admin – Page 16 – Nylon Recordings/Nylon Trax

November 12, 2013

Leandro P. featuring Anthony Poteat – Take Control EP – PROMO

[soundcloud url=”https://api.soundcloud.com/tracks/119722644″ width=”100%” height=”166″ iframe=”true” /]

Leandro P. featuring Anthony Poteat – Take Control EP – PROMO
Release Date: 12/14/13
1. Leandro P Feat Anthony Poteat – Take Control (Main Vocal Mix)
2. Leandro P Feat Anthony Poteat – Take Control (Borough Of Kings Remix) aka Jaymz Nylon & Still Phil
3. Leandro P Feat Anthony Poteat – Take Control (Old Man Yellow Remix)
4. Leandro P Feat Anthony Poteat – Take Control (Nigel One Remix)
5. Leandro P Feat Anthony Poteat – Take Control (Tayo Wink Massive Rythms mix)
6. Leandro P Feat Anthony Poteat – Take Control (Mac and Peel Remix)
7. Leandro P Feat Anthony Poteat – Take Control (Instrumental Mix)
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From soft and sinuous house lullabies, to prickly tech house, Leandro P.s ‘Take Control’ EP will be sure to bring more than a little light into your day…

Written and Produced by: Leandro Pereira
Co-Written & Vocals: Anthony Poteat
Mastered by James Thomas in the Nylon Studio
Published by Man Made Nylon Music / BMG Chrysalis
Executive producer: Jaymz Nylon
(p) & (c) 2013 Nylon Recordings
Nylon Trax websites: www.nylonrecordings.com | www.nylontrax.com | www.facebook.com/nylontrax

September 2, 2013September 2, 2013

The Misunderstood Sync Button – 5 Essential Tips For Better Sync Mixing…

via: digital dj tips

In How To Move Past Select-Sync DJing last week, we looked at a common dead-end that novice digital DJs sometimes find themselves in, caused by trying to DJ with massive, poorly-chosen music collections, and leaning so heavily on the sync function of their software that they end up missing a lot of what DJing is really about.

As I said in that piece, though, there’s absolutely nothing wrong with the sync button. Sure, it’s a great idea to learn all the manual skills of DJing (and we mentioned learning to scratch as a fun way to do that “by the back door”). But meanwhile, if you understand the shortcuts you’re taking, you can produce great DJ sets with nothing more than a well-chosen, sensibly sized music collection and careful sync-based mixing. So today, I’m going to give you five tips for beatmatching using the sync button.

1. Understand what your sync button is doing

At its most basic, sync matches the tempo of the new track to that of the old one (“tempo sync”). Most nowadays move past that, by also locking the kick drums (“thud”, “thud”, “thud”) together so you don’t have to manually “nudge” the tracks or keep pressing the button to keep them in time. Sometimes, sync will also attempt to lock whole musical bars together. (A bar of music is, 99% of the time, four beats – eg “thud”, “thud”, “thud”, thud” in house music).

At its very basic, sync matches the tempo of the new track to that of the old one.

It’s worth taking the time to read up in your software manual what options are available for your particular sync button, and consciously making those settings so you’re sure as to exactly what’s happening when you press it. This will give you confidence, and allow you to troubleshoot sync if things end up not sounding like you think they should.

It’s also worth understanding what “beatgridding” is and does (basically, it allows you to “tell” the software about the beats in hard-to-sync songs, meaning they’ll always sync up right with fewer undesired mismatches), again as it will give you more confidence, as well as allowing you to mix with a wider selection of material.

2. Always be counting!

All good DJs count. Counting is actually more important than mixing. If you can drop the next song in on the right beat, even if you just stop the old one and start the new one with no mix at all, you can DJ in front of a dancefloor and keep them happy. But if you can’t count beats and bars, no amount of fancy mixing is going to make your DJ sets acceptable.

If you’re not counting beats and bars, you’re doing it wrong: That’s how essential this is to mixing.

You’ve already learned what a bar is (usually, four beats). The important next number is eight. Most dance music is built up of eight-bar musical phrases. Try it – try counting eight sets of four beats while listening to any dance track, and you’ll hear that melodies repeat, elements appear and leave the mix, breaks start and beats return and so on, nearly always on the first beat of the next eight-bar phrase.

