Monday, 28 February 2011
Check out my tumblr guys, You'll no longer be stressed out like this faggot above.
http://katiaganfield.tumblr.com/
Vice Update.
INTERPOL KICK OFF THE CREATORS PROJECT.
The band gave a rare long form interview to The Creators Project, where the two two entities discussed amongst many topics working together for the upcoming Coachella festival and collaboration in the studio.
http://thecreatorsproject.com/creators/interpol
LFW - GYAL IN DEM HATS
It may have already finished, but it's still fresh in the mind for many and Vice Style went down to check out Nazir Mazhar's show, the dopest environment to be in.
http://vicestyle.com/en/news/today/post/lfw-nasir-mazhar
DIESEL/ADIDAS PARTY
I went down to this, and it was pretty mad. Free drinks and that.
Check http://www.viceland.com/blogs/uk-photos/2011/02/18/dieseladidas-party/ for the consequences...
The band gave a rare long form interview to The Creators Project, where the two two entities discussed amongst many topics working together for the upcoming Coachella festival and collaboration in the studio.
http://thecreatorsproject.com/creators/interpol
LFW - GYAL IN DEM HATS
It may have already finished, but it's still fresh in the mind for many and Vice Style went down to check out Nazir Mazhar's show, the dopest environment to be in.
http://vicestyle.com/en/news/today/post/lfw-nasir-mazhar
DIESEL/ADIDAS PARTY
I went down to this, and it was pretty mad. Free drinks and that.
Check http://www.viceland.com/blogs/uk-photos/2011/02/18/dieseladidas-party/ for the consequences...
Esben and the Witch – XOYO, London 09/02/11
“No, sorry, it’s sold out” is a phrase cyclically repeated in the background as I venture to Shoreditch’s XOYO. Completely dark inside, the emergency exit light is the only guide to sanity as people crowd together to see the phenomena that is Esben and the Witch.
The scene was already set out on stage: a Victorian lamp decorates the corner, three glass heads sit on a table at the back and on the floor lies a cloth covered soft-beater splattered in a blood-like substance. Guitarist Daniel Copeman is first onstage – his face obscured by hair, staggering around in a pair of black socks – he begins to modify the ominous sounds to something more magical. Vocalist Rachel Davies then appears, together with Tom Fisher, who stares out into the audience through his dishevelled-professor like glasses. With no introduction, they launch straight into opening song: ‘Argyria’.
Slowly, hoards of hypnotised camera men creep to the front, like a cult would to a dark, gothic warrior claiming to be their leader. People follow, desperately trying to get as close to the stage as possible, as one by one, they become enchanted by the raw electronic powers and dark, gothic laments. For the cult followers and Esben virgins, the very notion of playing an opening track about a medical condition that turns people a silvery-blue, is an abhorrence in itself, but the audience warm to it, driven by the austerity of the different sounds and the individuality of the song’s theme.
Tracks evolve alongside the band’s energy. ‘Lucia, At The Precipe’, definitive of Esben’s tribal-minimalist electro, sees each band member bowing in unison with the beat. As the various pedal-driven guitars grow in volume, the atmosphere on stage was akin to a scene from the darkest chambers of a mental asylum. Copeman topples all over the stage, hair flying outwards in all directions as he conjures more sounds from his instruments. The stage is shrouded in a misty green light while Davies’ beguiling voice captures each person’s thoughts, leaving them in a bedazzled-but-satisfied state of mind. “This is the biggest show we’ve done yet”, quips Davies in her deep comforting voice, before launching straight into the next song.
The band’s occultism isn’t something that ends there. Closing track ‘Eumenides’ prompts the band’s gathering around the drums as they pound at it with bloody rag covered sticks. If anything, this is where their cult-seeking attention is explicit: such a vision recalls Macbeth’s witches around their cauldron.
A final unified hit brings everything to close and Esben abandon the stage one by one. Copeman is the last to leave, rubbing the mic against the main speaker to create a shroud of distorted feedback to accompany his exit.
Like the foreboding Danish fairy tale that gave them their name, Esben’s music is convoluted and misunderstood – yet I’m yearning for more.
(Published on thelineofbestfit.com, photos courtesy of Stacey Liu)
Ducktails - Ducktails III: Arcade Dynamics
Real Estate’s guitarist, Matthew Mondanile, is the talent behind one-man side project Ducktails; where different sounds are united from within the aesthetic genres of ‘glo-fi’, ‘shitgaze’, ‘indie’, ‘balearic’, ‘chillwave’, (etc) and music’s textural clichés are spared. His earlier albums were released on cassette, driven by 60s fuzz and distortion and attracted plenty of attention from music blogs. The originality of his dazed guitars and exotic psychedelic sounds meant the recent release of Ducktails III: Arcade Dynamics via Woodsist simply added further fuel to this fire of the media’s anticipation.
Although Ducktail’s lo-fi pedal trickery is at times criticised of being too closely related to Real Estate’s surf pop, the use of synth, guitar and a drum machine are the main differentiating factors, as well as that certain different touch of his. Mondanile’s skills lie with his ability to harmonise the instruments and vocals, creating textures and sounds that appear peculiarly satisfying. Take ‘The Razor’s Edge’ as an example, where synth leads distorted guitar through a calm sea of unfocused psych wobbles. Its execution is brilliant and is usually something that’s very hard to get right. Somehow, Ducktails just make it possible.
Mondanile’s detached vocals certainly aren’t his strong point, appearing flat in places (‘Hamilton Road’) but when weaved together with the song as a whole, prove to be a warming accompaniment. Tracks later in the album fare more justice to the vocals, utilising them to create memorable hooks. ‘Don’t Make Plans’ is honest-sounding, more melodic and less detached with lyrics of “I don’t make plans / I waste them, man.” An image of skipping in an idealistic flower-ridden field comes to mind but as the chorus subtly burrows its way to dominate the guitar and synth; the cheesy melodic vocals begin sounding like something that should be played at the beginning of a toddler’s TV show.
Thankfully the track ‘Art Vandelay’ shortly followed, restoring this album’s ‘hipster-street-cred’ – no one wants to listen to something that could be played to nursery kids… Adopting a verse/chorus/verse structure, the lines between Ducktails and Real Estate are further blurred and it is here where his musical maturity is made evident. ‘Killin the Vibe’ is another prime example of Mondanile’s memorable riffs and detached vocal melody. Animal Collective’s Noah Lennox (better known as Panda Bear) makes an appearance on the track, singing alongside Mondanile. The beat kick of a drum, soft shake of a tambourine and beautiful synthesis of the two styles make this track Arcade Dynamics‘ masterpiece.
The album carries with it a tone of ‘hypnagogic’ breezy summertime pop and mentions of things you’d associate with one’s childhood. It’s clear that the moving of time is a thing that still torments Mondanile’s thoughts and in turn his music takes you on a journey as fading memories coincide with the rise and fall of reverb and vocals. The collaboration with Panda Bear was a wise move and Mondanile’s ability to fuse all different kinds of genres is a rare sight, more so incredible that it’s all done by one single man. Who knows where he is to venture next with Ducktails? Maybe lyrical visions of the future for Ducktails IV, providing he moves on from his childhood memories of tree houses and 90s sitcoms…
(POSTED on thelineofbestfit.com)
Suits You: Paris Suit Yourself (Interview)
The obvious place to start is your name – what’s the story behind it?
"There’s not much to say, we found a name because people needed one to promote us when we started playing live shows. If it was just us, we wouldn’t even have a name. You know what they say after all, "What's in a name? That which we call a rose, by any other name would smell as sweet."
How would you describe your music and is there a message you try to convey through your music?
"A screaming orgasm interrupted by the first measure of the philharmonic orchestra of Munich playing the symphony of the new world from Antonin Dvorak, itself mixed with my mum yelling that it’s time for dinner. And no, there’s no message, just feelings."
That’s cool, what would be your ideal collaboration?
"Anyone who’s ready to perform naked - if we ask him or her."
How did you guys meet?
Randomly through the paths of destiny…the meeting is actually way less important than the “recognition", but that’s another subject…
How do you organise yourselves musically? Who comes up with what, how do you work together in rehearsals?
"That’s the secret recipe of our creative process, I can’t give that away."
What do you prefer, live gigs or recording an album in your own time and why?
"Well we only recorded one album, and played dozens of gigs, so a comparison would be inappropriate."
Seeing as you’ve played many gigs, which were your favourite?
"A frozen lake in Sweden, the machine room of an abandoned swimming pool, the ball room of a 5 star hotel...in a way, we enjoyed them all."
And when you play these gigs, how do you feel?
"Depends on what happened during the day, they seem to mix with the vibes of the sound, so with the same song you can make people feel super happy or deeply suicidal."
Heard you get up to some pretty weird stuff up at your gigs like ‘Marie leading а crab-walking, hooded Atche on to the stage by a leash, all singing, "You can touch my private parts”’ – what inspires you with these interesting thoughts.
"For those kind of deliriums, most of the time it’s been last minute ideas born with what we had around us a couple minutes before going on stage, like the leash for example."
What’s your favourite lyric?
"I like to move it, move it."
If you were to make a music video, and you had an unlimited budget and you lived in a fairytale world where anything in your imagination could happen, what would you do?
"We would take the cash, shoot home-made cheap crap, and then go shopping."
Who are you watching (band wise this year)?
