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‘BUSTIN’ OUT 3: 1983’ - Various Artists

LABEL: YEAR ZERO

RELEASE DATE: 4TH OCTOBER 2010

‘Bustin’ Out 3’ is the third installment in veteran DJ Mike Maguire’s sparkling, ongoing series chronicling the seismic developments in electronic based music through the often misrepresented 1980s.

By 1983, electronic instruments were no longer a novelty. Musicians, especially drummers and bassists, were getting nervous as drum machines and synthesised basslines made their presence felt in a big way as producers got more familiar with the machines and would-be studio fiends started seeing the day that music could be created in the bedroom. A spirit of adventure ruled in this brave new world, made possible by new technology which meant nothing was sacred as source material anymore; from Saturday morning kids’ TV to movie soundtracks, inspiring either moods, melodies or mischief.

Following the post-punk foragings of volume one and the follow-up capturing the global groundswell of excitement as electronic music came into its own, the microscope now falls on 1983, when the fallout from the previous year’s ‘Planet Rock’ spawned electro funk in tandem with the emerging hip hop and graffiti cultures, while electronic developments started infiltrating many more stratas of new music, whether disco, punk or even mainstream.

Such was the volume of electronic delights raining into the import bins and up from the UK’s own rapidly-adapting scenes, we can only hope to present an exotic snapshot blend of that year’s titanic deluge. To this end, Mike Maguire has done a brilliant job of capturing the panoramic spirit of a year when New York radio‘s ‘mastermixes’ were like gold bullion in clubbing circles while clubs like Danceteria were providing Damascene moments for visiting groups such as New Order, black music was besotted with the drum machine and, most oddly, Kraftwerk were the biggest influence on dance music.

But the collection also steers clear of the obvious route, kicking off with electro-punk poetess Anne Clarke from Croydon, proceeding with an atmospheric mix of legendary film director-composer John Carpenter’s theme to ‘Assault On Precinct 13’, before hitting New York City’s boiling electro scene with Special Request’s ‘Salsa Smurf’ and later the Jonzun Crew’s ‘We Are The Jonzun Crew’, while Downtown is represented by Liquid Liquid‘s ‘Optimo’. New York’s clubs also massively influenced New Order, as beautifully shown on their ‘Power, Corruption And Lies’ album, represented here by the grand melancholy of ‘Your Silent Face’, while San Francisco’s innovative electronic movement is represented by Twilight 22 [formed by Stevie Wonder’s former synth programmer Gordon Bahary].

Rather than focusing entirely on US developments, the set carries on its tradition of exploring Europe’s often darker use of the new technology, including Belgium’s Front 242 and The Neon Judgement, Denmark’s Laid Back with the enigmatic electro of ‘White Horse’, German goth-punks Xmal Deutschland, while Koto’s dub of ‘Chinese Revenge’ spotlights the burgeoning Italo disco movement. Another standout track comes from German synth duo The Unknown Cases fronted by legendary former Traffic percussionist Reebop Kwaku Baah on the rousing Afro-electro of ‘Masimba Bele’. After such a potent, multi-strained hotbed, the UK’s Cocteau Twins make the perfect finale.

1983 was as unpredictable as it was exciting, with musical boundaries falling all the time and clubland on fire with the oddest anthems. At the time the word buzzing around New York summed everything up: fresh. Same goes for the latest gem to appear in this wonderful series, telling the whole story in the celebratory spirit of that amazing era.

futurenoisemusic.com

Fiat and Faithless take over London's Southbank

FIAT AND FAITHLESS LEAVE LONDON FEELIN’ GOOD - TV’s first prommercial takes over London’s Southbank

On Friday 20th August Fiat and dance act Faithless marked the launch of their groundbreaking creative collaboration with a projection of Faithless’ new video ‘Feelin’ Good’ onto London landmarks including the National Film Theatre and Royal Festival Hall. The team behind TV’s first prommercial transformed the Southbank into a pop-up billboard while a surprised audience gathered along the Thames.

This is only the second time the Faithless video has been seen in its entirety by the public following the premiere on Channel 4 last weekend. The three-minute video was played on a loop while the sun set on London’s skyline.

