At last, a new announcement from Mr. Bowie. New album will be titled “The Next Day”, will be released on my birthday, and will be awesome.
Here is what you need to bookmark and obsessively check every morning and night: davidbowie.com/the-next-day.
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It’s been a while since we’ve heard anything official from big Earl, and I know I’m a bit late to the game on this one, but his newest track “Chum” is unusually melancholy. It follows the patented Odd Future formula, semi-low-fi, looped pianos ad nauseam… No new ground covered, same aesthetic, same fatherless flow.
In fact, the only really striking aspect of the track is just how much it resembles something that Mike Skinner from “The Streets” could have written about ten years ago. Not that that’s intrinsically a bad thing but it’s not what I expect not want from the Sweatshirt. I hoped for better from the boy/man who wrote “in the attic armed with an addict’s arm”.
Yeah! New Pusha coming very soon. You can hear the preview on his website. But of course you’ve already done that because in fifteen years, P is yet to drop a bad line.
And as much as I love Pusha T, I’m really just posting this to quickly get rid of that wall of text that resides below.
No foolin’. My name is my name.
Broadly speaking, I’m not a fan of remixes nor the culture that built up around them. They’ve always been a cynical marketing ploy to try to get big name producers on marketable material, or a shallow disguise to push the latest generic pop trash into the clubs, neither of which interest me greatly.
But hey, I survived the “mash-up” craze of the late 90s, and I can survive this.
You know it’s good because it says ‘remix’ on the cover eleven times.
There’s currently three types of remix as far as I can tell. The first is possibly the worst, but certainly the most prevalent remix-type; “use an upcoming trendy producer to push my shit into the clubs and try to give it some credentials remix“. This generally consists entirely of stealing the hook and melody from a pop tune and pasting it over modern drum samples. That’s it really, it’s that primitive.
Clear examples of this are Carly Rae Jepsen’s “Call Me Maybe Remixes”, featuring such gems as “Manhattan Clique Remix”, “10 Kings Vs Ollie Green Remix”, “Coyote Kisses Remix”. Producers so fresh and trendy, even I don’t know who they are. Each one of them is an example of approx. 10 minutes work in Ableton. The “Coyote Kisses Remix” isn’t even in the right fucking key… Disastrous.
The second remix type commonly found is “pay an extremely popular dj-type to remix my rubbish track, and hope his name brings customers remix“. Here a ‘big name’ producer receives a few thousand quid to remix something they’ve probably never heard. Olav Basoski, Jan Driver, FatBoy Slim, Basement Jaxx, Moby are all guilty of this… It’s their bread and butter. It’s how they pay the mortgage.
Lastly, we have the “oh shit, I forgot I was supposed to remix that remix“. This can occur in either of the two situations posted above, and results vary greatly. What seems to happen is the producer is so uninterested in remixing the material that they completely forget to do so. Panic then sets in as the deadline approaches, they can almost see the money leaving their bank account.
So what do they do? Send in an utterly unrelated work, of course! Good examples would be Pub’s “Summer (They Can’t See Us In The Dark) Delay Configuration 1”. 19 minutes of wobbling dub craziness, and one of the best pieces of music I own. Sadly, it’s not a remix of “Summer”, not in any sense of the word. It is magic though. Poor examples include Antipop Consortium’s “Volcano (Four Tet Remix)” or Underworld’s “Beautiful Burnout (Pig & Dan Remix)”. Irrelevant dance tracks, plopped on a disc in the hopes that the title will be enough to fool a listener.
One of the worst records I’ve ever bought.
As you can see, there’s really no middle ground in which good remixes occur frequently. We can quickly score off the first remix type, because trendy new producers do what trendy new producers do – produce trendy bullshit. The next two types are somewhat less predictable, and this is where we can occasionally find some gems, albeit in a greatly diluted ratio.
What do I think makes a good remix? That’s a very good question.
There’s no formula, but good remix I think is something that enhances or reshapes what’s already there. It creates something new while respectfully adhering to some segments of the original material. There should be enough of a relationship to the original to make to connection, but done with a new slant. It doesn’t pander to an audience or particular market segment (yuk!). It doesn’t just enhance what’s there, it creates some new from it.
Now, after six-hundred odd words of rambling bullshit, we can get on point. What is the best remix of all time? I’ll bet at this point you’re expecting me to say something gruelling and pretentious like the afore mentioned Pub’s “Summer (They Can’t See Us In The Dark) Delay Configuration 1”. Well I’m not.
