We talked size with Batucada Sound Machine…

(Interview with James Hughes, percussionist and band founder)

A 12 piece band doesn’t happen by accident, how was BSM born?
Dude, we are now 12 piece, but were at 15 during the early days!
It all started when I returned from a stint in Cuba and Brazil studying percussion and I got a group of players together at a local club in town. We jammed once a fortnight and mixed brazilian and Cuban rhythms with drum & bass, hiphop grooves etc. The night started getting a reputation and soon a few horn players turned up, and MCs started coming along. Soon followed a bass player, guitarist and pretty soon we had a full band…playing improvised jams. We got booked for a couple of big local festivals and since then its been a mad ride…playing festivals around NZ, Aus and the UK, and resulting in the studio album with Neil Sparkes last year.

Does size matter? Is it important that there are so many of you?

We have developed our sound so that each person has their own role. From the rhythm section to the percussionists, to the traxedos (horn section) to the vocalists etc. Each person is key. Obviously there are logistical issues, but that’s all part of the fun.

Your music has been described as an ADHD Melting Pot of sound – is this deliberate?
Well, not sure who that person was, but we’ll take it as a complement! There are intentionally chaotic moments within some of the tracks, but by and large – its all carefully orchestrated…unless the band leader is having one of his ‘moments’.

How would you describe your music?
I would call it super-samba-afro-funk, with elements of hiphop and pacific soul added for taste….hmmm yeah I like it.

Your live set is said to be ‘explosive’. Was it difficult to translate this kind of energy into your album ‘Rhythm and Rhyme’?
The recording process was a great experience. We enlisted Neil Sparkes to produce (UK, Transglobal Underground) and he came out to NZ to record with us for 3 weeks. We had demo’d all the tunes for him which was great as we really worked on making the tunes album friendly and not the extended mixes we play live. In terms of energy, we captured the vibe really well during final recording, and then tried to enhance that as much as possible in the mixing stage (we were fortunate enough to mix at Avatar Studios in NY).  The engineer at Avatar was a genius and were stoked with the final result. We are discussing releases at the moment in Aus and the UK – so stay tuned!

Was it hard to create ‘one’ sound with such a wide range of talents and backgrounds? How do you avoid ‘too many cooks’?
It’s a process for us, and often song ideas are created by one person and then developed by the rest of the band. There is a core group of 3-4 of us who do most of the song creation – which makes for a consistent approach. Often a song may start as a rhythmical or bass driven groove, and then we’ll add horn and vocal melodies, breaks etc until things materialize into something we agree on. Often it will take a few times playing live for the final arrangement to stick.

As well as there being so many of you, you also enjoy collaborating with other artists – recently Che-Fu – what do outside artists bring to the band?
It was great working with Che on the song ‘Smoke’. He was super professional in the studio and had researched the subject matter of the song (which was loosely about Cuban Santeria etc). He had all the lyrics down and new exactly what BVs he wanted to do…all in all he was in for a couple of hours and done.

Batucada Sound Machine feat. Che-Fu
Smoke

We have also worked with Kevin Field (jazz pianist on Hechicera) and Lewis McCallum (saxophone guru on Vai Chegar) – both of whom really added great touches to the respective tracks.

You not only perform in English but other languages such as Portuguese. Would you describe yourselves as a ‘Kiwi’ band?
To be honest, were probably not a ‘Kiwi’ band…what is a ‘Kiwi’ band anyway? Define NZ music!? Can I ask questions?
We certainly are from NZ and love being NZers, but take our influences from other parts of the world as most bands do to differing degrees as well.

Where will you be performing over summer?
We have 4 gigs in Aus lined up:
Thurs Feb 12 in Melb @ The East Brunswick Club – w/ The Melodics
Fri Feb 13 in Sydney @ The Factory Theatre w/ Son Veneno
Sat Feb 14 in Canberra @ Carnival in the City
Sun Feb 15 in Perth @ The Becks Music Box, Perth Int Arts Festival

Then back to NZ for summer gigs etc and hopefully hitting the UK mid-year.

What does the future hold? Will you get bigger in 2009?
We wont be growing band numbers that’s for sure!
This year, we are looking to release the album in Aus and also tour the UK and Europe…things are coming together well, and we have interest from a number of festivals over there…
So yeah…gonna be huge!

You can check out more from Batucada Sound Machine at:
www.myspace.com/batucadasoundmachine
www.batucadasoundmachine.com

…BabyRuth

Pataphysics took the time to chat with us recently on his new sound that had me surprised with Australia’s developing hip hop community… interview below…

Thanks for stopping by… after seeing your performance a few months ago I was intrigued to learn a little more. So where and what have you come from?

At the moment I’m really into ideas about creation blending Astrophysics and Maya.

Your performance is exactly that, an actual performance rather then just a band. Do you see music as a vehicle for expression?

Yes definitely.  Almost everything we do is an outward expression of our inner.  Music and Art are some of the more tangible of these expressions. For me music can capture feeling or emotions through melody which cannot be described by words.  While lyrics can touch on ideas and moments many people share but do not voice.  Music

Both rapping and playing trumpet are fairly taxing activities; does it wear you out doing both simultaneously?
Nah, been doing it for a while, it’s all about breath.

