Within the hazy confines of the fashion industry proper, 2014 has already coughed up three months’ worth of catwalk shows, several collaborations (Topshop alone offering two within a matter of weeks), and a helluva lot of debuts.

Here are seven moments we enjoyed the most.

- - -

The adidas Stan Smith lives on

If 2013 was Nike’s year – and given their classic Air Max style celebrated a quarter of a century, it’s fair to say it was – in 2014 it’s adidas’s turn, as the 40 year old Stan Smith style wins the hearts of a new generation.

While Chanel and Dior are playing out the max luxe trainer trend, Stan Smiths have been adorning the feet of everyone from Pharrell Williams and Phoebe Philo (who sort of began the whole thing), to that bookish man at the coffee shop.

Meanwhile the subtle silhouette has taken over social media as if created solely for Instagram.

- - -

Luella Bartley’s great return

Teaming up with her long time collaborator Katie Hillier (the former as design director, the latter creative director), the British pair were last year announced as the team who would take the Marc by Marc Jacobs line to the next level, and in February this is exactly how it played out.

While Luella’s own label collapsed in 2009, this, her first design role since, saw a return to the typically youthful (and ultimately cool) aesthetic for which she is known, with 38 looks boasting attitude and energy.

- - -

Jean Paul Gaultier arrives at the Barbican

From the Breton striped cream buns to the reminder that Eurotrash ran for 14 years (!), ‘The Fashion World of Jean Paul Gaultier: From The Sidewalk to The Catwalk’ offered fans more than a gaze at JPG’s back catalogue (and will continue to do so until August).

Instead the exhibition sees several decades of design brought alive by ‘talking’ mannequins, videos and revolving catwalks, while photographs offer inside accounts of backstage fittings with Kylie et al.

- - -

Prada’s month-long Harrods residency

Perhaps the chicest hashtag of them all, ‘Pradasphere’ saw Miuccia’s label takeover 40 windows of the Knightsbridge department store across May, with a pop-up store, screens, books and a café too.

Prompting one commentator to tweet, “Which museum would take on that brand’s retrospective, when shops have such budgets and teams?” the fourth floor fantastic showcased elements beyond fashion – as well as previous collections – illustrating just how extensive the house’s reach is.

- - -

Stephen Meisel shoots Moschino AW14

Jeremy Scott’s takeover of the Italian fashion house has prompted much attention since last year’s revelation, not least over the recent menswear show at London Collections: Men, the first time Moschino has ever shown outside of Italy.

But Meisel’s campaign – Scott’s first for the label – is perhaps the most striking element of the rebrand so far, possessing a quality that dispenses of the collection’s garish nature, presenting it instead as iconic.

- - -

Craig Green makes his solo debut

Craig Green’s clothes have been vocal ever since his CSM MA collection took to the runway at the beginning of 2012. Two years later and with three seasons under Fashion East’s wing behind him, last month his SS15 collection made and audience weep at London Collections: Men. And not just because Enya’s ‘Caribbean Blue’ was on the soundtrack.

Announced via a hand painted A3 invite – itself noteworthy amongst the more formal petite pieces of card – the show was unique to Green’s strand of modern day menswear, entertaining but expanding on themes presented previously, such as the large ‘flags’ that appear above.

- - -

Nasir Mazhar and Skepta, the after party

Closing London Collections: Men – both the catwalk and evening schedules – Mazhar’s nightclub affair at east London’s Metropolis gentleman’s club was quite the sight to behold, with an engaging mix of respected journalists, Nasir Mazhar-branded pole dancers, and cans of free Red Bull.

Speaking to Clash ahead of the event, Nasir hoped attendees would be able to: “Experience it (the clothes) in an environment where it is kind of intended to be, rather than a catwalk which is completely unreal.”

With models and friends-of dressed in full Mazhar attire – casually – his intentions were surpassed, as the typical-sweaty-club atmosphere shone a more recognisable light on garments usually displayed under awkward bright lights.

- - -

Words: Zoe Whitfield

More Clash Fashion, right here. 

More 7 Of The Best features here– including our favourite albums, games, films and music videos of 2014 so far. 

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

What, really, can be written about 1984’s ‘Born In The U.S.A.’ that hasn’t been written before? Thirty years after its release, it remains one of the best-selling albums of all time – 30 million copies and counting – and it’s got one of the most iconic record covers, shot by famed photographer Annie Leibovitz, in the history of music.

The title track – originally written in 1981 and recorded a year later as a demo for Bruce Springsteen’s dark, acoustic solo record, ‘Nebraska’ – was famously mistaken for a patriotic national anthem by then-president Ronald Reagan. He even used it in his 1984 campaign for re-election, until Springsteen told him to stop.

- - -

‘Born In The U.S.A.’

- - -

But while the title and the album cover might, on the surface, look like pro-American propaganda, any listener with even one brain cell must realise it’s actually an incredible indictment of American imperialism. Yet it was only four years ago that far-right Republican radio schmuck Glenn Beck discovered this song about a displaced Vietnam vet wasn’t the fist-pumping affirmation of traditional American values he thought.

Weirdly, to this day, there are Springsteen fans – actual American people who bought (and presumably still buy) his albums – who say he should leave the politics out of his music, somehow incapable of understanding that the biggest hit on the man’s biggest album is one of the biggest-selling political songs of all time, and that his entire discography is inherently political.  

- - -

- - -

Title track aside though, the politics here aren’t shoved in your face. Its songs are just set in a world ravaged by policies that place emphasis on wealth and war over humanity. The all-consuming love of ‘Cover Me’ is about seeking solace from a f*cked up world (“The times are tough now, just getting tougher / This old world is rough, it’s just getting rougher”), ‘Darlington County’ tells the story of two pals looking to make it big in New York, only for one of them to wind up arrested, while ‘Working On The Highway’ is essentially a tale about statutory rape. America – f*ck yeah!

Not all the songs’ settings are so full on – the five that follow are more personal ruminations, on lost love (‘Downbound Train’, ‘I’m Goin’ Down’), lust (‘I’m On Fire’) and friendship (‘No Surrender’, ‘Bobby Jean’). ‘Glory Days’ is about just that – each character that appears has been worn down by time, though it’s as much the American Dream that didn’t live up to its potential as these poor souls – while closer ‘My Hometown’ is a plaintive farewell to a city which, over the years, has succumbed to the devastating effects of poverty and crime.

- - -

‘Dancing In The Dark’

- - -

And then there’s ‘Dancing In The Dark’, Springsteen’s biggest ever hit and the last song to be written for the record. Jon Landau, Springsteen’s producer, friend and manager, said the album needed one more hit, so Springsteen went home and wrote that tune. Overnight. Like a Boss.

Sure, the whole thing is ’80s to the extreme – all bombast and big production, with the exception of ‘I’m On Fire’ – but it doesn’t sound dated. Rather, the music itself is a defiant foil to the personal, political and literal wars being raged beneath its glossy sheen. Which, when you think about it, is actually pretty heartbreaking. Even sadder is that its broken themes and dreams are just as pertinent today.

- - -

Words: Mischa Pearlman

Related: more Spotlight features

This article is taken from issue 96 of Clash magazine, focusing on the American Dream – details and purchase links here. 

Listen to 'Born In The U.S.A.' below, in full, via Deezer.

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

“Cross-dresser walks along a street. Bends down, picks up freshly laid dog turd. Eats it.” If you read these stage directions, you’d probably run a mile. But for one actor keen to make his mark in Hollywood, it was all in a day’s work, albeit as far from the Elizabeth Taylor ideal he was aiming for.

For many, this is the scene that defines Divine, the colourful drag queen who worked with subversive Maryland-based bad taste director John Waters in many of his movies. Labelled by the narrator at the end of Pink Flamingos, in which this scene appears, as the world’s “filthiest actress”, Divine may have had a shock value that got him noticed, but his legacy was – and still is – far-reaching.

Documentary maker Jeffrey Schwarz is one of many around the world fascinated by the flamboyant film star, who was born Harris Glenn Milstead. Jeffrey’s admiration for all that Divine achieved and the wider impact he had on American culture comes to the fore in his new film, I Am Divine– an examination of the life of the screen wonder, who rejected the round-hole society his square peg wouldn’t fit into, and whose life was tragically cut short at the age of 42.

The Baltimore-bred misfit began to thrive when he found a group of likeminded individuals borne of the 1960s counterculture that embraced him, says Schwarz. “Growing up, Divine was picked on, teased and abused. When he met John Waters and his crew he found a group that accepted him, loved him, and encouraged him. He was able to take all his teenage rage and channel it into the Divine character. He threw everything that people made fun of him for back in their faces and empowered himself.”

- - -

He grew up wanting to be Elizabeth Taylor and a big, fat movie star, which is pretty much what happened...

- - -

Succeeding in becoming an internationally recognised screen icon and recording artist, Divine’s is “the ultimate ‘it gets better’ story”. In Schwarz’s words, Divine was a poster child for the misfit youth. Making I Am Divine was a chance for Jeffrey to tell his story so that “the next generation [can] get to know their Queen Mother and find inspiration to fulfil their own creative destiny.”

