Dziga Vertov and the Cinematic Orchestra

By admin | April 19, 2010

Those that know me know that there are few bands/groups/artists out there who move me like the Cinematic Orchestra.  As a producer, they stand as a symbol of something to shoot for… “if I ever make something half as good as this, I’d consider my efforts successful”…  these words have passed my lips and/or crossed my mind many times while immersed in a Cinematic set.  So what could be better than the union of Cinematic audio with equally compelling (and groundbreaking… probably even more so) video?  Being able to buy it.

The DVD has been sold out for years due to being pretty limited in the first place, so my only recourse has been to watch these crappy YouTube videos and check the Ninja Tune site every few months.  That said, as of a few months ago the DVD is officially back on the market, so I highly recommend you scoop up a copy.  In the meantime, here’s something to whet your whistle…  some kind soul graciously uploaded all 8 parts to YouTube (another kind soul at Ninja Tune chose to leave the copyright police out of things). If you’ve never heard of the movie before, it’s a 1929 experimental film by Dziga Vertov which portrays the everyday life of city-dwelling Russians and has takes on communism/Marxism, mechanization of urban existence, etc. It’s also credited as being one of the first films to use all kinds of camera effects and the like.

From Wikipedia:

“This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, animations, and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles).”

At any rate, a very cool film, especially considering it was made almost 80 years ago.

As for the Cinematic Orchestra… simply another reason to watch (and listen). Enjoy!

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End of an Era?

By admin | December 2, 2009

So this is based entirely on hearsay, but somehow (sadly), I believe it.  Panasonic (maker of Technics turntables) will apparently no longer product the Technics 1200/1210 turntables after February of 2010 due, presumptively, to the takeover of digital media as a DJs primary source for music.  An article on Pocket-Lint quotes a response from Panasonic indicating the Technics brand will not be discontinued, but as Pocket-Lint points out, that really doesn’t say much since the Technics brand covers a broad range of electronics which could survive even if the decks are axed.

For me, this isn’t so much the loss of a piece of electronics (I have my Mk5G’s and probably will for a very long time), but the loss of a piece of history.  In five or ten years, new DJs won’t associate the number 1200 with industry standard equipment… it’ll just be another number, or something they roll their eyes at when “old farts” like me bring it up…  I’m not old enough to longing for the good ol’ days…

Anyway, I don’t know if it’s true or not, but if so, it’s truly a sad day for DJs everywhere… even if alot of them are too busy downloading the Beatport top 20 to realize it.

UPDATE: Panasonic released an amended announcement which specifically addressed the 1200-series turntables… production is not scheduled to cease anytime in the foreseeable future.  It’s good to know that they might still be around when I need to replace mine in 20 or 30 years…

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DJ’ing Jon Wesley’s new “Wind it Down” at Suture

By admin | November 6, 2009

My friend and fellow DJ Jon Wesley just started a night at a super (semi) secret downtown loft location and was nice enough to invite me to play the first show tomorrow night (November 7, along with Lil’ Ryan, Skutech and Jon Wesley himself).  The night will focus on the redheaded stepchild of dance… downtempo.  Since downtempo is really more a state of mind than a genre, expect to hear random jazz, house, latin, reggae, disco, underground hip hop, neo soul… whatever it is, it’ll be music you probably won’t hear anywhere else downtown on a Saturday night.  Come down, chill out and be ready to get your boogie on… the party goes late and who says downtempo can’t be danceable?

Email matt@djdibo.com for guest list (first 5 get in free, otherwise it’s 5 bucks) and additional details/address/etc.

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Freestyle and Video Games

By admin | July 18, 2009

If you like Del the Funky Homosapien as much as I do, you’ll really enjoy this Freestyle 101 podcast.  And if the rhyme isn’t your thing, wait for the last few minutes where you get to hear his thoughts on the similarities between making music and playing video games… funny and on point.  The guy really is a master of his craft!

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Grapevine Fires

By admin | June 18, 2009

What do we value?  What’s left when it’s gone? This video does a pretty damn good job of summing it up in about 4:00…  beautiful!

I actually didn’t entirely get this song until I saw the video… I knew it was about the fires a few years ago, but as is the case with many of Ben Gibbard’s songs, it’s not just about a fire and instead is really a beautiful analogy for appreciating what you have when you have it while somehow remaining prepared to let go when it’s time… not necessarily life’s easiest or most enjoyable lesson, but a valuable one nonetheless.

By the way, credit goes to Walter Robot (who is actually a fictional director composed of Bill Barminski and Christopher Louie) for the video who, incidentally, has made some great videos for Modest Mouse, Gnarls Barkley and others.

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Future Noodle Chopsticks

By admin | June 15, 2009

I just saw this and was absolutely speechless…

Chopsticks From the Future

Notice the exposed wires and battery...

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Things change…

By admin | May 6, 2009

I don’t know if it’s safe or not, but driving has always been somewhat meditative for me; a time to both introspect and let my thoughts go.

This morning’s drive was no different.

