Jef Stott’s new album Arcana invites listeners to follow a strong, snaking bass line to a place of skillfully balanced power and peace.
A female voice mingles with a buzzing bass line for a few moments and then crescendos through and above it on “Deep Playa,” the opening track of Arcana, San Francisco-based musician Jef Stott’s latest album.
Throughout the entire recording, Stott merges vocals and acoustic instrumentals—at once ageless- and ancient-sounding—with electronic beats and percussion loops. He pairs the future with the past and strength with sensitivity, revisiting many previous collaborations along the way.
“This album is like a scrapbook of my whole career,” said Stott during a recent interview. “Sonja Drakulich from Stellamara is on it, for example, and she and I hadn’t worked together in more than 10 years. There’s also some motifs from earlier pieces that I’ve written.”
Stott, who has been releasing albums since the late 1990s, never completely stepped away from music while pursuing a career path in a different direction and a master’s degree in interactive media. But Arcana represents his renewed focus on music after life dealt him a series of blows, and symbolizes his coming back to the beginning and re-gathering strength.
“The sound of the album is me artistically and personally reclaiming space,” he said. “It’s letting the world know—and letting myself know—that I’m still here and that I still have something to say.”
Arcana draws on Stott’s years of expertise in Middle Eastern music, including studying with oud virtuoso Hamza El Din, and on his success as a DJ at festivals like Burning Man. But at the album’s heart is actually a much earlier and simpler musical experience.
“I started playing guitar when I was around 11 or 12 years old, and went through all of the permutations—punk rock, heavy metal, and all sorts of different things,” he said. “For Arcana, I started working with acoustic guitar.”
Jef Stott playing oud (courtesy the artist)
Stott built upon this six-string foundation with lush, synthesized sounds and with skillful juxtapositions and looped recordings of talented friends like singer MC Rai, tabla player Jason McKenzie, and multi-instrumentalist Eliyahu Sills. On “Hero’s Return,” for example, Stott interspersed segments of Sills playing bansuri, an Indian bamboo devotional flute, throughout the track.
“There was a lot of editing in the bansuri parts because I didn’t want it to overpower the song,” he said. “I had to find just little pockets and phrases that were going to complement the melody.”
The intense bass line from “Deep Playa” snakes its way throughout Arcana, stopping short of the final track “White Tara.” Compared with his earlier recordings, the powerful sound of Arcana may take some listeners by surprise.
“I kind of stepped out of the shadows on this one,” Stott said. “What I was trying to do was just to be really open and lay it all out emotionally—that was my main goal with this record.”
Even with the bumpy road Stott encountered before recording the album—or perhaps because of it—Arcana presents a perfect balance of power and peace. It tells the story of coming full circle, and of honoring the past while welcoming the future.
Musician playing the ravanhatta at Jodhpur’s Mehrangarh Fort. (Sarah Lin Bhatia)
After an exhausting and incredible month, I’m back from my travels. Work requires a bit of extra attention right now, so I’ll publish Apsara‘s first fall feature next week.
India stays with you long after you’ve left. I’ve been thinking a lot about the performances that my husband and I were lucky enough to catch in Rajasthan, and especially about the marketing of Rajasthani “folk” music as a genre. I’ll be discussing this in next week’s feature.
In the meantime, here’s “Rajputana Road,” a well-produced song by Gaurav Venkateswar that he created from an iPhone recording of Rajasthani folk musicians. It conveys the musical conundrum of “tradition” and “technology” and where these two fit together.
Hip-hop music blog Word is Bond joins the global effort to support post-earthquake relief work in Japan with the compilation album Hope for Tomorrow.
Tokyo’s unlit skyline on March 11.
As most people across Japan settled down for bed on March 11, a powerful 9.0-magnitude earthquake rocked the country. The images and stories of the tsunami and the nuclear disaster that followed are still almost too painful to comprehend five months later. According to recently released figures, 20,889 people are dead or missing and property damage amounts to $210 billion—and these are only estimates.
The other side to these terrible events is that countless governments, organizations, and individuals around the world quickly demonstrated a tremendous amount of support for Japan by sending much-needed relief supplies, workers, and funds. Musicians, both individually and collectively, have joined the efforts by organizing benefit concerts and releasing special albums, such as Hope for Tomorrow compiled by the hip-hop music blog Word is Bond.
Hope for Tomorrow was released within an impressive two weeks after the disasters and features tracks from nearly 40 independent hip-hop artists from eight countries, including Japan. Downtempo piano and other instrumental songs comprise most of the album, with also a sprinkling of rap, soul, and spoken word throughout. “Vespers” by Phish a.k.a Soundzimage, a French artist who maintains an elusive web presence, captures not only the spirit of the project but also the mood of many people in the earthquake’s aftermath: a deep sadness mingled with hope for the future.