Of course, all rules are made to be broken, but every dance track that breaks these rules does so knowingly. Once the novice DJ realises the importance of this, and starts to adjust the way he mixes accordingly, his mixes always improve immeasurably.

3. Choose your moment wisely

One step up from recognising that music tends to be built in eight-bar phrases is understanding the way these phrases fit together to construct the whole. On a very basic level, elements arrive in a track, they are woven together in the middle, and towards the end, they are removed.

Often with house, the start and end of a track has a few eight-bar phrases where not so much is going on, and these are natural places to mix. The idea is to avoid mixing clashing elements over each other. That means no duplication of basslines, vocals, melodies that don’t match and so on.

Only by knowing your tracks well will you learn without thinking where elements arrive and leave the mix, and eventually, which tracks mix well and which not so well…

The obvious exception to this rule is kick drums. Generally, lining up kick drums is what keeps the dancefloor happy, and forms the basis of beatmatching. But even then, it can be a great move to only have one kick drum “going” at once, by turning the bass fully down on the other.

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Being able to “choose your moment wisely” is why it’s so important to have fewer tracks in your collection, but to know them better: Only by knowing your tracks well will you learn without thinking where elements arrive and leave the mix, and eventually, which tracks mix well and which not so well with the others in your collection. There’s no substitute for knowing your tracks inside out when it comes to delivering great DJ mixes.

4. Mix decisively

Armed with the knowledge from the first three points (what your sync is actually doing, which bar of the current musical phrase you’re on, and what elements are arriving into or leaving the mix in each of the tunes you’re trying to mix), your next step is to mix convincingly. To do that you have to be decisive.

Think about it this way: Elements tend to arrive into and leave the mix suddenly. A vocal starts; a riff drops; the kick drum disappears at the beginning of a break; the main melody line arrives, and so on. Now this isn’t always the case (sometimes, a filtered riff slowly appears, for instance), but it is the case more often than not.

Slamming that crossfader in is often the best way to mix, rather than apologetically trying to introduce the next track and hoping nobody will notice.

So accordingly, you should be bold. Try dropping the next track at the start of a phrase at full volume. Try just plain switching from one track to the next, no mixing at all. Try having both tracks at full volume for eight bars, then immediately removing the first.

Basically, try to copy what the producers have done, which more often than not means decisively dropping elements in at a decent volume, right there on the first beat of an eight-bar musical phrase.

Because often the bolder you are, the less people will notice the mix!

What you shouldn’t do is be scared that you’re going to mess up, and so very carefully mix the next track in, real slowly, real quietly, hoping nothing will go wrong. You can produce OK mixes this way, but they’ll rarely be great.

(Of course, you can mix subtly at times. If you’re mixing a slowly developing riff in to an outgoing track you may decide to use your filter effect and do so very gradually, for instance. But you’ve still made the conscious decision to do so. You’ve still been decisive.)

5. Judge your mixes when you listen to the recording, not when you actually do them

You do record your mixes, don’t you? If not, you must start – now. It’s one of the fundamentals of improving your DJing.

When you listen back to your mixes, that’s the time to judge how well they went. It’s just like reading back over something you’ve written the next day – you always spot improvements, because you’re now in the mind of a reader, not a writer. It’s the same with DJ mixes – the next day, playing your mix back in your car or on your MP3 player, you’re listening like a non-DJ rather than like a DJ.

You do record your mixes, don’t you? If not, you must start – now. It’s one of the fundamentals of improving your DJing.

I promise you that when you do this you’ll be surprised; surprised by what you notice and what you don’t, surprised by the mixes that worked and that didn’t.

Often, the ones you were really pleased with when recording lose their shine the next day, and those that felt rushed, or that you didn’t think worked at all, sound great.

By doing this, you’ll learn what’s really important in mixing two records together, and in particular, you’ll start to realise that the points above – choosing your moment, being decisive, respecting beats and bars – are actually far more important than just trying to get fro one track to another without being noticed. All good DJs know this, and using these methods, it’s easy enough for you to learn too – with or without the sync button.

