10 x 4 – Bobby Champs

10 x 4 - Bobby Champs Bobby Champs is the latest signing to Pictures Music, one of my favorite independent record labels at the moment. The imprint describes Bobby’s music as, ’90s acid house meets up-front techno from the future.’ An accurate description, one which sits well with the bending melodies and direct groove which made his All Night EP into a sensation both online and in the club. Next month his Drag Queen EP will be released, so we decided to play our 10 x 4 mini-interview series and present you a first listen below.

1. What goes in your coffee?
I like my sugar with coffee and cream.

2. An album that changed the way you thought?
That would have to The Mars Volta‘s De-Loused In The Comatorium. This album was my first real experience at a concept album and showed me how much effort can really be put into the music you make if you care about it enough.

3. What does underground and mainstream mean to you?
For me, it means nothing. It’s a derogatory way of looking at success and musical reach. For me, music is music. There’s good and bad music everywhere. Some music in the charts may not be to people’s tastes but when it boils down to it, some pop music is just good music, as it fits its purpose. The term ‘underground’ is a way of trying to claim ownership over certain sounds, artists and genres…people like to feel they own things, and they don’t like losing that ownership.

4. Should music be free?
As a musician, I don’t think music should be free, but I can equally understand why some people feel it should be. If you ask me, free music depreciates music’s value, but if it wasnt for the rise of the internet, people wouldnt even think of asking this question.

5. Better show: Buffy or X-Files?
I was a Buffy fan, but looking back I think the X-Files might have appealed to me more. I just preferred Sarah Michelle Gellar.

6. What defines your music-making process?
My music comes to me when it wants to really. I’ve found that forcing things never works and when it comes, it’ll come. I also try not to over think things and go with my gut instinct.

7. Name three essential artists.
It’s hard to think of just three essential artists but I suppose I would have to say Shed for his pure versatility andUntold for his consistently forward-thinking approach to song writing. And there aren’t really any Motor City Drum Ensemble songs that i dont like.

8. Your current favorite song?
At this very moment my favorite song would have to be ‘Untitled 1’ by Midland & Pariah, I havent heard a song with that much groove produced in a long time.

9. Do you believe in the paranormal?
I dont really. I have too much of a scientific mind. To me there isnt anything that can’t be answered by science. Maybe we just haven’t found the answer yet.

10. Together, or alone?
Both, in equal measures.

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Bogner’s TV Guide No. 8

Bogner’s TV Guide No. 8 For the last eighteen months or so, I’ve been obsessed with the murder of a young Washington schoolgirl and the captivating search for her killer. There’s been almost constant rain, lots of shady dudes creeping around, and more than one psychotic breakdown among those involved. To put it simply, the past year and a half of following this case has been a dramatic, engrossing hell of a ride. But what sounds like the newest episode of Audioccult or me being about twenty-two years too late is, as a matter of fact, a heap of praise for the Danish TV show Forbrydelsen, and its US remake.

In recent years, a lot of dark shit has come out of northern Europe, gotten picked up by Hollywood, and essentially neutered for American audiences. Take Stieg Larsson for example: even though David Fincher gave his best when it came to the Millennium Trilogy (though only the first part of the series, The Girl with The Dragon Tattoo, has come so far), it didn’t turn out as well as it could have. Luckily for us, they haven’t even tried adapting Henning Mankell for a Northern American audience yet. And if you take a closer look at the creepy ghost movies boom of the mid ‘00s, you will see that thanks to Sarah Michelle Gellar and greedy producers without a single original idea, Asian cinema is now worse off in so many ways. So it seems that when it comes to remakes, it would be safe to follow a fairly simple rule: don’t waste your time. But as always, there is the exception that proves the rule. Welcome to The Killing.

Creator Veena Sud, who has been a writer on a few episodes of Cold Case, has done an excellent job when it comes to the show, which first aired on April 3rd 2011 on AMC and ended just last Sunday. Instead of the original’s setting of Denmark’s capital Copenhagen, Sud moved the action to Seattle, which seems to be the perfect place for this murder story – or really any murder story. Young Rosie Larsen has been the victim of a heinous crime, locked into the trunk of a car while still alive and dumped in a lake. And all of this happened on lead homicide detective Sarah Linden’s last day on the job. Her successor, Stephen Holder, is already in the game, ready to take over. But there are too many open questions. The car Rosie Larson died in belongs to campaign team of Darren Richmond, a candidate for mayor, Rosie’s father has connections to the mob, and perhaps most importantly: can Linden trust her partner, who doesn’t seem all that well-suited for the job?

What sounds like just another crime show is actually an exceptionally well-written and well-casted crime story that leaves you more and more frustrated every time the end-credits of another episode begin to roll. One key to The Killing’s success is that it never gives off the awkward sense of being copied and pasted from it’s original setting to a boring, sterile, Hollywood backdrop – something essential for the success of any remake. The other thing is time: It takes two seasons to work a single case, a luxury other TV detectives are rarely, if ever, afforded. During these twenty-six episodes, you get to know the Larsen family better, you’re given a glimpse into the dark sides of detective Linden and her so-called partner, and of course, the writers are unapologetic about setting you repeatedly on the wrong track. But in the end, you can see the complete picture and all the pieces come together. It just makes sense, and that, my friends, is not something many TV shows can claim nowadays.

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