The video’s plot follows the extraordinary night of a young man and woman, whose incredible dance moves begin to attract the attention of fellow clubbers. It soon becomes apparent that the dancers’ moves are being directly affected by the movements of stylised dolls in the form of Maxi Jazz and Sister Bliss, hanging from the rear view mirrors of separate Fiat Punto Evos. As the cars navigate the dark city streets the dolls’ movements become more erratic and our dancers’ moves even more unbelievable. Inspired by the track’s lyrics, performed by Dido and Maxi Jazz, the video follows our dancers as they are awakened and energised by the cars’ journey through the city.

Fiat recently broke new ground by releasing the world’s first ‘prommercial’ - a hybrid of promotional video and TV commercial – which can now be seen nationwide until 12th September.

Faithless said:

“We’re always looking at new ways to get our music to different audiences and exploring new ideas.”

Elena Bernardelli, marketing director, Fiat Group Automobiles UK and Ireland said:

‘This collaboration was all about getting the Punto Evo and the Feelin Good track out to a wider audience, so projecting the video onto buildings in London where everyone and anyone can see it, seemed like a natural progression for the campaign. The video is really fun and uplifting so we're hoping it’ll give people that feel good feeling as they pass by’.

As part of the campaign, Fiat is launching a special edition Punto Evo Feelin Good that comes fully equipped with the Blue&Me hands-free multimedia system, Start&Stop system, metallic paint, 15” alloys, sports bumpers, rear spoiler, dark tinted headlights, adaptive cornering foglights. You can get all this on a 3-door Punto Evo Feelin Good for only £9,595.

The car also comes with the test drive incentive of a free 2GB MP3 player and a copy of Faithless album ‘The Dance’, including an exclusive track, to anyone who test drives the Punto Evo before the 21st of September, on a first come first served basis.

evomusicrooms.com | facebook.com/evomusicrooms | faithless.co.uk | myspace.com/faithless

Fiat / Faithless prommercial takes a life of its own

Fiat's collaboration with Faithless through their "prommercial" achieved coverage across the board last week, resulting in a section on Newsnight and Radio 4 as well as features in The Independent, Telegraph, BBC News, AOL Music and NME.

See the video here, watch the Newsnight clip here and listen to the Radio 4 segment here

Jack Sparrow - Circadian

Rising Leeds star Jack Sparrow launches his debut LP ‘Circadian’, following previous faultless Tectonic tribalistic anthems ‘The Chase’ and ‘Terminal’. Following in the footsteps of 2562, label boss Pinch and Cyrus (Random Trio), Sparrow is one the few dubstep producers capable of making the leap from hard-hitting 12" dancefloor releases to full length album.

As the restrained 4/4 kick drum of opening track ‘Loveless’ pounds in, warming chords rise up, and snatches of soulful vocal cuts chime in over building drum layers - you already know you’re headed for an involving journey with this album. Fans of Mala, Martyn, Quest and Silkie will feel at home with the vibe of the opening track, yet Sparrow takes things in his own direction with a sound that combines elements of deep house with a tribal side of dubstep.

The vibe switches then for ‘Dread’ – a collaboration with fellow Leeds based producer Ruckspin – a dark, cold ragga-techno rhythm before Sparrow breathes new life into his original Tectonic tribal anthem, with a VIP version of ‘The Chase’. ‘Salvation’ continues with a voodoo laden tribal theme, taking things into slightly more tech-y territories before we hear a fresh take on ‘Terminal’.

‘Shoal’ pulls back a little on the pace, venturing into new territories as technology battles with organic sounds. Next up the sweet sounds of vocalist Indi Kaur (who sang on Pinch’s ‘Angels In The Rain’) meet with Sparrow’s adept production skills for a soulful meander in the endearing ‘Subterranean’ - a lighter touch on the LP.

‘Dune’ takes things back into a more sinister world, with its lunging half-step rhythm and earthquake sub bass and ethno-decentralised atmospherics. ‘Relapse’ kicks in at 160bpm, Jack Sparrow demonstrating his prowess as a highly versatile producer with this “autonomic” take on his dubstep sounds - highly rhythmical whilst pushing forward the technological boundaries of sound. ‘Regress’ keeps with the uptempo bpm but steps back the pressure, allowing for memories of the early days of ambient jungle to seep in.

Pause for a deep breath as the final track, ‘Exit’, gently delivers you out of the ‘Circadian’ journey. A unique track that warms your heart and chills your bones simultaneously, and lets you float off fully satisfied.

‘A circadian rhythm is a roughly 24-hour cycle in the biochemical, physiological, or behavioural processes of living entities.’

myspace.com/sparradubz | myspace.com/tectonicrecordings
multiverse-music.com