Me and Mannie Fresh
Today’s highlight: me, Mannie Fresh, his manager, and Benji B. shared some white wine in a small studio for a couple hours discussing music industry past and present, technology, the advent of the talentless DJ, and the scene in late ’80s’ New Orleans. Mannie let me listen to some new tracks he produced for Rick Ross – talk about being a kid in a candy shop. Wow, I was breaking bread with one of the big influences of my sound – at least the southern 808 side of it. It was super chill though, it’s beginning to feel normal for me to hang out with my heroes. I played Mannie some of my music and some Frite Nite stuff and explained to his manager how we try to navigate the industry on the super small indie scale (as compared to Def Jam South). Mannie was sort of bouncing to my stuff, it was a bit abstract for him I think, but he was at least feeling it a little bit. We all share a love of vintage Miami Bass and talked about Magic Mike, 2 Live Crew, Pretty Tony and the west coast acts like Egyptian Lover. Mannie is a big iPad enthusiast so I gave him a copy of the studio software I helped work on content for, called Tabletop… I made the 808 kit for the program and it has my name on it, so figured that was way hotter than passing a demo.
Yosi and Jessi catching some natural reverb in the courtyard
I ate lunch today with James Pants who just showed up in Madrid, another super real cat. Everybody here no matter how established or not, is just so about the music that it’s become a really comfortable environment. At this point I rarely even go back to the hotel, I stay at the complex from morning until night and then hit the clubs. Sleep is not an option for me (less than 3 hours last night), but I refuse to miss anything. Here at RBMA, it’s all about inserting yourself into the situation, but you have to be around for it. Earlier Mannie Fresh gave a lecture on the rise of Cash Money, his induction into hit-making with records from Juvenile, B.G. and his group Big Tymers, New Orleans Bounce culture, and shadiness in the music industry. We got to hear personal tales of a young Lil’ Wayne, a 12 year old prodigy, crying when his mom made him leave the label because he wasn’t doing his schoolwork. Seems like Weezy was always the hardest worker, the first at the studio and the last to leave, even when he was just an early teen… shows you that the only thing that pays is to stay on your grind.
Resident Advisor editor interviews Mortin Subotnik
The first lecturer today was not to be overshadowed though. The pioneer of experimental electronic music, Mortin Subotnik, went through the advent of analog synthesis, his friendship with Bob Moog, and many of his musical philosophies. He was playing his group Silver Apples and solo material from the 1970’s that is more clean than any odd record from the IDM hay day in the early 2000’s. It’s obvious that this league of artists were directly or indirectly influenced by Subotnik. He will perform tomorrow night with the homie Anenon opening for him. Brian (Anenon) in passing told Mr. Subotnik he was opening for him and he gave him a sort of funny and sarcastic “good luck.”
Noz from Cocaine Blunts shares jokes with Mannie Fresh
The evening came quickly after the most action-packed day for me yet, it was dark out before I knew it. We all headed to the venue for the evening, a nice small-room basement club where participant Fabian Bruhn played an AMAZING set of techno and house, all vinyl – I danced up front almost the whole time. Brazilian artist Pazes did a Flylo-esque ableton set and did some vocals over the top, it was classy. The headliner was Roman Flügel, one of our guest engineers who has made some HUGE big room Electro-House and Techno hits over the past couple years. The club was packed again, participants, crew and guests alike all partied hard. Didn’t get much done in the studio again recording-wise, but hung out with XXXY and Doc Daneeka and played the Korg MS-20 for the first time… which was amazing. They were jamming on a hot 909-based kind of electro-soul tune with the ever-talented Jesse Boykins III on the keys. I‘m starting to get really hungry to actually make a track, hopefully it’ll happen tomorrow.
An original Korg MS-20, hard to get your hands on…I WANT ONE REALLY BAD
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