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Monday, 13 October, 2008

PLANETNOTION TELEVISION!

CAMERA-FOLK AND FILM EDITORS WANTED!

Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.

Please email lucy(at)musichqmedia
(dot)com if you’re interested in getting involved, cheers!

INFO

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Notion gets Jahcoozi to 'Stand and Point'!

Notion gets Jahcoozi to 'Stand and Point'!

With the mixture of Sri-Lankan born Londoner Sasha Perera, Israeli beat master Oren Gerlitz and native Berlin-boy Robert Koch making up the six legged, three-headed bass/grime/electro outfit that is Jahcoozi, Planetnotion is more than proud to have this beat-beat playing at the launch of our new bi-monthly, STAND AND POINT . Over the course of two albums (2005’s Pure Breed Mongrel and last years Blitz n’ Ass), Jahcoozi have explored the effects of three very individual personalities mixing their influences and passions into the melting pot of Berlin’s underground electronica scene, with some bass-driven, booty-shaking results! Over the course of their six year history, Jahcoozi have refined their live shows down to an in-yer-face, come-and-get-it display of confidence, lyrical skill and drunken tomfoolery – soon to be unleashed on Cargo on 15th Febuary. We caught up with singer/MC and all round star Sahsa for an in-depth discussion on Jahcoozi’s formative years, lyrical content and bitchy internet nerds – prepare to be enthralled… Words: Louis Cook Sasha, Jahcoozi’s sound is extremely unique, with a blend of ragga, hip-hop, electro and all sorts – do you think this was the result of your individual passions mixing together, or the fact that you’re all from such different cultural backgrounds? I think it’s a bit of both actually. When you have three very different individuals working together, you end up having to make certain compromises, which can lead you in a pretty unpredictable direction. The outcome’s usually different to the initial idea. But, I think that’s what keeps us feeling fresh about what we do. I don’t know whether our music is directly influenced in the way people would expect though; by say, being born in Israel (because Oren’s Israeli), or Sri-Lanka (because my roots lie there). I think each of us has been exposed to pop music in different ways though, which is dependant on how, or where, we’ve been brought up; and of course that has an effect on what you have become. However, it’s not easy to pinpoint what influences come from where exactly… In the times that we grew-up in the world was already global in terms of music culture. But I’m not sure every country, and all music culture had a global effect; London was certainly global though in terms of music. My dad dragged me to Ravi Shanker concerts and my sister and I sang, cross-legged at Bugens or Sai Baba events as kids. I listened to the likes of Wham! on my first Walkman; jungle and pirate radio, and would sneak out to go to carnival. All of that took place in London within the first thirteen years of my life - in the end you’re like a sponge, with long-term memory loss and a short attention span! What single word do you each think describes your music and why? I’m no good at choosing single things, as you can see ‘I’ is reflected in the works of Jahcoozi, so here are two; pop, as in communication through text, melody and song structures - addressing ‘popular’ issues. As a female communicator and front woman there’s an interactive live presence. Then of course there’s bass, which is an absolute prerequisite! What are your individual roles within the group and what do you, as individuals, add as far as the depth of your music is concerned? In some ways our roles within Jahcoozi are obvious and well cut-out, but in other ways we all just do what’s necessary really. In terms of production, Robert creates the basis of the beats, sound, and arrangement used and I write all the texts and melodies. We either all sit around together, record and come up with a finished track in terms of arrangement, or I record with Oren and we come up with a structure. Basically, it’s a varied process and there’s not really any fixed procedure. Having your debut EP played by the legendary John Peel - that must have been quite something! How did you feel about the reception your ‘Fish’ EP garnered? It was all pretty unexpected and to be honest, it didn’t really have a major impact on us. It was definitely something you could tell your mum; something she’d be able to appreciate, because she’s probably heard of him… In terms of changing my life, that wasn’t really the case. I just carried on being a skint raver in Berlin with a bit more bounce in my stride, I guess. But it was unexpected because I’d only started making music the year before (2002) and ‘Fish’ was the second song I’d ever made, or the second I’d made with Robert anyway. I’d messed about a bit doing random vocals on clubby, techy tracks, but never really a song. When Robert sent off some demos I was just happy to have done anything at all… I wasn’t even thinking about labels or anything. Then, when we got some good responses, I was kind of shocked… Aphex Twin’s label Rephlex had even answered us, which gave me a huge buzz. ‘Fish’ came out on WMF Records about six months later, back when labels brought out records without thinking about the financial disaster… Your lyrics are pretty fucking punchy! The subject matter of ‘Acne’ for example, with the hedonistic sex-on-legs club leech and her resulting deterioration. Are your songs related to experiences of either yourselves or acquaintances; or are you merely staring through the looking glass at the larger picture? Wicked - haven’t had a question about that song in ages! It is partly based on my own experiences or fears. When I wrote that track in 2004 it was like a big running joke - running around Berlin in all the clubs looking young, fresh and lovely; but there was always a dark side to think about because people who get used to being treated nice, for superficial reasons of beauty or wealth, may have a nasty shock waiting for them round the corner - Schadenfreude and realism in one! Also, at the time I was skint as fuck with post-uni debts and a no-hoper lifestyle working in clubs, so I modeled for about a year, using the funds from that to keep me alive whilst making unprofitable underground music. I was in Milan for a month too, that’s exactly the sordid, superficial and downright damaging environment that I saw young girls hanging out in. The flow of Eastern European and South American girls was unstoppable and it was a frighteningly empty environment; basically recipe for disaster unless you have a personality before you get there which most of those girls didn’t. A bit like the downfall of the model in Amores Peres, you know? I only saw that film recently, but it comes to mind. Would you say some of your material verges on political – in the sense that it hits upon topics such as class division, ethnicity and crime? Crime? I didn’t realize that actually, unless you mean the bit about high-school shoot-outs on (Jahcoozi song) ‘Gameboy’. But, yeah, the other stuff isn’t really what I would call political, in the sense that it’s not a calling or has a specific message. I would say it deals with issues that normal people have to deal with or see in the media… It’s just an entertaining social observation, with a kind of black humour twist thrown in. Tell us about your live shows – we heard you’ve played on a fishing trawler in Poland and even in the back of a doner kebab shop. Why is it so important for you to make your live shows such a unique experience? It’s not that we only play in weird locations to make it a unique experience; it’s more the environment that we started off in. In Berlin there are, and were, a lot of weird semi-legal locations; when we were starting out I asked the people I knew who did parties if we could play there. That was the environment that I was hanging out in, so that’s where we had our first gigs. They were special though; fucked-up sound-systems and shitty lighting, but the vibe was dope, a unique ‘I-don’t-give-a-shit’ kind of time which was perfect for developing our stage persona. That was a pre-blogger time, before all the bitchy nerds sat behind their laptop, waiting to tell the world how you sang badly at your first gig! I’m only joking, but you can see nowadays how people get lots of internet hype from one tune having never played live, which must be terrifying! I had tonnes of fun getting fucked-up and playing gigs at weird underground venues in and around Berlin. It was through friends of friends that we got our first international gigs in Poland, Switzerland… Nowadays things are different; we have a booking agency and we play at different kinds of events. Art Festivals, commercial clubs, concert stages - we obviously have a lot more exposure than when we were only known within freaky Berlin circles. You’ve also opened for the likes of Aphex Twin and the Big Dada Soundsystem – on a scale of 1-10, where do place those experiences and why? That gig in Switzerland, back in 2004, was the first big festival we had played at. It was about a year after our first gig in Berlin. It was a festival with Aphex Twin, Big Dada and Jamie Lidell; all heroes of mine. I was shocked that I was part of something so big when a year earlier I would merely have been a consumer at the same event - I mean, I’d bought albums from these people! I was also deeply impressed by the sound; there were side feeds, as in extra monitors and technicians, an extra monitor mixer and everything! After playing all over crusty Berlin illegal raves it was like a dream come true. It all sounded amazing and I could really hear my own voice on stage. The French speaking crowd were also wicked, exactly the kind of people who appreciate our sound. Compared to Berlin, do you think the current London electronic scene needs a kick up the arse? Not necessarily. Actually though, I think the London club scene needs a bit of a kick up the arse; it’s all a bit too regulated. But musically I still think London has loads of shit to offer. In a way I feel that Berlin was more exciting when I moved back in 2000. Berlin has always been a pretty techno oriented city, but I feel that the minimal techno hype has really gone overboard there. I found that stuff exciting in 2001, when I worked in Club Des Visionaires at afterhours; Akufen would just turn up and play and stuff. But, I think it’s all over now and more than anything people abroad, and some in Berlin, think that minimal is all that the place has to offer. There are lots of kids doing cool stuff over there; dubstep and Bashment for example - but it doesn’t seem to be getting any spotlight. Minimal minimal minimal grind, minimal grinds on and on, and 12 years after Robert Hood brought out an album entitled the same! Do you plan to move in any other directions - to play Einstein with your sound and change your approach, or do you think you’ve found a niche in the current market? I hope we play Einstein; change our approach and don’t fall into a niche. You’ve gotta stay ahead of yourself otherwise it gets boring. Also, with three fidgety little kids like us, you can never really find one thing that you all want for long. Sasha, you must be looking forward to returning to London, was it a big influence on your music? Yeah, for definite. I find it pretty odd that we played in places like Istanbul and Poland well before we had our London debut back in 2006. I think the biggest influence London had on me was growing up clubbing in the 90s. Basically, there was a new genre every year and new parties that would sprout from the scene. You could chuck out all your old clothes and redefine yourself without anyone in the city batting an eyelid. The erratic and fickle London-ness has served as a springboard for creativity; it’s like the city has an anything goes approach. Finally, what’s to be expected from Jahcoozi in the future? Well… erm… our own perfume line and charity work I guess! Only joking - I dunno really, I can’t really say. We’ll take an anything goes approach to the third album or maybe I’ll just retire to the coconut plantation to plan my comeback!

