TOMORROW IN A YEAR – THE KNIFE
A BIRD SINGING, THE RAIN FALLING ON LEAVES, THE WIND CARESSING BUSHES AND BRANCHES ARE SOUNDS AND MUSIC OF NATURE AND THE KNIFE WITH MT. SIMS AND PLANNINGTOROCK HAVE CHANNELED THESE MELODIES IN THE ELECTRONIC OPERA “TOMORROW, IN A YEAR”.
Through the centuries nature has inspired many poets, painters, writers and musicians, who have tried to express the beauty, strength and complexity of the world around them. But these guys have gone beyond.
The project was proposed by the Danish performance group Hotel Pro Forma who wanted to take on stage Darwin’s “On The Origin Of The Species” and his researches about nature and wildlife.
The Knife were the first to be contacted and they then decided to let Mt. Sims and Planningtorock take part in the realization of this innovative work.
The result is an electronic opera that combines artificial sounds and field recordings. Olof Dreijer (The Knife) went in fact to the Amazon and Iceland to find inspiration and to record real sounds from wild nature.
He says: “At first it was very difficult as we really didn’t know anything about opera. But after some studying, and just getting used to opera’s essence of pretentious and dramatic gestures, I found that there is a lot to learn and play with. In fact, our ignorance gave us a positive respectless approach to making opera. It took me about a year to become emotionally moved by an opera singer and now I really do. I really like the basic theatrical values of opera and the easy way it brings forward a narrative. We’ve approached this before in The Knife but never in such a clear way.”
15 tracks compose the melodic world of Tomorrow, In A Year: a wonderful, dreaming but dangerous world in which the mystery of unknown nature but also the surprise of discovering new animal and plant species are described.
An opera singer, a pop singer and an actor also enrich the performance, all this accompanied by light projections.
The show is a real travel in a new world seen through Darwin’s eyes and it changes as fast as life and nature do. During the first part single elements are introduced, then they gather and merge becoming a whole before changing again in something new and undiscovered.
Ralf Richardt Strøbech is the co-director with Kirsten Dehlholm. He explains, “Time forms our lives, gives our existence meaning and populates the globe. Generations, eons and millions of years create the new and eradicate existences. Nature selects, invites and dares everything without limitation.”
Everything changes. Today, tomorrow, in a year, forever. Things develop, mutate and so do we.
rabidrecords.com/tomorrowinayear
Words Luca Russo
THE NIRO
January 22, 2010 by Editor
Filed under 2 DISCOVER, MUSIC
WHEN WE TALK ABOUT INDIE MUSIC WE USUALLY THINK OF WEIRD TUFTS OF HAIR (WHY? AND HOW IS THIS GUY DIFFERENT? PROBABLY BEST TO DESCRIBE THE NORMAL BEATS, SOUNDS OF THE MUSIC WHICH THE NIRO DOESN’T COMPLY WITH). BUT THERE’S ONE GUY WHO REPRESENTS INDIE MUSIC IN HIS OWN WAY. SHOWING A TENSION AND A STRENGTH, HIS TRACKS ARE WORKS OF ART DIFFICULT TO FIND IN THIS POPULAR AND POLLUTED GENRE.
Italian-born Davide Combusti grew up surrounded by music before starting up his own band, The Niro, from 2002. Currently considered one of the best young songwriters in Italy, he is beginning to establish a name for himself on British shores.
Son to a famous drummer from some important Italian rock bands during the 1970s (I Ribelli, I Centauri, La somma), he cultivated his interest for music playing the same instrument before taking his hand to the guitar and bass.
He took to the stage as a drummer, when he decided to write music and lyrics for his own band: The Niro. When they split up he kept the name and continued his solo career as songwriter. In 2008 his first EP, An Ordinary Man was released by Universal. Its five songs were also part of the 13 track album: The Niro.
He has played in New York, LA and Paris and last October, he performed a whistle stop tour around the UK with LiveZone and Track1. Having previously opened for the Zephyrs, Isobel Campbell and TKO and contributed to the Belle and Sebastian’s tribute album with his version of I fought in a War, his biggest British performance was his recent London gig last winter.
On 22 October 2009, The Gramaphone in Commercial Street filled with ‘Indie’ types, eager to listen to something new. Guys chatting on black leather sofas sat awaiting the new beats and sounds that will change the genre for the coming year, as drums and guitars are set up on stage.
