NEWS: Faitboy Slim – Global Cinema Dance Party

Having entertained billions worldwide at Sunday’s spectacular Olympics closing ceremony with his anthems Praise You, Rockafella Skank and Right Here, Right Now, Fatboy Slim gets set to go global once more on August 31st with the world’s biggest cinema dance party.

The latest of his legendary Big Beach Boutique parties is to be shown at cinemas across the globe on August 31st giving party lovers the chance to experience the biggest and best Big Beach Boutique production yet, on the big screen and in incredible 5.1 surround sound.

Fatboy Slim Live:  From The Big Beach Bootique was filmed at the Amex football stadium in Brighton, home to Fatboy Slim’s beloved Brighton and Hove Albion FC and a venue that’s close to his heart. A state of the art production playing to over 40, 000 fans across two nights, Fatboy Slim Live: From The Big Beach Bootique features a 600 square metre LED video wall stretching the length of the stadium pitch, spectacular lazer and light show effects, thrilling pyrotechnics, eye popping visuals and a soundtrack featuring his latest material and greatest hits,

Responsible for such international anthems as Rockafella Skank, Praise You and Right Here Right Now, Fatboy Slim remains one of the most sought after DJs in the world. He’s also worked with some of cinema’s biggest talents.  Academy Award nominated director Spike Jonze directed Praise You and the seminal video for Weapon Of Choice took full advantage of Academy Award winner Christopher Walken’s dance background and won 6 MTV Music Video Awards in one night.

Fatboy Slim Live: From The Big Beach Bootique brings fans together for the world’s biggest cinema dance party.

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The Kaje talks London Irish Village to Eddi Reader

Eddi Reader has come a  long way since she started her career singing jingles for radio adverts. Known globally for her work as part of Fairground Attraction, whose 1988 “Perfect” is still one of the biggest radio hits to date, and her groundbreaking, critically acclaimed solo releases-which includes the unforgettable recordings of Robert Burns’ poetry-Reader is set to be one of the highlight’s of Under The Bridge’s  London Irish Village this summer. With a new album and tour in the pipeline, The Kaje caught up with Eddi Reader to see what she has planned for her summer…

As The Olympics hit London, so does the Irish Village – how do you see the two complimenting each other?

As the city is full of visitors, it is a great opportunity for them to hear some of the talent from this country.

Musicians are in a constant battle to be at the top of their game, do you see this as a fair Olympic analogy? 

No. I am of the school of thought that competition is for athletics NOT for musicians.  Sure, hearing some musicians play and reach for something different can inspire other musicians to do the same – but music is more eclectic than sport. One person running, jumping, swimming better than another equally prepared person is not the same as two musicians on the same instrument – we are completely peerless and as individual as fingerprints.

If you were performing in the Olympics as opposed to the Irish Village, which event would you compete in? Why?

I would like to think I would have been a great runner. But there’s the other difference between sport and music.  Sports men and women age quickly whereas musicians change and play until they are dead!

If there were one Olympian you could have up on stage for a collaboration-who would it be?

Not a good question for me as I ain’t a sporty person but I loved Muhammad Ali so if he’s an Olympian I’ll pick him.

How much attention will you be paying to the Olympics?

I’ll hook in occasionally – I loved the women’s curling competition I happened upon one night on TV in the early hours and have remembered the excitement of these women from my local town Kilmarnock and Cumnock taking on the world.  Very memorable.  So I hope to see something like that happening where the small town people let their dreams take them to the top!

Do you have any intentions of nodding your head to the Olympics during your set? If so, how?

I don’t have any curling songs if that’s what you mean.

What else can we expect from your show?

Songs and songs and stories

Ireland has a long-running history of musical dominance, what makes Ireland so musical?

Sunsets in the west.

The Irish Village celebrates Irish musicians-do you think it is easy to bag musical output by nationality?

No, culturally people have ancient stories and song which identify them. Who we all are is a culmination of our ancestors and they can be heard through our songs and stories.

