:{IS LOVING…}:
GOTYE feat. KIMBRA: somebody that i used to know [eleven/island] //
listen: hypem.com //
album: making mirrors [released 13th february 2012] // gotye.com // kimbramusic.com //
26th January is Australia Day and the only way to celebrate is listening to :{ABC TRIPLE J}: Hottest 100:
“triple j’s hottest 100 is one of the largest public music polls in the world with millions of individual votes counted since it started in 1989.”
It’s just been revealed that this year’s number one is ‘Somebody That I Used To Know’. The song has a stripped down elegance which reveals itself gradually over the course of four minutes. If it sounds familiar, the main guitar figure puts me in mind of the opening to XTC’s ‘Senses Working Overtime’:
And, the strategic bleeps and bloops could be an understated ‘Bongo Bong’ by Manu Chao:
After initially hearing the GRIMES track, ‘Oblivion’, courtesy of NME’s 100 New Bands For 2012, ‘Genesis’ jumped out of the radio. On first listen, it feels like a fascinating, jostling alliance of Cocteau Twins vocals, Boards Of Canada synths and beats familiar from the leftfield pop of Robyn and Little Boots.
:{4AD}:
“Grimes is the inventive work of Claire Boucher, a project that has gained notoriety since its inception back in early-2010. Moving to Montreal from Vancouver in 2006, she developed Grimes among the city’s burgeoning DIY scene; a scene where both punk ethos and pop music collide, resulting in a distinct sense of community, religiosity and psychedelic revelry. Also a prolific force, her 4AD debut Visions will be her fourth release in less than two years and countless shows have been performed in this time, both helping to build much intrigue as to what’s next - “She’s blossoming and developing almost more quickly than we can keep track of… (She) could very well be poised for a meteoric rise with the release of her next full length.” (Pitchfork).
With her creative bent being both musical and visual, her second self embodies the arts of 2D, performance, dance, video and sound, weaving them all together to strong rhythmic effect. Subsequent records have sharpened her production skills and each one has tackled different influences and styles. This new set incorporates influences as wide as Enya, TLC and Aphex Twin, whilst drawing from genres like New Jack Swing, IDM, New Age, K-pop, Industrial and glitch resulting in a record that is both otherworldly and futuristic.
Claire describes her work as, “the only means through which I can be fully expressive. It is both an ethereal escape from, and a violent embrace of, my experience. The creative process is a quest for the ultimate sensual, mystical and cathartic experience and the vehicle for my psychic purging. Visions was conceived in a period of self-imposed cloistering during which time I did not see daylight.””
:{IS LOVING…}:
REN HARVIEU: through the night [kid gloves/island] //
listen: hypem.com //
album: through the night [released 2nd april 2012] // www.renharvieu.com //
Insert Dusty Springfield comparison here:
“_______________________________”
:{BBC}: Sound Of 2012
“She’s just 21 years old but Lancashire born Ren Harvieu’s musical inspirations seem to come from three decades before her birth - the string-soaked white soul of Dusty Springfield or the cinematic melancholic MOR of The Walker Brothers, to name just two.
After a childhood peppered with talent show disasters, she was discovered through a demo on MySpace by manager Paul Harrison. Harvieu was paired with producer/writer Jimmy Hogarth (Duffy, Amy Winehouse, Suzanne Vega) and given a year or so to come up with some material. A tour in support of Glasvegas led to an invitation from BBC Introducing to play Glastonbury, and a trip to the US resulted in an invitation to collaborate with superstar hip hop type Nas. Neither of those things happened though - a freak accident in a London park led to two months in hospital and facing up to the possibility she might never walk again.
Luckily that wasn’t the case and Harvieu has most recently been treading the boards in support of James Morrison. Rumours abound of a possible collaboration with Johnny Marr, and following in the footsteps of Duffy, Rumer or even Adele, Harvieu looks likely to become one of the most talked about singing voices of the next few years.”
:{IS LOVING…}:
AIR feat. VICTORIA LEGRAND out of BEACH HOUSE: seven stars [aircheology/virgin] //
listen: hypem.com //
album: le voyage dans la lune [released 6th february 2012] // aircheology.com // www.beachhousebaltimore.com //
“’Seven Stars’ features the luminous vocals of Victoria Legrand, of Brooklyn band Beach House, set over rolling drums and combined with the unique starry (the astrological kind) sounds that have come to instantly distinguish AIR a step apart from their contemporaries.
The new album ‘Le Voyage Dans La Lune’, inspired by the film ‘A Trip To The Moon’ originally released in 1902 but has been painstakingly restored, is out on 6th February. Be quick if you want to guarantee a limited edition version which will include a copy of the film plus the band’s original soundtrack score. You can find out more about the fascinating story behind the film in this clip from the BBC.”
