
White Williams on his ‘disobedient’ music
We featured White Williams on Lost At E Minor recently, so we thought it was time to pin him down for a chat. Metaphorically speaking of course. As a kid you were scorned by your piano teacher for toying around with your own sounds and refusing to be ‘taught’. Have you always been wary of treading other people’s paths? ‘I think I have a natural tendency to be disobedient from having listening problems. But I think that informs a lot of what I do. If someone tells me to do something, I’ll respond to it unconsciously. It’s usually only partially right or wrong. I like to make things sound wrong. At certain times I find myself going into my songs to find things that I tried to play perfectly and finding a way to ruin them. When my sounds are contained in the computer, I have the opportunity to partially erase and write over what I have done. I like when sounds are not always so deliberate. It’s certainly hard to translate the experience of the studio process into a performance. That is a new challenge’. How much of a boost to your career was it being named one of Rolling Stone magazine’s Breaking Artists? ‘I can’t really gauge a thing like that. I think when people associate you with something like Rolling Stone, then they make assumptions. I know for people in my family and people I grew up with it made it easier to take what I was doing more seriously. It’s silly that people need an experience like that to gather opinions. Most of my friends have supported me from the beginning’. Your MySpace page puts you as a Happy Hardcore/Club artist. I get a bit of Beck and New Order, and a splash of lo-fi electronica, from your music. Why the discrepancy? ‘They’re only words. You and I could create a genre of music. It’s almost as arbitrary as a band name. Here are some of my faves: Dem Palms, Jesus Slaves, Filthy Dynamo, Hell Jail, USA Bluffs, EsCaLaDiES’. There’s a real tongue-in-cheek style emphasis across the album’s artwork, and in the credits. What exactly are you mocking? ‘Blogs, Fashionistas, Heteros, God, Graffiti, MySpace, Plaque, Rachael Ray’.
Tagged: electronica, mashed-up music, White Williams
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Ghostly’s Music Discovery iPhone app
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Vladislav Delay’s Secret Playlist
Helsinki electronic producer Vladislav Delay has recorded for three of Europe’s most challenging labels: Chain Reaction, Mille Plateaux, and Max.Ernst. He grew up trained in jazz and still counts Philly Joe Jones — the drummer for the first Miles Davis Quintet — as one of his prime influences. His album Tummaa is out on The Leaf Label and features contributions from Craig Armstrong and Lucio Capece. We checked in with him to get a rundown on the sounds that inspired his latest recording: ‘Juan MacLean’s One Day is a strong and brave dance-pop. Not usually my cup of tea, but this track is quite interesting. I’ve also been listening to The Cool Kids’ Basement Party [audio below], a nice club groove, showing something new in the Hip Hop vein, which is always welcome’. Read the rest of Vladislav Delay’s Secret Playlist
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Stephen Doitschinoff, aka Calma (a Lost At E Minor banner artist), recently opened a solo exhibit entitled Novo Mundo at New York’s Jonathan Levine Gallery. The Brazilian street artist’s work is somewhat unusual and exudes an appealing spiritual vibe as he embraces the fantastical and dark imagery of churches painted in female wombs. Calma has developed his own unique language and style through imagery that creatively blends Afro-Brazilian folklore with Baroque religious iconography. ‘I personally see the church as an archaic institution that always aimed to control the masses. I think it is an appropriate symbol for corrupt modern institutions like big corporations, media channels and governments,’ he Calma. Novo Mundo is on show through until December 22.
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