James Spectrum
When he was small, Spectrum used to work summers as a cowboy on his grandparents’ farm and attributes his musical education to his older brother who told him, “Iron Maiden suck, Led Zeppelin rock” (“Though later on I realized he wasn’t always right on the conceptual level”).
JA-Jazz
JA-Jazz, on the other hand, is an ex-sailplane pilot, keen cyclist (just like Ralf and Florian of Kraftwerk) and owner of a massive record collection with which he DJs around the world. He recently married a Swedish-Finnish soprano singer.
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Spectrum and JA-Jazz are the core of Pepe Deluxé but they describe the current incarnation as “more like a small scale art movement than a traditional band.” This unit, comprising McGyver (bass, harmonica, guitar) and Vulunki 3000 (keyboards, cover art) was supplemented by various friends on ‘Spare Time Machine’, including Marko Nyberg and Reeta-Leena Korhola of Husky Rescue. Fresh vocal talents are also showcased.
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Chris Cote
Once a member of eccentric Boston fop-rockers, the Upper Crust, sings much of the album and reckons “Finland is truly a place where you can get some weird shit done.” He currently also works alongside another Finn, Jaane Haavisto, in the groups Farang and Solo Adultos.
Australian tour manager Boi Crompton, who has worked with everyone from Tom Jones to the Rolling Stones, ended up singing three numbers. No stranger to the mic, Boi honed his musical abilities while serving on warships all over the world, including four months active service in the Gulf. He has since achieved some Australian success with his band Skinpop longside partner Eskae.
Paul Malmström
The man in the background named Paul has been co writing with Pepe Deluxé since Beatitude. Paul also records under the moniker of Monkeybacon and is the proud owner of no less than 4 original sixties Fenders (including the unique Bass VI) and an upright named Grand Daddy that makes everyone stand erect when it enters the room. The rumour that it even has the power to straighten bananas is completely true. When you play his own compositions backwards you can hear reliable NASDAQ predictions. www.monkeybacon.com
The single "Go for Blue" - Out Now on Catskills CD / 12" / Download.
Pepe Deluxé: Go for Blue
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“Pepe Deluxé without an acute accent at the end,” states James Spectrum, (AKA shaven-headed 35 year old Finnish scholar of sonics, Jari Salo), “is like a gentleman without a hat – a contradiction in terms.”
Spectrum is one of music’s mad professors. Not much interested in money, fashion, hedonism or ego, his band Pepe Deluxé have always stood for the purest sonic adventuring. Like his father before him Spectrum is an inventor and his latest album, ‘Spare Time Machine’ is the group’s most ambitious and energetic yet.
The story of Pepe Deluxé is as simple as the music is multifaceted. Kicked into existence in the mid-‘90s by Finnish turntablist DJ Slow and his associate JA-Jazz (AKA Tomi Paajanen), their early underground hip hop adventures achieved a unique individuality when Spectrum joined. Signing to Catskills in 1998, their debut album, ‘Super Sound’, was so notoriously sample-laden that three versions were eventually created, each ‘cleaner’ than the last as it grew in stature and was licensed to Sony. The culmination of this era was the use of their song ‘Woman In Blue’ on the Levi’s Jeans ‘Twisted’ commercial (“Levi’s was sort of a second prize,” reveals Spectrum, “We missed Wonderbra because we were on a vacation.”).
In 2003 the group’s next album, ‘Beatitude’ appeared and Pepe Deluxé, minus DJ Slow who’d left, showcased less reliance on samples without losing a jot of the upbeat party spirit that infuses their sound. Now ‘Spare Time Machine’ has arrived, taking things up yet another level. It has all the funk of their best material but doused in the spirit of uproarious ‘60s psychedelic and ‘70s prog-rock. What’s more it’s entirely sample-free.
The recording process fascinates Spectrum, not in a plodding computer geek way, but in the creatively crazed tradition of Joe Meek, Phil Spector and the Aphex Twin. He buzzes with the excitement of adapting technology to any eccentric whim via wire, pliers, gaffer tape and limitless imagination. He describes the years since ‘Beatitude’ as spent “on a sort of musical archaeology, tracking down obscure studio gear and Russian electronic components, working on various inventions.” His perspective is, perhaps best captured by the monthly technical column he writes for www.beatmag.net , which has taken in everything from secret Nazi tape experiments to the use of baby monitors in rock’n’roll.
