Jai Paul

R4bbit

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Apr 12, 2011
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Bin erst vor ein paar Tagen auf den Kollegen hier gestoßen und hab mich gleichzeitig gewundert, dass noch kein Thread für ihn existiert, also erledige ich das mal.

Der Typ nennt sich Jai Paul, stammt aus England und ist Songwriter und Produzent. Die musikalische Richtung, in die er geht, lässt sich relativ schwer festlegen, da werden einfach verschiedenste Einflüsse miteinander vereint: Indie, Electro, Soul, Hip Hop, Dubstep etc. War unter anderem auch auf dem letzten Big-Boi-Album vertreten.

Seine Biographie bei Wikipedia:

Wikipedia said:
Jai Paul is a British songwriter and record producer from Rayners Lane, United Kingdom. He is signed to XL Recordings.

Paul's 2007 demo "BTSTU" received widespread blog coverage throughout 2010, and has been played on UK national radio by DJs including Gilles Peterson, Zane Lowe, Nick Grimshaw, Reggie Yates and Fearne Cotton. "BTSTU" was said to be released by Paul's impressed brother. The song caught the attention of several record companies and a bidding war ensued. Paul eventually signed with XL Recordings later in the year in 2010. In December 2010, Paul was longlisted for the BBC Sound of 2011 poll.

"BTSTU (Edit)" was released as a digital download on April 21, 2011, via XL. The single received favourable reviews, and was made 'Hottest Record in the World' on Zane Lowe's BBC Radio 1 show.

On May 20, 2011, Canadian hip hop artist Drake leaked a track titled "Dreams Money Can Buy" via his blog. Shortly afterward, "Till The End Of Time", a song by American R&B artist Beyoncé surfaced online. Both tracks feature a sample of Paul's "BTSTU" demo. On August 30, 2011, "BTSTU (Edit)" was included on Radio Nova's "Nova Tunes 2.4" compilation in France, and on October 25 of the same year the track appeared on "Annie Mac Presents 2011" in the UK (incorrectly listed as "BTSU").

On March 30, 2012, Paul uploaded a new demo titled "Jasmine (Demo)" to his SoundCloud page.[18] The demo was given an official release via XL on April 9, 2012. Pitchfork named it "Best New Track" within an hour of its appearance on Paul's SoundCloud page, where it reached over 500,000 plays within a month. On April 2, "Jasmine (Demo)" was played on BBC Radio One by Zane Lowe, who chose it as his Next Hype Track. On April 9, Annie Mac named it her Record of the Week. "Jasmine (Demo)" received critical acclaim in the media, with The New York Times praising its "Prince era sensuality" and The Guardian simply describing the production as "amazing."

Paul also appears on the song "Higher Res" on the deluxe version of Big Boi's 2012 album Vicious Lies and Dangerous Rumors. Later in the year, around November 25, 2012, another Jai Paul track hit the internet, titled "Flip Out (Demo)".
There has been media speculation about Paul's background and motivation, as he has remained out of the public eye. British publication Clash commented on Paul's mysteriousness, saying "Hype is a fascinating commodity. Where some quickly melt down the attention for liquid purpose, promising talent Jai Paul removed all his music from MySpace and went to get his shit together". XL Recordings founder and owner Richard Russell acknowledged Paul's unpredictability, saying, "Jai is a wizard...the way he's going about things is, I think for many, baffling. But...he's going about things in the most Jai Paul way you could possibly go about things. And who knows where that may lead."

On April 14th of 2013, a user uploaded an album to Bandcamp that appeared to be a release of music by the artist. Several sources, including Pitchfork Media, have reported that the release posted to Bandcamp is Jai Paul's debut album, but his label, XL Recordings, has not yet commented on the release. However, on the 15th of April of 2013, Jai Paul posted a tweet to confirm the rumours of it being a fake, and warned not to buy the album, with an official statement expected soon. On April 17, XL released the following short statement: "As widely reported, on Sunday 14th April, music by XL Recordings artist Jai Paul was illegally made available via a fake Bandcamp account. This music was not uploaded by Jai and it’s not his debut album – it is a collection of various unfinished recordings from Jai’s past. Neither XL or Jai will take any money from the sale of this music. We have been working with Bandcamp and PayPal to resolve this situation and they have told us all purchases will be refunded within the next 7 days." Pitchfork Media, however, expressed concern about the album's leak. The Bandcamp account that uploaded the album appeared to be connected to Jai Paul's personal e-mail address. Laura Snapes wrote "Shortly after the album appeared, Imran Ahmed, head of A&R at XL, tweeted, "Surprise!" Not the expectedly angry words of a man whose most sought-after signing just dumped his debut album online for free without warning." In addition, the blog who initially discovered the leaked album later compiled evidence indicating Paul may have been responsible for the leak.

