Archive for the ‘Sensational’ Tag

Sewing up avenues   1 comment

Colin Bobb

WHAT’S COOKING ?

Pete Um
2 hours ago
Pete Um

meatballs

Colin Bobb
2 hours ago
Colin Bobb

🙂

YOU WORKING ON ANY THING YOU WHANT ME TO JUMP ON ?

Pete Um
2 hours ago
Pete Um

You’re such a hustler

🙂

Colin Bobb
2 hours ago
Colin Bobb

🙂

Pete Um
2 hours ago
Pete Um

I tell you what, if I’m making one of my 1.5 minute disjointed beat classics and I think THIS NEEDS THE GODDAMN HEAVYWEIGHTER ON IT I’ll let you know in a flash.

Colin Bobb
2 hours ago
Colin Bobb

YOU SHOULD JUMP ON THAT NOW 🙂 YOU GOT SOME THING READY

?

Pete Um
2 hours ago
Pete Um

Dude, I’ve got a record coming out soon so if that gets some press I’ll think about it because I’d love to have you on something.

Still love Smashing Your System…

Colin Bobb
2 hours ago
Colin Bobb

NICE

I NEVER GOT A COPY OF THAT

COPY’S

Pete Um
2 hours ago
Pete Um

really? I’ll mention that to Dave.

Colin Bobb
2 hours ago
Colin Bobb

OK

Concepto MIX #15 Nochexxx   1 comment

Some nice Nochexxx infiltration here, for uh, Spanish net radio, is that?

A mix and an interview, which goes like this:

English Version

First of all, why Nochexxx?

The name was struck upon initially as a joke. I was washing dishes, dreaming up personas, keeping myself amused during a crap task. Once the concept unravelled, I felt there was a sincere parable to Nochex(xx). This unsuccessful ‘electronic’ payment method was comparable to my own fate! I believed my future as an electronic music artist, was in fact a failed career move (here I was washing up after all). The tragicomedy aspect of Nochexxx appealed to my selfdeprecating humour, added to which, reclaiming brandownership, by dismantling the products original intention and tossing it into the universe as something new was pleasing.

Where are you from?

I’m half English/Chinese but feel rootless from having grown up in a few opposite corners of the world. Currently residing in Arbury, the most underrated part of Cambridge!

What kind of music do you use to hear when you were younger?

Music was my forbidden fruit because at the time classical was the only music tolerated in my household. I didn’t have older siblings with hip music taste or liberal parents with extensive music collections. A few classical tapes hidden inside draws, was all. One cassette contained Flight of the Bumblebee by Rimsky Korsakov. This piece illustrated music could be tactile and three dimensional, far greaterthan notes on a score. Korsakov produced a musical swarm. This epiphany has remained with me ever since. Outside the house, it was whatever my ears could find.

When did you start your musical activity?

From around the age of ten I’ve been tinkering. First efforts were random audio collages dubbed onto cassettes. During my teenage years, I discovered for $10 Malaysian I could hire a fully furnished rehearsal space. These ‘jam’ studios provided a direct line into KL’s local independent scene and I would jam at least once a week with mates. To cut a long story short I arrived back in the UK and was in total culture shock. Everything was so accessible. Nochexxx began circa 2008, prior to that I had been producing abroad range of experimental computer electronic music as Ascoltare, as well as badly managing a record label called Tripel. Many of these early releases reside under my desk.Haha.

Within the current musical diversity, the incessant new revisions of older material and all the new electronic trends, where would you situate your style as a producer?

I’m not sure. I try not to think about it. It certainly does not come to mind when I’m producing. I will remain fervent lyon the outside. I’m fairly old fashioned and inspired by the oldschool, but I don’t feel I’m purposely aping the past in order to qualify as a Hauntologist. Hopefully my music contains more than just stylistic nods towards past or future musical genres, but we all copy stuff innit. Hypnagogic Techno anyone? LOL

Your first 12” was published in one of the most respected labels at the moment, Werk Discs, how was the first meeting with this brand?

Thankfully my music and online persona was enough to get me signed to Werk. Sadly I have yet to meet Actress or Lukid face to face. Big up Werk!

