He apologises, before answering the call and conducting a quick and professional conversation. It’s his manager, Eric. Anything interesting, I ask? “Yeah. War Child is doing another ‘Help’ album and wants us to contribute a track. I was quite flattered as there are, like, big bands confirmed for it.” Flattery indeed. The last War Child album, 1995’s ‘Help’ boasted contributors including Oasis, Paul Weller, Sir Paul McCartney, Neneh Cherry, Manic Street Preachers, Radiohead and Blur, and became the fastest ever Number 1 album in British music history. It was made in one day, and was aimed at raising funds and awareness for children affected by war. And ‘Help: A Day in the Life’ looks set to be another huge success – with Radiohead and Manic Street Preachers back, Gorillaz, Razorlight, Keane, The Magic Numbers, The Coral, Elbow and The Zutons all confirmed to record. So it’s a big thing – and it’s comforting that he sees it as such. Mylo has come a long way since last summer, when the murmuring about a new DJ phenomenon first started. Back then Mylo had just come out of his bedroom, and was starting out in Ibiza, gradually turning people on to his unique blend of infectious pop hooks, bedroom DJ electronica, heavy-duty beats, raucous vocals and intelligent sampling. He had just released his album, ‘Destroy Rock & Roll’, through his own label – Breastfed, which he co-owns with two others – and was enjoying rave reviews from some of the music industry’s most lethal critics. And things just got bigger from there. Mylo has taken his DJing and his live show – a full band comprising Mylo himself on guitar and keyboards, his brother Hector on drums, Lewis Harley on bass, William Threlfall on guitar and The Phantom on visuals – around the world and back again, making fans everywhere he goes. “It’s been manic – for me and the band and me and the label. Very much so.” How are he and the band coping with the fuss that surrounds Mylo? “We seem to be coping with the scale of it quite well. And we’re still having a total whale of a time. So that’s still good. I mean, you really expect for something to go hideously wrong in that respect but you have to keep track and make sure everyone gets paid and everyone’s happy. I suppose that keeps it all quite real, even in the most bizarre situations. And spending so much time together keeps us grounded.” “But then again I wouldn’t say this has been the most focused year of my life. Certainly not as focused as when I was making the record. Having said that, I was quite all over the place when I was making the record. I spent a lot of time reading, like, cold war spy thrillers instead of actually doing it. So that’s one reason it took quite a long time.” Mylo first started dabbling in the studio in the summer of 2001, and some tracks on the record date back to around six months after that – including ‘Sunworshipper’ and ‘Destroy Rock & Roll’. “It was kind of six months of fannying about and learning a bit. But they were really simple tracks ’cos I didn’t know what I was doing. And then we eventually put the record away in January 2004. So it was a solid two years. I mean, most of the tracks only take about a day to make, so I don’t quite know what happened to the rest of the time. But I seemed to be busy.” Do you find that if you don’t have to do something immediately you put it off? “Completely. I mean, it’s like last week. I had one very urgent thing to do and one very non-urgent thing to do. I had to excise this tiny Prince sample for the American release of the album, ’cos we were scared he was going to come after us. That was very urgent. It was putting off the American release. “And also I had the parts for this Röyksopp remix, which isn’t due until the end of the month [August]. So it’s still quite urgent but not that urgent. But I spent the entire week fucking about with Röyksopp and not doing this Prince thing. And it got to the point where I had to fuck everything about, go up to Global Gathering on the Friday in a hire car on my own instead of with the tour bus, do the gig and come straight back. I got back about 1am and I did the Prince thing, you know, all night. And I had to leave for Japan on the Saturday morning. So, yeah, I have a bit of a problem with deadlines. “When I was a student I always tried to go through as many exams as possible and avoid coursework or dissertations and stuff. It’s just like, when you have an unlimited amount of time to do something, it just becomes this ever-growing thing. There’s a writer called Spalding Gray who was recently found dead [in New York’s East River], whose first book was about actually trying to write his first book. He never got the initial first book finished but he wrote this short book about what a nightmare he’d had, and about how mad he was.” Speaking of unfulfilled dreams, does he have anything he wishes he’d finished? “Tracks-wise, there are hundreds, which is kind of a good thing. I mean, taking them down to the studio and having little ideas is something I don’t have a problem with. And then all I need is to sit with a coffee and mess around with the keyboard and something of varying quality will result. Which is good because when I’m approached to do something – like this War Child thing – I should be able to