tags: | jahcoozi | stand and point | sasha perera | oren gerlitz | robert koch | more...

Serge Santiago goes Cherry Picking

Serge Santiago goes Cherry Picking

With fans including the powerhouse that is Erol Alkan, Fabric regular, Ewan Pearson, and the omnipotent knowledge of Notion magazine (natch), recently Serge Santiago has been approaching that handy, if clichéd tag of ‘The Producer’s Producer’™. Starting off as a Brighton based member of the Stompa Phunk crew (he’s now a resident) Serge took a leap with his production work as one half of revered remix due, Radio Slave. Along with Matt Edwards (otherwise known as Rekid) Serge was responsible for remixing the likes of Kylie, The White Stripes and the very reverend Justin Timberlake, before branching out on his own with his highly sought after Colour Series of Italo re-edits from forgotten masters like Baciotti and Easy Going. With DJ bookings having taken him from our own blustery shores to the States and back again, plus his own label, Arcobaleno, being renowned for a release schedule that screams ‘quality over quantity’ (something other label heads could benefit from), Serge has a deft touch when it comes to an absorbing track selection. Not happy just playing at the launch of Notion’s gut-busting Stand & Point event in the heart of his East London home, Serge has also been enlisted to mix our latest Cherry Picking instalment. With a delectable collection of his current faves ranging from bass fuelled booty-sleaze to more cerebral fare, it’s obvious that as a DJ, Mr Santiago will not only get your feet stomping, but educate you to his style too. We caught up with him to discuss his production stance, warehouse parties and '08 moves. First of all, lets talk about Arcobaleno Records – like a few legendary labels, your releases are few and far between – do you feel a tight grip on quality control is paramount? The ‘few and far between’ tag is all about to change. I’ve signed some great tracks for release over the next 12 months, old and new. I needed to get the look, sound and direction right first. Getting everything right was so important, otherwise I’d end up somewhere I wouldn’t want to be and have to start again! So all is good… What do you have planned for the label in 2008? Simply to release the best sound I can find, and bringing new talent to the forefront is important. You’re renowned for your re-edits – do you prefer to keep the skeleton of someone else’s track when producing, and flesh it out with your own style, or do you prefer to create your own original track? I don’t really mind which way really. Edits are edits; someone else’s track to play with and make your own, if it’s not as good or better, then they never see the light of day. 2008 is really a year for less edits and more originals and collaborations. You’ve obviously got experience working as a production duo with Matt Rekid – what is it you prefer about making music by yourself? Working on your own is good just because you’ve got no-one to answer to. It can be bad when you’re stuck in a hole and need help working out the where the ladder is! Do you think that through your re-edit work, you’re still part of a production partnership, with the original track making up the other half? Maybe, yeah, I mean it’s their sound I’m using in the first place; I’m just dissecting and rearranging it to fit modern day ears. It would be great to have been able to sit there in the studio when they were there in the first place. You’re now in the coveted position of being an Ibiza favourite, something accentuated through your ‘We Love… Ibiza’ compilation with Riton – are you looking forward to the ’08 season, and do you have any cheeky highlights from last year? I can’t wait for this coming season; last year was such a laugh, I met some great faces… Highlights were finding out who the phantom ‘booth’ trumper is, Clay Day was great, plus finding 3 feral kittens, feeding them and watching them grow into small cats before having to leave… I wonder how those poor buggers are doing? What are the standout tracks for you on your first Cherry Picking mix for Notion, and could you class it as a typical Serge mix? Michal Ho’s tracks are always great, but the mix he’s done for the label of Virtualmismo – ‘Mismoplastico’ is ace! He’s got this great ability to keep things rising. The Beatpharmacy mix of ‘Deliver Me’ by Lil’Wolf is just amazing, very deep and great for a cover-mount CD. On a slightly different tip, (plus the possiblilty for a moan if you’re so inclined) what is the worst thing about the dance music scene? The worst thing I’ve seen in ‘clubworld’ at the moment is the lack of dancing and a little bit of open mindedness outside places like Ibiza and Berlin. Finally, as a Londoner yourself, and with the proliferation of warehouse parties happening almost every weekend, do we live in the best city in the world for electronic music? I wish it was, I mean it’s great, but Berlin is defiantly the best place for a rave at present. 52 hour parties! Words: Louis Cook

