Category: dj fly

  • BETWEEN THE GROOVE

    BETWEEN THE GROOVE

    ON THE CUTS…

    Amsterdam, 2012. DJ-poet Plush, reeling from attacks that shattered his career, forms TRB with Max and Percy. Inspired by Robert Anton Wilson, they fuse turntablism, magick, and literature into the chaotic TribeTable Method, accidentally plugging into Wilson’s unfinished “Tale of the Tribe” and a brewing historical conspiracy centered on the 1936 Berlin Olympics.

    As they juggle invoked entities (“The Sixty”), time-traveling tardigrades, and messages channeled through experimental beats, they attract the attention of a ruthless cabal manipulating reality through AI, populism, and bizarre rituals involving peanut butter. From Amsterdam coffeeshops and secret bases beneath the Malvern Hills to the decks of a reality-bending DJ battle, TRB must decode the “Hologrammic Prose” of the universe, hijack the narrative, and fight the “Prick Populist” threat before the singularity hits endgame.Deep Scratch is Vanta Black science fiction comedy.

    It’s Burroughs cut-ups slammed into Pynchon paranoia, fueled by hip-hop aesthetics and occult theory. Expect prophetic visions, weaponized memes, sentient technology, talking books, exploding jellyfish, and the desperate search for the perfect beat in a deep fake universe. The tables are turning. Which side are you on, are you on, hello, check check…?

    What?

    BTG


  • dj flai mix of original deep scratch music

    dj flai mix of original deep scratch music

    After nearly two decades under development, Deep Scratch is here/over there. The interplay of audio and text and image as I first envisioned it in the early 2000s. The audio side of this equation has been lacking due to various reasons, including limited access to instruments, equipment and recording facilities. New generative a.i., tools (Udio) have allowed me to produce music to precisely fit the narrative I have constructed in the novel Deep Scratch. A collaborative, self-replicating magical code that generates audio from text. This year, Udio made science fiction into fact.

    After constructing over 160 separate pieces of music, I mixed the Deep Scratch tunes together into 4 separate mixes, or audio chapters. Over 3 hours of original music that only exists here, a kind of science “sonic” fiction. Cuts selected from the Deep Scratch Universe, that reflect the sounds, styles and arrangements of classic DJ mixtapes and beat tapes from the mid to late 1990’s, and early naughties.

    (A third book in the Deep Scratch Universe will be released sometime during late summer 2024, further contextualizing and organizing the multimedia multiverses.)

    Thanks to everybody at my patreon page, who has stuck with me over the last 6-7 years as I’ve been going on and on about this Deep Scratch Universe, without truly launching any Deep Scratch Audio. Now, the soundtrack to the novel is established via a new series of DJ mixes (all add free).

    flai mix chapter one
    FLAI MIX CHAPTER TWO
    FLAI MIX CHAPTER THREE
    FLAI MIX CHAPTER FOUR

    The fourth chapter features raps, of which I’m conscious sound nothing like my own voice, and/or rap cadence or delivery. These are my own words, taken from my book of collected poems (to be published) spanning 2004 – 2024. As a fan of hip hop, rap and hip hop DJ styles and productions, mixtapes and live eclectic DJ sets, I’d like to give a shout out to all the artists, MCs and producers, that some of these tracks sound like (to my ear). That’s besides the thousands of artists and musicians who came before, those who innovated, originated and recorded the music: blues, jazz, soul, funk, gospel, rock and roll, folk, bluegrass, film music, classical music, vocal harmony music, world music, from the 20s through to the 2020s. All the music within the data sets or set (?) that the generative AI has been trained on. 

    Support your local independent musicians and music venues whenever possible. Respect your artistic ancestors and their struggles and sacrifices made to bring original art into the world. Try to keep in mind that generative A.I. does not sample the music in the conventional sense of that concept, although the process is a kind of sampling, these sounds are made from granulated probability functions, if I understand the process correctly. I hope the turntablist, scratch and juggle and cut-up approach of the eclectic DJ adds a new context to the use of generative AI, a part of the evolution of the art of the DJ and their place in between producer artist and audience. Perhaps better defined as curator, or boss of their own label or catalog of recordings, to be mixed and remixed, blended or released as an album or single. Also consider that all my music using collaborative AI did not use any artist names. Any likeness to artists living or dead is purely probabilistic coincidance.      
     