The Niro – wearing jeans, black t-shirt and a bowler – jumped on it.
He played songs from his debut with great precision and heart and his performance reflected his discrete and private manner, steering clear of shouting rock bands. Saying only a few polite ‘thanks’ during the set, he’s clearly one of those who prefer communicating through their music and avoid wasting too many words about it.
His style of singing seems to be influenced by Jeff Buckley’s high notes and falsetto reverberations, while his music offers a wide range of emotions: from happiness to melancholy, from rage to serenity. Classic arpeggios suddenly turn into aggressive progressions while tempo and rhythm changes often surprise the audience.
Bass guitar and drums are perfectly synchronized and form a complex carpet on which the artist is completely free to express himself. Years of lessons from his father have paid off and the consensus amongst the now-standing audience was clear: The Niro machine works amazingly well.
The performance quickly left behind something difficult to explain: an uneasiness or sadness that resonated through his lyrics and between each note.
Worlds away from the usual Europop dance tunes of Eiffel 65 that normally filters through from Italy’s music scene, The Niro’s songs are full of content and heart. So much so, that for the first time, the whole world is listening to The Niro to change Indie music to change for the better, and it’s safe to say, we’re eager for more.
Words Luca Russo
INTERVIEW – RAZOR BLADE KISSES
October 31, 2009 by Editor
Filed under 2 DISCOVER, MUSIC
SOUTHAMPTON SIX-PIECE RAZOR BLADE KISSES ARE A BAND WITH A DIFFERENCE. YOU COULD EASILY MISTAKE THEM FOR ANOTHER SHOCK-ROCK BAND, ALL NOISE AND NO TROUSERS. BUT NEW ALBUM TWINKLE, TWINKLE LITTLE SCAR IS SURPRISINGLY GOOD; A MUSICAL JOURNEY TOLD THROUGH HAUNTING PERSIAN FAIRYTALES AND ETHEREAL MELODIES. WITH TWO VOCALISTS- LAYLA AND AZADEH- THE BAND IS COMPLETED BY ANDI (BASS), STEVE (DRUMS), JACQUI (GUITAR) AND PHIL (VIOLIN). WITH A LOOK AS QUIRKY AND UNUSUAL AS THEIR MUSIC, THEY TALK TO AGENT2 ABOUT THEIR NEW RECORD.
How did RBK come to form?
Layla: Andi and I formed the band in 1999. I used to play keys for his first band and he heard me singing in one of our rehearsals and decided to start a second band with me on vocals. That’s how it all started. This was before we were married so there is the rock n’ roll element too!
Azadeh: When I came here to study in 2001, RBK was consisted of Andy and Layla. Me and Layla used to take classical music lessons back home and we were always doing musical practices together since we were kids. She asked me if I wanted to join RBK as the second vocalist and since it was just an extension of our childhood dream I couldn’t turn it down.
Jacqui: I joined RBK at the beginning of 07, I think. They needed a guitarist with a metal influence, I liked their style so we decided to work together.
Which bands do you look to for inspiration?
Andi: I have a ton of inspirations for the music I write. I think the biggest ones are Linkin Park, Portishead, Massive Attack, Switchblade Symphony, Queen Adreena, Malice Mizer, the GazettE, Jack Off Jill, Placebo, Depeche Mode. I try to take the best parts of all of these, so the power and pop-structure from Linkin Park,, the soul and trip hop stylings from Portishead and Massive Attack, the haunting feeling from Switchblade Symphony, and the raw punky edge from Jack Off Jill. Even though there is massive crossover in some of these bands, what comes out the other side is initially quite incongruous, but by the time it gets the vocals and our own style stamped over it, it all comes together.
Layla: I’m mainly my own inspiration but people I am involved with at the time also are a big inspiration on lyrics I write or the way I sing. My music is from within my heart. As far as other bands go, I like listening to Muse, Placebo, Depeche Mode and lots of songs by other bands. So I guess as far as inspiration goes, if their music or lyrics touch my heart maybe subconsciously they get reflected on the song that I’m working on at the time or spark new ideas in my head.
Azadeh: Anathema and Malice Mizer.
Jacqui: Bands which love and who are dedicated to their work!