tags: | serge santiago | stand and point | erol alkan | ewan pearson | stompa phunk crew | more...

The Rakes Interview

The Rakes Interview

With all the cockiness and swagger of a wheeler-dealer in an East-end boozer, The Rakes emerged in 2004 to critical acclaim with their indie/rock/punk incarnations. Building a reputation for themselves on lyrics that the ‘kids’ can relate to - subjects including boozing, wenching and working in the dead-end nine-to-five - the East-London four-piece have found a niche close to the hearts of disillusioned youth nationwide. The Rakes are unafraid to vent spleen; highly-opinionated, arrogant and confident in their ability. Nobody is safe from singer Alan Donohoe, whose tongue’s as sharp as a Ramsey steak-knife; whether it’s rival bands, legendary poet laureates or Irish heart-throb Colin Farrell; the man attacks like a lion after one too many Nelson’s. On the subject of heat-throbs and kings of the jungle, Donohoe sees himself as king of the swingers and a jungle VIP, who’s reached the top in both his profession and when it comes to pulling the ladies. The Rakes frontman caught-up with Planet Notion to talk asthmatic singers, romantic drunks and drinking tea. Ladies, down please! Words: Dave Dryden You explore themes associated with the mundanity of life and escapism from the nine-to-five. Do you think such angst is a subject that people can relate to through music? I think that when you write something it ought to have a certain honesty in it, so that people know that there’s something there that you mean. No BS. I find it grating when there are lyrics that try to be so profound and in the end don’t mean anything, just the writer trying to be deep or live up to some expectation that he or she has imagined. Just keep it real maaaan... You’re rumoured to be influenced by various literature… Are books such as George Orwell’s Down and Out in Paris and London and authors such as Charles Bukowski, an influence on your music, and do you think that kind of literature is as important and relative as it was when it first came out? I’ve read a fair bit of George Orwell, but only excerpts of “down and out...” and I’ve never touched Bukowski. I found the whole “I’m-an-outsider-and-no-one-understands-me” theme a load of crap. Leave that to the asthmatic Johnny Borell. I prefer Richard Dawkins and James Joyce. And I fucking hate LA. I think that the slave to the wage theme goes beyond that, that people get fucked and have a laugh, live a life of booze, bets and women, to forget about another days graft… would you agree with that statement and do you think it represents the attitude of society’s youth? It might represent an attitude that most people have but grow out of, as you can’t really keep it up for too long before you decompose, inside out. Then you realise that living in a hangover for a few years isn’t as good an idea as the romantic drunks would have you believe. It’s far more satisfying to have your head screwed on and do something productive. I read that Colin Farrell has “Carpe Diem” tattooed on his arm. What a cock. Okay, but do you still relate to those topics, that slant that comes across in your lyrics given the fact that your music has taken you beyond the whole theme explored in many of your songs… beyond the nine-to-five day job? I can still relate to them to a degree; I still get up in the morning, drink tea, and have stuff to do, but no longer feel the desperation of earning little money in a job that makes you feel like a lobotomised Jack Nicholson. You’re regarded as strongly for your fashion sense as for your music… How would you respond to those that believe donning brand-name clothing is against the grain of what your music stands for? I know what it’s like to earn just enough to pay the rent and bills, so if someone offers you work that means wearing a top you wore anyway for what was three months wages not so long ago, and you can sit there looking beautiful, then of course I’m gonna do it. We don’t all have the luxury of having millionaire parents to pay our bills, and now I can boast that I’m a rockstar aaaaannnnd a model. Ladies, down please! Our music doesn’t stand for anything, it’s just sound. Leave that to Rage Against The Machine. You get paid to do a festival, and you get paid to wear a top - give a shit. What can we expect lyrically from your next album? Will the same themes be discussed as on previous albums, and if you’re branching out to discuss new topics where has the inspiration come from? I don’t know… We’ve written about three or four songs already and they’re mostly about sex. Tell us about your live performances… pretty manic affairs. Some bands prefer the studio-work to performing live and see it as a chore. What’s your feeling towards playing live and recording in the studio, and any tales of debauchery to tell? You get bored of both (touring and recording) after a while. Tales of debauchery? One time, I ate three bananas in a row - before midday! Pretty hardcore… What about the download boom that seems to be spreading it’s tentacles around the world at the moment - what do you make of it? Do you think that vinyl and CD are ever going to die a death? Brendan Lynch, producer extraordinaire, has a theory that the musical purists will stick with vinyl, as it’s an analogue representation of the real recording -the closest you’re ever going to get to really being there, and MP3’s will proliferate due to their convenience and because everyone’s got an iPod. But, I mean, a Sony Walkman and CD’s will disappear. Radiohead releasing ‘In Rainbows’ in the manner they did was a pretty bold statement. What do you make of rumours that record companies will become a disposable commodity? Funnily enough, our record company just got pulverised by a Goliath major record company and we’ll be moving home onto a smaller “independent” label soon. I think even if you have the technical ability to record music yourself and know how to publicise it so you can let a lot of people know of your stuff, you still need a record company; If only to take you out for the odd free drink and meal. I’d be interested to know the last time Radiohead all got taken out for a free meal. It’s likely that they have people sorting out the whole project, which in a sense is like having a record company. I doubt Mr. Yorke coded the whole website and engineered everything; band’s need to focus on the music and delegate the boring stuff to a lower minion. It’s likely that only a band as big as Radiohead could get away with releasing their album like that. Finally, any plans for the future and anything you want to add? Our plans are to release a third album, tour Australia, learn “Fur Elise” on piano and insult more bands. The Rakes are currently promoting walkmanproject.com – a new interactive site which lets you collaborate with musical talent from across the world, by mixing up different musical components to create your very own multi-instrumental track, which you can then download for free. www.walkmanproject.com

tags: | the rakes | alan donohoe | george orwell | charles bukowski | richard dawkins | more...

