The world is awash with sequels these days — from the 007 franchise to another 9+ hours of Peter Jackson’s vision of Middle Earth in The Hobbit. And it’s not just Hollywood doubling (or tripling down). Los Angeles-based rapper Sum’s album, Dragon comes in two parts (Vol. 1 which is out November 27 and Vol. 2 which is coming around the bend), so who better to do a two-part interview with Ninja Tune artist Blockhead, who delivered some beats on Dragon.

Blockhead will be bringing his beat driven goodness on the road in December, so peep ninjatune.net for more info on tour dates. Go to sumkilla.com for more info on Dragon Vol.1 and Vol.2.

Sum: We live in a time where there’s been so much art created, people are now wanting to go back and re-create older stuff with new technology. It pisses alot of people off. Do you feel like movie reboots get a bad rap? Or do they signify that the human race has reached the end of it’s rope?

Blockhead: I think it’s a case of Hollywood simply running out out of fresh ideas. This is nothing new, but at least back in the day they’d make a movie that was like another movie, not a straight up remake of it. As a dude who was around in the ’80s and ’90s, seeing these useless remakes of movies that were great to begin with is pretty depressing. What’s the point? I think the only movies they should be remade are the ones that missed on the first try. Judge Dredd is a great example. That original was a piece of shit. The new one though? Most bang for my buck of any movie I’ve seen this year.

Sum: In your opinion, what is the worst sequel of anything ever?

Blockhead: I dunno if it’s the worst, cause it’s actually fairly watchable ,but the least creative remake ever was The Hangover 2. it was pretty much the exact same movie as the first but less funny. The worst ever might have to be Silent Night, Deadly Night 2 cause it was 75% flashbacks of the first movie. It literally could have been made using a camcorder and two VCR decks for dubbing the old movies “flashback” scenes. Truly atrocious shit.

Sum: Who is playing Blockhead in the Blockhead biopic, and then who’s playing Blockhead in the reboot of the biopic that will come out five years later?

Blockhead: HAHAHAHA…Shit, depends what age I’d be played as. If it’s me in my early twenties, I’d imagine a young Scott Wolf (of “Party of Five” fame) would play me. If it’s an older me, I’d like a nice Bruce Willis role. We got the exact same nose, so it might work.  As for the remake five years later…I’d just like to assume I’d be played by any of Will Smith’s kids.

Sum: How do you continue to evolve as an artist without going back to the same ideas and concepts repeatedly?

Blockhead: This is something I don’t really think about. I’ve never consider myself a constantly evolving artist as much as one who just refines what he does over time. I’m not changing paths drastically enough to really consider it anything more than natural growth. I tend to always keep the foundation the same , at least in terms of my beginning point. What comes out on the other end is more just a role of the dice.

I always felt that a lot of artists who go out of their way to “evolve” stretch themselves too thin and end up making contrived music that’s pandering to whatever popular at that moment. I’m more of a “stay in your lane” kinda dude.  There is evolving within that but it’s not like I’ll be making a dubstep album any time soon.

Sum: Give me an example anywhere in music or movies where the sequel was better than the first (try to leave The Empire Strikes Back or Troll out of this).

Blockhead: In movies there are a few good examples. Gremlins 2 was better than the original (which is saying a lot considering how good that first movie was). Evil Dead 2 is another. Hell, I’d even say the last Rambo movie was the best one yet.

For music, it’s a little different.  The sophomore slump is a real thing, but a few artists have been able to power through it. The Jungle Brothers Done By The Forces Of Nature was their masterpiece. I actually prefer the second Portishead album to their debut. A lot of times, artists kinda figure things out the second time around and really find their sound. That certainly could be said for A Tribe Called Quest and Kool G rap and DJ Polo.

Come to think about, lots of sequels are kinda the best. Who knew?

Blockhead: If there was a classic album (of any genre) that you would “reboot” as executive producer with an all new cast and new technology, but the same overall music and topics, what would it be? 

Sum: I think Elzhi broke ground with the Elmatic project with Will Sessions. He rebooted a classic album. I honestly don’t even know if anything I could think of would even fuck with that. Yeh, I just spent like 15 minutes racking my brain on this one. No point, Elzhi killed this category forevermore.

