As we said in our first post – we love mixtapes. There’s magic in the best ones. A story that winds through often disparate territory, connecting and revealing influences in both the DJ who mixes and the artists being mixed.
Now despite the fact that we posted Bankwell Vol.1 nearly a month ago, our original intention was to have a sort-of annotated tracklisting to accompany the mix, giving us a chance to write about the tracks and maybe reveal a little of how we mashed all of ‘em together in the first place.
So given that the tracklisting is quite long and in the interest of keeping these posts short and sweet, we’re gonna take it about three or four tracks at a time and try to tell everyone a little about the who, why and how…
Introductions are important. Just listen to any hip hop mixtape and you’ll hear that the effort put into making the intro generally results in it trumping the rest of the tape for entertainment value. Almost to the point where it seems a shame to continue on with the actual mix.
(N.B – If by any chance you’re reading this and have a copy of Top Rawmen “My Sides Better, Naw Mine Is” by DJ’s Mike C & Nando, please post it up and hit us with the link)
Now you’ll notice we didn’t do any scratching in this mix. Ableton hasn’t yet developed a function which allows you to scratch (though their recent involvement with Serato could prove otherwise). However we still don’t take the business of introductions lightly. We didn’t want to blow our wads too quickly with huge basslines or beats – we just needed something that builds, intrigues and makes you want to listen on.
Some of you may know Doctor Rockit by his more widely known pseudonym Matthew Herbert. Nowadays he can mostly be heard/read from through his website where he makes highly politicised musique concrete utilising found sound and a strict manifesto for creating pure “sound” music (no drum machines!!). Seriously, check out his blog for a project involving only sounds recorded during the life cycle of a pig.
Cameras and Rocks is a far cry from such projects. Essentially it’s a nice little building synth pattern giving way to a clicky house groove that makes perfect bedding for the multi-layered hoo-ha’s of Defunkt.
I’m not gonna act like I’m the hugest fan of Defunkt and their blend of funk, punk and disco. We discovered the song via the excellently curated series New York Noise on Soul Jazz Records and it’s acapella intro hit us immediately as prime intro fodder.
The lyrics are pretty straightforward. Dance. Party. Get Down. Something I think we can all aspire to and most importantly it sets the tone rather nicely for the next half hour.
The inclusion of Art Blakey’s introductory announcement is a straight-up cue from hip hop mixtapes the world over. Splicing a little thematically appopriate dialogue to say what would frankly sound pretty corny coming from the worldly portal of my own mouth.
And there it is. We’ve been introduced.