Who, would you say, was the biggest Irish inspiration musically for you?

Ruby  Murray, my mother sounded just like her, with a love of melody and romantic song.

The Irish Village aside-what are you most excited for in 2012?

Making a new record.

Eddi Reader plays the London Irish Village on 10th August. More details can be found at http://www.underthebridge.co.uk/news/the-london-irish-village-2012/
Interview by Jeremy Williams

The Kaje talks Olympics to Loick Essien

Loick Essien first burst into the UK charts alongside his good pal Chipmunk on the track “Beast”, and has since worked with everyone from the N Dubz to Bashy and Tanya Lacey. With his debut album currently awaiting release, Essien is enjoying the opportunity to gain exposure for his Usher-esque vocal abilities as part of the travelling line up for the Olympic Relay concerts in association with Coca Cola. With Essien relishing every moment in the spotlight, The Kaje jumped at the chance to have a chat with the “How We Roll” vocalist ahead of his Birmingham performance…

How have you got involved with the Olympics?

Do you know what? It was put forward to me and it was something that I could not turn down. I was surprised that I was even one of the artists to be looked at as a part of it, as it is such a big thing. I am just really proud to be part of it.

What is your take on the Olympics? Is it something you have always been interested in?

The Olympics is something that comes every four years, so it is a big deal every time it comes  anyway. It is such a big deal as everyone is at home watching it. I always try to catch the running, to try catch Usain Bolt as he is always breaking records. Just to be a part of it, especially the first time the Olympics is bringing music to it, is amazing.

What is the connection between musicians and Olympians?

I think music brings people together and sports does the same, so it is only right to combine the two. I think they should do it with football too as it also brings people together. Music is something everyone can relate to. Everyone likes music, so it is abit of a no brainer.

If you had to take part in an Olympic event, which would it be?

I’d like to run and do the torch. I would love to be torchbearer, it is a big deal. When I held it, it felt like I had the power.

The Gold Medal is the ultimate accolade for the Olympian, what is your personal Gold Medal?

Mainly for more people to hear my music, for people to hear my album. I want people to make sure they get the mixtape on the 26th July, the Hyde Park day. It is just a collection of songs for people to hear me.

Interview and Photograph by Jeremy Williams

The Kaje talks Olympics to Morning Parade

The Olympic Torch has hit Birmingham with a frenzy in tow. As with each stop along its route, Coca Cola have hooked up three bands to entertain the masses. First up in Brum are the super talented, and super lovely Morning Parade. Having finally unleashed their self-titled debut album, the Essex five-piece are clearly relishing their rapidly growing success on both sides of the Atlantic. However, with a frantic crowd warming up for their arrival, The Kaje are privileged to grab a moment with vocalist Steve Sparrow and guitarist Chad Thomas to talk all things Olympic…

It must be quite an exciting gig for you guys, so how did it all come about?

Steve: It was mad. We just got a phone call out of the blue. They just said “Coca Cola would like you to perform as part of their Olympic Celebrations for the Future Flames.” We found out a little bit about what is was about, that it was a celebration of young, inspirational people within their communities and there was nothing else we could say other than “yes, please.”

Chad: It is a real honour. You hear the word Olympics and to think we are in some way a part of that is just mental. It is massive.

With your self-titled album also coming out this year after so long on the road, does it finally feel like it has all come together?

Steve: It is hard to decide how to measure success. It depends on which country we go to, as to how far we have got. At the moment we are spending a lot of time in America. The album has just been released there and it is Top 40 and the single is on the radio. It is crazy.

Chad: You are also always playing catch up on your touring. There is always somewhere you need to revisit. You can’t stop and look back to appreciate, you have to live in the bubble of that day.

Steve: Days like today make you think, “hey, we must be doing alright!”

How have your ambitions changed as a result of mainstream success?

