8Sided Blog

a zine about sound, culture, and the punk rock dream

We’re Still Statik Dancin’

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Minimal Compact were (are?) a groundbreaking band that were based out of Tel Aviv in their heyday. They released a series of acclaimed albums in the ’80s on the Crammed label that explored post-punk’s funkier, artsier edges. Minimal Compact are probably more influential than you think — ask a few clued-in art punks.

The band sounded the alarm with “Statik Dancin’,” the first track on their debut album, 1982’s One By One. You could say “Statik Dancin'” helped set the template for the DFA/LCD sound alongside Eno’s work with Talking Heads and other triumphs of sonic mish-mashing from that era. There’s more than one unique element to “Statik Dancin’,” but Samy Birnbach’s disconnected but urgent vocal delivery and Marc Hollander’s spiraling bass clarinet solo are most noteworthy. The rhythm line is an electrical pulse, high tempo but locked in. And this guitar is more scratch than notes and counts as part of that rhythm section. I’m positive you could play this at any dance music club without killing the vibe.

Even wilder: a new re-release of the original version (not the respectable Colin Newman assisted 2019 re-recording) backed by a remixed ‘dub’ from none other than Mad Professor. A dub done well shines sunlight on the bones of the source track — it’s the same skeleton but you can now examine the joints. And what joints are these! The bass and drum (and percussion) drive is as kinetic as ever while Samy’s voice and Berry Sakharof’s guitar twirl in the echo chamber. Mr. Professor adds elements familiar even to those who only know his Massive Attack work, and, despite the absence of bass clarinet (maybe it’s hiding in the mix), the whole thing feels like an explosion in slow motion. What a cut.

There aren’t many people producing dubs as tastefully and effectively as Mad Professor. Unfortunately, many contemporary dub versions are either too heavy-handed or sonically timid. I feel like DAW in-the-box automation, for all its advantages, takes the danger out of recording a ‘version.’ Dub is on the fly, an octopus at the controls, pushing buttons and riding faders. Just check out this video of Mad Professor in action. Or how about Adrian Sherwood for something even more intense?

Adrian Sherwood at the controls

Let’s leave the subject of dubs and go back to Minimal Compact — or, more specifically, Samy Birnbach. His post-Compact career has been long and wide, including curating the beloved Freezone series of compilations and his SSR label. As DJ Morpheus, he DJs on radio and club decks and is responsible for one of the best sets I have ever heard. It was at a small club in Moscow, and Samy didn’t beat-mix a single record. The music selection and his sly sequencing did all the work, and it blew me away.

Let’s go back further. In 1996, I released a record on San Francisco’s Mephisto Records called “141 Revenge Street.” The 12″ got around more than I could have imagined, and a copy ended up in Samy’s hands. He got in touch with me (maybe by fax!) and suggested I hang out with him in Miami at the Winter Music Conference. I had no intention to go but couldn’t help but think it would be cool to meet the guy behind the Freezone compilations, the guy behind “Statik Dancin’.” So I popped down to Miami — my first time — and met up with Samy, who seemed to know everyone but spent a lot of time with me. He gave me a lot of advice, encouraged my then fledgling DJ/producer career, and introduced me to people like Carl Craig and Kruder & Dorfmeister. Holy cats, I was hooked.

I returned home with a multi-year supply of inspiration and got to work. I started recording what would become my Sunburn single and the next Mephisto release. Samy released “141 Revenge Street” on SSR and got Glenn Underground to remix it. Then someone bought me a plane ticket for the first time, and I flew to Detroit, where a guy heckled me during my entire DJ set. It wasn’t but another year or so that Astralwerks came calling.

I’m still in touch with Samy. He’s been a trusted constant and friend in this business called music. All these years later, we’re both still statik dancin’.

Ballad of the Blog

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Perhaps you’ve noticed that this blog is alive once more, after a long and mysterious absence. My newsletter came to a skidding halt about seven months ago, and the blog’s been eerily silent. The only place you could openly find me all this time was Twitter, which is simply embarrassing.