Crossing gender stereotypes and traversing boundaries, ‘trans’ is a prefix that crops up a lot when trying to describe Divine. This transgressive transvestite transformed himself from small-town outcast to transcend expectations and transfix audiences. And in doing so, he not only subverted the typical notion of the American Dream but also, paradoxically, achieved it.

“He grew up wanting to be Elizabeth Taylor and a big, fat movie star, which is pretty much what happened,” says Jeffrey. If the American Dream is defined by the pursuit of happiness, both Jeffrey and former co-star Mink Stole believe Divine threw himself headlong after it and succeeded.

“Of course Divine was in pursuit of his own happiness,” says Mink, who starred with Divine in seven of Waters’ films. “Isn’t everyone? He was as happy as anyone else I knew, and probably more. Although he didn’t have everything he wanted, he was famous, he was working, he had had a varied and successful career and people loved him. His life was pretty darned good! The last time I saw him, at the Baltimore premiere of Hairspray, he was as happy as I’d ever seen him.”

The film highlights his estrangement from his family, and hints at a series of romantic liaisons throughout his life. But although there were one or two significant relationships, Divine never had a traditional long-term partner. It would be easy to insist that there was a deep sadness within the man who presumably found an escape in the character of Divine – there are suggestions that he ate to fill the void within himself (he was clinically obese and died as a result of an enlarged heart) – but Mink contradicts this.

- - -

Hairspray, trailer

- - -

“He never expressed sadness to me,” she explains. “But I know he was thrilled to have his mother with him at the Hairspray premiere in Baltimore [following their reunion], so it was obvious then that he had missed her very much.”  

Schwarz points out that he also hadn’t necessarily wanted to escape Glenn in creating Divine. “Divine never considered himself a drag queen. He was a character actor who played female parts. People assumed Waters must have discovered Divine in an insane asylum: that he was actually like the character he played. It was a great source of frustration for him.”

Neither Divine nor Waters hated where they came from. An outsider himself, the director could have detested America. Instead, as he says in the documentary, he loves everything that’s bad about his country, and his films can be seen as a real celebration of that. That there are people who exist beyond the norm and outside of the accepted rules of society is a large part of that. For Waters, Divine was the opposite of what was considered beautiful and as such, his presence in Waters’ work was a salute to the misfit and a shake-up of the mainstream mentality – bolstered by the controversial deeds he had him perform on screen. 

“Pink Flamingos is still pretty shocking,” says Schwarz. “It definitely still packs a punch, especially with people who haven’t seen it before. And not just the dog shit scene. The scene where Divine gives her son a blow job on camera is one of the most transgressive moments in any movie ever.”

John and Divine were being deliberately provocative. “They were making those films to shake up the love generation. They wanted to scare hippies and become famous and it worked. Divine’s look in (1974’s) Female Trouble was a punk rocker before punk rock [existed]. Those films have been hugely influential in pushing boundaries in humour.”

Perhaps the key to their success lies partially in the fact that both John and Divine were even outsiders to the gay scene that prevailed in America when they were starting out.

- - -

He empowered people to accept themselves...

- - -

“They appealed to other outsiders and freaks,” says Schwarz. “The gay community has always had a problem with drag. On the one hand, drag performers are worshipped and adored by gay men, but on the other hand they’re not looked upon as the ‘politically correct’ image [needed] for straight society to accept them.”

Although Divine’s music and theatrical performances allowed him a platform in gay clubs, his appeal wasn’t limited to a gay audience. Schwarz explains: “He also appealed to punk rock kids, would play straight clubs and hold his own. Divine wasn’t outwardly political and didn’t get involved in any gay causes but just by being who he was, he empowered people to accept themselves.”

So what of his legacy? Schwarz says this: “Divine was the ultimate outsider and still succeeded in becoming an internationally recognised recording artist and screen icon. He gives courage to anyone who’s ever been mocked, ridiculed, and ostracised, and gives us all hope that anything’s possible.”

For Mink Stole, he was a self-confident figure that embraced his individuality. “He has had a lasting impact on Hollywood and American culture. The fact that now, 27 years after his death, we are still fascinated by him and his work is evidence of that.”

- - -

Words: Kim Francis

More information on I Am Divine can be found here. The film opens in UK cinemas on July 18th.

This article is taken from the American Dream-themed issue of Clash magazine (details/purchase links)

Related: more Clash film content

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

You should never judge a book by how many superstars it’s written songs for, but with new artist Knox Brown’s star-studded roll call of Jay Z, Aloe Blacc and Mary J Blige, it’s almost impossible to look past it.

“They heard my music and wanted to work,” explains the Jamaican-born musician. “I feel so humbled and slightly gassed. This is what I’ve been dreaming of for the longest while!”

The first Knox Brown track to surface explored dreaming, but not necessarily his. In ‘Redemption Song’ he samples Martin Luther King, Muhammad Ali, Louis Farrakhan and Nelson Mandela to construct a powerful, piano-led track with a smooth Marley-inspired vocal hook over a Southern-style hip-hop beat.

“It wasn’t something I had planned, it sort of happened,” admits Knox, “but the message in that song is basically me looking back at the past and learning from these role models, seeing what people go through and still persevere. Out of a bad situation may come inspiration.”

He’s working on a EP now, and recently released another number called ‘Harry’s Code’ online. Where ‘Redemption Song’ felt more like a bite of Knox’s influences and beliefs, this track is a more complete single. He champions seeing music “without barriers”, and it starts off appropriately, like a classic dub cut, before the electric guitars and percussion slip into a funk and soul swagger, emphasising Knox’s lyrical potential and Jamaican English delivery.

“My first real introduction was when I was at a friend’s house,” begins Knox, explaining his musical genesis. “He put this game called Music 2000 in his PlayStation and my addiction for music production was born after seeing how he was making beats. Whilst in Year 10 at school, I made my first mixtape the summer after and sold 20 copies.”

It’s hard to believe, but the Knox Brown story is only just warming up. 

- - -

- - -

WHERE: Jamaica / Birmingham / LA

WHAT: Hip-hop fused with reggae and soul

GET 3 SONGS:‘Redemption Song’, ‘Harry’s Code’ (above), ‘Forgive Me’ by Joel Compass (co-written and co-produced by Knox)

FACT: The first hip-hop song he ever heard was ‘Dangerous’ by Busta Rhymes.

- - -

Words: Joe Zadeh
Photo: Mike Hernandez

Knox Brown online

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

As a child, moving to a different town can be daunting, life altering, even. To move to a different continent entirely can shape you in ways that border on the elemental.

Mapei grew up in Providence, Rhode Island, enjoying a childhood littered with long summers and the golden era of hip-hop. Then, her family decided to move to Sweden, plunging her into an extremely different environment.

“I’ve always had a melancholic vein in me,” she sighs. “Due to living in the dark in Sweden, chilling with my girls, being immigrants, listening to Tupac, crying when Tupac died, going to America in the summertime, watching the boys play football where hip-hop was everywhere.”

Using music as a release, Mapei was able to focus on these images, these feelings, and use them to craft something uplifting, something which aimed to transgress her background.

“It’s important for me to be positive because the more negative, cynical and angry that I am the more my life will be like that,” she says. “Now I want to sing more, I want to be more feminine, I want to do fashion. I lived a very rough life, y’know. I want to get out of that and mentally be positive.”

Working with Scandinavian pop producer Magnus Lidehäll, the Stockholm-based artist began experimenting with her voice, crafting a gently seductive blend of soulful pop with a melancholic edge.

“I don’t want it to be corny pop. It’s pop, but new. It seems like the hip-hop that came out [in the ’90s] was like a machine; everything was so perfect. They had perfect videos, perfect album covers. To strive after that perfection is definitely something I have been trying to do.”

In part prompted by her immersion in painting, Mapei’s vivid, deeply visual debut album aims to be as broad as possible.

“I just want my world to be represented,” she says. “I want it to feel real, I want to get as many influences in there as possible so that it’s genre-less. International kid. The future!” 

- - -

- - -

Where: Stockholm, Sweden.

What: Soulful melancholia draped in vivid R&B

Get 3 Songs:‘Don’t Wait’ (above), ‘Bebe’s Kids’, ‘Change’

Fact: Mapei used to be Lykke Li’s flatmate.

- - -

Words: Robin Murray
Photo: Dom Smith

Mapei online

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Having a mundane week? Let cosmic house producer Philipp Gorbachev liven things up with a brilliantly bizarre – and occasionally banging – exclusive mix for Clash.

Joining Kompakt-affiliated experimental label Cómeme in 2011 – the imprint founded by producer of some wonderfully wonky organic house, Matias Aguayo – Russian-born, Berlin-based Gorbachev has become known for his thoroughly leftfield take on dance music, straddling tripped-out disco one minute and sweaty techno the next, all with more colour and character than many producers could hope to muster.

Gorbachev recently released his debut full-length, ‘Silver Album’, which features collaborations with John Stanier of math-rocker outfit Battles, Tobias Freund from Berlin techno label Ostgut Ton and fellow Cómeme artist Daniel Maloso.

