SUITE GROOVES NEW RELEASES #5 (22/03)
Sharif picks some tunes
King Gizzard & The Lizard Wizard – The Dripping Tap
Lack of Afro – Mongrel Strut
Kraak & Smaak – C’mon People (7- Edit)
Third Attempt – Age Of Steam
Khruangbin – B-Side
Sly5thAve feat Denitia – C-Side (Hemai Remix)
Moonchild – Too Good
Miguel Migs feat Lisa Shaw – Promises (Girls of the Internet Extended Remix)
Fort Knox Five & Lazy Syrup Orchestra – Start the Ride
Is Anything Resonating?
Grit & Tooth
Alexander Flood Interview
All For The Pocket feat Nelson Dialect
Pathways feat Christian Scott
Kantra feat Zayn Mohammed
Weighing Of The Heart Ceremony
The Global Hip Hop Show with Morganics
Sonz Of Serpent – Life
Easy Wameyo – River Nile
Rising Suns feat ALYX Ryon – Back In The Day
Chaka Khan – I Know You (Stevie B Edit)
Shapeshifters – Bring On The Rain
NY’s Finest – Do You Feel Me (Odyssey Inc Remix)
Cosmo’s Midnight – Can’t Live Without My Baby (David Penn Remix)
The DJoon Experience – Old Landmark (Daisuke Miyamoto Remix)
Clark Sisters – You Brought The Sunshine (DJ Spen Remix)
Lack of Afro – Recipe for Love (Sam Redmore Remix)
Oyobi – Make Me Believe In You
Kraak & Smaak – Money In The Bag (Original 12”)
Hello, and welcome to the fifth edition of Suite Grooves New Releases.
and we’re back for another edition. And we decided now to start calling the podcast by the month that it represents. So this podcast we’ll be playing you all the tracks that we added in March. So that’s why we’ve got 22 slash 03. It’s taken us a few months to find our sweet groove excuse the pun. I took that from you, Mitch.
Yeah, you did.
So now, every month, we’ll, we’ll go through the albums that we featured the month before. And all the tracks, we’re not all of them, we’re going to try and feature as many as we can, that we added the month before. And we’ve also started another podcast called the Xtra Suite Mix, if you haven’t heard it already, where we get more of the tracks that we released that month, and then just put them into one continuous mix. So we can try and cover more tracks. So So yeah, we’re just creating more work for ourselves. So to start off, this month’s podcast, coming up are a few tunes that we’ve added. The first one is one that just came out. And luckily I bought it Mitch because as soon as I bought it, it was taken off Bandcamp because they were
Yeah, because they’re releasing a whole album. So I think they sold around 1500 copies of it digitally and then stopped it. So so now you have to wait for the album’s come out. So luckily, I got in there before before they stopped selling it. The album comes out next month. The new album by King Gizzard and the Lizard Wizard, but this track goes for 18 minutes. First thing I want to say is please lower the volume because it might just blow your ears off. It’s a little bit different than a lot of things we play it’s a bit more rocky psychedelic. But it’s King Gizzard and the Lizard Wizard. So we had to play it right?
Oh yeah. And maybe roll one up?
Tracks – Sharif picks some tunes (check track listing above)
You’re on Suite Grooves and finishing that mix. We had Fort Knox five featuring Lazy Syrup Orchestra. And the track is called Start The Ride.
What a groove!
I love it. I love it. You sent this to me last week. And I played it out the same night.
Yeah, as soon as I heard it, I knew this track, we’re gonna have to play and I knew you’d want to play it. It was Friday and I went Mitch has a gig tonight. I’m sending it to him.
And it was that kind of gig too, like I play a bit of everything at this bar. And I’ve been playing a bit of breaky kind of stuff. And yep, it was totally, totally fitted in
Fort Knox five. I mean, this is an awesome track, it sort of reminded me of sort of the early hip hop like late 80s, early 90s. It’s a bit more bouncy. It’s you know, it’s a it’s a cool Hip Hop track. So it was one of those tracks. And a few days earlier, Mitch had sent me this track going, this just came out now. It has to be playlisted straightaway, because it’s really good. And when I heard this track, I thought it was the same thing. So I sent it to Mitch straightaway. And as I said the same with the first track that we played King Gizzard and the Lizard Wizard, The Dripping Tap. That’s a track off their forthcoming album, which comes out sometime in April. And it’s an 18 minute track. We only played you about three minutes. Go check out the rest.
You got your 15 minutes to look forward to.
Yeah, so we can’t wait for the album. Great track by the King Gizzard and the Lizard Wizard
A really cool tune.
And following on from that Lack Of Afro with the Mongrel Strut now this was taken off his debut album, which actually came out in 2007. So it’s 15 years old. It’s been re-released, celebrating, you know, 15 years of, of Lack Of Afro releasing music, and the album is called Press On. It’s a really cool album, I highly recommend that you check it out if you haven’t heard it. And Mitch is going to play us in his mix another cool Lack of Afro track, but it got to remix recently.
It did. I’m also going to play that other track that Sharif was telling telling you all that I said was the record of the year that’s also in my mix, so that you got that to look forward to as well.
Record of the Year and it was only March?
Yeah, I reckon we could we could be a big possibility. I don’t know how big it will get. But in terms of my song, the one that kind of hit the spot I think potentially this could be could be the one
Cool stay tuned for that. Well, after Lack Of Afro, another old track that was re-released Kraak & Smaak, C’mon People, the 7 inch edit. The A side is Money In The Bag. Which if you know the original, it also came out probably around 15 years ago, actually no earlier probably about 20 years ago.
2003 Yeah, almost 20 years ago. And yeah, the remix, the original of that is amazing. So I don’t really like the new remix as much as I liked the original. I still like the new remix, but I’d play the original over the new remix.
So and I didn’t know this was how old this was. And we were talking about and you sent me the original. I as much as I liked this. I do agree that the bass line and the original is is wicked.
I know, as soon as that drops, I mean, you got to stop everything. Yeah, yeah, it’s we’re gonna have to play it at the end of the show, then.
I think we should.
Cool. All right. So Kraak & Smaak from Holland takes us to Third Attempt from Norway. From Beatservice, which is a record label from Norway that has a lot of their beat makers on there, including Third Attempt. This is his new single called Age Of Steam. We’ve been playing stuff he’s on and off. Here on Suite Grooves. This is a nice little funky number.
