Friends We Love: 120 Seconds with Gilles Peterson

[kml_flashembed movie="http://www.youtube.com/v/jcZcCZ6EgT8" width="425" height="344" allowfullscreen="true" fvars="fs=1" /]
London, UK
Music pioneer Gilles Peterson of Brownswood Recordings & BBC Radio 1 shares the extent of his obsession with Arsenal Football Club and some insight into why he’s taking a break.

Check out Gilles Peterson at: myspace.com/gillespeterson
Worldwide streams exclusively in the US from the Giant Step Jukebox

Giant Step’s Resident 32: TV On The Radio, Alphabeta In Greenpoint and Studio at Webster Hall

By Mawuse Ziegbe

Recently, I’ve been making some fun social gaffes that I thought you would enjoy. I must have spent the past few months with my head up my butt because I completely missed that TV on the Radio was playing three shows at the Brooklyn Masonic Temple. I absentmindedly texted a friend close to the source about 3 hours before the show for tickets. Due to my tardiness, I expected him to type back “LOLOLOLOLOLOLOLOL” or delete my number but he graciously came through. Now, most frou frou music critics will tell you TVOTR is significant because of how transcendent their discordant rhythms and twisty vocals are. But sometimes, I have no idea what they’re saying. To me, the lyrics on Return To Cookie Mountain often sound like, “I undressed my mother, and peed by the sun” or “I wake up in flour, go fetch the gun.” Their latest project Dear Science infuses their woozy soul rock with sprinkles of Afrobeat, big band and new wave, making their new stuff preternaturally funky. The hour-long show was stacked with numbers from Science like “Crying,” “Golden Age” and “Dancing Choose” and well-worn faves like “Wolf Like Me” and “Province.” I had a blast but I think TVOTR fans just aren’t used to dancing. Boo.

Backstage after the show I began chatting up a cheery guy who recognized my name from the guestlist. I’m making vapid small talk and then I ask, “so what do you do?” The smile melts and his gaze hardens as he says, “I’m the guitarist.” See, when he said his name was Dave, I didn’t realize he meant Dave Sitek, guitarist, producer, founding member and friggin’ epicenter of TVOTR. Asking what Dave Sitek does at a TV on the Radio show is like waltzing into the Vatican, eyeing the Pope and asking “who’s that pale feller in the dress?” Silly.

So on Friday, I left my foot-in-mouth foolishness behind me and checked out the opening reception for the Younity Heart & Soul exhibition at Alphabeta in Greenpoint. Younity is a group of around 60 female visual artists which includes legendary graf writer Lady Pink, and co-founders Alice Mizrachi and Toofly. For this exhibition, all the artists made a piece which represented love. The walls were plastered with obvious symbolism like hearts and smiley children but there were also photographs of pink heels, skateboarding wounds and a display of wooden jewelry. The subject matter had a lot of schmaltz potential but I thought the ladies executed the show handily (I’m trying to get through this without bellowing, “girl power!”…oh wait). There was also a freshly painted and incredibly intricate mural that was admirably intense. I dug it.

Easily the most intense performance of the week was the Robot Sex Guy (I never caught his proper stage name) at the Studio at Webster Hall. It started innocently with some DJ in a lab coat spinning a bit of hard house but it quickly got ridiculous. The main performer, covered in what looked like neon Christmas lights, marched onstage and started yammering about how robots are sexy too. Ok, whatever. Then, he started singing about amputated fingers (which, I guess is integral to robot sex) and then crooned into a camera that was attached to a steering wheel. The show climaxed during a song about self-love where he stroked a huge metal hose between his legs and leveled ping pong balls at the unsuspecting audience. I was in the front row and caught three to the head. I finished my drink and left. It was like watching Daft Punk if they had considerably less money and ate paint chips. Now, for some a ping pong facial is enough reason to never venture out again. But no matter the type of humiliation, there is nothing – not robot lovin’ gone awry nor complete ignorance about Brooklyn visionaries – that a stiff drink and hasty retreat won’t fix.