For a long time I wanted to kind of “reboot” Black Sheep’s first album A Wolf In Sheep’s Clothing, cuz it’s got so many joints on it and Dres is such a big influence on me. That never took flight. Lately I’ve been daydreaming about turning Digable Planet’s Blowout Comb into a theater musical. It’s such a theatrical album, there wouldn’t have to be any dialogue or nothing. It’d just be like a moving opera, with the music guiding the action of everything. One day maybe. I guess if I was serious about it, I’d do a Kickstarter campaign, because every idea that’s an idea worth having is worth starting a Kickstarter campaign for, right?

Of the legions of turntablists who roamed the music landscape in the late-90s, few were as musical as Montreal’s Kid Koala, who always managed to strike the perfect balance between daredevil moves on the decks and creating you might want to actually listen to at home. His latest release, 12 bit Blues, is no exception. The album dropped yesterday on Ninja Tune, but you can stream the whole thing before purchasing it thanks to Exclaim!.

Daedelus: To begin. Charlie, I’d consider you to have a distinct voice, that is to say your LP is full of perspective – the kind typically hard fought for after a long time, but you are comparably young. How would you explain this if you’d believe me?

Sahy Uhns: If my voice is distinct, I think it’s maybe because I’ve been making music in one way or another for much of my life. I got my first guitar in 5th grade from my parents and soon after got another guitar from my uncle who is a country western guitarist. When I was 13 my sister got a home stereo system but she wasn’t using the turntable, so I took it and started messing around with scratching records. I broke it within 15 minutes but I think that only made me more interested in figuring it out.

Once I started messing around with electronics and creating music, that was all that I wanted to do. As far as perspective, I’ve always been interested in things that I don’t understand and so I’ve tried to expose myself to as much music that freaks me out as possible. I think when you force yourself to listen to things you don’t understand or you don’t like, you’re just furthering your aesthetic. If you can determine why you think something is good (or not) that’s when you really learn the most about yourself.

I was also really into electro-acoustic music starting around 8th grade, and Alvin Lucier’s album Music On A Long Thin Wire was really influential for me. It was the first time I was exposed to a group of pieces that were all based around one simple idea. I thought the sound was beautiful but also loved it visually and conceptually. There were other albums I gravitated towards growing up because they felt like a real, conceptual body of work from start to finish. Albums like The Rise and Fall of Ziggy Stardust and the Spiders from Mars and The Chronic. There was a singular focused vision and an attention to craft with those records that really had an impact on the way I write music. The concept and the methodical approach fueled the creativity and that is apparent in the product, whether you’re aware of what the concept was or not.

Sahy Uhns: I know from past conversations with you that when you were at USC you took an electronic music class multiple times that you loved which involved working with analog synths and tape.  While you still interact in a very physical way with your music while performing, you’re still using a device through which you communicate with the sound.  As an artist, are you still interested in the exploration process that one has with imperfect/nonlinear analog sound sources or has the ease-of-use of modern electronics become more inspiring?  In other words, do you still like to tinker with things to find the strange sounds they can make or is your music-making process more organized when contained within the computer?

Daedelus: This must be the main force that pushes Electronic music progressing, that quest for compelling sounds, wherever they might be found. And early on when I was learning about plug-ins and VSTs it became quickly obvious who was creating their soundscapes and then others who were mousing around and clicking go and the auto-shuffler or granularizer would do the heavy-lifting. Nothing particularly wrong with that approach, as a good song is a good song no matter how it was made or unmade, but I’ve just been making the choice in more physical methods and often those aren’t so in the computer/box. But that doesn’t mean I’ve escaped the computer beast! It is in fact my friend and I try to feed it good things all the time.

Daedelus: You mentioned live performance, and it is truly where most are exposed to sound as truly intended by the composer, no skipping tracks or 1:00 minute previews (unless that’s what the performer is doing). When you began what were your expectations for presenting your music and how has that possibly changed now that you are well underway?

