We would like to send some love to New Zealand DJ institution Stinky Jim, the host of 95bFM show Stinky Grooves that encompasses the broadest beats and most delightfully robust rhythms sourced from all corners of the globe. From the freshest reggaematical business to crucial cumbia, exceedingly eclectic electronics and a smattering of the most righteously rocking malarkey, the three hours of Stinky Grooves offers bountiful rewards to the attentive listener and their headphones.
Stinky Grooves has been on air on 95bFM for the last 27 years and stands tall as one of the stations most established specialist shows and we are honoured to be included on one of the latest with A La Fu & Lotek's Care Home Dub from the latest Jacob Yates & The Pearly Gate Lock Pickers single...nice one Jim, keep on.
The legendary Andrew Weatherall transmits our own Jacob Yates & The Pearly Gate Lock Pickers unfliching dub Care Home on his current NTS show Music's Not For Everyone alongside other finery.
Listen again here: http://bit.ly/2qabntN
Tut Vu Vu perform at the Old Fruitmarket in Glasgow Sunday May 7th as part of Tectonics music festival which is curated by Ilan Volkov and Alisdair Campbell and proudly presented by BBC Scottish Symphony Orchestra. It takes place over the weekend of 6-7 May.
First drop from the forthcoming Pop Life Crisis E.P. from Willis Ellmore. This one features the prominent voice of the Dazzla who smashes the sh*t out of it ten fold.
You Are Free (To Do As They Tell You).
Interview by Elena Martinique for Widewalls
The Symphony of Systematic Minimalism
Widewalls: Your first solo show in Italy titled Symphony of Systematic Minimalism will soon be on view at Wunderkammern Rome. Can you tell us something about the concept of the show and this new body of work?
Remi Rough: The works for this show are without a doubt some of my best and most decisive works to date. I really tried to take a minimalist path to making the work but also to really expand on all the ideas I have been working on of late. I also decided quite early on to make a soundtrack / album to accompany the artworks in the exhibition. I have been producing music for a long time now but I’ve never connected my music with my art until now! I felt it was about time the two worlds were finally connected. A La Fu from Vava Records has really helped me make the album a reality too. I played him some demos and he jumped on board making the songs sound amazing and obviously releasing it through his label.
I really wanted to try new things out with the paintings. I am definitely really happy with the result so far. I’m looking forward to seeing people’s reactions. I wanted to channel the abstract masters of old and make a stand for a genre art form that is still to this day wholly relevant.
Widewalls: Your latest book titled “#RoughSketches. Volume 01” will be presented during the opening reception of the exhibition. What went into this book and what does it mean to you?
RR: The book clearly illustrates just how the journey from wild style through to abstraction happened. It’s chronological too so you can physically see where some of those key moments happened. I started writing graffiti in 1984 but only used blackbook sketches from 1996 and onwards as that’s the point I became truly happy with the letters I was drawing. I guess it’s really important to me to have a legacy and narrative to where all this came from. It didn’t just happen overnight, it wound its way through decades of experimentation and development. Having a document that shows that journey is really important to me. It shows the provenance of the kind of work I now make. I am really excited about the special edition leather bound versions that the amazing Sandra Varisco has put together for the Wunderkammern exhibition. I think they’re going to be pretty incredible judging by the other work I have seen of hers.
Combining Music and Visual Art
Widewalls: You have been pushing the boundaries of graffiti for over three decades, but you also have a 20 years-long experience in music production. How are these two forms of expression interlinked and how do they influence each other?
RR: They’re both very similar actually… Both the way I paint and the way I produce music is done in layers. I create layers upon layers of either sounds or colours and see how they interact together. I guess the main difference is that with the music, I go into making a track with a lot more foresight than I do, a painting. There’s no point in just throwing a couple of sounds together and hoping for the best… I Like to think through each soft instrument and sound and work from sketches or sometimes start with a musical sketch and build that sketch into a finished piece of music. The paintings can sometimes be a lot more organic. I always work from drawings but once I begin, things can change very quickly. One example would be ‘Unconventional’ from the new show. It’s started as something completely different and took a completely different course as I was painting it.
Widewalls: Over the years, your pieces have been becoming more and more abstract. Can you tell us how this progression came to be?
RR: As a graffiti writer you literally write your name over and over again… I was always looking for interesting ways to achieve that. Be it straight letters or wild styles or bubble letters or whatever… As I got to a stage where I felt I’d done that enough, the letters began to abstract. As they abstracted more and more they became less and less like characters or typography and more like spatial, architectural plains. It was a slow progression really throughout the 2000’s. First I began to deconstruct the letter forms into simpler and simpler shapes. The ‘O’ became a small triangle and I would also exaggerate the sizes too. Then slowly and slowly I began letting go of all this traditionalist baggage and finding more interesting things in the space itself. Negative and positive. I began to understand that the paintings have to dictate the end result, not the painter. If that makes any sense?