I wrote about this on Twitter last August with an optimistic tone that, in retrospect, was perhaps jumping the gun a little. Expanding on that thread, I’ll say that I was (and am) exhausted — just like many of you. As COVID-times dragged on and on and on and the vicious news cycle dragged on and on and on, the ennui gathered into mountains. There was nothing I wanted to write about. Nothing in my head, nothing inspiring, nothing exciting to document in the early morning hours. Even my journal, updated almost daily for years, went dark.

Luckily my professional life doesn’t rely on writing, so I had the luxury to stop and wait. Nevertheless, I knew that I was hardly alone in this stifled feeling. And, heeding the advice of those talented enough to write through this malaise, I knew the best strategy was to not stress out about my lack of motivation. The recommended move was actually to lean into it — do other things, find new hobbies, read lots of books, and occupy the brain with something other than the fact that the creative plumbing’s sprung a bad leak.

So, that’s what I did. I shifted focus to my spunky music label, 8D Industries. I learned to make tasty and fiery hot sauces (which became a gateway drug to vegan cooking). I got actively involved with marketing Caroline’s growing Kitten School channel. I spent a lot more time with family as I successfully and safely moved mom to a house next door during a pandemic. And I started getting involved in freelance podcast production.

Several months ago, I was hired to edit and co-produce Andrew Loog Oldham’s Sounds and Vision podcast, and the experience has been a delight. If you don’t know, Andrew is the original manager and producer for The Rolling Stones — as just one of his too-many-to-list-here historical music adventures — and he’s got stories for days. Check out the podcast if you’re even a little curious. It’s a lot of fun. I’d recommend the Elliot Easton (guitarist with The Cars) episode for a starter as it’s got lots of juicy behind-the-music-industry tales.

Meanwhile, the writing bug has finally returned over the last couple of months (along with the music bug, but that’s another story). As arbitrary as ‘the new year’ is as a signifier, it’s still a useful prompt to refresh. And that’s what I plan to do. On the immediate agenda: make some changes to the blog (currently in progress!), start blogging regularly again, and then, once firmly in the saddle, relaunch the newsletter. Voilà. Easier said than done, right? But I’m excited nonetheless, and that’s an accomplishment in and of itself.

I’ll finish this deep gaze into my navel with a few notes about the newsletter. 

First off, I’m retiring Ringo Dreams of Lawn Care. I consider Ringo its own series (in the television sense) and a moment-in-time capsule. I’ll call the relaunched newsletter something else (tbd). It’ll have a different format, but I’ll cover the same genre of topics. 

Also, the newsletter won’t be on Substack. I’m exploring a combination of Sendy and Newsletter Glue to host the newsletter on this site. This change potentially sets up a roadblock of discouragement as it’s complicated (oh jeez I’ve got to figure out what a VPS server is). But I want to learn newsletter self-hosting partly as a self-challenge and also to be able to teach others how it’s done. 

If you’re a Ringo subscriber your subscription will automatically transfer to the new entity once I’m ready to roll. You don’t have to do anything, unless you’d like to unsubscribe, which you can do at any time (including now if you’d like). If you’re not subscribed, go ahead and use the Substack sign-up form found in the sidebar of this site. I’ll add your address for the new incarnation of the newsletter upon launch.

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Another personal update: I released a song at midnight on January 1.

Grottoes is a long-imagined project, revealed as I finally step away from Q-Burns Abstract Message. Yes, the AUDIOTOTEMPOLE EP was always meant as a closing of the door. And Grottoes predates “Touchtones (1997),” the earliest reference on that EP. I tried and failed to start a band called Grotto in the early ’90s after the dissolution of my much-beloved (by us and some others) band Tick Tick Tock. There are too many other bands called Grotto nowadays, so Grottoes it is. It looks mightier written as text that way, so win-win.

