Archive for the ‘woofah’ Category.

February updates

1. SPATIAL INTERVIEWED BY JOHN EDEN

An interview I did with Hackney-based producer Spatial is now published exclusively and for the first time at The Liminal.

This piece was originally intended for issue 5 of Woofah, but has been fully updated. (It’s the last outstanding thing I wrote for Woofah, which makes me a bit smiley and a bit weepy!). Spatial is an interesting guy and is well worth checking.

2. MORE TURBULENT TIMES ACTION

Turbulent_Times_9

Idwal Fisher did a lovely review of my Turbulent Times fanzine, along with other publications.

The zine now has its own page if people are interested in ordering it or knowing about distributors etc.

I have properly started work on the new issue but can’t say when it will be out!

3. AND FINALLY, SOME ADVERTS:

radical hackney

TRIPWIRE_AD

 

oc160213overhill

 

3rd Official Trailer for A Noisy Delivery, by Pete Cann from GX Jupitter-Larsen on Vimeo.

New(ish) reggae fanzine! Tweetah issue zero published

Roll up! Roll up! Get ya scrappy xerox rag! Now sold out.

20 pages A5. Mainly by me, but with contributions from 2ndFade and (unbeknownst to him) Martin.

Trades/Blags are welcome.

(Images below are a bit compressed – the cover looks redder and slightly less ragged)

UK: £1.50

Europe: £2.69

Rest of World: £3.33

Datacide issue 12 published

release date: 20 October 2012. 68 pages

This looks like another great issue!

It includes an exclusive interview I did with industrial music superstar Jordi Valls about his work as Vagina Dentata Organ and The Valls Brothers.

Also a bunch of my reviews (including some of the lengthier ones intended for Woofah).

CONTENTS

Datacide: Introduction
Darkam: The Art of Visual Noise
Nemeton: Political News
Christoph Fringeli: Neo-Nazi Terror and the Office for the Protection of the Constitution in Germany
Cherry Angioma: Communisation Theory and the Question of Fascism
Christoph Fringeli: From Adorno to Mao – The Decomposition of the ’68 Protest Movement into Maoism (extended book review)
Split Horizon: Control and Freedom in Geographic Information Systems
Riccardo Balli: “Bolognoise ain’t a Sauce for Spaghetti but Bologna’s Soundscape”
Polaris International: Documents and Interventions
TechNET insert:
- Noise and Politics – Technet Mix
- No More WordS
- Listener as Operator
- The Intensifier
- No Stars Here
- Techno: Psycho-Social Tumult
- Dead By Dawn – Explorations inside the Night
- Psycho-Social Tumult (Remix)
Dan Hekate: Kiss me, cut me, hurt me, love me
Howard Slater: Useless Ease
John Eden: The Dog’s Bollocks – Vagina Dentata Organ and the Valls Brothers (interview)
Neil Transpontine: Spannered – Bert Random Interview
LFO Demon: When Hell is full the Dead will Dance on your iPhone (Review of Simon Reynold’s “Retromania”
Christoph Fringeli: “Fight for Freedom” – The Legend of the “other” Germany (extended book review)
Nemeton: “West of Eden: Communes and Utopia in Northern California” (book review)
Datacide: Press reviews
terra audio: 2023: A Spor remembers ‘Reclaim the Streets’
John Eden: Christopher Partridge: Dub in Babylon (book review)
terra audio: Jeff Mills: Violet Extremist
terra audio: Keeping the Door of the Cosmos open – on Sun Ra’s Arkestra directed by Marshall Allen
Record Reviews
The Lives and Times of Bloor Schleppy (12)
Comic by Sansculotte

ORDERING

1) “You can order it now for just 4 euro which includes world-wide postage. We can only offer this super-cheap price by shipping the copies in bulk, meaning if we ship something like 50 copies it costs about half of the normal price of 3 euro for postage per copy (which obviously would make no sense). We will do the first mailout on monday or tuesday, and won’t do another one for at least another 2-3 weeks.

So to get your copy hot off the press, please either send 4 euro via paypal to datacide@c8.com or take out a subscription, which costs only 10 euro for 3 issues. You can also include back issues 10 and 11 in the subscription deal – in case you don’t have them yet – so you wouldn’t even have to worry when the next issue is coming out!”

2) You can order online now from the Praxis Records shop.

3) I will get some copies in a week or two, so chase me up.

4) There will be a Datacide/Praxis Records stall at the London Anarchist Bookfair on 27 October.

There will be a 20th anniversary Praxis Records party on the SS Stubnitz in London on 2 November.

WOOFAH R.I.P.

Illustration by 2ndfade -commissioned for issue 5 of Woofah

Every Dog Has Its Day

So farewell, Woofah. You were the best independently produced magazine about reggae, grime and dubstep.

