THE BOOK LA: After 15 years on KCRW and 12 on KROQ, the shows are still as cutting edge as ever. How do you keep your finger on the pulse without ever missing a beat ?

Jason Bentley:As long as I can remember, I've had a distinct interest in music and culture, plus a fascination with radio, so these influences have really shaped who I am today. In many ways, I feel like I'm still tapping into a youthful excitement when I come across new music. I think it's important to stay in touch with that feeling. There's also a certain satisfaction that comes with breaking new artists to a wider audience, whether that's by playing records on the radio, in a club, or working on a film cue or advertisement. As far as keying into emerging artists, as you can imagine, I sort through a lot of new music each week. I receive about 75 CDs a week, and a lot of that is crap, but I try to go through as much as possible. My playlist is not limited to any single genre, but obviously I've championed indie dance and electronic music over the years.

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The Beatles “Love” (Verve Forecast). Beatles purists who haven’t heard “Love”(the soundtrack to Le Cirque du Soleil latest production) are screaming heresy. Those who have, may have rediscovered an often overlooked fact: the Beatles are embedded in our collective psyche as deeply as Santa Claus and the tooth fairy. If you thought this was some kind of remastered “best of” remix project, consider what former Beatles producer Georges Martin and son Giles put themselves through: akin to sampling dinosaur DNA to open a Jurassic Park, they created a database for each individual recorded track on the master tapes, for every song of the entire Beatles discography.
They then created relationships between elements often unnoticed based on key and tempo, and while you may only hear an acapella or an acoustic guitar accompaniment, the original song to which it belongs plays in your head because it lives there in your memory. From Beatnick to Hippie, every Beatles era merges into one audacious concept album with a huge sound and more flow than Dark Side of the Moon. It is also a testimony to how complex the arrangements for these songs were. If this formula for re-invention is proven successful, Love may have opened the door to endless possibilities for the back catalogue of Led Zep, Hendrix, the Doors, etc….

Silversun Pickups “Carnavas” (Dangerbird Record). Finally a band coming out of LA escapes the Silverlake scene copycat stigma associated with Beck, Elliott Smith and the likes. Silversun Pickups Rocks out folks, not in a retarded “KROQ power cord” way, but with ethereal ballads driven by fuzzy guitars and sharp lyrics. Largely influenced by Sonic Youth and Smashing Pumpkins, the band delivers a splendid debut. Anyone up for a 90’s Grunge revival ? Happy 40th Kurt!

The Good, the Bad & the Queen (Virgin Records Us). Even if the members that make up this “supergroup” have impressive backgrounds, the Good, the Bad and the Queen, produced by Brian “Danger Mouse” Burton (Gorillaz, Gnarls Barkley), isn’t the sum of its parts. Damon Albarn (Blur, Gorillaz) leads Paul Simonon (the Clash), Fela Kuti drummer Tony Allen and Simon Tong(the Verve) in playing with an understated cool and intentional lack of pop ambition that makes this “historic” gathering feel like a jam at your neighborhood’s English Pub. Albarn, who has traded his Gorillaz cartoon alter ego for some late 19th. Century garb, sings lullabies with a snarky discontent for modern living immersed in groovy dub rhythms. It’s a lot of hype for a low key sound. Humility or false modesty? It’s hard to downplay that these cats are badasses.

Noiseshaper “Real to Reel” (Miracle Sounds). Forget Kruder and Dorfmeister (that’s so 90’s dude…), the Viennese Dub/Dancehall Reggae/House/Downbeat production duo of the moment are called Hirn and Fleischmann, a.k.a. Noiseshaper. After a promising first album, an inconsistent follow up, the third one drops the bomb with a BIG club sound, killer bass lines and infectious grooves that pulse from your speakers straight down your spine. Real to Reel is a bit of a re-launch, a grab bag of older and new tracks, some remixes, overseen by UK Dub Doc Adrian Sherwood. If you dig Groove Armada and Leftfield and you’re discovering Noiseshaper now, this is the definite album. Please warn the neighbors before getting your Punky Reggae party started.