In “Smashing Your System”, you collaborated with the legendary Sensational, how did it arise? Tell us something about this meeting…

I first met Sensational after a gig in Rotterdam. I drunkenly approached him and said, “Loaded With Power is the greatest Rap record!” That same night Pete UM rolled joints on request, effectively becoming Sensational’s weed caddy. Being fans of his music, we were well aware of Sensational’s inability to roll blunts. There’s a Youtube video about it, haha. Later that year I contacted him and asked him to collaborate. The rest is history. Best material since Heavyweighter, imo!

Talking about your influences, which artists or styles have contributed to Nochexxx music?

It’s difficult narrowing influences down to anyone specific.Over the years I have gravitated towards so much music that it’s hard to pinpoint one in particular. At a push I wouldsay Ron Hardy plays close to my heart, such excellent taste. I relate to the way he shifts energy about the room. It’s important I find out where musical ideas originally derive from. I’m always looking to discover that proto (insert genre name here) record. Believing music needs time tosettle before it can be properly evaluated, I’m often looking backwards in order to go forwards. Consuming art from different decades makes for exciting travelling, so I try to learn sounds as I hear them and hope to be able to inject these exotic and alien textures into my own productions. I should point out that music is only one part of my inspiration; films, UFO’s, cooking, gambling, just about anything inmy daily life can influence my work. I should also give honourable mentions to living artists who I deeply admire, namely (Gaeoudjiparl, Harco Pront, Felix Kubin, Sensational, Pete UM, Xper Xr).

Precisely, in your songs there is parallelism with Actress material, do you think so?

I’ve never met Darren but I’ve read his interviews and feel we share similar opinions. For example, my comment about Korsakov’s “musical swarm” is key. We both like our music to be visceral and smelly. We both suffer for our art (music is not fun for us!). I admire the way he holds back on his productions, I sometimes feel with my own work it can beto schizo for its own good. But yeah, for sure there are parallels.

Your second twelve-inch “Ritalin Love/Timepiece” with Ramp Recordings shows a pronounced inclination for thetechniques and textures of a faster Chicago House…

I always switch up, try not to stay to still. Of course I love my Chi-town jack.

What can you tell us about your digital release “Greatest Record” with Tripel Records in 2008? What did you tried to express with this mixtape?

The underlying theme was to celebrate record collectors, those who strive to have that unobtainable ‘greatest record’. I also thought it would be funny if people asked about the “Greatest Record”. It was supposed to be a block-partystyle mixtape, sampling whatever was around (telephone messages, TV dialogue, vinyl etc). I wanted to produce a fun mix, using first wave Nochexxx. It also marked the death of my label Tripel.

In Youtube, we can find some unreleased Nochexxx material: Do you have in mind to edit a LP with this material?

I’m busy refixing many of these tracks, trying to get them as solid as possible. RAMP are helping me towards releasing an album. I just hope my work can sustain enough interest, sot hat it’s economically viable for RAMP to release.

How do you produce your tracks? Which kind of machines and techniques do you use? Do you use sampler? What kind of discs do you use to search and cut for your productions?

At the moment I produce everything on an Akai MPC. I use a few synths, some outboard effects and my vinyl collection (which is like a synthesizer to me). I master onto tape and love using analogue equipment. All this has become annoyingly fashionable but I feel they are the best tools for the job. Rob Gordon is right, we are being sonically robbed, I’m campaigning for real sounds. Lol. Of course I realise good music does not develop from the gear alone, but it helps.

Usually, your work unleashes a stream of tags, do you feel comfortable with that?

Whether I mind or not is largely dependent on the level of journalism. Blanket statements are often made, some of which can be wholly inaccurate (as if the journalist hasn’t bothered to actually listen). I have trouble explaining what I do myself, so I am sympathetic to anyone who writes about it. Personally, I don’t think about music in terms of genres and agree with Theo Parrish; “categorising and the over programming of music leads to dangerous consequences”. I’ll leave any such ‘tags’ to others.

Tell us about your Concepto Radio MIX?