The quiet first appearance of Grottoes was a remix for Brighton’s The Self-Help Group and the song “Temple OS” (a fine song in its own right, btw). That one was recorded in mid-2021, during my supposed creative lag, and is the last time I worked on something musical. I hoped this would spark other Grottoes tunes to serve as accompanying tracks for something called “Straw Belle.”

“Straw Belle” isn’t new. I started recording it maybe three or four years ago, and it’s a song that I revisited and tweaked periodically. I settled on a final version at some point in late 2019. I feel it’s one of the best things I’ve recorded. And I held it tight — only about four people have heard “Straw Belle” before today — under the assumption that I’d record a few more songs like it and release an EP. As you probably guessed, that never happened.

After encouragement during a catch-up phone chat with my friend Jeff (the bass player in even earlier attempts at bands), I realized that “Straw Belle” would never see the light of day if I attached it to the loose promise of ‘other songs like it.’ So I decided it should finally come out on its own, and, as this revelation came at the end of 2021, New Year’s Day seemed like a novel release date.

For your consideration, here’s “Straw Belle” by Grottoes. Artwork by Matthew Naquin. Secret assistance from The Imprisoned Wizard. Sounds like group homes, wavering spaces, pangs of crunch, tones from belief, e-bow symphonies. I hope you like it. Please tell the others if you do.

Addendum: The Orlando Weekly‘s Bao Le-Huu wrote about my musical shift to Grottoes and scared a few headline skimmers by declaring me dead.

A Drumtastic Interlude

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The Shining: a Visual and Cultural Haunting is an ‘immersive publication’ exploring Stanley Kubrick’s obsessively examined masterpiece. It includes over one hundred loose-leaf ‘typewritten pages’ that mimic Jack’s fateful manuscript in the film1related: this tweet made me giggle today. It’s presently on Kickstarter, and boy is it tempting, even though I feel like this film has already been pulled apart from every angle (sometimes with ridiculous results). If you pledge at the highest level, you’ll get a replica of Danny’s Apollo 11 sweater, knitted to fit your size. Oh, and there’s an unexpected essay by Cosey Fanni Tutti on “sound and the unfolding domestic violence within the film,” which I’d love to read someday.

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“Story of the Century” by Ty Segall is a drum-tastic interlude from the soundtrack to the documentary Whirlybird (I’ve seen it, and it’s good). The massive drum break in the middle sounds a lot like the one in the middle of my own “141 Revenge Street,” though mine is lifted + sampled from something I honestly can’t think of right now. Segall’s break is probably lifted from the same source as well — if you consider having a living-and-breathing drummer replicate a drum break as ‘lifting’ in the borrowing/thieving sense. The full album is out tomorrow and it’ll be a lot of fun if this advance track is any indication.

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I’m also enamored with Al Chem‘s second release for the long-respected Compost label. The Upanishads EP stands out in a sea of dance music promos from the usual suspects as Al Chem’s inspiration arises from electro-acoustic experimentation. The tempos are house music-friendly but, barring some predictable DJ mixing a kick drum underneath, there’s no prominent rhythmic backbone. Instead, the tunes are percussive and often of the tuned, metallic breed of banging, resembling a highly restrained Einstürzende Neubauten. And that’s meant as a compliment! As on “Moksha,” the ting’ed notes are kalimba or kora-like, creating buzzing arpeggiations — possibly synthesized, possibly organic, it doesn’t matter. My pick is the subtly ominous “Advaita,” a cut that abandons melody for syncopated layers that resonate to create a perceived drone underneath. And “Vedanta” closes things out on a sunny note, full of delightful, ringing complexity that resembles Laraaji more than a tad. I bet there’s the temptation to release a club-primed remix pack soon, but I hope that move is resisted — I dig these four cuts just the way they are.

What Am I Doing Now? (New Year Edition)

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This month seems like the beginning of a year of transition but, when you think about it, every new year is a year of transition. The flick-of-a-switch from one numbered timeline to the next is arbitrary, but the anticipation of flicking does inspire reflection and taking of stock. This one’s more potent as it’s the start of a new decade. The self-examination was particularly intense this time.