"No one in particular really, but there seem to be a new generation of hip hop kids who have really fresh ideas and may renew the scene, that's pleasant."
Do you see anyone emerging who’s going to be worse than Justin Beiber?
"Good and bad are things that are completely subjective; I just wish his hair stylist was dead."
What can we expect from you guys in 2011? – Apart from worldwide domination of course.
"If I tell you now, it won't be a surprise anymore, so read the label: "Do not open before Christmas"
Introducing Spaghetti Anywhere
Ubiquitously named ‘Spaghetti Anywhere’ are a relatively new London band with heavy 80s Scottish influence. They are made of Francis Cullen and Valerio Cerini who part themselves from the ‘trendy’ witch-house genre to create a trend of their own: ‘sounding like a Scot’.
Listening to their synth ridden folk is like being immersed underwater amongst a sea of unicorns dressed in tartan kilts. The rolled ‘r’ s carry you further through the range of messianic sounds and visions, at the same time comforting like a mother’s tits are to her newborn.
In short this band look promising, and it must be said, that I’m more than a ‘wee’ bit excited. Bring on the Scottish revolution with the free download of their recent EP –
http://www.mediafire.com/?411yvs3qy4sp32j
Summary: Synth ridden indie music for the true Scot.
For fans of: The Pastels, Camera Obscura, Belle and Sebastian
Listen to: Kevin Currie
(PUBLISHED on counteract-magazine.com)
Introducing PEPEPIANO
New music is constantly evolving, some purposefully and to some extent blindly fitting into a genre – others completely uninspired and some that are just unlistenable and to put it bluntly shit but David Bird’s music (the man behind PEPEPIANO) is neither of those. Forcing together genres that wouldn’t typically fit is the beauty he rightfully masters. Any types of clichés are avoided to create something new to brace your ears.
Experimenting with chillwave, ambient and glitch, PEPEPIANO almost creates an imaginary battlefield within each song as different sounds react with one other, striving to dominate the song’s core. Each featured synth releases emotions of happiness or dizziness, from amidst layers of white noise and choir. “No way” (the track it all started with) creates a lighters-in-the-air mood, and lyrics that certainly aren’t something you’d hear every day: “maniac mechanics boasting false teeth for lepers / They’re hysterically endowed, infectious blue eggs for the oil men.”
Why not hear from the man himself about what you can download below:
FRIENDS AND LOVERS—
I’M PLEASED TO ANNOUNCE THE COLLECTED CULMINATION OF RECENT EFFORTS IN THE FORM OF THE FOLLOWING SELF-TITLED FULL LENGTH. OVER THE MONTHS I’VE GARNERED MY TAPES, SMASHED MY MOOG, WHACKED OUT MY CHILDHOOD PLAYSCHOOL TAPE PLAYER AND LOST A ROOMMATE TO THE INCESSANCY OF ROUTINE MIXING. BUT AS ALWAYS, I HAVE TAKEN THE NOT-AT-ALL UNPRECEDENTED STEP OF PROVIDING THIS ALBUM COMPLETELY FREE OF CHARGE.
SEND IT TO YOUR BROS AND LOVE SHARKS.
WITH UNFLAGGING LOVE AND AFFECTION,
-PEPEPIANO
Summary: An amalgamation of different genres in a pot of love.
For fans of: Wu Lyf, Sun Ra, Teen Daze
Listen to: Teen Daze – “Together (Pepepiano Remix)”, No way
Introducing Part Time
Part time remain a mystery on the internet, the only things coming up are part time jobs or part time sex etc but after coming across ‘Thunderbolts of Love’ on YouTube, this certainly wasn’t a thing to listen to part time, more the type of thing that has permission to parade your ears, mind and soul full time – because it is so excruciatingly fantastic.
The lyrics are echoed sentiments of lost love, and sound like something that would have been made by Zeus after playing a computer game involving unicorns and an Alice Cooper x Ariel Pink soundtrack. A high pitched 80’s electro beat follows directly behind the lyrics and provide an escape from the gloomy realisation of reality.
Only after all this did I stumble across the fact they had a MySpace profile (yet with only 100 friends) and were signed to Voice academy records. I was hoping they were to be unsigned, but I suppose all bands eventually get driven into some commercial ploy in order to survive.
At least their music’s good; so good in fact it’s making me want to venture out to the middle of the sea only with an Ipod containing this track. I wonder if this song will help me through being stranded and then getting eaten by sharks, touched by electric eels and stung by many deadly jellyfish. In fact it’s so brilliant; I think it may be able to do just that….
Summary: Hazy visions of unattainable love empowered by an 80’s electro beat.
For fans of: The Teenagers, Peter Murphy, New Order
Listen to: Thunderbolts of Love, Lies in the eyes of love
(POSTED ON counteract-magazine.com)
Introducing CUFFS
Although the name ‘Cuffs ’ might not necessarily strike you as one of a band, put the images of S&M and Bondage to the side, and concentrate on listening to the amazing surge of soft vocals, warm indie guitar and resonating lyrics.
They reside in Cambridge MA, next to Harvard University and describe their sound as “post-graduate quarter life crisis, realizing you are no longer in your mid-twenties and day dreaming about living in London circa 1987 – think Monochrome Set with Ira Kaplan on guitar or the Embarrassment trying to write Prefab Sprout songs”.
All the band members are musically pretty well off: two of them having played in an indie-pop band Pants Yell, the bassist in Big Troubles and the guitarist in Reports. It’s time this amalgamation of indie-pop talent got their deserved recognition so they can be well on their way to 2011 indie-pop-world domination.
Watch out for their new 7” single due out in May via Ride the Snake Records. Instead of heading to the sex shop to get another pair of those plastic cuffs with no key, in the false hope you will one day sexually harass someone, head to the record shop and get some real Cuffs.
Listen to a demo of ‘Privilege’ below.
Cuffs - Albert Kroft by gardenparty
Summary: American indie-pop that means something
For fans of: Adam and the Ants, The Vaselines, Two Door Cinema Club
Listen to: Privilege, Albert Kroft
(POSTED ON COUNTERACT-MAGAZINE.COM)
Introducing Wretch 32
Wretch 32 (Jermaine Scott) has finally started getting recognised, and now having signed to Ministry Of Sound, is pretty much guaranteed to make big movements in 2011. He hails from North London’s Tottenham, where he sold 15,000 copies of his single, created his own clothes label ‘Wretchroboys’ and won best hip hop gong at the official mix tape awards.
The infectious track ‘Traktor’ (it isn’t a spelling mistake) opens up with the distinctly known guitar line from Dick Dale’s Misirlou (also featured in Pulp Fiction) and raps about everything (relatively) relevant in today’s society from the royal wedding, to Kerry Katona, to rising VAT – which deserves some recognition in itself.
Just give the track a listen and you’ll learn how to “ride the motherfucking beat like a traktor.”
Summary: Metaphorically trodden lyrics lined with a subsonic bassline.
For fans of: Devlin, Tinie Tempah, Wiley, Giggs
Listen to: ‘Traktor’
(PUBLISHED ON COUNTERACT-MAGAZINE.COM)
HMV's Next Big Thing @ relentless garage London - Gig Review
Escaping the harsh cold outside, and a man offering me £40 for my ticket, I ventured into what was meant to be ‘HMV’s Next Big Thing’.
Banjo or Freakout, emerged from behind a red spotlight, the bassist facing the back wall. Frontman, Alessio Natalizia, drew himself to the mic, launching straight into his set. His awkward feet caressed the stagefloor, eyebrows raised with each lament of ‘ahhh’, and the end of each song was met with a shy offering of thanks.
Halfway through the set, roles were switched; Alessio manned the synth, whilst the bassist guarded the drums. The uninteresting lighting took a turn for the strange and a kaleidoscope of strobe lights fought for the attention of the audience. The drum beat quickened and this collision of sound and vision, twisted the perceptions of everyone in the crowd. This was certainly a powerful image but is was far from engaging as people kept their distance from the stage. Maybe the crowd needed a few more beers in them.
Phoenix Foundation were the next band on, and the stage had been transformed into something close to Jimi Hendrix's guitar wet dream. People were fighting to be close to the stage and to gain the beardy band's attention. They mostly failed.
Compared to Banjo or Freakout before them, they were far more static. However, their impeccably mature pop still had the desired effect without having to resort to on-stage theatrics. Sam Flynn Scott took the time to actually talk to the audience and regaled them of the previous night's show. “Our dressing room was titled ‘the mystical land of cocks’ and as you can guess, the wall was decorated with a range of many dicks.” Still, it was better than just a whispered “Thank you”.
Dutch Uncles didn't need any introductions yet their penetrating guitar melodies heralded their arrival regardless. People nodded in appreciation, more than they did for the other two bands, although there was a slight sense anti-climax about the set. Duncan Wallis encapsulated all that was expected of a front man; genuine heartfelt vocals and eccentric dance moves that couldn't help but hypnotise. The set moved between guitar-based tracks to more melancholic piano tracks, with the band members connected throughout, finishing in an accomplished, reverb-embellished frenzy.
There was evident talent in the Relentless Garage that night and an overall positive vibe, although I would have been reluctant to pay £40 for a scalped ticket.
(POSTED ON THEPLAYGROUND.CO.UK)
Sunday, 13 February 2011
(really) New Music
Some of this music's really new, a couple not as, but I'm pretty sure either way that you will find something you haven't listened to before here...Enjoy.