Metronomy Interview

Metronomy Interview

Splice a dog with a cat and chances are you’ll emerge with a creature that runs in circles; sleeps, wakes-up and runs in circles. Simple logic. Metronomy have built a reputation for themselves on simple logic. Very simple logic. Produce the kind of music that you love, hold precious, dear and have a passion for and chances are that others will feel the same. The self-professed “electro-garage” outfit, led by Joseph Mount, have had their talents recognised by the new Sony Walkman Project, collaborating on a short film where Joseph describes the process behind his music. The Walkman Project is a website allowing those with a Metronomy-like-passion for producing and mixing music to do just that; share it with people worldwide and even mash-up some of their tunes. If the excitement of the Walkman Project wasn’t enough, Metronomy also have new album ‘Nights Out’ due for release in March. Taking a breather from his heavy schedule, Joseph caught-up with Planet Notion to discuss Chas and Dave, the musical tastes of old Devonshire folk, and Dystopian Sci-Fi films. Metronomy have gained a reputation for their remixes… why do you think it’s important to bridge a gap between electro and other forms of music? I never thought it was necessary to bridge that gap. If it seems like I try to bridge it then that's a by product of what I do. I've only ever made the music that I feel excited about making. I've been influenced by all kinds of music throughout my life. I don't just listen to electro and I don't just listen to guitar bands; I guess I'd be misrepresenting myself if I just made standard electro or pigeon holed myself into any particular genre. The Walkman Project offers people the opportunity to blend different songs and musical components together… and you use MySpace to release exclusive material as well. How important is the internet becoming to the future of music? I think the internet is already incredibly important. People don't find out about music in the same way as they used to, nor do they listen to it in the same way. Although I've given away exclusive tracks through MySpace I still think it’s very important to own music and albums as physical objects... I think it would be a very sad thing if Vinyl and CDs disappeared for the sake of people freeing up a bit of living room space. But on the strength of the internet in the current music scene, do you think CD and vinyl will ever die a death? Or are they still an important commodity? I really think young people might be missing out if they don't own CDs and Vinyl, because I remember how important records I loved felt and looked. I'd listen to ‘Road to Ruin’ by The Ramones, look at the cartoon on the front, and constantly read the tiny amount of writing on the back. I still have that record now and it means so much more to me than any mp3 ever could. Although you can't see it, music is a physical thing; it moves through the air, vibrates your eardrums and effects the way you move. Things like Vinyl, CDs and album artwork can add a tactile quality to music which mp3's can never offer. Would you say that all forms of music have the credentials for remixing? For example, would you ever consider mashing some classic blues, say, John Lee Hooker, with a modern twist… or maybe remixing some Chas and Dave? I'm not sure there's much someone like me can bring or add to a John Lee Hooker song. You just need to look at that Moby record to realise what a waste of time it might be. One mans modern twist is another mans bland, home makeover program, mosaic. Chas and Dave might be good for a laugh though. Tell us about your film work for the Sony Walkman Project website… what’s it all in aid of, for those that don’t know, and what’s your role within the project? In the film I wanted to show a little bit about how I write my songs and how I do it in quite an unconventional way. I'd like to think I might inspire people to give stuff a try themselves. The one amazing thing that technology and the internet can offer at the moment is a platform for young musicians to be heard, however experienced or inexperienced they might be. What were the influences behind first