Hat seit 2007/2010 erst zwei offizielle und ein inoffizielles Release. Zum einen die beiden Tracks "Jasmine" und "BTSTU" ...





... und zum anderen einen Leak einer unbetitelten Demo-LP. Die erschien vor ner Woche auf Bandcamp, wurde mittlerweile aber wohl vom Label wieder runtergenommen und ist dementsprechend nicht mehr verfügbar. Wer mal reinhören will kann mir gern ne Nachricht schicken.

Lasst euch vom dazugehörigen Cover nicht abschrecken, es lohnt sich wirklich:

Jai%2BPaul%2BPoster%2BMK3%2B%2BAir%2BForce%2BTEST%2B2%2B5.jpg


Links: Homepage | Facebook | Twitter | YouTube | Soundcloud
 
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Hab wegen dem Hype mal in dieses inoffizielle Album reingehört. Hat mich nicht umgehauen, leider.
 
er hat das mit dem album doch schon lange dementiert. das waren halt ein paar halbfertige demos, ich habs mir nicht angehört.
btstu halt damals durch die decke gegangen, drake hats ja auch gesamplet.
 
er hat das mit dem album doch schon lange dementiert. das waren halt ein paar halbfertige demos, ich habs mir nicht angehört.
btstu halt damals durch die decke gegangen, drake hats ja auch gesamplet.

Darum sag ich ja inoffizielles Album. ;)
 
Hab heute nochmals in aller Ruhe reingehört. Sind doch n paar gute Dinger drauf.
 
na endlich.

des weiteren: das geleakte album von damals gibt’s jetzt offiziell auf spotify, einige samples wurden entfernt:



außerdem hat er seine situation der letzten jahre erklärt, was der leak mit ihm machte usw.:

bought the leak and it has a message from him inside

A message for fans.

I wanted to use this opportunity to share a little information about what happened regarding my music in April 2013. As you may know, some of my unfinished demos were put up for sale illegally via Bandcamp.

The leak consisted of a fairly random collection of tracks I had made over quite a long period of time (from roughly 2007 to 2013), in various stages of completion. Some are short skits and beats from my MySpace page back in the day before I signed a record deal. A large proportion of this music was to be completed and released officially in some format.

Regarding how this music got leaked, the short answer is that I donÕt really know. I believe these particular versions of tracks may have come from a burned CD that got misplaced - a fair amount of people would have had access to my music in various forms between 2010 and 2013.

The first I knew about the leak was when I woke up to a phone call from my management at around 3 am on the night it happened. I contacted the City of London Police immediately. No-one in my team knew how best to deal with something like this and there was some confusion as to how we should react. I remember thinking if we could act fast we might be able to contain it somewhat and keep damage to a minimum. However, because it was 3 am on Saturday morning it was tough to get hold of anybody. Whoever was behind it likely planned it this way.

I understand that it might have seemed like a positive thing to a lot of people - the music they had been waiting to hear was finally out there - but for me, it was very difficult to deal with. As things unfolded I went through a number of phases, but the immediate, overriding feeling was one of complete shock. I felt numb, I couldnÕt take it all in at first. I felt pretty alone with everything, like no-one else seemed to view the situation in the same way I did: as a catastrophe. There was a lot going through my mind, but the hardest thing to grasp was that IÕd been denied the opportunity to finish my work and share it in its best possible form. I believe itÕs important for artists as creators to have some control over the way in which their work is presented, at a time that they consider it complete and ready.