With so many records at my disposal I became paralysed with the amount of options available. I decided to use Eno’s oblique strategy method to narrow the choice. I wrote out a few options and chose one at random. ‘select one record and compile a mix’ is what I did.

Finally, how will evolve Nochexxx on his next releases? What can we expect?

RAMP is continuing to support my output. The next RAM-AIR 12” will be “Vapour Cruz/Mitsubishi”. I have also contributed to a Xylitol remix compilation featuring Nocturnal Emissions, Woebot, Orchestra Intangible ’73, Pete UM, Strange Attractor and Sculpture amongst many others. Hopefully I will continue to progress and decent tunes. Try not to suck, basically.

Entrevista por Concepto Radio. Traducción de Gabriela Shutter.

Posted December 8, 2010 by peteum2013 in Uncategorized

Tagged with , , , , ,

The Kid on Ritalin.   Leave a comment

Kid Shirt wrote a great bunch of splurt about this record here.

In fact I’m going to quote it in full here:

I AM THE NON- CANONICAL KID SHIRT

Saturday, October 16, 2010
NOCHEXXX: “RITALIN LOVE”

If Nick’s twelve seems to play around with ideas of spiritual / technological attenuation, signal drift, futures-past, faded love-affairs with / hatred for The Machine (whilst also suggesting possible strategies for boosting the signal and re-establishing contact – restarting old dialectics and making The Ghost solid once more – without resorting to full-on nostalgia or squirm-inducing Hauntophilia), then Dave’s twelve comes to the table (the dancefloor? the bed?) from the opposite side of the Man-Machine interface and reminds us of what it could once do when it was all domesticated and tamed back in the Futurity-embracing 80s – when the Fonkmaschine was still a benign and sexy idea and CCTV only existed in Cabs videos and we’d let the music grab us by the short n wiggly quarter-inch jacks and its guidance-system would make sure our pelvic phallodonics were nicely lubricated n ready for a bout of zero-G post-human luuuurve. Baby.

My, what a long sentence.

Nochexxx reccids’re are misshapen, hairy, leery, squirty, shiney, chunky, hunky, squeaky, drunken, smiley, lumpen, bumpy, (cont. page 94). He turns strut into a syncopated lager-stagger (and vice versa); his beats sound like bones swivellin’, drunken muscles flexing, like a mechanised digestive-system squirting a mix of acid n enzymes into a bolus of musical chyme; he inverts The Fonk, The Jack, The Schwing into something more… willfully slap-happy and haphazard – there’s a gleam in his eye; a glint of cheek; but he’s a romantic at heart, really…

On “Ritalin Love” he ramps up the rude noises, the parps and the phat, rumpy-pumping bass. The snares sound like a slapped arse. It sounds awesome on vinyl. I don’t envy any DJ who plays this record: they look up from their instamatic-mix-beat-counter, only to find that Essex has turned into West Hollywood. There’s a parade – an infinite limbo-line stretching through 4-dimensions (back and forward in Time simultaneously) – marching past the DJ-booth: Fonk-Freaks and She-Things with different-length’d legs, hands on each other’s hips, swaying like land-locked sailors limping on their pegs, as they stagger-dance past the DJ – an endless parade of physically-remixed extras from old colour-saturated Peech Boys promo-films waving neon-tubes, wearing lurid woolen leg-warmers over unshaven legs, a sackcloth-and-ashes dress from Patsy Climate tm, zircon-studded headbands, just beggin’ you to get it on, baby, one last time….

“There But For The Grace of God Go I…”

“And I knoooooow,” sing-says a sample-that-knows-it’s-a-sample (it’s a sad sample, see? Sad samples always know they’re just samples trapped on a hard-drive, on a reccid), “Whoooooo gets your love….” And it’s heartbreaking to hear it talk like that; it’s like an old flame asking for one last chance. A regret entombed in an 8-bit waveform.

In one way, Dave’s and Nick’s records are strangely similar in that they both allow the Past to access the Present; they let the Dead draw breath again and look at the world with fresh, newly-grown eyes.