    In no particular order, thanks to: Sample Hooligans: Coldcut and the original 90s Ninja Tune artists, DJs and turntable journeymen. To Mo-Wax records, and the Psychonauts, and their DJ sets and productions. To the Bristol massive, purple penguin records, Massive Attack Soundsystem, Portishead, DJ Andy Smith (the only turntable artist included in a successful UK band), Melankolic records, Cup Of Tea records, and all that dub infused instrumental jazz tinged hip hop, Grand Central records in Manchester, Dorado records and artists, Warp records and artists, Aphex Twin, Square Pusher, Big Dada records, Acid Jazz records, Jazzman records, BBE records, 4th And Broadway Records, Two Lone Swordsmen, Sabres Of Paradise, Black Dog, Future Sounds Of London, DJ Krush music, DJ Shadow music, Invisible Scratch Pickle mix tapes, The Beat Junkies, Lauryn Hill, The X-ecutioners, Ohm records, Amoeba Record shop, Soulsides Crew, The Pharcyde, 3rd Eye Foundation, Hieroglyphics Crew, Del The Funky Homosapien, MF Doom, Wu Tang, De La Soul, Tribe Called Quest, Bill Laswell Productions, Spectre, Lord Finesse, Rakim, Pharoah Monch, LEX records, Kool Keith, Public Enemy, Mr. Liff, Future Primitive Sound, DJ Z-Trip, The Nomadic Massive, We Funk, Funkmaster Flex MixTapes, The Roots Crew, Black Thought, El-P, Company Flow, Saul Williams, New Flesh, Juice Aleem, Rodney P, Scratch Pervert DJs, Jazz Fudge Records, DJ Vadim, Part 2, Invisible Spies, Channel One, Lee Scratch Perry, Ultimate Dilemma, Bentley Rhythm Ace, Roots Manuva, Courtney Pine, Talkin’ Jazz, Charlie Dark, UNKLE, Steve Task and Bear, Stump Juice Wolverhampton, The Steering Wheel Birmingham, Fabric, Cargo, Luke Vibert, DJ Food, DJ Spooky, J Swinscoe, Rockers Hi-Fi, Different Drummer records, Tempest Records, The Plastic Factory records, Swordfish Records, Eddie Otchere, Source Distribution, J Saul Kane, DJ Moneyshot, DJ Yoda, The Jazz Stage Glastonbury, DJ Cheb I Sabbah, Funki Porcini. And those I missed out.      

    For nearly 3 decades I’ve supported all of the above artists by way of buying their records, tickets to shows and speaking highly of them, turning on other DJs and audiences to their music. This does not necessarily give me any more of a license to use generative a.i., with a clear conscience, but…I’ve paid dues and can trace my evolution toward this moment via my 2 decade Deep Scratch experiment.

    The next step in the on-going process is to plan for some traditional analogue music recording sessions with musicians and vocalists and videographers, to take back control from the generative AI, bringing it back to the human community of creative beings. Easier said than done, and requiring resources and planning and work. This process hammers home the point that AI can be used to bring human beings together, not divide.

     —Steve Fly
    Amsterdam.

    https://deepscratch.net
    https://www.patreon.com/stevefly

  • BUGHOUSE FLY

    BUGHOUSE FLY

    A mix up and shake down of bughouse, breakbeat, bass music, dub house, and dub step is for the dancefloor of the Insect Hotel, 2023.

  • DSR 1 – DISCLAIMER

    DSR 1 – DISCLAIMER

    I Can Break It Down

    The strawberry clouds were setting behind the foreskin mountains, casting a red glow on the glass concrete and plastic city below. Wild poet and programmer, Jake, sat at his desk, surrounded by books and computer screens. He was in the midst of writing his latest work of historical fiction, but something was bothering him. He had recently heard of these large language models like ChatGPT, and he was tempted to use them to help him with his writing. But he was unsure. Even the sordid mainstream news was ablaze with speculation. Was it cheating to use AI to write his book? Would it take away the authenticity of his voice as a writer? Jake sighed, staring out the window at the city as the sun disappeared behind the horizon like a lost Vermeer painting. He was at a crossroads, and he needed to make a decision, if he were to sell his soul in what condition would he say it was in, how to evaluate such an absurdity, he hammered on his imaginary typewriter.

    Jake’s mind was racing like a cyclist on steroids, he sat there, lost in thought, wheels and rusty bronze cogs whirring. He had always prided himself on being a self-made writer, crafting every word with care and precision. But now, with the advent of generative AI, things have changed utterly. He intuited that the large language models could help him streamline his writing process, and make his work more accurate and polished, but keeping in mind the old audio engineers rule, you can’t polish a turd! But, was that what he wanted? Did he want to surrender some of his creative control to the machines? Jake rubbed his eyes, feeling the weight of the decision on his shoulders, he recalled all the science fiction dystopia in his tiny mind. He was a wild poet at heart, a maverick in the head, known on the street for his unconventional style and unpredictable word zingers. Would using a language model change that? He wasn’t sure. But one thing was for certain: he needed to decide damned soon. The clock was ticking, the sun was setting and his deadline for his latest historical fiction novel was rapidly approaching like a hacked Tesla.