Giant Step’s Resident 31: Pete Rock, N.E.R.D., Raphael Saadiq, Kelis

Photo from Pete Rock at Hudson (c) Bartek Radwan

By Mawuse Ziegbe

The most authentic thing about Sex and the City is all the bitchy conversations New Yorkers have about relationships. Every single time I venture out for dranky dranks, the talk always turns to how batty single people are and how dating in New York is like lighting your head on fire. There’s the girl whose ex-boyfriend used to beg her to go to crappy parties and then ignore her while he danced with other girls. There’s the guy who freaked out and sent his lady friend home in a cab when she received a text message after midnight. And then there are my poor guy friends who, no matter how fugly or partially unemployed, always end up swatting away giggly girls who furiously claw at their nether-regions simply because they’re single. Yeah, boo hoo. Anyway, finding a meaningful relationship in NYC is like trying not to laugh during a Sarah Palin speech. But for knuckleheaded dreamers like myself, that doesn’t dull the chase.

And that’s why Pete Rock’s recent Giant Step throwdown at the Hudson was double the fun. Everyone there was simply too attractive. Men with velvet blazers were sipping cocktails like they were born with a pinky ring. I spent most of the time nursing a red wine and making eyes with the fellers (I’m too much of a loony tunes to actually talk to boy people). Pete Rock was getting all House Party 2 with it, blasting Johnny Kemp and TLC like it ain’t no thang. Despite his groovy, soulful album offerings, as a DJ he’s usually good for a boot-stomping, ashy-knuckle, Boyz N The Hood type of time. But I liked the switch up because pajammy jams are like totally more fun than drive-by shootings.

Also high on the funness scale is Raphael Saadiq. Raphael touched down at SOBs for his last New York performance of the year. He’s one of the few artists that I just become a drooling mess for. Me at a Raphael Saadiq concert is just this sad mix of two-stepping and screaming. Raphael takes the stage and then I’m just bellowing foolishness for the next 40 minutes: “Oh my god, he’s doing a rock version of “Be Here!” Oh snap! He just mixed “Get Involved” with “Feels Good!” Is that a 12-minute reprise of “Sky, Can You Hear Me?!” Yes, dear god encore!” Then I mouth the lyrics like he’s talking to me, impale other people’s feet with my stilettos and steal posters. I’m that person. And it feels great.

Another semi-authentic thingy about Sex and the City is getting into that party. Last week, one of the places to be was arguably the N.E.R.D. and Nas throwdown sponsored by Smirnoff at Capitale. I used to constantly hit up these corporate ragers, knocking back cocktails and hi-fiving the typical group of industry ankle-biters who crowd these things. I stopped going to these events because there is always an infestation of people at the door trying to get in. The crowd was also this goofy mix of ruddy, balding corporate fatheads and shallow, downtown hip hop fatheads. However, all was forgotten when N.E.R.D. took the stage and did their “I’m wild at 35!” dilettante rock. Nas is talented and all but he has the stage presence of a brick of cheddar. But he did get my attention when he brought out Kelis to sing “If I Ruled The World.” She wandered out, drink in hand, and listlessly crooned the chorus before kissing Nas and wandering off as unceremoniously as she came. Yes, honey, it’s late and we’ve all seen this pony’s tricks before. But at least you got into the party and you’ve got a man. Some of us are making careers chasing both.

Amplify by John Brown’s Body is #1 on Billboard’s Reggae Chart

“Amplify is a big stew of a lot of different influences and sounds and grooves,” says JBB drummer and co-founder Tommy Benedetti. “I think reggae applies to us in the way that we definitely draw from drum and bass. That’s always the foundation of what we start with. We also tried to step outside of the normal reggae grooves‚ sounds‚ lyrics and topics on this one, and what goes on top wound up being very progressive and current.

The new album, which also climbs to #10 on the CMJ World Music chart, was just released by Easy Star Records. It presents the band with the highest chart position in its history and outsells its 2005 release Pressure Points by nearly 20% in its first week of release.

Listen or buy from here.