Yas Says

Scratch Perverts Beating Down

SCRATCH PERVERTS 

Beatdown

fabric Records

4 decks, 2 mixers, 3 CDJs and 3 pairs of hands, hardly messy- more like a chaotic breathe of fresh air in polluted world of wannabes. For the past 13 years the Scratch Perverts have maintained their status as the crème de la crème of turntablists, just the list of their collective awards proves to boggle the mind (two consecutive World DMC Team titles is hardly something to scoff at). Tony Vegas, Prime Cuts and Plus One are ahead of the game-  they mastered mash ups before the influx poorly produced imitations.

The trio’s reputation of collectively melt hip hop drops, electronic and bass heavy dance tracks holds true on their most recent release, Beatdown. It’s a melting pot of genres expertly weaved together to create an aggressive blood pumping tribute to their vast personal likes and their like minded colleagues.

Not unlike their previous release Watch The Ride, Beatdown the trio have delicately selected a 37 tracks to pack the album with variety demonstrate their ability to trick out and manipulate tracks beyond comprehension.

Starting off with reggae/dubstep Caspa’s Rat - A- Tat- Tat ft.Dynamite MC is normal play for the trio. Throwing in Saxton by drum N bass Chase and Status, grime kingpins Foreign Beggars, and a childlike Subiu, Desceu by Feadz ft. MC Wesley solidified their status as untouchable turntable gods. 

Set Times for Ghostface Killah, Perth Friday 26th of June- Metro City.

Just Released!

09.00 - 09.45 CHARLIE BUCKET
09.45 - 10.05 XZAKT
10.05 - 10.35 ADROC
10.35 - 11.15 BITTER BELIEF & PAULY P
11.15 - 11.20 LSTREET
11.20 - 12.00 OPTAMUS
12.00 - 12.30 LSTREET & ARMEE
12.30 - 02.00 APPROX GHOSTFACE KILLAH

Sneaking Up The Charts

 

 

ANGUS MacDonald of Sneaky Sounds System indulges Yassays.com with stories of chance encounters and show tunes quickly that flipped into hit singles.

 

Listen to Sneaky Sound System - Somebody In Kansas City Loves Me

Two men approach a pretty lady sitting with a guitar at a park in Sydney. An informal sing along commenced turning into a invitation to a studio. Three hours later, a hit was recored and a bond determined. Three weeks later the trio recorded the longest charted single in the history of the ARIA charts.  “I played her I Love It and then she sang it, we just thought whoa- you are good” explains songwriter and producer MacDonald.

Their chance encounter reads more like a plot for B grade movie than the bio for Australian pop music royalty, Sneaky Sound System. “She’s a pretty friendly and whacky character and I guess we were feeling a bit friendly that day. She also had a really hot friend with her- which helped.” said MacDonald. If it were not for extroverts taking a chance our airwaves would be notably vacant of any feel good pop music.  

In their short history together they have managed to create an infallible pop formula. Mixing  a catchy chorus with 80’s inspired upbeat tempos and hauntingly recognizable vocals  lead Sneaky Sound System to international success, double platinum status and an ever growing cult following.

The self titled debut album was completed a series of staggered attempts. Until Connie Mitchell came along, the duo (Angus MacDonald and Daimon Downey, MC) were recording without a lead singer. Mitchell was originally part of a band called heavy rock band named Primary “When we listened to songs that she had done [previously], it was not what we were looking for. When she sang with our stuff which was not like anything she had done before it was this came very easily to us. It was an instant fit. It just worked.”

Three years later, Mitchell’s voice has become the signature sound of SSS - much to fans glee and the dismay of some critics. Reviews of 2 have often noted an apparent lack of artistic progression. “I’d hate for people to think that they are exactly same [Sneaky Sound System and 2]. It was a goal to create a sound. Ultimately down the track if people think that something sounds like a Sneaky track that’s a bit of a triumph. Sometimes people take their references a little too far. We just try to draw from us.”

The first single of their sophomore album, Kansas City,debuted at number 11 on the ARIA club chart in June and has already started to dominate summer radio programming. It’s not about the dreary town in the US, but actually stems from a off the cuff comment about a vintage shirt. “Connie came to dinner in a big oversized t-shirt and it had ‘Somebody in Kansas City Loves Me’. I started singing it as a show tune and thought it was funny. So we got together and wrote the lyrics and it was born.” Contrary to internet rumours, Connie has not fallen in love with a mysterious man in central USA.

Although their touring schedule is packed, it won’t be long until a new release. SSS is on a roll and have no interest stepping off this ride of Australian pop royalty.