How easy is it for you to put a song together and how long does it take?
Andi: A simple concept can take minutes, but making it into something coherent can take forever. Sometimes the writing is the hard part, but sometimes it can be harder to “sell” an idea to others. “Teddy” was written in about 20 mins, but it took nearly a year to convince the band that it was worth doing, conversely, “Choke”- currently a live fave- took about a week from writing to playing fully as a band.
Layla: I mainly write the lyrics. Sometimes if I hear a song lyrics come to me instantly for it and sometimes it takes days or months and something gets triggered in my head when I hear the same song again and lyrics will be there.
Azadeh: I don’t write the music, me and Layla usually sort out between ourselves which bits to sing and it usually takes one or two sessions to master it.
Jacqui: It varies. Most of the time it’s pretty easy, we just jam things out and the songs develop from there. Other times I just work out guitar parts for ideas already written, and sometimes an idea is formed around riff ideas.
You’ve said that your lyrics are influenced by Persian fairytales- which ones do you reference on the album?
Layla: Many Persian fairytales are quite similar to brother Grimm’s ones. So where this album’s image is influenced by Little Red Riding Hood, we have similar ones in Persian where innocence gets abused in the path of growing up; In the Path of Pins and Needles, when a choice needs to be made. Only direct one I can mention is a nursery rhyme of ‘Aroosak-e-ghashang-e-man’ translating to ‘My pretty doll’. The translation of this forms part of the lyrics for Ballerina. My style is also very William Blake inspired. Simplistic nursery rhyme style lyrics but with deeper meanings. Very much like Songs of Innocence and Experience by William Blake. The other Persian influence is in Butterfly. The song is about Forough Farrokhzad, feminist poet who met with a suspicious death. The last poem she wrote was called ‘Parandeh Mordanist’ translating to ‘This Bird is going to Die’. The spoken words in this song sung by Azadeh are lines of this poem. The butterfly is her ghost. In Persian mythology Butterfly is the ghost of people who haven’t parted from this world yet, normally the ones who commit suicide or get killed. Similar to in Christianity, I suppose.
Azadeh: Ballerina is based on an old Persian nursery rhyme called My Pretty Doll. We used to sing it as kids. Ballerina is just a dark take of the same lyrics.
Your sound is difficult to classify. How would you describe it?
Layla: Many different influences, very mood driven. None of us like a set style of music and this changes depends on our moods. We are all very different people yet can bond musically hence the result is un-classifiable. Can only be a good thing. Something there for everyone. Music for the masses!
Azadeh: If Tim Burton had a band it would have sounded a bit like us I would think.
Jacqui: Umm… an enchanting mixture of Alice In Wonderland meets Marilyn Manson down a dark, Victorian alleyway in late 1900’s Whitechapel.
Do you have personal favourite songs from the album?
Layla: Mine are Ballerina, Butterfly and Deadly Yours.
Azadeh: Toy Soldier since it’s based on one of my favourite childhood fairy tales
Andi: “Teddy”, by a mile.
Jaqcui: Two actually, “Teddy” and “Butterfly”.
Your album is available to download from 26th Oct. Why did you decide to choose to go down that route instead of a commercial release with a record company?
Layla: The album was supposed to be released much earlier by the label, but delays in mixing, followed by a delay due to marketing and ultimately the economic situation hitting the label hard so that they would have had to delay the album due to a lack of funds led us to part company.
How much input did you have as a band in making the record?
Layla: The album was 100% us. Even when we were with the label they were very hands off on that front, which is one of the reasons we were happy to sign with them in the first place. Of course, if the band ever did sell out to a major label and got ruled over by their internal marketing departments, we’d simply take their money, walk the walk, then use the cash to fund a side project true to our creativity. But right here and now the band is 100% owned and ruled by us, everything you hear from us is us entirely, unmodified, not watered down. We do it cos it’s what we love, and even if RBK ended most of us would still continue with other similar projects. True music never dies.
Which do you prefer- recording or playing live? And why?
Layla: I love both, Recording is good cause you know it’s being put down somewhere where it’ll stay and it won’t be lost so you’re making a record of your art. Live is good, because I relate to most of my lyrics and singing is a way of releasing my emotions. However, sometimes where lyrics have brought up some things I like to forget back in my mind, I’d rather not be performing them. Catch a show soon you might catch a few sneaky tears running my make up down my face!
