Irish alternative-folk duo The Guggenheim Grotto (Kevin May and Mick Lynch) delivers their third album The Universe Is Laughing –an ode to love, lust, lost and many other L-words. But according to the guys it’s about “marching, chopping wood, highways, girls wearing pretty dresses, sinking churches, ghost towns, chasing answers, getting drunk…tiny white lies, the sun, the moon and the whole damn universe”.
In spite of all of that, The Universe Is Laughing is a fairly deep yet sentimental project, especially “Map of the Human Heart” and “Ruby Heart”. The catchy “Wisdom” will appeal to radio fans; while the album’s title track will definitely become a crowd favorite. Anyway, what got me to listen to the album was the title (I’m a huge proponent of the Universe’s actions), but also their hit single “Told You So” from 2006’s Waltzing Alone and “Fee Da Da Dee” from 2008’s Happy the Man. Despite mainstream success, the duo still maintains their indie-pop-folk appeal.
The Universe is Laughing
The Guggenheim Grotto gained popularity in their native Ireland before signing to indie-label United For Opportunity, from which their songs were licensed to popular network TV shows such as One Tree Hill.
For more information on The Guggenheim Grotto, check out their website as well as their myspace page!
On a recent sunny afternoon in Ft. Greene, Brooklyn, I had the chance to meet up with Brooklyn-based turntablist and producer DJ Center --who toes the line between soulful house and hip hop beatmaker. On the heels of his debut artist release, Everything in Time, we talked about his best DJ set, the evolution of the DJ, and the story behind his name.
She’s So New York: To get us all better acquainted, tell us about your background.
DJ Center: I was born in Romania, bred in New York. I came up with a hip hop background and from there got into soul and the classics. My mentor coming up was a jazz musician, so I have a jazz background as well. I first got in to it playing live situations, being a DJ with other musicians in a live setting; and then using the turntable as an instrument, and doing live production. From there, I cut my teeth right here in Brooklyn in terms of party-rocking, in clubs and lounges and understanding how to work a room. Also I learned to take people on a ride with me. So then I was fortunate enough to travel…I was going out to Cali a lot about 10 years ago, and built with DJs out there and was also picking up influences over there. I also made it to Europe and Southeast Asia as well. Just picking up all these different influences and so I think when you hear my sets now, everything from all my travels and experiences come across now. No longer is it just a hip-hop set or a hip-hop-and-soul set. It is hip hop, soul, jazz, funk, reggae, Latin…it’s all those things because I love music.
SSNY: This segues right into my next question: Because when I listen to your music I hear the jazz, I hear the hip-hop instrumentals, I hear the Latin flavor, but also I hear a lot of different cultures, that said: How would you categorize yourself as a DJ? Do you want to be known as a soulful house DJ or a downtempo DJ, or even a hip-hop DJ?
DJC: I just wanna be known as a good DJ. To me my favorite DJs and the best DJs aren’t put into boxes. They just play music and it’s always different, right. What they do, they are able to read the energy in the room really well and play that set for whatever that moment is, as well as educate the people. So I think at the end of the day, I just wanna be known as somebody who loves music and makes people feel good with the whole palette of the musical spectrum that I have…
SSNY: So what would you say has been your best set?
DJC: I think my favorite and best sets were probably overseas in Europe. I would say Barcelona or London. I’d say that because of the openness and the reactions. I think over here in the States we may have our guard up, we might be a bit too-cool-for-school, have too many cliques going on, even worried about what other people may think [about our musical tastes]. Overseas I feel like the response to music is…and if you put it down right is…explosive. I mean you’re doing these huge rooms and the energy is through the roof and the appreciation is crazy. Though I haven’t been to Japan yet, I hear it’s a similar thing over there in terms of appreciation and just how much they love it. And as a DJ you connect with the crowd, right. What they give you is what you give back, and because you have that energy coming back at you, it makes you take it up a notch.
SSNY: Have you ever had to change your sets because of the energy of the crowd?
DJC: Oh yeah, all the time. I mean you can do your planning but I think when you’re in that moment, that’s really what’s going to guide you.
Dj Center - You Got The Love ft. Gretchen Parlato
SSNY: For the creation of Everything in Time, how did you come to record it and how did you know that now was the time to bring it to the masses? Because like you said you’ve been in the business for 10 years now.