LP ‘Pip Paine (Pay The £5000 You Owe)’, and did the alternative crowd and hippy-chic residents of Devon’s Totnes have a major influence on the album? There are all kinds of influences behind that album. I was listening to all kinds of music at the time. Frank Zappa, Aphex Twin, LFO, Talking Heads, Les Rhythms Digitales and Kraftwerk are just some of them. But, Totnes did have a big effect on the record...maybe not in a positive way though. Totnes has a non-existent music scene; kids listen to drum and bass and middle aged folk listen to whale song. When I started writing music I was reacting against that as much as anything. You incorporate a vast array of instruments into your music. The saxophone being a prime example… Explain why and how the inclusion of different sounds from percussion, brass and keyboard improves Metronomy? I suppose it's a matter of opinion as to whether it improves the music or not. But it's just the way I do things really; in my opinion it adds texture to the sound and gives it more depth. Do you feel the band have progressed and improved since the arrival of Gabriel and Oscar as permanent members, and if so, how has their inclusion helped to shape Metronomy into a finer specimen? Gabriel and Oscar are an irreplaceable pair. Although I’m still writing the music alone I now feel more like I’m writing for a live band, and feel that Metronomy has become a band now instead of just me. Thanks to the boys Metronomy is now and are now a good, well traveled live band. When you consider the number of songs that have been remixed by Metronomy, from acts as vast as Britney Spears and U2, why is it that you’re rumoured to dislike having your own material messed with, and is there any truth to this claim? That sounds like internet talk to me. I will be having songs remixed on the forthcoming singles. Basically, I only like remixers that really care about what they're doing. I can honestly say that I have got really involved in all of my remixes. If I’ve not got anywhere with one I will tell whoever it is that I’m giving up. That doesn't happen that often. Having such a vast sound in your music, how would you describe it? Would you say that it’s electro-pop, for example? I think the favourite description I’ve heard is Garage Electro, by that I mean garage rock and electro. I think there's a DIY element to the music that's more in line with punk than most sheeny electro. However, I wouldn't deny that I think I’m writing pop songs. I'm just making the music that I’d like to hear, so it sounds like all kinds of things because I listen to all kinds of things. Your performance at the Reading festival received glowing press reviews, and was described as one of the highlights of the dance stage. Do you think it made many people more aware of your scope as musicians, and how was it to perform at one of the UK’s most popular festivals? Reading was an amazing day, it felt like such a big deal to play at. Me and the boys have all been there to watch bands before and to actually perform there was a dream come true. I'm happy that we were considered a highlight, especially as our live show seems to polarise people so often. I'm not sure if the live show really shows off our scope as musicians. I taught myself how to play keyboard and guitar and am not that advanced at either instrument. The things I write for Oscar and Gabriel don't show off their talents to the highest. For that you should see Oscar perform ‘Golden Skans’ on his Yamaha and Gabriel play some Level 42 with his massive thumb. What can we expect from the follow-up LP, due out in 2008? The album will be called Nights Out. It's due out in March and will be a much more concise record than the first. I've also started singing on a few tracks. Dystopian Sci-Fi films have been quite a big influence on the music, as have the many club nights we've played. Metronomy are currently promoting walkmanproject.com – a new interactive site which lets you collaborate with musical talent from across the world, by mixing up different musical components to create your very own multi-instrumental track, which you can then download for free. See more info please go to www.walkmanproject.com

