We have up-and-coming producer Seams supporting Gold Panda next weekend, and we thought we’d treat you to a stream of a song from his recent E.P. It has the same kind of glitch to it as Gold Panda, but maybe pushes melody even more, with a lot of nice depth. Listen below.
Check out this very entertaining session with Martin Creed for The Guardian. Really into his post-punk sounding ‘Thinking/Not Thinking’ too. Something straight out of Gang of Four/Wire territory and we like it. The man plays for us next week.
Tonight is the Eat Your Own Ears programmed night at the Roundhouse Rising festival, showing the hottest upcoming talent in the UK in one of London’s finest venues. We are very excited about our line-up, Prizes played for us at last years Field Day Festival, Ghost Eyes recently supported Gold Panda on tour and Teeth of the Sea have plaudits from BBC 6 Music to The Quietus, so all of these bands are proving themselves already. Come and see them take the next step.
OYA FESTIVAL AND FIELD DAY PRESENT - DOORS 8:00 - XOYO
(FICTION / LUCY SWANN / TEAM ME)
Two of the most carefully and interestingly programmed festivals in Europe come together to programme a special night of music from the UK and Norway. Fiction have been one of the hottest live acts of the past year and continue to go from strength to strength and Lucy Swann has captured the hearts of Norway with her extraordinary live performances and big pop songs - she looks destined to continue the strong line of Scandinavian Pop, passed down by Lykke Li and Robyn.
LYLE AND SCOTT PRESENTS - DOORS 8:00 - XOYO
(CLOCK OPERA / MAY 68 / I ONLY DATE MODELS)
The recent Lyle and Scott shows have been one of the hottest tickets in town, and they continue to present yet more brilliant talent in XOYO tonight. Clock Opera is a superb one man band signed to Moshi Moshi, they play alongside May 68 - yet another exciting band to come out of the exploding Manchester scene. Opening will be Lyle and Scott competition winners I Only Date Models who will be looking to impress all with their brand of universal indie music.
Our diary is groaning under the weight of all these fantastic shows we have coming up, we had three last night (Glasser, Gruff Rhys, Caribou) and another three tonight (James Yorkston, About Group and Darkstar) so we thought we’d take a moment to get right back to the music. Check out our playlist above for an overview of what we have coming up. It’s a great little list and the one-two punch of the Mount Kimbie and Chilly Gonzales viceos is quite something (If you don’t like intimacy or butt-shakin’ look away).
It’s a little way off but we are already feeling the buzz for Twin Shadow’s next show with us (plus his appearance at Field Day). He’s puts on a great live show, as this nicely shot video above can attest to.
One of the things I really like about the album is the way the rigmarole of life is set against this epic backdrop.
That’s just how it came out! That self-expressing state of mind, and the possibility to be heard or not, and just to see what would come out if I’d just let it roll [was what was important]. There was a lot of that – when I wrote that song, Apply, I had this reoccurring sleep paralysis, which affects your dreams, or in my case, nightmares – it’s where you wake up but you can’t shake yourself out of it. It’s those domestic things like the window or the sounds happening in my room or street noise that filtered in to this woozy, fluid world where we all go for half a day. Half of our time is concerned with domestic concerns and the other half is concerned with riding a dolphin through the forest [laughs]. It’s funny that we can have these wild dreams then go to work the next day and take ourselves really seriously and act like we weren’t just riding a dolphin. There’s a lot of that – laughing at the world and cursing it for not letting me take myself seriously. I had such a funny, psychologically explicit dream last night. Do you want to hear it?
I knew I had a full day of press today. So I had a dream where lightning struck near to where I lived, and everything was the same, but slightly roughed up around the edges, slightly shredded and someone came up with a paper, saying “You’ve gotta read this, it’s so good!”, but every page was shredded and ripped and I could never get there.
It’s hard being suddenly judged. Even when it’s nice, I’m like “Don’t pay too much attention! Don’t pay too much attention!”
Wow. What do you think that means?
I’ve done my goofy [thing] for a while with no one watching. And now people are watching and it’s like “Woah!” I read a review that was supposed to be nice, I think, but it was very backhanded with its compliments. And I was like “What have you done?” It’s hard being suddenly judged. Even when it’s nice, I’m like “Don’t pay too much attention! Don’t pay too much attention!”
It’s strange that artists have to be oblivious to the opinions of the world but then super-sensitive to the world around them.