Both these records are the musical equivalent of breaking The Fourth Wall. Unlike – and let’s try and be truthful about this rather than unnecessarily cruel – so many contemporary artists who produce work that’s merely a form of sonic re-enactment; puppeteers who just put old tropes through their paces again and pass xeroxes off as Spontaneous Generation or Oujia-Board conjuring – but here, here I get a sense of Music Wanting To Be heard Again, of Musician-Producer-as-Conduit, of voices-from-the-other-side willing themselves back to life.

Life loves Life. The universe rebuilds itself from peco-second to peco-second; newness springs constantly from collapse, from Quantum Uncertainty, from Death. The Past inhabits us; our nervous-systems are like antennae. The Dead speak to us; they force our hand, force us to make them new again. Old forms and cultural themes perpetually rise within us like dormant viruses.

I don’t care it you don’t get that, or don’t hear what I’m hearing. It’s not important.

I’m not a critic, just a listener.

I believe in these things so that you don’t have to.

It’s my right to be wrong.

But this…this is on white vinyl, sucker.

And it’s nice to see somebody playing someone actually playing Dave’s music in a context other than, you know, in my room or on Dave’s teal speakers or whatever.

The Rise And Fall And Rise Of Sensational   Leave a comment

Here’s a little trailer for that hip-hop film in which I am very proud to play an unlikely role:

Official trailer for The Rise And Fall And Rise Of Sensational–a documentary feature about the life of avant-garde, hip-hop, experimentalist Sensational.

The Rise And Fall And Rise Of Sensational Trailer 1 from E. A. MOORE on Vimeo.

Look, I even scanned the DVD to show you it’s real:

the_rise__fall__rise_of_S

Shirt blogs Nochexxx.   1 comment

Kid Shirt reviews Smashing Your System & interviews Nochexxx!

"Marcel"   Leave a comment

Further to my ruminations (good word that, just looked it up) about the potential pathologies associated with the development of the online persona I feel there may be a short film’s worth of a concept in the idea of a protagonist who, to all intents and purpose, exclusively exists online. I suppose it’s so commonplace as to be not worth mentioning, with many widely-read journalists etc who work at home and consequently have this bizarrely dualistic life of getting paid to inform tens of thousands about their broken dishwashers or whatever. I can feel myself slipping into that mode now, and it’s like dry humping or something. I guess I just had a sudden sense of how easy it would be for the public and the private to be seperate to such a degree that there might be some mileage in it for a plot. Some kind of Being There for the internet age. Anyway, what I’m trying to do is express my sense of disbelief (albeit with lashings and lashings of false modesty) about my appearance in the forthcoming Sensational documentary, coming, as it does, hot on the heels of my transgressive thespian dalliances in Ergo Phizmiz’s The Faust Cycle (I fucking hate the theatre, see. I’ve even got a song called Why I Hate The Theatre) and in a scarcely decent interval before my automatic Pete Um Google-search makes me aware of this:

‘Marcel’ Trailer (Belgium, 2010) from Kosten Koper on Vimeo.

But I'll do specific blogs on each of the above before long, presumably sat here in my pants.

War & Dynamite   2 comments

Looks like I’m playing tomorrow’s Bad Timing with Gary War, which is cool.

In other cool news Dave & I watched the Sensational film last night and it’s great & I am totally in it, which makes me really proud and embarassed at the same time. Dave is the original fan round here though, and he’s really kept the faith over the years. I should do a proper blog about that actually. Remind me to do that. And go and buy the Nochexxx/Sensational record on Werk. It’s fucking great.

Today I bought:

“Cocaine” Dillinger
“In Praise Of Learning” Henry Cow (that’s the pick of the bunch right there)
“Marquee Moon” Television (I do have two copies already but it was in good nick and it’s on Discogs right now.
“Love Bites” Buzzcocks
“Shape Of Things To Come” The Kinks (10″!)
“Don’t Break My Heart” UB40 7″ (I think this tune has a charming weirdness, so fuck you).
“Loving You” Minnie Ripperton. (Figure I might get to play this at the end of some messy night one day).

When I went up to the counter the bloke said “hello dynamite” and I gave him a weird smile because I thought he was talking to me and not whoever had just walked through the door behind me.