Azadeh: They are both good in their own ways. Live is good since you have the audience participation and it’s nice to see some feedback but you don’t always get a good sound and that could be frustrating. Recording is good in a way that everything is set up to get a perfect sound.
Jacqui: There isn’t one I prefer over the other. I love the recording and mixing process and hearing the songs come together. Playing live is definitely fun, it’s a different kinda performance vibe.
Are you planning to tour soon?
Layla: Hopefully, yes. Need to find a big enough suitcase for my dolls though first!
What has been the biggest highlight for RBK as a band so far?
Layla: Whitby shows. Always great audience and decent stage to play on. It makes us feel like real rock stars we are!
Azadeh: Playing in Whitby Gothic weekend three times, twice on the main stage.
Jacqui: Finally getting the RBK album done and dusted.
What would you be doing if you weren’t in RBK?
Layla: Things that I currently do, plus trying to form a band who sound like RBK. Maybe even in a dollhouse trying to lose weight so I fit.
Azadeh: I would concentrate more on my modelling.
Andi: I’d just be doing other musical projects, chances are they’d have something in common with RBK, tho I do have a big love of electronic and dance music, so possibly some mad, anime influenced, breakbeat, industrial dance project….with tentacles.
Jacqui: I’m very busy with my own music projects, writing with Martin Walkyier (frontman of Sabbat) for The Clan destined, session work and also writing my own instrumental albums. So I guess I’d be doing that.
How do you feel about comparisons to other female fronted rock acts like Jack Off Jill?
Layla: Its good. We don’t sound exactly like them but I can see why people see us similar. Troubled teenage angst, spooky dollhouse lyrics, play-on fairytales. Where is Tim Burton when we need him to form a band?!
Azadeh: it’s always a compliment to be compared to someone talented, but at the same time we are not copying anyone, therefore it’s nice to be recognized for our individuality.
Jacqui: People are always gonna make comparisons, it’s fine by me.
Image is obviously important for the band- was it a conscious decision to dress in that way or is it similar to your everyday style?
Layla: I love dolls, I love Victorians, I’m nostalgic. All of this inspire me to dress the way I dress. I do it in my everyday style too but not to the extreme cos i’m lazy sometimes. Lyrics and the music lend themselves very well to this image. A child’s nightmare. Don’t trust the dolls. Bizarre once quoted me saying ‘you can even get away with murder if you dress like a doll’. I’m innocent, honest!
Azadeh: As you say, image is a big part of RBK and that’s partially because as individuals we all are quite conscious of our image and we always try to create an impression through what we wear.
Andi: Bands are a package, especially in the MTV and internet age. Kids want posters in their rooms, they want people to idolize and get inspiration from. I find it difficult to get that inspiration from a bunch of people in jeans and t-shirts. You always hear that same old song though, the “They should concentrate on their music more than their image” idea. That’s bull. I’m a musician, my music will not get any better or worse just because I also spend time on my image. I don’t stop halfway through writing and go, “Oh that’ll do, I’ve not got time to finish it properly ‘cos I need to go get some new shoes”. That’s ridiculous. People who think that is the case for ANY band are stupid and should be killed, to death, in the face.
Jacqui: It was an unconscious decision! The way I dress on-stage is pretty similar to what I wear everyday.
Where do you get ideas for outfits? Do you ever get clothes specially made?
Azadeh: Films and paintings, I tend to get an idea from the past and mix it with something of myself and create something that is truly mine. Inspiration is good but I tend to stay away from copying as much as possible. Unfortunately I’m not good at making clothes from scratch but I’m qutie good at modifying things. You’ll be surprised by the amount of stuff that could be bought from high street shops and be transformed to something unique and original.
Layla: Read above. But new influences might come in future which might change the image slightly. I won’t reveal much yet! One of my other biggest hobbies apart from the band is clothing designer. I run a brand called Mort Couture. Azadeh has also got a big part in influencing what we wear. We normally decide on a design, etc, and I make them. In the past we used to buy them or get sponsored by clothing companies. But the album outfits are by me.
Andi: Visual Kei is a huge influence for me, Mana (Malice Mizer), Hizaki (Versailles) and Uruha (the GazettE) in equal doses. Layla makes a lot of my stuff too.