    Jake sat as a Zen Monk, weighing the pros and cons of using AI in his writing process, mixing between his perceived left and right brain hemispheres. On one flipper, he knew that the large language models could greatly enhance his work by providing accurate historical information and improving his writing style, grammar and structure. Like a robotic machine editor and secretary. On the other flipper, he feared that it would take away the unique voice that had made him the writer he was. With a name to come. He was afraid that his work would become formulaic, lacking the raw emotion and unpredictability that set him apart from other writers like a six foot transgender tardigrade. 

    As he pondered this dilemma, Jake’s mind wandered further to some of the other writers he knew and admired, most of them skint, undiscovered or on the spliff and booze trip. Some had already adopted weak AI into their work, plugins, and their writing was fast and efficient. But was it any good, did it have real balls, realism, was it gritty, daring and poetic? Or, was it another cookie-cutter piece, a puzzle lacking the human touch that made good writing good writing? Jake’s inner debate continued like a Punch and Judy show as the night wore on. He knew he needed to make a decision soon, but he wasn’t sure which way to jump. The upsides and downsides of using AI in his work were evenly matched, and he was finding it increasingly difficult to choose a path, like an indecisive rat in a maze.  

    Jake took a deep breath and opened up his mouth, he beatboxed for 10 minutes straight, then he opened his laptop computer. He had made his decision. Fuck it, He was going to use it, but only to help him write the introduction to his latest novel, well, that’s what he told himself. He wasn’t sure what the outcome would be, but he was curious like a kitten to see what the AI could do. As he began typing a prompt, he felt a rush of excitement and fear. This was it. He was taking the leap. He was going to let ChatGPT help him craft the opening to a story about a wild poet programmer who was unsure about using large language models in his latest work of historical fiction. You know, that old chestnut.

    Glimmers of brass and chrome twinkle amidst a sea of wires and buttons in his head. Rust-stained machines hum and whirr, pumping bass sounds. A kaleidoscope of instruments covers every surface – drums gleam like obsidian, synths flash rainbow lights, mics shine like jewels. Large and small turntables spin like clockwork gears, interconnected, surrounded by dials, sliders and switches. Words and sentences are born of rotating discs, wheels turn, but are we here to stop the wheels?  

    Creative writing is a form of artistic expression that involves the use of language and imagination to create original written works, no? It seems like a subjective and personal process that varies widely from one individual to another. Generative artificial intelligence, on the other hand, is a type of technology that uses machine learning algorithms to generate original content based on a given set of input data or prompts. While generative AI can be a useful tool for generating ideas or providing inspiration, it is critically important to understand that the content it produces is not the same as that created through the artistic process of creative writing, it is also important to remember that the word is not the thing, but a symbolic approximate representation of the thing. The menu is not the meal, the picture is not the painting.  

    Furthermore, the use of generative AI does not replace the need for human creativity and judgment, far from it. The reverse seems true to this author. The ultimate responsibility for the quality and appropriateness of any written work remains with the person or entity creating it. It’s up to you to make the difference, the difference that makes a difference. It seems equally important to be aware of the limitations and potential biases of generative AI, and to use it with caution and critical thinking. Be aware of the programming. Creative writing and generative AI should not be viewed as interchangeable or equivalent approaches to content creation, no sir. That said, a lot of human creative writing can be dull, biased and factually incorrect. A hell of a lot, just take a look if you can bear it.   

    To future generations who may discover this work: We the creators, hope that these letters and symbols and images and sounds will provide you with a greater understanding of the past and the individuals who shaped it. However, it is important to note that these letters are a fictionalized representation of history, and should not be taken as fact. We deeply encourage you to seek out primary sources and other reliable accounts of history in order to gain a more accurate and well-rounded understanding of the past. Thank you for engaging with these letters, and we hope that they will inspire you to learn more about the fascinating individuals and events of the past.

    A wall of vintage compressors and bass bins rattle the floor, while samplers and synths shimmer like stars. African djembes and Indian tablas stand guard beside Asian gongs, while steam hisses from valve compressors. The air is thick with the sound of creation.

    TEXT MESSAGE: We need a new disclaimer, old one is out of date, new GPT iterations and LLMs will disrupt a lot. Speak soon.


    KINDLE EDITION

  • Breakacid Bee Line

    Breakacid Bee Line

    It’s been a while. Here’s A selection of breakbeats, thumpers, beltchers and party bangerz. Bass music selected and presented by DJ Fly Agaric 23. Special thanks to all artists and DJ’s keeping the vibes alive.