4hero “Play with the Changes” (Milan Records). 4Hero is to syncopated beats what Coltrane is to Saxophone. Marc and Dego‘s London crew only drop an album once in a great while, and each new offering creates great excitement amongst Jazzheads. What was once vanguard innovation is now signature sound, not to say it is more of the same, just more of the same “good stuff”. Several guest vocalists lend their talents, including regular fixtures like Carina Andersson and spoken word artist Ursula Rucker, while welcoming newcomers like J*Davey.
UK Singer Terry Devos imitates Stevie Wonder to perfection on a cover of Superwoman, in what seems to have become a 4Hero tradition (Carina Andersson resurrected Minnie Ripperton’s “Les Fleurs” on 2004’s Creating Patterns). Soul music is alive and well… in England.

Bonobo “Days to Come” (Ninja Tune). Simon Green, a.k.a. Bonobo first made his mark as a downtempo/ambient artist, only to be faced with the survival urge to reinvent himself while every other musak CD was dubbed chill-out. Days to come showcases a monumental shift into complex jazz progressions fused with ethnic flavors and vaporous moods. Live instrumentation takes center stage with sultry songstress Bajka, who since she was heard singing with Beanfield has become a commodity in the international jazz/soul scene (see Radio Citizen review). Also present is label mate singer songwriter Fink, as well as Tom Chant’s, saxophonist of the Cinematic Orchestra, also signed to Ninja Tune. This latest release is undoubtedly Bonobo’s most accomplished work to date: intricate, sophisticated and inhabited with a splendor that can only be revealed over time.

Badly Drawn Boy “Born in the U.K.” (Astralwerks). Unlike Springsteen, UK Born Damon Gough a.k.a. Badly Drawn Boy isn’t shouting his national pride from the rooftops. His record is a levelheaded reflection on British identity and personal strife, bittersweet yet witty enough to not fall into overt sentimentality. Cough might hold back in his prose, but his piano is sharply tuned to his feelings, and the melody is where he poors his heart out. Vulnerability makes this softy’s charm irresistible.

Owusu & Hannibal “Living With... ” (Ubiquity). 2 Bit what? Tweak your tunes with a little backwards thinking and you’ll have your house party hoping like it’s 1980. The Danish duo steps with all 4 feet on Metro Area’s Proto Disco Funk turf with a flair that borders on retro parody. But “living with…” isn’t a tongue and cheek time capsule: The chill out beats often borrow from Detroit hip hop and Philly Soul. With a sound this dope, one hopes their living situation can accommodate a large fan bas.

Freddie Cruger “Soul Search” (Ubiquity). It took an Aussie that put a Swedish DJ Producer on the map. Feddie Cruger (a.k.a. Red Astaire) remix of Sia’s “Where I Belong” has been a hot commodity in clubs and on the radio for the past two years. Crate diggers know him for many other remix work as well. His debut reveals an eclectic exploration of styles from reggae, soul, latin, funk, to hip hop. With its patchwork of soul and dancehall guest singers like Desmond Foster, ADL and Linn building their vocal styling on top his rhythm foundation, Soul Search is a one way ticket on Cruger’s very own guided tour of Funky Town.

Radio Citizen “Berlin Serengeti” (Ubiquity). Think of Berlin Serengeti as a funkier incarnation of Portishead, or Coltrane on Meth. But setting aside a few loose references, Berliner Niko Schabel A.K.A. Radio Citizen never panders and stands on his own two feet strapped with his sampler as a weapon of choice, and his record collection as his amo. Soul singer of the moment Bajka (see Bonobo review) brings a velvet touch to this Jazzmatazz with her huskiness, and like label mate Quantic, who introduced his music to Ubiquity, Schabel is a connoisseur who doesn’t water down his mix and creates music with great respect for the source material. Jazzheads in search of sophisticated grooves will nod in approval.

Fat Freddy's Drop “Based on a True Story” (Kartel). You may have to start thinking of New Zeland as the other Jamaica. Fat Freddy’s Drop Pacific blend of roots, soul and Dub Electronica has earned them Gilles Peterson’s coveted Worldwide album of the year prize. Though just released in the US, who as usual is late to arrive at the party, Based on a True Story has almost gone 5 times platinum in sales worldwide. With a groove swinging like a hammock between two coconut trees and singer Dallas Tamaira soulful crooning flowing like a summer breeze, this record puts your head on vacation. Hit repeat and you’re gone forever.