I’ve seen you playing quite a few instruments, in other groups than Pataphysics also… with which instruments & bands do you play.
I play trumpet and vocals in a stack of different crews.  As well  as that I play drums with Trillion and Project nRt, playing some bass with Rosie Burgess,  electric piano and organ in UDL (Ubiquitous Dub Legitimizers), play guitar in this band I teach at Kensington community High School, and will be playing Tin Flute in a experimental Jamaican folk band Lotek’s working on.

Pataphysics - A short introduction

In the music and performances I have seen so far, you seem to have an underlying theme or message… how would you explain that message to someone who hasn’t heard your music?

The biggest theme that I feel runs through my music is one of positivity.  The message I guess is the one I tell myself, awake, understand, and ask questions. We aren’t powerless, there’s always a solution to a problem.  Today there are a heap of forces around that prevent truth and real dialogue.   Things are not always as they are portrayed to be, I am by no means a conspiracy theorist, but I do like to present an alternate view of things that we are fed .

What’s your take on the music scene in Australasia at the moment? Is anyone taking your interest?

There’s lots of music being made of all variety.  I am a huge fan of Rosie Burgess and Jemi White.  Also really enjoy Monkey Marc premier producer as well as another local lad by the name of Paranym.

And what about the international scene?

Morgan Heritage is the Bomb. Also Dead Prez.

Who were the artists you were bumping when you were developing your sound?

When I was little PE, NWA, Cypress Hill and Bob Marley are bands that influenced me greatly.  Later on in years, Miles Davis and The Brown Hornet showed me the freedom you had with music. Hendrix had a huge effect on the way I play trumpet.

Thanks for taking the time man… look forward to hearing more.

You can check out more of Pataphysics at:

www.myspace.com/brotherpataphysics

www.pataphysics.com.au

…bs

Pataphysics caught up up with California based MC, Raashan Ahmad, this week on life, music, Australian customs and other stuff… here is a basic copy of the transcript (as best as I could type it while playing it back to be precise).

You’ve had an interesting career so far, tell us a little about your journey.
Yeah man, I’ve been MC’ing for like 10 years now for real, ‘rappin since I was a little boy, walking up the street talkin to the beat, but I started to take it seriously with a group called Crown City Rockers putting out an album “Natural Phenomenon” in 2001(and ‘Earthtones’ in 2004).  Along the way I’ve just been touring consistently around the states and made it to Japan a couple of times also. I just released my first solo record called “The Push”, and now i’m just trying to make it bigger and better.

How did you get into Hip Hop, and who were your early influences?
I grew up in mid city L.A. going to a public school, and hip hop is and was the voice of the young generation. I was listening to the more conscious hip hop like NWA, Public Enenmy, KRS ONE, Big Daddy Kane, Rakim, Souls of Michief, Pharcyde, all of the Native Toungues, I’m a big fan of hip hop in all of its forms.

What do you know about Australia & New Zealand and our music?
Hardly anything man to be honest, i’m not really up on game at all. Thanks to border security and our tour manager not organising entertainment visa’s for our Crown City Rockers tour there a few years ago I’m not really up on it at all.

Raashan Ahmad – Peace

You’ve worked with some great artists in your career so far collaborating and touring, who are some of the most memorable for you?
Have to say maybe when I was on tour with Digable Planets, which was an amazig experience as it was, but working with their keyboardist, Bryan Jackson,  you know I got to do a song with him playing flute on the track, that’s probably gotta be one of my favourite memories, being in a hotel room in the middle of nowhere with an Mbox rapping with one of those cats who made some of my dad’s favourite songs.

You have come out with your debut solo album “The Push” after such a long time on the scene. How do you feel about the album and what can we expect?
I absolutely love it, this album was kinda like my selfish album, when I was making it the conscious album hype was going on, I think you can have conscious lyrics and dance at the same time, you can love the girls and do it all. I have a  song about mum passing on, my kid being born, thanks when the rain lifted, a track called “Fight” about George Bush, a track for my love for hip hop. I tried to make an album that showed more then just one side of me as an artist, but me as a human being.

Who’s playing in your headphones at the moment?
Right now i’m listening to this Wale Mixtape, i’m still listening to the Blue and Exile record,  Q-Tip ‘The Renaissance’, I’m really listening to ‘The shape of broad minds’ by ‘Jarrell’

If you could rock a jam with any cat from history who would it be?
Oh Man, Damn – that’s rough dude… dead or alive doesn’t matter??? probably Billie Holiday – i’d just like to sit in a room with her and just get the vibe she’s like so sad, and beautiful, I could just like stare at her.

So what’s coming up next for Raashan Ahmad?
I’m Touring Australia and NZ dude – I pretty much covered USA last year, so i’m just trying to get out there further and make some more music, put out another mixtape, and the Crown City Rockers new record is coming out, so play some more international shows, make some more music, open up some new minds and get turned onto new things.