2019 felt like an ‘in-between’ year — like I spent it preparing for something. There were accomplishments and significant moments (like marriage!), but looking back, I see a lot of things getting set up for the future.

What am I setting up? Well, this is the year of 8DSync and going all-in on music publishing and licensing. It’s an area I’ve worked in for two decades but as a side-gig to other endeavors. Now with the help of my colleagues Miguel Bustamante and Craig Snyder, I have brought 8DSync to the forefront. The move makes sense — I am more knowledgable in music publishing than any other music business field, and it’s what I do best. Time to lean in.

Beginning the year, I’m in the process of redesigning the 8DSync website from scratch. Not understanding what I was getting into, I decided to do this redesign myself. The site is looking great, but it’s a work in progress as well as a time-consuming one. I’m adding many artist and release pages over the next few months.

Some of those artists represent new signings to the 8DSync roster. We start the year with these exciting additions: Kingston, New York’s psychedelic Shana Falana, the UK roots-rock act Swampmeat Family Band, Jonathan Brodeur and his power-poptastic Bird Streets project, and a lovely downtempo label out of Ireland called WeGrowWax. There’s also a new album from Scotland’s The Little Kicks on the horizon. That’s a lot of fantastic music to look forward to straight away.

Another of my projects due for a refresh is the 8D Industries label. We took a hiatus as the artists concocted releases, but now it seems likely we’ll have new music from Monta At Odds, San Mateo, and More Ghost Than Man before next summer.

But what about Q-Burns Abstract Message, you ask? I’m working on a new batch of songs, too. It’s all quite different, and I debate even using the Q-BAM moniker, though I probably will. I’d like to have a consistent slate of releases this year — perhaps a series or 3 or 4 song EPs — which will be a challenge. I must remind myself that we make the time, we don’t find the time.

And there’s a ton of writing in my future. The 8sided blog is an integral part of my life, and I enjoy working on it. I’m meeting cool new people through it, too (drop me a line anytime). I have internal debates over what this blog is exactly — is it a place for music industry commentary, or reviews and notes on the culture, or can I get personal, or can I get silly? I’m leaning towards it being all these things. But one thing I plan to examine repeatedly is how we’ve grown to rely on the biggest corporations in history for the dissemination of our art. How do we maintain our independence as the tech-giants chip it away? That’s the theme of the blog if there is one.

For over a year, I’ve been threatening to start a newsletter. All the cool kids are doing it, and I want to hang with the cool kids. Well, it’s ready to launch, and it has a name: Ringo Dreams of Lawn Care. What’s that about, right? Just bear with me. The newsletter will be different than the blog though I’m not sure how yet. The first few ideas for issues are more personal, more story-oriented. I’ll base it on my experiences juggling all these things — the publishing company, the label, Q-BAM — and the trials of working in the music industry from outside of the music industry. I’m sure I’ll also write about interesting things I’m reading and watching and hearing, too. It will be good, and I’m setting the first issue free in a few weeks. Please sign up here.

What am I looking for in 2020? Well, besides the replacement of some of our world leaders (omg plz), I’d like more excuses to travel. I already have flights booked for returns to SXSW and MusicBiz, but would enjoy several more chances to ride on airplanes. I’d also like to pick up a couple more consultancy clients this year, whether artists or labels needing help with branding, positioning, and release strategies or companies looking for assistance with music publishing and rights management. And I’d love to advise and collaborate with a cool outsider artist, band, or label — one dedicated to a musical niche with no mainstream aspiration and struggling with being seen in 2020’s ephemeral information whirlpool. If that’s you and you’re willing to do the work, then feel free to get in touch.

One last tidbit: I mentioned SXSW above. I’m thrilled to announce that there will be an 8DSync showcase at the festival this March, featuring many of the artists mentioned above. I’ll have the details soon. I played SXSW a few times as Q-BAM in the past, but I’ve never been on the organizing side of a showcase. So that’s exciting.