Steve: You just start to look at things differently. When you start out as a kid you are just naive, but when you spend time at it, you realise it is just about finding goals to please yourself. You should not worry too much as long as you are happy. As long as you love it and believe in it, then that is all that matters.

Chad: It keeps you grounded so you can enjoy the ride.

How do you feel about the Olympics as an event?

Steve: It is crazy. We live quite near to where the games are being built, so we have watched it grow for the last six years. It is just so weird that is actually happening, especially for the area of Stratford. It will be interesting to see how London copes with the amount of people coming over.

Music has been very involved with the whole event, do you think that the arts and sports are closely linked?

Steve: It is all about achieving something. About getting yourself to a certain level. As an athlete you dedicate your life to building your body, as an artist you spend years honing your craft. I think there is a lot of dedication at the core of both disciplines.

Chad: No matter what you do, you have to make sacrifices to achieve your dream. Whether that is an Olympic medal or playing at Glastonbury.

Steve: I think in the society we live in, when shows like X Factor make it look so instantaneous, the Olympics are great to show people how important dedication and application are. They show that if you really want something, you have to work to get it.

The Olympic Gold is the epitome for the athlete, what is your own Olympic Gold?

Steve: I think the hardest thing for an artist is to make something that lasts, so I think for me the Olympic Gold is to be able to write an album that is timeless. But along the way you get mini Golds, for example, in America we get kids who come up and show us tattoos of our lyrics. It is amazing to think that they have locked in so tightly with our thoughts and emotions.

Interview and Photograph: Jeremy Williams

The Kaje talks Olympics to Mira Calix

Mira Calix, or Chantal Passamonte to her friends and family, is a name that needs to be known. Having to date released five albums through Warp Records and won British Composer for her composition “My Secret Heart”, it is little surprise that the acclaimed musician has been selected to sculpt a new musical experience for the London Olympics. Curiously titled “Nothing Is Set In Stone”, The Kaje jumped at the chance to find out more…

“Nothing Is Set In Stone” is part of the “Secrets: Hidden London” programme-can you tell us a little bit more about the sound sculpture?

It’s a monolithic stone sculpture made up of metamorphic rock called Gneiss. Sound is set in the stone. The structure holds a piece of music, which  is in motion, the audience influences by seeking it out. for me the object is at once – enduring; the stone, and ephemeral; the sound.

What are the defining features of Nothing Is Set In Stone?

It is of course a sculptural work, although I look at it as the physical manifestation of a song.  by walking around the form, moving closer and further away and putting your ear to the stones, you create your own version of the piece.

The audience’s movements trigger subtle changes in what is emitted from the stones. It’s for the audience to create the piece of music as a whole and to enjoy its aesthetic nature both visually and sonically. With that, I hope it gives them an opportunity to consider and reflect on the notions that brought me to create the piece. The idea that the Greek Philosopher Heraclitus so eloquently described as ‘never being able to step in to the same river twice’.

How did you set about exploring London sonically and sculpturally?

I didn’t. Although this piece is  very much for London, the sounds  are of nature and the human voice.

What for you is the essence of London?

I think for me, it’s the immense diversity of it’s inhabitants. It’s  a truly global city. Like all cities, it’s the people that make it what it is.. Yes, the architecture make it different to New York or Paris, or anywhere else in the U.K. or abroad, but it’s really how it’s used by the people, how they fill the spaces. The sight and the sounds of them that make it unique and make me love it.

What was your starting point for designing ‘Nothing Is Set In Stone’?

This idea of creating a stone sculpture made up of many stones that appear to be magnetised rather than to build a more classical stone wall.

‘Nothing Is Set In Stone’ stems from a standing stone sculpture at Fairlop Waters, how did the sculpture inspire your sound?

This very much goes back to what the piece is about, my original fascination  and inspiration was with removing a single pebble from a beach or river bank and how when you take one pebble home, you slow down time for this stone. The erosion process. however, for the stones left behind, time speeds up. This paradox of the speed of time is the source of inspiration for both the sound and visual aspect of the work. All the sound reflect these observations of fluidity in nature.