Instead I’m suggesting that the little known and commercial unsuccessful Frankie Goes To Hollywood’s “Two Tribes (Olav Basoski Tiberium Power Mix)” is the best remix of all time. That’s right, the man with over 100 ‘remixes-for-money’ to his name finally struck gold.
The entire original track is here, beautifully decomposed and broken down while a thick Olav beat, heavy with bongo accompaniment, drives the whole thing along. External tracks are beautifully filtered and scattered haphazardly, appearing and vanishing at will. Sirens scream, percussion is heavy and reverb laden. The track builds and escalates expertly – in nine and a half minutes, almost half is occupied by breaks, both large and small. It perfectly captures the mood of the original piece (even the gayness), and projects it into something modern and contemporary (well, for 1999 anyway).
Frankie Goes To Hollywood – “Two Tribes (Olav Basoski Tiberium Power Mix)” break snippet
It remains recognisable enough to hear the original, yet different enough to be a worth while listen. It’s larger than the original but more focused – albeit narrowly dance floor focused. It’s fresh, yet somewhat uninspired. It does something new via iteration not revelation. It’s everything a remix should be, right down to the flaws.
And there lies the problem of remixes. If it’s good enough to be an original production, shouldn’t it be one? And if it’s not good enough to be an original production, is there a need for it at all?
Remixes happen now predominantly because they are easy to do. You ship some samples off, someone loads then up in a DAW, a derivative track pops out. No one takes them seriously and no one should. It’s part of a culture that remains steadily content with taking credit for, and claiming self-expression through, others works. Have you ever looked on Facebook/MySpace/Bebo/Twitter/Google+ and been taken back by how many people express themselves through music they’ve never been involved with? Violently defend films they’ve only watched? Harp on about how one art form is better than another, even although they participate in neither?
This remix culture is a part of that, or maybe a product belonging to it. Few creators, lots of critics, and even more wannabes. Right now it’s easier to make music than it’s ever been. If you own a PC you now have the most complete and versatile studio humanity has ever seen. The possibilities for new creation are endless, yet what do we occupy ourselves with? Putting new rhythms under old tracks. Nostalgia driven footering. Longing for good results while putting in the least required efforts.
We got lazy and content, and this is only exacerbating the situation. I don’t like remixes, and you shouldn’t either.
Ok, I’ve changed my mind, the best remix ever is Pub’s ridiculously named “Summer (They Can’t See Us In The Dark) Delay Configuration 1”. Oh wait, I forgot about Armand Van Helden’s “Professional Widow” remixes! Shit. Look, I’ve fuckin’ written myself into a corner here.
Ah fuck it, I’ve written it now…
Have you ever wondered where that weird scratch came from in Big Sean’s “Marvin & Chardonnay”? No, nor has anyone else really, that’s why I genuinely doubt that this series of articles will ever develop into something interesting. So just endure the first entry and hope they don’t catch on.
For a long time I’ve suspected that Big Sean’s bizarrely jarring and yet oddly orchestral hit sampled our very own Funkstar De Luxe mega hit, and seemingly the main subject of this blog, “Sun Is Shining”. It’s the same groove and sound, but I could never get them to line up correctly – until now.
So after spending literally hours in my DAW sliding and pitching samples around (I politely remind you that it’s not a hobby, it’s an illness), I think I can conclude that “Marvin & Chardonnay” does indeed sample “Sun Is Shining”. If anyone cares (PROTIP: no one does) to get the match, it’s on from the third scratch, time stretched in 32nds.
“Marvin & Chardonnay” into “Sun Is Shining” via Ranking Joe Sample
The original sample is in fact from little known reggae artist and DJ, Ranking Joe. Sadly, I’ve never been able to track down the original track – it’s possible it was a one-off radio thing, but the earliest use of the sample I found is in the excellent Phuture Assasins “Shot Like Dis”. I don’t have the record at the moment, but you can still hear it here.
There’s also some bullshit “Mambo Italiano” remix with the sample, but now I’m going to stop scaring off readers.
Sorry everyone.
EEKIE EEKIE EEKIE EEKIE
HITCH IT UP MI SELECTA
SHOT LIKE DIS
COULDA NEVA MISS
SHOULDA ROLLED UP IN DA DOUBLE BARREL
COCK DA TRIGGA
AND FIRE LIKE DIS
It feels like a long time since Vladislav released some new material. In reality it’s only been just over a year since his last full length album “Vantaa” was issued, and only a few months ago we got the small, two-track EP “Espoo” – a quick taster of what was to come.