We’re not going to lie: Gorbachev’s mix is pretty weird stuff. But it’s fun, too, and compelling in its oddity as you wait to see what piece of ultra-minimal spacey techno or twisted bluegrass will come up next. We asked Gorbachev to wax lyrical about his mix, and wax he did. Here’s what he had to say:

“I went a selfish way of putting in tunes I love banging in the car while driving back and forth to the District Union Studio in Berlin (created and founded with Matias Aguayo), where I work (producing [my] album, jamming and recording new music) and tune my new band called The Naked Man. And as dance music is about movement, that is a good match, I guess.

“This mix tells a story with music from Medellin, Columbia, Jamaica, Saint Petersburg and Moscow, Russia, Texas, Berlin and Germany – deep and silent dance tracks in their essence, provoking to build a house. This discovery has been an influence and help in doing the ‘Silver Album’. Paul Leary and Tobias Freund have a special place in the mix on the album, as mixers and co-producers. And I hope [the mix track by] Sergey Kuryokhin will be an introduction to discover this great Russian avant-garde musician, his bands and movies like ‘2 captain II’, or the famous ‘Lenin Was a Mushroom Speech’ [a pre- planned, televised hoax from 1991 that claimed Lenin used to bosch so many hallucinogenic mushrooms that he eventually turned into one himself].

“[The mix was] put together as a radio selection using turntables and digitised records. In Russia there is no EDM or underground club industry, so this podcast had no commercial pressure, but [was instead] a call to create a silver celebration atmosphere to share with new and old fans, with whom we will hopefully meet at the live show one day! The last track is dedicated to the arrested people around the world!”

Listen to it now... Grab it HERE.
Right click, 'Save As...'

Tracklisting:
1. Silver Simphony (Silver Album LP, Cómeme)
2. Jah Batta - Ten To Seven (Argument LP, Wackies)
3. Sergey Kuryokhin - A Combination of Power and Passion (Some Combination of Power and Passion CD, 1991)
4. Barnt and Philipp Gorbachev - Difcovered Atoman (Correspondant Compilation 01, 2013)
5. Sano - Chupa! (Gladkazuka Version), (Cómeme, 2014)
6. Unreleased Track (2014)
7. James ‘Jack Rabbit’ Martin - Rabbit Trax II (The Next Generation After), (Yoton, USA)
8. Bad Livers - The Adventures of Pee Pee The Sailor (Quarterstick Records)
9. Tobias. - Ya Po (A Series of Shocks LP, Ostgut Ton 2014)
10 Philipp Gorbachev - Arrest Me (Песня Для Арестантов) (Radio Edit), (Silver Album LP, Cómeme)

Words: Tristan Parker
Photo Credit: Studio Parvulescu  

- - -

Philipp Gorbachev’s ‘Silver Album’ is out now on Cómeme.

Buy Clash Magazine

Get Clash on your mobile, for free: iPhone / Android

We quite liked Sharon Van Etten’s new album, ‘Are We There’. Here’s a 9/10-rated review. Indeed, we liked it so much, we called the New Jersey artist up to have a little natter about it. And some other stuff, too. Like The Boss, obviously.

- - -

‘Every Time The Sun Comes Up’

- - -

We’re quite the fans of ‘Are We There’. Have you felt an upward momentum, off the back of the album’s release and reception?

I think that, this time, I’m more aware of what’s happening, that things are growing. Myself, I’m a lot more confident than I was a year or so ago. I feel like I’m able to be more engaged with audiences now – and my audiences have become more rowdy, which is unusual in a way, because of the music I do. I’m still figuring it out, y’know.

On the last record I was touring as a four-piece, but this time there’s five of us. We’re still very dynamic and engage with the audience, but I don’t know whether I’m projecting anything differently to before. There’s definitely something happening, and maybe I do get a kick out of it, I can’t tell. I am having more fun this time around, that’s for sure.

Lyrically, the album is pretty open – much like its predecessors. I’m wondering how the catharsis process works for you. Once you’ve boxed these emotions up, is that it? When you play them live, is it like reading from lines? Or do they stay close to you?

Well, I find myself in some pretty dark places, and I write just to feel better. I don’t share everything with people, through my songs. Some stuff is way too personal. When I do decide to share something, when I set about properly working on it, it’s because there’s some universal idea to it. But when I perform them live, all of the songs are still personal to me. They’re all a part of me.

You know, I think of songs like old pictures that you might have had taken with an old friend. You might not see that friend for a long time, but you see the picture and you’re right back in that moment. It might be five, maybe 10 years later, but you might see the photo and get a little bit of a pain. But for the most part you don’t – although you definitely remember. So I feel the emotions in the songs, even if they’re years old. They meant something to me then, and they do now, which is a good thing.

- - -

I don’t want to be really negative all of the time, and even though there’s pain in these songs, there’s a lot of love there, too…

- - -

Love songs tend to fall into two distinct categories: they’re for love, or against it, embracing the pleasure or the agony. Yet you seem to exist between these points. I hesitate to call it a grey area, but you manage to articulate real pain while presenting a sense of optimism with it.

Well, I don’t want to be really negative all of the time, and even though there’s pain in these songs, there’s a lot of love there, too. People ask me if I think about my listeners when I write my songs, and I’m like, ‘Well, I do share things that I hope people can relate to.’ But I’m always thinking, when sharing the songs, about the person that the song is actually about. Because, that’ll be someone who I love, and these songs are about real people, and real experiences that we shared.

The songs come from a true place, and they’re painful. I don’t want to blame anyone, just as much as I don’t want to be angry. But it is easy to go there, when you’re in that place. Anger is one thing that you have to rein in – not in a centred kind of way, but in terms of having the right awareness. You don’t want the song to be angry. It can be sad, but it’s not anyone’s fault.

You say that there are things you don’t share. Presumably those are the beginnings of songs touching on themes too personal to you, which miss that sort of universality.

Yeah. If I’m having a really hard time getting where I need to on a song, and I feel that it’s going to alienate the listener, then why would I share that? I want to connect with people. Personal stories can be shared – but if I’m just feeling bad, inside, that’s not going to help anybody. I am still learning how to be personal but be direct, and to sing from my heart about these experiences while appreciating that it should be articulated in a way that people can relate to.

You self-produced the new album. What was that like, not having that objective presence there, as a sounding board for the process?

I went into the studio with every song written, apart from one, ‘Every Time The Sun Comes Up’, which I did write in the studio. But we used Stewart Lerman’s studio, and he advised me from the top. He asked me what I wanted to achieve. I had the songs, I had the band, I had the time and I had this studio space where I felt comfortable and could be myself. I didn’t feel it was too fancy. I laid it all out there to him, and he said: ‘I’m not going to be there with you all the time in the studio, but I want to help you.’ He wanted to make sure that I got what I wanted out of the studio.

So, he took me into his personal studio, in New Jersey, and helped me when I was on the other side of the glass – he’d remind me of all the things I’d told him that I wanted. Because I was really close to my band, he was the outside person, and kept us on that path we’d set out on at the beginning. Without Stewart there, I think I would have banged my head against the wall more. He cut to the chase a lot. Having those conversations, I realised what each song wanted to be, what the cores were.

- - -

‘Taking Chances’

- - -

So if you were recording in New Jersey, how far was that from where you grew up?

It was really nice recording back in New Jersey. The commute to the studio was no more than 40 minutes. I’d take the train to the bus station – and I guess from there, to my parents’ house, it would have only been another 20 minutes. It was a great studio, a great place to work.

We’ve just had the American Dream issue here at Clash, where we covered ‘Born In The U.S.A.’ (here!). Growing up in New Jersey, is Bruce Springsteen basically a saint to you?

He is really amazing. He wrote all these anthemic songs. I used to play ‘Born In The U.S.A.’ on vinyl – my sister found me in the basement, putting on my dad’s record, to listen to that song. It reminds me of being a kid. But Bruce is such a hard worker. Even if you’re not a fan, there’s no reason to not have respect for him.

In terms of the period between albums – ‘Tramp’ came out in 2012 – what do you think you learned? From just doing your own thing, and from touring with someone like Nick Cave?

I’ve learned a lot along the way – and you hope that you do. I’ve made four records now, and I’ve definitely learned to surround myself with people who support me, and to never feel that I have to compromise who I am because of the people around me. You might meet people who you think you’re supposed to be friends with, but they’re not meant to be within your circle.

Through the many phases of my music, I’m trying these things – I never want to just do the same thing. And as far as what I learned on the Nick Cave tour, I definitely felt supported by those guys.

I was with someone at the time of those Nick Cave dates (in 2013), and he was upset with me taking them, because I’d promised I’d be off. Instead of him being supportive of me, because it was something that I really wanted to do, and meant a lot to me, he got really upset. He’d make me cry before every show of that tour. And Nick came up to me and asked, ‘What the hell is going on here? What is happening?’ I told him, and I asked him about him and his wife. I asked if they had fights, because he toured so much. ‘Oh, we fight,’ he told me, ‘but never about work.’

That meant a lot to me. Warren (Ellis) was really sweet, too. He’s buds with my friend, Shilpa Ray, who was also on that tour – we were both backing singers. He took us under his wing, like we were his daughters. The whole band looked after us, and gave us lots of advice. I feel really lucky that I had that opportunity, and I’m glad I did it. We’re all equals, really.