DJC: I think…that’s a good question. I think there’s a natural evolution you go through as a DJ --where you start as a music lover, then you become a DJ; then you expand your vocabulary as a DJ and you get DJ experiences, and the natural step is going into the studio and laying down tracks, because you already have the crazy record collection you’ve amassed. So the inspiration and the influences in your library are endless and you start to get ideas. And there’s a clear relationship between putting together records and having them blend and mix in a live setting and taking sounds and instruments and working with musicians and blending those and having them mix. It’s pretty much a continuation.
Also, I remember being in Amsterdam and the promoter said something that really impacted me. It had to be like 2003 or 2005, and it was after the show and we were having dinner, and he was like what you do here is incredible, when you can come here for one night and rock it and people remember you that’s amazing, but when you produce music and have a product that you leave behind, your music lives on when you’re not physically here. And that moved me, you know what I mean. It was like that makes sense, how do I leave a piece of myself behind, beyond just mixes. So I think that was the start of it. I came home from that trip and I was like I gotta get to work. And three years later, you have Everything in Time.
DJ Center explains the process behind recording the album "Everything in Time"
SSNY: So before that point, you never thought about putting out an album?
DJC: I mean I had worked in different capacities with a group, and we were putting out records, but a solo record that was the first mention. 2007 was when I really started getting serious, built a studio and pretty much dedicated my life to it.
SSNY: So how long did it take you to record this project?
DJC: It’s a three-year record. It took three years from start to finish. When I set off, I thought it would take three months; and that’s why it’s called Everything in Time. Because you can plan all you want, but until it’s ready, until it’s time…
SSNY: There seems to be an underlining thread of positivity and motivation on the album, was that intentional?
DJC: That’s a good question, I don’t think it was intentional, but at the same time…I can say that to me, music is therapy. I think when I’m rocking a crowd I know that it’s therapy for the audience too. ‘Cause they’re probably escaping from their day-to-day and music has that power to take you out of your immediate environment and take you to a higher place. So I think that’s something I always strive for, to make music that can do that and have an effect on people is the goal. I want to make people feel good, and hopefully when they listen to it; it’ll remove whatever they’re dealing with for the time. So I think that was a subconscious intent. And you know just being a positive person and just living your life a certain way, that’s gonna be reflective in every interaction you have, and of course the music…
SSNY: I’m always curious as to what DJs listens to when they’re not working, so what do you listen to in your off time? Like what’s playing on your iPod right now?
DJC: It’s funny when you’re in the club; you’re playing more up-tempo or party music, regardless of the genre. But at home I’m actually very downtempo. I’m very lounge-y in the crib. I’m listening to a lot of roots reggae, like 70s stuff; a lot of downtempo instrumentals, jazz; you know like Coltrane is a steady favorite. I’m listening to a lot of vocalists from overseas like there’s a woman who’s Tunisian, I actually worked with her on my record; her name is Samia Farah. She’s Tunisian, raised in France and sings in French; and I remember she had this jazz-quality in her voice. She reminds me of a French Billie Holiday. Like there’s something really old-school about her, I mean like 50s old school. So she kind of gave me that quality [on the record] and her catalog is bananas too; so I’m bumping her. What we did is cool, but her own stuff is like…dope. But most especially the reggae stuff on production.
SSNY: So this is my final question, tell us about the name: DJ Center.
DJC: It comes from…when I think about my relationship with music, and what I want to put forth out there. My favorite music is honesty. You know stuff that doesn’t hide behind anything, facades; or any kind of stigma or hype. I’m talking about Sly and the Family Stone, Donnie Hathaway. I’m talking about real artists, honest artists. And I think I wanted that same reflection in my name. And to me your center is your core; it’s like when you pull away all your layers, that’s what’s left. That’s where the name really stems from. And of course, the double meaning in hip-hop, the DJ is the center; the centerpiece of the foundation. So it has that double play as well.
DJ Center’s solo debut Everything in Time is in stores and available on iTunes now!
Wanna be featured on our "One to Watch," series? Send us your music, bio and photos to besonewyork@gmail.com!
Recently, Ross has been a fixture on numerous hip hop joints, including Dirty Money's "Hello GoodMorning," and he's also remixed Rihanna's "Rude Boy" and Drake's "Find your Love" just to name a few. The general consensus is he's been crushing these songs. Accompanied by his "Albert Anatasia," big things were expected from Teflon Don. So with the blaring bass of Track 1 "I'm Not A Star," Ross sets the tone of what he attempts to deliver on this album. The hook is simple but highly effective in which he repeats the title and drags it out.