LONELY SEXY DEATH
meke menete | Myspace Music Videos
Vital Caress - Cincinnatus' Dream from The Pop Manifesto on Vimeo.
How To Dress Well : "Suicide Dream 1" from Jamie Harley on Vimeo.
How To Dress Well : "Suicide Dream 2" from Jamie Harley on Vimeo.
Yourstru.ly presents: Young Prisms x Weekend from Yours Truly on Vimeo.
Ela Orleans "Myriads" from movies for ears on Vimeo.
LONELY SEXY DEATH
meke menete | Myspace Music Videos
Vital Caress - Cincinnatus' Dream from The Pop Manifesto on Vimeo.
How To Dress Well : "Suicide Dream 1" from Jamie Harley on Vimeo.
How To Dress Well : "Suicide Dream 2" from Jamie Harley on Vimeo.
Yourstru.ly presents: Young Prisms x Weekend from Yours Truly on Vimeo.
Ela Orleans "Myriads" from movies for ears on Vimeo.
Friday, 11 February 2011
Giggs - FREE MIXTAPE + uk tour dates
Watch his documentary and download his free mixtape 'Take Your Hats Off’at
sn1giggs.com
UK TOUR DATES:
13th March 2011 – Pulse (Nottingham Trent Student Union), Nottingham
16th March 2011 – XOYO, London
17th March 2011 – University of Glamorgan Student Union, Pontypridd
18th March 2011 – Sin City, Swansea
21st March 2011 – The White Room, High Wycombe
22nd March 2011 – Rubix, Guildford
24th March 2011 – The Academy, Derby
25th March 2011 – Fusion, Sheffield
28th March 2011 – 53 Degrees, Preston
29th March 2011 – Mine, Leeds
31st March 2011 – John McCarthy Bar, Hull
Tyler The Creator - Yonkers
Tyler from rap gang Odd Future Wolf Gang Kill Em All is releasing his new album 'Goblin' soon .
Check this video out where he eats a cockroach and hangs himself - all to promote his new album...
Check this video out where he eats a cockroach and hangs himself - all to promote his new album...
WASHED UP MOTHERS...
Thought provoking story mixed with a fashion shoot....Only at Vice Style.
See more at
http://vicestyle.com/en/features/shoot/gallery/washed-up
See more at
http://vicestyle.com/en/features/shoot/gallery/washed-up
OUR OBSESSION WITH THE PHENOMENON THAT IS JAMES BLAKE...
OK so there may be some sarcastic tones in that title but like most websites in the world Vice have given their thoughts on the new face of some never before heard music genre....
Hi. I am James Blake.
That’s right.
James.
Bl.
Bl.
Blaaaa.
…aaaaaake’s the name, lengthy, inconveniently positioned silences is the game. And what a fun game it is – after all, everybody loves getting Jamie Lidell round theirs to do the hoovering on a Saturday night and then making him croon while he absorbs a volley of sporadic taser blasts to his diaphragm, right? I first became inspired to make music after learning to speak French on an audio cassette. They’d be all like: ‘Ecoutez et repetez.’ Then they’d say a phrase. And there’d be like a three second gap. And so I thought: wouldn’t it be great to make a whole album like this, with massive gaps between all the phrases? I guess what I’m really saying is that when you listen to my eponymous debut album, you’re learning how to speak the language of me
Read more at:
http://www.viceland.com/music/2011/02/behind-the-music-with-james-blake/
Hi. I am James Blake.
That’s right.
James.
Bl.
Bl.
Blaaaa.
…aaaaaake’s the name, lengthy, inconveniently positioned silences is the game. And what a fun game it is – after all, everybody loves getting Jamie Lidell round theirs to do the hoovering on a Saturday night and then making him croon while he absorbs a volley of sporadic taser blasts to his diaphragm, right? I first became inspired to make music after learning to speak French on an audio cassette. They’d be all like: ‘Ecoutez et repetez.’ Then they’d say a phrase. And there’d be like a three second gap. And so I thought: wouldn’t it be great to make a whole album like this, with massive gaps between all the phrases? I guess what I’m really saying is that when you listen to my eponymous debut album, you’re learning how to speak the language of me
Read more at:
http://www.viceland.com/music/2011/02/behind-the-music-with-james-blake/
Bloody Beetroots - free download
It's Friday, you're getting ready to party - or to wallow in self-pity...
ITS TIME FOR A REMIX
Either way this will make you feel good.
The whole point of it is to give you an idea of what to expect from Bloody Beetroots new album and a remix of Tiga’s, Mind Dimension is a prime example of their brilliance..
Download Below:
http://www.mediafire.com/?cktroisu4rf4173
Wednesday, 9 February 2011
What's happening up at Vice?
1. ANIMAL KINGDOM -
We introduce Animal Kingdom, an intense crime thriller starring Guy Pearce and the Oscar-nominated Jacki Weaver. The film will be coming to a cinema near you on Sunday 13th February at 11am, check out the list and info below:
www.animalkingdomfilm.co.uk
CINEMA SCREENINGs:
Clapham Picturehouse
Regal Picturehouse Henley
Belmont Aberdeen
Edinburgh Cameo
Southampton Harbour Lights
Arts Picturehouse Cambridge
2. VICE STYLE MEETS G-STAR RAW -
Introducing G-Star's new S/S 2011 campaign, after the hugely successful 1st of 3 'RAW' nights held in London, we have an exclusive interview with Hollywood starlet Gemma Arterton, who's only become the new face of G-Star! Also you can check out some fantastic photography with Anton Corbjin. The 2nd and 3rd videos in the series are being filmed in New York, so be prepared for some more video wonderment...
WATCH IT HERE:
http://vicestyle.com/en/gstarraw/home/
3. DIESEL/ADIDAS EVENT 17th FEBRUARY -
Adidas Originals and Diesel, two global lifestyle brands that share common values such as authenticity, self-expression and creativity for the fashion forward, have come together again in the spirit of unconstrained exploration and collaboration to introduce a limited edition sneaker series, reigniting their 2008 partnership for their special denim collection.
We introduce Animal Kingdom, an intense crime thriller starring Guy Pearce and the Oscar-nominated Jacki Weaver. The film will be coming to a cinema near you on Sunday 13th February at 11am, check out the list and info below:
www.animalkingdomfilm.co.uk
CINEMA SCREENINGs:
Clapham Picturehouse
Regal Picturehouse Henley
Belmont Aberdeen
Edinburgh Cameo
Southampton Harbour Lights
Arts Picturehouse Cambridge
2. VICE STYLE MEETS G-STAR RAW -
Introducing G-Star's new S/S 2011 campaign, after the hugely successful 1st of 3 'RAW' nights held in London, we have an exclusive interview with Hollywood starlet Gemma Arterton, who's only become the new face of G-Star! Also you can check out some fantastic photography with Anton Corbjin. The 2nd and 3rd videos in the series are being filmed in New York, so be prepared for some more video wonderment...
WATCH IT HERE:
http://vicestyle.com/en/gstarraw/home/
3. DIESEL/ADIDAS EVENT 17th FEBRUARY -
Adidas Originals and Diesel, two global lifestyle brands that share common values such as authenticity, self-expression and creativity for the fashion forward, have come together again in the spirit of unconstrained exploration and collaboration to introduce a limited edition sneaker series, reigniting their 2008 partnership for their special denim collection.
Dave I.D. – Gangs
(written for thelineofbestfit.com)
Dave I.D’s recently released EP Gangs is an apocalyptic whirlwind of sounds. Claustrophobic beats are interwoven with darkly brooding doom and vacant snarls swirl amongst a melting pot of genres. Hazy clouds of post punk, electro and pop rise from the depths of South London to drift in and out of your mind, eventually gaining control as you begin to realise that you can’t think about anything else but the potency of Dave I.D’s music.
‘Only Me I Can Save’ is glorified through its range in textured beats, bound together by other-worldly lyrics, both delivered with genuine conviction. “It’s only me I can save” intrudes your thoughts, gnarly beats cascade this ocean of realisation, only to be reassured by echoes of “no” and an XX like guitar. Many things happen between the rallying snares as the words “a river” are repeated, water like drops of beats drowning the echoes of other sounds.
‘Marvel’ is more ominous in its sound, synths that resemble something out of a bloody zombie game, the music accompanying those dark corridors where you’re about to be attacked. It’s almost a mutated dubstep beat, or perhaps just a really stoned one as cries of ‘Don’t Follow’ rightly portray the angst and uncertainty about today’s society. The last 50 seconds of the song are magical, euphoric reflections that provide you with an escape similar to floating in darkness.
‘Memory Loss’ is largely reminiscent of These New Puritans, with its drawn out vocals and wispy pulses. Dave’s feelings become particularly prominent: “They shouldn’t mess with me / They shouldn’t fuck with me”, but his ability to merge these feelings with sounds are breath taking. There’s nothing repetitive about any of his tracks (apart from lyrics at points), and each one is a journey in itself to self realisation that the world we live in is fucked.
The EP turns to adopt more of a robotic- punk-like element with ‘X-F’. The song starts with a solid drum, but then is restricted to electronic beeps and industrial clashes, almost like a battle that leads to the fusing of the two. The combination of different sounds, hums and general Teutonic clatter are enough to make you go deaf if put up to level 11.
The last track, ‘Light’s’ carries with it a climatic end to the EP emitting even more guitar and Teutonic clatter than the previous tracks. The vocals are much less evasive, and keep to the background as the myriad of various beats sit on top.