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8-Bit Operators “An 8-Bit Tribute to Kraftwerk” (Astralwerks). Enter an electronic world were Mario Brothers are the Justin Timberlake of the Chiptune scene. The what? 8-Bit Operators was made using old video game consoles, lo-bit microchip computers and various gaming junk. Tough a brilliant tribute to innovation at large more than to Kraftwerk’s legacy, the source material offers the perfect platform to launch this deviant sonic conspiracy onto the masses. If this thing takes hold, it could potentially bring moustaches back in style, and if you see Madonna do the robot in her next video, then it’s “game over” for humanity.

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Jarvis Cocker “Jarvis” (Rough Trade). Cocker, still a crooner but sans Pulp (his band), gets off his British dandy ass and brings sexy back with a lo-fi mojo. Jarvis’ shameless over the top rock posturing will make nerds pop Viagra recreationally before they play air guitar. In England it’s called “Kitsch”, a term loosely referring to any art that is so pretentious, cliché or in bad taste, that it actually becomes… good!

My Morning Jacket “Okonokos” (Ato Records). Okonokos is a 2 CD live encounter with a trippy rock band of the right kind. Don’t try to label music that breaks the conventional mold. Progressive? Jam? Freestyle? The only clarity to emerge from the smoke on stage is that My Morning Jacket plays out live like a psychedelic journey inside your head, not a succession of disposable pop tunes. This offering consolidates and revamps the band’s past and present achievements. And if this experience makes you want to sit still in front of your screen for two hours, a companion DVD is also available?

Bloc Party “Weekend in the City” (Vice Record). Bloc Party emerged loud and strong as the new kids on the… Indie scene and rave reviews established them as the one to watch. The sophomore album is generally considered a decisive marker of longevity for any new band, and this one doesn’t disappoint. Infused with a great confidence in its lyrics and, the album reaches new heights and shines more brilliantly than its predecessor. The songs become uplifting anthems, with a fervor similar to U2’s own sophomore release October, except here it is driven by the search for meaning in modern urban city life, not religion. Having gone from what’s next to what’s best, Weekend delivers another building bloc in what is likely to become a prolific career.

Peter Bjorn & John “Writer's Block” (Almost Gold). The Swedish trio has stumbled over the utmost forgotten secret in Rock and Roll history (make that all of music history): nothing is more infectious than whistling. Though Writers Block is full of gems with a 60’s pop sensibility smudged with a little Velvet Underground reference, the whistling tune Young Folks (featuring former Concretes singer Victoria Bergsman) will live in your memory cortex forever, alongside illustrious melodies like the theme from the Bridge over the River Kwai, Snow White and Guns and Roses. Going down that road you might discover (on Wikipedia) that there is an International Art Whistling Philharmonic Society, an International Whistlers Convention, a Global Whistlers Forum, and OnLine Guide to Whistling Records, etc… It’s bigger and more underground than the freemasons. These Swedes might be on to something here. Inhale, wet your lips and pucker up. There’s a whistling contest coming to American Idol real soon.

Bent “Intercept!” (God Like & Electric). Nothing out there sounds like Bent, not even Bent itself. Bent… on eluding labels and styles, their 4th. album Intercept! Is what you’ve come to expect from the Nottingham duo: a grab bag full of experimentations designed to raise eyebrows. Some might stick more than others, but at least the duo has the merit of not resting on its critical acclaim earned as a Chill-out act. Word is, they are now bent on making people dance, as opposed to have them stare them down conspicuously while they perform “dodgy” DJ sets. Not selling out to the Disco crowd just yet though. if anything it feels like they’ve pleased themselves first, or perhaps answered the question that opens the album: “if you knew you had three days to live, what would you do ?” Bent wants you to get jiggy with it before you rest in peace.

Fujiya & Miyagi “Transparent Things” (Deaf Dumb & Blind). The first thing you need to know about Fujiya & Miyagi is that they pretend to be “japanese”. Rather they’re your average run of the mill frail and pasty Brits with enough wit to make a sitcom laughing track run out of breath. The careless cheekiness doesn’t overshadow the new wave punky dance groove a la LCD soundsystem, and like them, share an admiration for Talking Heads, acting out like skizo genius nerds who will beat you up if you take their shit too seriously. Transparent Things is fresh squeezed from the old fruit basket, but zestier than a toilet freshener.