Nice little groover there.
Yeah. And then I don’t know how to pronounce. Sorry,
Khruangbin. I looked at this is Khruangbin. I looked..
Is that how you pronounce it?
Yeah, that’s apparently how you pronounce it. I am glad you sent this to me because I’ve seen their name before a couple of times. And I sort of thought they may have been like, a K-Pop or an Asian sort of hip hop thing. I didn’t really know what they what they were but they’re from the US and they kind of got a bit of a Tame Impala-ie sort of vibe about them at least with this track.
Yeah, yeah. They do have a really Tame Impala-ish sort of vibe about them. We featured their last album, it came out sometime last year. It’s still, it’s on this sort of vibe. But I really liked this track. This is probably for me their best track so far. Or, it’s my favorite track of this so far.
It’s called B-Side. It’s very cool.
And then Sly Fifth Avenue featuring Denitia, a track called C-Side. Wow, we went from B-Side to C-Side.
That’s a pretty cool little thing we got going on there
and it’s not C, sorry?
for the record
Nice one. Yeah. And it actually is C the letter C-Side. It’s not like seaside as in by the sea. Yes. Yeah. From visa.
Put the second record on.
Yeah, well, that track comes from an album that was also a feature album of ours here on Suite Grooves sometime last year, from Sly Fifth Avenue. And we we played this track, but this is a new remix. Done by Hemai and it gives it a completely different feel to the original, it’s a lot more laid back. Then we go to Moonchild a US outfit and the track called Too Good
I love this album.
It’s a good album, isn’t it?
Yeah, it’s that kind of cruisey r&b vibe. Like I’ve heard the sound a lot before and I just can’t think of an artist but it’s that sort of electronic, slash r&b. Really, really chilled out kind of stuff.
It’s one of those albums you can just really chill to it’s got a really laid back vibe to it. And then we go to Miguel MiGs featuring Lisa Shaw another track that we’ve played here before from Miguel MiGs latest album it’s called Promises, but Girls Of The Internet, do a remix of this one.
Yes, really cool remix. And there were a few few mixes on the package of that, that were called Miguel MiGs obviously did his own mixes and his his Salty Dubs and Rubs and, and re edits and all kinds of things, what he calls them. But yeah, this is Girls Of The Internet who’ve had some cool originals and remixes out over the last few years.
And then we finish off with the Fort Knox track, featuring lazy, how lazy
Lazy Syrup Orchestra.
And that’s it, I thought I’d keep it a nice short mix this time because everything seems to be getting bigger and bigger. Our podcast keeps getting bigger and bigger, which is great. But at the same time, we don’t want to make it too big. That’s why we started another podcast. Coming up on the rest of the show. We’ve got three interviews for you. This month, one with the Mind Electric, one with Alex Flood. And one with Shinji. And of course we have the Global Hip Hop show with Morganics, we’ll fit in during the show. But the interviews, we’ve tried to cut them back a bit because we don’t want the podcast to go on for too long. So we’ve we’re including the bits where the artists are actually talking about the albums. I interviewed Shinji and we went through his history but I’m not going to include all that here. Shinji is going to do us and influential tracks, podcast as well. So at the beginning of his podcast, I’ll include the rest of the interview where Shinji talks about how he started. He started off in a heavy metal band, and he’s based in Canberra, and he started off in a heavy metal band. Making heavy metal music, he’s put his hand into quite a few things. So we’ll go into more detail there. But here we’ll just talk about the tracks from the album that we featured last month. His album actually came out in September, it came out on Cold Busted and Cold Busted is one of the coolest labels in the world. He’s got a really funny story about how he got signed to Cold Busted, which will be in the influential tracks podcast as well. So yeah, I first came across him when he released his first album, on Cold Busted probably about three or four years ago, and I was surprised to see someone from Canberra on Cold Busted. So we got in touch, and but after we both got in touch, after he released that album, he had to go to hospital. So before we started the interview, I actually asked him if he wanted to talk about that or not, because as you know, not everyone wants to talk about personal health issues. But he did, because it played a role in shaping the album.
When I was initially writing the album, it was directly after I’d finished the first one, it actually started off as off cuts and demos from that first album that I hadn’t used, that were not quite fitting in with the aesthetic of the whole thing. Like the first Shinji album In Colour, I’d say is pretty laid back, it falls more into that like Lo Fi, hip hop space, very sparse, dry beats, not very many samples going on. Whereas the demos and off cuts were very dense, they had more of, I guess, like a wonky groove going on. And so when I went to hospital, I took a break from writing, all that sort of stuff. But when I came back, I had about two months to myself where I couldn’t get out of bed, or I could shuffle over my computer chair, sit at my desk. And that was all I could do all day. So I just started looking at those demos again, with a new perspective of ‘Alright, well, I know that I can make something this dence in this complex. Why can’t I do that for more songs?’ So just start a building up and up and up and up from there?
Good because because your approach to music is, is getting samples, and like making a collage out of it. Mitch and I were talking last week in the last podcast, and he was comparing you to Avalanche. But I suppose Avalanche, they do it a bit more live. Yours is more studio based. Is that correct?
Yeah, absolutely. Like the The Avalanches is definitely one of my like, kind of key inspirations for this album, like them DJ Shadow, the way that they can sort of endlessly put all of these samples together from all sorts of genres and time periods. And they all seem to work together. In the end. I yeah, I’d kind of compare myself in that sense, like the way I would pitch the record to my label, and people who are interested in it is less, it’s less instrumental hip hop and more plunderphonics. So I’m not going for a particular vibe or particular beat or cliches that might trap a genre in, and I just want it to be a, like a mix of all of those sorts of things.
And most people usually have their first album, their debut album, self titled. But in your case, it’s the second one. Why is that? Did you have a name already for the first one?
So the first one, I just genuinely liked the name In Colour, like the song on there, I feel represents the kind of sound and the vibe of that album. But with this one, I was really struggling to come up with a name that represented what the album meant. I put quite a lot of meaning into, not so much what a song title means for the song. But what an album title represents for whole album, especially because like you’re imagining going through all the records in a stack at a record store. And if you know nothing about the artist, all you’ve got to go on is the front cover and the name of it, sometimes not even the name of it. And so when I was trying to come up with ideas for this, I originally was kind of pitching this whole, it’s 70s advertising. So it’s all hazy and there’s kind of no rules for what you want to do. But the more and more I got into it, the more I started to realize how much effort I poured into it and how much more I liked this album over my previous one and kind of came to the realization that this is sort of the full realization of what I was aiming to do in the first place. So I figured what better name to give it then Shinji and just self title it.