I was also frustrated by how all this was being framed online, leading to the widespread belief that I had decided to leak my own music, despite my record label and I saying otherwise. It didnÕt fit at all with anything I had done previously in style or attitude, and especially not in presentation. To make matters worse I was advised at the time to keep quiet and leave things ambiguous, but this didnÕt really fit with my vibe and there was disagreement among us. I soon felt unable to engage with it at all.

I suppose the music was special to me in a way, stuff that I began writing as a teenager in my room just for fun, eventually signing my record deal with it at 21, and hoping that I could put it towards a debut album with XL. I guess having that dream torn up in front of me hit me pretty hard. Of course, IÕm not the only person who was affected, it was disappointing to all who worked on the music and to the wider team working on my project at my management, label and publisher etc.

A police investigation started during the Summer. Email addresses from the Bandcamp page and a linked PayPal account led to two suspects who were eventually arrested, their property raided and computers seized. Nothing was found, but by this time it was almost a year after the leak had taken place. The BPI kindly offered to step in and help towards the investigation so I'd like to thank them for their concern. IÕm grateful to the City of London police for their efforts. Whoever was behind the leak collected a significant amount of money from sales, which was quickly frozen by the Police. Thanks to co-operation from PayPal and Bandcamp, everyone who paid money to download the music was refunded.

There were some long term effects for me following the leak. There was a significant loss of trust. For the next 3 years or so this one event was all anybody asked me about. Everyone was convinced that the story they had read online - that IÕd leaked the music myself - was true, so I had to repeatedly explain the reality of the situation over and over again. It was frustrating and disorientating to find that I had no ownership over the story (or the music) and that people were choosing to believe a different truth. I guess this all made it feel like I had thousands of people not believing me, not trusting me, and also that in some strange way I was responsible for all of it. On a personal level, things gradually went south and I had a breakdown of sorts. I was in quite a bad place for some time. I was unable to work and withdrew from life in general.

Recently, IÕve been having therapy of various kinds, and this has helped me get to a place where I can begin to think about returning to music. I am thankful for that. It has allowed me to understand some of what happened in 2013 a little better - not through anybody elseÕs lens, but through my own, and through this, IÕve been able to acknowledge some of the trauma and grief. IÕve grown to appreciate that people have enjoyed that music and lived with it, and I accept that there is no way to put that shit back in the box. There was no way to fix what happened and continue down our original path. Looking back, it's sad to think about what could have been, but it is what it is and I had to let go.

Founding the Paul Institute has also been an important step for me in terms of putting stuff out there again and getting back to what I love. I wanted to create a positive environment that artists could be supported in and stand together through some of the pressures that can make this industry difficult to navigate. I'm proud of what we've achieved so far, and IÕm looking forward to seeing our artists develop.

We have decided now to make the April 2013 leaked music readily available so that those who want to hear it can access it via platforms theyÕre used to. In order to do this we had to remove a bunch of samples that we were unable to clear, so what you hear won't be exactly what leaked in 2013 - but I know the original stuff is still floating about if you know where to look. Of course, it's completely surreal to me that this music will now exist officially in this form, unfinished, and even sequenced by the people who leaked it! Much of the tracking and production work was there, but itÕs a shame about the scratch vocals and the overall mix. This is also not all of the material from those early sessions so again itÕs a shame not to be able to present something completed, in its entirety. It will always be a little painful for me to listen to myself, but I donÕt want to deny people a chance to hear it, especially as itÕs already knocking about. Hopefully, this message gives it all a bit of context and answers a few questions about it.

Finally I just wanted to express how grateful and appreciative I am for the friends, artists, colleagues and strangers that have stuck by me and shown so much love, support and mad patience over the last however many years. I truly appreciate the help and positivity I've been given to get back on my feet. I wanted to put two new tracks out to say thank you.

For the double B side, we decided it would make most sense to pick up where IÕd left off, so IÕve finished two tracks that I was working on at the time of the leak. IÕve signed and numbered all 500 copies of the white label vinyl. IÕve not had a website or merch for sale before so IÕm excited to share all that stuff with you. WeÕll see where things go from here.

Anyway, if you got this far thank you for reading, and I hope you enjoy the tunes. As always, you can find me down the pub (shout out to all the safe people whoÕve come up to me to say hello over the years) so I'll see you down there for a pint later.

