Solo Banton Archives – Telekom Electronic Beats

Videodrome #39 – This week’s best videos

Videodrome #39 - This week's best videos Right, last week was a big week for music videos and we already shared our love with the new videos from M.I.A., Madonna, Miike Snow and Dylan Ettinger, plus celebrated the premiere of Kris Menace’s Falling Star video. But there is much more to explore in that vibrant music video genre:

#1 Holograms – ABC City (dir.?)

This rocks. Holograms are from Sweden and still unsigned. If you run a label go and sign them: NOW.

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#2 Light Year – Moderation (directed by Costa Vakas)

Aussie producer Light Year is clearly one to watch. His sound is about true acid house with sweet vocals on top. His debut EP dropped earlier this month.

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#3 Warm Ghost – Myths On Rotting Ships (directed by Jay Buim & Paul Duncan)

If you can handle some puttering synths and a good dose of soothing chill wave, then Warm Ghost could be your desire. Track is from his last year’s album Narrows.

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#4 Los Llamaradas – Too Late The Possible Lab (dir.?)

Monterrey’s most wanted musicians Los Llamaradas are about to close down their music business, thanks to the bloody drug-war going on in their neighborhood. Have a final listen.

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#5 Napolian – False Memories (dir.?)

Distorted beats by 19-year-old Los Angeles producer, Ian Evans aka Napolian taken from his Rejoice EP, which is out today via Software/Mexican Summer. This newcomer has definitely got some talent.

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#6 Dubkasm ft Rudey Lee & Solo Banton – Emotion / Are You Ready (directed by Gary Thomas)

This is Bristol’s Dubkasm and Rudey Lee, who recently linked up in the studio to produce this groover, which is part of forthcoming Emotion EP on Sufferah’s Choice Recordings.

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#7 Lil B – I Own Swag (dir.?)

Lil B aka The basegood is back with just another funny video from the sunny US-westcoast. We can’t count the amount of videos the L.A. rapper has already dropped but one thing is for sure; we just can’t get enough.

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#8 2morrowsvictory – Parallels (dir.?)

According to 2morrowsvictory facebook, this band hails from southwest London. This lovely video, made for their ‘Parallels’ track is their first visual statement from the upcoming #Odeon EP.

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#9 Jazzanova – I Human feat. Paul Randolph (dir.?)

EB-favorites Jazzanova just released their first video from the forthcoming full length entitled Funkhaus Studio Sessions which will be released through the reanimated Sonar Kollektiv label in may.

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#10 Krazy Baldhead – Surabaya Girl (directed by Flashbacker)

The highly-anticipated single from Krazy Baldhead came out today on Ed Banger Records. The EP includes remixes by MYD (Club Cheval), Tropics, and Victor Aime.

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Jahtari Label Feature

Jahtari Label Feature The Jahtari netlabel, established in 2004 by Jan Gleichmar is still in the ascendancy. The concept of netlabels has been floating around before, but nobody had done it as well as Jahtari with such a coherent outlook and music policy. Gleichmar – who is also releasing music under the moniker of Disrupt has formed an empire for digital dub lovers. Earlier this year he collaborated with two out of three memeber of King Midas Sound: Kevin Martin and Kiki Hitomi released their acclaimed Wonderland EP for their side-project Black Chow. Time to speak to Jan, how things are right now in Leipzig, why The KLF helped Jahtari in terms of graphic design and how King Midas Sound took over Jahtari:

Electronic Beats: 2011: how was it for you?
Jan Gleichmar: Very good! We are four people working here at Jahtari and for me this became a full time job. During the week I take care of all the administration and on the weekend I am currently touring with Soom-T. She released her album in 2011 on Jahtari and this is keeping me pretty busy. Until now, we have been all around the world, from Brazil, to France and Japan. Beside her I am also on the road with Solo Banton, an MC coming from London. And of course my own project disrupt I produce and play a lot, mostly non vocal, heavy bassline dub music. The label’s delevopment is making me really happy, 2011 seems to be a good year for us.

How did you get to make all this happen? Where did you actually start with your music?
Well, when I go back to the very beginning, I started off at Hardwax. During that time I was listening to a lot of Detroit Techno, Basic Channel, Mille Plateaux, Force Inc, all this stuff. At Hardwax I found the Rhythm & Sound releases and the reprodcution of the whole Lloyd “Bullwackie” Barnes catalogue. That’s how i got into off-beat tracks. There were no interesting Reggae releases during that time and I was more hooked by Dub, like different sounds shifting above each other, fading in and out in very slow-mo. There I felt really at home, that became my inspirational base. When I started to make my own music, I didn’t have enough money to buy me expensive instruments and production tools, so I did it on the computer. I didn’t worry too much about the fact to produce instrumental music with digital tools – it was the only thing available for me. And I was curious about making a classical Reggae track with different sounds. Out of this lack the Jahtari sound grew. Then I tried to look for a label, but it became very clear, that there are no labels releasing digital Reggae or Dub or whatever you want to call it. So I did one piece on a small Electronica netlabel, which convinced me to make a step forward and finally create my own label. Of course I didn’t have a clue about how to run a label, how to produce, do the promotion and distribution. But with every little step I learned a lot and mainly from other, more experienced people, too.

The whole look of Jahtari seem to come from one aesthetical direction, can you tell me a bit more about this?
Well, I think, this is kind of the look I grew up with. The 8-bit graphics and Atari looks, obviously Pacman. The Jahtari sound is heavily influenced by those first generation computer sounds from C64 and the very early games. You even can make music with those old processors, like the ones from Commodore. I am just about to learn it, my parents recently bought me a soldering iron. It was just a logical thing to choose these kind of graphics. It is simple, I like it. Especially in Reggae and Dub the artwork and the cover art is very important – sometimes people only buy, because of the good look.

How is the Digital Reggae scene developing in Leipzig?
Here we have a pretty vivid underground scene. There are loads of parties in squats happening. And our club grew over the time very constantly and we have a good fan base now in Leipzig. Actually you could compare Leipzig to Berlin during the 90ies. The commercial side of club culture never really did it to Leipzig.

And how Kiki Hotori and Kevin Martin of King Midas became part of your roster?
Kiki has followed our activities for quite a while and was already kind of a fan from Digital Reggae and Jahtari. She got in touch with us first to ask us for a T-Shirt. And so I got to know Kevin, I sent him tracks to play in his DJ sets. After some time Kevin asked me, if he can send me music, he did with Kiki together under the name Black Chow. That was the track ‘Wonderland’, which was put on a Jahtari compilation. They were good, so we decided to release the EP. We still bump into each other from time to time, that’s really nice. Maybe we will be able to start again with Black Chow in the future, but work is rowing up. King Midas Sound has my respect, it reminds me a lot f that dark HipHop style, which was pretty popular in the 90ies.

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