All in all, this EP is impressive, and proves Dave I.D. is a very talented man, with more good things to head his way. Shame about the name though, although simply calling him Dave wouldn’t be that great either… Either way, keep a watchful eye on him over 2011.
Dave I.D’s recently released EP Gangs is an apocalyptic whirlwind of sounds. Claustrophobic beats are interwoven with darkly brooding doom and vacant snarls swirl amongst a melting pot of genres. Hazy clouds of post punk, electro and pop rise from the depths of South London to drift in and out of your mind, eventually gaining control as you begin to realise that you can’t think about anything else but the potency of Dave I.D’s music.
‘Only Me I Can Save’ is glorified through its range in textured beats, bound together by other-worldly lyrics, both delivered with genuine conviction. “It’s only me I can save” intrudes your thoughts, gnarly beats cascade this ocean of realisation, only to be reassured by echoes of “no” and an XX like guitar. Many things happen between the rallying snares as the words “a river” are repeated, water like drops of beats drowning the echoes of other sounds.
‘Marvel’ is more ominous in its sound, synths that resemble something out of a bloody zombie game, the music accompanying those dark corridors where you’re about to be attacked. It’s almost a mutated dubstep beat, or perhaps just a really stoned one as cries of ‘Don’t Follow’ rightly portray the angst and uncertainty about today’s society. The last 50 seconds of the song are magical, euphoric reflections that provide you with an escape similar to floating in darkness.
‘Memory Loss’ is largely reminiscent of These New Puritans, with its drawn out vocals and wispy pulses. Dave’s feelings become particularly prominent: “They shouldn’t mess with me / They shouldn’t fuck with me”, but his ability to merge these feelings with sounds are breath taking. There’s nothing repetitive about any of his tracks (apart from lyrics at points), and each one is a journey in itself to self realisation that the world we live in is fucked.
The EP turns to adopt more of a robotic- punk-like element with ‘X-F’. The song starts with a solid drum, but then is restricted to electronic beeps and industrial clashes, almost like a battle that leads to the fusing of the two. The combination of different sounds, hums and general Teutonic clatter are enough to make you go deaf if put up to level 11.
The last track, ‘Light’s’ carries with it a climatic end to the EP emitting even more guitar and Teutonic clatter than the previous tracks. The vocals are much less evasive, and keep to the background as the myriad of various beats sit on top.
All in all, this EP is impressive, and proves Dave I.D. is a very talented man, with more good things to head his way. Shame about the name though, although simply calling him Dave wouldn’t be that great either… Either way, keep a watchful eye on him over 2011.
Monday, 7 February 2011
Wu Lyf at Corsica Studios, London - 03/02/11
(written for thelineofbestfit.com by me)
“Wu Lyf is nothing…They are not for sale, they have no cash flow or value. The Lyf is strength in numbers…Lost brothers looking for a place to call home, in return for your hard earned currency our home is yours.”
The clock struck 9:30 pm, where a significant moment in London’s music history was about to take place: Wu Lyf were about to play their first London gig. The room was packed, laden with the smell of stale-tequila, sweat and cigarettes. Music industry snobs and vintage-adorned twenty-somethings silently stood there, sipping on their largely overpriced beers in anticipation of what was to come. A broken disco ball hung from the ceiling, a simple black cross with the word ‘Lyf’ was all that decorated the stage and fragments of their song lyrics were plastered all over the walls. The simplicity and acknowledgement of everything; sight, sounds, smells – it all isolated you in this tightly packed space, as for one hour it felt like this was all that existed…this was your world.
The set began with ‘Lucifer Calling’, Ellery Roberts’ aching odes of disgruntled yearning braced the silence, leaving individuals transfixed, and moving religiously to each drum beat. As people began to move more, temperatures rose and the thought of breaking out in sweat was inevitable. Only a couple songs into their set were you met with three out of the four band members topless. “You don’t usually see this so early on in the set”, Ellery said, only to be met with estranged cries of “Fucking Northerners” from some drunkards in the corner who were dismissed by the avid fans in the crowd: “ Shut up!”
The room went dark and the words shouting “Say 1, 2, 3, 4…quickly” were the only guide one’s senses had. People mumbled distorted rhythms of numbers…Nothing was clear at this point. “Fuck it…! 1, 2, 3, 4,” shouted Ellery as he launched into ‘Such A Sad Puppy Dog’. Smoke blew from the machines fixed to the ceiling and a bright white light explored and intruded the audience, blinding people in its path. The beating of the drums, the straining of the guitar strings and the growl–like vocals were evolving in its melodic and tribal qualities. The song finished with a bang, applause reigned in from the audience, with each band member appreciating each clap of the hand. They all looked at each other – again, silence…
As the applause slowly began to fade out, the band began to clap. This clap merged with the audience’s, somewhat awkward… then, out of nowhere, this clap found itself a rhythm, a rhythm which formed the base for the next song. It was here that one was able to experience the excitement of musical genius, being able to create something, unknowingly, out of nothing. It was time for the much blogged about track ‘Heavy Pop’, and the few teenagers in the audience gathered together to form a mosh pit. Everything was just as it should be, but as the song reached its end, people were hungry for more. “Encore, Encore”, “Play anything, play the same song twice”, the sheer desperation simply proves the greatness of this band to captivate its audience; and boy were we in for a treat. Wu Lyf were about to improvise a cover of Willow Smith’s ‘I Whip My Hair Back and Forth’. Ellery moved to the front of the stage and sat cross-legged, directly facing the audience, from which evolved the drawn out lyrics “I…whip…my…hair…back…and…forth”, the absence of drums and focus on the guitar made it all that more powerful, the song developing a meaning despite the already written image of a 9-year-old smashing her head around. This was the first time when listening to this song that I didn’t feel like whipping my hair back and forth into a wall, and the clarity the song pursued, along with an intrepid guitar solo, was not short of heavenly.
To put it bluntly: they kicked ass.
“Wu Lyf is nothing…They are not for sale, they have no cash flow or value. The Lyf is strength in numbers…Lost brothers looking for a place to call home, in return for your hard earned currency our home is yours.”
The clock struck 9:30 pm, where a significant moment in London’s music history was about to take place: Wu Lyf were about to play their first London gig. The room was packed, laden with the smell of stale-tequila, sweat and cigarettes. Music industry snobs and vintage-adorned twenty-somethings silently stood there, sipping on their largely overpriced beers in anticipation of what was to come. A broken disco ball hung from the ceiling, a simple black cross with the word ‘Lyf’ was all that decorated the stage and fragments of their song lyrics were plastered all over the walls. The simplicity and acknowledgement of everything; sight, sounds, smells – it all isolated you in this tightly packed space, as for one hour it felt like this was all that existed…this was your world.
The set began with ‘Lucifer Calling’, Ellery Roberts’ aching odes of disgruntled yearning braced the silence, leaving individuals transfixed, and moving religiously to each drum beat. As people began to move more, temperatures rose and the thought of breaking out in sweat was inevitable. Only a couple songs into their set were you met with three out of the four band members topless. “You don’t usually see this so early on in the set”, Ellery said, only to be met with estranged cries of “Fucking Northerners” from some drunkards in the corner who were dismissed by the avid fans in the crowd: “ Shut up!”
The room went dark and the words shouting “Say 1, 2, 3, 4…quickly” were the only guide one’s senses had. People mumbled distorted rhythms of numbers…Nothing was clear at this point. “Fuck it…! 1, 2, 3, 4,” shouted Ellery as he launched into ‘Such A Sad Puppy Dog’. Smoke blew from the machines fixed to the ceiling and a bright white light explored and intruded the audience, blinding people in its path. The beating of the drums, the straining of the guitar strings and the growl–like vocals were evolving in its melodic and tribal qualities. The song finished with a bang, applause reigned in from the audience, with each band member appreciating each clap of the hand. They all looked at each other – again, silence…
As the applause slowly began to fade out, the band began to clap. This clap merged with the audience’s, somewhat awkward… then, out of nowhere, this clap found itself a rhythm, a rhythm which formed the base for the next song. It was here that one was able to experience the excitement of musical genius, being able to create something, unknowingly, out of nothing. It was time for the much blogged about track ‘Heavy Pop’, and the few teenagers in the audience gathered together to form a mosh pit. Everything was just as it should be, but as the song reached its end, people were hungry for more. “Encore, Encore”, “Play anything, play the same song twice”, the sheer desperation simply proves the greatness of this band to captivate its audience; and boy were we in for a treat. Wu Lyf were about to improvise a cover of Willow Smith’s ‘I Whip My Hair Back and Forth’. Ellery moved to the front of the stage and sat cross-legged, directly facing the audience, from which evolved the drawn out lyrics “I…whip…my…hair…back…and…forth”, the absence of drums and focus on the guitar made it all that more powerful, the song developing a meaning despite the already written image of a 9-year-old smashing her head around. This was the first time when listening to this song that I didn’t feel like whipping my hair back and forth into a wall, and the clarity the song pursued, along with an intrepid guitar solo, was not short of heavenly.
To put it bluntly: they kicked ass.
Sunday, 6 February 2011
VBS.tv - student riot documentary
Anarchists are desperate to galvanise the mood of anger in the disenfranchised young underclass and point them towards a pan-European revolution. Unfortunately for them the disenfranchised young underclass don’t seem to care about revolution, they just want to fight some cops, rob people and play with guns. Will it all end in apocalyptic LA riot-style fights? Worryingly the police seem to think so.