Jacqui: My image is something that I’ve been working on since I became a guitarist. I see things in clothes shops and if I like them, then I buy them. Layla and Azadeh are very good at making clothes, so they come up with all the ideas for their outfits.
Twinkle, Twinkle Little Scar is released on 26th October, available from iTunes and all all major download sites.
Words Kay Weston
THE FASHIONISTAHASSPOKEN.BLOGSPOT.COM
MARINA & THE DIAMONDS ‘MOWGLI’S ROAD’ VIDEO
AGENT2 FAVOURITE MARINA & THE DIAMONDS IS SET TO RELEASE HER NEW SINGLE MOWGLI’S ROAD ON THE 16TH OF NOVEMBER. HER THIRD RELEASE IS YET ANOTHER SLICE OF INDIE-POP PERFECTION THAT IS DESTINED TO REACH A FAR WIDER AUDIENCE THAN MARINA HAS YET BEEN EXPOSED TO. TO WHET YOUR APPETITES BEFORE THE SINGLES OFFICIAL RELEASE, AGENT2 BELIEVES A QUICK PEEK AT THE CHRIS SWEENY DIRECTED VIDEO IS IN ORDER. TASTEMAKERS AND HIPSTERS ALIKE, VIDDY AND ENJOY.
Words Colin French
INTERVIEW – PALOMA FAITH
I FEEL CHEATED. THERE, I’VE SAID IT. THAT’S RIGHT – SUE ME. ANYONE WHO HAS A VESTED INTEREST IN “POP” MUSIC SHOULD BE ECHOING EXACTLY THE SAME SENTIMENTS, FULL STOP. THINK BACK TO THIS LAST YEAR GONE AND CONSIDER ALL OF THE RUBBISH THAT WE’VE HAD TO ENDURE. HOW WAS IT FOR YOU? AWFUL, RIGHT? AND WHY DO I FEEL SO STRONGLY? I’LL TELL YOU WHY; PALOMA FAITH, THAT’S BLOODY WHY! ALL THIS TIME A GENUINE POP STARLET WAS OPERATING RIGHT UNDERNEATH POP MUSIC’S RADAR AND WHAT DID WE DO? LISTEN TO NONSENSE-FILLED-UNDERACHIEVERS, THAT’S WHAT. EVER GET THE FEELING THAT YOU’VE BEEN CHEATED?
Paloma Faith has just released her debut album, Do You Want The Truth Or Something Beautiful, and the real truth is that it is without a doubt the most essential pop album to be released for quite some time. Think smoky-Winehouse-esque vocals coupled with huge cinematic backdrops and you would be half way there – Faith’s album is one to be digested and enjoyed over a number of listens. If you don’t believe me, I besiege you, discover it for yourself. It is a genre fest of sizeable proportion that will reward you ten-fold in these dark and worrisome times.
AGENT2 tracked Paloma down and managed to catch a word with the lady of the hour before her ship sails for the land of superstars.
Your new single New York is released next week; it’s a big sweeping giantess of a song – ballad and theatrical like in places. What is the song about?
It’s about how the city took my lovers heart. He fell in love with New York and chose it over me. He went to work there and decided to live there and end it with me!
The video for New York is extremely cinematic and well produced. How much input did you have into the creative process of it?
I am very lucky in the way that I have been incredibly involved in the creative process. We wanted to make the New York video more about my performance as an actress in a story as opposed to an overly visual one like Stone Cold Sober. Vaughan Arnell came up with the bowling lanes setting. I think he was inspired by the Big Lebowski.
What can AGENT2 readers expect from your album if they’ve yet to hear it?
I would like my album to transport the listeners to a fantasy world. I feel that everyone needs an escape from the world we live in today and I hope that my album has created something fresh and hopeful that they can escape to.
The album title, Do You Want The Truth Or Something Beautiful, is very evocative of the acting world: the idea of escapism and the ability to pretend. What does it mean to you?
It’s an introduction to me and what I do. I am proposing that I offer you something beautiful as I don’t believe the truth is ever really that important. The title is all about perception and I think it’s beautifully vulnerable. In contemporary culture we spend alot of time trying to unveil the truth and I prefer to enjoy the fantasy and let it wash over me.
What, so far, have been the most enjoyable places to perform live?