Eight Makes Family

WHEN a group of mates on Elefant Traks decided to have a go at working together, most people thought it would be a mess with too many members and too little direction. They were wrong, eight years later they are one of the most talented, outspoken and focussed groups of Australian hip hop artists. Yassays.com talks to Dale Harrison about the glue that holds them all together and how they check their egos at the door.

 

Listen to The Herd - 77%

 

        Combine politically charged rhymes with radio friendly beats and unmatched melody and you have a formula for a hit from The Herd. Back in 2001, The Herd made history and caught the attention of the nation with 77%. The track quickly infiltrated the airwaves and left them in the spotlight of controversy, as everyone had an opinion. With lyrics declaring that ‘77% of Australian’s are racist’, passionate debate ensued. Fortunately the media surrounding the track not only boosted sales but also raiased awareness about refugees seeking asylum in Australia, specifically relating the MV Tampa incident.  

        Five full length albums later and the success of solo projects of Urthboy, Unkle Ho, and Ozi Batla, The Herd and its members have cemented themselves in Australian music history, without letting their heads swell. How do they walk the thin line? “With The Herd stuff it’s about putting trust in other member’s ideas, even if they don’t seem strong at the time. It’s all about putting trust in their vision and their abilities. The Herd is an ego free zone in many ways.” It sounds like music making utopia and slightly artificial, but there is something earnest about this crew that makes it all a bit believable.

        Critics often marginalise artists that take a strong political stance but some how The Herd have managed to state their often controversial views without isolating or manipulating the audience.  “We have been painted as the really political band and we are political, but I can’t imagine why you wouldn’t be political in music. I can’t imagine why you wouldn’t express an opinion given the ability to.”

While it’s hard to pinpoint how The Herd has escaped being pigeon holed, but it could be due to their organic commitment to the basic principal of respect to all faucets of their celebrity status, both fans and each other.  Harrison says, “The access that The Herd provides us is a privilege that isn’t to be taken lightly. We have an ability to reach a lot of people quite seriously. It’s not to be taken advantage of.”

With eight equally talented members with flourishing solo careers and the management of the Sydney based Elefant Traks, it it’s easy to assume they face difficulty in devoting time to The Herd, but with a little bit of magic and much flexibility it works itself out.

Conquering Trance From US Borders

AS a veteran of the San Francisco House scene, over the past 10 years Kaskade aka Ryan Raddon has revolutionized the US electronic music industry- without sticking to anyone’s standards.  Unlike in Europe and Australasia where electronic music has made its mainstream debut and maintained popular status on the charts, US electronic is headed by some of the most upfront DJs without major airplay and holds a massive underground following. 

 

Listen to Kaskade feat. Deadmau5 - Move For Me

 

         Historically Europeans have dominated the market although house music originated in Chicago, but the Europeans (Tiesto and Armin van Buuren) were able to repackage it and sell it to the masses. Raddon explains, “It’s a ‘cool kid’ thing in America. When I go to London it is so accessible”. Even though there is a thriving culture in the States there is a notable difference between their counterparts across the pond. “The Europeans kind of close the Americans out. I feel like there is a lot of back scratching going on over there. They aren’t so keen into helping us out- they would rather just stick to their own”.

        Without favours from his European counterparts Raddon has released six albums and boasts more than twelve #1 positions on the US dance charts. Most recently, Move for Me off Strobelight Seduction (collaboration with Deadmau5) took the #1 spot and has been filling floors.  It’s wasn’t destined to be a hit, as the collaboration was courtesy of the American Online Instant Messaging- not creating in a studio like pre-internet days. Through out the process of creating Move for Me and I Remember, the pair never met or even spoke on the phone. “It was a random and weird cyber buddy relationship. We met a month after the songs were done. I have never even heard his voice before”.

        Alongside creating original material, Raddon has become the master of the pop song remix. In the past few months, he’s been asked to remix Britney Spears last three singles (Womanizer, Break the Ice and Gimme More) and worked with the likes of Nelly Furtado, Justin Timberlake and country star Leanne Rimes.  To make thing even more diverse he has also been approached by Usher and P Daddy. “It’s a lot of fun. I don’t know where it will lead me but one day I would like to do some pop collaborations.  It would be a lot of fun one day to sit in a room with Britney Spears or Justin Timberlake and work on something original”.

        2009 will be a jam packed year of touring, but we won’t be held waiting to along for a new release. “I have a mix CD coming out in the US in April. It’s yet to be titled. The day I return from the US is the day I have to mix it and turn it in to the label”. Alongside the album, Raddon is working on focussing on his writing skills. “I have been writing for a lot of people. I just did some stuff with ATB and some more pop oriented people.”