You can check out more from Raashan at:

www.myspace.com/raashanahmad

…Pataphysics

VG: Today we chat with Jody Lloyd, the New Zealand musician behind the project Trillion: To start I thought I’d get you to tell us a about yourself, what you’re currently doing and your history in the music business, etc…

JL: Well, I started rapping kind of seriously in 1990, when I was 18. I recorded a few tracks in a studio. A year or so later I won a rap competition (performance, not a battle) and 6 months later (1993) teamed up with co-creator/rapper and friend Eli Foley to form the duo Dark Tower. Our first gigs used instrumental versions of American rap stuff as backing. Then I purchased a sampler, so I could build my own unique music. I had no musical experience, but come from a musical family, my dad was/is a folk musician. About the same time I got the sampler, Mark Duff moved into my flat. He was a keyboard wizard and also knew a lot about recording on computers, which at the time was a fairly new way of working. After we acquired a grant, Mark guided the recording of our first EP ‘Real Zealmen’. And Andrew from Salmonella Dub helped us release it. The EP would become the first rap release from the South Island of NZ. and the hit from it, Zealman, would acquire a cult following, and also be picked up by the NZ high school English curriculum and studied as a modern example of NZ language in music.

I made a second CD which had collaborations between me and a selection of Christchurch singers and musicians. It got picked up by Universal Music and I became the first NZ artist to sign a licensing agreement with them. I would later be ditched by them, but at the time I thought this was my big break. She’ll Be Right Records began as the label which licensed the music to Universal, and when the relationship expired I continued the label as an independent in 2002. Firstly releasing my own Trillion albums, then expanding it to include other acts. Currently (Oct 2008) we are up to the 25th release (18 of which were produced by myself) with roughly 15 active acts involved. last year we had a 10 year She’ll Be Right Records anniversary tour which involved nearly everyone ever released by the label. It was a really good time.

What were some of your main musical influences growing up?

As a young child I was really in love with my parents Beatles records. I used to listen to them over and over. I wanted to be in The Beatles. then at about aged ten, my interest turned to The Beach Boys. After that I began listening to things like Terence Trent D’Arby and INXS… From there I discovered break dance music. At 14 I went to the U.K with my dad and bought a tape: Beat Street Soundtrack, and a 7″ record: Wipeout by Fat Boys. That track changed my life. The Beastie Boys were all over the news when I was in London. I didn’t get their LP till I got back to NZ. So, Fat Boys taught me I could sample the music I liked and put it with the beats I liked. Beastie Boys taught me it was okay for white guys to do rap. And Upper Hutt Posse told me that I could do it in NZ. When I was about 17 I got really into post-war blues. But one of my strongest influences I didn’t realise for a long long time; my dad. I grew up around his music, he played acoustic guitar, harmonica and various whistles. This “folky”, “acousticy”, natural feel comes through in most of my production.

I first heard of you in the nineties when you were part of kiwi hip-hop group “Dark Tower”, who had a uniquely “kiwi” style in a time when most people were copying American rappers. Do you see yourself as someone who defines the NZ identity through your music?

We never set out to represent the ‘NZ identity’ or be cultural ambassadors. Our angle was purely to try and be us in our music, the best we could do. Incidentally… and sadly, most NZ rappers are still copying American rappers. It’s a disease.

I’ve seen some of the work you have done to draw attention to “serious” issues, like genetic-engineering and Aspartame for example. When you approach your music do you firstly think about what message you want to communicate, or how it will sound to an audience?

Music is possibly one of the strongest ways of communication, everyone likes music, and listens to it. So it becomes a good vehicle for sending out a message. When undertaking a ‘message’ song. I don’t think of who my audience will be, I just make the song as good and as accurate as I can. Although I have become aware of Internet searches, so now when I write a song that I want people to know about or learn something from, I make sure the key words that people will search for are in the title.

You obviously wear many hats in your role as engineer, producer, songwriter and lyricist. Do you see yourself more as an MC/vocalist, an arranger/composer or some kind of harmonious mixture of both sides of the coin?

Music for me is a therapy as much as it is something i want to make a living from. I don’t really see myself as an emcee even tho I rap. I don’t rap to be the best or to puff up my chest. I rap ’cause I like the exploration of language and rhythm and rhyme. And also it’s a way of telling people my thoughts and ideas without actually talking to them. Call me a rapping producer.

Can a jack of all trades, still be a master of some?

Ha ha, a jack of all trades can master them all. I spend a lot of time in every aspect in the creation of an album, right down to the cover artwork. I think it’s healthy to keep changing hats. each process brings something different to the next. As long as I have a built in quality control mechanism, i believe i can be a master of them all. That doesn’t mean I want to battle you on the mic by the way. Battle MC isn’t in my list of trades!

Which is your favourite part of the music making process?

It’s a good feeling nailing a tight rap verse in the studio in one take. I really like constructing music, or finding a primo sample or a weird record that no one will ever know about. It’s also pretty great to hear what other musician can add to a track. sometimes all it takes is an acoustic guitar strum, or a little lick for a track to come alive. I’ve had the privilege to work with some of the best musicians in NZ. Also it’s a real buzz hearing a song which I’ve constructed in a studio, being played out by my band, and then performing it…  listening to a really nice finished track over and over and over and over can be nice and hypnotising.

The latest Trillion album Silent Invisible came out earlier this year, how would you describe the album?

I would describe it as; a masterpiece, a concept, a journey. Masterpiece, not in an arrogant way. I spent a lot of time on it, and invited the best musicians I knew to play on it. It took me 3 years and everything is in it’s right place. The lyrics are probably the best work of my life ever. Concept, it combines a spoken word element which runs through it, and almost all tracks lead into each other. Journey, it tells a story, basically of a guy finding himself but in the setting of the New World Order. It tackles the issue of loneliness and it’s counter balance; aloneness. Thematically it covers political and social issues, relationships and personal discovery.

