mayan

I want to speak on this whole Mayan 2012 apocalypse, supposedly happening tomorrow, December 21st. I have a lot of friends nervously discussing this topic, and I would like to collect and share some observations. The most immediate fact is that it is already past 5AM (supposed time of the end) Friday in parts of the world, such as New Zealand and the country is still intact (full article on Huffington Post). In addition, the Mayans didn’t take leap years into account. There have been about 514 leap years since Caesar created it in 45BC, and without the extra day every 4 years we would be in July 2013 right now. We are still here.

Regardless of what date it “really” is, the translation of the Mayan calendar being about complete destruction is arguable. Many scholars have said that the negative translation is incorrect, that this marks the time of a new era, a new calendar and a higher level of consciousness. And this sure would be a good time for a people to wake up and elevate themselves to a new place of physical, mental and spiritual clarity.

I think many people enjoy and exploit doomsday ideas, it seems easier for them to throw their hands up, give up on contributing anything positive to the world, and wait to die. If that is your outlook on life, perpetuating negativity in your thoughts and actions, please step out of my way, because I still have work to do. It is likely, in my opinion that many people will use the 21st as their heyday to fuck things up. I will not risk my life being threatened by some idiots taking advantage of this situation, and will spend the day inside with friends.

On the religious side, Christianity, Hinduism, Judaism (with the most mellow idea of the group; The Messiah will return to Earth and restore all Jews to the homeland where they will live in peace and joy forever), Buddhism, and Islam have their take on the end of the world. Instead of debating how the end will occur, and who will be saved, why not learn to coexist and bring about good things here, on Earth, now? We are all stuck here together. Will we continue believing that we are so vastly different from each other, due to the country we come from, the religion we follow, our sexuality or gender that we can’t possibly get along and learn from one another? We have more things that bond us together as human beings than drive us apart, and I encourage everyone use this 2012 apocalypse bullshit as an opportunity to rethink your priorities, and what kind of energy you are putting out into the world.

I don’t know about you, but I think a new Daft Punk album in 2013 is reason enough that this world should continue on.

 

– Jimi Jaxon

hotflush

Recently I got an email from a future friend. He said he was DJ/musician who just moved to Seattle from Chicago, and that he was getting into the electronic community here. He saw my recent shows with Warp Records and Mount Kimbie, and I was happy to set up some time for us to meet face to face. In some later email exchanges, I connected with his writing style on music he loves. I asked him to send me a paragraph on something to do with music, and that maybe I would bring him onto Disco Droppings as a guest writer. This will be the first time I’ve opened up my blog to another person, so please give Tremel a warm welcome. Now I will step aside, Tremel, the floor is yours.. 

TREMEL Hotflush Recordings is a London based record label founded and still run by British electronic artist Scuba, real name Paul Rose. There are more than a handful of relevant labels releasing music these days, especially in electronic music, defining and redefining the essence and importance of what it is to be a label, but something particular recently came full circle for me with them.

 

 

A few years ago, as dubstep was just starting to make it all the way out here to the west coast of the U.S, Scuba was one of the first producers to initially get my attention. This was as I was really starting to gravitate not just to electronic music, which I’d always been interested in, but what was for me the revelation of club music. I was amazed that someone could string two records together and make it sound completely effortless. And that people still did it with vinyl! It was a while before I could even get into club nights that I realized the gravitas of the UK scene, and just how little of that was going on here in the states. But I have this very specific memory of first finding a record store that specialized in electronic music. I picked up a copy of TRG and Dub U’s Losing Marbles and wondered about this label- Hotflush- and how far away this record had come from. Venturing into all the different genres and categories, I was mystified at the things I found with obscure London addresses and “Made in the UK” printed on their packaging.  A few years and a couple cities later, filled with countless hours spent crate digging and actually learning how to play vinyl, I made it out to Decibel Festival 2012. Of the amazing shows and DJ sets I got to be a part of – the Hotflush showcase featuring Braille, George Fitzgerald and Sepalcure encapsulated everything I had experienced at the festival. The vibes and the music, the people, the visual art and the venue all left the resonating feeling that I’d found the right place to call home – Seattle. –

 

 

 

Tremel – Soundcloud 

Hotflush Recordings – Facebook Soundcloud 

photo (2)

I’m going to share some personal experiences that influenced this post. I’m tired of being the odd man out when it comes to love. I have wonderful friends and family, but romantic relationships have been highly elusive. For the past 4+ years, I’ve focused my attention on music instead. Lack of that significant other, and an awareness of dysfunctional relationships as a kid have been a few of the forces driving my creativity. The other morning I was feeling lonely and a bit jealous of that relationship that I just can’t seem to find. I drove home thinking, “what artist understands isolation and loneliness?”. Burial.