At the beginning of 2007 I ruminated about doing a little zine covering the music I was passionate about. Paul Meme was up for it and we both knew a whole bunch of talented people who we proceeded to rope in.

I’d pictured it as being my usual scrappy photocopied effort, but a load of people offered to help with illustrations and design – so it ended up looking amazing.

Droid was fundamental in the presentation of the mag from the outset and doing all the hard work liaising with printers.

The first issue came out in Autumn 2007 and sold out absurdly quickly.

We built the magazine up from there, with everyone contributing in their spare time, for the love of it. I think that showed – the professionalism and the incredibly high quality content could only have happened because it was such a labour of love.

Exploding Designers: Droid Fights Capitalism

The magazine looked so good that it placed a fair bit of pressure on its designers, who put hours and hours of work in. They never stayed long, either their huge contribution took its toll, or they simply found more lucrative things to do with their time – and fair play to them. I used to joke about Woofah’s designers being like the exploding drummers in Spinal Tap.

I had to step down from being the editor in 2010 because of other commitments and Droid took up the reigns. Issue 4 was very much his baby – it was our biggest and arguably best issue. (And there are still a few copies of it left!)

Around this point the goodwill of the designers started to dry up. All of the main contributors to the mag found themselves having to work harder to keep a roof over their families heads as the recession started to bite.

Issue 5 got written at the end of 2010 but despite various calls for help we weren’t able to get the it produced in the way that it should be. Having written 15,000 words for it I am as disappointed by this as anyone.

Parallel with this, my attitude to the project has changed. The thrill of seeing my name in the Dub Vendor catalogue and being sent new music has diminished to the point where I can’t face listening to yet another half-arsed promo. I personally feel less of a need to be evangelical about “bass culture” now – partly because I think most of what needed to be said now has been, and partly because the music itself has changed in the 5 years since I sat on my balcony chatting about doing a zine with Paul. Dubstep especially has no need of my assistance, and grime has now split into pop music or an insular scene for an ever reducing number of die-hards.

So the end of Woofah is sad, but it is also an opportunity to start new projects. Paul is still producing as Grievous Angel and Droid has a slew of projects including the Ruff Revival label. I have more modest ambitions, which may or may not come to fruition soon.

Woofah was a great magazine and the best thing about it was the people. It was amazing working with so many talented characters and the response we got from readers was incredible. Everyone involved with the project can be very proud.

Thank you.

 

 

Invasion of the Mysteron Killer Sounds radio play and interviews

“I dub from inner to outer space. The sound I get out of Black Ark studio, I don’t really get it out of no other studio.
It was like a space craft. You could hear the space in the tracks.”

Lee Perry

Kevin Martin (The Bug, King Midas Sound) and Stuart Baker (Soul Jazz, 100% Dynamite, Sounds of the Universe) have compiled this ace double CD and quadruple vinyl set of electronic dancehall riddims. A bad-ass selection with some undoubted classics like Street Sweeper and Peanie Peanie alongside more outre examples of JA music at its eeriest. Also some more modern and UK produced fare like Kevin’s own Aktion Pak riddim.

I’ve had mixed feelings about the concept. On the one had I was championing the reggae/ragga afronaut connection a decade ago as part of the Association of Autonomous Astronauts and one of my first ever reggae DJ sets was at the Garage in Highbury during an AAA night as part of the 10 day Space 1999 festival. I even did an AAA presentation on dub as the basis for a new intergalactic architecture at a conference organised by Kodwo Eshun in Austria. More recently Wayne and Wax has produced an incredible critical survey of rasta imagery in science fiction in issue 4 of Woofah.

On the other hand, I’ve previously been forthright in my condemnation of people who only seem to like their dancehall with the sounds of black voices erased. I think, on reflection, this criticism is hugely unfair on the curators of the current comp (and indeed Basic Replay who I previously tore into) who have done more than most to promote reggae music in its ancient and modern forms over many many years. But I have always come across a few techno fans who seem to hate ragga vocals and that seems a bit… odd.

The conclusion I’ve come to is that a bass-driven sci-fi is a great alternate window to look at dancehall productions through, and this compilation seems like an excellent launchpad into that world, featuring a mad comic about aliens and bashment beats.

The comic was originally planned to be a radio play, but apparently time and budget didn’t allow this. But the street finds its uses for everything, as the old cyberpunk saying goes, so I was chuffed to hear that Dino Lalič and the Sensi Smile crew at Radio Student Ljubljana were going to remix the source material from the comp and its comic back into a radio play last weekend. I think they’ve done a terrific job – the accented narration adds to the spookiness and conjurs up cosmonauts of yesteryear to my ears. I love the blending of ragga with more Joe Meek-esque sixties futurism and dubwise material as well.