Check me out in the credits.
Check me out in the credits.
P Diddy sued for $1 trillion and accused of causing 9/11 attacks
(taken off NME.com)
A woman is suing P Diddy for $1 trillion (£635 billion).
Valerie Joyce Wilson Turks, 31, has filed the suit in Los Angeles Superior Court against the rap mogul, his former girlfriend Kim Porter and Rodney King, the man who was a victim of assault by the Los Angeles Police in 1991.
She also claims that her and Diddy have a son together, Cornelius Wilson, who is now 23.
Turks also alleges that Diddy, real name Sean Combs, caused the 9/11 attacks, put her son in hospital and sold a poker chip belonging to her, which she says was worth "100 zillions of dollars".
According to court papers seen by Radaronline.com Turks is asking for $900 billion (£571.5 billion) in child support and $100 billion (£63.5 billion) in lost income.
In papers she has submitted to the court, Turks wrote: "[Diddy] went through Kim Porter and Rodney King and knocked down the World Trade Center and then they all came and knocked my children down. Set me up to be on disability and disabled my baby. He put my baby in a wheelchair."
She added: "I won a lot of money at the casino in Mississippi and Sean P Diddy Combs has my chip to my money. I want my chip please help me. It's well worth over 100 zillions of dollars."
Turks also applied for a restraining order against Diddy, which a judge has denied. Although Turks is not expected to get very far with her lawsuit, the judge has set a court date of January 31 for the case to be heard.
A woman is suing P Diddy for $1 trillion (£635 billion).
Valerie Joyce Wilson Turks, 31, has filed the suit in Los Angeles Superior Court against the rap mogul, his former girlfriend Kim Porter and Rodney King, the man who was a victim of assault by the Los Angeles Police in 1991.
She also claims that her and Diddy have a son together, Cornelius Wilson, who is now 23.
Turks also alleges that Diddy, real name Sean Combs, caused the 9/11 attacks, put her son in hospital and sold a poker chip belonging to her, which she says was worth "100 zillions of dollars".
According to court papers seen by Radaronline.com Turks is asking for $900 billion (£571.5 billion) in child support and $100 billion (£63.5 billion) in lost income.
In papers she has submitted to the court, Turks wrote: "[Diddy] went through Kim Porter and Rodney King and knocked down the World Trade Center and then they all came and knocked my children down. Set me up to be on disability and disabled my baby. He put my baby in a wheelchair."
She added: "I won a lot of money at the casino in Mississippi and Sean P Diddy Combs has my chip to my money. I want my chip please help me. It's well worth over 100 zillions of dollars."
Turks also applied for a restraining order against Diddy, which a judge has denied. Although Turks is not expected to get very far with her lawsuit, the judge has set a court date of January 31 for the case to be heard.
Wednesday, 2 February 2011
FUCK LOADS OF NEW MUSIC +videos. ENJOY.
How To Dress Well : "Suicide Dream" from Jamie Harley on Vimeo.
BOXCUTTER - TV TROUBLES from Sabrina Ratté on Vimeo.
Patrick Wolf - Damaris from weirder on Vimeo.
Nirvana - Territorial Pissings (LehtMoJoe Remix) from DJ ERIC ILL on Vimeo.
"Capulet" (BRAND NEW!) from Second Head Pictures on Vimeo.
Moth Equals - Damn Fine from Moth Equals on Vimeo.
Blank Dogs - Spinning from Joe Grove on Vimeo.
Chicago Life - Downtown from Simon Oliver Ermisch on Vimeo.
When Dr Laura Had a Mohawk from siren sativa on Vimeo.
When Dr Laura Had a Mohawk from siren sativa on Vimeo.
NEW MUSIC
+ // This guy's pretty mysterious, apparently going by the name Sicko Cell http://www.youtube.com/watch?v=BLTGnQxJmwY&feature=related - Oneman and james blake played quite a bit of him in their sets, people are guessing it to be between people like loefah, addison groove, Ramadanman aka Pearson Sound etc
+ // Deadboy (who is actually from South London), remixed http://www.youtube.com/watch?v=Lz4AWUzQ7hU&feature=related - Days, by CREEP ft Romy (from the xx), which got out around December, but is still being blogged about.
+ // Warm Ghost - Open the Wormhole in your heart: http://www.box.net/shared/static/j984455vqy.mp3
+ // †‡† (Ritualz) - ▲ http://www.youtube.com/watch?v=Xzq0IIwsOvs&feature=related
+ // Mane Mane : http://manemane.bandcamp.com/track/skin-fox
+ // Christian Aids http://hypem.com/#!/item/18cya/Christian+AIDS+-+christian+aids+fever+demo
+ // Keep Shelley in Athens http://vimeo.com/19013148
+ // Mushy - Child of Light Will Burn http://vimeo.com/16904070
+// Rudi Zygaldo http://rudi-zygadlo.bandcamp.com/track/filth-hounds-of-hades
+ // Prizes http://vimeo.com/13831359
GRIMES: http://www.youtube.com/watch?v=Mrc_EGugZTU
PANDIT: http://vimeo.com/18273337
DUCKTAILS: http://www.myspace.com/ducktailss
SAY HI TO YOUR MUM: http://www.myspace.com/sayhitoyourmom/
SFV Acid http://www.myspace.com/sfvacid
KURT VILE http://www.youtube.com/watch?v=QikFgmAv7xc
23 Skidoo http://www.youtube.com/watch?v=or-Us9UJJZs
Slime ft Vondelpark: http://www.youtube.com/watch?v=BZFkcd-FtcQ
Weak Ends (ANR Mix): http://soundcloud.com/10kislands/weak-ends-anr-mix
Throbbing Gristle http://www.youtube.com/watch?v=Y8klW9trVTQ
Lykke Li: http://vimeo.com/19031552
Cabaret Voltaire http://www.youtube.com/watch?v=N-IixtxKETU
Sunday, 30 January 2011
Good old Patrick Wolf
Cannot wait for summer.
Let this amalgamition of city lyrics, visions of sun and beach, and trumpets take you to another place..
Let this amalgamition of city lyrics, visions of sun and beach, and trumpets take you to another place..
Duke Garwood - Dreamboatsafari
(written for thelineofbestfit.com)
Duke Garwood recently released Dreamboatsafari via Fire Records, and just because he comes from the streets of South London doesn’t instantly mean that he’s some rapper. In fact it’s quite the opposite. When Garwood was on tour with Mark Lanegan, he had the epiphany to release a ‘space cowboy record’, documenting some sort of a spiritual journey. Marked as a ‘master bluesman’ and acknowledged for his phenomenal ability to expand on and experiment with ‘dusty room blues’, this album had a lot to live up to.
‘Jesus Got A Gun’, the first track on the album, is ridden with fluid blues and soft percussion where you are left in a mood of reflection, lyrics washing over you as you contemplate the bizarre image of Jesus with a gun… In its power to take you to a place of amenity, hazy visions of a smoky Southern blues bar and a hot summer evening are all that occupy your mind, and space for every day worries diminish and instead are lined with echoes of a Jimi Hendrix like reverb. There are some really impressive pieces of work within the album such as ‘Gods In My Shows’, where dishevelled guitar sounds are combined with a lamenting gospel choir who join Garwood’s palliative vocals. ‘Summer Gold’ is somewhere to get lost amongst the song’s many textures, and its warm guitar so delicate, a tear happens to develop in the corner of your eye. As you’re already halfway through your spiritual quest, ‘Wine Blood’ comes along, something deeply personal, and a fragile tin-like percussion urging this feeling of genuine enlightenment (I don’t think it’s a commercial ploy in this case).
However, with the album’s progress, the songs take an experimental turn with percussion and trumpets and deteriorates this spiritual journey initiated by the first few tracks – ‘Panther’ and ‘Tapestry of Mars’ in particular. Percussion is the same throughout, only to be accompanied by the prolonged call of muffled trumpets overpowering distorted voices, which towards the song’s end simply leaves you with a headache. The sounds are too ‘experimental’ and there are too many of them, and although are evocative of Jackson Pollock’s loosely thrown together instrumentals, just aren’t that enjoyable.
It may be criticised that this album wasn’t meant to be recorded, but rather one to be appreciated live. It’s clear that Garwood, as an artist, is most certainly an accomplished one; however Blues has always been further embraced as a live craft, and whether it’s possible for this atmosphere to be successfully transferred through to your iPod headphones, is an entirely different matter. Nevertheless, the traditional jazz and blues concept has been thoroughly experimented with throughout the album, and is something that will still be appreciated after many listens (especially for the avid blues and jazz enthusiast).
Garwood is due to release a joint LP with Mark Lanegan next year together with plans to collaborate with the Master Musicians of Jajouka led by Bachir Attar in Morocco.
Duke Garwood recently released Dreamboatsafari via Fire Records, and just because he comes from the streets of South London doesn’t instantly mean that he’s some rapper. In fact it’s quite the opposite. When Garwood was on tour with Mark Lanegan, he had the epiphany to release a ‘space cowboy record’, documenting some sort of a spiritual journey. Marked as a ‘master bluesman’ and acknowledged for his phenomenal ability to expand on and experiment with ‘dusty room blues’, this album had a lot to live up to.