August 28, 2013

Bass Egg VERB Bluetooth Vibration Speaker…

Screen Shot 2013-08-28 at 7.12.03 PM

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A Bass Egg is a sleek, durable, and portable audio device that transforms everyday objects into speakers. Despite its small size (fits in the palm of your hand), the Bass Egg is capable of making anything a full-range speaker system. Bass Eggs have proven to be popular with music lovers who grew tired of traditional portable speakers that produced incomplete, unfulfilling sound.

Screen Shot 2013-08-28 at 7.12.37 PM Battery

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August 28, 2013August 28, 2013

When Technology is Used for Evil Doings – The Future of DJing: Outsourced to Robotic Intelligence?

This would be pure evil! Is the Tea Party behind this? Jaymz Nylon

via: DJ Techtools

Imagine this scenario: You walk into a club, swiping your phone at the door to check-in and update the promoters on your listening tastes. After a few drinks – an amazing new song comes on and the crowd rushes to the floor – sensors pick up the shift in energy and a similar track is seamlessly mixed in. Somehow, seemingly improbably – many of your favorite tracks keep dropping, each one better than the last – blended together perfectly in time with the lighting and visuals. The amazing part? There was not a DJ in sight.

Everything that happened on my future dance floor was thanks to highly intelligent sensors, automated mixing technology, and smart social integration. None of this is terribly far-fetched, and many of the requirements are already in the market. The only thing holding us back from Mix Master Cloud is a company that brings them together in a cohesive way. My prediction? If this happens successfully, your average local club may never hire a regular DJ again.

Now, before you head straight to the comments and give us a piece of your mind, let me go into a little more detail about each area of technology and what would be required:

checking-in-with-phone

1) Check-Ins At The Door – Tracking Personal Tastes checking-in-with-phone

As more payment systems go mobile, giving you all the access of a bank account from a tap of your phone, paying for your drinks without talking to the bartender or getting privileged access to the VIP room doors is becoming a reality. Mobile payments are already here in the form of Near Field Communications (NFC) cell phone detection – and will start to become more prominent as major mobile phone payment company ISIS (backed by AT&T, T-Mobile, and Verizion) is launching across the US in late 2013.

In a similar vein, Square Wallet is a great example of proximity detecting and personal payments. If you presently walk into a Square enabled shop and have their app installed, making a payment is nearly instantaneous and requires no plastic or paper of any kind.

Euclid is one interesting example that tracks any mobile device in a business and provides information (without requiring permission) about:

How often do people come back?
How long do they stay in one area?
Where are people congregating?

2) Sensors That Know What’s Up In The Club – Learning Energy Changes sensing-energy-in-club

Facial recognition sensors are already here and in regular use. As costs come down and privacy concerns lessen – it’s plausible that business may be able to afford them. Combine “who is on the dance floor?” with “what do they like to listen to?” and you now have more info than any DJ ever did.

A company called Uniqul is already associating payment information with facial recognition – allowing a customer to nod to a camera and authorize a charge to your credit card. If paying-by-face becomes accepted, surely musical taste would be even easier to associate with their face than their savings accounts?

Smart software connected to in-room sensors could easily determine what songs are making the crowd go off and which ones are cooling it down. Many DJs barely look up from their computer screen while peforming, let alone objectively analyze what songs are working well on the floor, so a computer could easily come in ahead on this one.

One great example of using sensor technology to derive detailed information from a person are the new wave of iPhone sleep apps. These clever engineers have used your phone’s microphone to track breathing patterns amplified by the common mattress. This allows the app to determine and report on reasonable sleep cycles including REM state and wake times. It’s not that far fetched to imagine seeing similar motion sensors employed on the dance floor to track the “cohesion” to the playing song. This SHOJI Japanese concept gadget already tracks a room’s light levels, temperature, humidity, and even the movement of the people inside of it.

3) Auto-Mixing Technology – Understanding The Music automix-dj-app

This is one area where we need to see a lot of development, but the main problem here is focus, not know-how. DJ software today has relatively decent auto-mixing but we are still a long way off from replacing a real live DJ.

Why? The existing companies don’t exactly want to replace their core user base with great automation that is sold to a much smaller market. Supposing someone wanted to really nail automating DJing – how hard would it actually be?