Latitude festival… It was the first time I had performed to a big audience who knew some of the lyrics of my songs. I love people singing along! When you buy the album you get all the lyrics in the booklet, I hope people will read them!
Is your live show as flamboyant as the music on your album? We imagine plenty of costume changes and a sense of ‘event’ rather than just another gig.
I try to create a performance that will entertain visually as much as on an audio level. No two shows are the same although I might include homages to past shows. I like to entertain and make an event out of a performance. I come from a theatre background and that influences what I do.
You boast an impressive CV including working as an actress, singer, dancer and magician’s assistant. What’s the worst job that you’ve ever had?
I would have to say it was when I worked in a cafe on a Saturday, boiling chicken.
You have a part in the new Terry Gilliam film, The Imaginarium Of Doctor Parnassus, what was he like to work with?
Amazing! It’s been an ambition of mine to meet and work with him. I love his films and feel that he is one of our generations’ greatest talents. He’s very funny too.
Now you’re set to become a musical force, will you continue acting?
Definitely, although at present I’m focused on my music I hope that at the end of this year I can start doing some auditions…time dependent!!
What do find more personally rewarding, music or acting?
I love doing both and don’t think they’re exclusive.
During your hectic schedule of chart and world domination, you are unexpectedly given a whole day off. What would you do with yourself?
I LOVE THE CINEMA! I would like to go to Gelato Mio for an Italian ice cream and then go to see a film in the cinema.
Paloma Faith Do You Want The Truth Or Something Beautiful is available now.
Words Colin French Images Alice Hawkins
HEALTH – DIE SLOWLY
Bored with life? Slowly slipping into a jaded depression that has left your nerve endings redundant and reclusive? Drinking too much over-branded coffee just to keep yourself awake and semi-motivated throughout mind-numbing days of repetition? Find yourself discussing the soaps, celebrity marriages and making mental notes of accumulated Nectar points? Did you really buy that King’s Of Leon compact disc from a soulless and uniformed hyper-market? Make your lunch, pack it, eat it in an empty meeting room with the blinds down. They won’t see you cry in there. Check your Blackberry…Spam…Spam…new shopping deals available exclusively to YOU. New channels – please update your box – don’t miss this once in a lifetime opportunity. Feeling apathetic? Getting your five a day? Four a day is better than nothing. Calcium is an advantage. Realise and reclaim. Realise and reclaim the part of you that wants to live. Find the essence that gave you colour. At least you’ve got your health…. HEALTH – DIE SLOWLY.
Words Colin French
TWIN ATLANTIC REVIEWED
Full of delightful Scottish charm and a sound to enchant, Twin Atlantic ensured the gathered few at the Stoke Sugarmill will go away remembering exactly who they are.
After impressive support from Hardcore act Failsafe, who provided high energy action with impressive precision, it could almost be said that the main act had a lot to live up to. Yet within a minute of Twin Atlantic’s set it was clear that the band would meet such expectations, and then some. Rattling through hits including “Turning Into John Wayne” and the delightful “Lightspeed”, the foursome showcased their infectious tone and a professional attitude to rival most bands. Despite a poor turn out, frontman Sam McTrusty remained jovial throughout, even ribbing the crowd for their lack of enthusiasm.
“Old Grey Face” and the irresistibly intricate “Human After All” followed to a slightly more rousing reception, but undoubtedly the moment of the night was provided by “Caribbean War Syndrome”. With the addition of an electric cello, the foursome astounded with a rousing and enchanting melody and powerful climax, demonstrating almost every facet of their undeniable talent. With McTrusty’s charming Glaswegian accent dripping off every word and a guitar trio of precision and passion, it is safe to say that, should they return to the Sugarmill, they will have absolutely no trouble in drawing a crowd.
Reviewed at Stoke Sugarmill, 18/9/09
Words Dan Grose
MARINA & THE DIAMONDS
Marina & the Diamonds AKA Marina Diamandis is undoubtedly one of the freshest and exciting talents to emerge within the last 6 months; her unique brand of indie-pop has been received with a deluge of critical flattering and a constantly growing fanbase. Here at AGENT2, her recent single I Am Not A Robot found its way onto the office stereo a while ago and has refused to leave ever since. Marina’s music is a quirk some mix of styles that border on the fringes of pop and her Kate Bush-ish vocal deliveries complement it perfectly.