‘Jesus Got A Gun’, the first track on the album, is ridden with fluid blues and soft percussion where you are left in a mood of reflection, lyrics washing over you as you contemplate the bizarre image of Jesus with a gun… In its power to take you to a place of amenity, hazy visions of a smoky Southern blues bar and a hot summer evening are all that occupy your mind, and space for every day worries diminish and instead are lined with echoes of a Jimi Hendrix like reverb. There are some really impressive pieces of work within the album such as ‘Gods In My Shows’, where dishevelled guitar sounds are combined with a lamenting gospel choir who join Garwood’s palliative vocals. ‘Summer Gold’ is somewhere to get lost amongst the song’s many textures, and its warm guitar so delicate, a tear happens to develop in the corner of your eye. As you’re already halfway through your spiritual quest, ‘Wine Blood’ comes along, something deeply personal, and a fragile tin-like percussion urging this feeling of genuine enlightenment (I don’t think it’s a commercial ploy in this case).
However, with the album’s progress, the songs take an experimental turn with percussion and trumpets and deteriorates this spiritual journey initiated by the first few tracks – ‘Panther’ and ‘Tapestry of Mars’ in particular. Percussion is the same throughout, only to be accompanied by the prolonged call of muffled trumpets overpowering distorted voices, which towards the song’s end simply leaves you with a headache. The sounds are too ‘experimental’ and there are too many of them, and although are evocative of Jackson Pollock’s loosely thrown together instrumentals, just aren’t that enjoyable.
It may be criticised that this album wasn’t meant to be recorded, but rather one to be appreciated live. It’s clear that Garwood, as an artist, is most certainly an accomplished one; however Blues has always been further embraced as a live craft, and whether it’s possible for this atmosphere to be successfully transferred through to your iPod headphones, is an entirely different matter. Nevertheless, the traditional jazz and blues concept has been thoroughly experimented with throughout the album, and is something that will still be appreciated after many listens (especially for the avid blues and jazz enthusiast).
Garwood is due to release a joint LP with Mark Lanegan next year together with plans to collaborate with the Master Musicians of Jajouka led by Bachir Attar in Morocco.
Wednesday, 26 January 2011
VICE UPDATES
1. THE TALIBAN IN PAKISTAN...
To call this mission a little dangerous would be an understatement but Vice's founder Suroosh Alvi went out to Peshawar, Pakistan to see the influence the Taliban is now taking out of Afghanistan and into their neighbours backyard.
http://www.vbs.tv/en-gb/#
2. RAZORLIGHT: HAVE THEY LITERALLY GONE INSANE....
From Indie darlings many lightyears ago Razorlight have morphed into a cross between Captain Jack Sparrow's wardrobe and an extra from Oliver. Don't know what drugs they've been taking, but boy do I want some of that shit (well...after looking at them for a good 10 seconds, not really).
http://www.viceland.com/music/2011/01/apparently-razorlight-are-insane-now/
To call this mission a little dangerous would be an understatement but Vice's founder Suroosh Alvi went out to Peshawar, Pakistan to see the influence the Taliban is now taking out of Afghanistan and into their neighbours backyard.
http://www.vbs.tv/en-gb/#
2. RAZORLIGHT: HAVE THEY LITERALLY GONE INSANE....
From Indie darlings many lightyears ago Razorlight have morphed into a cross between Captain Jack Sparrow's wardrobe and an extra from Oliver. Don't know what drugs they've been taking, but boy do I want some of that shit (well...after looking at them for a good 10 seconds, not really).
http://www.viceland.com/music/2011/01/apparently-razorlight-are-insane-now/
Interview // Fujiya & Miyagi
(for TLOBF)
Brighton based Fujiya & Miyagi have big plans in store for 2011. Current album Ventriloquizzing adopts a more sinister tone in which different sounds and beats are further experimented with that on previous albums. Echoes of Neu! and Aphex Twin are marked on each individual track and the lyrics are something you wouldn’t even think up in your dreams. Embrace it and hold on tight as the music launches you into a world of modified and vividly textured beats.
Katia Ganfield speaks to Fujiya & Miyagi’s David Best about the making of Ventriloquizzing, the process and experience of working with producer Thom Monahan, and whyhe never raises his voice above a whisper.
How’s year been so far? Has it been stressful with the tour coming up?
No, well a little bit, I’ve got a nine week old baby boy and Steve’s got a ten week old daughter so it’s been kind of baby centric in Fuyija & Miyagi. That’s been our main concern really. We haven’t really been doing much; we put the album back because of the babies coming. It’s been quite nice really, not doing too much band stuff and the tour is still going ahead in March.
Where are you most looking forward to playing?
I like New York. I know it’s pretty obvious – but that’s what I’m really looking forward to. We’ve been there quite a lot of times, so we’ve got friends there now. It’s just that thing that before you’ve been there, you kind of know it. You know it from TV and films and it’s familiar even though it’s kind of alien as well. Everywhere else in America you’ve got to drive but it’s quite good for the Englishman because you can walk places and I like that.
What three sounds would you use to describe Ventriloquizzing and how would you say it’s different to your other albums?
One would be this synth that we use, that Iggy Pop used on his record The Idiot - so maybe a few notes of that – then you might get the jist of what we’re on about. Maybe a fuzz guitar and a pneumatic drill but in five rooms away so you can just hear it. It’s definitely really different; it’s more moody sounding and more like a band sound. Before, all the drums used to be programmed, and made it sound more ‘dance-floor friendly’. Now, it’s like a proper band type thing.
Listening to your album, these lyrics struck me: “Sucking lemons, nibbling couscous and a scooped out avocado filled with bamboo. / You look ridiculous, not everyone can afford to eat as healthily as you do.” What made you think to write that down as a lyric?
I was trying to write lyrics that aren’t normally in songs and to choose subject matters that are different. There are already lots of love songs out there. I’m not saying it’s a bad thing to be unaware that when there’s a fish and chip shop 10 yards down the road you’d rather indulge in organic stuff that’s miles away – it all just feels a bit forced to me. In Brighton, that happens quite a lot. I think it’s every fifth person you meet. It’s kind of funny, because songs, when you listen to them, seem to be directed at one person, but normally it’s like an amalgamation of different things you pick up from everywhere. So I thought, maybe it’s a little bit petty, but I thought, at the time it was worthy of writing song about it.
For the album you worked with producer Thom Monahan. What was it like working with him?
It was great because we’ve always produced the stuff ourselves. We were doing variations of the same thing. We didn’t want to do that anymore and we wanted to work with someone else. Our friends, Au Revoir Simone, who he toured with, they did an album with him and they recommended him. He has done stuff with Vetiver and Devendra Banhart – which isn’t the most obvious link to our stuff. But he really loves electronic music and has loads of great old synths. It was brilliant, we learnt a lot.
Was it a change from producing your own stuff to having someone help you along with the whole process?
We kind of co-produced it – Steve’s the main producer in the group and demoed it for ages and ages before we even went to California – so a lot of the songs and parts were all done. Thom just helped with sounds and structures. Sometimes it takes someone outside to point out that things could be better or different when you get too stuck in the way of working. For that reason it was fantastic.
What was the recording process like?
We worked really hard on it and it took ages and ages – like I said before we worked on it a lot in America, spent a month in Sacremento where we chucked in all the drums and stuff, then we went to LA where Thom lives and finished it off. A lot of it was planned, but the music in other songs, like ‘Minestrone’, came from nowhere. A lot of them were still quite rigid I suppose because they’re songs rather than jams – not the greatest jam band really. Everything’s really thought out.
What’s your favourite song on the album?
‘Minestrone’, because when we were doing it seemed very different to what we had done before and that’s what I wanted; I wanted us to change and do something different. Everyone probably thinks it sounds like we always sound, but to me, musically and lyrically, it’s kind of like a story, and I’ve never really told a story before. That’s the one I’m most proud of I think.
What was it with the lyrics in particular?
It’s not like an emotional attachment, I was quite pleased with the story Steve was talking about of the Chanctonbury Ring and that if you go up there at midnight and you run around the trees seven times, the devil appears. So that’s where it came from. Then I thought it would be nicer to update the story so the devil might be wearing an anorak or has got glasses and a flask. I liked the whole process of it and the initial idea just plotting it out and trying to make it more sense then my normal words – which I’m sure it probably doesn’t. That’s what I was trying to do anway.
You mentioned that you were glad to see a bit of a change in the band. Do you ever tempted to go all out with your vocals, like those hardcore punk bands?
I don’t really feel that angry and I’m not really good at shouting and stuff. Before Steve said why don’t you try and sing and give it a bit more oomph…but it just sounds shit – I’m not really good at singing above a whisper really.
So let’s get onto the origin of your name. Fuyija means record and Miyagi is taken from the karate kid. In your 2008 track ‘Photocopier’ you sing “we’re just pretending to be Japanese” – were you simply pretending?
That was like a last minute pitch to try and explain our name so no-one would ask. But my biggest regret in the band is being called that, it doesn’t make any sense.
I also read somewhere you originally wanted to start out as a record label. Where did you end up going with that?
It wasn’t so much that, but it was just two of us and we didn’t think we’d play live or anything so we thought we’d have these alter egos who are Japanese. Obviously we changed as a band, we played live and we’re clearly not Japanese.
Did you ever get booked as a Japanese band?
We got booked in London really early on for a Japanese night. We just rolled up and it was pretty funny. They were a bit disappointed. But you know, they should’ve done their homework.