Widewalls: For several years now, you have been a part of the collective Agents of Change. Could you tell us something about these collaborative projects?
RR: We started AOC in 2008 when Timid, LX One, System and myself were invited to Berlin to exhibit at the Bridge Art Fair. We went with practically nothing and ended up walking the Berlin streets pulling posters off the street walls and taking them back to our apartment to paint on and draw on. We made a massive installation of the posters and ended up signing with a Berlin Gallery and a Santander Gallery for subsequent shows. It really made us look at how and why we made work. We went home after the art fair and decided to start a super collective with all the best people in their fields. Slowly and slowly, we got there. We are 12 artists now from the USA, Australia, Germany, France and the UK. The following project was ‘The Ghost Village Project’ which was an abandoned village in the West Coast of Scotland that we turned into an art installation. We made a 12 minute documentary of the project and ended up winning a couple of short film awards for it and we never even had a press release for it. The idea of Agents Of Change was to explore space. To do something new and exciting without the baggage of selling or trying to monetise it. It’s purely about the art… We also started AOC around the same time of the banks crash so it seemed fitting for us.
Widewalls: Since it usually occupies a public space, what is the power and responsibility of street art today?
RR: I think street art and any public art really has an obligation to engage with the public. It’s always for them really. I don’t think all art has to be in any way political as such. I believe that just by actually being artists we’re making a political statement. It doesn’t have to be super obvious all of the time. The power in any piece of art is its ability to create emotions with the viewers. That’s what I like about painting murals. It’s all about the viewers in the end… I like that it transforms the environment into something other than what it was meant for.
Future Plans and Projects
Widewalls: Who are your influences, and whose work do you appreciate the most today?
RR: Oh my word… I have so many influences… From Malevich, Moholy-Nagy, Van Doesburg and Mondrian to Futura, Dondi, Jerry Inscoe and Steve More. I am always finding new inspirations. Charley Peters, Saturation Point, Sinta Tantra, Mark Francis… I could literally go on all day with the kind of artists that inspire me to me make art. I love Nicky Hirst’s work and Vhils is amazing for the kind of things he does. I often think I am so very lucky to be an artist and be surrounded by so many talented and beautiful people…
One of my favourite current artists is Steve More from Edinburgh. You should definitely give his work a look if you don’t already know it.
Widewalls: For the end, could you share some future plans and projects
RR: It’s funny, but I ended last year with a solo show at Speerstra Gallery in Switzerland and had nothing in the diary, then by Christmas suddenly I had a solo show in Rome, a museum show in Roubaix curated by Magda Danysz and a group show in New York curated by Lori Zimmer. So it all became very busy very quickly. I am also working on a huge monograph for release next year and some mural projects in Bellinzona, Monaco, Washington DC and some I have been working on a special edition graphic for the new Nike Air Woven release. I keep pretty busy. It’s hard work being an artist sometimes but I love it too. On top of all the work, I have to try and spend as much time as possible with my wife and daughter and we’ve been renovating our home which is a little like having a whole other job.
Download Symphony of Systematic Minimalism here: https://we.tl/JlMRaPXxs3
Featured images: Remi Rough, photo by Marco Cavarischi. All images courtesy of Remi Rough.
2023 The Triptych Trailer One. No border, no nations. Love one another. F*ck Nazis.
** AVAILABLE FOR FREE DOWNLOAD ON FRI. 31st MARCH 2017 **
Remi Rough (London, 1971) is one of the greatest exponents of abstract and urban art. Engaging in the UK art scene of the 80s, he has pursued his research both in the gallery space and through public interventions. The artist combines the purism of avant-garde movements such as Suprematism, with a totally modern expressionistic energy to create powerful abstract compositions. His synthetic yet dynamic lines and neat geometric colour forms, whether on walls or on canvas, acquire an almost sculptural dimension. Remi Rough has exhibited in important international institutions and events such as the Biennale of Street Art in Moscow, the Museé Mohammed VI in Rabat, the MB6 Marrakech Biennale, the Urban Art Biennale at the Völklinger Museum, the Museum of Fine Art of Santander and the Maison De L’Architecture in Strasbourg.