go through the archive and, provided I haven’t fucking lost it or my hard drive hasn’t been nicked, there should be something there for me to develop and finish. It’s good to have all these unfinished bits hanging. “In general, in life, I have a lot of unfinished things. I have quite a lot of unfulfilled ambitions, definitely.” One thing Mylo regularly mentions is his need to develop his DJing. Despite the music industry and fans viewing him as something of a hero, and the fact that he’s in constant demand around the world, Mylo insists he still needs to work on his technique. “I throw myself in at the deep end, rather than consolidating what I do best. I’ve been going and fucking up in areas where I have no expertise of any kind, primarily DJing, which I like.” A lot of people would argue with that, I tell him. He blushes and smiles, fidgeting in his seat momentarily, before saying, “Wow, that’s a nice thing to say, you know. “But I don’t take things too seriously. I find the whole thing very hard to get serious about. I do have a kind of anti-establishment attitude towards the music industry because, as far as I can see, it’s fucked. And it’s fucked because you’ve got old skool DJs who take things far too seriously and worry about techniques and worry about using the right kind of mixing desk. And it’s like, get a life! And also, as far as recording, there are the big studios that don’t really need to exist because of the advances in technology. But they’re ripping people off. “Now you can get so much power on your laptop, which you couldn’t five years ago. And that’s completely changed everything. So I’m quite convinced that that’s not just me being a cocky little cunt. Although maybe I am.” As unorthodox as his approach to DJing – and performing electronic music as a live band – is his approach to actually making music; while he’s not yet officially started work on the second album, he’s always working, and when he’s not coming up with innovative ideas for new tracks, he’s being approached by hoards of artists; whether remixes or collaborations, it seems everyone is eager to have the Mylo touch. Or at least have him take them under the Breastfed wing. What is the criteria for selection? “Well, there are three of us, man [Mylo himself, Kevin McKay and Duncan Reid]. We don’t have a proper office right now, and it is all a bit up in the air but Kevin’s kind of running it now. Sony have come in and taken a lot of the work for my album off our hands so Kevin and Duncan have a lot more time to look around and see what’s out there. That’s how it’s going right now. “There’s a band about at the moment that are kind of like Bloc Party, and they’re really good, but we’re not just looking for another band like that. We’re looking for a band with songs that are really good. Cassius is another one of the house albums I had, and now he’s come back with something new, a deeply personal, rocky kind of album. It’s really quite brave actually and it really works. “And some funny things which would be a dream come true like Sparks who were, like, a really weird-looking band from the 1980s. Everyone thought they were German but they’re actually from America and their stuff is so mad. They’ve got a new album which is just mind-blowing – it’s got the maddest of the maddest Queen stuff, but times by a thousand. I think it’s amazing and if we could put that out then I would be totally over the moon because they’re such legends and completely and utterly exorbitantly brilliant. And it’s completely uncommercial. “So what we’ll probably do is take what little money has been made from my record and use it on these totally uncommercial new projects. And then go bankrupt and that will be fine. And I also really like the Knife, a new pop band from Sweden who do things themselves on their own label, but we might be able to pick up their next album, for the UK at least.” It’s quality over quantity then? “Definitely, yeah. I mean, it’s a small label and at the most we’ll be releasing three albums and then maybe a couple of compilations. I think anything that happens with the label now is going to get some attention. And any album we do in the future is going to be a make or break situation for us – like, what is this label all about? I mean, we are dead serious about turning it into a proper label.” Still ambitious, enthusiastic and modest about his achievements so far, it seems Mylo can do no wrong. But, under no illusions of grandeur, he’s not complacent, and is still nervous about the re-release of ‘Destroy Rock & Roll’, insisting that it might not be so successful second time around. To his friends – and those who’ve known him since ‘before’ – he’s simply Myles. Saviour or not, there’s no denying the effect the arrival of Mylo has had on the music industry. “I’m not sure I care what a bunch of snotty industry brats say. They have their favourites but it’s meaningless. But right now it’s all good. I’m enjoying it. Even though I feel like a space cadet!” ‘Destroy Rock & Roll’ is out on Breastfed/Sony BMG on September 12th. Catch Mylo on their biggest headline tour to date, throughout October and November. Words: Loriann Luckings

tags: | mylo | music | dj | dance | party | essex | club | electronic | london | myles macinnes | more...