At first, Vantaa seemed like Vladislav going through the motions in a new studio. It was a strange mix of high tempo and no tempo.
Espoo on the other hand, was in unusual quarter note beats that wriggled and refused to remain still. Upon hearing the new Kuopio album, it’s pretty clear that the previous two releases were testing ground for a new direction, a new aesthetic.
Vladislav Delay “Kuopio”
The opening track Vastaa is a fast pulsating, dubby piece that breaks and declines from and into identifiable rhythms. Its a breathless mix of extremely processed synthesis, and near-unprocessed drums and works as an excellent and chaotic opening piece. Percussion rattles and shifts from background to foreground, and patters shift and evolve with a subtlety that I’ve not heard since “Multila”. I can almost see this track as a decomposition and re imagining of a modern Sistol track. Changed in focus, yes, but a very clear relationship I think.
The second track, Hetkonen (that means ‘moment’ to you and I) is what I’ve waited to hear a long time. Ever since V dropped the sampler for the album I’ve been desperate to hear the integral version of this. Syncopation plays a large part in the entire album, but it’s certainly most of all evident here. The bassline plays with casual disregard to the tempo and the drums, snapping back into focus whenever it pleases. A stab resonates again and again, like a sonar desperately searching in the night, desperately trying to make sense of the disarray but slowly fracturing and faulting. Hetkonen features the most effective, most subdued and well executed chord progression I’ve ever heard. The whole track is a chaotic free-for-all, beats, chords and percussion landing where ever they fall – but it’s somehow all controlled and sculpted into something no less than a masterpiece of contemporary music. I genuinely believe this is a significant piece of work, and more than reason enough to pick up the album. Amazing.
Avanne is a grove focused piece, a little unlike anything I’ve heard before. In fact, a little unlike anything else Vladislav has released before. Gritty, but groovy, and all the time managing to keep a serious and straight façade. The best analogy I can come up with is Multila does house music. It’s like listening to a jazz record, through your neighbour wall, all while they’re having building work done. Is it noise in music, or music in noise? Does it matter? The groove stays the main focus right until the end, giving way only into an atmosphere of haze and noise. It doesn’t envelope you, it plods until exhaustion, until there’s nothing left but rubble.
Kellute is something only Vladislav Delay can do – make interesting semi-ambient music. Do you remember tracks like Pisa, Ele, Karha, Kohde? Kellute lines up well with almost any of those, which is quite a compliment considering most of those were ground breaking pieces. The rhythms in Kellute pulse and sway in mechanical harmony, like a two-stroke engine spluttering in a shipyard. In fact at this point, Kullute actually draws more aesthetic similarity with the Conoco EP. However, at the three and a half minute mark, everything is sharply snapped into perspective. A heavy rhythms devours everything in sight, consuming all the delicate elements one by one, until all that’s left is the looping broken fragments of a chord and a one note bassline.
I don’t know what Vladislav is using for sequencing, but it’s not from this world. Osottava is composed of the same jittering, fidgeting rhythms as Kolari was on the Esopp EP. It’s essentially written in 4/4, but it’s very difficult to hear that at first glance. Where Osottava differentiates itself from the Espoo EP is in it’s final crescendo, where the entire track devolves into what sounds like a techno interpretation of hell. Swarming evil and impending ruin quickly engulf everything they touch. You can feel the size an weight of the track pressing down on you. Inevitability.
Kulkee is the damaged and broken remains of the destruction. Lone chords ring out hoping for a reply amongst the ruins, only to be answered by a staggering bass. Dysfunctional rhythms and melodies begin to rumble and clunk unevenly. The track begins to build, but in a very literal sense. Elements assemble cautiously, but with a little optimism. You hear the individual elements bond and work together to form the workings of a contraption from another world, another time. Kulkee works so beautifully as an album track, it should be used as a device to teach aspiring musicians. When I first heard the preview of Kulkee, I didn’t think much of it, but in the context of the album, it really is a masterpiece. And if you’ll permit me to use one more cliché, it truly is an inspired work.
The penultimate track, Marsila, is a showcase of the new sound and new technique. Lots of untamed energy the track presses forward into a not yet defined concept. Sparkling and unusually glee, it brings everything back to life with a tom pulse. It’s a glimpse into the new world and the unknown. An optimistic look at an uncertain future.
The album closes with Hitto. Crackling and snapping drums fold and roll. Those trademark Delay pads are captured in a digital tape loop, being wound faster and faster, squealing and stretching into something au courant. Finally the tape snaps, the twisting ends, and the drums loop mechanically ad infinitum. The sound fades quickly into the distance, leaving only the memory of the scale of the journey.