- - -

I’ve learned to surround myself with people who support me, and to never feel that I have to compromise who I am…

- - -

Taking your music to the larger, festival-sized stages, has that been an easy process? It seems to me that these are quite impersonal spaces, where maybe your music mightn’t wholly connect?

One of the last festivals we played was Primavera (review), and that was really fun. But I still think that the music I play, it’s a hard sell at a festival – it’s hard to connect with people. At a festival, for me, it’s about partying, and drinking, and dancing. I lucked out with my Primavera audience, as they were great. But I know it won’t be like that every time. I definitely struggle with outdoor events. I don’t offer a straight-up rock show.

Speaking of festivals, you’re at Way Out West in Sweden in August. You’re playing the same day as OutKast, which is amazing. But I know how these things work. You’re probably going to have to leave before they’re even on, right?

Oh man, if I can stay there, I will. I’m not sure where I’m at the next day. That’d be a bummer. But you only get a small amount of time when touring, when playing these things – you see the world through a van window.

Have you been to Sweden before?

I haven’t been, actually. I’m looking forward to it – apart from the fact that I hear it’s really expensive. But my mum’s mother, my grandmother, was Swedish, so there is some family history there. I’ll have to ask my mum if there’s any old Swedish money she’s holding on to.

- - -

Words: Mike Diver
Photos: Dusdin Condren

‘Are We There’ is out now on Jagjaguwar, and reviewed here. It’s one of Clash’s top seven albums of 2014 so far, too – read that piece here. 

Sharon Van Etten online. She plays Way Out West, held in Gothenburg, on August 7^th-9^th. Details here. 

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Compilations can often be hit-and-miss exercises, but Madam X’s ‘Kaizen Movements Vol. I’ not only showcases a rich and diverse array of emergent UK underground talent, but packs plenty of raw, homegrown charm too.

A vociferous advocate of her adopted home city of Manchester, Madam X (aka Christiana Vassilakis) has championed local names like Fox, G.S.ONE and Marcx louder than most over the past few years. Alongside her BPM (Big People Music) label crew, she has played a key role in the expansion of the city’s network of experimental, grime-centric producers.

With that in mind, in the first of a new series of label-focused Life At 140 features, I caught up with Madam X about the compilation, her BPM club night and label, and got her to pick out some of defining moments.

- - -

- - -

Tell us about ‘Kaizen Movements’ – what were the aims behind it?

There’s so much diversity in the underground, so I really wanted to showcase all the interesting, abstract producers who’ve been pushing the boundaries and experimenting. There’s a massive network of artists taking influences from grime, tech, funky, cross-pollinating sounds, flipping genres, redefining club music; the compilation was the perfect excuse for me to showcase the people doing it best.

Why ‘Kaizen’?

The word ‘Kaizen’ stems from the Japanese for ‘continuous improvement’, and it’s been engrained in the BPM ethos since our inception as a record label. It was important to showcase new, up-and-coming artists like T Man, Timbah and Trap Door, as well as those you might already be familiar with like Murlo, Dark0 or Sudanim. Their sounds compliment each other, but can also stand alone in their own right too, which is what feels special about the compilation.

Could you pick out three tracks from ‘Kaizen Movements’ that you think everybody should listen to?

Benjha – ‘Lighthouse Blues’

One of the reviews I read dubbed ‘Lighthouse Blues’ as the “wild card selection”, which I felt was pretty fitting as it’s hard to compare it to anything else. Benjha’s someone I discovered on one of my SoundCloud journeys, rummaging for new material, and I was taken aback by his music. Somehow he manages to paint pictures with his productions, exploring space and textures with classical instruments. His music’s the kind of thing you want to listen to on a wind down, when you’ve just come back from a rough night. In fact, he’s the only one off the compilation who doesn’t live in the UK. His Greek heritage totally shines through and I could totally see Gilles Peterson supporting his music one day.

G.S.ONE – ‘You Should’ve Known’

G.S.ONE has been with us since day one and released his debut EP, ‘Lucid Dreams’, on BPM in March. He’s influenced by all sorts: R&B, soul, jazz, purple music, UK funky. He’s a really diverse producer. What I love about ‘You Should’ve Known’ is the simple beautifulness to it. The way the summery chords cut through the piano line, alongside the samba-influenced drums, is really pretty. Since the compilation dropped, the track’s seen support from Butterz on Rinse and might even see a cheeky second release on ‘Kaizen Movements Vol. II’ with a certain Manchester vocalist!

Marcx – ‘Caged’

Marcx, like G.S.ONE, is Manchester based, juggling music and university commitments. I’d actually had ‘Caged’ with me since 2013, when Oneman and a couple others were spinning it, and I’d been really keen to get Marcx aboard the project. He’s definitely one to watch this year – his productions lie in that experimental, grimy landscape. Definitely check more of his stuff out when you get a chance, it bangs.

Could you pick out five moments that have helped define where BPM is today?

One: Taking the club night to The Roadhouse in 2012 was a real turning point for us. Before The Roadhouse, we’d been holding monthly resident parties at The Corner in Fallowfield, and you could only squeeze about 50 people in there. Now we can showcase more artists to a wider audience, while maintaining that intimate environment we associate with our nights.

Two: In 2012, DJ Darka and I had The BPM Showcase on Manchester Community Radio. We had free rein to play whatever we wanted, which was really fun, and it gave us a platform to push the music we loved. It was actually the work we were doing on the radio show that prompted us to develop BPM into the record label, because we were playing so many tunes that weren’t seeing releases.

Three: In October 2012, we were approached by the Contact Theatre to curate their Black Sound Series event, in light of Black History Month. This was the first time we’d ever worked on a big-scale project, that wasn’t just a club night, and it was a really fulfilling experience. We hired Manchester’s Kaleidoscope Orchestra to work with Flowdan, Elisabeth Troy and MC Fox to flip their own tunes into classical pieces of music. Within a day of the event going being announced, it sold out – there was so much talent in that room. (Watch in on YouTube.) 

Four: Earlier in 2014, G.S.ONE’s ‘Lucid Dreams’ EP launches our label. G.S.ONE was an artist we’d been championing for years and wanted to give others a chance to hear his amazing work. His sound is a sort of futuristic interpretation of RnG, filled with ambient spaces, emotional ad-libs, and spoken-word. Even now I have trouble defining the sound of the EP because it’s so abstract, but “gully romance at its finest” is one of my favourite descriptions from reviews it got.

Five: The fifth moment isn’t so much a moment, but rather the people that make up BPM. Dj Darka, Phaze One and T.Dot built it from the beginning, before I arrived in Manchester, and remain crucial to the running of the label, the club nights and the ethos. Our resident DJs and MCs, like Sleepy, Faro, G.S.ONE and Mac Real, are also massively important to the BPM movement, as well as our behind-the-scenes characters: Fred Velody (videographer) and David Sinclair Smith (photographer). I can’t forget producers affiliated with us either: T Vish, Dark0, and Philly&Jazz.

- - -

Words: Tomas Fraser

Related: more Life At 140 features

Find BPM online here

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

From James Truslow Adams’s original definition to the less conventional definition of Time magazine’s Fareed Zakaria – “The American dream for me, growing up in India in the 1970s, looked something like the opening credits of Dallas” – the true definition of the American Dream has changed into a series of looser ideals.

Commonly, there’s the concept of freedom in every sense of the word. There’s the ability to relentlessly seek happiness, however materially based or ultimately vicariously that might be. There’s the idea that you can rise from humble beginnings to command a sprawling empire of your own. Hell, maybe Star Trek summed up the idea as succinctly as possible with the Vulcan greeting, “Live long and prosper.”

With talkies trailing similar literary works such as Of Mice And Men and The Great Gatsby, the American Dream’s representation in film has rarely offered the celebratory without a massive venereal dose of the cautionary.

IT'S A WONDERFUL LIFE (1946)

The foreclosure of George Bailey’s dreams in Frank Capra’s It’s A Wonderful Life (1946) offers a little bit of both: life without him, reveals the angel Clarence, would’ve seen Bedford Falls collapse into a cesspit of destitution and immorality, much like any contemporary indie film’s examination of poverty porn amidst the underclass.

The film ends joyously and sentimentally upbeat for the “richest man in town”, as his dreams are fulfilled in the least expected manner. The fact that the worst tendencies of capitalism pushed a fine man to the brink of suicide, to the extent that his only possible saviour is a humanoid spirit with wings, is almost forgotten about.

Soon after, however, the ideal of freedom of expression in Hollywood was eroded as a systematic blacklist of film industry talent was drawn up to eliminate those allied to or sympathetic with the Communist Party of America. The knock-on effect was an era of conformity: Technicolor tales of the suburban joys of the nuclear family.

ALL THAT HEAVEN ALLOWS (1955)

As one of the prime exponents of this trend, the German director Douglas Sirk was held in low-regard for the majority of his career for his apparently glossy, superficial soaps. His subsequent reappraisal – helped in its momentum by Jean-Luc Godard – centred on the societal critique under the apparent banality. His 1955 film All That Heaven Allows has since been described as “a fabulous, ironic piece of performance art”.