Track: Shinji – Is Anything Resonating?
That’s from Shinji’s second self titled album, and it’s called Is Anything Resonating? I then asked him if the track Avalanche! is an ode to The Avalanches?
I’d say ODE in name alone, because it originally started out as a housemate and I sitting around and we’re like yeah, let’s let’s make a song of the sounds like The Avalanches and then about five minutes into writing the track with like, it sounds nothing like The Avalanches this is this is completely removed like this beat is a bit too hard like it’s very four to the floor. It doesn’t it doesn’t sound anything like their looser Hip Hop stylings. But the just named the file avalanche exclamation mark and so that stuck around but yeah, it just kind of came from that idea of I want something that feels like a party is going on. And that there’s heaps of energy around you, it could just be you. But there’s lots of voices yelling and having a good time. And I’m like, okay, that’s just like a really hard beat under it.
Track: Shinji – Avalanche!
You’re on Suite Grooves and that is Shinji with Avalanche! of course influenced by the mighty Avalanches. And Sharif asked him about his track Cadet.
Now I actually have quite fond, fond memory of Cadet. The beat I actually wrote for I once applied for the ABC cadetship program. And as part of the cadetship Program submission, you had to submit a you had to submit a piece of media showing that you were viable for the job. So a lot of people did like a video reel or they did like a mini radio play or something like that. And I thought it would be really dumb. Cuz initially I didn’t think I’d get in because it was quite stiff competition. I thought it’d be very, very dumb of me to write a beat and then Rap my submission letter over the top admittedly quite poorly. But yeah, I thought that’d be funny, a bit of a meme to send along. And that actually got me through the first round. So I thought, Oh, I’ll say I’ll give this site a good send off and kind of spruce it up a bit chuck it on the album.
Track: Shinji – Cadet
That’s Cadet with Shinji. Now I asked him about a track that stood out for me and asked him where he gets his samples.
There’s quite a few places I get all my samples from. So kind of the start with especially with In Colour, a lot of it was sampled directly from vinyl. So I had like turntable and mixer and all that sort of stuff set up. But as I started exploring all of those vinyl, I kind of fell into this, I kind of hit a wall where I wasn’t getting the sounds that I was looking for. A lot of them were good. But the, I guess the instrumental variety that I was looking for, wasn’t there. And so I just turned to the internet and going through massive essentially, we’ve got these, a couple of places here in Canberra, that are tips, but they’re like massive dumps. But then off to the side, you’ve got like a little shed, and it’s just full of all the stuff that they thought was kind of cool. So decided to put it up for sale. So I’d walk into these sorts of places with $10 and just pick up as many cassettes as I could fit in my hands, walk out, sample them all. And then just get rid of them afterwards. And then combine that with just downloading 10s and 10s of gigabytes of music dumps from artists that everybody’s completely forgotten about. And people who have found old records on labels that don’t exist anymore for artists that haven’t heard the light of day in 30 years. And just going through all of these little things, especially like the the Arabic and Hindi samples and all that sort of stuff, field recordings from like the 90s of a dude just going around his local neighborhood with a portable recorder and just recording various groups that might be street performers or religious gatherings and all that sort of stuff.
Track: Shinji – Grit & Tooth
The other track I really like is his Treelike it’s, and it feels tree like it’s you know, it’s got that sort of natural forest sort of feel to it. Was that the intention?
Um, I would say it was the intention. To be fair, a lot of the names I came up with the day before I had to submit the album to the label. So I was actually sitting around with my girlfriend on the phone, and we’re both listening to the songs at the same time. And so stuff like Is Anything Resonating was just me asking her is anything actually happening? So with tree like it was is oh this is kind of spooky kind of like I’m walking through a little forest and then this idea of this song kind of representing this like big, spindly spooky tree that’s lost all of its leaves started worming its way into my brain. And it was the last song that I decided to name and I just couldn’t get that image out of my head.
Track: Shinji – Treelike
That was Shinji talking about his latest album, and we finished that set with a track off that album Treelike. You’re on Suite Grooves.
All right, well, now we’re gonna go to someone who literally blew my mind listening to his album. He also like Shinji has just released his second album. And I think like Shinji as well, his second album is stronger than his first album, Heartbeat, which we also featured here on Suite Grooves when it came out a couple of years ago. So yeah, I started by telling him, you know, that I really like his second album, I think it’s a very strong album.
Alexander Flood 52:34
Yeah, to me, the second record is a much bigger, or has been a much bigger project, the creation of it, the sort of scale of the project was bigger. And so yeah, I think the music reflects that. I think, you know, the music and the project involves more people kind of spanned a longer sort of creation process. And yeah, we really upscaled from from where we started, I think so.
We play a lot of music that is sort of genre defying, or, you know, skips from genre to genre. But yours really does. And on top of all that, you play all the percussion. So I mean, the first question I wanted to ask you actually is without finding out how old you are, because it says, you’ve been studying drumming, and percussion for 17 years. And when you listen to it to your album, you can tell you’re a Master. But you don’t look more than more than 18 Alex, I mean, I don’t mean to be rude. When did you start?
Alexander Flood 53:42
When did I start? I started when I was? Well, look, I don’t know that bio, maybe needs some updating. I started when I was eight, and I’m 25 now so however many years that is maybe it doesn’t need updating, maybe maybe the math checks out. But um, ya know, I’ve it’s really been the number one sort of fundamental piece piece of the puzzle in my life has been music and, you know, specifically rhythm and drums. And it’s always been right at the forefront. There’s never been anything that’s, you know, since I was eight, there’s never been anything that’s, that’s gotten in the way of of me and my kind of musical pursuits. So yeah, it’s, it’s something I love and and I’m always striving to learn more and be a sponge and kind of absorb as much as I can and learn as much as I can and keep opening my ears and opening my mind more and more to to all the things that are out there that I’m yet to discover yet to learn about. So it’s very exciting knowing that there’s just this this huge expanse of information, ready to go.