The entire Kuopio album is something very special indeed. It has layers of depth that only the most perceptive listener will find (I doubt I have even scratched the surface yet). I’ve said it before, and I’ll say it again, Vladislav Delay demonstrates why we love music. It’s evolving, emotional, unique. It’s art, not product. It’s well thought out, not rushed. It’s a beautiful thing.
Before Kuopio, if I’d been asked to name my favourite V.D. albums, I’d have said “The Four Quarters” “Multila” “Anima” “Entain”. Now, Kuopio so confidently and completely eclipses everything in terms of quality that there is no other answer. That’s not to downplay the significance of his other works, but Kuopio is such a perfect album I begin to doubt if anyone will, or indeed, can do better.
Kuopio is absolutely remarkable. Buy it now.
Kuuluuko (download only track). Sorry, you need to read the full review to see this content.
[censor]Only joking 🙂 Kuuluuko is offered as a bonus track on the download only release of Kuopio, but is it worth it? Well, yes, probably. If you like the sounds of Kullute, Kuuluuko is Kullute on drugs. Frantic, less focused, panicked almost. It’s Conoco for the year 2100.[/censor]
There are very few truths in this world, and even fewer of those can be considered universal truths. In fact, the only one I’m 100% sure everyone can agree on is that we all love Bob Marley vs. Funkstar De Luxe. You may not like house music, you may not know who Funkstar De Luxe is, Christ – you may not even like Bob Marley. But we all loved the summer of ’99 because it gave birth to “Sun Is Shining”.
I’m not really into Marley myself, but two things struck me about the track – the bass line and the chord progression. Both are welded to each other over a 4/4 kick, and both were executed in an immaculate manner. So much so, that it’s difficult for me to separate them in my head.
However, facing that fact that I’ll more than likely need to sell my little collection of synthesizers soon, I thought I would sit down and dissect these elements while I still had the tools and enthusiasm to do so. Needless to say, it’s all 4/4, 130BPM
First up, that lovely cascading chord progression.
Sun Is Shining Piano Chord Progression
Starting from an inverted E Minor 1st Inversion, G Major, A Major 2nd Inversion, C Major First Inversion. Quite an unusual progression, but really has a lot of feel, especially when strapped into a 4/4 rhythm.
I’ve created a quick facsimile of the original done on my Waldorf Microwave XT.
Sun Is Shining Synth Chord Progression
Next up, the bassline
Sun Is Shining Piano Bassline
I find the bassline to be especially interesting. On first listen you don’t think it would sit particularly well with the previous chord progression. But it do. It has a driving, almost dub feel that accents the tempo and rhythm very nicely. It speaks of sunshine but with a lowly demeanour.
Again, I created a quick facsimile of the original done on my Novation Super BassStation.
Sun Is Shining Synth Bassline
Now, using magic, we can combine the two into (indulge me here)…
Sun Is Shining Test Mix
Ta Da!
There are many reason to hate Daft Punk, but here I’m mainly going to focus on the main issue I have with them – sampling. I’ve never been a fan of sampling (or Daft Punk for that matter). It seems like a lazy way to make music, and has long been a thorn in the heel of electronic music. Any kid with Ableton can put a 4/4 kick beneath a two-bar disco loop and “create” the next radio annoyance.
Daft Punk, however, are much worse than that. They don’t credit samples in album sleeves, pretend they’re magical music geniuses, and actively deny sampling. That’s right, they
For a long time I tried to think of a sample based piece of music that had some integrity. I couldn’t do it. I tried to think of a sample based piece of music that was in fact better than the record it sampled. I could not.
I’ll probably be adding to this list as time goes on, but for tonight here’s a few reasons I don’t like Daft Punk.
Breakwater – Release The Beast / Daft Punk – Robot Rock
Edwin Birdsong – Cola Bottle Baby / Daft Punk – Harder, Better, Faster, Stronger
George Duke – I Love You More / Daft Punk – Digital Love
10CC – I’m Not In Love / Daft Punk Nightvision
The Imperials – Can You Imagine / Crescendolls
Ronnie Jones – Video Games / Daft Punk – Technologic
Chaka Khan – Fate / Stardust – Music Sounds Better With You
Eddie Johns – More Spell On You / Daft Punk – One More Time
Sister Sledge – Il Macquillage Lady / Daft Punk – Aerodynamic
Oliver Cheatham – Get Down Saturday Night / Daft Punk – Voyager
Rose Royce – First Come, First Serve / Daft Punk – Too Long
I’m not an obsessive compulsive. Seriously, I’m not. However after discovering a beautiful old 45 of Labi Siffre “Watch Me”, I had the compulsion to go to discogs.com and obsessively buy every single Labi Siffre 45 that has non-album tracks. I’m sure lots of people wake up in the morning to find they’ve purchased 14 second-hand records during the night. Right?