Fresh from performing at this year’s Reading and Leeds festivals, Marina found the time to sit down with AGENT2 and discuss song writing and the upcoming NME Radar Tour shows, amongst other things.
Where did it all begin for you? When did music become a calling rather than a pleasure or pastime?
It was never really a pleasure or past time but more of a plan and a goal. The turning point was when I could move out of home at 18 and follow my own path, as opposed to the one my parents had hoped I would follow.
As a songwriter, do the lyrics come first or is music the foundation for what you create?
Oh lyrics first- every single time.
You seem to embrace many different influences and sounds within your music. I imagine the debut album will sound extremely eclectic and impossible to pigeon hole to one genre. Is this something that you’ve strived for or is it a natural trait within the music that has simply evolved?
You’re absolutely right actually. And no, it was never something I had strived for. People saw it more as a problem than an advantage in the beginning as they didn’t know how to market me. The main reason was down to the fact that I had no background or training or particular ‘love’ for music, therefore I just did whatever the hell I liked. I never thought before sitting down to write a song ‘this is going to be pop, with tribal elements’ or ‘I’m going to try and sound like ‘ xyz’ in this song. I always just build everything around the story within the lyrics. My song writing is very much like my personality- black and white and rather all over the place/ schizophrenic. So it now seems obvious that I could never have made any other type of album than this one.
You’ve now signed to a major label, are you worried about possible interference that other artists have complained about when working with a major?
No. I was with a major from the start and it was always my aim. I needed, and wanted the strength of a major to realise my objectives in music. Many people thought I had signed with Neon Gold Records but it was in fact Warner’s that I had signed with first; I then did my first 7″ single on Neon Gold.
Is there a preference for performing live or creating in a studio?
Performing live any day over studio. It depends on the producer, but I am very impatient and control-freakish in the studio.
You recently played the Reading and Leeds festivals, how was that for you? The general opinion is that those shows have won you a whole new legion of fans.
They were my favourite shows of the summer! I was so surprised at the reactions and felt genuinely moved, like something had changed…
Are you excited about the upcoming NME Radar Tour shows? What are your thoughts on the other acts that’ll be playing alongside you?
Well, I know Yes Giantess and think Local Natives music is beautiful. Golden Silvers are obviously a great, solid band and I’m really looking forward to giving the performance of a lifetime for fans who have never experienced a show before.
We are currently busy compiling our top 50 albums of the decade. What are some of yours?
The Distillers-Coral Fang, Royksopp-Junior and Metric-Fantasies.
Whilst enjoying a quiet walk one day, you happen to unearth the musical genie of the lamp. You are granted the wish of staging the ultimate gig with any three artists or bands of your choice – with you headlining, of course. Who would they be?
Metric, The Distillers and Joanna Newsom.
What can we expect from Marina & The Diamonds in 2010?
Love.
Catch Marina & the Diamonds on the NME Radar Tour throughout September and October.
Words Colin French
TOP BANANA!
If you haven’t become part of Banana yet, then brace yourselves for penetration, because it’s about to take over Manchester.
Banana Management is the newest and hottest management label on the electronic music scene right now. Showcasing the hottest DJ’s Manchester and the North of England has to offer, Banana Management is set to explode with its diverse and innovative roster of artists. Brought together by their love of good music and passion for nightlife, Banana Management is a collective of unique minds that work like a well-oiled, sexy machine. Utilizing skills from all areas of the team including web and graphic design, entrepreneurial skills – heck – even the street team are ex-charity fundraisers.
The chemistry between the team is something they are visibly proud of. If they didn’t got on, there would be no Banana! This is a unique band of brothers who know exactly what they want and how to get it. Banter makes the Banana go round, and there’s plenty of that. With DJ’s who have supported the likes of Justice, 2manyDjs, Zombie Nation, Riton, and even on the MixMag UK Tour next month, expect to be seeing a lot more of these folks… and not just in Manchester.
As well as the management label, its club night offspring, Banana, is currently focused on showcasing the talent in the form of all out parties and events that are swamping the Manchester Scene. Already collaborating with some of the biggest nights in England, Banana shows no signs of slowing down. With 6 parties in 8 days throughout Freshers Week, Banana is going to be dominating the electronic scene as it showcases both established and up-and-coming talent whilst also collaborating with some of the best nights in the city.