Well, I’m excited and waiting to hear more from you because your album as I said you go from genre to genre, for example, your your opening track All For The Pocket, the one that features Nelson Dialect. And it starts off, it’s a hip hop track and then you go into this little jazz piano. Then at the end its this swirling guitars, I feel like I’m in a progressive rock track. How did you think of I mean, it works, it really works. I mean, it’s really enjoyable. How did you think of connecting all those together?
Alexander Flood 55:28
Yeah, I think I mean, I listen to a lot of music. And as you know, as I’m sure we, we all do, but I really liked to see see the dots being connected and kind of observe similarities and differences in the music that I listened to and see some crossover in, in all sorts of different music. So yeah, being able to highlight that was obviously an important part of this project, but for that particular track, the fusion of I guess, I guess, yeah, we’d say hip hop and jazz music really is a, jazz is a fundamental part of hip hop and always has been and jazz and hip hop. There’s so much crossover within the sounds within these genres and there always has been and so for me it it made perfect sense to lean on that and to explore that and with the people that I collaborated with on this track Nelson and Nick Kepron, Ben Kepron over in the states and Brion Scott the conga player on, in the gogo bit at the end, all these people you know, they come from different backgrounds and they they bring their own sound so it really is a hybrid but leaning on that that kind of Jazz Hip Hop sound.
Track: Alexander Flood feat Nelson Dialect – All For The Pocket
That was All For The Pocket by Alexander Flood featuring Nelson dialect the opening track from The Space Between his second album, you should really listen to the whole track. As you can hear he’s about to change direction again, of course, we’re only playing you about three or four minutes from each track. And while the album was extremely diverse, hopping from genre to genre within the same track, the second track LDN, I thought sounded more like traditional jazz. So I asked him if it was influenced by the current London jazz scene.
Alexander Flood 1:00:58
I guess it really all depends on what we you know, how we define jazz, what is that definition of jazz? So, to me, I guess the Yeah, the word jazz is, is something that a lot of people interpret in a lot of different ways. But really, what what this music is aiming to do is, and I guess the jazz element is really the improvised and the the sort of the way that it’s blending together and fusing all these other influences. So that’s kind of where the jazz, the jazz sits, it’s not, you know, it’s not trying to be a bebop record. It’s not on a bebop label. It’s not jazz in in that one person’s interpretation of, of what jazz may be, but, but yeah, the LDN track track number two on the record, that’s definitely yeah, leaning on that kind of dance music, kind of jazz house sound from from London, but also from Melbourne. There’s a lot of crossover here in Australia in the Melbourne scene with with what’s kind of happening in London. So I spent about six or seven weeks in London in early 2019. And my time there is is for me a really was a really special time because it was when I started to listen to a lot more I’d say produced music, electronic music and dance music, things like house and jungle and broken beat, UK garage, this kind of stuff. So this has had a really big influence on my writing and, and listening to more and more of this music is really fuelling the direction I think that I’m I’m sort of traveling with my music and the band and stuff like that. So yeah, that track is sort of trying to capture that energy of, of what I experienced in London.
Track: Alexander Flood – LDN
You’re on Suite Grooves, and that was LDN from Alexander Flood. And definitely I can hear a big Groove Armada influence on that. And which would make sense given his time in London, as he just explained where he got those influences for that track.
And also, he started work with a guy called Christian Scott. He’s a six time Grammy nominee. And he signed to his label Stretch. And they collaborated on one of the tracks Pathway. So I asked him how he got to meet Christian Scott,
Alexander Flood 1:06:41
I guess the story kind of goes, goes way back to when I was finishing up my studies at the university here. Every year, we would like a group of us jazz students would travel over to Melbourne for the Melbourne Jazz Festival. And he was Christian was playing with the Miles Electric band run by Miles’ nephew at the time, so he was he was touring with that band, and and yet, we saw the band. It was a great show. And then I had a chance to, to briefly chat with Christian after the show. And then fast forward a couple years he was back in Australia, same thing I kind of went to the festival, or went to the show. I had been taking some lessons with this drummer, so I kind of had an in I was backstage with them. Had a had a great chat. And there was a connection there. And we kind of maintained a line of a lot of communication over the following couple of years. Then, yeah, I guess I was overseas in 2019 spent pretty much the whole year overseas. And we we had a chance to get together and I I shared some of the music that I was writing at the time, which ended up becoming Heartbeat the first first album release. And yeah, I guess, you know, he listened to he listened to the music and he enjoyed it and wanted to help sort of give me a platform to release the music. And so that’s kind of, you know, the rest is history. We we we teamed up through his label and we’ve put out two records now. So the collaboration on Pathways on this record, that’s really kind of a document of, of these past few years of, of sort of mentorship and all the learning that I’ve sort of had the opportunity to do through through this connection with him. So yeah, the track is really just about sort of documenting these these past few years and this experience through music.
Track: Alexander Flood feat Christian Scott – Pathways
Pathways featuring Christian Scott on Alexandr Floods new album, The Space Between, I then asked him how he met all the people he collaborated with.
Alexander Flood 1:11:00
Social media has actually been a huge or a really powerful tool for this. Because a lot of the people, and a lot of friends that I have made a lot of relationships that I’ve developed with with people overseas, have actually come from, you know, either myself checking out their music and reaching out or vice versa, them checking out my music and reaching out. So yeah, a couple of the couple of the collaborations on this record. We’ve been, we’ve been talking for ages or you know, working out, wanting to do a project together wanting to collaborate and then this kind of was the right time. And we were both, you know, we we all had ideas, and we kind of put our heads together and what you hear is what came out on the other end. But yeah, you know, it’s, it’s been tough the past few years being in Australia with with all these incredible artists, that I’m wanting to work with more and collaborate with being on the other side of the world, but the power of technology, we made it, we made it work. So yes, it’s it’s very exciting to have all these artists are part of this record. And, you know, their contributions are a really important part of what this music is and what it represents. And for me, that’s that’s really special. That’s yeah,
So was Zayne Mohammed’s track Kantra. Was that one of those tracks you’re talking about? Well, was he was he one of those people you connectted with via social media?
Alexander Flood 1:12:30
Yeah, he is. He is. Yeah, he sent me a message a couple of years ago, actually. Out of the blue and and we got chatting and then we’ve kind of been in touch pretty closely ever since. So, yeah, he’s he’s another one. Another incredible, incredible multi instrumentalist. He’s, yeah, he’s a dude. You need to check him out.