Yeah! Because you’ve got to sensitive to the world enough to make observations about the world that actually mean something. It would be hard if I weren’t so proud of what I’ve made. You’d be screwed, all the criticism would feel right. But when people don’t see what I see when I look at it… [Laughs] I pity them!
Exactly! But you can’t please everyone. Especially when you’re laughing in a world of people crying. Or crying in a world of people laughing, which sometimes I get confused.
How do you mean?
I feel like what I made is pretty sincere. Even the humour is not meant to be ironic – so many things right now are campy, or nostalgic, or ironic, and it all falls into that overflowing pool of stuff that is taking the piss, as you would say. I feel like it’s people not taking responsibility for making what they make. Maybe it’s a result of how over-saturated the word is now with popular culture, a defense mechanism and an urge to still feel in control of the content. Despite feeling inundated with media, they can still maintain a sense of control. Does that make sense?
Absolutely. “What this person has made is meaningless compared to my ability to take the mickey out of it.”
That’s like a blog thing, isn’t it? It’s self-importance. Sometimes it’s good. But I always feel extra proud of friends or peers who create things that are true to themselves, and not just a grasp to control the thing that cannot be controlled. Does that make sense?
One thing that struck me about this record was the fact you composed it on GarageBand on a laptop and it was delivered to me digitally, where I heard it on another laptop. There’s something quite elegant about that process.
That’s so funny! Yeah, I guess. But you missed out the bit where I got other musicians to record some elements. The violin, the saxophone, all real. That’s a funny thing though. I suppose that a lot of people are listening to the record through their laptop.
There’s that nice feeling you get listening to music made on a laptop that you get only when you stand in front of – I don’t know – the Mona Lisa and think “This is where Leonardo stood, right here.” There’s a directness of communication.
Yeah! I’ve never thought of that. I was just a means to an end, really. I was like “Oh, it would be so cool if I had a band! I have a band … with myself …” It was never meant to be a GarageBand endorsement; it was just the only thing that I experimented with long enough to make something. I suppose I also felt comfortable with it. It didn’t feel like I just being another guitar player. So many people are like “I was to make music, so I should play guitar or piano” and I always felt sad that I never gave up enough time to be an expert pianist, but I ended up getting much better results when I stopped trying to fit myself around another programme. I came to it new, and I had that advantage. I spent many years going around picking up instruments saying ‘is this the thing?” Finding instruments …
… Making instruments [Cameron once made a two-person organ, called the Auerglass, which she plays with her friend Tauba Auerbach] …
… Trying to work out how to fit a 16’ organ into a band. You saw the organ then?
Yeah! I like the name too.
Thanks. Auerglass is actually the name of the collaboration, and the organ is project one. We’re going to get together in the winter and start making some plans that I can’t disclose … I’m still really into this idea of interdependence. It’ll be fun. It’s been fun the whole way through, too bad you didn’t hear a performance. You saw the video above though, right?
Yeah! I love it when people make their own instruments. “The instrument that I want to play is an organ which needs me and my friend. The instrument doesn’t exist, I shall make the instrument.” Do you think you’re a very ambitious artist?
[Cautiously] I’d like to think so. I’d like to think I go for things that are hard to get to. I mean, why not? I used to know, but I think I’ve forgotten, which is a good job. I somehow unlocked that gate, and now I don’t live there any more. [laughs] Getting into Glasser was really hard, you know? Just doing something that was really, real, not a joke band, which I’ve done before.
“I’d like to think I go for things that are hard to get to. I mean, why not? I used to know, but I think I’ve forgotten, which is a good job.”
Are you stubborn?
I … try not to be.
I have a hot temper. I’ve reeled it in somewhat. It’s such a waste of time. Some of the ways I feel like acting when I’m angry are not productive. But sometimes they are. I lost my temper the other night at a gentleman in a bar, who physically violated my space.
It was done in a joking way, funny to him at least. He thought it would be hilarious to move me, so he literally picked me up and placed me somewhere else. And I was so shocked! That someone would literally take control of my geographic place and deposit me somewhere else for their own amusement. So, my temper may have been lost.
I’m very glad to hear that! After all, that’s not losing your temper … that’s using your temper.
Yeah. My bag may have impacted on his face. That might have happened.
Hands up if you are a big of a music geek? Check out this perfect-for-Friday-afternoon video of Glasser explaining her live set up in fascinating detail. And just when we thought we couldn’t get any more excited for next week!
It’s good to hear that Architecture in Helsinki are back soon with their slightly demented and always addictive pop music. We have the quite brilliant first single streaming above and you can also download it below. They play for us on the 12th of April - early booking advised for this one!