The Invasion of the Mysteron Killer Sounds Radio Play was part of a whole evening’s entertainment on the station, which also included interviews with Stuart Baker, Paolo Parisi (the comic’s creator) and my good self. Mine was a live telephone interview, and listening to it again I am amused to find myself being an old fart talking about that yearning for the sonic future…

Much of the commentary is in Slovenian, so may not be decipherable to many of my readers, although the tunes are obviously universal – not to say outernational! Here are some time marks for you for the English language stuff:

1:23:00 Stuart Baker

1:51:30 Paolo Parisi

2:03:32 The Radio Play

3:08:22 John Eden

Woofah magazine needs designers

Awesome fanzine seeks bass-head designers for mutual layout fun

Can you help?

Woofah is an independently produced magazine covering reggae, grime, dubstep and all points in between.

Last year we published our 4th issue featuring Untold, The Newham Generals, the last days of Studio One, London dubplate cutting houses, Hessle Audio, YT and a whole lot more – see website for details: http://www.woofahmag.com

Our fifth and final issue is now written and ready to be designed but we need help with this!

If you:

  • Are into the idea and look of the magazine
  • Have some experience of design but would like more
  • Know your way around Quark/Indesign and can work with templates
  • Are passionate about the music we cover and want to help promote it
  • Are willing to work to an agreed deadline

then, please get in touch!

If you have any examples of your work to show us, send some links or samples.

Nobody gets paid to produce Woofah, but working on the mag will get your work published and help get the word out about the artists and their music. Everyone who contributes receives a full credit in the magazine and on our website.

We are hoping to get a few designers on board to work on a spread each (2-5 pages)  – or more, so that the magazine can go out with a bang.

Get in touch and we’ll find you something to your taste to work on.

All enquiries to info at woofahmag dot com, via our website – or to us directly.

John Eden / Droid

Woofah: Kvalitet lönar sig

Swedish Massive!

Droid and I are interviewed about Woofah magazine in the new issue of Reggae Galore.

(English massive – Kvalitet lönar sig translates as “quality pays off” – damn straight.)

“COLGATE-GATE”: OR Why WOOFAH Four Was Late

Woofah editor Droid's bathroom cabinet, yesterday.

BEYOND THE iMPL♥DE: WOOFAH 4.

Martin spills the beans on the delayed printing of the world’s best reggae / grime / dubstep magazine.

Which is still available direct from http://www.woofahmag.com and from all good stockists.

Half of the print run has gone out to shops and punters in the fortnight since it was published, so don’t hang about…

Red Bull Music Academy – London 2010

I’ve not had a chance to write about the Red Bull Music Academy events, or their daily newspaper which is an omission on my part.

I was too knackered to make the now legendary 4 way soundclash between DMZ, Trojan, Soul To Soul and Metalheadz at the Roundhouse last week, but is sounded wicked. Check Laurent’s write up and the only-to-be-expected disagreements in the comments.

You can listen to the four rounds of the clash here (no downloads tho).

The most recent Daily Note includes a nice piece on fanzines which mentions Woofah and says it has: “consistently proved that informed, considered and informative journalism continues to exist outside the internet and mainstream monthly music titles”

Which is the sort of thing which makes it all worthwhile! One for the Woofah Love page I think!

Previous issues of the Daily Note have included a two part piece by Melissa Bradshaw on the history of UK Soundsystem,  Dan Hancox on the cops and grime, a cool Weatherall interview and a series of pieces on different areas of London, including Hackney. It’s all available for download as pdfs on the RBMA site.

my week in boxes

Our fearsome Security Kitty patrols Woofah HQ

I’ve been neglecting the blog recently, but updates have been appearing regularly in the sidebar cos of my new twitter feed. Apologies to all the people who’ve left comments here, especially NagHammadiEye, for my lack of responses…

My suspicion is that short updates and links will appear there from now on and bigger pieces will be blogged. I have mixed feelings about this but it seems like the easiest option with not much time available…

So the new issue of Woofah is being warmly received. All contributor copies have been mailed out now and tonight I will tackle the backlog of orders. London shops will get copies after work tomorrow.

As many of you will know, Woofah was conceived on the dancefloor of BASH – the reggae/grime/dubstep club run by The Bug and Loefah at Plastic People. Plastic People is an awesome venue probably best known for its regular FWD nights – FWD is to dubstep what Metalheadz at the Blue Note was to drum ‘n’ bass I suppose.

Plastic People’s soundsystem and its selection of promotions has made it legendary. I first went there for some nights run by the Manasseh crew which included Sugar Minott and the late Junior Delgado toasting over records selected by folks like Dave Hendley and Manasseh themselves. It was an incredible experience being literally feet away from some reggae legends with the full weight of PP’s soundsystem.

The club is now under threat as its licencing regime is challenged by the Metropolitan Police and reviewed by Hackney Council.

More news on that soon (and the campaign to keep it open), but it should go without saying that I would be gutted if it closed.

As History Is Made At Night has pointed out, this has to be seen in the context of the wider gentrification of the south of Hackney – the City moving slowly north.