The critique of society and indeed the entire nature of the American Dream evolved throughout the ’60s. The likes of Cool Hand Luke and Easy Rider respectively addressed changing perceptions of the desirability of conformity and a whole new counterculture’s altering attitudes to everything that made the dream what it was. Altamont and 1970’s Gimme Shelter documentary slowed the latter, but Vietnam left film in a position where glorification of the ideal just wasn’t credible.

America was once the distant land where immigrants could achieve their most unimaginable dreams. Maybe things worked out at least relatively well for the Italian-Americans in The Godfather and Goodfellas. Yet if the fate of your ancestors would be that of the horrors endured by the Russian descendants in The Deer Hunter, how could that ever be worth pursuing? If military service resulted in Taxi Driver’s Travis Bickle – broken, alone and utterly dysfunctional – how could fighting for your country ever be of value? Still, there was always Rocky.

TAXI DRIVER (1976)

By the ’80s, the dream was again resurfacing: in some cases it flourished in a world of excess (whatever the subtext, this was the time in which Wall Street, The Secret Of My Success and Working Girl were huge commercial hits). In others, it was punctuated by a less dramatic issue, such as the spectre of divorce hanging over the family in E.T. (pictured main) It was even softly parodied with Billy’s ever-failing inventor father in Gremlins, or with Back To The Future’s nostalgia for a more innocent past that was undermined when the teenage Lorraine McFly was revealed to be exactly like the girls that she was criticising in 1985.

It was also the time of the Brat Pack, a loosely defined gaggle of young actors with good looks, fame, wealth: the world at their feet in the finest American tradition. Okay, so not all of their careers became stratospheric, but surely no one at the time saw the destiny of the characters they played.

The inhabitants of coming-of-age favourites such as The Breakfast Club also shared a similar youthful albeit more grounded idealism. The reality would’ve been that some of these characters’ futures would, like the stories found in the movies of Generation X, be forever destined to waste their lives away in places like the VHS rental store found in Kevin Smith’s Clerks. Or at least until the rental store was eternally terminated by streaming.

CLERKS (1994)

Clerks. Slackers. Singles. The ’90s was a time in cinematic fiction in which the character’s dreams were lost, downgraded or simply didn’t exist despite the elegance of their language, suggesting that they had the ability to succeed in a more conventional life-plan. Perhaps Randal summarised it best in Clerks: “We like to make ourselves seem so much more important than the people that come in here to buy a paper... We look down on them as if we’re so advanced. Well, if we’re so f*cking advanced, what are we doing working here?”

The aimless nature of ennui drifted through to the close of the decade. Now it wasn’t just the first-jobbers struggling to define their existence. Office veterans were beating each other brainless just for kicks in Fight Club. When American Beauty’s Lester Burnham realised that the highlight of his day was wanking in the shower, it started a life-affirming chain of events that resulted in his neighbour blowing his brains out. What might’ve started as a healthy mindset ended with no mind at all.

In recent years, the dream has continued to be a rich cinematic source. The films can be, as The New York Times said of The Pursuit Of Happyness, “a fairy tale in realist drag”. Or, the pursuit of the dream can be the one thing that makes you feel alive at the cost of everything else that makes existence what it is, just as The Ram’s final speech in The Wrestler alludes to.

THE WRESTLER (2008)

Mostly, however, the dream is portrayed as an illusion, a blurred fragmentation of your wildest dreams and your most terrifying nightmares. Even the most cynical mind can’t watch the trailer to The Wolf Of Wall Street without briefly considering that with money, power, women and brotherhood, Jordan Belfort’s life must’ve been awesome. Yet only the most hedonistic and emotionally vacant soul could view the film as a blueprint for life.

As Jordan finally concludes in the less-than-glamorous surroundings of a low-security prison yard: “For a brief, fleeting moment, I’d forgotten I was rich and lived in America.”

- - -

Words: Ben Hopkins

Related: more Clash film content

This article features in Clash’s special American Dream-themed issue, starring Lana Del Rey, out now. Details and purchase links. 

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Your monthly fix…

- - -

SHAGGY

NEWS

At last July’s Reggae Sumfest, I-Octane marked a career milestone when he closed Dancehall Night for the first time.  After the show dancehall veteran Mr. Vegas questioned whether Octane was the right choice for this honour.

This year, Octane refused the promoters’ offer to close the show again, suggesting that Vegas should do it. Over the last month, Vegas has replied with a video statement and song called ‘Ready Long Time’, which seems to take shots at Octane – who has since accepted the offer to close Dancehall Night. After all the back and forth, fans are waiting to see which artist brings their A game to the stage this time.

It appears that Mr Lover Lover has officially put a ring on it. The biggest-selling dancehall star of all time, whose ‘Hot Shot’ album was certified diamond in 2001, was spotted shopping for rings with his long-time girlfriend in June. Although the artist’s rep replied “no comment” to the marriage rumours, Shaggy has never actually said, “It wasn’t me.” Now, inside sources report that the pair wed in a private ceremony at Chris Blackwell’s exclusive Golden Eye resort. #Congrats

- - -

JAH CURE

TRACKS

On his brilliant new release ‘Life We Live’, Jah Cure sings, “Bob Marley said have no fear / Everything is gonna be alright.” Its echoing of the chorus to ‘No Woman No Cry’ is no accident – Cure has often stated his desire to follow in the footsteps of the greatest reggae artists who ever lived. This song, produced by Sketch Carey, is one of his finest.

It’s been a big year for Spice(pictured main), whose video for ‘So Mi Like It (Raw)’ has racked up almost four million YouTube views and inspired Busta Rhymes to jump on a remix. What could she do to top herself? How about changing her gender?

In Spice’s latest video, ‘Like A Man’, she appears wearing a men’s suit and sporting a moustache. The song, produced by DreDay, offers a fresh spin on the plight of female reggae and dancehall artists in a male-dominated industry. “Females are doing their thing and we are not getting the respect we deserve,” Spice commented when the video dropped. Check out Spice talking about her latest accomplishments…

- - -

ALBOROSIE

ALBUMS

When the Italian-born reggae singer Alborosie isn’t touring the world, he spends most of his time in his studio at home in Jamaica. The latest product of his efforts is the album ‘Specialist Presents: Alborosie & Friends’, a collection of duets with a wide range of reggae talent – Michael Rose, Horace Andy, Etana, Busy Signal, Sizzla, and fellow European reggae star Gentleman. The album dropped via V.P. Records on June 17th. More information on Facebook.

- - -

ELEPHANT MAN

RIDDIMS

There’s no doubt the hottest riddim in rotation this month is DJ Frass’s ‘Gwaan Bad’, a pulse-pounding digital track reminiscent of Dave Kelly’s classic 1990s beats for Madhouse. ‘Gwaan Bad’ boasts a crazy line-up of artists including Mavado, Elephant Man (pictured), Mr. Easy and Lady Saw– not to mention two tracks by incarcerated superstars, Vybz Kartel and Buju Banton – all deejaying some of their baddest lyrics in years.

- - -

DENNIS BOVELL

GIGS

Dennis ‘Blackbeard’ Bovell may be clean-shaven these days, but he’s still a cornerstone in the UK reggae scene. From his Jah Sufferer sound system to his work with Matumbi, LKJ, and lovers rock pioneer Louisa Mark, Bovell has had a profound influence on British reggae. So when he turns up with some tunes to spin, you know it's going to be special. On July 9th he will be dropping some rare selections at the Dub Me Always night at Upstairs at the Ritzy, in Brixton. Details. 

Reggae Sumfest always stands apart from other festivals. For more than 20 years, the three-night showcase of the best Jamaican talent alongside a handful of rap and RnB stars has proven a winning formula and 2014 appears to be no exception. This year’s headliners include dancehall superstar Sean Paul – who has not graced the MoBay stage for 10 years – along with Future, Jason DeRulo and Wiz Khalifa. Beenie Man, Chronixx, and Jah Cure will also appear on International Nights. Thursday’s Dancehall Night line-up includes Bounty Killer, Busy Signal, Alkaline, Spice and QQ– and the aforementioned Mr. Vegas and I-Octane. For more info and tickets, check here.

- - -

MARCIA GRIFFITHS

AND TO WRAP UP

Marcia Griffiths, the undisputed queen of reggae, hit Jamaica, Queens to celebrate 50 years in the music biz at Groovin’ In The Park this June 29th. The upscale affair attracted 25,000 punters with a line-up that boasted some of the greatest names in reggae history – many of whom have worked with Marcia at one time or another. With at least half a dozen outfit changes, Griffiths was prepared for anything. She first hit the stage around 3pm – warming things up with her international pop hit ‘Electric Boogie’ – and kept going strong with intermittent breaks until 9pm.

Highlight guest spots included Lady G, Ken Boothe and Bob Andy– one of Jamaica’s greatest songwriters, who sang ‘To Be Young Gifted And Black’ with Marcia, the 1970 Nina Simone cover which ended up at five on the UK singles chart. Judy Mowatt also joined Marcia for a Bob Marley medley, reprising their roles as Marley’s backup singers.

The climax came when Beres Hammond hit the stage. As he ran through his usual set – ‘What One Dance Can Do’, ‘Full Attention’ and ‘I Feel Good’ – Beres had the girls screaming his name and singing along.