Well here’s my justification; Labi Siffre happens to be the most beautiful singer I have ever heard, as well as one of the most prolific writers ever to live. He’s the gentleman responsible for “It Must Be Love”, “I Got The” “(Something Inside) So Strong”, “Bless the Telephone” and more masterpieces than anyone will ever truly appreciate. Despite this, his music isn’t exactly easy to come by. Siffre seems to exist (quite happily it would seem) in this space between the edge of memory and totally forgotten.
Labi Siffre “Watch Me”
For example, just try to find a copy of “Watch Me” on-line. Sure, there’s a YouTube copy of a live version, but the recorded version is nowhere to be found, and that’s the case for a great deal of his material. I don’t advocate piracy by any means (unless its some fucking David Guetta bullshit), but at this level of importance it’s not piracy, it’s archiving, it’s sharing. Every day we wait is another day of damage that’s done to these records. Every day we wait is another day spent in a world almost void of these beautiful recordings. Labi has stated that he has no interest in the music industry any more, choosing to focus his efforts on poetry of a political and human nature, so I really doubt we’ll see his work re-issued any time soon.
In fact, Labi once told me he has “another two or three albums worth” of material recorded, but he doubts it’ll ever see the light. It’s heart breaking, especially considering the outstanding quality of his last album ominously entitle “The Last Songs”.
So as I buy, clean, restore and catalogue as much of Siffre’s music as I can financially withstand, I’ll give you a little snippet of why I am doing so.
Here is Labi Siffre “Watch Me”, the first 45 rescued from a life in a crate.
Labi Siffre “Watch Me”
A while ago I made a half-hearted plea to Raster-Norton / Vladislav Delay, talking some rubbish about bonus material and the current state of things. Who’d ever thought it would get answered?
Mr. Delay took time out his busy schedule to answer my inane questions, and I can’t begin express my appreciation of him doing so.
Thanks buddy!
What’s the concept behind “Kuopio”? What differentiates it between other VD albums?
I guess the main thing is that I have decided to actually focus on V.D. project. It was always closest to my heart but also I kind of gave that project least love and care, taking time to do other stuff like Luomo and other projects which would always be more difficult and challenging in some ways.
I decided to stop doing those projects and focus on V.D. as well as some other new projects and concepts. But mainly I wanted to see where I could, or would like to, go with Delay sound.
Kuopio is somewhat continuing what I started with Vantaa and working with Raster-Noton.
I had a vision about the somewhat new sound and while it didn’t really come out clear on Vantaa, I think on Espoo and Kuopio it’s more audible already.
I’ve been getting quite bored of ambient music, as far as writing and producing that kind of stuff goes. And I definitely have been bored of rhythms and beats, so I’ve been trying to look for things that won’t bore me. And overall I can say what I can say about each and every work I do, even though it might not be audible, that I’m trying to do something I haven’t done yet and look for new things in music.What record are you most proud of making? What do you consider your greatest success as a musician?
I’d honestly have to say I’ll be always most proud of the next album or song or whatever I will make. I aim for progression, look forward to the things I haven’t yet done, or haven’t yet managed to do well, and on and on.
Of the records I’ve done I’d pick the last one, Kuopio.
Will Johanna Iivanainen or Raz Ohara ever appear on a Luomo record again?
Nope. I really don’t think I will ever make another Luomo album unless things change in major way. I find the club & dance music scene so out of it that I don’t want to work in or around it any more.
I would still like to produce such music as I have done with Luomo but I’d only do it privately or something, I have absolutely no interest in working in that scene any more as it currently is.
I don’t want to offend anyone so I’d better shut up now.After 15 years in the music business, what are the most important lessons you’ve learned?
You know, I never thought myself as being in the music business. That was one thing that always bothered me, work, professional, business.
I work for hourly wage that is definitely lower than average. And I do work very long hours, just to get by, but I never wanted to be professional, maybe naively but anyhow I was worried I would lose my passion and all the other stuff that matters to me greatly, much more than money or any kind of success. So I guess not taking my passion as a professional thing or work at least, has helped a lot.