Keeping it in the family, the two bands share a lineage, as their respective bassists are brothers Huw and Rhys Webb. Glossing over singer Thomas Cohen’s engagement to Peaches Geldof, more interesting is keyboardist, Sam Kilcoyne, the organiser of the Underage Club and Festival, and son of Barry 7 from Add N To (X). Which is all the excuse I need to remind you of the splendid filth that is ‘Metal Fingers in My Body’, coincidentally released by Mute, the label which is also home to S.C.U.M. :{ACHTUNG}: NSFW
:{MUTE}: An Independent Record Label Born In 1978
“S.C.U.M released their eagerly awaited debut album Again Into Eyes on Mute on 12 September 2011. A genuinely triumphant arrival, the album features ten stunning tracks including the singles ‘Amber Hands’ and ‘Whitechapel’, that reel from glorious carnival-esque euphoria to a sound that occasionally flirts at melancholy and utter despair. Again Into Eyes was recorded in London with producers Ken and Jolyon Thomas (whose credits individually and together include Sigur Ros, M83, David Bowie, Psychic TV), the album standouts include ‘Faith Unfolds’, ‘Summon The Sound’, which featured on Mute’s recent exclusive Record Store Day vinyl release Vorwarts and the utopian, future-disco monolith that is ‘Whitechapel’. Indeed, the band’s individual listening habits in psychedelia, space-rock, avant-garde and ambient soundtracks collide to form a pop trip that neatly balances the innovative with the rapturously danceable to great effect.
Based in London, S.C.U.M exploded onto the music scene two years ago with their exciting and intense live shows which quickly grabbed the imagination of fans and critics alike. Since then band have toured extensively across the UK and Europe to a growing fan base. The S.C.U.M line up of Thomas Cohen (vocal), Bradley Baker (machines), Samuel Kilcoyne (moog), Melissa Rigby (drums) and Huw Webb (Bass) have recently completed a UK tour with The Kills and announce a tour in July that includes Electrowerkz, London on the 13 July. The evening, ‘In The Hall Of Amber Hands’, features live music from S.C.U.M, The History Of Apple Pie and Advert, alongside film screenings from S.C.U.M collaborators Matthew Stone, Ivana Bobic and Gavin Bennett and DJs The She Set, Matthew Stone and Andy Fraser.”
:{IS LOVING…}:
MOBY feat. INYANG BASSEY: the right thing {moby & kleerup mix} [little idiot] //
FREE download: rcrdlbl.com //
released: 12th december 2011 //
original on album: destroyed [released 16th may 2011] //
reviews: metacritic.com // moby.com // inyangbassey.com // kleerup.net //
The drums, the drums, the drums.
:{RCRD LBL}:
“Moby’s “The Right Thing” gets the double A-side single treatment along with a cut entitled “After.” On this remix, Kleerup takes the reigns, diverting potential late-night sterility for organic drums that knock in an uncompressed fury. This one is calibrated for making you spin in wild circles at a sawdust-strewn loft – a winter party savior.”
:{IS LOVING…}:
CLEAN BANDIT: mozart’s house [incredible industries] //
released: 19th december 2011 // www.cleanbandit.com //
The title, ‘Mozart’s House’, tells you a good deal about what to expect from CLEAN BANDIT, an electronic band with an integral string section, THE CHATTO QUARTET. The song is a charming confection, evoking the same successful alchemy as FAZE ACTION’s classic, ‘In The Trees’:
If you’ve got any Christmas lurking in your bones, here’s their deadly serious take on ‘The Christmas Song’:
In my darker moments, I always thought this was a decent tune, marred by sloppy, clichéd production and, it seems, Mister Chapman had similar thoughts.
:{MAPS}: James Chapman
“I wanted to send a special gift to those of you who’ve supported me through this amazing year. This song is my special Xmas gift to you, inspired by taking 12 Es and running myself over in my own car. Only an enormous puffer jacket prevented me from certain death.
Mappy Xmas,
James.”
:{IS LOVING…}: Unplanned Christmas
EMMY THE GREAT & TIM WHEELER: home for the holidays [infectious] //
listen: hypem.com //
album: this is christmas [released 21st november 2011] // www.thisischristmasalbum.com //
“One could say inclement weather played a big part in the recording of this album. This Is Christmas, comprising nine self-penned songs + a Phil Spector cover, began in a snowstorm and was completed in the midst of a hurricane - in August. Last December Emmy and Tim found themselves holed up in snow bound Sussex. Having missed 6 flights between them and bored of building snowmen, the two hit upon the idea of writing a Christmas album.