Peace,

Jai

P.S. 10% of profits on merchandise will go to SANE (www.sane.org.uk)
 
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'He' gefällt mir richtig gut von den neuen Songs. Der andere muss noch etwas wachsen. Wäre halt gut mal ein ganzes offizielles Projekt von ihm zu hören...
 
https://fabianapalladino.ochre.store/release/437563-fabiana-palladino-fabiana-palladino
Fabiana Palladino announces full details of her hotly anticipated self-titled debut album. The UK vocalist, songwriter, multi-instrumentalist and producer will release Fabiana Palladino on 5 April 2024 via Paul Institute / XL Recordings.

Made in the wake of the end of a long relationship, the album is an intimate record that sees Fabiana Palladino confront complex questions about love, loneliness and normativity in relationships. The result is a 10-track full-length of shapeshifting sonics that draws inspiration from the big R&B, Soul, Pop and Disco studio productions of the 80s and 90s and filters them through a modern lens. Written and self-produced by Palladino, the album features performances from renowned musicians and close friends including Paul Institute co-founder Jai Paul, her father and legendary session bassist Pino Palladino, brother and Yussef Dayes bassist Rocco Palladino, renowned drummer Steve Ferrone and strings from Rob Moose.

To celebrate the album news, Fabiana Palladino releases “Stay With Me Through The Night”, the second single to be revealed from the album (following 2023’s “I Care” collaboration with Jai Paul). A pivotal track for Palladino, “Stay With Me Through The Night” was the first song to be written for the record and sits as the album’s centrepiece. It comes accompanied by a video - co-directed by Fabiana Palladino and Josh Renaut, and shot by Buster Grey-Jung - that showcases the beautiful intimacy of Palladino sat at the piano, the place where the whole album started.

Speaking on the new music and forthcoming album, Fabiana Palladino says:

“A central theme of the album is aloneness. Whether it’s a song where ’m searching for connection with someone else, or trying to embrace the aloneness, it tends to come back to me, who I am when I’m alone, what I feel when I really look inwards. I’d say it’s a pretty introspective record overall. The songs are often about trying to go deeper into yourself, exploring your true feelings and how they then relate to and affect your relationships with others.

“Stay With Me Through The Night” is the first song I wrote for the album. It was at the end of a tricky period where I hadn’t written music for nearly two years, and it came out in a bit of a flood, I barely even remember where or how I wrote it, but I knew it was going to be an important song for me. It ended up being the centrepiece of the album, a song that encapsulates a lot of the feeling and emotion of the rest of the record and musically it brings old together with new, which became a theme across the record…a way of combining my influences with a modern perspective.

Rhythmically the feeling of the song comes from funk and disco, I was thinking about the piano playing of Patrice Rushen and Michael McDonald, Chaka Khan’s ‘What Cha’ Gonna Do For Me’, Bernard Edwards bass playing on Chic’s ‘Good Times’, and The Bee Gees ‘Spirits Having Flown’ but we tried to take the track somewhere else in other aspects of the production to bring out the big feelings in the song. It situates us in the emotional world that I tried to create for the rest of the album.”

Fabiana Palladino first broke out in 2017 as one of Paul Institute’s founding artists after her shadowy R&B-influenced spectral pop reached Jai Paul, who founded the label alongside his brother A.K. Paul. Releasing three singles in four years, she caught the ear of critics - Pitchfork likened “Mystery” to “a scratch track from a big-budget 80s studio that’s been smuggled out on reel-to-reel tape” – but Palladino’s output remained slight. The intervening years have seen her working as an in-demand session musician for the likes of Jessie Ware, Sampha, SBTRKT and Laura Groves while intensely striving for pop perfection in her own music. Last year, she formed part of Jai Paul’s band for his live debut (which she also supported solo) on his hugely celebrated comeback tour.
papa pino (legend) und bruder rocco (legend in the making) als bassisten-tag-team ist ein statement. :emoji_wrestlers:

1. Closer
2. Can You Look In the Mirror
3. Can't Dream Anymore
4. Give Me a Sign
5. I Care (with Jai Paul)
6. Stay With Me Through the Night
7. Shoulda
8. Deeper
9. In the Fire
10. Forever



 
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