You recently relocated across the Tasman Sea, how are you finding living in Melbourne?

Melbourne is great, the best move of my life. I should have come here a long time ago. But if I had, I probably wouldn’t have fallen into such a deep hole that inspired the creation my masterpiece SILENTinvisible. Melbourne is full of artists, musicians and venues. Not such a great position to make a living from music, as there is so much stuff going on. But most of the people I meet, especially in hip hop, are really supportive and interested, whereas in NZ I feel like a tall poppy that they want to cut down. Hip hop scene here is really interesting and diverse too. Imagine a ragtime/gypsy band with a rapper.

What are the main projects and ideas are you focusing on for the future?

I’m just organising gigs in Melbourne for Jim Christy, a 63 year old poet from Canada who I produced an album for. it’s called God’s Little Angle. go find it, it’s really good. I’m also performing a bit around Melbourne with Eneti Waretini, and also playing lagerphone, political puppet show and raps in Pataphysics. Also I also met my super best friend about 6 months ago in Melbourne. Super best friend is like a girlfriend but way better cos you do lots of other stuff together, like making things, music, art and films. I’ve almost finished an album inspired by her. It explores areas which I haven’t been to before, in production and lyrical content. My last album is a bit sad, there’s so much war and hate in the world, I thought it’d be nice to make a whole about LOVE to try and balance out the world a bit. It’s called Loops Of Love. Should be out this summer, hopefully through an Australian label. I’ve also recently bought a video camera, so will soon be making all sorts of filmy things; for gig projections, for music videos and doco’s and live performance recordings for music and theatre stuff.

Find out more about Jody’s Past, Present and Future at:

www.trillion.co.nz

Includes the FREE Downable “Garage Sale EP”
for your listening pleasure!

the GARAGE SALE (EP): is a bit of a mish-mash of tracks that are a bit humourous and topically too unrelated to fit into the SILENTinvisible or Loops of Love LP’s. Popping Bubbles is taken from the Rusty Springs EP by The Incredible Braking Wheel (2007), and Cold Touch of Dawn is a live version of a track on SILENTinvisible recorded live in Sept 2008 in Christchurch. The EP also contains a small montage of music from Loops of Love. ENJOY IT – It’s free! (any donations welcome)

“When you walk in the forest – let it go
when you climb up a hill – let it go
there’s a war in the world
you’re a flower turn and curled
heart and mind work best unfurled
let it go.”

(Let It Go- Trillion)

Queries By …Yossarian

Hey everyone, today we’re speaking with New Zealand’s Opensouls, a fine product from across the Tasman. The nine-piece collective is yet another Kiwi group making waves with energetic lives shows displaying their brand of funky hip hop laced with elements of jazz, reggae and soul.
So firstly, tell us a little about Opensouls for those out there who don’t know. How’d you form and who makes up the crew?

We formed out of the collapse of a former band 5th Floor. We have a horn section, keyboards, synths, guitars, bass, drums, percussion and vocals. Tyra Hammond – Vox Bjorn Petersen – Vox Julien Dyne – Drums Chip Matthews – Bass Harlin Davey – Sampler / Keys Steph Brown – Keys (currently in New York) Jeremy Toy – Guitar, Keytar Isaac Aesili – Trumpet, Percussion and a revolving horn section depending on availability.

Big things have been said about your live show, what can a crowd expect when you hit the stage? Any plans for a few shows on our shores in the near future?

We have plans to get across the ditch soon. We try and bring a party to every gig we play. It’s a big band and such a big dynamic that when it works it is a guaranteed good night out.

Your style of music is a product of so many different influences, obviously a result of the different tastes and experiences in music the various members bring to the group; where did it all begin for the Opensouls?

I’m not sure where it all began but myself and the drummer Julien Dyne share a similar love for soul and jazz music which is the backbone of our sound. Dare I call it jazz music but that is the music that keeps your mind thinking and continually challenges how you perceive music. An extension of that is artists like Tribe Called Quest, Premier and Pete Rock who took the jazz vibe and re-hashed it without ever making it sound like acid-jazz.

The musical community in New Zealand seems to effortlessly intertwine itself; how has this affected the way the Opensouls operate?

It effects us in a sense that there are heaps of people to help us out and to give us advice. Sometime that advice is a waste of time because you can only follow your own path but sometimes having so many people that you can potentially bounce ideas off of is very refreshing.

The various elements that make up your sound mean that you are not bound to any one genre when it comes to collaboration, are there any standout artists that you’d love to work with?

Thats a tough question. You never know how well you will work when collaborating until you are there doing it. I would love to get Liam Finn to produce a track for us. He is a stand out right now. Of course, if Chaka Kahn came knocking we wouldn’t say no. I have always wanted to play with Van Morrison. Soulful Irish music is big on my list.

Jeremy: Recently you picked up an award in New Zealand for Best Producer for your work with Hollie Smith on her album Long Player, how was working with her and do you have plans for anymore side-projects?