Symphony of Systematic Minimalism, Remi Rough’s first solo exhibition in Italy, explores the relationship between visual art and music. With an experience in music production of over 20 years, Remi’s artistic and musical expressions have always been intrinsically linked. As music’s abstract language, the visual elements in Remi’s paintings become a chromatic system of pure forms. His works colours, lines and shapes are modulated as visual “chords” in musical composition, resulting in a dynamic and precise structure where nothing is arbitrary and everything is in it's right place. Each painting, along with the musical composition created especially for it, acquires a temporal dimension, evolving in time and becomes an experience.
For his show at Wunderkammern, Remi Rough will present large scale works on canvas together with music written and produced by the artist. He will also present artworks on paper along with a site-specific installation in the gallery. On the occasion of the opening, the book #RoughSketches Volume 01 will be presented, together with a limited special edition created by Sandra Varisco.
Remi has produced a 9 track album as an exclusive release with us that directly correlates to the paintings within the show. This is the first time Remi has explored the natural connection of his artwork and his music making.
The 9 songs reference his artistic and musical influences from as far a field as John Carpenter and Aphex Twin to Futura and Marcel Duchamp.
Classic Valentine's Jams courtesy of our very good friend and mighty Moscovite DJ Tactics. Big up all Flammable Beats crew.
Here Lies Man are the L.A. based quintet founded and conceptualized by Marcos Garcia of Antibalas, bringing his erudite experience of West African rhythms and music to the more riff-based foundations of heavy rock. Extra prize for that cover. Killer.
Wax Poetics posted this great interview with David Axelrod from Big Daddy Magazine.
David Axelrod’s life is sensational. Forget for a minute that the man produced some of the finest R&B and jazz albums of the 1960s for luminaries such as Lou Rawls and Cannonball Adderley. Forget Axelrod the visionary who, long before Shadow and his sampling contemporaries “endtroduced” themselves to the musical world, created the blueprint for classical melodies melded with the funkiest of backbeats. This interview would be worth reading for the intense anecdotes that characterize David Axelrod’s life.
Read here: http://bit.ly/2lnnUIY
- WILLIS ELLMORE - POP LIFE CRISIS E.P.
Our favourite sonic trio and Va Va recording artists Tut Vu Vu grace the visual treat that is Viceland's Abandoned series. Fronted by Rick McCrank and directed by our old friend Alex Craig you can catch up on their series here: https://www.viceland.com/en_us/show/abandoned
Also, we have just made the debut and self-titled Tut Vu Vu L.P. available for digital download at our shop here or if you prefer the vinyl format you receive an immediate download straight to your inbox.
“Do not adjust your radio, this sound couldn’t be more different…” – Stephen Duffy, The Jazz House show on BBC Radio Scotland.
By no means definitive, by all means affirmative. Willis Ellmo is back once again with his annual hit of favourite wares from the year that is/was/tiswas: 2016.
Tinfoil Hardhat - Etch
Your Love - Basic Rhythm
Slow Love - Lahun
Juicy Patty - Terror Danjah
Standard Affair - Addison Groove & DJ Die
Run, Don't Play Dead - General Ludd
Naturally Spineless - Minor Science
Lightering - Illtet
Triptych - Etch
So True - DJ Clent
World Wide Lamper - Kool Keith (ft. B.a.R.S. Murre & Dirt Nasty
Robotic Handshakes In 4D - Zuli
4-7-8 - Sias
Alkahest- Best Available Technology
Geh Nie Zur###ck - Fred Und Luna
Pull Up - Abra
Wave - Factory Floor (Jlin Rmx)
Timelapse Walrus - Oliver Coates
Busy Port - Powder
Alsatian (1) - Facta
Oberyn - O'Flynn
Ndlamu (Alternative Mix) - Lorca
Cunningham Shame - General Ludd
Cedar Wood State (Volt Mix) - Mosca
Swim (Obe1) - Phork
A1 - Dynamo Dreesen, SVN & A Made Up Sound
Rotor Soap - Pangaea
Man Like Me - Trim
Why Don't You - Synkro
Dark Plan 5 - SVN
Care Home - Jacob Yates & The Pearly Gate Lock Pickers
History - Richard Holmes
Rest In Peace The Governor
Tut Vu Vu and The Evil Usses (Bristol) perform at the Flying Duck, Glasgow on Sunday 20th November. Doors at 8pm. Only £4 Door tax. Get on the mother.
Sound In Print is our series of releases that partner choice musicians, singers, songwriters, bands and producers with artists, painters, photographers, illustrators and designers to create a piece of music and artwork respectively.
MUSIC – Willis Ellmore – 'Rhythm & Repitition' EP
ARTWORK – TRY Industries – Watermarked & numbered 250gsmArcoprint Indigo, 280mm x 280mm.