One of our faves from the past year or so is Gold Panda, and one thing we like about him is the restless quality of his music, finding new ideas to settle on minute-by-minute or second-by-second. He has just posted an unofficial remix to soundcloud - yet more restless creativity from the man.
Seems like a while since we did one of these, and it is! January is traditionally quiet so as we busy up we are bringing back monthly mixes. This months is a nice welcome back with the likes of Glasser (above) and Caribou, giving us a fresh excuse to put some of our favourites from last year in a mix. Check out the tracklist below and have a listen:
Fiction were a great word of mouth hit last year, building a solid reputation with their great live show. Their minimal indie pop music takes in a little Talking Heads, a little Wire and a lot in-between. Check out this excellent video above. We have the band playing as part of a collaborative effort between Field Day and Øya Festival.
Here’s a new-ish video from Chilly Gonzales, and a song we can’t stop playing right now. His show with us towards the end of last year was a top 5 show of the year for us, really special, and we have just announced another date with the man for May. Bring it on!
Sampha is a recent signing to the ever brilliant Young Turks label. We first caught wind of him from a couple of excellent remixes but his ‘Sundanza’ E.P is full of future-thinking skewed beats with an undercurrent of real beauty. Take a listen to the whole thing below. He supports Glasser for us on the 22nd of February.
Artist Martin Creed has always used music and we are very excited to host him playing at Cafe Oto soon. Here’s a couple of key bits from excellent interview where he discusses art and music:
Music has a key place in your practice. You just released the single “Thinking/Not Thinking” and you’ve been with your band since the mid-90s.
The band used to be called Owada, but then I stopped and started to do things on my own, although I still work with the same bass player so the band is very similar. The drummer has just changed over the years.
Have you always felt music was part of your work as an artist?
I’ve always thought it was the same thing. I started doing music exactly because of a problem I saw in the visual works I was making — that problem being that with visual works, what people see is the bit leftover at the end, after you’ve finished working. The work is like the sediment at the bottom of the glass, not like drinking the wine. Whereas when you are listening to a piece of music, you are listening to it being made. I thought that music offered a possibility to do something closer to what I was trying to do with the sculptures.
When you collaborate with people, like you did with a ballet company in 2009, do you set up rules?
I don’t really collaborate with people in that sense. I have, in the past, tried things like writing a song with someone else and I’ve got into terrible trouble with myself about it. I prefer to try to do things myself, and then if it’s shit, it’s my shit. I’d rather die by my own sword. But on the other hand, I really like working with people, like musicians, dancers, and the people helping me paint. And everyone affects the work. It’s the same with curators, galleries, museum directors, and collectors. If they commission a work, that might give you the confidence to make a work that you wouldn’t have otherwise made. In private, I might like to think that I’m sort of an independent free-thinker that does what he wants, but I think I’m more swimming around in a sea full of other people who are pushing and pulling me — and that helps me just as much as it might hinder me.
In his article “Feel Good,” published in Catalogue magazine, David Barrettargues that you injected a continental joie de vivre into conceptual art. Do you agree with his definition?
That sounds very nice to me. But I would prefer to be called an expressionist than a conceptual artist. That would be a more accurate description.
We’re big fans of Metronomy’s recent darker direction. The new single even sounds a little bit like The Cure. Check out the great new video for that as we anticipate hearing the album, which is supposed to be absolutely brilliant.
Great to see Gold Panda pick up The Guardian first album award last week. Here’s the article:
On the phone from his new home in Germany, the electronic auteur Gold Panda – who offers only Derwin as a real name – sounds happily bemused at the news his instrumental debut, Lucky Shiner, has won the 2010 Guardian First Album award. “I’ve never won anything before in my life,” he says. “I came second in paperboy of the year once. I got a McDonald’s voucher for that.”