Now offered free for digital download on Bandcamp, Hope for Tomorrow raised over $7000 for Japan’s disaster victims within four weeks of its release. Word is Bond encourages listeners who download the album to make a donation to an organization like the Red Cross in support of ongoing Japan relief activities. Japan still has much need for aid—both financial and in kind—especially with thousands of people displaced by the situation at the Fukushima nuclear complex and with basic public services in shambles in many places.
After Hurricane Katrina devastated New Orleans in 2005, people across Japan donated relief funds to the United States in a gesture similar to the benefit activities of the past five months. It takes the collective effort of the entire world to rebuild after a disaster of a magnitude such as Japan has experienced. And it shows that hope can shine on even despite seemingly impossible circumstances.
San Francisco-based online radio station SomaFM serves up a familiar and eclectic offering of music to listeners around the globe.
One late night during grad school in Seattle a number of years ago, I stumbled across SomaFM while looking for online music to study to. It ended up becoming my regular go-to website for downtempo study music most nights, and for livelier beats when I was getting ready for the day or to go out on Friday evenings. (SomaFM also made writing papers on Saturday nights more bearable.) The appealing aspect of the station was that I could find music without lyrics when I needed to study and music with lyrics or mid- to uptempo rhythms when I wanted.
Established in San Francisco’s SoMa district in 2000 by now general manager Rusty Hodge, SomaFM has twenty channels of streaming music, with an especially fine offering of electronica, the obscure, and the simply unusual. SomaFM is entirely commercial free and listener supported, which means that the station conducts a daily but unobtrusive fundraising campaign.
SomaFM’s offerings range from the tabla-infused beats of Suburbs of Goa to the late-night lounge feel of Beat Blender—two grad school music staples I still listen to. Other notable channels include the electronified female vocals of Lush and the eclectic sounds of Illinois Street Bachelor Pad. The entire premise of Secret Agent, with its “soundtrack for your stylish, mysterious, dangerous life,” simply makes me smile—especially broadcast as it is from the city of Sam Spade.
SomaFM appears to retain its original low-key website design—kind of minimalist like Drone Zone—with all of its channel logos with their succinct descriptions neatly lined up and ready for listening on the homepage. Playlists for recent songs are available directly on the site, and extended playlists are found on individual channel Twitter feeds. Each channel provides links to albums by its featured artists, and the range of musicians is astounding—SomaFM is truly a place to discover new and new-old music. On PopTron, an indie dance rock/electropop channel, for example, legendary psychedelic rockers the Flaming Lips stream alongside the emerging pop rock band Anthem In. For those nostalgic for the synthesized sounds of the 80s, a host of familiar names like Depeche Mode and the Human League play on Underground 80s.
SomaFM’s channels are compatible with most streaming music players like Winamp, iTunes, and Windows Media Player, and the station has also introduced its own pop-up player and an application for iPhone and iPod Touch (one for Android is in the testing phase). The thousands of people tuning in at any given time (at 11:00 p.m. PST as I write this there are close to six thousand) and the range of ages and countries of SomaFM listeners represented on the station’s Flickr page show just how far internet radio can travel.
The next time you have a late-night study session or you simply want to listen to music, go online to SomaFM.com and prepare to experience a range of music and sounds like nowhere else in the world.
I bought Blind Threshold (2010), the third and most recent album by the Oakland, CA-based roots-electronica group Beats Antique, well over a month ago and still listen to it almost every single day. If I had this on vinyl rather than in MP3 format, it would be worn out by now.
So what is so captivating about the album? The eclectic, almost indescribable sound.
The three members of Beats Antique—David Satori, Tommy Cappel, and Zoe Jakes—bring together a diverse and well-trained musical background spanning Western European classical to hip hop, with knowledge of music from Eastern Europe, West Africa, the Middle East, and other regions of the world. This comes through in the album’s fourteen tracks as a bass-heavy, richly layered melding of electronified strings, percussion, horns, and vocals. John Popper of Blues Traveler even lends his harmonica to the track “There Ya Go.”
“Egyptic,” the album’s opening track, is the ideal accompaniment to a tribal belly dance performance, and small wonder with Jakes’ background with Bellydance Superstars and Indigo Belly Dance Company. The song opens quietly, with a line of simple beats and melody, before building into a crescendo of bass, strings, and darbuka. Heavy electronic reverberations replace and also fill the space between the melody and percussion throughout the entire song.
“Rising Tide” features lush vocals by LYNX atop violins and banjo, with occasional forays into the pentatonic scale found in the music of North Africa and the Middle East. It is beautiful, unusual, and a little haunting with the lyrics:
With your altars made of trash,
the aftermath of disposable dreams.