Your Japanese alter egos, did you have a vision in mind of what they might look like?
We did at the time, and especially because at that time in England there was a real interest in Japanese culture. There was less interest in two blokes from Brighton so I think the initial idea was that we were going to be sumo wrestlers or something with those masks and quite cartoon-like. So the album covers and things, you’d never see out faces… That’s as far as we got. Then the game was up when people realised we weren’t Japanese, so we didn’t follow it through.
What’s your opinion on the different branches of electro that are going to make big movements in 2011 like witch-house or dubstep?
I quite like it all. I like James Blake – but what he’s doing now, I can’t really hear the dub in his step, you know? Which is not a bad thing; he’s just made it his own thing which is what it is. His record and his songs are really interesting. It’s not entitled to a genre really for me. I haven’t really got that much into witch house but I really like things like Emeralds and Fabulous Diamonds but I don’t know what they’d really come under. I’ve started listening to new music again, and some of it’s really exciting but some of its just genre for genres sake.
Who are you keeping your eye on for 2011?
Obviously James Blake’s album is going to do really well. I also like Dylan Ettinger – he’s this synth guy from America. His sound’s similar to John Carpenter but a bit more DIY and I think he’s going to do some really good stuff this year.
Ventriloquizzing is out now via Full Time Hobby.
Brighton based Fujiya & Miyagi have big plans in store for 2011. Current album Ventriloquizzing adopts a more sinister tone in which different sounds and beats are further experimented with that on previous albums. Echoes of Neu! and Aphex Twin are marked on each individual track and the lyrics are something you wouldn’t even think up in your dreams. Embrace it and hold on tight as the music launches you into a world of modified and vividly textured beats.
Katia Ganfield speaks to Fujiya & Miyagi’s David Best about the making of Ventriloquizzing, the process and experience of working with producer Thom Monahan, and whyhe never raises his voice above a whisper.
How’s year been so far? Has it been stressful with the tour coming up?
No, well a little bit, I’ve got a nine week old baby boy and Steve’s got a ten week old daughter so it’s been kind of baby centric in Fuyija & Miyagi. That’s been our main concern really. We haven’t really been doing much; we put the album back because of the babies coming. It’s been quite nice really, not doing too much band stuff and the tour is still going ahead in March.
Where are you most looking forward to playing?
I like New York. I know it’s pretty obvious – but that’s what I’m really looking forward to. We’ve been there quite a lot of times, so we’ve got friends there now. It’s just that thing that before you’ve been there, you kind of know it. You know it from TV and films and it’s familiar even though it’s kind of alien as well. Everywhere else in America you’ve got to drive but it’s quite good for the Englishman because you can walk places and I like that.
What three sounds would you use to describe Ventriloquizzing and how would you say it’s different to your other albums?
One would be this synth that we use, that Iggy Pop used on his record The Idiot - so maybe a few notes of that – then you might get the jist of what we’re on about. Maybe a fuzz guitar and a pneumatic drill but in five rooms away so you can just hear it. It’s definitely really different; it’s more moody sounding and more like a band sound. Before, all the drums used to be programmed, and made it sound more ‘dance-floor friendly’. Now, it’s like a proper band type thing.
Listening to your album, these lyrics struck me: “Sucking lemons, nibbling couscous and a scooped out avocado filled with bamboo. / You look ridiculous, not everyone can afford to eat as healthily as you do.” What made you think to write that down as a lyric?
I was trying to write lyrics that aren’t normally in songs and to choose subject matters that are different. There are already lots of love songs out there. I’m not saying it’s a bad thing to be unaware that when there’s a fish and chip shop 10 yards down the road you’d rather indulge in organic stuff that’s miles away – it all just feels a bit forced to me. In Brighton, that happens quite a lot. I think it’s every fifth person you meet. It’s kind of funny, because songs, when you listen to them, seem to be directed at one person, but normally it’s like an amalgamation of different things you pick up from everywhere. So I thought, maybe it’s a little bit petty, but I thought, at the time it was worthy of writing song about it.
For the album you worked with producer Thom Monahan. What was it like working with him?
It was great because we’ve always produced the stuff ourselves. We were doing variations of the same thing. We didn’t want to do that anymore and we wanted to work with someone else. Our friends, Au Revoir Simone, who he toured with, they did an album with him and they recommended him. He has done stuff with Vetiver and Devendra Banhart – which isn’t the most obvious link to our stuff. But he really loves electronic music and has loads of great old synths. It was brilliant, we learnt a lot.
Was it a change from producing your own stuff to having someone help you along with the whole process?
We kind of co-produced it – Steve’s the main producer in the group and demoed it for ages and ages before we even went to California – so a lot of the songs and parts were all done. Thom just helped with sounds and structures. Sometimes it takes someone outside to point out that things could be better or different when you get too stuck in the way of working. For that reason it was fantastic.
What was the recording process like?
We worked really hard on it and it took ages and ages – like I said before we worked on it a lot in America, spent a month in Sacremento where we chucked in all the drums and stuff, then we went to LA where Thom lives and finished it off. A lot of it was planned, but the music in other songs, like ‘Minestrone’, came from nowhere. A lot of them were still quite rigid I suppose because they’re songs rather than jams – not the greatest jam band really. Everything’s really thought out.
What’s your favourite song on the album?
‘Minestrone’, because when we were doing it seemed very different to what we had done before and that’s what I wanted; I wanted us to change and do something different. Everyone probably thinks it sounds like we always sound, but to me, musically and lyrically, it’s kind of like a story, and I’ve never really told a story before. That’s the one I’m most proud of I think.
What was it with the lyrics in particular?
It’s not like an emotional attachment, I was quite pleased with the story Steve was talking about of the Chanctonbury Ring and that if you go up there at midnight and you run around the trees seven times, the devil appears. So that’s where it came from. Then I thought it would be nicer to update the story so the devil might be wearing an anorak or has got glasses and a flask. I liked the whole process of it and the initial idea just plotting it out and trying to make it more sense then my normal words – which I’m sure it probably doesn’t. That’s what I was trying to do anway.
You mentioned that you were glad to see a bit of a change in the band. Do you ever tempted to go all out with your vocals, like those hardcore punk bands?
I don’t really feel that angry and I’m not really good at shouting and stuff. Before Steve said why don’t you try and sing and give it a bit more oomph…but it just sounds shit – I’m not really good at singing above a whisper really.
So let’s get onto the origin of your name. Fuyija means record and Miyagi is taken from the karate kid. In your 2008 track ‘Photocopier’ you sing “we’re just pretending to be Japanese” – were you simply pretending?
That was like a last minute pitch to try and explain our name so no-one would ask. But my biggest regret in the band is being called that, it doesn’t make any sense.
I also read somewhere you originally wanted to start out as a record label. Where did you end up going with that?
It wasn’t so much that, but it was just two of us and we didn’t think we’d play live or anything so we thought we’d have these alter egos who are Japanese. Obviously we changed as a band, we played live and we’re clearly not Japanese.
Did you ever get booked as a Japanese band?
We got booked in London really early on for a Japanese night. We just rolled up and it was pretty funny. They were a bit disappointed. But you know, they should’ve done their homework.
Your Japanese alter egos, did you have a vision in mind of what they might look like?
We did at the time, and especially because at that time in England there was a real interest in Japanese culture. There was less interest in two blokes from Brighton so I think the initial idea was that we were going to be sumo wrestlers or something with those masks and quite cartoon-like. So the album covers and things, you’d never see out faces… That’s as far as we got. Then the game was up when people realised we weren’t Japanese, so we didn’t follow it through.
What’s your opinion on the different branches of electro that are going to make big movements in 2011 like witch-house or dubstep?
I quite like it all. I like James Blake – but what he’s doing now, I can’t really hear the dub in his step, you know? Which is not a bad thing; he’s just made it his own thing which is what it is. His record and his songs are really interesting. It’s not entitled to a genre really for me. I haven’t really got that much into witch house but I really like things like Emeralds and Fabulous Diamonds but I don’t know what they’d really come under. I’ve started listening to new music again, and some of it’s really exciting but some of its just genre for genres sake.
Who are you keeping your eye on for 2011?
Obviously James Blake’s album is going to do really well. I also like Dylan Ettinger – he’s this synth guy from America. His sound’s similar to John Carpenter but a bit more DIY and I think he’s going to do some really good stuff this year.
Ventriloquizzing is out now via Full Time Hobby.
Tuesday, 25 January 2011
WRETCH 32
Introducing… Wretch 32
(by me posted on counteract-magazine.com)
Wretch 32 (Jermaine Scott) has finally started getting recognised, and now having signed to Ministry Of Sound, is pretty much guaranteed to make big movements in 2011. He hails from North London’s Tottenham, where he sold 15,000 copies of his single, created his own clothes label ‘Wretchroboys’ and won best hip hop gong at the official mix tape awards.
The infectious track ‘Traktor’ (it isn’t a spelling mistake) opens up with the distinctly known guitar line from Dick Dale’s Misirlou (also featured in Pulp Fiction) and raps about everything (relatively) relevant in today’s society from the royal wedding, to Kerry Katona, to rising VAT – which deserves some recognition in itself.
Just give the track a listen and you’ll learn how to “ride the motherfucking beat like a tractor.”