I had my iPod on shuffle as I often do, and found myself listening to Arrigato by STS9 from the Live at the Norva Theater set I downloaded at archive.org a few years back.  The set has always been one of my favorites and this song in particular is really amazing.  About half way into the track, a sinking feeling crept over me.  Part of it, undoubtedly, is an association I have with this set… it was the soundtrack to a bad breakup a few years back (then again a year or so later, then again a year or so after that… now I don’t get back with ex’s, so I get to listen to it on my own terms).  But there was something else…

I saw STS9 a few months ago in LA with an old friend.  He and I went to quite a few STS9 shows at the Catalyst, Fillmore, Warfield, etc. back around the turn of the millennium (I love saying that)… we’ve both been huge fans ever since.  That said, we actually left the show early.  Why?

Sound Tribe shows used to be a place to rejuvenate and escape from the facades and bullshit that have become such a big part of our lives (whether by invitation or osmosis).  There was no “scene” - simply a place where a guy named Matt could unwind with a chick named Tomato (seriously) over a nice cup of tea (the Kerouac kind).  I used to go to STS9 shows knowing I’d have an almost spiritual experience regardless of whether or not I ingested anything to facilitate it.  And like so many things, that’s changed.

This set was not the soothing and tasteful mix of organic/electronic elements I’ve come to expect from STS9, but an anthemy, distorted blend of a Sound Tribe show with electro house (ie: dentist house).  Instead of the rich and complex textures and harmonies that stand out as uniquely Sound Tribe (in my mind), I got a bunch of sustained vst synth leads I could’ve concocted in Reason.  The bottom line is that I got STS9 neatly packaged for mainstream consumption.

To be fair, the band’s performance was tight, the show might have gotten better after we left and frankly, it’s possible I had a bad piece of sushi before the show, although I recall feeling quite spry on the night in question.  And I really enjoy their newer albums, but to me, Sound Tribe was never a studio band - it’s always been about the live performance.  For a period of almost 10 years, they always amazed me in that every show was better than the time before and I’m sad to say that streak has come to an end.  And although I’ll continue to support them through buying their albums (as long as they keep makin’ ‘em good), it may be awhile before I find my way to another show.  I don’t know… maybe 28 is the new 50 and I’m just getting old and crotchety, but that’s my $.10 (for the record, $.02 ain’t worth shit anymore…).

Oh, and just so you know I’m not a total hater, I distinctly recall Prefuse73 opening and absolutely killing it!

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Real OG Electronic Music

By admin | April 13, 2009

So for years I’ve given a ton of credit to acts like Tangerine Dream, Brian Eno and Cerrone for being “founding fathers” (so to speak) of electronic music.  And although each of these individuals/acts have undoubtedly had an immeasurable impact on electronic music, I just discovered Bebe and Louis Barron, who have almost certainly influenced each of the above mentioned performers.

This couple/duo (they were married until 1970, although they continued to compose together until Louis’s death in 1989) began producing tape-based electronic music as early as 1951/52 in their (now lost) “Heavenly Menagerie” recording.  Based on what I can tell, their biggest work was probably the score for Anais Nin’s 1956 film “Forbidden Planet”, which was the first ever electronic film score.

What I find particularly interesting about their work, beyond the fact that it took place in the 50’s, is that Louis actually built their circuits using the 1948 book “Cybernetics: Or, Control and Communication in the Animal and the Machine”, by mathematician Norbert Wiener from MIT.  The circuit created sounds and patterns that were relatively un-recreatable and the lifespan of the circuits in the machines themselves was apparently pretty unpredictable and very finite, so they more or less recorded everything.  Once they had some recordings together, Bebe would add effects (mostly reverb and tape delay) and - get this - she would actually cut and paste bits of tape (on which their sounds were recorded) together to create the desired sound and to that end, Bebe Barron is credited with being the first person to use “tape loops” to create rhythmic elements in the Barron’s “music” (they didn’t really call it music… see the video interview below…).

If you’d like more information, particularly on Bebe Barron, check out Pete Grenader’s “Matrixsynth” Blog.  Pete Granader has a bunch of cool info on modular/analog synths (if only I had about $20k to spend…) in addition to some really great ambient music.  Check it out and next time someone tries to impress you with their knowledge of electronic music history, see if they know who Bebe and Louis Barron are… you might just show them up…

By the way, I just got the inkling to YouTube Bebe Barron and found this interview… very interesting!

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Album availability and a link to an SD City Beat music review…

By admin | April 9, 2009

Just wanted to let everyone know that my album “Fragments” is now available both locallaly at Feelit and online at iTunes, CDBaby, Napster, etc.  Also, the album was reviewed in the San Diego City Beat “Great Demo Review 2009” by Enrique Limon.  Luckily he had good things to say!

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Free (and legal) Del the Funky Homosapien album

By admin | April 7, 2009

If you haven’t heard yet (or you don’t know who Del the Funky Homosapien is… if that’s the case, proceed to crawl from beneath rock, find computer and google “hip hop”), Del is making his new album “Funk Man (The Stimulus Package)” free for all to download.  I haven’t had a chance to give the entire album a thorough listen yet, but Simple Satisfaction and Young Adrenaline stood out after a quick listen.  Anyway, this isn’t an “album review” per se, but more of a heads-up… if you like underground hip hop, I’d check it.

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