You know that you were born,
for more than what machines provide.
Unlike most of Beats Antique’s other songs, which are largely instrumental, the vocals take center stage here before “Rising Tide” closes with the sound of fading violins.
If you have not heard it yet, Blind Threshold is well worth checking out, as is Contraption, Vol. 1, also with vocals by LYNX and a heavy dose of dub. And if you ever have a chance to see Beats Antique live, their shows are famous for their color and spectacle, as exemplified by this performance at the 2009 Sonic Boom Festival.
Ian Widgery reflects on the past eight years since he redefined the sound of jazz-age Shanghai and pioneered a global craze.
Seventy-eight RPM vinyl records and curious-looking wax cylinders imprinted with the voices of some of China’s most legendary and talented songstresses—Bai Guang, Zhou Xuan, and others—sat, crated for decades, in a dusty Mumbai warehouse. Leftover goods from the former Pathé recording studio in Singapore, they were slated for disposal until being diverted to EMI Music’s Hong Kong offices in 2003 when the company was preparing to commemorate its one-hundredth anniversary in China.
Ian Widgery
Enter Ian Widgery, a young UK music producer, also newly arrived to Hong Kong. Collaborating with Morton Wilson, founder and president of Schtung Music, Widgery remixed twelve popular pre-1949 Chinese songs, such as “Waiting for You” and “Nighttime in Shanghai,” within the span of a few short months, creating Pathé 100: The Original Shanghai Divas Collection: Redefined. The first album of its kind to revitalize and introduce this early popular Chinese music to audiences worldwide, it has been reissued countless times in the past eight years, including the essential Shanghai Lounge Divas two-disc compilation featuring Widgery’s remixed tunes and a set of twenty-four original recordings of songs from pre-1949 Shanghai. The “Divas project,” as Widgery fondly refers to it, went platinum for the fifth time in 2010. Since 2003, Widgery and Wilson have teamed up for two more successful projects: Retrochine (2008), a journey through the catalog of Hong Kong’s Shaw Studios, and the Shanghai Tang Lounge Collection (2010), an album featuring original and remixed music for the Chinese fashion house Shanghai Tang.
Was it all a matter of destiny? Looking back at the past eight years, Widgery describes the incredible and unexpected outcomes that began unassumingly enough with a set of old, abandoned recordings.
Shanghai Divas
“It was so different from anything that I had ever heard before,” says Widgery of the first time that Wilson played a sampling of songs from the recovered Pathé recordings for him. “I had no idea what it was about.” Without translations for the lyrics—or even the titles of the songs—he went straight to work remixing the songs, feeling the language of the arrangement and the emotion expressed in the voices of the singers as he went along. “I decided one day just to put it in the sampler and to start writing songs around the melodies,” he explains.
The material Widgery was working with was, in fact, the stuff of legends. Republican era (1911-1949) Shanghai was famous worldwide as a glamorous, glittering city with burgeoning music and film industries full of famous women. During the Qing dynasty (1644-1911), China’s last imperial dynasty, public female performances had been largely taboo, and so the women entertainers of Shanghai’s “golden age” were a radical departure from Qing dynasty ideology.
Women such as Bai Guang, the femme fatale of her day, in fact, helped to define the elegant and cosmopolitan lifestyle idealized by the everyday women of Shanghai. The products consumed by Shanghai’s residents and the popular culture of the city—not least of all the music—bear the unmistakable mark of influence from the United States and Europe. But with as much veracity as Shanghai housewives read about the lives of Hollywood film stars and American jazz tunes were played in dance halls, most of the films and music produced in Shanghai were an exploration and a creative adaptation of Western popular culture in keeping with Shanghai’s cosmopolitan atmosphere, rather than outright imitation.
In this same way, Widgery and Wilson’s remixed tracks are a masterful merging of pre-1949 music with electronica—a redefinition of the music that defined the sound of jazz-age Shanghai. The vocals on the tracks emerge, distant- and dreamy-sounding through swathes of beats that enhance, but do not stifle the essence of the songs. For example, Widgery crafted “Waiting for You” into a downtempo masterpiece that retains Bai Guang’s trademark low voice, evocative of both a jazz-age cabaret and a contemporary lounge.
Widgery remixed a few of the songs in Hong Kong before moving to Vancouver, Canada to be married and to settle down. “I ended up putting together the rest of the tracks outside on a computer on a lawn in Canada,” he laughs. He returned to Hong Kong to finish the album with Wilson, a process that was completed within a matter of months. “I have worked on over seventy projects,” he says, “but never on a project that has been able to be produced so quickly . . . In a way, I was so inspired by what was going on, that it really wrote itself. That is a sign of a good project.”