Track: Alexander Flood feat Zayn Mohammed – Kantra
That is Kantra featuring Zayn Mohammed, by Alexander Flood off his brand new album. We’re in the midst of an interview with him on Suite Grooves.
Well, you play all the percussion on Umoja?
Alexander Flood 1:16:06
Umoja? Okay. First of all, I mean, I was blown away when I found out you played all the percussion. But I knew that from your first album, but with this one, I mean, how many different percussions are there? Just in that one track?
Alexander Flood 1:16:22
Um, there’s, a good question. I don’t know, I haven’t counted it, I could open up the, you know, the the mix session and, and take a look at all the tracks but there’s a lot of drums a lot of membranophones across that track. Yeah, I kind of went all in with, with building all those layers from from all these different instruments and these different sounds, I guess, you know, there’s elements of, there’s West African instruments in there and influences from West African rhythm and things like this. There’s North Indian stuff in there, North African sort of Maghreb and Moroccan type stuff. Influences from all over, really through through this track and sort of, you know, electronic influences and things that are not physical instruments, things that are digital or analog, I suppose, you know, an analog instrument, a drum machine is a physical instrument, but in a sense of a drum that is not played, you know, with a stick or a drum that is not a membraneophone. So, drawing on all all different kinds of walks of life through this one, and yeah, there’s, there’s a lot of a lot of drums in this track.
Yeah, I lost count. I was trying to count them. And yeah, I just went well, I’m just going to ask you, and also the way you marry all the different rhythms, and as you said that from, you know, all different parts of the world. Well done. I was really impressed.
Alexander Flood 1:18:00
Yes, this was a this track was a really, really enjoyable process to put together. Because it was done differently. Obviously, the other tracks were, were done in a recording studio, and, you know, the bands there were tracking things as a band, whereas this track was, you know, I can only play sort of one or two parts at a time. So this was done in a multitrack kind of way and, and there was a lot of experimentation and sort of carving out things as I went. So it was a very, very kind of experimental, creative process. So it was a lot of fun this one.
Track: Alexander Flood – Umoja
That was Umoja a track featuring so many percussions that even Alex can’t remember how many he played. He did it all himself, layering one track over the other. Really, really cool. And next I asked him about a track that sounded really familiar to me. Now I’ll ask you about one one more track, Weighing Of The Heart. It’s another real journey through some different genres again, but you start out with that a darabuka beat. I mean, I’m, my background is Egyptian. So, right.
Alexander Flood 1:22:19
Right, there you go.
So I know. Sorry?
Alexander Flood 1:22:23
No, no, you go. You go.
So you know, as soon as I heard the darabuka beat, that’s the wedding beat which, you know, is well known throughout the Middle East. Yeah. Yeah. So I was like, and it’s sort of like the the yeah, sort of the last track, weighing of the heart of course, you know, again, being Egyptian it’s, you know, part of the ceremony in the afterlife. Yeah, so and you married again, I mean, I love the way you marry all the different you know, as you said, all the electronic influences that you have in your music with the percussion, drumming and jazz so, but was starting out with the, with the wedding beat, was, was that intentional?
Alexander Flood 1:23:08
Yeah, yeah, this rhythm it’s a Sadie rhythm from from Northern. Yeah, northern Egypt. You’re right. And yeah, no, that’s cool. I’m stoked that you recognised it. That’s really cool. Yeah, so there’s you know, there’s there’s a couple of variations of similar rhythms. There’s the maksoom, Sadie, Baladi, Malfoof is different, but there’s these these really, I really love kind of adapting these rhythms for drum set because they work so well as Drum and Bass rhythms as well between the kick and snare, these darabuka rhythms really are able to be applied really well in different contexts. And they’re just really funky. So, so yeah, this, this track, I wanted to build on that rhythm and kind of take it to a totally different place, as you know, as it gets to towards the end of the track, but it was really I’ve been ever since I was a child. I’ve been really fascinated with ancient Egyptian culture, and, and religion and history, I guess, I’ve always been interested in all history and geography and things like that. But I actually was lucky enough to travel to Egypt, with my family when I was about 12. And this was, I guess, this was my first time experiencing a lot of these things like these, you know, different sounds, different languages, different cultures and things like this. So a long time ago, but it was still definitely an influence for this track. But I’ve always been really fascinated with the Yeah, the weighing of the heart ceremony, oh, this this whole this whole process of kind of your trial your judgement, when you die before you are granted access to the field of reeds or the afterlife. This really fascinating really elaborate kind of trial and so the weighing of the heart part of that obviously and and that that was something that I wanted to try and capture through sound so this story or this process that one has to go through in order to reach the afterlife in ancient Egyptian religion I wanted to try and almost write a soundtrack for the for the story for the process of you know someone going through this trial so yeah that’s that’s kind of where this track came from.
Track: Alexander Flood – Weighing Of The Heart Ceremony
That is the Weighing Of The Heart by Alexander Flood concluding our interview about his brand new album on Suite Grooves.
It was such a pleasure to talk to Alex and I’m really excited about future releases from him. He, you can tell he really studies everything that he produces. And he’s got such an open mind. And he is a sponge at the moment. He’s sort of absorbing it all in this album is really, really strong. I highly recommend I mean, we’ve only played about half of each track. But as I said, every track he switches and turns from you know from one thing to another, I highly recommend you go and listen to the whole thing.
I loved it actually, I really did. And just listening to him go very deep into music and and where his influences were and how he put put this together was really cool to listen to. And I’m really keen to see what he’s got coming up in the future.
And I can’t wait to see him live as well. Apparently he’s got a whole band together.
Yeah, I definitely go. I’d pay to see that.
Yeah, I’ll be there in a heartbeat. Yeah, yeah. With Heartbeat, his debut album. And up next is the second episode from the Global Hip Hop show by Morganics. Morganics has been traveling. He’s really excited. He’s been discovering new music. And he’s gonna tell us all about it.