Sahy Uhns: When I first started performing electronic music with a laptop, a big focus of mine was keeping things un-quantized.  It was kind of a weird purist thing that I was doing because I was insecure about not being a “real” live musician.  I still keep my stuff pretty loose but I do it now more because i like to be able to control exactly when things happen and it keeps it exciting for me.  My main focus now is to  try to recreate what I do in the studio in real time.

Four years ago I saw Simian Mobile Disco at the Echoplex and I was blown away.  It was so exciting to watch them controlling all of these sounds being generated in real time.  Other elements that I’m focused on bringing into my live set more are my generative patches that I make in Reaktor.  I’m a big Reaktor nerd. Taking live generative systems that I’m controlling and responding to and combining them with realtime synthesis both analog and digital is my ultimate goal. So far I’ve been able to do it for special performances, but I would like that to be part of my regular setup.

Sahy Uhns: You are seen as the poster child for the monome because you are so skilled with it.  One thing that I’ve always greatly admired about you is that you practice with the monome as any other instrumentalist practices. You have dedicated the time to make what seems like a simple device so compelling. What aspects of the instrument are you still discovering? How do you see yourself elaborating on your live set and aesthetic?

Daedelus: You are kind for those words. The Monome is a worthy opponent (better stated as a patient friend) and as such deserves practice. The device has something futuristic to those light up buttons and so many of them, but really it shares a lot with any keyed instrument, such as a piano. Purposeful pressing that makes actions, really simple.

Button mashing has it’s place in video games, but instruments require other approaches (and maybe an occasional freakout). But it’s not important, I don’t think people want to see the work going in the performance. I’m of the mind that effortless artful is more powerfully a reflection on the sounds, and when possible a performance is enhancing that music. Performance (or it’s lack) is our cross to bare (burden? Justice?) as electronic musicians, and perhaps one that we’ll have a hand in bettering its lot as we continue.

Daedelus: As you gaze into your (liquid) crystal (display) ball, and reach towards the future; an album is quite an accomplishment in this current glut of castaway singles and YouTube famous. What is meaningful? What is the mark you’d like to make? What is even possible in these tumultuous times?

Sahy Uhns: I guess for this first record I just wanted to make a mark on myself more than anything.  The record was a great outlet for a lot of anxiety and sadness but I didn’t just want to bitch and moan with electronic music.  The main thing I wanted to do was to learn about the process of “finishing” and also to reflect on my process in art and life and what I can change.  I named the record An Intolerant Disdain of Underlings because I think that is the kind of flippant attitude that has been the source of many of my growing pains and humbling experiences.  I wanted to put it right out there so I don’t forget to change it.

WATCH Sahy Uhns & Daedelus ‘An Intolerant Disdain Of Underlings’ Live

Other beloved labels similarly effected include 4AD, Ninja Tune and Domino. An emergency fund has been set up to help all of the indie labels recover from this devistating blow.

You can read the full statement from WARP after the jump.

All of Warp’s UK stock appears to have been lost in the fire. The Sony DADC warehouse also acted as our international distribution hub and so this has affected our ability to supply our overseas partners.

Forthcoming albums – CANT’s ‘Dreams Come True’ (Sep 12th), Plaid’s ‘Scintilli’ (Sept 26th) and Rustie’s ‘Glass Swords’ (Oct 10th) – are currently being manufactured.  We know PIAS are working hard to get alternative distribution in place and we are hopeful that the release dates of these albums will not be affected.  Most UK copies of Battles’ new single ‘My Machines’ have been destroyed, although the single will still be released digitally on Monday – with some limited 12inch stock available at Bleep

The biggest challenge for us is replacing Warp’s extensive back catalogue spanning the last 21 years. We will replace as much of this as we can by creating new stock and replenishing where possible with stock from outside the UK. Unfortunately some releases may never be available physically again.

We will be closely supporting PIAS in their efforts to get the independent music community up and running as quickly as they can.