The easy part:

Using analysis to determine the most “mixable” parts of songs
Setting more reliable beatgrids and BPMs
Knowing key clashes and good beat matches in advance
Understanding what songs “go better together”
The really hard part:

Mixing different tempos well
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Tracking dance floor energy levels to figure out when to get out of song quickly
Writing good algorithms that can accurately understand and respond to what is possibly one of the more chaotic and random behavioral sets on the planet: people’s taste.
Some powerful existing tech:

Pioneer, the established paradigm for in-club installs already built their advanced MIXTRAX automix technology into an iPhone application and a car receiver – why not just replace the DJ in the club next?
Pandora and Echonest both track “musical DNA”, massive metadata repositories with detailed characteristics of most songs.
4) Music Services For Clubs: Reliably Streaming The Right Songs

These already exist to some degree, and they deal with the licensing issues, but they would need to be re-calibrated to work with the auto mix software. With all of the major players now set on making music in the cloud a viable business model for artists and consumers, it’s safe to say that we will have a fully cloud-based music system that our hypothetical “Mix Master Cloud” will draw from.

For just $25 a month, businesses right now can install a box that plays off of Pandora’s massive musical cloud, and includes all of the proper licencing needed to play in a business setting.

THE BIG FACE-OFF

a-djs-brain

Ok, so technically it’s not too far-fetched, but what about the DJ? Doesn’t he/she provide something special, intangible and unique that a computer cannot?

DJ Advantages:

Understands the subtle nuances of what’s hot and what’s not; what should be played and when. These are a lot of complex concepts which would be really hard to program a computer with.
The human DJ can respond rapidly to changes in the environment and adapt quickly, while computers are much slower at learning.
Your local DJ is an artist and it would break my heart to see them replaced with a computer.
DJ Disadvantages:

DJs sometimes have their own agendas, while many club owners just want to make fans happy.
The average DJ, while paid too little and generally treated poorly, are very expensive compared to a premium streaming service.
Humans are unreliable. We get drunk, show up late and sometimes go home with the bartenders. If computers ever do this you should all be really scared.

SMALL REALITY CHECK

Did you know that our brain still trumps any computer by a significant magnitude? The fact is that countless years of development has resulted in a information processing machine that is exceptional in its ability to make complex decisions. Here is how the latest super computers face up to our old grey matter:

It took the Fujitsu-built K about 40 minutes to complete a simulation of one second of neuronal network activity in real time, according to Japanese research institute RIKEN, which runs the machine.

The simulation harnessed the power of 82,944 processors on the K computer, which is now ranked fourth on the biannual international Top500 supercomputer standings (China’s Tianhe-2 is the fastest now).

Each synapse between excitatory neurons had 24 bytes of memory for greater accuracy. The simulation ran on open-source NEST software and had about 1 petabyte of main memory, which is roughly equal to the memory of 250,000 PCs”

THE HUMAN TOUCH

Personally I don’t want to see it happen, but folks, we may need to wake up and smell the silicon. It’s not IF many DJs will be replaced by automation, but WHEN and by how much. The engineering of this technology will fare well, but the blue collar wax slinger of yore may just become another tale told around digital campfires, long into the future.

There may be one simple reason though why most dance floors will always have a “DJ”, even if they don’t need one. Modern commercial jets flying to modern commercial airports don’t actually need a pilot to successfully complete the journey – but would anyone actually get on a plane without a human pilot in the front? We may see a future where DJs are just paid popularity symbols that stand on stage and hype up the crowd with champagne blasts, and fist pumps. Wait a minute, what year are we in…..?

Finally, we can all agree that there is something magical when people interact with each other through music. These days it seems like music technology, not to mention VIP ropes and giant stages, have been creating more separation than connection. Perhaps there is some way in which we can leverage these advances to harness the best of both worlds. Computer learning could reveal deep information about our environment, while human control and insight provides the possibility for mistakes that make us – well human, and beautiful.