    #DeepScratch

  • Fly By Night 402 – Freaks For The Festival

    Posted on by stevefly

    FLY BY NIGHT 402 – FREAKS FOR THE FESTIVAL

    Freaks For The Festival

    Steve The Fly is playing music this week by Rahsaan Roland Kirk, the Ebony Rhythm Band, Society, The Meters, Black Ivory, Earl King, Sly & The Family Stone, Chris Jones, James Brown, Julius Jones, Chet Ivy, Salon Butler & The New Breed, and Herbie Hancock.

    https://radiofreeamsterdam.org/fly-by-night-402-freaks-for-the-festival/

    If you want more exclusive mixes, tracks, poems, books, please join me at www.patreon.com/stevefly

  • Here Comes The Judge

    Steve The Fly is flying once again with this program of selections from Bob James, Shorty Long, the Ramsey Lewis Trio, Thelonious Monk, Stevie Wonder, Pat Metheny, Kenny Burrell & Jimmy Smith, Jimi Hendrix, James Brown, The Dells, and Eddie Jefferson.

    
The John Sinclair Foundation Presents

    HERE COMES THE JUDGE 

    FLY BY NIGHT 392

    Steve The Fly, Fly Agaric Studios, Amsterdam, November 29, 2020 [20706]


    Bob James: Nautilus

    Shorty Long: Here Comes The Judge

    Ramsey Lewis Trio: Day Tripper

    Thelonious Monk: Monk’s Point

    Thelonious Monk: Tea For Two

    Stevie Wonder: Have A Talk With God?

    Pat Metheny: Daybreak

    Kenny Burrell & Jimmy Smith: Soft Winds

    Jimi Hendrix: 51st State

    James Brown: World

    The Dells: Witchcraft

    Thelonious Monk: Thelonious

    Stevie Wonder: Isn’t She Lovely

    Eddie Jefferson: There I Go

    A JOINT PRODUCTION

    Produced by Steve “Fly” Pratt for Radio Free Amsterdam

    Edited & annotated by John Sinclair

    Executive Producer: Steve Pratt

    © 2020 Steve Pratt. Used with permission.

    https://www.patreon.com/posts/here-comes-judge-44590112

  • DJ Steve Fly Presents – Chill Gatz (Vinyl Mix)

    DJ Steve Fly Presents – Chill Gatz (Vinyl Mix)

    Into the 90s crates of dusty mellow cuts, selected and mixed on the fly. File under downtempo trip hop, chill beats and instrumental healing tones. Excuse the wonky mixes and wonky turntable that decides when it wants to quartz lock, keeping me on my toes.

    Shout out to all Ninja and Mo-Wax heads, nods to the dope soundtrack beat necks. Featuring tracks by Funki Porcini, Raw Deal, Pressure Drop, The Heliocentrics, DJ Krush and more. Recorded 8th October, Amsterdam

  • FLY BY NIGHT 186

    Fly By Night: Beatnik Youth
    Steve The Fly is spotlighting the new vinyl release of John Sinclair’s Beatnik Youth album from IronMan Records in England, produced by Youth and featuring the late great Howard Marks on the opening cut, plus sides by Sonny Rollins, Sun Ra, the Miles Davis Sextet, Eddie Jefferson, Selah Ragab, and Johnny ‘Guitar’ Watson, and a closing cut from Sinclair’s Mohawk album in honor of the late great Lee Bridges—The Cannabis Poet.
    The John Sinclair Foundation Presents
    BEATNIK YOUTH
    FLY BY NIGHT 186
    Steve The Fly, Sarwar Studios, Cross Keys, Wales, November 20, 2016 [SFBN-0186]
    [01] John Sinclair & Beatnik Youth: War On Drugs featuring Howard Marks
    [02] Sonny Rollins: Til There Was You
    [03] Sun Ra: The Other Side Of Time
    [04] John Sinclair & Beatnik Youth: Sitarrtha
    [05] Miles Davis: Blue In Green
    [06] John Sinclair & Beatnik Youth: Do It
    [07] Eddie Jefferson: Come Along With Me
    [08] John Sinclair & Beatnik Youth: Brilliant Corners
    [09] Selah Ragab: Naveen
    [10] Johnny ‘Guitar’ Watson: Gangster of Love
    [11] John Sinclair: relaxin’ with lee
    A JOINT PRODUCTION
    Produced by Steve “The Fly” Pratt for Radio Free Amsterdam
    Post-production, editing & annotation by John Sinclair
    Executive Producer: Sidney Daniels
    Sponsored by Ceres Seeds & The Hempshopper, Amsterdam
    Special thanks to Sarwar and to Mark Sampson for the Beatnik Youth vinyl
    © 2016 Steve Pratt. Used with permission.

    http://www.radiofreeamsterdam.com/fly-by-night-beatnik-youth/