URB Presents: Luke Vibert TRACKLIST

1. Glass Domain – Hiccups
2. Most Wanted – Calm Down
3. Dynamix II – Purple Beats
4. Doug E Fresh – Nuthin’
5. Original Concept – Knowledge Me
6. Tripple B Co. feat. General Jo And The Intergalactic Empire – The Base Rock
7. Raw From China – The Omen
8. Ceephax – Boppa Dago
9. John Eaton & His Syn-Ket – Bone Dry
10.Ralph Carmichael – Switchblade Theme
11.Meat Beat Manifesto – Electro The Robot [DHS Remix]
12.Intelligent Hoodlum – Arrest The President
13.John Murtaugh – Slinky
14.The Mover – Rat-Trap
15.Sky Joose – Tales Of Darkness
16.Dubtronix – Promise Land
17.Jean-Jacques Perrey et Gilbert Sigrist – Le Fugitif
18.Michal Urbaniak – Paratyphus B

A veteran presence in the DJ community as well as one of the foremost producers in too many communities to count, Vadim is never running out of ideas. With his new venture, a group effort known as The Electric (featuring UK vocalist Sabira Jade and MC Pugs Atomz) the approach is different from his previous projects, as he’s said “the songs are filled with more triumph, more sadness, more faith in the supernatural, much deeper feelings.” We’re totally into it and looking forward to their upcoming release, and in accordance with that, Vadim has given a non-tracklisted mix of truly rooted hip-hop cuts in his signature fashion. Breath it all in.

Nostalgia 77 presents the Relics mix in support of his upcoming album The Sleepwalking Society out March 22nd, via Tru Thoughts. The Sleepwalking Society features German singer Josa Peit alongside Benedic Lamdin aka Nostalgia 77, and is his long-awaited fourth studio album. The first single, Simmerdown” is now available on iTunes.

The Relics mix represents a peek into the underground London Jazz scene, featuring tracks from his own label, Impossible Ark, as well as Babel, Loop, Grundle, and Ninja Tune. Relics also contains a couple of unreleased tracks with the song Dandelions by Kaz Simmons and Elephants by the Skeletons.

“Relics” mix by Nostalgia 77 by Wax Poetics

Relics Tracklist:

1. The Skeletons “Elephants” (Koka / Universal)
2. Fringe Magnetic “Awake Like This” (Loop)
3. Riaan Vosloo “The Magnetic Peacock” (Impossible Ark)
4. Ma “We Are Two” (Grundle)
5. Andrea Triana “Lost Where I Belong” (Ninja Tune)
6. Outhouse “Bleak Sylvette” (Babel)
7. Allsopp, Vosloo, Stanley, Giles “Beatrice” (Impossible Ark)
8. Kaz Simmons “Dandelions”
9. The Rhythmagic Orchestra “Empathy” (Impossible Ark)

Label Love is an eclectic yet unified bundle of unique sounds compiled simply for the love of sharing them with the universe – each track plucked and presented by labels heads from Melting Pot, Ninja Tune, One-Handed, Plug Research, Tru Thoughts, and Ubiquity.

Each label evokes its own signature sound giving this collection a diversified and interesting flow of genres.  Label Love consists of nostalgic classics, fresh unreleased gems and other dope, exclusive selections with the goal of expanding minds to new styles, vibrations and colors.

Opener and lead single “Cloudlight,” is an epic and dark showcase in slow, moody and organic fragments of splashy, bubbly dub and Angelides’ own monotone vocals over deep pulsating basslines. “We Got More” follows with tablas and a slow motion 80s Prince pop beat. “Color Dropping” is next; a strong dubby and heavy track with rich synths and a delayed beat. With such a strong and varied trio of an opening you’d think that the rest of the album would be on par, but unfortunately the highlights are few. Except for “Siblings,” a beautiful organic track with keys and ambient strings, the rest of the album is unmemorable.

Brendan’s got talent, and it’s easy to compare him to other West Coast stars like Flying Lotus and Nosaj Thing, and jazzy German techno. But his production gets repetitive and isn’t eclectic enough in that company. There’s too much noise between the highlights, and even though he has his own signature production, you get tired of listen to the same industrial basslines and vocal mumblings ten times over. His production is rich, layered in structure and has a unique atmosphere, hopefully next time around he’s able to tighten it down and keep the listener trapped and focused.