“I sing for the ladies, but it’s the guys who reap the benefit,” he joked. Then came Marcia sporting yet another fresh outfit. Watching them perform their timeless duet ‘Live On’, it was obvious how much respect and love they have for each other. Holding hands and singing in the sunset seemed to be just as much of a treat for them as it was for the audience. “And when we’re old and grey,” they sang to each other, “we’ll still be this way.”

Not even a highly anticipated set by Australian pop band Air Supply could match the Marcia magic. Before they started getting booked on reggae festivals, the duo hadn’t realised how big their songs were in JA, nor how many reggae versions are out there. And it wasn’t just the crowd that was looking forward to their set. She may have reigned all night, but even Marcia knows when it’s time, it’s really time: “I want to watch Air Supply!”

Watch Marcia talk about working with Bob Marley and how she made it through the last 50 years:

- - -

See ya next month!

Words: Reshma B
Online / Twitter

More Reggae & Dancehall columns

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Monkeytown’s newest signee and techno disciple Alex Banks has had a whirlwind of a year so far. After a fateful set of events led to his demo hitting the ears of Modeselektor’s Szary and Gernot (which you can read about in our full feature with the producer), he swiftly became an addition to the label. His debut artist album, 'Illuminate', is out now and reviewed here.

Clash spoke to Alex just after he’d been working on this exclusive mix. He told us: “It’s a slightly weird feeling because I’ve been working on the album for so long that I’ve always got loads of stuff to do in the studio. If you’re working on a DJ mix, you can just do it on your laptop – it’s like that feeling when you’re a kid and you’re having a day off school! And it’s okay ‘cos you are being productive, you’re just chilling out in your flat with a cup of tea, looking for music... this is actually a job, so it’s alright!”

Despite being put together while sipping on the brown stuff, Alex’s mix bangs hard – pulling together flavours of fellow Monkeytown artists, as well as other dark-hued techno producers and stirring electronica from Ninja Tune and Ostgut Ton. Stream his selection below.

- - -

- - -

TRACKLIST:

Tobias – ‘Entire’ (Ostgut Ton)
Sean Piñiero – ‘Green Copy’ (Young Alaska)
Olafur Arnalds – ‘Endalaus II’ (Erased Tapes)
Christian Löffler – ‘Notes’ (Ki)
Redshape – ‘It’s In The Rain’ (Running Back)
FaltyDL – ‘Hardcourage’ (Ninja Tune)
Kiasmos – ‘Thrown’ (Erased Tapes)
Max Cooper – ‘Supine’ (Fields)
Moderat – ‘Milk’ (Monkeytown)
Bonobo – ‘Cirrus’ (Ninja Tune)
Percussions – ‘Sext’ (Text)
Answer Code Request – ‘Axif’ (Ostgut Ton)
Alex Banks – ‘Initiate’ (Monkeytown)
Cosmin TRG – ‘Auster’ (Bleep)
DEFT – ‘A Little Kiss’ (Wot Not Music)
Shed – ‘With Bag And Baggage’ (Monkeytown)
Four Tet – ‘128 Harps’ (Text)
Alex Banks – ‘Solar’ (Monkeytown)
Jono McCleery – ‘Ballade’ (Djrum Remix) (Ninja Tune)

- - -

Related: more Clash DJ mixes

Alex Banks online. His new single ‘Be The One’ is released on 12” on July 11^th through Monkeytown, as part of the Modeselektion series. Details. 

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

To borrow a phrase from Taxi Driver – itself half-inched from a Johnny Cash song – Manic Street Preachers are truly a walking contradiction.

Capable of producing songs as different as ‘Faster’ and ‘Ocean Spray’, ‘Stay Beautiful’ and ‘Show Me The Wonder’, the Welsh group seems to thrive through refusing to accept any definition of who they are. Last year’s ‘Rewind The Film’ album (review) was an introverted gasp at mass acceptance, but alongside this the trio was stockpiling material for a rather different release.

A release that is now upon us. ‘Futurology’ (review) is outward looking, an ambitious pan-European document which somehow manages to make the band seem more Welsh than ever. It finds the Manics indulging their Simple Minds fetish, pouring forth some New Pop and sounding, well, more riveting than ever.

“The lyrics, more than anything, were completely different on both albums,” explains vocalist and guitarist James Dean Bradfield, marking the distinction between his band’s newest record and its immediate predecessor. “[‘Rewind The Film’] is much more inward looking, while the other just looks outward and is slightly more optimistic looking. It takes some joy in life. Whenever I think about it, it was seamless, really.”

Locked away in their own Cardiff studio, Manic Street Preachers are now able to flit between genres, styles, modes of expression with an intense sense of ease. “We’ve created such an environment...” says bassist Nicky Wire, “such an environment where we all trust each other. We work at different times, we work together, we’ve got producers we trust, engineers... That’s the least problematic part of it.”

“I think if you’re on your 12th album you should be able to divide that up in your brain,” argues James. “If you look at (1994’s) ‘The Holy Bible’, the first single is ‘Faster’ and the first single off (1996’s) ‘Everything Must Go’ is ‘A Design For Life’. I never had any confusion in my mind, even back in those days. Because I kind of know that confused morass does exist within our personal inter-relationships within the band – in terms of what we talk about, what we argue about. It’s there in our relationships.”

- - -

'Futurology' album sampler

- - -

Composed partly in Berlin and partly in Cardiff, ‘Futurology’ is littered with references to the former Eastern Bloc, to the enormous cultural shifts that have occurred in Europe across the past three decades.

“There was one particular tour supporting ‘National Treasures’, the greatest hits we had out (in 2011),” Nicky reminisces. “We went through the heart of Europe, and all the things I’d fallen in love with seemed to come to life right in front of me – just the idea that culture and language could be disregarded through art. Art could unify more than any political statement or any language, or anything – all these connections are there for you, you just have to discover them. That particular tour certainly reinforced that, and in terms of the lyrics had a big influence (on the new album).”

In part prompted by this plethora of reference points, the band began looking to the post-punk era’s aural geography as a counterpoint.

“The music was always in our DNA,” states Nicky. “Especially with James and Sean (Moore, drummer), the whole early Simple Minds, the post punk jaggedness, the new pop of Scritti Politti, I think that was just something to re-emerge.”

For James, the Simple Minds reference is not to be taken ironically; a keen student of their music, he immediately barrels into an impassioned defence of their output, with particular emphasis on the Scottish rock act’s first four albums, those that came before their breakthrough with ‘New Gold Dream’.

“It’s part of certain cathedrals of knowledge in my life, early Simple Minds,” says the vocalist. “I don’t think anyone has ever topped that. The implausibility of working-class Glasgow lads taking in all these European influences – it’s just f*cking amazing! It captured me as soon as I heard it. I just love the idea of this over-arching ambition of working-class kids in Glasgow knowing that they were connected to Europe.”

The issue of class occurs arises several times throughout our conversation, with these musicians conscious that a class divide still exists in British music. Wire freely admits that he has fallen out of love with rock music, preferring instead to focus on visual arts. Indeed, ‘Futurology’ contains tracks such as ‘Black Square’, named after a 1923 painting by Kasimir Malevich, and ‘Between The Clock And The Bed’, also the title of an Edvard Munch self-portrait.

- - -

Real political movements exist in the most weird places...

- - -

“The democratisation of music may be a wonderful thing in theory, but in practice it’s just f*cking so much noise, isn’t it?” laughs Nicky, before James interjects. “Some people call it gap-year music. Perhaps they’ll have a chance of a major label album release before taking an internship with their daddy. That sounds like a particularly jaded and vicious thing to say, but there is some of that around.”

For Manic Street Preachers, the greats are still there to be sought after. James explains: “I always love that Slash quote where he says, ‘I don’t think it’s important to be the best in the world, it’s important to be the most distinct, the most recognisable musician in the world.’ If you take any musician... if it’s Joe Strummer or Slash or Howard Devoto, it was more important, more comforting for me to know that this was a voice I had tapped into a long time ago. It switched something on in me, and I wanted to keep hearing different things from that voice.”

Remaining an utterly distinct, idiosyncratic force, even the band’s choice of collaborators is revealing. For a pan-European discourse, ‘Futurology’ is a decidedly Welsh affair, something they insist they weren’t conscious of at the time. Super Furry Animals’ Cian Ciaran makes a guest appearance, while Scritti Politti’s own Green Gartside, a native of Cardiff, duets with James on ‘Between The Clock And The Bed’.

Asked if travel explodes or enforces their notion of nationality, the two seem split. Says James: “It’s a hard one. Sometimes I feel like I’m Welsh when I’m in Britain, and I feel like I’m British when I’m abroad, but that changes around sometimes. I think, undoubtedly, I feel more European just by having experienced it, and seeing how the landscapes can change beyond belief. I’ve experienced all those things and seen them change along the way... I can’t help but feel a part of it now.”

For Nicky, though, it’s more a question of current locality. “I do feel a citizen of place, really – not of the world, but a place. Wherever you are, I feel almost a duty to explore that place a bit, and not necessarily understand it but at least come to terms with certain facts of its importance, something that’s gone wrong, something that’s gone right.”

- - -

'Europa Geht Durch Mich'

- - -

It’s a belief that comes to poetic fruition on album standout ‘The View From Stow Hill’. On the surface a blissful New Pop vignette set in the Welsh countryside, Wire picks out the hidden Chartist history of this quiet, unassuming location.