Such offbeat sonic research is now accompanied by lyric-writing of equal strangeness and wonder. The new album’s sitar-led psychedelic ‘Ms Wilhelmina And Her Hat’, for instance, is based on a short story by New York artist Daria Tessler, while the groovy ‘Forgotten Knights’ celebrates those warriors of times past who avoided dragons in favour of being remembered only by ladies for capabilities in the bedroom. Other subjects touched upon include lust for long-legged ladies on Mars, gypsy magic and Beatnik meditations on the colour blue. The Streets, this ain’t.
Happily, both studio experimentation and lyrical flights of fancy are tethered to red-blooded funk-rock from a future-past dimension where King Crimson are led by Clyde Stubblefield and get down with prime-time Lee Hazelwood. Spectrum’s mind is a constant flurry of ideas boding the question of where his manic creativity hails from.
“I think the main driving force with Pepe Deluxé is the playful underground hip hop DJ attitude that’s been there since day one,” explains Spectrum, “I’ve always been fascinated by the challenge of getting people to listen to music they’d normally ignore or even dislike - something Beck did with country. Naturally we try very hard to sound like no other group in the known universe, to create something that didn’t exist before.”
Thomas H Green
Pepe Deluxé: Mischief of Cloud Six Pepe Deluxé: Pussy Cat Rock
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GRAFFITI HUNTER.Thank you very much,ciao.....THE WORLD OF STREET ART REVEALED TO EVERYBODY : "ART HAS NEITHER LABELS NOR BARRIERS. -THIS IS A PERFORMANCE , A PERFORMANCE MUST BE PROVOCATIVE BY GOING AGAINST SCHEMATA AND RULES. -IF EVERYBODY AGREES,THE PERFORMANCE IS A FAILURE. -PRAISE IT OR DESPISE IT BUT PLEASE TALK ABOUT IT. -MY SPACE IS VISITED BY 80-1OO PEOPLE A DAY. -PEOPLE GET COURIOUS. -WHICH IS WHAT I WANTED. -SHOULD THE HUNTER BE A FAKER , WOULD THE PROVOCATION , THE PERFORMANCE BE SUCCESSFUL ? -WATCH THE VIDEO ON MY SPACE , WHERE DOES TRUTH END AND FICTION BEGIN ? -IT IS IMPORTANT THAT PEOPLE PASSING BY IN THE STREET DO NOT MIX STREET ARTWORKS WITH ALL OTHER MEANINGLESS AND USELESS WRITING. -MY PERFORMANCE AIMS TO DRAW ATTENTION FROM THE GENERAL PUBLIC TO STREET ART , AS IT REMAINS SUBMERGED AND EVEN HIDDEN FROM OUR VIEW. -MY SPACE BELONGS TO STREET ARTISTS TOO. -THEY CAN SHOW THEIR ARTWORKS ON IT WHENEVER THEY LIKE. -STREET ART IS POETRY . " -AUGUSTO DE LUCA
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ITA:
"Il mito è uno strumento di trasposizione della realtà, il mito e' spiegazione di un rito, di un atto formale che corrisponde a esigenze della tribù, il mito e' struttura delle credenze di un gruppo. Oggi il mito si evolve, muta, divenendo icona, icona commerciale, sexy e nello stesso tempo divoratrice di uomini, plasmatrice di luoghi comuni del pensiero. Nell'ultimo decennio l'arte si beffa della socio-cultura attraverso la raffigurazione delle nuove icone. La scelta e il richiamo ai "super-eroi", il mito antico letto attraverso la chiave moderna degli ultimi 50 anni, non deriva da un fattore estetico bensì dalla volontà di rappresentazione della vacuità dello status symbol. Una iconografia lasciva, lussuriosa, audace si abbraccia agli eroi attuali generando lo scontro etico tra il mito classico e contemporaneo."
ENG:
"Mith is a tool to translate reality, mith is the explanation of a ritual-a formal way to express tribe needs-mith is a structure from the believings of the group. Nowadays mith is evolving, changes, becames an icon, a commercial icon, sensual and "man-eater", molding common ideas and archetypes. In the last decades art mokes on social and culture through the representation of new icons. The idea of evoking superheroes-ancient mith through the modern view of the last 50 years-is not taken from an aestethic reason, is derived from the willing of represent