Estelle

UK rap's latest superstar, Estelle, hit the charts running in 2004, with '1980', a song entirely inspired by her life so far. And this year, she's got big plans! Having won MOBO's Best Newcomer award, 'urban' prodigy Estelle wants a whole lot more. We talked global domination, guns, and wheeling and dealing with Kanye West. As I sat on the train to London Waterloo, desperately scrawling questions into my notepad, I suddenly felt a pang of guilt. Estelle isn't your average UK singer now - she's a fully fledged pop starlet! Surely she warrants more consideration for her Notion questions? But, having listened to her debut album, 'The 18th Day', the cheekiness of her lyrics lead me to believe that she would do exactly the same thing to me, if our roles were swapped. Half an hour later, I'm sat in a comfy white chair in a plush Tottenham Court Road office. Estelle's extremely pretty PR, Laura, ushers me into a cosy back room where the equally good-looking Estelle greets me. MOBO's Best Newcomer 2004 is über-trendy, with sloping, highlighted hair on the left side of her head, and shaved madness on the right. This is going to be a good day! With a smash LP and two Top 20 singles under her belt, Estelle has managed to claw her way into a UK market where so many others still struggle to get a foothold. But was there ever a point when she questioned her own ability? "Only twice," Estelle begins. "Once was when I moved out of my mum's house and into a hostel - the first place I lived on my own. I remember thinking, 'oh my God, maybe I'm not going to be able to do this?' I was 19, and I had already released a record, which made it even worse! 'Maybe I'm just going to have one record out and then flop,' I thought. But the calls kept coming in." Estelle is still obviously caught up in the swirl of media attention she has been receiving recently. Her talk is relentless - she has a lot on her mind; and her drive and determination can be detected in the way she stresses her point: "The second time I questioned my own ability was when I was offered a record deal; it got THIS close to going through," Estelle measures a short distance between her index finger and her thumb. "But then the label started frontin', and I was like 'what's wrong? Why aren't they going to do the deal?' I got my head together, though, and realised that the deal simply wasn't for me. I could have taken it just to get my foot in the door, but I thought, 'fuck this, it isn't going to work'. I just maintained confidence in myself to be a huge success - I knew that something would come along sooner or later." It takes balls to turn down a record deal amidst the current climate of the 'urban' industry. The market is saturated with US acts, and record labels are reluctant to risk funding the tours and promotions of 'wannabe' UK artists. "It takes a lot of defiance, especially in the black music scene over here," says Estelle in a sombre tone. "Just look at it - since Soul2Soul there hasn't really been much else on a global level. Everyone has a certain level of expectation, especially after the success of other UK artists like Jamelia and Gabrielle. Apparently, you can't become a famous black artist doing music here… so the doubters say! "But I wasn't hearing it," Estelle states firmly. "I had confidence in myself, and I was just going to be me and see how everything played out. I had to block out a lot of negative comments. I remember people saying I wasn't going to be able to do my thing the way I wanted, that I was just going to lay the way for someone else to come through and be bigger than me. I had people telling me stuff like this to my face, so I was like, 'well, what have I been doing this for the past six years for?' When I eventually got signed the same people were sat over there," she waves her finger in the direction of the far wall, "looking pissed off because I just got the deal and '1980' was blowing up," she says in reference to her smash debut-single. Estelle's bullish attitude has obviously been a defining factor in her progress. "It takes arrogance," she admits. "But I always kept that in my head. I never went running around shouting, 'I'm the best! Sign me! This is Estelle!' I was never like that. I just kept it bottled up and said to myself 'you're good - you do your thing'." - It's refreshing to hear someone with so much confidence. "Remember - I had to keep it inside," she laughs. "I don't think it's particularly good to go blabbing about how great you think you are. In the US, a lot of the artists run around screaming about themselves, but it's only because they have a powerful crew and marketing machine behind them. In the UK nobody supports no-one, so that arrogance has to be kept within the walls to keep you out of trouble." Having waited patiently for the right record contract, Estelle