Good day. My name is Cam, but you can call me Paws...I welcome you to the world of The Kort. Formed in a small coastal town in Scotland between five like-minded friends, the origins of The Kort stem from a passion for producing, discussing, and sharing new music in all its forms. As this meeting of the minds became a weekly endeavor, we expanded to our own base at thekort.com in early 2010. Now run predominantly out of New York City by myself and Phil (aka Mr. Jaws), we aim to do two things in conjunction with Percussion Lab: illuminate new artists for each and every listener, and give power back to the role of physical music. We'll do this through our Worth the Wax podcasts once a week here on Percussion Lab, promising a no-bullshit, vinyl-to-tape session that is nothing more than a manifestation of our passions. Off the cuff and honest to the bone, we just want to share tunes from all across the map that we really dig...and believe are worth some hard-earned cash. With each session we'll take a closer look at one track from the podcast, shedding some light on why these jams are some of our favorites. Thank you Percussion Lab, and welcome to Worth the Wax.

 

6

 

 

01

DEC

CONTRIBUTOR SET

The Kort - Worth The Wax_Numero 5

dubstep, idm, deep

two turntables, one microphone, and a cassette player.

1. Nguzunguzu - Wake Sleep

2. Ekoplekz - Thermodub

3. Lukid - Chord

4. Joe - Rut

5. Blue Daisy - Firewall

6. Crosby, Stills, Nash & Young - Almost Cut My Hair

7. DangerDoom ft. Talib Kweli - Old School

8. Wu Tang Clan - Clan In Da Front

9. Floating Points - For You

10. Machinedrum - Cream Soda (parts 1 + 2)

11. Holy Other - Know Where

12. Vondelpark - TV

13. Andy Stott - Cracked

I would be lying if I insinuated that music was always the focal point of my life, or that I grew up in an overtly musical household. Classic rock, radio hits, music videos...they all had their role, which was secondary in comparison to a variety of other interests. But like most people who visit this site, there was a definitive moment for me when it just clicked, when music became more than just background accompaniment to everything else. 

I forget why I was at the Tower Records on Route 17, but while idly browsing through discounted CDs, I came across the Wu Tang Clan. I recognized the name and little else, and bought Enter the 36 Chambers on a whim. Months later I was still playing it front to back, over and over, mouthing each verse word for word as I tried to recall ever being this fascinated with music. The metaphors spilling off of metaphors, the various vocal inflections and personas, the stark and mesmerizing beats...I was hooked and have been ever since.

As they say, Wu Tang Clan ain't nothing to fuck with. And I sincerely mean that, especially during those formative high school years. It's cliche, and I know thousands (or even millions) say similar things about these guys, but seriously. Wu Tang is for life, and once it hits your system, there's just no going back.  

-Paws

We caught up with Terror Danjah just before the release of his latest single on Hyperdub, You Make Me Feel featuring Meleka, out 11/21.  The man behind grime's legendary Aftershock label and his new imprint, Hardrive, also graced us with a feature mix.  Check it.

Percussion Lab: Can you talk a bit about why Hyperdub is so important to this scene/global community?  As a fan/listener, I 'get' it, hoping for insight form an artist who might seem slightly atypical for the label (if that's possible?).  Does working with Kode 9 allow for greater creative freedom, etc.

Terror Danjah: Hyperdub as a label and a family is very eclectic. Everyone on the Hyperdub label are bosses and leaders in their own genre. Kode 9 is very particular about what he releases and he's as very sharp ear when it comes to freedom.

PL: You've participated in one way or another in the jungle, garage, grime, and dubstep scenes over the years. To compare, US hip hop has not spawned any other distinctive evolution like in the UK...is there something about the UK that causes this overturn?  How valuable is the continuity of the scene in the UK to dj's, producers, and the audience?

TD: I've grown and watched different genres like acid, hardcore, jungle, garage, etc come and go. I think the UK scene is very healthy & never sticks to one genre for long. This the first time I've seen a Dj not play one genre-specific style. I play mainly grime, put I also throw in a little funky, old skool garage & the odd few jungle/drum & bass tunes.

PL: Does being on label like Planet Mu or Hyperdub have a major effect on your career at home, or is the benefit mostly from those associations outside the UK?  What role do labels play in the life of an artist these days?

TD: Being on Hyperdub and Planet Mu have played a massive part of my success outside the UK. Both Hyperdub & Planet Mu have massive worldwide following. It's a wonderful thing representing these labels, I'm honoured and grateful.

PL:  Juke has had an indelible impact on the 'bass' scene in the last year; what sounds are influencing your production and dj'ing right now?

TD: My influences are my childhood music I grew up to and lost my virginity lol, well I lost my virginity to Jungle music. I grew up on reggae, dancehall, roots, soul, revival, acid, and early hip hop.

PL: Everyone is sneaking jungle into their sets these days, and when that happens I look around expecting to see a bunch of old people getting off to it, but the reaction seems universal - all the kids immediately start brocking out when a tune like 'Screwface' or 'Brown Paper Bag' comes on.  Yet, contemporary dnb is struggling...what is it about that old sound that speaks to so many people?