OK, you didn’t ask for it, but now you’re up to date on my activities. And, as a byproduct of this ramble, I have a clearer idea of what I’d like to do over the next few months. 2020 is the year when all that table-setting in 2019 pays off. Now I’d like to hear from you. What are your big plans? Is there an opportunity for us to work together, or bounce around some ideas? I’m game. I have the feeling this could be our year.

What Am I Doing Now? (May 2019 Recap)

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  • I’m gearing up for a few days at MusicBiz 2019 in Nashville, starting on May 5. I’m expecting terrific panels, productive meetings, new contacts, seeing some old friends, and perhaps an announcement or two from my camp. If you are in Nashville for this conference, then feel free to drop me a line and let’s meet up.
  • The first Q-Burns Abstract Message release since 2011’s “Balearic Chainsaw” is out now on 8D Industries and it’s called AUDIOTOTEMPOLE. This is a special release, and it closes a loop of sorts. These are songs spanning the years. The one with ‘1997’ in the title is that old, and I completed the newest track three months ago. I think that I can now move on to new pastures, new sounds, new — and more frequent — Q-BAM releases.
  • Additionally, on the Q-Burns Abstract Message front, I’m breaking my DJ retirement for one night to play at the Phat N’ Jazzy 25th anniversary party. There are only a few things that would get me to DJ again and this party qualifies. Twenty-five years ago I had a weekly gig playing spacey trip hop records in the backroom of Phat N’ Jazzy at The Beach Club. It was my first residency, and it’s where I honed my DJ craft. I’d probably be in a different place today if the P’n’J crew didn’t trust me to command the backroom vibe. For the May 11 anniversary party I’ll be playing the tunes from that classic era, or at least the ones I still have on vinyl.
  • Consultancy: I’m currently working with Reza of Vexillary, Deepak of Hidden Recordings, and I’ll be advising Snax once again starting next week. A big thanks to my clients for being on board and receptive to some crazy (but effective!) ideas. I’m expanding the consultancy into special one-on-one workshops over the next couple months.
  • Soon you’ll hear me blabbing about music industry stuff on the This Is Orlando and Scotch and Good Conversation podcasts. I also did a long interview with the site MyMusicMoments that I feel good about. I’ll post links to all of these in the blog once they’re online.

Listening (music):

• Simon Scott – Below Sea Level
• Khotin – Beautiful You
• Mary Lattimore & Mac McCaughan – New Rain Duets
• Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
• Helado Negro – This Is How You Smile
• The 180 Gs – Commercial Album
• Revisited Sonic Youth’s Sister and Mission of Burma’s Vs. in a big way.

Listening (podcasts):

• Cherie Hu’s relatively new Water & Music podcast is great. Stellar music industry commentary. Check out the episode with Amber Horsburgh for starters.
• On Russell Brand’s Under The Skin, I enjoyed the conversations with Douglas Rushkoff and Derren Brown.
• Bob Lefsetz’s podcast is back, and the episode with Billy Bragg is a lot of fun. I especially enjoyed the history lesson on skiffle.
• John Livesay’s appearance on Big Questions With Cal Fussman was super-insightful on the topics of marketing and developing stories.

Watching:

• Cold War
• Free Solo (inspirational)
• Silent Light
• We finished The Americans. I was unsure for the first couple of seasons but we hung in there which paid off … the show got really good (as I’m sure you’ve heard).
• And, sure, we’re watching Game of Thrones. And Gay of Thrones.

Reading:

• Finished Bobby Fischer Goes To War which was fantastic, though it did wind down a bit mid-match (and 3/4 into the book) once it became apparent that Fischer would win. I wholeheartedly recommend it, though. One big complaint: the book mentions throughout that Bobby Fischer often listened to ‘rock n’ roll’ while preparing and practicing, but there’s no mention or clue as to the records of bands he liked. I want to know!
• I’m now halfway through Neal Stephenson’s Snow Crash after multiple people coincidentally recommended it to me over the same few weeks. Confession: this is the first fiction book I’ve read since 2001. No idea why I gave up on fiction, but I’ve meant to get back into it. So far so good — I’m enjoying Snow Crash, though I still am not sure what it is about the book (or me) that inspired various friends to point me to it.