has experienced her fair share of the business end of the music industry. Artists often despair at how faceless and money-grabbing the industry can be. For some labels, profit comes first and an artist's personal terms second. How does Estelle keep sane underneath the corporate pressure? "I have to laugh. If I don't laugh I'll cry. I just find it hilarious. For two seconds a day you will feel like someone gives a shit, and then you quickly realise that they don't." Do these companies really care about the artists? Or are the artists puppets to be exploited? "It depends on who you sign with," Estelle explains. "My label is quite good; they actually do give a shit about the music," she states, in reference to V2 - a subsidiary of Virgin Records. "They're really into making proper music. Their whole belief is like, 'whatever happens – a good song will keep you forever'. For example, you get artists that have had one song since the 1930s and their status still lives off it. So that's why I signed to V2 - they respect real music. "I feel sorry for artists who sign to labels that just demand a hit. They don't care whether people hear it in the next five years; they just want success right away. I'm lucky I'm not in a situation like that. V2 sees the foundations of where I'm going, and they're going to take that journey with me. They're not going to rush me to achieve everything all at once." Estelle's praise of her own label is predictable. Is she crediting them just to stay in their good books, or does she genuinely feel appreciative? "I speak my mind in interviews. I'm not media-coached or anything," she giggles. "This is me. I'm telling you what I think. I'm pleased so far with the way the media has represented me. They haven't marketed me as some sort of saviour of the music. They are just like, 'she is what she is'. The media has been pretty good, apart from the lazy Ms. Dynamite comparisons." It's typical; commercial newspapers and magazines often only see in black and white. Ms. Dynamite and Estelle are both young female representatives of black music, but that's where the similarities end. Stylistically they are worlds apart. "Thank you!" says Estelle. "Please get that right!" she beams. 'The 18th Day' has made Estelle a firm fan favourite; type 'Estelle' on a Google search and you'll find message boards plastered with respect for her. It's all good winning awards, but the fans' admiration is often more fulfilling than any trophy. "I have to detach myself from it and listen to the praise as a regular punter," blushes Estelle. "The first feeling I get when I read the praise on forums, or from random people that come up to me and say 'I think you are the truth', is embarrassment. The second feeling is, 'I am glad I stuck to my guns and did what I felt was right'! "I mean, I could never act out anything for this period of time," she continues. "So these people are right - I am truthful. If I did something that I hated and someone came up to me and said they loved it, I would say to them 'I think it's a pile of shit - wait 'til the next album comes out'. That's not necessarily a good thing, but I AM happy that people can relate to my work, despite it being so realistic." So, what's next for Estelle? It's said that Pharrell Williams and Kanye West are admirers of her unique sound. Should we expect global domination from Estelle? "Global domination…" Estelle whispers. "It's always on the cards – it HAS to be! I'm working with a lot of good producers at the moment. I do want to work with Pharrell, in particular - he likes '1980' and the album. It scared me at first when he said, 'I feel that track - I remember that shit you're talking about!' "I've spoken to a lot of Americans, and that's one song they all seem to pick out. In the US my music is a niche market, but I still receive great responses from it. A lot of producers contact V2, my management or me to ask to work with me. Diane Warren heard '1980' and rang to say she loved it, and asked if we could make a track together. All sorts of people. So, we should have some well-produced Estelle tracks in the future." Diane Warren has pretty much produced for everyone and their aunt, including Aerosmith, Toni Braxton and Whitney Houston. Around 150 million albums have been sold with her name buried in the credits as a songwriter/producer. But these big-name producers never seem get round to completing a product with UK artists. We all know The Neptunes are big fans of Dizzee Rascal, but do we ever see a collaboration? Nope. "A lot of UK labels are scared of America because they think it is going to cost billions of pounds to make a record," Estelle clarifies. "But in reality, all it takes is me going to Pharrell and saying, 'look, you know we're not balling like that over here. I'm not giving you £300,000 to do a track. Can