Shanghai Lounge Divas has proved to be so successful worldwide that Widgery is not only gratified, but even a little astounded by it all. Several of the songs have been licensed for use in films, and only a few years ago, Annie Lennox, speaking on television with Jools Holland, enthusiastically praised the album, calling it the “most fantastic thing.” Elton John was also spotted purchasing thirty-five copies of the album at an EMI store. Most importantly though, the Divas project has brought the voices of Bai Guang and her contemporaries to listeners from a different generation and to places where the music might otherwise never have been heard. Shanghai Lounge Divas has inspired imitations, but none as enduring as it. “It just keeps going and going,” emphasizes Widgery. “I am so happy for the fact that all of this music is out there for younger people from different cultures to be exposed to.”
Retrochine
Following the success of Shanghai Lounge Divas, the Shaw Brothers Studios in Hong Kong—perhaps best known for its early martial arts films—approached Widgery and Wilson in 2008 about doing a remix album featuring songs from their catalog of musical films. Although the resulting album, Retrochine, is in a vein similar to that of the Divas project, its fifteen tracks cover a slightly later era—the 1950s and 60s—and a completely different and unique region of China. “We wanted to do an album that represented Hong Kong,” notes Widgery.
There is, nevertheless, an important historical link between the two albums. After the founding of the People’s Republic of China in 1949, the popular culture of jazz-age Shanghai gave way to revolution-inspired art, music, and film. Many popular entertainers, such as Bai Guang, immigrated to Hong Kong—which was then still under British colonial rule—and worked there in the music and film industries.
Retrochine whimsically captures the essence of Hong Kong’s popular culture of the 1950s and 60s as shown through the lens of the Shaw Brothers films, including such songs as the frenetic “Go Go!”. “It follows a different format [from Shanghai Lounge Divas] because it is like a soundtrack to a movie that we never made,” says Widgery. “There are a lot of aspects to it that are not only musical . . . We also had access to dialogues from movies.”
Like Shanghai Lounge Divas before it, Retrochine has enjoyed considerable success, especially in Asia, becoming a top-twenty album in 2010. Time Magazine has hailed it as “fun, edgy, and eclectic,” and its popularity continues, both for the sense of nostalgia that it evokes and for the fresh, contemporary spin that it puts on the Shaw Brothers classics.
A New Dawn for Jazz-Age Shanghai
China, after three decades of significant economic growth and the 1997 re-accessioning of Hong Kong, is undergoing a process of redefining itself, including an official image campaign and a reclaiming of the past. There is even an entire subset of popular culture devoted to “old Shanghai,” encompassing everything from television to restaurants, and so the popularity of Shanghai Lounge Divas in China is not at all surprising.
The Hong Kong-based luxury fashion brand Shanghai Tang adopted Shanghai Lounge Divas as its official in-store soundtrack a few years ago, and in 2010 it released an exclusive album produced by Widgery and Wilson. The Shanghai Tang LoungeCollection features original songs such as “I Like It,” as well as signature Widgery remixes of classic songs like “Crazy Band.”
Despite the key role that he played in launching a global music phenomena, Widgery remains quite humble about his success and gives due credit to the providence of the music. “At the end of the day, the essence comes from the original songs,” he emphasizes. “We tried to rewrite and recreate new things with them. I am only fifty percent of what the work is, and I have always been very aware of that.”
So was it all a matter of destiny? Perhaps so. Had the historical value of the Pathé recordings gone undiscovered and the records and wax cylinders been destroyed, the music might never have reemerged with such popularity. One thing is indeed certain: Widgery gave new life to the voice of Bai Guang and her contemporaries, and in doing so he redefined the sound of jazz-age Shanghai for many years to come.
Welcome to Apsara, a new blog that highlights innovative, genre- and tradition-crossing music from around the world through insightful interviews, articles, and reviews.
We were honored to interview Ian Widgery, one of the two music producers behind the now-legendary Pathé 100: The Original Shanghai Divas Collection: Redefined, for our inaugural article.
ApsaraFacebook, and we look forward to continuing to bring you features about some of the world’s most extraordinary musicians!
Throughout the entire recording, Stott merges vocals and acoustic instrumentals—at once ageless- and ancient-sounding—with electronic beats and percussion loops. He pairs the future with the past and strength with sensitivity, revisiting many previous collaborations along the way.
San Francisco-based online radio station SomaFM serves up a familiar and eclectic offering of music to listeners around the globe.
I bought Blind Threshold (2010), the third and most recent album by the Oakland, CA-based roots-electronica group 