The award’s longlist was voted for by the Guardian’s music writers, before the final judgment was cast by a panel comprising representatives from Film&Music, the Guide and guardian.co.uk/music, plus Edwyn Collins – invited not just for his own work, but for his commitment to new music as a producer – and his wife and manager Grace Maxwell (last year’s winners, the xx, had to drop out of judging at the last minute owing to writing commitments). Unlike last year, when the xx comfortably outstripped all competition, this year there was no clear frontrunner. Plausible arguments were made in favour of both Ikonika’s and Mount Kimbie’s idiosyncratic, defiantly non-generic takes on dubstep; Collins liked Tinie Tempah; Everything Everything’s chances were severely undermined by Maxwell reading out some of their lyrics in a disparaging voice (“You’re a horrible woman,” frowned her husband); there was a surprising amount of love in the room for Rumer, whose voice seems to disarm even the most vociferous critics of her Radio 2-friendly sound. In the end, though, Gold Panda’s combination of warm, lo-fi electronica, a patchwork of crackly samples and melodies that stick just pipped Stornoway’s Beachcomber’s Windowsill. The latter had lyrical richness on its side, the former just edged it by dint of the fact that it’s the album the panel have found themselves coming back to the most.
"I can’t really believe the success the album’s had," notes Derwin. "I keep expecting someone to turn around and go: ‘It’s a joke! Gotcha!’ I thought it would be really badly received, to be honest, because it was so simple, so pop, almost. I wanted things to have verses and choruses, almost like it would if it had vocals on it."
His surprise is presumably compounded by the album’s humble origins: despite being infused with oriental sounds – the result of a year spent in Japan - for the most part Lucky Shiner was recorded in his aunt and uncle’s front room in rural Essex. Its samples were either recorded on Derwin’s mobile phone – “there’s a recording of my grandmother on one track, the sound of the pipes gurgling in my aunt’s house after you’ve had a shower, just things that were relevant to me” – or come from albums bought in charity shops. “I grew up with hip-hop, and that’s the way they made hip-hop. I had friends who were into getting all the original breaks from the funk records and everything, stuff no one’s used, but I couldn’t afford to do that, so I just ended up buying whatever.”
Perhaps the most striking thing about Lucky Shiner is how human it sounds. Despite Derwin’s love of the more challenging end of electronic music (“I like glitchy stuff, the idea of things going wrong”), there’s none of the icy emotional distance people tend to associate with electronica or sample-based music. “I wanted something quite focused. I decided to make songs about people, about family, things that are relevant to me. Before We Talked and After We Talked are made with this old Yamaha keyboard I got off eBay from a vicar for a pound. My friend went with me to get it, we had a real heart-to-heart on the way there, and then, not long after, he passed away. It’s weird, when he died, the keyboard started dying, too, malfunctioning, all the connections went, it started making all these clicking sounds. I used this keyboard to make all the sounds on the track, turning up the crackle to make the drums.”
And how does he view Lucky Shiner’s improbable success? “Sometimes I think it’s ridiculous, really. It’s just a couple of tracks I made. But then I think how much music I love affects me … ” His voice trails off, happily.
We are eagerly anticipating the Dels album and his show with us (and another favourite Micachu) and this should keep us ticking over until then. A nice guest verse from Dels on a new Bonobo track. Take a listen below:
Any excuse to revisit last year’s amazing album from Caribou and we’ll take it. As always we are very excited about the upcoming show and check out the slightly unnerving video for ‘Sun’ above. Sounded amazing at Field Day last year.
Regular readers know we are big fans of La Blogoteque and it’s a treat to see that they have put up footage (a whole 25 minutes worth!) of the Dodos playing in Paris recently. More than enough to convince us that their upcoming show is unmissable!
We’re still playing the Glasser album like somebody might take it away from us at any minute and so it’s nice to take a little break and delve into the wonderful world of Jamie XX remixes, the guy has a great ear for what works and Glasser sounds great in almost any setting.
The Esben and the Witch album is sounding great to us and their show is fast approaching. It looks like it will be an excellent one and we are really excited about it. We caught up with the band on EYOE Radio last year and it makes for some nice listen again material this morning.
We are fast approaching the Roundhouse Rising Festival and wanted to highlight the bands playing for us.
Prizes stand out from a thickening electronic and pop crowd by virtue of the songs Hari Ashurst writes - they are laced with strange imagery, interlinking rhythms and big choruses. Check out ‘Canada’ below. It’s a firecracker:
We’re really excited about Matthew Dear’s full band show with us in March. Everytime we have seen him before he has blown us away, and this new step, to recruit a band to furnish his new more pop territory with the arrangements they deserve, is hugely promising.
For a taster of the man live check out this performance from Pitchfork’s excellent POV series. It reminds us of those blistering early LCD Soundsystem shows.
We’ve been following Visions of Trees for a while now, and it’s really great to see this nicely shot video for their single out on Moshi Moshi. They play for us on the 3rd of March at the Macbeth, and it’s one we’re looking forward to a lot. Check out the video above.