‘Nothing Is Set In Stone’ immediately alludes to a fluidity of structure-is this how you see London? Or city life in general?

Yes I do in both the city and our more rural environments.  But I also see this on a very personal level – our only constant is change, life is motion.  In a city those changes are sometimes slow, sometimes deceptively quick or  glaringly obvious – a new building, a new road, but in a person, in your own life, observing the changes is often more illusive, especially to oneself.

If you had to define the inspirations for your work, what or who would you say they were?

Nature is a big inspiration for my work in general. But individual works do have very different sources of inspiration, extremely diverse and certainly not all from nature. I’m an observer, so it may be a cliche but inspiration comes from all around.

There are of course many artists working in many mediums, whose work has affected me, and I find that it’s my emotional response to a work that inspires me the most. I am in pursuit of creating emotional responses through abstraction.

Your work has undergone a transition from electronic to classical undertones-do you see all composition as exploration?

I do. It’s a really good question, for me, the transition seems completely natural, it’s all the same thing, just the tools and  presentation of the work has evolved or perhaps opened out. But my impetus remains the same, which is to move things forward and write good music.

What do you have in store post ‘Nothing Is Set In Stone’?

I’m working on a new score for Alfred Hitchock’s Champagne. The BFI are restoring all 9 of his silent films and I’m lucky enough to be working on one of them I’m a big Hitchcock fan. It’s extremely challenging but of course a very different process to creating ‘Nothing Is Set in Stone’ and a much more traditional.  The premiere will be this September 2012.

NEWS: Composer Mira Calix Creates a New Musical Experience for London 2012 Olympic Celebrations

‘With this musical sculpture Mira Calix has managed to wrest not blood, but music from a stone, putting the music into rock and creating an exciting new cultural attraction.’  Mayor of London, Boris Johnson

Nothing is Set in Stone is a musical composition set in a standing stone sculpture at Fairlop Waters, a nature reserve and country park  in the London  Borough of Redbridge. The multi award-winning composer and artist (including  a Royal Philharmonic Society Award and British Composers Award) has created her first ever musical sculpture from a metamorphic rock known as Angel Stone (or Gneiss).

Mira Calix has worked in consultation with mineralogists from the Natural History Museum in order to create a physical experience of music.

“I’m composing a piece of music as an object, a song you can stand in the shadows of” Mira Calix

Though the composition is conceived as continuous piece of music, the piece is never heard in it’s entirety. Different melodic elements are activated by the audiences approach and movement. It’s interactivity is subtle, both mysterious and playful, each listener constructing a unique version of the song as they explore the monolithic structure.

Calix has drawn on the rock itself, its location, and sounds related to stones and the environments in which they are found – pastoral and ancient. Creating both the music and the sculptural form together, the  sculpture, with stones in unusually upright positions, and the piece of music are expressions of one another. Like the ever-changing dawn chorus of birds or the rushing of a river, it is embedded in the landscape. Calix has commented that the words of Heraclitus have been important to her in the conception of the piece:
“Everything changes and nothing remains still… you cannot step twice into the same stream” 

This work can be understood within a rich history of experimental artists, such as Steve Reich, Bruce Nauman and Florian Hecker, all of whom have explored the relationship between sound and form. This piece is also related to a recent interest of Mira Calix in process-based sound sculpture, in which sculptural form and sound are intrinsically linked.

Nothing is Set In Stone is commissioned by Oxford Contemporary Music and is part of a  programme of free events commissioned by the Mayor of London called Secrets: Hidden London, which aims to make Londoners as well as visitors look at and experience the city in a new way.

Secrets: Hidden London – Nothing Is Set In Stone from 21st June until 9th September 2012.

www.nothingissetinstone.info
www.molpresents.com
www.ocmevents.org
www.miracalix.com

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