DAVID STARFIRE has been doing his Transnational Club stuff for a couple of years now since he came to greater International prominence following his EP release in 2007 on the Six Degrees Label, see below for further info.
Well, he has a new album out now called “Bollyhood Bass”, a full description of which you can find below. I’ve been listening to it this week and it focuses predominantly upon transporting classical Indian spiritual vybz into a contemporary club setting crossing the Dancehall, Club, Hip Hop and Funk genres matched with top notch production and numbers fit for any worldwide dancefloor.
The standout track on the album for me is one called “Baghdad” which is a collaboration with Freq Nasty and man it’s a tasty slab of TRANSNATIONAL DUBSTEP full of Middle Eastern influence!!!!!
The dude makes great bootlegs too, some of my favourites being Led Zeppelin’s “Whole Lotta Love” and “Kashmir”.
Six Degrees have been kind enough to allow us to post a free track for you to grab a hint of the Transnational flava’s on this brilliant album. The album comes out next Tuesday and so be sure to grab it for your collection.
AND OK…you twisted my arm,you can grab his KASHMIR BOOTLEG TOO…but be quick cause I might just change my mind and take it off!!!..
Zep Bootleg Limited to 100 DLs
OFFICIAL PRESS RELEASE
David Starfire is one of those artists – the kind that every musician secretly wishes he could be: a fluent player of multiple instruments; a DJ who has gigged at Coachella, Burning Man, Shambhala, Love Parade, Winter Music Conference and other A-list festivals; a songwriter who has collaborated with the likes of FreQ Nasty, MC 900 Ft Jesus, Wire Train, and American Music Club; a soundtrack artist who has been called upon by Fox, ESPN2, Fox
Sports, MTV, and HBO.
So what does a guy with this kind of talent (and this kind of schedule) do when he has the time to make music under his own name? He takes elements of electronica, funk, dubstep, dancehall, hip hop and – most prominently – classical and devotional Indian music and simmers them all down until they are rendered into something both familiar and utterly unique: a worldelectro fusion that nods to the Asian Underground movement and neo-bhangra while ultimately
sounding like nothing except David Starfire.
“I produced rock and dance music for a long time and wanted to work with music that had more depth,” Starfire says of his musical development over the past few years. “I was always a fan of world music and decided to study and research it; eventually I produced a hybrid of styles that I really loved.”
In 2007, as part of the Six Degrees “Emerging Artist” Series, he released the five-track Bombay Beatz (a Six Degrees digital-only EP), a brilliant excursion in pan-ethnic electronica and something of a manifesto for his particular musical vision. The full-length Bollyhood Bass refines and develops that vision further. Many traditions inspire David’s composition, including his New Orleans’s roots. In his youth, David was deeply influenced by the sounds of traditional
jazz and by the example of his grandfather Oscar Rouzan, who was “a great sax and clarinet player… I always looked up to him as someone that was playing music professionally and knew that it was possible to live your dream.” As for the music itself, he says, “it was very soulful and I’ve tried to keep as much soul in my music as possible even though it’s programmed and electronic.”
On Bollyhood Bass, you’ll hear the spirit of David Starfire’s native region and Creole heritage mostly in the gutbucket funk that animates nearly every track – as well as in the hip hop elements that he has distributed generously throughout the program. “The Beat,” for example, features a charmingly squidgy synthesizer bass, rolling dhol drum, and sharp-tongued rapping courtesy of guest MC with vocals by iCatching. “Shout It Out” prominently features some very fine beatboxing (by Lynx) alongside an acoustic guitar-driven groove and even more rapping, all of it leavened by various Asian flavors. Other Caribbean influences are audible throughout the album as well: on “Baghdad,” the slow and trip-hoppy beat is interwoven with explicitly dubwise reverb and echo effects and punctuated by Jamaica-inflected vocal samples; “Load” piles on layers of science fiction dub effects as well, this time juxtaposed with keening Asian vocals.
The album’s most startling, and perhaps most delightful entry is the cover version of The Beatles’ “Hey Jude” that ends the regular program. “The cover of ‘Hey, Jude’ was a last-minute addition,” Starfire says. “It’s close to me because it was the first song I learned on guitar.” On this track he starts out with a relatively straight, almost reverent arrangement: just two layers of harmonizing voices and piano, only a quiet touch of backwards tape hinting at what’s to come. Then the drums come in, funkier and just a bit harder than you might expect, though not hard enough to detract from the tenderness of the song. But the longer you listen the more you start hearing subtler subversions beneath the surface: the backwards piano suddenly becomes much more present in the mix, and the drums gain power as well, at times nearly erupting into a buzzy, robotic breakbeat before subsiding again. The arrangement gives what is generally considered a safe, sweet pop song an entirely new tension and energy – it’s the kind of subtle but sophisticated
treatment that has made David such a highly sought-after presence in both the clubs and the TV studios.
Although David designed and built all of the album’s kaleidoscopically varied grooves, moods and ambiences, he mostly limited his instrumental contributions to piano, guitar, and bass – notably featured on the brilliant and beautiful “Shenai Wobbler” – though he also played the tumbi (a single-string Punjabi instrument that looks a bit like a banjo and is prominently featured in bhangra music) on the slow-burning “Shakti.”
A number of talented guest artists made contributions as well: the richly funky “Flying Carpet” features the sitar playing of Raj Lathigara and the great John Loose on tabla.
On “Baghdad,” Ysanne Spevack, one of the most sought after string players in Los Angeles who has collaborated with the likes of Jane’s Addiction, Billy Corgan, Elton John, Michael Stipe, Tiesto and others, contributes a low, throaty, and sinuous violin line that adds an extra element of dark exoticism to the song’s already mysterious and foreboding mood. In addition, the hammered dulcimer on “Shout It Out” is played by worldchampion virtuoso Jamie Janover.
With two triumphant electro-Asian projects now under his belt, David is already starting to think about what musical road he’ll be taking next. More production work may figure in his near-term plans, as well as a musical excursion onto another continent.
“I’ve always wanted to incorporate more African tribal sounds and rhythms,” he muses, and rare instruments from the deep Middle East. I’ve also thought about doing a rock and roll project, but I’m just taking things day to day and we’ll see what happens!”
David continues to churn out diverse production like bootlegged remixes of classics like the Smiths “How Soon is Now”, Led Zeppelin’s “Whole Lotta Love” and NASA project’s “Whachadoin” which have become favorites of DJ’s and music blogs around the world. He is also producing an album and has toured with US hip hop artist, iCatching.
Whatever the next thing turns out to be, you can be certain that David Starfire’s music will continue to blend a variety of musical elements and traditions into a new fusion of sounds that intrigue the mind while simultaneously moving the body irresistibly out onto the dancefloor.
Bollyhood Bass – Tracklisting:
2. Mystic Whomp
5. Shout it Out (Featuring Lynx and Jamie Janover)
9. Flying Carpet
10. The Beat (featuring iCatching)
11. Shenai Wobbler
13. Baghdad (David Starfire Remix)
14. Hey Jude
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