“The hidden history, I guess, of towns really fascinates me,” he states. “From the smallest place to the biggest place. You kinda get saturated with an omnipresent view that basically London is the history of Britain, which I find incredibly frustrating because I could be in York, I could be in Greenock Bay, I could be in Dundee, I could be in Tenby, and there’s always something really interesting to find. ‘...Stow Hill’ is definitely about that. Unfashionable places get squeezed and caricatured, but real political movements exist in the most weird places.”

Bound together in their studio, Manic Street Preachers are a stubborn, almost unstoppably wilful force, even so long after their formation, back in 1986. “People talk about the Westminster bubble, the political village,” jokes James. “I think we have this pretty impenetrable bubble in the studio, down in Cardiff. Sometimes I think it is dangerous that it’s impenetrable, and we don’t let people into it, really. But it definitely worked for these songs.”

One of the album’s most impassioned tracks, ‘Let’s Go To War’ finds the band yet again erupting out of the trenches, but seemingly anticipating defeat. Nicky explains: “There’s still something about the band – not even us as three individuals – that kind of stands for this kind of misguided resistance. It’s not always well placed, but it’s certainly there.”

“At the moment I feel like I’m at war with my own cynicism, definitely,” says James. “I know I used to hate what the Tory party stood for, and I know I kind of detest what the coalition stands for, but now I detest New Labour as well. I’m kind of at war with my own cynicism, because I’ve become one of these people who says: they’re all the same.”

“I despair, myself, at not being as engaged as I once was,” adds Nicky. “So, how can I expect everyone else to be? When the culture is that empty, all you get is emptiness.”

Speaking to the band, it seems that the simple act of being in Manic Street Preachers almost acts as its own form of inspiration.

“If we don’t look at each other and say that the music we’re making gives us goose bumps, then we know it’s f*cking all over,” Nicky bites. “You can’t expect anyone else to be excited by you if you’re not excited by yourself. I mean, I always despair at mixing, I think it ruins everything – but getting this record back, it was such a seamless flow. That sense of movement that we were trying to get across – you just feel you’re on some kind of journey. As long as we keep doing that, we’ll be alright.”

- - -

Words: Robin Murray
Photos: Alex Lake

‘Futurology’ is released on July 7^th. Find Manic Street Preachers online here.

Related: find our Complete Guide to the Manics here, and Clash readers vs the band, here.

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Music and television have always been awkward bedfellows, particularly in the UK. Take a quick look at the schedules: beyond the usual customers – okay, customer, in the shape of Later… – there are precious few channels allowing artists time to express themselves.

Annie Mac has her Superstar DJs series on Channel 4 (read all about it), but for the most part, TV commissioners remain cold to new music shows.

Zane Lowe, though, is eager to try something different. Relentless Ultra Presents Soundchain With Zane Lowe is a new show coming to MTV Music, which – despite its mouthful of a title – has a simple concept.

“It’s about the points on the journey,” the broadcaster explains. “The people, the songs, the influences, the highs and the lows, the real broad-stroke headlines, pieces of wisdom and advice that have stuck with those artists. Because that stuff stays with you, so it’s about getting those stories and getting that insight into what defines those artists.”

A seven-part series, Soundchain finds Lowe granted intimate audiences with everyone from Queens Of The Stone Age to Nas, Kasabian to Chase & Status. Comparing to series to his own BBC Radio 1 show, he is proud of the diversity on offer.

“We wanted to make sure that it felt genre-less, as that’s a modern thing now. You can be a fan of one singular type of music, of course you can, but most people look at music nowadays with a playlist mentality. That’s pretty much how we approach everything now with regards to the curation aspect of what I do: the radio, the TV, DJing. Anything I’m involved in what I would call the curation side of things is broad. So it’s the same rules for Soundchain.”

Opening with Kasabian reflecting on new album ‘48:13’ – soundly thrashed by Clash in our 2/10 review – Lowe’s enjoyed unrivalled access to each artist.

“New York, LA, Slovenia, London. It’s been good. We’ve been really lucky, we’ve not had closed doors at all. Even subject matters that have, perhaps, been difficult [for the artists] to re-visit has been, but only up to a point where they feel comfortable, and then we move on.”

Probed on the series, the New Zealander admits that traveling to New York to trace Nas’s journey was a personal highlight.

“The timing was perfect,” he enthuses. “I mean, for me as a music fan to be able to go to New York, to the Blue Note club, and talk to him on the edge of the stage... it was such a ridiculously awesome day. You’re talking to Nas in this iconic location in the city that made him. I mean, ‘Illmatic’? Is it not arguably the greates rap album of all time? It’s under 40 minutes of pure brilliance from start to finish.”

(Indeed it is: read our Spotlight feature on ‘Illmatic’ here, and our interview with Nas to mark said album’s 20^th anniversary, here.)

Hopeful for a web-based aspect to the show, Lowe points to Radio 1 as an example of how traditional mediums can incorporate online elements.

“I think Radio 1 is flying right now. I mean, new changes to the schedule, new DJs, a fresh slate in many ways in terms of on-air talent. Everyone is communicating with each other, sharing with each other in terms of show to show.

“Online being a hugely important part of people’s lives right now, Radio 1 are doing incredible things; from playlists going right through to the iPlayer integrating with the Radio 1 YouTube site. I mean, we’re running with technology, we’re running with the modern approach to consuming information. Hang with the smart people, keep your ears wide open, and adapt.”

MTV has been keen to give the presenter, who broke through said channel, as much leeway as possible. It’s a freedom he can compare to that he experienced as the lynchpin of the MTV Two (now MTV Rocks) series, Gonzo.

“We wrote the list [for Soundchain], we got everyone together. We knocked it into shape. But MTV has been incredible. Relentless have given us the resources to make it amazing. It’s just like it was before [with Gonzo], really. They’ve been a dream to work with because what’s really important to them is to make things that feel authentic. You can’t do that if everyone is pushing in different directions. They know what they’re good at, and they do it well.”

For Lowe, everything he does must have some form of personal investment, resulting in some kind of tangible legacy.

“I don’t want to do anything professionally which isn’t contributing in some way to something long form, to an investment. I just feel, right now, that music is the most disinvested art form. It’s free: most people don’t even pay for it. It’s been completely devalued so now we have to invest in it; we have to create big, bold, ambitious visual statements. Like, okay, let’s start a big seven-part TV series and make it look amazing, with these amazing artists. Now is the time to do that.”

- - -

Words: Robin Murray

Soundchain begins on MTV Music at 9.30pm on July 6^th. Details. 

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

We like The Icarus Line around here, and it’s a relationship that goes back some years, to 2001 and the Los Angeles band’s phenomenally ferocious debut LP, ‘Mono’. That set was followed by the equally raw, tremendously raucous ‘Penance Soiree’ in 2004, and then…

Well, honestly, for a little while things went a little bit shitty in The Icarus Line’s world. Album three, 2007’s ‘Black Lives At The Golden Coast’, sunk with barely a trace as its label, V2, went under right around release. Another LP, 2011’s ‘Wildlife’, didn’t quite connect in the way that long-term fans were hoping for. But then came ‘Slave Vows’, a 2013-released collection that warrants insertion into any idioms-describing dictionary under the “return to form” entry. Read our review here. 

And now, there’s more. ‘Avowed Slavery’, released through Agitated Records on July 14^th, presents five tracks as a companion package to 2013’s fiery fifth LP proper. It’s a mini-album with real thought put into it, rather than an EP pieced together with offcuts.

Exclusive to Clash: stream two tracks from the release below – the swagger-and-snarl of ‘Junkadelic’ and sinister slink of ‘Raise Yer Crown’ – ahead of frontman Joe Cardamone’s (pictured, second from right) take on this week’s new singles.

- - -

- - -

Blood Orange – ‘It Is What It Is’

“Okay, this guy goes way back with my woman. Old friends. His apartment burnt down with his dog inside it last year. I know the pain of losing everything, and more importantly your animal family member. Horrific. Kinda reminds me of Prince’s ‘Lovesexy’ era. I’d like to see him go even further into that zone. Someone has got to step soon up, cos Prince might not live forever.” 

- - -

Drake – ‘Worst Behavior’

“This is a child actor guy from Canada, right? That’s where my knowledge of this guy ends. I’ve also heard the expression ‘fake like Drake’ a few times. Is this kid singing about being mad at his dad? That’s too bad. I guess you have to write lyrics about something. This music personifies what the public has come to expect as a soundtrack to their Facebook fantasy about living large as a gangster that has stacks of cash under their bed. Why do the majority of people relate to that dream? I guess it could be because corporations have been syphoning their lives since the day we were born and art has been marginalised. That might be why stuff like this connects to the clueless, forgotten masses. The musical equivalent of a Subway sandwich.”

- - - 

Ella Eyre – ‘If I Go’

“This is a post-Winehouse R&B track. Real heart-on-your-sleeve lyrics. I can see it now: A Zack Galifianakis buddy movie montage at the point in the plot where he is deciding to get serious about the person who he has broken off. Now he is driving around the city looking for them, but he just can’t believe he figured it out too late to find them. Music to tell you how to feel for people who cant feel on their own. What are the stats on anti-depressants these days? Generic, current pop production. Probably took 40 people to write the song or something. I think it’s really good, since the music biz is in a slump, that labels are tryin’ to streamline.”