TD: It's got the raw element, just like the early forms of grime. Jungle was made out of loving and raving. I think some of DNB tunes are more about who can get the nastiest LFO and screaming mid range and less about the musicality. That's why I like what Dj Hazard, TC, Modified Motion and Dj Sly are doing with drum and bass. They got the danceability vibe in their tracks.

PL: Any upcoming collaborations you're excited about?

TD: Yeah, Champion, Lex NV, Hudson Mohawk, Preditah, Swindle and still waiting on Skream. Myself and Skream have been talking about it for almost two years now lol.

PL: You're performing as a grime dj these days; do you dj with an MC?  Is it a proper grime show without a live MC over it?

TD: For the time being, I'm deejaying without an MC for now, but defo in the future I wanna bring more MC's and do live shows.

PL: Any plans to tour the states?

TD: Yeah defo, just wrapping one or two things then I'm gonna announce a few new things. But people can holla at Carter at Windish, I'm all ears lol.

You can grab You Can Feel Me here.  You probably should too, it's fire. 

Dwight Arrington Myers, aka Heavy D (1967-2011)

I found out about Heavy D on Talib Kweli's Facebook wall in a post that read, “Without Heavy D ain't no Diddy. Ain't no Biggie. Ain't no Pete Rock & CL Smooth. Recognize. RIP.” It was strange to think of such a big, bright, upbeat person who was taken so suddenly and without warning. 

I missed the first part of Heavy D's career being a baby and not hearing hip-hop until about 3^rd grade. The first track I heard of his was “Nuttin' But Love” which left an everlasting space implanted in my brain. 

Heavy D was born in Mandeville, Jamaica in 1967. Shortly after, his family packed their bags and headed to Mount Vernon, NY. Heavy, born Dwight Arrington Myers, was an inspirational kid who found hip-hop at a young age and made demos as early as junior high. It wasn't until high school that Heavy D and the Boyz formed with Trouble T-Roy (Troy Dixon), G-Wiz (Glen Parrish), and DJ Eddie F (Eddie Ferrell). The first single they released was “Mr. Big Stuff” which found its way on to the R&B charts in 1987, produced by Teddy Riley.

Tragedy struck the group in 1990 when Trouble T-Roy was killed in an accident. This happened right as the group was peaking in popularity with the new release of their album Big Tyme, which featured producers Teddy Riley and Marley Marl. Pete Rock and C.L. Smooth wrote a classic hip-hop tune entitled “They Reminisce Over You (T.R.O.Y)” from the accident placing T-Roy in hip-hop history forever. Following that, Heavy D's next effort would be dedicated to T-Roy with the record Peaceful Journey, which was released in 1991. 

Heavy was all over the place bringing his upbeat, bright personality wherever he went. He was a jack of all trades. Heavy D even had a role in television where he created theme songs for the shows MADtv and In Living Color. In addition, he acted in shows like Living Single, Boston Common, Roc, and starred in an off-Broadway play, Riff Raff, directed by Laurence Fishburne. Most importantly perhaps, he had rows in the motion picture Life and Cider House Rules.

Heavy was known for having a larger than life persona and for his respect of women (unlike other rappers at the time) and never crossed the line with sexually explicit lyrics. Even when the labels tried to influence Heavy to be more hard-edged like the popular gangster rap group N.W.A., he always did the right thing. There was a warmth and kindness in his demeanor, even simply through his music videos (all which I recommend you watch).

If your name gets mentioned in a Notorious B.I.G. song and you're a featured rapper in a Michael Jackson song, obviously there is something very special about you.  Having eight full length albums out (five with the Boyz), three which are platinum, two which are gold, and having fifteen chart-topping singles is a pretty nice career. Heavy will go down in hip-hop history on a high note. I predict his induction into the Hip-Hop Hall of Fame very soon.

And I do mean P-A-R-T-Y!  Our homies Travis 'Machinedrum' Stewart and Praveen 'Braille' Sharma (founder of this site in case you didn't know) are releasing their first full length, Sepalcure, on Hotflush, this month.  The celebration goes down tonight at Le Poisson Rouge, in Manhattan.

Tonight's party sees the US debut of Sepalcure's AV set, featuring Sougwen Chung's lush, brooding visuals and a 3-screen, videomapped projection setup developed by Integrated Visions Productions (full disclosure: I am a partner in IVP).  The audio-visual integration is going to be sick...

Also playing tonight are DJ Kiva, and one of Percussion Lab's favorite performers, Mux Mool.  Headlining the night are Mark Pritchard and Steve Spacek, aka Africa Hitech.  If you haven't copped this duo's stellar 93 Million Miles album, well, correct yourself now. Expect a dizzying variety of bass-wise genres and styles, expertly curated and mixed by Mr. Pritchard, with Mr. Spacek's haunting voice harnessing and enhancing the vibe.  

All IN!