Hot Summer Days Uncensored - Sampler

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The plan is to have finished it by the middle out of the year, come out after the summer. But really I want to spend the second half of the year, for the first time in my life, actually giving some love to making music. So I want to find out what happens if I can get into second gear, or third gear….. A track like Stung, often it feels like a short section expanded to the length of a track. Generally it depends to be an idea or two in each track. D: It seems a reflection of your ideas of living in the present to do the track, get it out there.

One thing I was always told by other people from when I started making tracks is, too many ideas, simplify it, less is more. One idea per track. And the tracks of mine that seems to get received best are the simplest ones in a way.

D: Sonic Warfare…. You were talking about sound being used in the climate fear. Is there a climate of fear which is perpetuated somehow? Is there a climate of fear which is perpetuated and controlled over it?

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What kind of concrete instances are those of being worked? K: The one idea I talk about in the book is the use of , the Israeli air force flying over the West Bank and Gaza Strip, using sonic booms in the middle of the night, just to put a population on edge.

So I was kind of interested in the way sound is used to change the way people feel particularly in relation to fear. It happens in film all the time, most obvious example, where a certain tonality, a certain musical tonality creates an affective tonality, or a mood or a vibe, in the audience.

Manipulating mood using tone. The Jamaican Maroons, who were the tribe in Jamaica in the colonial period, who famously had a number of victories against the English. Anyway this abeng has a very shrill pitch to it. The Maroons were the tribe who practically invented the notion of the ambush.

Of the jungle coming alive and suddenly attacking you. And so the sound of this horn was said to instil dread into the English invaders, the English colonialists. So I suppose the book is taking some of these examples and just thinking… because the climate of fear we live in politically is nothing particularly to do with sound, apart from politicians scaremongering and so on, so I was really interested in just exploring one little microcosm of this general climate of fear, whether it be ecological fear, or financial recessionary fear, and just thinking how sound works in relation to fear, and then seeing if you can learn anything by looking at this little tiny microcosm which is not important to geostrategy particularly, but is a really fascinating microcosm.

If you can learn anything about the way the world works by just looking at this little bubble. He describes it as prophetic. K: He does it economically. We can tell what kind of economic power relations are going to transform society generally by looking at the way economic and power relations are transformed within the political economy of music. K: Not exactly the charts… but for example sampling in music. K: Yeah….

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And stopped trusting the scenes that are around just now, or the musicians that are around just now, to represent what I want to do. But from the journalistic point of view, it clearly nails something quite concrete, a certain set of processes, certain sounds. I suppose my feelings are somewhere in between these poles of hostile muscians pissed off at being pigeon holed on the one hand, the anti-naming, anti-branding thing on the one hand, and on the other hand the journalistic need to name….

D: So you have to be in a position of being both a musician and being a kind of advocate of the music in one. And that takes up musicians, producers, scenes, journalists, bloggers, flattens them out on one plane. Or not. K: More and more [laughs]. The more nervously exhausted I become, the more sympathetic to the idea of under-exposed music, of being off the radar one way or another.

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The bind most artists are in, one way or another, musicans, producers, is, how much do you just give to the system to allow you to be sustainable to just do what you want to do, to just get on with producing and making stuff. And, its like a drug. In other words, are you always in this position where you have to give and take a little bit more in order to give and take a little bit more in order to get that little bit more autonomy? So this is like, the question of being any kind of cultural producer. Because what you want to do is in front of you, you just want to do music, or write, or make films, or paint… whatever.

But the issue is having economic autonomy, and time and space to do things which are in front of you but everything is competing for your attention and your time… the idea of just being left to your own devices to just get on with what you know you want to do is certainly appealing.

K: Sure, sure… this is the problem of being in a metropolis, and being part of a scene and an economy and part of a totally overloaded media ecology, that is London. You do want over-stimulation, constantly, you crave it. But occasionally you do get to those points of nervous exhaustion where you want to disconnect, and you want to be underexposed. K: nah [laughs]. So you just want to cram in as much as possible. K: Well, not everyone is like that. I need to be doing something constantly. More records… what happened with the label is just a symptom of my malaise.

Like, being passionate about what your work is, therefore what would it be to take a holiday from that? It would be to be bored. So, why do you work with sound? Is it because music is too addictive? I basically think the architecture of art galleries is just wrong. There should be more seats. I hate this fucking conveyer belt thing that is art galleries that is like, stand, look at one thing, move to the next thing. I just go in and I walk through as fast as possible, and I might come back.

Your comment - all comments are moderated. Your name [optional] Pseudonyms welcome. Your email [optional] Never spammed or displayed. Your website [optional] Used to link to you. To prevent spam. Wire contributor Josh Feola and artist Krish Raghav share Hang On The Box chapter from their work-in-progress illustrated history spanning 20 years of Chinese alternative culture.

D: And to do that, it tends to be rhythms which are simple, or less simple? D: So there is a grain of truth in the moral panics?

D: Discos in the 70s and 80s, would have power of bringing people together…. Gay and straight… K: Exactly, this is this power of rhythmic sound to build affective collectivities underneath any kind of social collectivities. D: Can you characterise it? It was when people were dancing in the most intense way, it was people lost in the music, as opposed to shouting about how lost they are in the music [laughs] D: What I was getting at with your experience of getting sent music, and having to listen to it quickly, what position does that put you in, as an appreciator of the music?

D: Where does it lead in the end? D: this is the opposite of trying to synthesize a new genre. And that allows people to be so cynical when something actually does happen, because they think they foresaw it D: so that means the motivation of pushing forward to the future, as No U Turn would say, the force of that has gone. D: A benign derangement? D: And the music was out there already? D: how did it turn out? K: It turned out like bad copies of the music I was buying… D: Where did the notion of Hyperdub enter the equation? K: Bass, remixology and accelerated rhythm. If you want to distill the absense of hyperdub.

D: So the dub relates to the physical side… K: Yeah, but the dub is also the remixology…. D: Is that still a motivating force these days?

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