Working with Hollie on her album was a great experience for me. Hollie had set idea’s about how she wanted her album to sound so I took my role as the person to push Hollie outside of her musical comfort zone. She is a massive fan of Voodoo and Mama’s Gun and really wanted her record to be in the same vain as those records. I showed Hollie and the band the influences D’angelo, Erykah Badu, J Dilla and Questlove had when writing those albums and we tried to create an album that was not only influenced by these contemporary musicians but also by the musicians from the 60’s and 70’s that laid the foundations for the type of soul music Hollie plays. I am involved in other side projects. An Australian singer Tim Guy, he now lives in New Zealand. www.myspace.com/timguymusic Tim writes some of the heaviest music I have heard, really well crafted songs. I am also doing demo’s with the Sami Sisters www.myspace.com/thesamisisters . They are 3 sisters with an undeniable talent for writing songs that grab at your heart strings and kick you to the kerb.

Your debut album, Kaleidoscope (released in April 2006), was mastered in Los Angeles by Stones Throw Records master engineer Dave Cooley. Did you get to go over there for that? How did the connection come about?

The connection with Dave Cooley came about when we needed our first 12″ record mastered. I got in hold of him via the Internet not knowing he had done any work for Stones Throw, all I saw was a quote from J Dilla saying that Dave’s studio was good, that was enough of a selling point for me. As he was mastering the tracks we found out his history with Stones Throw and we were blown away that such a heavyweight engineer was helping us out. From our initial contact his studio now works for heaps of New Zealand acts incl. Mark De Clive-Lowe, Nathan Haines and Eru Dangerspiel.

Recent reviews have compared your sound to that of Sharon Jones and the Dap Kings, Breakestra and Quantic Soul Orchestra; how do you feel about these comments? Are these artists that you draw inspiration from?

It is a hard comparison to take. Those artists are at the top of the food chain when it comes to Soul music. Yes, they are an influence but we are very aware that they have their sound and we need to develop our own sound, not just try and replicate what they are doing. I am more inclined to draw inspiration from outside the funk genre. I think there is more to learn from artists like Jeff Tweedy, Townes Van Zandt or Elliot Smith who communicate something through lyrics that only great songwriting can achieve.

As the Opensouls are involved in a variety of New Zealand crews (such as Che Fu’s The Krate’s, Ladi 6’s Verse Two, Recloose, Solaa and Tyra Hammond’s funk band The Tornado’s), is the Opensouls a side project for individual members, or are their other endeavours the side projects? How do this all work for the Opensouls?

This band is a crazy dynamic. I think we all will agree that when we get together and play live that it is the closest, best bunch of people that we could play music with. We all go out and work for other artists, as musicians we have to do that to keep our minds active but when we come off tour from those job and play as Opensouls we all realize that this is the one project worth putting in the hard yards for.

Hip hop is winding an interesting road through music history, what do you think of the current state of hip hop? And where do you feel that you fit on the hip hop spectrum?

I don’t know much about the current state of Hip Hop. To me there is always going to be a stand out release that may fit in to the Hip Hop Genre but its always something a bit left of field. Madlib is still ruling, Common seems to be hanging in there, Erykah Badu’s new album captured the vibe. There are some amazing things happening in Europe but it is more on the techno side of Hip Hop. As for what is on television top 40, I couldn’t care less. I think Hip Hop is in a good position as far as where it sits in the industry. It needs to be an underground music, it needs that constant low hum that works away while the top 40 slowly eats itself and decays.

What’s next for the Opensouls crew? New albums in the making? Future tours on the horizon?

We are working on our next record. We have a 7″ about to be release which will get to Australia in select vinyl stores, Northside Records etc. Hopefully if the Australian radio and television stations are nice to us you will hear our next single “Dollars” on the airwaves.

You can check out more of Opensouls at:

www.myspace.com/opensoulsspace

Hey guys, thanks for taking the time to catch up… for those who have just heard you recently, who’s in True Live, and where did you all hook up?

True Live started as a loose pool of players involved in a regular jam night in melbourne, which progressed to become the core 6 piece unit you see these days. The band is made up of MC Rhyno, Thomas Butt (double bass), Tamil Rogeon (violin), Tim Blake (cello), Joel Mammone (drums) and Thai Mattus (keys). We cut our teeth playing our fingers off at shows around Melbourne every week for about years, as the profile slowly grew around us.

New single “Damn Right” dropped recently, when can we expect a second album?

The new album is in the final stages of production at the moment, and we are hoping for a mid-year release for it.

What’s the plan for the next couple years? Any countries you are interested to work in?

We’re talking to a label in Japan about a tour over there, and we have a few gigs penciled in across Europe and America that we’re working towards at present. It’s early days still for our international presence, as we’ve been really focusing on our presence in Australia and the new record.

You guys really shine in your live performance… Does that have anything to do with your name?

I guess that with a name like ours, which was actually merely a way to describe the original weekly gig we were playing, we have to put on a good show. We are all working musicians who make a living doing what we love, and in this industry if you don’t perform then you don’t get any gigs, so we’ve all learned these lessons the hard way. You have to play every single note as if your life depends on it, cos in a way, it does. And in my opinion it’s this attitude that makes a real performer great.

In the Australian Hip Hop scene you stand out from most other groups as conscious lyrically, and organic musically. Have you got any love for other Australian Hip Hop groups?