(by me posted on counteract-magazine.com)
Wretch 32 (Jermaine Scott) has finally started getting recognised, and now having signed to Ministry Of Sound, is pretty much guaranteed to make big movements in 2011. He hails from North London’s Tottenham, where he sold 15,000 copies of his single, created his own clothes label ‘Wretchroboys’ and won best hip hop gong at the official mix tape awards.
The infectious track ‘Traktor’ (it isn’t a spelling mistake) opens up with the distinctly known guitar line from Dick Dale’s Misirlou (also featured in Pulp Fiction) and raps about everything (relatively) relevant in today’s society from the royal wedding, to Kerry Katona, to rising VAT – which deserves some recognition in itself.
Just give the track a listen and you’ll learn how to “ride the motherfucking beat like a tractor.”
Monday, 24 January 2011
DJ SEGA HELL FUCK YEAH
Dirty aggressive fun.
Watch that poor woman get flung off stage in one 'hip swing'.
What an aspiring role model that man is for horny hormonal boys out there.
It's not far off becoming some people's fucked up fantasy..
Sunday, 23 January 2011
FREDDIE MERCURY WAREHOUSE PARTY 28/01/11
Join the group below to be informed of "Secret Shoreditch Location"
http://www.facebook.com/gr
Ltd. Tickets ONLY £6 >>>
http://www.ticketweb.co.uk
Otherwise £8 on the door before 12PM
Guestlist requests >>>
lizzxify@gmail.com
FLASH RAPSODY ROOM
THE COOLNESS
HENRY JAMES
DJ COOKS
MAGGOT
MARCO MORANO
MEN IN MASKS
THE DIRTY TOYS
BRITS ABROAD ROOM
FYOOCHA BOY (SILKY BOYS)
LAKEY & TRAWELERGUY
HANUMAN (STEAK HOUSE)
THE LARGE (SHIMMY SHIMMY)
DAFT KUNT
KISS
BREAKING RULES
+++++++++++++ PLUS +++++++++++++
/ INSANE PERFORMANCE / TRIBAL DANCE / UV PAINT /
/ INSTALLATION / FANCY DRESS / COSMIC VISUALS/
/www.thecoolness.net / www.myspace.com/tenderlovingcoolness/
/www.brits-abroad.tumblr.com/
I BETTER BE SEEING YOU DOWN THERE frolicking around on the floor having sex with every person (or thing) you find mildly attractive - like a rabid dog.
*joke* - which isn't really that funny.
Friday, 21 January 2011
THE OFFICIAL 'BEING A DICKHEAD'S COOL' PARTY
"THE GRAND SPECTACULAR" LIVE BAND
DJ RAGS and THE LAST SKEPTIK
Hosted by DOC BROWN
...plus more guest DJs to be announced.
THURSDAY 10TH FEBRUARY
SECRET EAST LONDON LOCATION
9pm - 2am / £20 entry... or £5 if you dress like a dickhead
MUSIC POLICY: vegan crunk, electro pop. witch-house, muslim trance and lactose intolerant 80s pop
You watched the video...
You laughed...
You sent it to to your friends...
You tried to pretend that it wasn't about you...
Now it's time to party because let's be honest, we all love our lives as dickheads!!
In a secret venue in East London on Thursday 10th February, a party to end all parties is happening to end the world.
Their name is The Grand Spectacular and they are here to reveal themselves all over your face...
For the first time ever, the people that made the now infamous "Being A Dickhead's Cool" video will be performing their internet smash song. They will be putting together a live-band for the performance and there will be the baddest extended synth solo you have ever seen in your life.
The night will be soundtracked by DJ "I run a vegan crunk night" Rags from the Livin' Proof club night and The Last "I say I work in media, I'm really on the dole" Skeptik who makes music... supposedly.
The night will be hosted by comedy-rapper Doc Brown... no really, he is a comedy-rapper...
As well as a host of guest DJs and surprises, expect fun galore.
- Dress like a dickhead
- Dance like a dickhead
- Make-love like a dickhead.
FACEBOOK EVENT: http://www.facebook.com/event.php?eid=144247868967196
Vice Issue Launch Party - 27th Jan
Vice's new issue’s out. It’s mainly about how the West’s gigantic sociopolitical fuck-ups in Pakistan and Afghanistan in the last decade will give us a fatal hangover that drags on well into the next one. They’re having a party in Old Blue Last to celebrate it, and Fantastic Mr Fox – who is headlining – has made us a mix to celebrate that. Partying gets you further away from all the war and suffering in the world, which is why you should come down. It’s free, though, so with all that spare change rattling around in your pocket we can’t guarantee you won’t leave without a fatal hangover of your own.
Star Slinger and Vice Djs will also be in attendance at the Old Blue Last on Thursday the 27th of January, and the night runs from 8pm till late. Here’s that mix we were just talking about – there’s no tracklisting, but we’re pretty sure that first track features Björk and from then on the thing dissolves into a fizzing, popping ocean of beats and mercilessly hacked up diva vocals. Pretty sweet
http://www.mediafire.com/?uy9d2f38n5bu6
It's going to be full to the brim with sexy fun frolicking.
GET YOUR FAT, DIRTY ARSES DOWN THERE.
(however, slim & clean preferable)
Art Bleek - Art Supplies
Art Bleek – Art Supplies
(written for thelineofbestfit.com)
Released via Lougin’ Records, Art Supplies is a masterpiece in its own right in which French producer Arthur Pochon, aka Art Bleek, blends a mix of jazz, hip hop and soul to create thirteen (or twelve if you dismiss the intro) infectious, commendable tracks. Following his debut album in 2004, there are far more collaborative efforts with artists such as Ursula Rucker, Voice, Nya, Charlie Sputnik and Airelle Besson, providing variation for the listener and making the album pleasant to listen to in its entirety, all at once.
Luring you in with a phone call cleverly mentioning the name of each track through its conversation, you get the jist of the album’s mood and what’s to come. The introduction concludes with laughter and mention of a “party all night long”. Essentially this album acts as a welcoming ray of sunshine protruding from an obscured, bleak and desolate landscape and exudes a strong sense of old-school sex appeal. The order and titles of the tracks almost imitates a quest or a journey in initiating the act of sex. If this is the sort of thing you’re into, or something you find amusing (which if it doesn’t, then there’s probably something wrong with you), then Art Supplies is definitely something to at least have a look at.
Both ‘Rise’ and ‘Friends’ were two tracks that particularly stood out as being “finger lickin’ good”. ‘Friends’ is something to have playing when you’re getting ready to go out or when you come back from your night out, head spinning, ears ringing when all you really want to do is simply chill. This song is perfect for just that, as soft beats complement Mandel Turner soothing vocals and you know “everything will be alright”.
‘Rise’ is the last song on the album, and although the pace is gradual at the start, each “rise” is built upon and soloing trumpets create this sexy jazzy atmosphere as you look up into the sky, and feel a sense of hope “facing day to day challenges / and rise” thinking, fuck, my life is feeling pretty damn good at the moment.
Overall, this is one sexy album, and it’s recommended to dedicate some time to listen through it completely, so you can appreciate it fully – which is what it deserves. Each track complements the other, and it’s guaranteed the purchase of this album would not be regretted, unless you find yourself £1 short of buying some toilet roll at the end of the day and discover yourself listening to the album in order to escape the reality of shit stains imprinted on your sofa, bed and wherever else. Listening to the album should work – I hope…
(written for thelineofbestfit.com)
Released via Lougin’ Records, Art Supplies is a masterpiece in its own right in which French producer Arthur Pochon, aka Art Bleek, blends a mix of jazz, hip hop and soul to create thirteen (or twelve if you dismiss the intro) infectious, commendable tracks. Following his debut album in 2004, there are far more collaborative efforts with artists such as Ursula Rucker, Voice, Nya, Charlie Sputnik and Airelle Besson, providing variation for the listener and making the album pleasant to listen to in its entirety, all at once.
Luring you in with a phone call cleverly mentioning the name of each track through its conversation, you get the jist of the album’s mood and what’s to come. The introduction concludes with laughter and mention of a “party all night long”. Essentially this album acts as a welcoming ray of sunshine protruding from an obscured, bleak and desolate landscape and exudes a strong sense of old-school sex appeal. The order and titles of the tracks almost imitates a quest or a journey in initiating the act of sex. If this is the sort of thing you’re into, or something you find amusing (which if it doesn’t, then there’s probably something wrong with you), then Art Supplies is definitely something to at least have a look at.
Both ‘Rise’ and ‘Friends’ were two tracks that particularly stood out as being “finger lickin’ good”. ‘Friends’ is something to have playing when you’re getting ready to go out or when you come back from your night out, head spinning, ears ringing when all you really want to do is simply chill. This song is perfect for just that, as soft beats complement Mandel Turner soothing vocals and you know “everything will be alright”.
‘Rise’ is the last song on the album, and although the pace is gradual at the start, each “rise” is built upon and soloing trumpets create this sexy jazzy atmosphere as you look up into the sky, and feel a sense of hope “facing day to day challenges / and rise” thinking, fuck, my life is feeling pretty damn good at the moment.
Overall, this is one sexy album, and it’s recommended to dedicate some time to listen through it completely, so you can appreciate it fully – which is what it deserves. Each track complements the other, and it’s guaranteed the purchase of this album would not be regretted, unless you find yourself £1 short of buying some toilet roll at the end of the day and discover yourself listening to the album in order to escape the reality of shit stains imprinted on your sofa, bed and wherever else. Listening to the album should work – I hope…
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