Ross being no stranger to controversy - with a checkered past of being a correction officer that he initially denied (lying ass nigga), now claims to be a Freemason on the song (featuring Jay-Z) where Hov brings life to the song stating his case against the recent attacks of rumors that he's a part of the Masonic Devil worshipping cult. Hov denies being a part of a demonic cult, but doesn't once deny that he's Mason (food for thought). Lines like: "I said that amazing, not that I'm a Mason" will pacify easy listeners, but broken down word for word, he's only worshipping the devil, so take it for what you will.
You can breeze through easily forgettable tracks like "Tears of Joy" ft.Cee-Lo (Side note: where have you been Gnarls Barkley?) where Green vaguely describes the struggle of success and being content. "MayBach Music 3" ft TI, Jadakiss and Erykah Badu (produced by Justice League) isn't as bad - its pretty much an overdone signature of Ross's representation of "Gangster Elegance." Jada and TI make it much more listenable as well.
The meat and potatoes of the album is tracks 5-9, starting with Kanye West produced "Live Fast and Die Young." Its bizarre hook and tempo is more than just a "808 & Heartbreak" rendition but it should have been Kanye West ft Rick Ross - Kanye outshines Ross on this song, where he discusses how his falling fame hasn't shaken his egotistical superficial swag in the least. Ross pretty much addresses the usual: cars and clothes while one line toward the end of the song addresses the actual subject matter of the hook.
It's the perfect set up for "Superhigh" (ft Ne-Yo), which could quite possibly be the best song on the album. Ross destroys every verse on this seventies themed track produced by Clark Kent. The Teflon Don paints a vivid picture of what its like to be rich and enjoy the pleasures of what money can give a person. Weaving his way through the sultry sounds of the guitars and bass, he makes it looks easy. Ne-Yo compliments as well as enhances the song perfectly. "No.1" ft Diddy and Trey Songz serves as a alley oop to the 2 hardest songs in the streets.
Rick Ross ft. Ne-Yo - Super High
Ross's ode to "MC Hammer" andBMF crime boss Big Meech (with the song "BMF" both produced by Lex Luger), Officer Ricky takes the life legendary rap star MC Hammer and smites it into the heavy bells and bassdrum of the beat. Lines like "I got 30 cars/whole lot of dancers/ I take them everywhere/ I'm MC Hammer!" pretty much sums up what Hammer was known for before it all fell apart for him. But the song doesn't diss Hammer, it praises the insane life he lived and how he technically paved the way for 'Ballin outta control'. "BMF" (Blowin Money Fast) sounds too much like MC Hammer, but apparently gets a pass not only from listeners who didn't want the last song to end, but also from Meech himself, who's doin 30 to life and loves the song too. Styles P who also is on the song, gives the gunplay Ross talks about, much needed gangsta indulgence. Both songs are too good to ignore.
Rick Ross - BMF
"Aston Martin Music" ft Drake and Chrisette Michelle shouldn't have made the cut on an album like this. Maybe this could've been slotted earlier on the album, but overall it seemed outta place. "All the Money in the World" ft the legendary Raphael Saadiq ends the album on a decent note. If you have the ITunes bonus track, "Audio Meth" featuring Raekwon, then maybe you'd agree that he should've replaced a few tracks with this high tempo Mobb Deep sampled track and good hook (oh well).
All in all, Rick Ross is a smart guy. He clearly doesn't mind being out shined on songs featuring other rappers, and uses them to enhance the subject matter that he clearly lacks in his song content. Teflon Don LP overall? Banger.
With a nationally syndicated radio show on WBLS here in New York, a new hit show "Keith Sweat's Platinum House” ( featuring Dru Hill) on Centric, former Wall Street stockbroker turned singer-songwriter and producer Keith Sweat brings us another round of his signature pop-R&B love ballads on Ridin’ Solo.
You have to respect the guy, he’s been producing albums and discovering artists for over 20 years now, so he’s well aware of what urban listeners expect from him: seductive R&B ballads. His 10th studio album covers that arena quite well. Though the first single “Test Drive” featuring fellow crooner Joe is urban enough, it’s the gritty “Hood Sex” (heard below) that makes us remember “Freak Me” by one of the other groups Keith discovered, Silk. Nonetheless, this album will probably produce plenty of spring babies.
Other recommended tracks: “Famous” and “Tropical”.
Other releases you might like: Al B. Sure, Honey I’m Home and Joe, Signature.