we please do a trade?'" screams Estelle. "I mean, what's the harm in asking? All they can do is say no. And even if they do, then I'll make them want to work with me when I blow up. "This is what happened with Kanye West. Everybody around me was saying 'nah! There's no point asking him until you're huge'. And I'm like, 'you know what? Fuck all that. I'm going to ask Kanye for a beat'. And I asked him, and things are in the process now. At the end of the day I know that many of the big producers are where they are because they appreciate real music (not just on a business level)." It's no wonder Estelle has come so far, with that sort of attitude! Many people are blessed with talent, but don't share her drive and grit to take it to the next level. "We all look like crap in the morning. We're all human. Dude, I'm not scared of nobody, and I don't get star-struck any more. Saying that, the one person I might get star-struck by is Mary J. Blige, but that's another story." To round off, let's focus on Estelle's lyrical content. In comparison to other UK rap, it seems more varied and far-reaching. "The whole urban thing right now is that you've got to talk about guns and knives," groans Estelle. "Yeah, I touched on that, but that's not my whole life. I've been around it but that was a while back, and I chose not to go down that road. There are other things to talk about, and that's one thing I hate - when people don't touch on different subjects. The guns and knives thing is not real life. It is, to a point, but it isn't the be all and end all; it isn't everyone's existence. How are you going to hit the world talking about that one little thing? How the hell are you going to reach people with your message when all you talk about is the same thing over, and over again? Article by: John Murray Hill

tags: | estelle | uk | rap | hip hop | mobo | london | 1980 | kanye west | guns | waterloo | pop | more...

Dollz at play

Bea and Xochitl are two 20-somethings on a mission. As Dollz at Play, the DJing duo pride themselves on playing credible house, ranging from electro to acid, and are about to start producing killer tracks any day know. They have both recently moved to London, so we thought it about time Notion became acquainted with the next big thing in house… Although they might be new to the professional scene, Bea Rodreguez Dias and Xochitl West have been working towards lives as superstar DJs for years. Although they didn't start working together until two years ago, Bea and Xochitl (pronounced So-Chill) have been regulars on the worldwide clubbing circuit for most of their adult lives. "I've been partying all my life and love music, so everyone was like, 'you should get involved with DJing or something'," beams half-Swiss, half-Mexican Xochitl. And so she did. Bea has also been DJing in her native Spain for the last few years. "Actually, I started to do Dollz with another girl and it didn't work out. Together we thought of the name. But the other girl just wasn't into the same music as me. With Bea and I it's different - we have chemistry together and it just works." The girls met in clubbing mecca Ibiza - where else? They met just over two years ago while out dancing the night away, and they instantly struck up a friendship. But Dollz at Play came later, in 2003. Last spring Dollz at Play secured a number of gigs in LA; both had contacts there, and word was soon spread thanks to Xochitl's connections - she used to live and work in LA on the fashion scene, as a stylist to the stars. Then in summer 2004 Dollz at Play came into their own, with a string of parties on the ultimate party island of Ibiza. Throughout the season the two made the most of their residency at the recently refurbished, stylish Italian venue La Morgana, and rocked parties at Blue Marlin and Cala Jondal. Their set on the Space Terrace for the closing party of What's Up was one of the highlights of summer on the island, as the two brought stunning sounds and styles to the party. But it was their residency at Mr C's weekly Superfreq party, taking place at Underground, that proved to be key. A summer of consistently strong appearances from the Dollz confirmed their status with the Ibiza faithful. With more DJs than clubbers on the circuit you could be forgiven for thinking the Dollz' rise from obscurity was unfairly fast. But when you look at what they offer, you may think again. For a start, it's rare to see two women DJing, and NOT playing hard house or funky. Their style is punk/electro, with a huge rock influence; their sets are an education in how to do house - the alternative way. The pair, who always play together, always look immaculate, and pay as much attention to their look as they do their sets. With a fiercely individual take that is all their own, we think they could be the next big thing