For questions or submissions email mgoldstein@thebookla.com

... My playlist is not limited to any single genre, but obviously I've championed indie dance and electronic music over the years. Creatively, it's really based on what interests me. I'm just fortunate to work at radio stations that allow me to play what I'm really feeling. I do hope that people appreciate the creative side of it, since the craft of DJing is a lost art on the radio dial. My work on radio has always been a balancing act between creative expression and building awareness for new music. I try to pay close attention to both aspects of the practice.

BKLA: Your audience knows you mostly as a radio DJ, but you’ve been involved professionally in other area.

JB: DJing has been the consistent undercurrent while on a parallel track I've developed a profile in the music business - working A&R at record companies like Maverick and Island, Music Supervising for film, presenting live music events, remixing and writing original music. I was always in awe of the "record label" growing up, but working in the record business through the '90s kinda shattered that image. It was like having a front row seat to the slow death of an industry. When I landed my first job at a label in '92 (A&R Scout for London Records), the industry was still flush with cash, bands were being signed for good money, and every aspect of artist development was fully funded. However, the rules of the game began to change, and the industry was forced to downsize. Record stores closed, labels folded, distributors shuttered, and only the safest, mainstream artists coordinated with corporate marketing partners (the American Idol effect) would get supported. There seemed to be a widening gap growing between mainstream music and emerging alternative artists. Luckily, there's a difference between the "record" business and the "music" business, so while digital technology and other circumstances may have blindsided the major labels, others who otherwise would not have had a chance got ahead and have become empowered. In light of this, I consider myself a Music Executive as opposed to a Record Executive, which is to suggest a broader view of the field on my part. I think new media and music publishing are the healthiest growth areas for music today, but having said that, I still have a lot of respect for the resources that a traditional record label offers in launching a new artist. I'm not convinced that ringtones, video games, and digital download really build great artists. Culture is too disposable through these means. You need the full complement of resources a label offers - A&R, Art Direction, Promotion, Marketing, etc. to build a timeless artist.

BKLA: What did you do after your various involvements with labels ?

JB: I've had success as a music consultant for ad agencies over the years, and with that in mind I partnered with an amazing commercial music and sound design house called Machinehead. Founded by award winning sound designer Stephen Dewey, Machinehead is a great studio environment where I base my day-to-day operations. They call on me as Music Supervisor depending on any given clients' needs. I've worked on ad campaigns for Ford, Motorola, Mitsubishi, Range Rover, and many others. At the end of the day, it's another way for me to help build exposure for the same artists I'm supporting on radio. Often, the same relationships I've developed with these artists as a DJ will come into play as I place their music in ads or film projects.

BKLA: As a music supervisor, are you hired as a consultant to help pick music? or are your able to let your personal taste create a certain musical palette?
What is the process ?

JB: Film Music Supervision is an interesting position. I'm actually less fond of the title now because there are no real industry qualifications, which means there are a lot of hacks out there. Plus, you find that even the film world itself only reluctantly recognizes the position, even though it can be a pivotal role on a project. Don't get me wrong, I love working on films, but it's such a huge undertaking that I have to be selective. Every film is an enormous commitment of time, energy, and personal resources, so I'm a little more guarded about throwing the title around. As for the process, it can include reading scripts, talking with Directors about their vision, meeting Producers to discuss the music budget, hiring and working with a Composer, finding a soundtrack partner, spotting the film with the Director and Editor, pitching your music ideas to a committee (ugh!), clearing the music, asking for more money, remixing score, calling favors, chasing the paperwork, and drawing up the cue sheet as part of the final delivery requirement. Suffice it to say, it's a lot more than chucking your favorite songs against a care chase and calling it a day.

BKLA: In 2006, you compiled a 2 CD collection for Reuters, presented in a silver boxset with a booklet of some of the most compelling photographs taken that year. More recently a promotional package for Zune, Microsoft’s MP3 player. What was the thought process behind your selection ?

JB: The Reuters thing was a great. I was contacted by a marketing firm called Antenna, who I have done some things with in the past, and they wanted me to put together a 2 CD compilation for Reuters. Reuters was looking to hip up their image a bit with a cool music premium. It was actually a pleasure for me, because they were very encouraging instead of trying to impose some direction on the creative process. At first I was second guessing my own decisions, wondering what a Reuters News client would be interested in, but with their support I turned to what I truly felt would work for the project and it turned out great. I'm actually putting finishing touches on the follow up CD for Reuters now and it's another classic selection. I'm proud to say that this will be my fourth lifestyle compilation for a global brand - two for Reuters, one for Jaguar Automotive, and one for Microsoft Zune. In each case, the music selection is fantastic (if I do say so myself!) and the packaging plays more like a coffee table book than a regular compilation CD. I wish more people had access to these box sets, as each has been limited to a few thousand copies distributed selectively..