August 4, 2013

Out Now: Processing Vessel – House Passion EP : driving deep house from Nylon Trax

	nylon trax presents
	Processing Vessel
	House Passion EP
	cool, driving deep house + international remixers

The prolific deep house label Nylon Trax has teamed up with Turkish-born, San Diego DJ / producerProcessing Vessel aka Murat Vural to deliver the aptly named House Passion EP. Nylon Trax head honcho Jaymz Nylon joins international crew members Salih Kilic (Turkey) and Tobsen Graale(Germany) in adding three unique but concordant remixes full of desirous accoutrements and plenty of warm tones and classic house conviction. “House Passion” kicks things off emphatically, introducing a simple but quintessential house kit. Reminiscent of the romantic house sentiments built up in the title track, “The Moment That Makes The Music” seamlessly carries on in a similar direction, supplementing an eclectic vocal for added effect. Jaymz Nylon flips the star of the show, “House Passion,” beautifully, anchoring his version with a slow, wooden-sounding drum track. Easily the most linear of the three, Salih Kilic’s adroit, big-room remix will absolutely be a pertinent piece of ammo to spice up any and all peak time scenarios. Last but not least, Tobsen Graale (Paper Jet Recordings, Tanzbar Musik) imbues “The Moment That Makes The Music” with a distinctly German touch, chock-full of dashing layered samples and fizzing, wiry synthesizer lines.

Graeme Park – “I like the original ‘House Passion’ quite a bit.”

Abicah Soul – “‘House Passion’ … nice tune!”

Harold Heath (Lovestick / Lost My Dog) – “Yeah, I like this. ‘House Passion’ has got the bounce.”

Sumsuch (Colour and Pitch) – “‘House Passion’ is strong … I’m also feeling the Salih Kilic remix. So clean and crisp. Proper!”

Raymundo Rodriguez – “Good vibes.”

Al Bradley (3am Recordings) – “‘The Moment That Makes The Music’ and its remix are the picks for me. Great percussive house.”

Alexander East – “Nice!”

Booker T. (Kings of Soul) – “Wicked tunes!”

Deepshizzol – “That Tobean Graala mix is serious!”

DK Watts (Short Bus Kids) – “The Jamyz Nylon remix is ace. I always dig his stuff … quirky but always groovy.”

Jevne (Onethirty Recordings) – “Solid grooves and some warped sounds.”

Carlo Gambino (Midnight Social Recordings) – “The Tobsen Graale remix is the one for me … perfect warm up vibes.”

Jamie Topham (CDPool) – “Cool stuff once again from the consistent Nylon Trax guys. For me it’s a flip between the Salih Kilic rub of ‘House Passion’ and the original of ‘The Moment That Makes The Music.’”

Joey Silvero (Distant People) – “‘The Moment That Makes The Music’ has a dreamy and hazy vibe … it’s got a cool atmosphere.”

DJ Nova (Rodon FM, Greece) – “I’m lost in the magic of Jaymz Nylon’s ‘House Passion’ remix … a magnificent percussive classic house style track with his characteristic production style.”

Deli G (Future Sound Of House) – “This is one for the deep headz, without a doubt.”

Now Available From These Fine Digital Stores:

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You can listen to previews of tracks from Processing Vessel’s House Passion EP by clicking HERE.

Visit Nylon Trax on the Web:

https://nylonrecordings.com

Nylon Trax on Facebook:

www.facebook.com/nylontrax

Newsletter sent by 8DPromo :: http://www.8DPromo.com

July 24, 2013

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July 2, 2013July 2, 2013

Processing Vessel – House Passion EP (Nylon Trax) – Promo

Coming Soon From Nylon Trax
——————————————————————
1. House Passion
2. House Passion (Salih Kilic Remix)
3. House Passion (Jaymz Nylon Remix)
4. The Moment That Makes The Music
5. The Moment That Makes The Music (Tobsen Graale Remix)
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[soundcloud url=”http://api.soundcloud.com/tracks/98006843″ params=”” width=” 100%” height=”166″ iframe=”true” /]

The prolific deep house label Nylon Trax has teamed up with Turkish-born, San Diego DJ / producer Processing Vessel aka Murat Vural to deliver the aptly named House Passion EP. Nylon Trax head honcho Jaymz Nylon joins international crew members Salih Kilic (Turkey) and Tobsen Graale (Germany) in adding three unique but concordant remixes full of desirous accoutrements and plenty of warm tones and classic house conviction. “House Passion” kicks things off emphatically, introducing a simple but quintessential house kit. Reminiscent of the romantic house sentiments built up in the title track, “The Moment That Makes The Music” seamlessly carries on in a similar direction, supplementing an eclectic vocal for added effect. Jaymz Nylon flips the star of the show, “House Passion,” beautifully, anchoring his version with a slow, wooden-sounding drum track. Easily the most linear of the three, Salih Kilic’s adroit, big-room remix will absolutely be a pertinent piece of ammo to spice up any and all peak time scenarios. Last but not least, Tobsen Graale (Paper Jet Recordings, Tanzbar Musik) imbues “The Moment That Makes The Music” with a distinctly German touch, chock-full of dashing layered samples and fizzing, wiry synthesizer lines.