in electronic house. This sort of reputation has earned Bea and Xochitl residencies with Superfreq at The End in London and at Underground in Ibiza for this year, as well as numerous sets around the globe. For the eagle-eyed among you, yes, Superfreq was previously known as Superfreak; it's a change that, according to Mr C, is representative of the sound of the moment - it's very electronic. So now you know! Xochitl married Mr C last year and he has been a supportive figure in the Dollz' career choices. Xochitl comments "I got married to Richard [Mr C] and he has THE best music ever," her eyes wide with enthusiasm. "He is very encouraging and he helps us all the time. He is the best teacher! That has really helped Dollz progress quite quickly." But Xochitl's marriage to Mr C is not taking any successes away from Bea and Xochitl; they deliver the goods on the decks - they wouldn't be playing in top venues such as Dogshow in Bologna if they didn't! Dogshow is actually one of the Dollz' favourite places to play in Italy; Xochitl giggles as she recalls the night in 2004, "It was amazing! It was in a restaurant kind of venue and everyone was dressed as Egyptians. Everybody was crazy!" Xochitl continues to tell us all about what makes Dollz at Play tick: "We like everything from electro to punk, rock to acid house, labels like Poker Flat, and artists like M.A.N.D.Y. and Tiefschwarz. And, of course, we love Mr C!" she laughs, and so does Mr C, who I can hear in the background. The girls will be going to Miami for the Winter Music Conference in March, and hopefully DJing for a Superfreq party there. "Richard is trying to sort it for us. From now on he is going to try to get Superfreq parties where ever he plays. And he's going to try and get Bea and myself playing at everyone as well." And Bea says we can expect more than just DJ sets in coming months: "Yeah, we are starting to produce tunes in March. It will be electronic house all the way and then we have a friend who sings, who will be joining us in the studio. We just want to work with loads of girls!" Xochitl continues, "To sum us up, basically, we try to make a mixture of fashion, good music and lots of fun. That's a big thing for us - to be women on the scene who play good, credible stuff and have an element of style and, most of all, fun! And when we say fashion we mean crazy and fun, not at all stuck-up! We're not talking about designer labels; we're talking fun dressing up! Do you know what we mean?" And we have to say we really believe them! The girls are cheeky, witty, and full of mischief. The future looks seriously bright for Dollz at Play, who will continue to make their presence felt across Europe and America. They have dates lined up at Italian clubs Angels of Love, Naples, The Flame, Bari and Dogshow, as well as the aforementioned Superfreq apparences. You can catch Dollz at Play every month at Superfreq at The End, London, and weekly at Underground in Ibiza from May.

tags: | dollz at play | dj | club | music | dance | mix | bea | xochitl | house london | electro | more...

DJ Sneak

From Puerto Rico to Blackpool, via the Windy City, DJ Sneak has never been one to do things the easy way, but with the release of his third album late last year he has proved that with a lot of hard graft, bags of talent and just a pinch of self-confidence, you can just about do anything you want. It's time for Notion to track down the living legend himself. Born in Puerto Rico, Sneak's family moved to Chicago while he was still a child. Growing up on the streets largely responsible for house music as a whole, Sneak decided early on what his chosen path would be, and there was no shortage of inspiration! Sneak didn't speak English at this stage; television in America held no real attraction for him, his attention instead turning to radio, where the early sounds of Chicago house could be heard. The tracks were generally without vocals at that time, so Sneak finally found something in America he could identify with. DJs like Farley Jackmaster Funk and Ralphie Rosario were already legends in their own right, and they offered Sneak a glimpse of something special, for which he remains eternally grateful, "People seem to forget about the pioneers of Chicago," says Sneak. "But I want to say thanks for the schooling I received from them." The early Chicago house sound spawned a collection of young talented DJs, with the likes of Mark Farina, Sneak and Derrick Carter following in their giant footsteps. But Sneak wasn't about to become lost in the crowd. He wanted to emulate his heroes and play the music that he truly loved - a goal he has always believed he could reach. "I knew early in my career that I was going to BE someone in this industry - I don't want to sound cocky but I knew I was determined and dedicated enough. I had what