“I’m a sucker for all kinds of Christmas songs from carols to Nat King Cole to 70’s glam rock classics and 80’s guilty pleasures” admits Tim “and it felt like a good time to contribute something new to the genre”. Taking the name ‘Sleigher’ (oh yes), the duo started penning the first of these songs which included dedications to Mrs Christmas - “she must sit at home on Xmas Eve seething, ‘cos she’s on her own again”; an ode to that long lost love you only see in the festive season - Home For The Holidays and Sleigh Me, the first song Emmy and Tim have written together and “probably (says Emmy) my favourite on the record”.
A second writing stint took place in New York in May, a surreal experience given the spring weather, but obscure black and white Xmas movies like Christmas In Connecticut helped get them in the mood. In late August, as they rushed to meet the recording deadline, Hurricane Irene hit the U.S East coast and with yet another flight cancellation giving them the extra time they needed, the record was finished.
Full of the sort of pop gems Tim Wheeler has made a career out of and aided by Emmy’s lyrical prowess, This Is Christmas is a much-needed departure from the usual sentimental warblings that clutter up the charts this time of year. The album features Matt Tong from Bloc Party on drums, Euan Hinshelwood (Young Husband, Emmy The Great) on guitar, a string section orchestrated by esteemed film composer Ilan Eskeri, with Tim and Emmy playing everything else.”
:{REAL WORLD RECORDS}: Mike Flynn
“Portico Quartet still sound like nothing you ever heard before. The Mercury nominated East London based outfit’s unique brand of hypnotic minimalism has expanded to embrace new sonic territories. Drawing on the inspiration of electronica, ambient, classical and dance music as they take their strange, beautiful, cinematic, future music to exciting new vistas where the inspiration of Burial, Mount Kimbie and Flying Lotus rubs shoulders with the textures of Arve Henriksen and Bon Iver and echoes of Steve Reich and Max Richter. But all underpinned by a shared joy in collective music making as the band push their inimitable music into the future.
Their journey over the last five years has seen them rise from gritty street performances on London’s Southbank to countless international shows from Berlin to Paris, London to New York and beyond. Their self-produced debut album ‘Knee Deep In The North Sea’ was nominated for the 2008 Mercury Music Prize (alongside Radiohead, Robert Plant and Elbow), and they subsequently signed to Peter Gabriel’s Real World label. Their second album ‘Isla’, produced by John Leckie and recorded at Abbey Road, explored wide-angle filmic themes and textures. Now they return with their eagerly awaited self-titled third album that finds the band expanding on their trademark sound of eerie hang, ethereal sax, earthy bass and drums via an organic use of electronics and effects diving headlong into an epic, cinematic sound palette. They’ve done all this while integrating hang player/keyboardist Kier Vine (an old friend of Milo’s from Goldsmith’s University) into the line-up alongside drummer Duncan Bellamy, bassist Milo Fitzpatrick and saxophonist/keyboardist Jack Wyllie after the band’s original hang player Nick Mulvey left to explore pastures new.
Expanding their sound to embrace electronics was a natural progression in an age where integrating effects, real time looping and samples is second nature to many musicians. In the process Portico Quartet maintain an authentic acoustic core sound that’s magnified through skilled electronic manipulation. As saxophonist and keyboard player Jack explains; “When we were touring the last album we were trying to find ways of going beyond the sounds of our own instruments, for me that was using effects pedals and then looping it - Duncan ended up taking a feed from my saxophone so he could affect what I was doing. Then Milo had some effects on his double bass and now Duncan has now got wholly electric drums, alongside his normal drum kit - so you’ve still got the warm acoustic sound of the instrument but it’s being manipulated. So you get that warm acoustic feeling but you also have digital manipulation.” And for all the digital trickery behind these sounds, there’s both a human being and a soulful intent behind every sound created and note played.
The genesis of the third album began when the band returned from touring ‘Isla’ and set up a permanent rehearsal space in Leyton, near to where they all live in Clapton, East London. The three band mates then spent about a month just looking at each other wondering who would make the first creative move. Wanting to continue making music together, the electronic side of things then became, albeit temporarily, the fourth ‘ghost’ element of the band. They had already begun sampling the hangs while Nick was still in the band, beginning to explore ways to morph its soft, acoustic sound into unusual new tones. And while Duncan had been primarily the band’s drummer and designer to this point, now through his use of a MIDI controller and laptop to trigger and manipulate the hang samples and his own kit sounds, he became the catalyst in rewiring the band’s sonic architecture, ushering in a new chapter in the Portico Quartet sound.
Taking all this into the studio in January 2011 the band already had a clear idea about how all these external elements would work to magnify the smallest details in their already finely tuned acoustic group sound. Looping various parts to make a bed of interlocking electro-acoustic noises was a means of replacing the middle ground the hang once occupied, with Duncan’s hang samples and Jack adding keyboard parts as well.