We don’t really see ourselves as a hip hop band so much as simply a band, which stops us from getting too bogged down playing a genre and frees us up to think about the music we write and play in a fresh way. Of course we draw from hip hop, but we also listen to a lot of soul, electronica, metal and jazz. We are good friends with many Australian hop hop artists, and plan on working with many more in the future. The upcoming Uni-fied tour is a testament to the universal appeal of what we are trying to do.

What about current international artists… who’s got True Live’s Attention in the Live / Jazz or Hip Hop scene?

I’ve been listening to a lot of J Dilla lately, as well as Gnarls Barkley’s latest release, Pete Philly en Perquisite and the new album by Autechre. They’re all great, strong albums.

Jazz seems to be neglected these days, at least as far as touring goes. How do you find audiences react to your full live instrument performances and solo’s?

The jazz element of a true live show is often a great release, as we place the moments throughout the set to help the whole performance breathe. We find this is much more effective than overkill, where too much of a good thing loses impact. The audience seems to really engage with the soloist, and from the volume of the cheers after a good solo, it appears to be very well received.

I know some of the group members have little side projects outside of True Live. Anything we should look out for that you guys are working on?

Rhyno and Tamil are at working on The Raah Project, where they wrote for and recorded an orchestra, then took the result and chopped and screwed it and added electronic beats, vocals, synths and all sorts of other things. Joel is involved with the Bad Boys Batucada and CMW, a hard edged hip hop project that I’ll be contributing some beats to, and Thai is always busy with his crazy jazzish band the 12 Tone Diamonds.

Were Black Eyed Peas better with or without Fergie?

I wouldn’t like to gossip, but I will say that when I saw them support Roni Size in 1998 (pre- Fergie) they were pretty damn good.

Will True Live ever bring a girl to the group? Who would it be if you did???

We do have female guest and backing vocals on our current album, and the new album will also have girls adding to the sound. generally it has all been to the end of creating a good solid bed to support Rhyno’s vocals, as opposed to an attempt to sex up an all-boy band. We have been touring with Bec Ari recently, who has been great.

Cool, thanks for taking the time… looking forward to the new album… what’s it called?

Now that would be telling…

Peace

Thanks for having me.
Tom.

You can check out more from True Live at:

www.myspace.com/truelive

Hey guys, thanks for taking the time to share with us a little mind state…

From the sound you guys have created together it seems you have an intimate understanding of how each other works. How did you guys meet and how long have you been collaborating?

We’ve been collaborating for about four to five years now. We met through a mutual friend who thought we should hear each others music..

Did you guys work individually with many other artists before you realized that the two of you were the right combination?

Pete: Well, I used to be in Funk bands, soul bands and drum & bass bands. Before we decided to make an ep together.
Perq: I’ve always released my instrumental solo stuff on my own label Unexpected Records.

Who are some of the artists you played in your first cars? Were any influences from the ‘Golden Era’ of Hip Hop (’93 & ’94) when artists like De La Soul, and A Tribe called Quest were redefining Hip Hop?

We like melodic hip hop so those artists are artists we have listened to. However I think we listen mostly to music outside of the hiphop genre. I (Pete) am really into soul music, rock music, Latin music and broken beat stuff.
Perq: I’m into old stuff like the Beatles, Simon and Garfunkel, but also MIA. Right now I’m really into folk music from Chile and Africa. We’re both into Jazz though of course.

Your first two albums, video clips, and virtually everything you have done together carry a completely unique style both musically and fashionably… what is styles relationship with music?

Funny you should say that, cause we’re not really into fashion. But we do want to represent who we really are. We both dress casual with a hint of hip hop in there. We like the fact that the Time Flies cover art for example looks like it’s a classical tune done by a string quartet or something. Our fan base in Europe is really diverse because of these kind of decisions I think (musically and stylistically).

Pete – without emulating your predecessors; your flow has set a new benchmark for artists to follow, how did you come to find that voice?

Thanks. I believe that as an artist and as a person I’m simply the sum of my experiences and my inspirations. Coming from a Caribbean background (I came to the Netherlands when I was six), going to an American school. Growing up though with a sober Dutch sensibility, combined with the fact that I don’t really feel the need to copy paste the American themes have gave me my own story to tell. I’d like to say I sample the best out of every culture I feel connected to and because of my international upbringing and the multicultural place that is Amsterdam, for me, it’s easy to do.

Perq – you cross over so many styles in your production, what do you use to make the beats in the way of software, instruments, people, etc?

I started making beats when I was about fourteen. I got this tracker program off of a friend of mine and I’ve been making beats with it ever since. I combine it with cool edit pro to record my string arrangements on the cello for example. People tend to think that I use a lot of live instrumentation though this is not the case, other than a guitar or a saxophone solo every now and then. I think 80% of my music is sample based. The way I program things like bass lines some people think it’s being played live, which I guess is a compliment.

Since you dropped your second album “Mystery Repeats” you guys have been touring a lot. Where have you been traveling and where’s up next? Can we expect to see you in Australia and New Zealand any time soon?

We definitely want to go to Australia and New Zealand! For the next few months our main focus is on Europe and Japan. After that anything should be possible.

What was it like to work with Talib Kweli? Have many artists coming out of Brooklyn had an impact on you over the years?