I started his 2006 self-titled Hyperdub album. The environment created by the rain and the freeway worked perfectly with his music. I felt super emotional taking everything in. “Night Bus” was very moving, and a few tears later, I felt refreshed. I spend a lot of time reminding myself that if those feelings and experiences and longings can be collected, compressed and translated into art, something very special can come out of it.

Burial fiercely embraces solitude and anonymity. A rarity nowadays, with social networks encouraging constant communication to the point of overstimulation. Personal events that influence Burial’s music are a mystery, but I pick up on a deeply passionate and sensitive individual, who prefers introspection and realizing lingering memories through music. In an archived 2007 interview with Fact, Burial says “The sound that I’m focused on is more, you know, when you come out of a club and there’s that echo in your head of the music you just heard…I love that music, but I can’t make that club sort of stuff…but I can try and make the afterglow of that music.”.

 

He reminds me of “The Hermit”, a tarot card that came up in my first reading recently. This character retreats for enlightenment. At night he travels alone across a bare landscape, staff and lantern in hand. Through examination he illuminates the areas that were once hidden, both in the physical world and his mind. The Hermit goes wherever the inspiration leads. He is similar to the lantern, lit up from within by all he is, able to pierce the darkness. 

 

Burial presents the future with precision and balance. A foundation of UK garage and rave give birth to a shadowy dubstep landscape. References are made to various genres, but his delivery is more about the memory of hearing these sounds, bringing back those vibes in a ghostly way. Burial is unique to say the least, productive with releases without ever playing shows. His followup 2007 album Untrue solidified Burial as a visionary, with Resident Advisor saying in review, “..the reclusive south London producer returns with his follow up album, Untrue, which lays another strong claim to Burial being the most innovative and expressive artist not only in dubstep, but in the whole of electronic music.”. Burial has worked with Four Tet (see “Moth / Wolf Cub” release on Text Records) and Thom Yorke (see “Ego / Mirror” release on Text Records), and remixed Massive Attack, Bloc Party and Jamie Woon among others. His newest release, “Truant / Rough Sleeper” can be purchased here on the Hyperdub site.

 

Burial – Discogs 

– Jimi Jaxon 

bondaxx

The very first post of 2012 on Disco Droppings was an interview with Bondax. I said that this duo, comprised of Adam Kaye and George Townsend had a lot of love to give, and that love has been well received by fans across the UK and beyond throughout the year. It’s safe to say they have blown up, presenting deep music straight from their hearts. Their newest single “Gold” has already gained 100k + listens in 4 days, they’ve toured with Star Slinger, started a fantastic label called Justus Recordings (with remixes from Justin Martin of Dirtybird and Star Slinger + brilliant originals from Karma Kid and Sweater Beats), gotten huge support from BBC Radio 1, put together solid mixes for Red Bull Studios London, Fader and Mary Anne Hobbs and are now on tour in North America. It’s always a pleasure to find distinct artists to feature on this blog, and I feel like a proud parent of sorts, watching them progress and evolve.

 

 

bondax

For those of you wanting to see Bondax live, they will be in LA tonight at The Roxy Theatre, followed by stops in San Francisco, Seattle (Decibel sponsors this show at The Baltic Room Friday 12/14, with support from Kid Smpl and Jason Burns, FB event), Portland and Vancouver B.C.

 

 

Bondax – Facebook Twitter Soundcloud

Justus Recordings – Soundcloud

– Jimi Jaxon 

 

I’ve noticed some similarities between Andy Stott and Actress. I got a similar feeling from Stott’s new album Luxury Problems and Actress’s most recent lp, R.I.P.. With both releases, I felt like I’d been exposed to a vibrant new land, filled with deep sounds and perspectives. They both draw influence from and create techno, pushing out farther and farther into more experimental territory as time goes on. The two of them also had incredibly well written features on The Quietus. The writers on that site have a deep appreciation for music and a vast knowledge of other topics related to an artist’s work. Stott’s feature can be read here, it’s all about the importance of dirt.

modernlove

The most memorable show for me to experience at Decibel Festival 2012 (besides the Warp show) was Modern Love’s with Cut Hands, Demdike Stare, Andy Stott and MLZ. The venue had a dark, basement kind of feel, perfect for the mood of the Modern Love label. Demdike Stare’s set felt like some sort of bass ritual, most of the crowd huddled close to their table, meditating on their dark rhythms and visuals. When Andy Stott came on after, I was working the front table, checking festival goers into the show. I could hear his set but was unable to see it. After only hearing “Passed Me By”, I was struck be the energy Stott created live. I was perfectly content absorbing his dense mix of experimental, glorious techno from a distance. I’ve never heard a set like that, and that feeling has stayed with me since. 

I’m pleased to say, Decibel is bringing Andy Stott back to Seattle in 2013. Catch him at The Crocodile with Bryan Zentz and Kid Smpl on January 19th! BUY TIX

Andy Stott – Facebook

modern-love.co.uk/artists/andy-stott

– Jimi Jaxon