Bassist Milo has always brought a wide range of dynamics to the group whether it’s through a number of hugely propulsive bass lines, or his increasingly powerful bowed melodies that he layers via a loop pedal creating a keening multi-layered, one-man string section. Much of this experimentation was also happening at soundchecks on the Isla tour, yet another key part of Portico Quartet’s creative DNA has been their extensive international touring, that’s both allowed time for these new elements to flourish and fuelled much of the imaginative subject matter that’s inspired many of their new songs. Part of this on the road research and development came via Jack and Duncan using their laptops to start exploring and composing electronic music - learning how to use software programs and their own organically created samples. This also came to further fruition when Duncan and Jack joined forces with their friend Will Ward to form new electronica trio Circle Traps, once again consolidating their increasing love of electronic music and the huge new palette of sound it afforded them musically.
Thus the groundwork for recording their new album had already been done and in spite of shifting focus away from the hang - the instrument that has been such a defining feature of their sound - what has followed reveals a band bursting with creativity and an abundance of fresh new music. Sampling the hang revealed a whole new spectrum of musical possibilities. Amplifying the soft-toned hang had always proved problematic yet in its newly sampled form the sounds take on keyboard like qualities. From fragile, spectral high notes to rumbling bass chimes Portico have revolutionised the hang once more via its sequenced and sampled use. And they can turn it up loud too.
The emergence of a heavier dance music edge to the Portico Quartet sound is a reflection of the band’s current listening habits. And while Duncan, Milo and Jack have all acknowledge the importance of jazz as part of learning their instruments the music they have never seen themselves as jazz musicians or Portico Quartet as a jazz band. They simply make music they like and the music they are making now is a true reflection of their myriad influences from UK bass, ambient, electronica, contemporary classical, bass heavy hip hop a la Flying Lotus and the experimental avant garde. This is also part of a wider reflection of London itself, that Portico Quartet have absorbed via its buzzing club scene and the gritty urban music making that surrounds them.
One of the album’s standout tracks is the mesmerising ‘Lacker Boo’ that opens with cascading droplets of melody, throbbing low notes, poignant bowed bass and an insistent bass drum that nudges the music over the line of ambient exotica into a cavernous crossroads between haunting electronica and the inner psyche of an as-yet un-filmed David Lynch movie. Duncan reveals this was an early turning point during the band’s post-Isla transitional phase; “That was a real breakthrough, we did that track in March, and that came together really quickly, it feels like a pinnacle in terms of where we’ve got the sound now. The twinkly loop that starts it is actually the hang on the loop station but pitched up a couple of octaves and then I pitched the hang down two octaves so the bass notes on that tune are the hang as well. Then Milo is bowing the bass and I was playing the bass drum and the hi hat - then Jack was playing all the samples on the keyboard - because we now looking for ways to not always have the saxophone, or the sound of the hang, but it’s still in there - and that really felt like a breakthrough. Because it ticked a lot of the things we were trying to do and kind of struggling a bit to make things work, that was like wow, we’re on to something here.”
New boy Keir Vine brings myriad musical sensibilities to the band, a keyboardist with a classical training in composition, his previous work includes electronic, post-punk and Afrobeat projects as well as Sound Art installations and film music.. Thrown in at the deep end he joined the band towards the tail end of their time touring ‘Isla’, learning not just a new set of tunes but also how to play the hang. Yet with lots of support and encouragement from the rest of the band he got through this challenging period while simultaneously becoming a full fledged band member gaining insight into their working methods and becoming part of the creative process too. “It really suited where I wanted to be at that point, it really suited what I was craving at that time, and it’s been about as smooth a transition into a band as I could have wished for. It’s been like joining an artist collective and a family at the same time. We’re there to challenge each other and bring things out of one another and similarly we all play different roles in being the children and the parents to throw things off course and nurture in equal measures. Then the roles can swap round. Like a family there is support and trust and a lot of laughs at the core of it.”
With their new, richly layered sound Portico Quartet have, like so many other artists today, brought elements of the recording studio into the live environment, blurring the lines between band and producer. Emboldened by this process the new album is produced by the band themselves and brilliantly engineered by Greg Freeman at the Fish Market studios and Real World. Jack explains how they’ve mastered the art of creating such a detailed live sound; “Because of the way we were making it by putting on the effects live, we did half of the production while we were composing it. So we knew where all the reverbs were going because we are doing that all live as well, so we knew exactly where we wanted that to go - like distortion or whatever, all the effects - almost doing our own live ‘dubs’ of the acoustic tracks. So when it was in the studio we knew exactly what was going on. Then it was a case of mixing everything and making sure it fitted in, and putting it down in the best way we possibly could.”
The result is an album of compelling musical journeys exploring both inner and outer spaces. Abstract, virtual, visceral, horizon-less landscapes of sound, melody and rhythm; unlike anything you’ve ever heard.” Mike Flynn, London, November 2011