Well Biggie of course. I think a lot of the older stuff Talib and Mos did was really exciting. At this point I believe as artists Perq and I are going in another direction than they are. But the older stuff is great. Kweli is a cool dude, he really was impressed to see two young kids with nobody backing them up at the time, making the moves we were making with honest music.

I’ve heard you guys like to step up each others game with a little bit of healthy competition… So who’s cooler?

Hahaha, I think I’m cooler, which probably goes to show that Perq is.
Perq: I think it depends on what situation we’re in. We’re both very different haha..

Both of you are still relatively early in your careers (especially considering your accomplishments). What direction do you think your music will take over the coming 5 – 10 years?

I think we’ll keep writing songs with a hip hop twist while tapping from other genres to keep it interesting. There are so many interesting ways to make music and we’ve barely started exploring them so… Keep checking us out people!

Nice to catch up with you both, your music is so well received in Australasia as it is around the world and we hope to see you performing on our shores soon…

You can check out more from Pete Philly and Perquisite at:

www.petephillyandperquisite.com
www.myspace.com/petephillyandperquisite

Hey Ara, It’s nice to get a chance to talk with you so thanks for taking the time man… I’ve seen you in action from afar as well as up close over the years, whether its been performing onstage or organizing things behind the scenes you pretty much do it all from what I gather… So i’m going to start with the usual questions to catch up those who aren’t as familiar with your history, and then maybe we’ll go a little bit deeper… Sweet?

Where did it all start? What did, has, and still does inspire you?

Where did it start aye? I would say it started when I was a kid just being around my dad and uncles when they use to have their (ahem) ‘many’ guitar garage parties which always mysteriously ended up at our house. Haha. Good times when we were kids. Music was kind of ingrained in me from then. I didn’t actually pick up a guitar though until I was at college and that’s when I was doing kapahaka hard out so I was the guitarist for our group. I always wanted to play bass since I heard Ardijah back in the 80’s but I didn’t get one until I was 20 which was in 1995. I was content to just jam away with a few mates until I went to see the EAGLES live at Western Springs 25 November 1996. I was brought up on the Eagles and seeing them live lit the fire inside me to aspire to be a professional musician. From that night forward, thats all I thought about. Not long after I joined Katchafire, and that shot me far beyond what I ever thought I was capable of achieving. Realising that I could reach places that I thought was only held for the lucky, or selected few, I decided to quit Katchafire and continue my quest for learning and growing, and doing it all over again!! Some might think Im crazy – I can confirm that I am. I fully believe that I can do it all over again and Im loving the ‘freshness’ that I am now bringing to my own music. Something that I felt I couldn’t do while staying in Katchafire. So now Im putting in the hard hours learning, growing, jamming and I am so keen and eager to get back out on the scene starting from square 1 again. Yeeah that’s what keeps me amped. Ask my wife – she’s sick of hearing about it hahaha!!

You played bass for Katchafire for 6 years as well as taking a central role in management and organization of the group. Katchafire has built up a massive following in so many places now, and have toured around all corners of the world. Must be a pretty amazing feeling after starting out as a Bob Marley covers band on the New Zealand scene eh? How did that unfold?

Yer it was a massive feeling to go from a straight covers band to playing mostly originals. It unfolded because we could all see that people were still vibin hard on reggae music even though there was really nothing out in the charts or on radio. Once you can see people vibin to the music the boys started writing our music and slowly intergrated it with our covers sets to see what the reaction was. Every now and again we would play at festivals and road test our originals on the public and it was bumpin. We got told by radio directors that reggae music was a waste of time if you wanted radio airplay cause no one listens to it. Fortunately Mai FM believed in us, they jammed the tracks, and the next thing you know we won a NZ Music Award for the highest selling single which proved that people wanted to hear it. After that came our first album REVIVAL, and the rest is history… The management side of things was really a Labour of Love. I worked tirelessly on our bookings, finances, website, etc…. while Mai FM worked on the distribution, radio and tv airplay, and between the two of us we managed to get the profile of Katchafire to decent place. Both parties have now moved on though but it has been rewarding to see the fruits of your labour appear.

I understand that you have recently left Katchafire to pursue your own musical path. Whats your new passion? what led to your decision to choose this new path, and how did it feel leaving?

My new passion is to do it all over again!! Play live at all the cool clubs, at all the cool festivals and bump some new sounds. Yeeyah. Luv that shit!! The reasons behind my decision to leave was a lot of reasons! In a nut shell it came down to ‘it was the right time.’ It was a mixture of spending more time with whanau, needing to move back home to Paraparaumu, personality differences within the band, different priorities for me, and the fact that my musical taste and ambitions were different to where the band wanted to go. Ultimately I knew on 17 June 2006 (Im good with remembering important dates haha) that I knew I had to leave the band to have a shot at fulfilling my potential as a musician. I knew staying in the band wouldn’t allow me the room for me to grow so the decision was quite easy in the end. When I left I felt free again – free to start all over again and free from the world that we had created when I was in Katchafire. Life while in Katchafire was massive, but when you start havin kids, and your kids don’t wanna know you when you return from 6 weeks overseas, that really fkn sux!!! So while it is an awesome lifestyle for most people, I had changed and therefore I needed to change my surroundings which saw me depart from Katchafire.