Misc:

• I started using Focusmate over the past few weeks. I’m using it right now. It’s a game-changer — expect a blog post about this soon. In the meantime, here’s the article that convinced me to give Focusmate a try.
• Civic Minded 5, my favorite concert promoters, hosted the trio of Nels Cline/Larry Ochs/Gerald Cleaver a couple of weeks back. A mind-blowing show. There were two sets — the second half of set one was explosive and set two was at times drone-y and Krautrock-y. So good. Again, I’ve never been disappointed by a Civic Minded 5 show and am grateful they are here in Orlando. Your city should be jealous.

An Indefinite Break: When Artists Step Away

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Popjustice editor Peter Robinson in Music Business Worldwide:

Last month’s articles following the death of Talk Talk’s Mark Hollis each discussed his extraordinary music and the impact it made both in its own right and on the music of others. But there was blanket recognition, too, for the way Hollis called time on Talk Talk and pretty much retired. As the Guardian put it in one headline: ‘He disappeared into the fog.’ […]

If we permit a band to split up, it’s not long before we demand a reunion. Solo artists who turn their back on the whole thing are regarded as fools or mad recluses. Someone might not want to tour again, or make more music, might feel they’ve said everything they ever needed to say, might know themselves well enough to know this lifestyle isn’t for them? Inconceivable. Not to mention inconvenient, if the purchase of your next property relies on squeezing 20% out of another album. […]

Many of us have had musicians and creatives tell us literally to our faces that they just cannot do this any more. Given how sceptically we view artists who in our heart of hearts we know can’t do it any more, it’s no wonder there’s no orthodox way of dealing with popstars who just don’t want to.

We’re disappointed because there’s a story we tell ourselves about our favorite artists: that they live and breathe music with every fiber, and to stop would be their inevitable demise. Or, at the least, a betrayal of their divine nature. I know that sounds highfalutin’ and impossible, but I think, deep down, we believe it.

As a recording and touring artist who gave up the lifestyle and, for the most part, the creation I completely understand the stresses and the eventuality of feeling spent. People ask me for the next record — or the next DJ set — all the time and I appreciate the compliment. But it’s hard to explain to a ‘fan’ that I need an indefinite break because the artistic process isn’t compelling at the moment. And I — and your favorite artists — need to be compelled. Otherwise, the best I can promise is ‘half-ass.’ That’s not for me to deliver.

And I’m small potatoes. I can’t even imagine the pressure placed upon prominent artists that choose to step away. Mark Hollis or Scott Walker do come to mind, along with other missing-in-action artists given the recluse or ‘gone crazy’ tag. Here’s a tweet I saw the other day that got a ‘hear hear’ from me.

P.S. OK, I’m still occasionally compelled to create, and I’m called to it more-and-more these days. And I’ll have a new EP out soon to show for it.

🔗→ Sometimes, artists turn their back on the music business for good reason

A Punk-Rock Gut Punch

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Another dispatch from out in the sticks. Howdy. Proverbial country road pictured above.

There’s a fantastic photo in NPR’s In Memoriam 2018: The Musicians We Lost. An emotive Glenn Branca is pictured in the center, and this is one of the best concert photos I’ve seen in a while. There’s so much energy there, like a jolt of Jolt. I assume Glenn is pictured in the midst of conducting his guitar-based ‘orchestra.’ 

The In Memoriam piece is striking, as these tend to be. There are a lot of special music folks we’ll be missing in 2019. For me, in addition to Branca, losing Mark E. Smith and Pete Shelley in one year is a punk rock gut-punch.