I guess the biggest lesson is not to be addicted; it kills creativity and life in general. Also it helps greatly to try stay as amateur and unknowing as possible.What are your thoughts on the end of music as a physical product?
I have tried to follow the situation and progression of this topic and have tried to not take it personally. I think overall there’s nothing we can, or should try to do, against the progression of things. I feel in general the older you get the more challenging it becomes to let these things happen and not protest against them. Younger kids just take these things for granted and jump from one thing to another, the speed is quite overwhelming.
But lately, I must say I haven’t really even made any opinion of it all. Except I try to remain somehow positive as I tend to see and concentrate on negative things always. And when you look with those negative glasses the situation definitely seems pretty fucked up.
I find it sometimes hard to not be bitter about the situation but I can also see having been spoiled in my early career where I actually could sell few albums and make a semi living out of it.
As I first and foremost focus on music, the making of it, I don’t have so much energy and interest to focus on what kind of medium it appears on and everything around the subject. It does bother me that the whole digital thing neglects so many aspects of the experience, and actually just shits on it. You have no idea who made what, where, with whom, what’s the publisher and who’s the money making dude behind it all, 10 photos of someone posing in the make-ups, etc. etc.
When I listen to music I like, from jazz to classical to mainstream hip-hop etc., there are varying infos I want to know depending on the genre etc. and I can’t find this info on digital releases.
And also they sound crap. although so much of the new music sounds equally if not more crap on CD that I think it’s not so big deal actually. and everyone listens to the music on some ridiculous headphones (I think these latest-fashion 50 Cent or whatever Dre 300 dollar cans are as ridiculous as iPhone buds) that make music sound nothing like it should.
But this is again me not maybe seeing the bright side of it all.
But somehow I remain optimistic, things can’t only go to bad direction and I begin to see also some light at the end of the tunnel, maybe just because things can’t just go anymore bad.
Usually I always say it could be worse. But maybe in this aspect it’s different, maybe it just can’t get more worse.
Maybe the thing I find most sad is the fact that almost nobody appreciates music anymore. It’s just a cheap or often free commodity. I guess one reason why less physical products are made/sold is because the ever-lowering value and appreciation people see in music. There’s so much of it, it’s like millions of free tv-shop channels, all tooting the same stuff out of their “unique” channels. I think it numbs the perception.
Also, too much is too much.What advice could you give aspiring musicians?
Be fucking hard on yourself, no compromises.What albums inspired you to become a musician?
In chronological order until age of about 15:
Bob Marley – Catch a Fire (I was 5 when I found that album on my father’s collection)
Kiss, Motley Crue, etc. hard rock albums
Frank Zappa – all albums.
Miles Davis – almost all albums.You take music very seriously, have you ever considered making something light hearted or silly?
Nope 🙂 I admire the way Zappa did that, and maybe few other examples but mainly I hate it when people mix music with humour.What are your plans for your new studio?
There are no new plans for the studio except to stop spending money! And start paying back the loans… I think the studio is at a point where the main thing is on top level, it sounds amazing.
I might be working with Genelec to find a bigger system at one point but for now the studio is all well. I also have trouble with how much time I spend in the studio, NOT making music but trying to make it more amazing and more suitable for new ideas I have and all that.
And then I’m off touring for weeks while my wife is using it…Has it changed how you approach your music?
Not at all. All the gear etc. is very secondary I think. Music is something bigger than some this or that technology.Pusha-T or Kanye?
Pusha… I’ve been a big Clipse fan since day one. With Kanye I have daily issues, even though I like some of his things a lot as well. I liked his last album a lot but I worry to death what will come out of his opus with electronic kids and EDM bling bling.If money was no object, what kind of car would you drive?
Since having moved to country side I actually first time need a car and became aware of car in general. I didn’t have driving license until then even and never cared about cars.
But now I do as it’s my daily life, and often the circumstanced are pretty wild where I live, 4*4 drive is essential, so I need a car that functions and delivers. I guess I’d choose a Range Rover.
…sorry. I want to change my choice of car. Mercedes Benz G 500 AMG.
The thought of Vladislav Delay driving around in a G-Wagen, bumping the Clipse is fantastic 🙂 I’ll dissect the rest of the interview some other time, needless to say it mirrors quite a few of my thoughts and I’m somewhat torn on the uncertainty of Luomo’s future…
Buy Vladislav Delay’s new album “Kuopio” here. Do it, do it now. He’s a cool guy. Buying his music makes you a little cooler too.