tags: | metronomy | sony walkman project | joseph mount | nights out | more...

RZA Interview

“Ay yo the Wu is back, making niggaz go BO! BO!, like on Super Cat!” – Wu-Tang Clan Ain’t Nothin Ta Fuck Wit Wu-Tang Clan bring the multi-task myth crashing down like a large oak to a lumberjack’s axe. As well as being Mafioso hip-hop extraordinaires, members have had a tipple in fashion design, acting and writing screenplays. Ha-hey, blokes can do two things at once after all. The New York rappers have now finished work on their highly anticipated fifth album ‘8 Diagrams’, the title stemming from the lads love of 1983 Kung-fu hit Eight-Diagram Pole Fighter. The album features all the surviving members, as well as unreleased material from the late ‘Ol Dirty Bastard, and collaborations with other dust-funk luminaries such as P-Funk legend George Clinton and Q-Tip. On the subject of Kung-Fu, and with 8 Diagrams due out on December 10th, we caught up with Wu-Tang member RZA to discuss Afro Samurai, the Japanese anime project the rapper and producer worked on. With enough claret to fill Beth Ditto’s belly-button, mountains of action, and a musical score from the Wu-Tang legend, this is one bad-ass mo-fo of an anime film. Having produced the musical score for Kill Bill Volume’s 1 and 2, RZA is no stranger to writing film scores. The hip hop legend took time out to discuss his experience of mixing music with a love for anime. So RZA, what made you want to get involved with this film? I’ve always enjoyed animation, and always wanted to put my own stamp of music into a project like this; helping to bring the viewer through the story with the music I’d created. How did your approach differ in the studio, making music for a film rather than music to support itself? There is no real difference in the approach, only that one is going to vinyl and the other is going to film. The music still needed to be able to support itself without the visuals. Did you write the soundtrack in tandem with the film or after the film was completed? The music was created in tandem to the film. As they created Afro Samurai, I created, so that there was a harmony between both the music and the film. Would you or have you ever gone to the cinema alone? Yes, I enjoy movies and going to the cinema. Going to the cinema is my break from everything else, it’s a great escape. What’s your favourite film? That’s a hard one to answer; because there are so many films that I love. I can’t really say I have a favourite, there’s just too many that I like. Should all music be cinematic in the sense of generating imagery, or is it important for you to separate the audio and the visual? Music has always generated imagery, and that is before film, because music is story telling. And when it is created on a cinematic level the audio becomes important, meaning that people will pay attention more because the audio fits with the scene. When the scene is no longer there for them to view and they hear it again, they get it without the visuals, so there is a separation from audio and visual. If there was to be a film about the Wu Tang Clan, what genre would it be ? That’s easy, an action drama film, with me playing myself. Afro Samurai, film of the hit American TV series, is now available as a two disc Director’s Cut DVD, containing extensive extras including commentary on the voice recordings, the characters and creation of the original sound track. Afro Samurai, the story of a man’s quest to avenge the death of his father, stars Samuel L. Jackson, Ron Perlman and Kelly-Hu. Afro Samurai is priced at £19.99. 8 Diagrams, Wu-Tang Clan’s fifth studio album, is released on December 11th. Words: Dave Dryden

tags: | rza | wu-tang clan | 8 diagrams | afro samurai | eight-diagram pole fighter | more...

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