Label and Artist Links:
www.nylontrax.com
www.processingvessel.com/

July 1, 2013

SAY WATT? LE CULTE DU SOUND SYSTEM L’EXPOSITION…

via: La Gaîté
EXPOSURE ( SAY WATT? )
SAY WATT? THE CULT OF THE SOUND SYSTEM
THE EXHIBITION
From June 21 to August 25, 2013 / All public
Tags: art , street art , sculpture , urban culture , musicFriday, June 21 (14:00), Saturday, June 22 (14:00), Sunday, June 23 (14:00) Tuesday, June 25th (14:00), Wednesday, June 26th (14:00), Thursday, June 27 (14 : 00) Friday, June 28th (14:00), Saturday, June 29th (14:00), Sunday, June 30th (14:00), Tuesday, July 2 (14:00), Wednesday, July 3 (14:00), Thursday July 4 (14:00), Friday, July 5 (14:00), Saturday, July 6 (14:00), Sunday, July 7 (14:00) Tuesday, July 9th (14:00), Wednesday, July 10 (14: 00) Thursday, July 11th (14:00), Friday, July 12th (14:00), Saturday, July 13th (14:00), Sunday, July 14 (14:00) Tuesday, July 16th (14:00), Wednesday 17 July (14:00) Thursday, July 18th (14:00), Friday, July 19th (14:00), Saturday, July 20th (14:00), Sunday, July 21 (14:00) Tuesday, July 23 (14:00 ), Wednesday, July 24 (14:00) Thursday, July 25th (14:00), Friday, July 26th (14:00), Saturday, July 27th (14:00), Sunday, July 28 (14:00) Tuesday, July 30 (14:00), Wednesday, July 31 (14:00), Thursday, August 1 (14:00), Friday, August 2 (14:00), Saturday, August 3 (14:00), Sunday, Aug. 4 (14:00) , Tuesday, August 6 (14:00), Wednesday, August 7 (14:00), Thursday, August 8 (14:00) Friday, August 9th (14:00), Saturday, August 10 (14:00), Sunday, Aug. 11 ( 14:00), Tuesday, August 13 (14:00), Wednesday, August 14 (14:00), Thursday, August 15 (14:00), Friday, August 16 (14:00), Saturday, August 17 (14:00) Sunday, August 18 (14:00) Tuesday, August 20 (14:00), Wednesday, August 21 (14:00), Thursday, August 22 (14:00), Friday, August 23 (14:00), Saturday, August 24 (14 : 00), Sunday, August 25 (14:00)
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© Pierre Mahieu
Via the wave Sound System, Say Watt guide the visitor to his Jamaican debut to his extrapolations in contemporary art, through his contributions to culture Do It Yourself.

The sound system, the portable sound system, mobile disco … The terms are different, the constant remains: the street who invented this musical expression. Rave party in Europe with protests from Kingston to Belem, from France to Colombia to Kenya, huge readers K7 rappers, the amplified sound of the sound systems is the common point of the last decades of music and popular gatherings.
And what began as a traveling disco in Jamaican ghettos in American cellars 50s revolutionized the way of listening to music. Radically different cultures have since adopted this cult object, appropriating through many hacks.
The sound system also has the distinction of having been, over the years and needs an artistic, religious and political speaker. For the first time an exhibition addresses a technological component at the root of all contemporary urban music and has contributed to the emergence of major musical movements. But not only by appropriating in the codes, many contemporary artists have come, over time, they also bring their vision of “sound system culture,” questioning the colonization of public space through sound.