it took to make it… Most people these days just want to be stars. I just wanted to make and play house music." Talking to Sneak now, it's clear that he's got love and respect for the people who he feels deserve it, and very little time for those who don't. Sneak's friends from Chicago are obviously still very close to him - perhaps no-one more so than fellow house legend Derrick Carter. "He's the Big Boss, Tony Soprano, the new Godfather!" enthuses Sneak. "I love him like my own blood! He has opened so many doors, not only for me but for anyone who wants it bad enough." Sneak has obviously worked hard to get where he is, however his success isn't wholly appreciated back in the city where it all started. "Some people in Chicago are a little too jealous sometimes of what I've become. There are lots of people there that like to hate on others because they feel they should be where I'm at. On the other hand, there are some incredible people that I have the privilege of knowing and I love them. It's a very competitive city." Perhaps it was this animosity that forced Sneak to promptly up and leave the city that had once inspired him, but thankfully his inspiration remained when he settled in Toronto, and his relentless production and DJ work has showed no sign of letting up since. It's almost as if he still feels he has a point to prove. It's a theme that comes up once more when talk turns to his latest album, 'Housekeepin', his first real experimental album not just designed for other DJs. Featuring quality tracks like 'Morning Come' and the infectious 'Fix My Sink', the album has been viewed by most clubbers and Sneak fans as a great success. But this view is not shared by the critics: "I think most of the people are clueless of great produced music. Maybe one day they will truly believe in DJ Sneak," he counters. "The reviews have been shit but I believe in me - always have, always will! When this industry goes completely bust they will reach back to people like me." Sneak is keen to talk about the album, as he obviously feels it has been misunderstood by a large percentage of the commercial media, obsessed as it is with the so-called 'death' of dance music, and oblivious of what he is trying to achieve. "House music has touched more lives than what bigshot people believe they are reaching with their shit music and false artists. We, the underground, have values and respect. We don't care if the overground cares about what we do. People need to realise that without the underground there would be no overground. I don't know about you," he continues, "but I'm quite tired of all the shit music coming out these past seven years or so. I just want to get people excited about a newer sound. I've worked with real musicians, vocalists and writers to create a mature-sounding album. I love house music, and this LP for me is a great tribute to the original sound of Chicago, with no limitations on how great this music can be." The original sound of Chicago it might be, but there's no escaping the fact that this album was born in an altogether more unlikely town. "Blackpool's a very special place!" shouts Sneak. "It's cold, grimy, shady - it's got character!" You may be wondering why, of all places, Sneak, a Puerto Rican DJ from Chicago, is banging on about Blackpool. Well, that's where he made his album, and it's all thanks to Sneak's production partner and sound engineer Mark 'Blakkat' Bell, who owns a studio there. "He's an amazing studio person. He's the reason these songs sound and feel so good. I learned so much from him and his mates. I feel lucky to have worked with such a professional but down-to-earth mo' fo'." Fortunately, the tunes are a far cry from a windswept November day, spent queuing for The Big One, and Sneak's forthcoming single is testament to that. 'Funky Rhythm' features Sneak on vocal duties, taking over from Bear Who?, who had rapped on the previous two singles from the album. But Sneak is quick to point out that it's not a career path he is looking to go down much further: "I'm not a rapper," he says, "but I can tell a good story." Sneak is keen to entertain people - either with his own productions or with a hypnotising DJ set. "I'm a real creative person. I love to tell a story with every DJ set I do. I don't think I'm the best, I just know that I love what I do so much and have so much respect for the art, that I'd always want to give it all or nothing. I'm as real as it gets. But there's no need to get a big head!" Big head or not, Sneak's 'Funky Rhythm' is set to drop on Magnetic Recording in February, featuring mixes from Armand Van Helden and we here at Notion we can't wait! Article by: Tom Wilkins

tags: | dj sneak | music | dj | dance | club | mix | puerto rico | chicago | america | radio | more...

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