Greetings to you all out there in the world of the World Wide Web, the internet. My name is Morganics and you are tuned in to the Global Hip Hop show here on Suite Grooves. Many thanks to the one and only Sharif Galal for having me on. This is episode two of the Global Hip Hop show. recording this for you in April in this universe in 2022 coming to you from Cairns otherwise known as Gimuy here on Yidinjy land, Queensland. Pleasure to be with you. Recently, I have been fortunate enough to wait for it travel. Wow, weird crazy. It was a surreal I’ve been to a couple of things. I went to Adelaide for WOMAdelaide the World Music Festival which I performed many years ago with Elf Transporter, Brother Black Live MC and Sister Native, we were the first hip hop group to perform there, on that gig, the only Hip Hop crew that time. This festival, I think there was six or seven Hip Hop crews, all local groups and I’ve got a couple of tasty treats that I would like to share with you from WOMAd. And another one. I was recently in Newcastle, down on Awabakal land and running some workshops in high schools to help young kids deal with mental health challenges using tactics that include hip hop and the spoken word. Shout out to One Vision Productions and I caught up with my old mate DJ Mathematics and he, well, I’m gonna play a track that he produced. So let’s start it out. Number one, the only hip hop crew at WOMAdelaide that had a DJ that could cut was a crew called Sons Of Serpents. Now Sons Of Serpents, are three MCs native MC the Yawie and NativeSon91. They are from the [………….] nations their [……] on Garner land and they are super dope. They were great to watch live they rocked with a six piece or seven piece band called The Tervette Collective who were sick and had a DJ that cut and they were funny and it was so refreshing these guys have such a great vibe and the track I’m going to play for you is called Life and it’s from their current EP 34 Minutes On The North Side. Go check them out. Support their music. Sons Of Serpents this is Life.
Track: Sons Of Serpents – Life
Now the other hip hop act, which I caught at WOMAdelaide was a woman by the name of Elsy Wameyo. She hails originally from Kenya from Nairobi, the big bad city, but has been living and currently resides in Adelaide on Garner country […………..] Swahili for you. The hip hop scene over there is huge, Bongo Flavor and Hip Hop. I’ve been lucky enough to produce an album for a group called [way hoody family] in Tanzania just below and I can tell you Elsy Wameyo brought a fantastic show, where she combined a mixture of singing rapping with a great flow and some spoken word. It was one of those rare sets where I didn’t know where she was gonna go next and she was great with the crowd again she was backed up by this fantastic crew from Adelaide the tervette collective, six or seven piece band and yes, she’s got a mad flow she hits some content some ideas. I mean, what’s not to like? I think she’s got a big future ahead of it. She’s got an EP out now it’s called Nilotic. She’s coming out of Adelaide. This is Elsy Wameyo make sure you check the video clip on YouTube it is super dope as well and this track is called the River Nile.
Track: Elsy Wameyo – River Nile
Now the last track I have for you today on the show is a track which I was aware of, but I did get to catch up with one of the minds, one of the creators of the track when I was recently down in Newcastle Awabakal land, I was running some Hip Hop workshops and using spoken word for One Vision Productions, where we’re helping high school kids use some strategies to deal with mental health challenges, which I think we all need in the world today, don’t we? Mathematics is originally from a crew called Robo Tech. He’s an old school B-boy. He’s probably my favorite Hip Hop DJ very close in Australia. Easily, one of the best B-boy DJs, party rockers, his streams on Twitch and the like. He started a production crew with a mate of his by the name of One More and they’ve got different MCs on their tracks, and they’ve put out a seven inch vinyl recently. We’re featuring the one and only OC from New York. And the track I’d like to play you is the B side to that or the double A side to that track, and it features a young MC from Washington DC. And his name is ALYX Ryon. I can tell you having been in DC it’s a great scene. It’s a great vibe. A lot of hip hop and spoken word so Newcastle has connected with Washington DC. Beats by One More and DJ Mathematics. They go under the title of Rising Suns, and they’re really bringing, well you’ll probably hear it, a pretty clear sort of throwback to a bit of a farside vibe. And this guy ALYX Ryon he really smashes the verse. So I hope you’ve enjoyed the show. I’m gonna go out with this. This is Morganics being here on the Global Hip Hop Show. Hope you’re doing good. Shout out to Sharif, Suite Grooves. This is Rising Suns featuring ALYX Ryon with Back In The Day. Peace.
Track: Rising Suns feat ALYX Ryon – Back In The Day
You’re on Suite Grooves and that was the Global Hip Hop show with Morganics. And again, really cool stuff in his segment there. Particularly, I liked the the track from the indigenous artists that was from WOMAdelaide where Morganics went recently and also Elsy Wameyo Kenyan artist now based in Australia.
I know how awesome was that?
Very well produced. I like the beat.
Yeah, I was really surprised. Yeah, awesome stuff. No wonder Morganics was buzzing.
Let’s check out what you’ve been getting into this month.
I think you’re gonna like this.
I loved it. I loved it. I was bopping on the train. I put the mix on my phone when you sent it to me and I thought I’d go for a wander. I had to go and meet a friend and it was the best train ride ever.
Wow! Get on the funk train. Well, the house train actually it’s the house train. So I hope you enjoy this as much as Sharif did and as much as I did putting it together on Saturday morning. And we will come back and we’ll tell you just want to played. Enjoy you’re on Suite Grooves.
Tracks – Galleon Mix (check track listing above)
You’re on Suite Grooves and that was a little mix by yours truly I hope you enjoyed that. Some really cool stuff in there. From the top we had a bit of a classic Chaka Khan. I love you. I live you. I love this track, have played the original I’ve played the Late Nite Tuff Guy edit. This is a new mix that I found on Bandcamp in the last week or so. Courtesy of Anna Sonnenberg again as a great selector and really, really cool taste in music, guy called Stevie B. I don’t know much about him, but it’s his edit of Chaka Khan. Following that brand new tune from Shapeshifters. This dropped only on Friday. So I basically put it in the mix the day after it came out because it’s so good. I love The Shapeshifters. I play everything they released. Lola’s theme is probably one of my favorite house tracks of all time. This is a new single called Bring On The Rain. It features Joss Stone, haven’t heard from her for a while but very prolific soul singer Joss Stone.
Following The Shapeshifters we had NY’s Finest. This is a bit of a house classic from the early mid 90s. Do You Feel Me? This is a brand new mix from Odyssey Inc, who I really love at the moment obviously he’s from the UK doing that big funky baseline kind of vibe. They do a lot of collaborations with one of the guys from Soul Avengers on a label called Trois Garcon. Pretty much everything they put out I play because it’s that that big funky vibe. Cosmos Midnight, Ozzy group, they’ve got a new track called Can’t Live Without My Baby. I love the original and then they released a club mix a couple of weeks back and then we got two remixes on promo to CBRE did one of them which was cool, but this is a David Penn remix and you can’t really go wrong with David Penn I love his vibe have had for a long time and that’s his remix of Cosmos Midnight.