Extract from the photo series “Last Dance in Notting”
(Credit: Patrick Gherdoussi)

STREET-WORLD OF SOUND SYSTEM

Where it raises its speakers, the sound system culture is still a phenomenon at the margin, poorly known, unknown, drawing its origins in a need for the street. This introduction to the exhibition is a visual approach not wolf, sound and “philosophical” of what this mysterious culture underground. Totem facade Sound Garden Tal Isaac Hadad in editing images by obsessive collectors of photos on Facebook, ambulation will discover seven illustrations photo appropriations of sound system in the world with a giant slide, d apprehend what is meant to distance the walls of Berlin club Berghain with Soundwalk Collective, but also to discover a bustling and unique visual communication through dancehall ultra-cult Jamaican Denzil “Sassa” Naar posters and flyers old rap pioneer Buddy Esquire school.
With: Denzil “Sassa” Naar (flyers), Buddy Esquire (posters), Tal Isaac Hadad (installation-sculpture Sound Garden), Soundwalk Coll ective (install sound ation), Alex Smailes (photos), Wilfrid Esteve (photos), Katie Callan (photos), Mirjam Wirz (photos), Vincent Rosenblatt (photos), Patrick Gherdoussi (photos)

From the series “Rub a Dub Style”
(Credit: Beth Lesser)

FROM ROOTS TO CULTURE

Say Watt? makes in this second step of the way to Jamaica supported a tribute to his knew rappers on local sound systems authentic icons of street culture, enhanced by photos of Beth Lesser, an adventurous Canadian who went document the bubbling scene in the slums of Kingston in the early 80s. At the same time, another artist does not know it yet, but it would be decades later cult of the illustrations, artful and hilarious, he at the time para dozens of albums, posters, books. His name? Limonious. Wilfred Limonious, died in 1999, but seeing emerge here as the first posthumous retrospective worthy of his prolific output.
With Beth Lesser (pictures rub-a-dub style) Limonious (pack of records and memorabilia), Lick It Back (Installation vintage sound system King Tubby’s Hometown Hi Fi).

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Photo montage series “The Boombox Project”, 2010
(Credit: Lyle Owerko)
RADIO RAHEEM

Named after the character in the Spike Lee film Do The Right Thing, which can not move without his giant radio station, the third sequence of exposure carries logically epic in the Bronx, figuratively and quite literally, since whom history has chosen as the first rapper, Kool Herc, is a … Jamaican immigrant in New York! On the menu, the cult around boomboxes so dear to Raheem, photographed with the respect of relics by Lyle Owerko, tribute to block-parties, the street parties that saw the birth of the hip hop movement, by sculptor JYB but what remains today of the first house of rap, at 1520 Sedgwick, by photographer John Short …
With Lyle Owerko (Photos – The Boombox Project), John Short (Photos Home of Hip-Hop) JYB (Sculptures – The Merry Go Round).

Installation “Ikea Sound System” by David Renault, 2012
(photo credit: Mathieu Tremblin)
FOLK IT, DO IT YOURSELF

It was predictable: so cool, so shitty, so reprenable to his own account, the imaging dancehall and hip hop debut ended up doing around the world, inspired by nature, by the way, many proponents artists Do It Yourself, willing to pay a tribute to how folk art which has since become a culture of its own.
The bike amentities speaker Tchic Boom Boom made in Toulouse is a prime example. As are the sound system cardboard mown Mexican Dub Iration who, unable to afford the real equipment, reproduce trompe l’oeil to give the thrill of being at the Notting Hill Carnival, or Ikea sound David Renault system, whistleblower ready-to-eat – but decided to embellish!
With: The Toolkit (Installation – Tchic Boom Boom) Dub Iration (Installation – Iration Dub) David Renault (Installation – Ikea sound system).

“Squeeeque” Installing Alexis O’Hara
(photo credit: design-photo.com)
EXPERIMENTS, EXPERIMENTS

Room for experimentation. Very direct, as in the small soundproof room where Watts is diffuse full amps, very fun, like the sonic igloo of the Canadian Alexis O’Hara, sometimes tinged with concern about or more political . As an airlock videos implementation vibrations of metal structures by Art Of Failure warn that sometimes the experience can get out of control, becoming a quasi-military weapon (sonic radar Mark Bain), or a means of coercion while short, as shown in the film Yeter Akyaz Volcler and Juliet, produced specially for Say Watt? around the book of the latter, The Sound As Weapon.
With: Mark Bain (Installation – Sonic Radar), Juliette Volcler and Yeter Akyaz (video / animation), Art Of Failure (Video Architecture resonant) Alexis O’Hara (Installation – Squeeeque).