I don’t need another ‘favorite albums of 2018’ list — going through the ones I have bookmarked already could last well into next summer. I should be listening to 2019 music! But Austin Kleon, via his amazing blog (another inspiration for what I’m trying to do here), turned me onto a tantalizingly diverse ‘best of 2018’ list from music writer Ted Gioia.

Kleon titles his post ‘The Agony of List-Making’ and expresses a frustration with making public recommendations under the scrutiny of the internet mob. Gioia eases his own misgivings by presenting his list alphabetically, not allowing any title to receive a crown above any other. Kleon highlights this quote from Gioia’s list post:

Like any music lover, I enjoy sharing my favorite music with others. But in the last few years, a different motivation has spurred me. I believe that the system of music discovery is broken in the current day. There is more music recorded than ever before, but it is almost impossible for listeners to find the best new recordings …

I believe we are entering another era of music discovery, as listeners experience playlist fatigue and blogs continue to lose sway. These personalized lists, from close friends and selected ones from respected total strangers — chefs, movie directors, music writers, etc. — will hold the real power. Recommendations like these have always been the truest source of discovery. But we — as music fans rather than casual listeners — lost our way for a bit as streaming took hold, fascinated by algorithmic playlists and unlimited access.

Optimistically, these personal interactions of recommendation foster more intimate relationships with our music. On the other hand, this could all be my imagination as friends have been recommending music online since those early-90s message boards. But I do feel like there’s a dissatisfaction with playlist culture and how it’s pushed on us by certain platforms. This is a reason I switched from Spotify to Apple Music, something I’ll write about in the future. And this dissatisfaction will grow as playlists and platform features bow further to corporate influence. I used to wonder why Bandcamp didn’t have a playlisting feature — now I get it.

In other news, Big Shot Magazine kindly asked for a 2018 recap and I delivered a few reflections. I mainly talk about the launch of 8D Industries but I also touch on curbing the news diet, a recurring topic around these parts. The Ryan Holiday quote in the piece should be mentally taped above every screen at home, whether it’s a TV or a laptop:

Perhaps it’s time we realize that consuming more news about the world around us is not the way to improve it (or ourselves), personally or politically.

Holiday has written a few articles on why we should abstain from breaking news. They’re all worth a read. 

I’d also like to point out that I meant to refer to the long album version of “Bunny’s Dream” as a favorite song of the year. The video edit embedded in the article doesn’t quite have the majesty or the sprawl and, like many unsuccessful edits, feels rushed in comparison to the original. 

A question I posed to my social media friends: will people be playing Paul Hardcastle like they were playing Prince on NYE 1998? Of course, this is meant as a joke but I know I gave some DJs an idea for a midnight song on Monday. Please report back if you took the bait.

“Shine” Swirls Again on Colour and Pitch

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I’ve recorded dozens of remixes in my production career, and there are a few that are particularly special to me. A remix I created of the track “Shine,” for the Brighton-based SumSuch and vocalist Will Brock, is one of those special ones. At the time I was abandoning the four-on-the-floor and experimenting with breakbeats again. I was also rediscovering that creative period of ‘ambient’ drum n’ bass in the mid-90s and realizing how much I missed the early simplicity of those swirly, bass-heavy sounds. This remix is the result.

“Shine (Q-Burns Abstract Message Remix)” was released on SumSuch’s brilliant Color and Pitch label in 2015. SumSuch, ever the mensch, has repeatedly expressed his love of this remix to me, which was reassuring as my path as a producer was finally veering away from the dance floor.

SumSuch has some connection with the esteemed label BBE Music, and the label released an album from SumSuch’s proper ‘band’ project with Will Brock, Mega Jawns. Now BBE Music has issued a ‘best of’ compilation spotlight on the Colour and Pitch label, and I’m honored that my “Shine” remix is included.

Have a listen to the remix:

You can find more information on the lovely collection Colour and Pitch V1 on BBE Music’s site, and it’s available on all the snazzy streaming services. There’s also an hour-long continuous DJ mix from SumSuch of the compilation’s tracks. I submit this album and mix as the soundtrack to your weekend.