The DJoon Experience this is a bit of a classic in some respects as well. It’s a gospel track. And by classic I mean DJ, in Melbourne, Sunshine is renowned for dropping this in her sets at Revolver on Saturday mornings, but she plays the reprise from the original release which is gospel pianos, hand claps and vocals and that’s about it and does it so well in the midst of techno and everything else. But it did just get new mixes and this is a guy from Japan called Daisuke Miyamoto is a new disco guy that’s been on the scene in the last few months. He I believe also goes under the name Dubby Disco Boys you may see that name out there. But Daisuke Miyamoto has done this this funky piano house mix.
Which leads into the next single which I’ve been waiting for for months of the Clark Sisters, which is an old sort of gospel, a disco sort of tune from the mid 70s Clark Sisters You Bring The Sunshine, DJ Spen has done a remix of it. And I first heard it in MCs that I believe Louie Vega did for Defected. And I went around asking everybody does anyone know where this mix is? Is it official? Is it not? No one really knew. And just quite randomly it got released last week on traxsource. And I I was was more than impressed to finally have it. So that is the Clark Sisters You Bring The Sunshine DJ Spen on the remix.
Now to the track that Sharif was making reference to earlier and I think I mentioned that too is Lack Of Afro Recipe for Love. And Sharif sent me this in late February and I liked it and I sort of heard and like yeah, that’s cool. I’ll sort of deal with that at some point, and I’ll probably make use of it. And then I remembered it and I went back and listened to it. And this is a tune it’s kind of got that 70s lovey dovey kind of Lou Rawls vibe about it. Something along those lines from the mid 70s, maybe Philly? Philly maybe just before disco came in something like that. But Sam Redmore has done this this beautiful disco remix of it. I love what Sam Redmore, does very diverse. He’s done Cumbia. He’s done a sort of Afro beat he’s done this disco stuff. Go check him out. He’s really cool. So that’s the Recipe for Love.
And, finishing the mix was was this track. I can’t stop telling people about this. It’s a band called Oyobi. And I didn’t know anything about them. Really. Other than that, I believe we’d featured some of their stuff earlier. But this just stood out from everything I got. It’s out on a label called The Remedy Project which is affiliated with Defected and it’s a cover of Curtis Mayfield, which is a collection in itself but this This takes it to a whole new level. Make Me Believe In You. It’s 70s to a tee. But with today’s production reminds me of something maybe like Nicky Siano would have played before disco came in the gallery or maybe David Mancuso. But for me, this tune has hit so many spots and could be my tune of the year. I don’t know about you. I know you loved it. But I hope all the listeners love it as well. And I actually hope this blows up for them because they so deserve it.
Yeah. Well, I hope that it works for them. Because I really liked their stuff. They released an album last year on the Atjazz label. I don’t know how this one came along, but we’re gonna have to try and get the guys in to have a chat with them.
Yeah, yeah, absolutely. Like I’m keen. And I didn’t know about it until we got sent a promo. And it was in it was it was a sampler that Global PR sent us. And everything on it was really good. But this was just wow. And I actually wrote to Gabby and said, holy crap, this track stands above everything else.
No, It’s a tune. Cool. Awesome mix. Hopefully everyone enjoyed it as well. Thank you so much.
Thank you, I had fun. I had fun. I love putting these together. Because it really makes me think about the stuff I’m loving the most. And then trying to compile it into, you know, 40 – 45 minutes. So I really, really hope you enjoyed it.
Well, let’s go to someone I was really eager to talk to because I’ve been loving his music. And over the last couple of years during lockdown, he’s been getting funkier and funkier. So, yeah, I’m talking about Mind Electric. You might remember, Function At The Junction. Sweet Escape, and I Must Be Doing Something Right. So I had a chat with Kristian. He goes by the name of Mind Electric, and told him that, you know, his approach to making two tunes these days is getting funkier and funkier.
Mind Electric 2:37:18
I would say nowadays, if you look back at say 15 years ago, in the early days, I was sort of banging it out, because that was the sound of then. And that’s, you know, more of the electro stuff. So that was harder. But yeah, in the last five years since being in Europe and stuff, I just got influenced. And as you know, like house is huge at the moment. And so yeah, I’ve been influenced for all the stuff from living abroad, and hearing what’s coming out, so just switched my sound so yeah, this is what I aim for. It’s a hell of a lot harder to make, I think. I found I mean, just the, you know, the banging stuff wasn’t as challenging because it was less musical and more about just punchy sonics, but yeah, with funky stuff has got to be just a lot more musicality, and almost live instrumentation and stuff. So yeah. So hopefully, I’m pulling it off.
You’re doing it really well, you’re doing it really well. And you seem to sort of delve more into it over the last couple of years during lockdown.
Mind Electric 2:38:23
Yeah. Yeah, definitely. Oh well, you know, the story that there was no clubs or anything. And so if everybody’s streaming at home, no one wants to listen to a five minute instrumental or techno banger, so to speak. So I thought, well, let’s make something like with Sweet Escape something that was more palatable just to listen at home and something that was happy. And yeah, and because the market changed too, it’s a real streamers market at the moment, as well as a lot of focus on Apple Music and Spotify and stuff. So you’ve got to keep that in mind. I think now when you’re making music. Well, with Sweet Escape, that was the intention to make something that was listener friendly, nice and happy and vocals and just happy, happy vibe, because everybody was down in the dumps. So but yeah, but I mean, if I’m making tracks now, there’s still, a lot of stuff I’m doing at the moment is still, but I think about the club. But, if you try, you always make a short edit, and some of them will translate well to streaming like Function At The Junction was good for streaming whereas like Party People, like that was a recent number one hit for me and did super well in the clubs and all the DJs but it didn’t do that well streaming, because it wasn’t a vocal track. So if you can hit both markets, perfect.
Track: Mind Electric feat Kylie Auldist – Sweet Escape
You’re on Suite Grooves and we’re in the middle of an interview with Mind Electric and that was his collaboration with Kylie Auldist on Sweet Escape.