The Gobelins School of Image
CARTE BLANCHE TO GOBLIN, SCHOOL OF THE IMAGE

Animation, videos, photos, multimedia projects throughout the school year, in collaboration with the English label Scotch Bonnet Records, was given carte blanche to eight groups of students from the prestigious School of Visual Gobelins for create eight projects around the sound system culture. Their films will be screened at the Gaîté Lyrique in a special preview during the duration of Say Watt? and for a few selected concerts.
• Preview: Tuesday 2 July and 19.30 – free access to the auditorium
• continuously on the wall of the historic home on the second floor
• www.gobelins.fr

June 15, 2013

A2. DJ Jus-Ed “Thank You For Being A Friend (feat. Jaymz Nylon)” [clip]

[soundcloud url=”http://api.soundcloud.com/tracks/95642169″ params=”” width=” 100%” height=”166″ iframe=”true” /]
This EP once again is DJ Jus-Ed showing his gratitude to all the people (past and present) that have been his friend in need or friend indeed!

The music is DJ Jus-Ed expressing his emotional gratitude via deep chords and piano-heavy basslines. The vocals and lyrics are written and performed by Alison Crockett & Jaymz Nylon. The b-side contains a special mix by Ed’s mentor, Glenn T to round this EP out as another underground anthem.
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If you’ve ever had the pleasure of meeting DJ Jus-Ed then you’ll want this very special release.

www.undergroundquality.com

June 15, 2013

Borough of Kings feat. Michel Navedo on Trumpet – We Kissed on the A-Train (Nylon Trax)

Coming Soon From Nylon Trax
——————————————————————
1. We Kissed On The A-Train
2. We Kissed On The A-Train (Jaymz Nylon Remix)
3. We Kissed On The A-Train (Leandro P. Ritual Deeper Remix)

[soundcloud url=”http://api.soundcloud.com/tracks/95407066″ params=”” width=” 100%” height=”166″ iframe=”true” /]

They reduce the risk of cialis australia heart diseases. Online driving schools have been here for almost a cheap women viagra browse around my drugstore decade now; but they haven’t been too popular till recently. By chance, a few men depict dysfunction as the underlying cause of tension-type headaches. viagra prescription free Ed in Delhi will help you get employment and realize your teaching goals and earn a decent free viagra uk living. From Nylon Trax comes Borough of Kings, the long overdue collaboration between label proprietor Jaymz Nylon and his friend Still Phil, resulting in the harmonious “We Kissed On The A-Train.” Jaymz is of course known for his long discography for the likes of Nite Grooves, Irma, Rush Hour, and his own Nylon Recordings imprint. Still Phil (AKA Philip Birks Gillespie) is a New York native who is a former DJ turned producer as well as a jazz drummer with an impressive lineage; he’s second cousin to the the legendary Dizzy Gillespie. Based on an original idea by Still Phil that was sent to Jaymz for some added Nylon magic, “We Kissed On The A-Train” is a gorgeous deep house cut inspired by those many touching New York love stories. Jazzy and restrained, the track features some lovely key-work and melody over a punchy rhythm, as well as the evocative muted trumpet solo’ing of Puerto Rican native Michel Navedo. Currently living in Seattle, Michel is an accomplished and prolific musician with his hand in many projects, and on this cut his trumpet helps to convey the track’s wistful story.

Jaymz Nylon provides the first of a pair of remixes, making things a bit spacey and driving in a combination of strength and lusciousness. It’s a fine deep house moment with swirling pads and a repeating piano motif complementing the trumpet and percussion parts. Brazil’s Leandro P., last heard on his Nylon Trax release “Sinta-se,” next remixes “We Kissed On The A-Train” into an eight minute late night ride. The rhythm track subtly shows the afro-Brazilian influence while the keys and trumpet arrangement bring in echoes of the finest nu-jazz offerings. Sweetness for the deepest DJ’s sets.

Label and Artist Links:
www.nylonrecordings.com
www.mixcloud.com/jaymznylon