Last week, EDM Producer Kill Paris changed his stage name out of respect to those affected by the recent atrocities in the French Capital. Let’s not take anything away from this admirable gesture on Corey Baker’s part. But, the simple changing of two words signals that the repercussions of terrorism are now taking their toll on music in general, something which has always been a uniting force.
It’s sad because the title Kill Paris doesn’t even have any violent connotations when we look at its origin, nor does it refer to the city. In a lengthy Facebook post, Baker explained that he came up with it after reading Romeo & Juliet at the age of 16, and that it is a rejection of the values which Juliet’s intended suitor Paris embodied. Essentially, he said it was ‘a satire against a side of life that tries to hold creativity and love down’, which is ironic because an act of terror at a music concert motivated by these very intentions, led him to abandon a name backed by a moral meaning. In the grand scheme of things, this is a trivial issue, and terrorism and electronic music are connected in no way. However, the overwhelming response to the massacre from DJs on Twitter reminded me that they do have the power to spread genuine positivity amongst people in a terrifying world, even if just for seconds during a set. We should follow Seth Troxler’s example in his statement, “my dancing was my way of letting go of the pain that humanity is facing”. Artists shouldn’t have to compromise what they stand for in the wake of such tragedy.
Preview: SoulJam, 25th November @ World Headquarters
It’s true that the Disco, Funk & Soul of the 70s and 80s can be understood as a live genre through images of Chic clad in psychedelic colours, shredding rhythmically on guitar and slapping bass. But, don’t let this deceive you in the same way miming fooled fans of the time. Although this kind of garish footage is projected on WHQ’s walls at SoulJam, the monthly night does promote Disco as a potential form of electronic music which bridges the gap between the ‘real’ and the synthesised. Although DJ Jack Pearce still uses old vinyl from back in the day and cracks out the classics, tracks are often layered with a House beat to please modern club-goers. The success of SoulJam and other Disco/House-orientated nights like Future Funk proves that the beat does indeed go on.
Listen: David Bendeth – Feel The Real (Jazz ‘n’ Groove Mix)
You Need To Hear: Sherwood & Pinch
Everyone loves continuity in a column, and as I wrote of the bass booming out of Bristol last week from artists like Pinch, I’m going to hype up his new project this week. Two years ago, renowned Dub producer Adrian Sherwood joined him in the studio to form Sherwood & Pinch and after its careful development, a full length Late Night Endless was released in February. When I’m not discovering the sickest new beats in dingy nightclubs, I’m doing it through the equally edgy method of browsing Urban Outfitters in between lectures and Shazam-ing the song choices which tickle my fancy. Such was the case with this duo. Although I didn’t leave with any new clothes due to typical student money worries, I did take away the knowledge of a match made in chilled out Dub heaven, and a renewed love for Pinch who I saw at an Audio Asylum event a year ago. His solo track ‘Qawwali’ has been the meditative relief to my recent essay writing stress, so check that out too.
Listen to: Sherwood & Pinch – Music Killer