The track was done between Melbourne and Perth during lockdown. And as you can see, it’s like the the music is making a lot more funky sort of goes back to you know a particular time and era, like blues and soul. So I asked him about that
Mind Electric 2:43:09
Function At The Junction just yeah, that started in like early 2020, maybe? I don’t know just during lockdown I did I just started making demos and it’s sort of like, let’s see which one comes out first? Which one? Yeah, and Function At The Junction it was actually the sample, I’m not sure whether or not you knew this but former Beat Junkie, and David Penn and ATFC did Hipcats so both of those tracks use the same vocals that I used for Function At The Junction, it was just like one big long accapella. So I use the bits that they didn’t use. So three different tracks came out of the same vocal. So yeah, so yeah, that particular, I do like the soul blues in that that vocal is wonderful. So I think I do like some of that old Motown stuff. So yeah, that’s probably the reason why I chose that
Yeah, because I think the one before it. The other one that Kylie sang as well.
Mind Electric 2:44:13
Well, it was I Must Be Doing Something Right.
Mind Electric 2:44:19
Yeah, you’re right, though I definitely reverted back to that sound of the I guess 70s even maybe it’s early 60s and I probably will do again in the future. There’s something about it. I don’t know. It’s something authentic about the vocal and the soul in it. And Kylie is incredible. I’ve been a fan of hers for so many years because I do a lot of chill out funk lounge kind of sets and all of them you could play like 10 of her tracks in a set easy and so such a so stoked to be able to work with her on that track and her voice was perfect for it. And I’ll give credit to John Course even though Kylie and I had already we’re friends knew each other like John actually suggested using her because I did a demo with the original acapella and we have to re-sing it so he goes how about Kylie, so yeah props to John Course for that idea
Track: Mind Electric feat Kylie Auldist – I Must Be Doing Something Right
mind electric with Kylie Auldist again on I Must Be Doing Something Right. I asked Mind Electric what he’s working on now.
Mind Electric 2:48:02
Finished a track in January like two months ago I finished a new track. It’s got a small little vocal sample in it which we’re getting cleared at the moment. It’s taking longer than I hoped so when that’s all done there’s my next track. I’m working on two or three other originals as well. And over Christmas period I finished two remixes, working on one right now as we speak should be finished next couple of days and then I’ve had two more remix requests come in. So yes, just keep doing that so in between my originals I do remixes for fun. It keeps your name out there also a bit of pocket money too because it all helps. Yeah, so pretty pretty busy actually. I think I’m happier doing that. I still DJ on weekends and stuff but I’m happy pretty happy making music at home so just trying to pump them out. That’s a really really really excited but some of the tracks are coming out. Gonna come out.
Track: Mind Electric feat Kylie Auldist – Function At The Junction
That’s Function At The Junction from Mind Electric finishing off a little interview we did with him about how he does his stuff and what he’s got coming up. And you may remember he was saying that he’s got some remixes coming and I have to give a bit of a plug. One of those remixes is of one of my next singles with Chat Noir. And we’re not going to say too much about it. But we’re pretty happy with the original and the labels got Mind Electric onboard and holy crap. Is it a vibe?
It’s a tune, man. Well done.
Thank you. Thank you. Hopefully in the next few months we’ll be able to, to showcase it to everybody.
Yeah. And also, hopefully within a month or sometime in next few months. My interview with Kristian actually went for a while I spoke to him about his background, how he got into DJing, his time away. So hopefully when he does his influential tracks, we’ll have a podcast and play some of his older stuff as well so you can get a better idea of his history and his production.
Definitely I followed him when I was like 15 actually. His first release was Dirty Cash cover of The Adventures of Stevie B track. And I remember buying the CD single when I was like 13 or 14 or something and had Dirty South remix before Dirty South went all deep and beautiful and proggy, Dirty South was making all that electro stuff and it was one of his remixes on the single.
Well, he talks about his first single and the fact that it blew up. It got into the charts, it was on commercial radio. He goes into all that and you know, yeah, I won’t say anything else. So hopefully, you’ll listen to the podcast. And listen to what Kristian has to say in that podcast as well. Well, Mitch, that’s that’s about it. But we promised to play everyone one last track Money In The Bag.
Kraak and Smaak.
Yeah, now this tune. I originally bought it on 12 inch because it came out
I love this story.
Yeah, it came out in 2003, as Mitch told us, and I bought it from one of the record stores I remember it was Reachin’ Records on Oxford Street here in Sydney. And when I took it back to the studio, it jumped. So I went back, swapped it got another record, went back to the studio it still jumped. So I went to another record store, bought it from there. I found another copy. So I had two copies, took that back to the studio, and it still jumped. So I ended up calling the record label which is Jalapeno Records, which is owned by the guys from Skeewiff. One of them is Elliot. So Elliot answered the phone. And I told him I’ve got two copies of your record and they both skip. You know, I want to play it. I love it. I want to play it. So he sent me another one from the UK as a promo and it still skipped. So I remember holding the record and spinning it backwards so the needle can go into the groove backwards. I thought there might be something wrong with the groove. I did everything I could. It would make it work and not skip like once or twice but then it will start skipping again. I don’t know what was wrong with that record. But the best thing is I became good friends or ended up building a relationship with Elliot from Skeewiff and he then started to send me stuff that no one else had, including Man Of Constant Sorrow when he did the remix of Man Of Constant Sorrow. And so I had it before anyone else had it. And he told me, I can play it on the radio. And I asked him, well, can we play it on the radio during the day as well as you know, as opposed to just on my radio show? And he said, yes. So that’s why it was on Triple J before it is anywhere else on in the world. And it became a huge hit.
I remember this and like people I think the Soggy Bottom Boys may have done the vocals or that may be in the sample or something in the Skeewiff because I do remember people ringing up Super Request wanting Soggy Bottom Boys and it got played.
Yeah, yeah, it was a Soggy Bottom Boys. That’s the name of the band in the film where the track’s taken from. They call themselves the Soggy Bottom Boys. So yeah, so I got that and a few other things. So. So here’s Money In The Bag. Let us know what you think.
This version doesn’t skip.
It’s digital, actually. Yeah, if you want, if you want a digital copy, it was the hidden track on their debut album, Boogie Angst, which was released on Jalapeno. So if you get Boogie Angst go right to the end, the last track will probably be like eight minutes long it’s because Money In The Bag is at the end. But unfortunately, it’s not the 12 inch version. But it’s better than nothing. And it doesn’t skip. So let us let us know what you think. We’ll leave you with Money In The Bag and hope see you next month.
You’re on Suite Grooves
Track: Kraak & Smaak – Money In The Bag