BKLA: Why not release compilations under your own signature label ?

JB: I'm working on it. The circumstances have to be right, and I think we're talking about modest sales so it's not right for every record company out there. Also, going back to the state of the record business, the market for compilations is limited. One of the great things about the specialized projects I mentioned before (besides them being free from any sales expectations) is that the packaging has been a cut above. I'm not sure the economics work for an elaborate hybrid coffee table book and compilation. Nevertheless, I have partnered with DTS Entertainment, which is a surround audio company, to release a couple records over the next year. DTS is interested in releasing albums mixed in 5.1 surround, and I saw this as a great opportunity to do something special. These days, it's not just the high-end audiophiles that have surround systems at home, so I think there's a market for a lot of the music I'm into. I'm also talking to Quango Music Group about a compilation with them for the Fall of 2007. Since this is a label I helped to found years ago, it makes perfect sense, and I have every confidence that they understand me.

BKLA: You are also involved with various music organizations and present unique live events, such as the recent In Conversation with DJ Shadow. What is the purpose of these events ?

JB: In a way, I consider myself an ambassador of dance and electronic music, and getting involved in The Recording Academy (NARAS) has been a way for me take that charge to the highest level. Sitting on the Board of Governors of the LA Chapter puts me in a room with an amazing group of music professionals each serving their respective constituents. For instance, I'll find myself sitting between the lead singer of Earth, Wind, and Fire and the Head of Music for Warner Brothers studios, so you can imagine that it's a great place to push the dance music agenda and educate a lot of people who have no concept of club culture. Also, it's not really about The Grammy's so much. I mean, sure, the Grammy's are the most visible part of what the Recording Academy does, but NARAS brings thousands of musicians, Producers, Engineers, and other music professionals together under one roof to exchange ideas, support each other, and educate young people. The "conversation" with DJ Shadow that you refer to was something I organized with NARAS to showcase a respected talent in an intimate venue (Cinegrill at the Hollywood Roosevelt). This was basically an outreach event for the Electronic/Dance community, to sign up new members and recruit people to get involved. NARAS is only as good as the participation of its membership. It's easy to sit back and complain, and feel alienated from the mainstream (especially as an underground Electronic artist), but you can also get involved and work for change.

BKLA: Mr. Bentley goes to Washington ?

JB: This past September I attended Recording Arts Day on Capitol Hill in Washington with a delegation from NARAS. We met with lobbyists drafting music related legislation, sat with members of Congress, and enjoyed a full day on the nation's Capitol discussing issues facing the music industry.

BKLA: Are there specific steps for the average person or emerging artist to join, support or get involved with this community ?

JB: Anyone in the music field is welcome to become a member of The Recording Academy. The Recording Academy is definitely an organization that can open doors and inspire. Just go to www.grammy.com for information on membership. There are regular networking events, and if you qualify, you can apply to become a voting member. If you are interested in getting more involved in specific genres (whether it's Dance, Alternative, World Music, or even Polka!), a word of caution that real community service may require you to change the way you think about some things. At first, it can be a counter-intuitive process for people used to chasing that dollar bill. It took me a while to change my thinking from "what do I get out of this" to "what can I give to this" when it comes to The Recording Academy, for instance. It's only when you've rewired your thought process on this level, that you'll start to reap the rewards. You have to have a personal conviction if you want a leadership role, and I think that goes for whatever music advocacy group you may choose to get involved in. Otherwise, if you can only do so much as a regular NARAS member then that's fine too. It's really up to you.

Words and photos: Marc Goldstein (www.myspace.com/mar©). Make Up: Michelle Morgan. Wardrobe: Sunglasses by Oliver Peoples. Jacket by Stussy. Shoes by Reebox. Location: Santa Monica College. Special thanks: Jason Bentley, Gregg Lewis, Sarah Spitz and Rachel Reynolds at KCRW, Danny Da Silva at Girlie Action, Francis 10.

Online:
www.machinehead.com
www.kcrw.com/music/programs/mt
www.kroq.com/

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