You’re involved in the business side of music as well as writing & performing right? What exactly do you involve yourself in on the business side (booking, promoting, marketing, labels) and was your involvement by choice or necessity?

Good question. Yer I am involved in the business side of music while I continue to work away on my own material. I am involved as a booking agent and my clients include Katchafire, House of Shem, Opensouls, Cornerstone Roots, Unity Pacific to name a few. I actually don’t mind this suit of work as it keeps me in touch with a lot of venues and festival organizers which I am hoping to use when I am ready to hit the stage again. But YES, the decision to do this is by necessity. I have to somehow pay my mortgage, feed my family and pay the bills so I do this work while I chip away in the studio. I am very very grateful that I could leave Katchafire, and still make a living in this NZ music industry. I work hard and I jam harder so as long as I can keep that balance its all good. If there does come a day when I can give away this music business side of things I will. I wake up excited in the mornings to make music, not to ring up to book gigs, but its still a great job nonetheless!!

In my experiences, some crazy things go on when your touring, some great, some not so great… anything come to mind when I say that?

I remember falling through the roof once at a venue in Napier and being knocked unconscious… Crack up when you think about it now!! Yer there are bad times, but all I choose to remember is all the fun stuff. The jamming on stage, the awesome people you meet, the different cultures you encounter, meeting famous people. I mean, I NEVER EVER thought I could go to the UK or HAWAII without paying a single dollar – in fact they give ME money to jump on a plane to jam in front off them. That’s crazy to think that people thought that highly of you and your music. I’ll remember those euphoric moments on stage – that’s what you live for and that’s what I’m striving for again. Those moments of magic where everything and everyone is connected thru this thing called music. Luv it!!

I’ve spent the good part of my life in Aotearoa (New Zealand) watching such a beautiful array of solo artists and groups spawn. For me, I’m talking about Che Fu & the Krates, Trinity Roots, The Black Seeds, Otautahi Allstars, Fat Freddy’s Drop, project nRt, Salmonella Dub, Cornerstone Roots, Bic Runga, King Kapisi. There are far too many to mention, but if I have missed a few who you wouldn’t have… who would they be? And who are the new kids on the block to look out for?

Definitely Kora, Shapeshifter and Opensouls! The sounds of kinda changing here to with this electronic/jazz/soul/funk vibe thing. Of course NZ music can never be one genre as we like to mash it!!! But there are sooo many good NZ bands out there on MySpace its inspiring! Check out The Constituents, Harbour City Electric, Bluevibes to name a few. Mark de Clive Lowe is a huge inspiration to me too as he is one person who is doing what I want to do. He jams a whole lot of loop based stuff, and layers all the parts in live, then drops different things in and out, and that’s exactly what I want to do. I didn’t even know there was anyone doing it till I started searching and then Blam – there he is!! So check out Mark’s video’s on MySpace if you into live loop based jammings.

With all of your success and I suppose happiness so far, what’s the next dream for Ara? and what are you doing to turn your dream into your reality?

Bro, I’m a big dreamer…. And I’m big on making them come true too. I’ve already said it above but I want to taste the success again of people vibin your music live again. From the smallest coolest club in NZ to Japan, UK and Europe!! I also want to get to a point where I can live off my music and get that free hold beach house. Not a day goes by that I am not doing something to further my music. I am into learning and researching magazines and websites for tips, I jam a lot in the studio and with other people, and I listen to a shit load of other peoples music that inspires me. I love to think ‘outside’ the square a little and experiment and try other shit. I’m really getting into this whole new electronic/jazz/soul vibes right now.

Are you a musician or an artist? Back it up brother.

I suppose I would say I am both. A musician is someone who can play music, an artist is someone that can create pieces of art (music, paintings, sculptures, ete…). I suppose you would therefore say I am a Music Artist. Sounds pretty anal aye…”Hi Im Ara and Im a Music Artist.” I don’t know bro, Im just a Maori brutha with visions of big dreams in Music. Call me what you want haha!!

We know you play bass… what’s your approach to the new album. One man band, collaborations… how will it play out?

Definate collaborations. I don’t really find too much joy with it just being all about me. I love to feed off other peoples energy and vibes. As long as we are on the same wave length its massive seeing where things can go and how things change when working with other like minded people. I play bass, keys, guitars, sampler and I get my bro to jam drums over the programmed drums…. Its makes the beats sound even fatter when combing those two elements. I really want to work with singers and lyricists that feel have a Soul and a Vibe about their voice which has emotion in it. If you can infuse that voice into the music that’s the shit right thurrr!!!! Man I wish I could sing…..haha. I also want to work with other like minded musos – anyone who feels they get into a huge sound of a melting pot filled with reggae/jazz/soul/funk/electronic give me a call!! So if you jam or you sing holla at me on myspace.com/bastionafro .

I really want to make my name is a Live Artist first and foremost. If albums and all that comes then that’s all good but I really want to be a Live Artist first. You cant beat that energy and vibe when its happening live.

Cool cool, all of the crew at Very Good are looking forward to hearing your new sounds. What we’ve heard seems to be very diverse with a mixture of influences and styles and it’s going to be a welcome break from the norm. Cheers for taking the time and the best of luck with everything.

Cheers for the interview and sorry for my long ass winded replies. Now its off to my studio to jam…..

www.myspace.com/bastionafro