Roster from left to right - Sticky Bandits, Patchwork, Henry (Manager), Average White Guy, Joseph Goulcher
Now, with plenty of legendary parties at Saki already under their belt, Banana will be taking over several clubs and bars throughout the city in the coming weeks. With an atmosphere like no other night around, the crowd is key to making these nights the storming success that they are. Whether its dubstep, dark techno or ridiculous electro beats that get dropped , they absolutely promise to keep you dancing all night (literally in some cases) and going home a sweaty, sexy mess.
With some absolutely huge guest DJ’s and artists lined up for the coming months, Banana is definitely about to become one of your regular 5-a-day. You can find them at bananamanagement.co.uk and all over Facebook. Keep an eye out for new events popping up over the next weeks and get yourselves down to the freshest, most innovative and down right delicious parties that we’ve seen for a very long time.
INTERVIEW – SECONDHAND SERENADE
John Vesley, otherwise known as Secondhand Serenade, has spent the last two years quietly amassing a sizeable army of fans and admirers. In fact, his rise to prominence has been so quiet you’d be forgiven if you haven’t heard of Secondhand Serenade or any of the music that he has so far released. Unless you utilise Myspace as not just a social tool, but a means to investigate and discover the myriad of new and exciting music that floats majestically inside its borders, then you may well have stumbled across John Vesley. His Secondhand Serenade alter-ego experienced a long reign as Myspace’s number one unsigned artist.
After releasing his first album ‘Awake’ independently, internet exposure and a healthy dose of self-promotion led to some A&R door-knocking that resulted in the astonishing ‘A Twist In My Story’. Released in 2008 with the support of a newly instated backing band that took selected tracks from the entirely solo ‘Awake’ to glorious new levels, Secondhand Serenade are ready to stake their claim to the world.
AGENT2 recently caught up with John Vesley on a fleeting visit to our hallowed shores and engaged him in a thoroughly enjoyable chat.
Hi John, how are you today? How important was Myspace and YouTube to your success?
Good, good thanks.
It was paramount, I would never have been able to get my music off of the ground without Myspace, would never have been signed, and could not have sustained any success without it; it was the first thing that was able to get my music to potential fans, thankfully they responded.
There are countless artists and bands swarming Myspace currently, how did it feel to be voted the #1 unsigned artist?
It was pretty weird at the time, everything was so very new to me then, so it was quite strange indeed.
Is it fair to say that in the current climate, major record labels no longer hold the power to make or break an act? It almost seems that for new and unsigned acts, the possibilities are endless.
Yes, that is true to an extent, major labels have the power to break acts; they do it all the time, just not with a very high percentage of success. There is more opportunity now for independent label to shine, my label for instance, Glassnote Music, is a perfect example of that.
Awake was very much a solo record but Twist in My Story saw the introduction of a backing-band, was that something you felt the music needed?
It was needed for me to grow; there is only so much you can get across with an acoustic guitar.
Is the live experienced enhanced by having a group behind you or does playing solo still hold something special for you?
Playing solo is still fantastic, but the full band show is just so much more fun for me and for the fans. In my full band shows I still do a handful of songs solo acoustic.
You work is particularly lyrically rich, do the words give birth to the music or are they something that you consider once the music is conceived?
Usually the words and melody come relatively at the same time, but sometimes one is first and sometimes the other.
You’ve been in the UK recently, how did you find our fair land?
I loved London! I really hope to be back there in October for a short tour of the UK.
Does a UK audience differ much from an American one? My feeling is that we tend to be more reserved in our admiration, would you agree?
I would say the opposite from my experience; two years ago I was in the same place in the states that I am now in the UK, and although the size of my shows were the same, the people that came to my UK show were much louder and knew every lyric to every song – it was fantastic!
The Emo tag seems to follow you around, I and many others are still not quite sure what Emo actually is. Can you finally clear that up for us?
I wish I knew, ha ha.
What music are you currently listening to? Are there any new and exciting artists that Agent2 and its readers should be looking out for?
I am currently listening to Muse a lot, Flight of the Concords, Jason Mraz, Landon Pigg and lots and lots of other good stuff.
Twist In My Story Out Now
MYSPACE.COM/SECONDHANDSERENADE
Words Colin French