- - -

Banks – ‘Drowning’


“Post Kanye’s ‘Yeezus’, post Lana Del Rey. It seems like it’s a good time to be a white girl who looks like a 91210 character and musically kinda sounds like one. I bet our local station, KCRW, will play this so that people don’t get road rage and f*cking shoot each other on the drive home from work this month. It’ll keep people form driving down the middle of road. Perhaps that was the goal here? I never liked trip-hop or whatever the genesis of this sound is. No one will remember this in a month if they do even know it now. Forgettable. This chick makes M.I.A. sound like Agoraphobic Nosebleed.”

- - -

Jess Glyne – ‘Right Here’


“This track is better than the last one. Production is leaning on the ’80 s in a modern way. I can’t hear the AutoTune on her voice, so that is a plus. Seems like she probably could sing this track in real life. I would never put this on my stereo, but I could see this kicking ass at a gay bar, or in a Tyler Perry production. No Hate.”

- - -

Blessa – ‘Island Mining’


“Ahh, let’s open the track with the crystal echoes effect. That one always gets the mood quick. I’m gonna say that crystal echoes is going to become to indie what AutoTune has been to pop music. People are gonna beat that shit into the ground. It’s the effect that can make something that is totally vanilla and pointless seem slightly less so. This track kinda has that garage band demo sound – you have to hold an insanely good song or some sort of unique angle to make that work. Is this British? (Indeed, they’re from Sheffield.) Probably, as it’s so very… rainy. Pret A Manger music.” 

- - -

Words: Joe Cardamone
Photo: Steve Gullick

Related: more Singles Round Up columns

Find The Icarus Line online here. ‘Avowed Slavery’ is released on July 14^th.

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

‘All Falls Down’ was a beefy tune with a lush beat, and a classic hook, that contained some of Kanye West’s sharpest humour on over-indulgence. And, for a while, that’s all I loved about this 2004-released track.

However, a deeper dig – provoked by a university lecturer who labelled the track to me as “a prescient work of art that captures, a few years ahead of its time, the post-2008 austerity zeitgeist” – helped me see this track as an allegorical goldmine and an artistic blueprint for everything West has become.

The discography of West testifies that his affinity for sampling goes much deeper than the act of piggybacking on something familiar. Every choice cut is deeply symbolic of a message he has wanted to convey. During the creation of ‘All Falls Down’, West wanted to sample Lauryn Hill’s 2001 live session track ‘Mystery Of Iniquity’. That song is a soulful diatribe to the judicial and education systems of white America, that aimed to expose the institutional inequality of the States and predict a forthcoming collapse, and West saw the rap he’d written as a personal epilogue to that track.

He yearned for a connection between his piece and Hill’s – but the Fugees singer’s team refused him the sample (like they refused everything, ever). At the last minute, he chose to replicate the vocal using soul singer Syleena Johnson, and she did so with pitch perfection. The line he chose was, of course: “I’m telling you all, it all falls down.”

His rap on ‘All Falls Down’ – which first partially appeared in a pure verse form on season three of HBO show Def Poetry – defines early Kanye. The dominating confidence of later albums isn’t yet evident, and he is actually quite existential – questioning not only himself, but also the world around him: white America, black America, enemies, allies, friends and family.

He brought Hill’s snow-capped philosophy down to ground level, the first evidence of an artistic quality he has now become known for: taking an incredible amount of complex thought and making it accessible to anyone. West’s chosen axe to grind was what he viewed as an African-American obsession for economic materialism, and how it was spiralling violently out of control. Isn’t it funny to think the line “I got a problem with spending before I get it” came five years before 2009’s Great Recession, and three years before the economist Nouriel Roubini (AKA Dr Doom) predicted anything of the sort?

In the first verse, he describes a girl whose “major she majored in don’t make no money”, but that doesn’t matter because “she like, f*ck it, I’ll just stay down here and do hair / ’Cause that’s enough money to buy her a few pairs of new Airs”. He concludes, with one of his greatest-ever lines, that this girl is a “single black female addicted to retail”.

In verse two, he turns the gun of criticism on himself, highlighting that he is just as susceptible to it as her: “Man, I’m so self-conscious / That’s why you always see me with at least one of my watches.” And the third verse concludes that it isn’t just the girl and West that bear this weakness – it’s society as a whole. Hence, the clever and structured use of pronouns for each verse: ‘she’ in the first, ‘I’ in the second and, finally, ‘we’ in the third.

While the surface message of ‘All Falls Down’ quite wittily satires materialism and those insecure and indecisive college years we all bust through, the deeper message is much more serious. With lines like “Even if you in a Benz, you still a n*gga in a coup,” he proffers that this so-called indulgence is just another form of internalised racial oppression. White America is cashing in on black America’s extravagance, and both he and his peers play perfectly into this systemic world of deceit.

There are numerous examples throughout, including a reference to “40 acres and a mule” – the compensation promise made to African-American slaves after the American civil war. But his genius double entendre of ‘coup’ – making the “Benz” both a two-seated sports car, and a coop, a cage or slang for prison – is clinical.

Even the video for ‘All Falls Down’ was drenched in the kind of cinematic ideology that gets Slavoj Zizek drooling on his lecture notes. The first-person camera angle gives the viewer both the opportunity to see the world through Kanye’s eyes, while also becoming a voyeur on life. Just before he tackles his line “it seems we living the American dream, but the people highest up got the lowest self-esteem,” he tellingly rubs his eyes, turning the camera view from blurred to clear, thus symbolising his now crystal realisation of seeing things how they really are, for both himself and the viewer.

The video’s most ideological moment comes when Kanye, after being repeatedly rejected by a white security official, puts himself through an airport’s baggage security. For the first and only time, the camera switches to third person, showing Kanye through the screening monitor as the skeletal human being he is: no jewellery, no clothes and, most importantly, no skin colour.

‘All Falls Down’ is a moment in pop history that tackles more topics than most artists are capable of in an album, or a career, even. The song was simultaneously a confession and an awakening; a unique moment of satori, both for the artist and his listeners. Kanye’s new style of communication shifted the entire lexicon of mid-2000s hip-hop, to speak to more than just the angry youth that radio-dominating gangster rap had locked on to. And for him, the track laid foundations for what most of his artistic life to date has been defined by: race, history, materialism and inner turmoil.

- - -

Words: Joe Zadeh (Twitter)

Related: more Just One Song features

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

I DJ from time to time, and not always at the same place. Bars, clubs, gigs, festivals, weddings – I’ve stood behind several decks and done my best to keep people dancing. A lot of the time, I’ve failed. But I’ve a few bankers, a clutch of proven winners. ‘Hey Ya!’, obviously. ‘Regulate’, naturally. ‘1 Thing’… tends to get the job done, whatever the venue or vibe.

Ask someone who the track’s by, though, and answers don’t always come easy. I first noted this disconnect between my appreciation of the 2005 hit – number four in the UK, eight stateside, top 10 in multiple territories across Europe – and its public profile in 2013, around the release of Rockstar’s Grand Theft Auto V. Being part of the always sonically satisfying GTA series, V featured no fewer than 17 in-game radio stations. Between cuts from Stardust (the sublime ‘Music Sounds Better With You’) and Rihanna, on the Non Stop Pop network, came ‘1 Thing’.

It quickly became a song you hoped for during any session – much like Robyn and Kleerup’s ‘With Every Heartbeat’ and the Pet Shop Boys’ ‘West End Girls’, which soundtracked one of my own memorable drives from Blaine County in the north to the city hub of Los Santos, into the setting sun. And yet, while watching a handful of Let’s Play-style videos in anticipation of receiving my own (delayed) copy of the game, I noticed how the track was repeatedly credited to Beyoncé. It’s not just these commentators who were getting it wrong – when I asked my wife who the song was by, she replied: “I dunno… Rihanna?”

The correct answer is, of course, Amerie– or, to give the Washington, D.C. singer her full name, Amerie Mi Marie Rogers. ‘1 Thing’ might sound, today just as it did nine years ago, like solid-gold pop class, but its release wasn’t an entirely smooth experience. Indeed, if certain people had gotten their way, it would never have been released at all.

Amerie had tasted chart success prior to ‘1 Thing’, and was a rising star on the Columbia roster after her debut single, ‘Why Don’t We Fall In Love’, broke the Billboard top 30 and peaked at 40 in the UK. That was 2002, a time when artists were given more than a single crack at achieving the level of success their labels expected.

‘All I Have’, Amerie’s debut album, charted at nine in the US in the summer of 2002, but lacked staying power. Nevertheless, critics were charmed: the album won a Soul Train award, and reached gold status for stateside sales. It was hoped, though, that what came next would elevate her from R&B artist of substantial promise to an outright pop star, someone to compete with the likes of Beyoncé, then hitting all-new highs with her ‘Dangerously In Love’ LP, and Jennifer Lopez, riding the swell of ‘Jenny From The Block’ following so soon after the triumph of ‘J.Lo’, packed as that album was with hit singles.

Work on Amerie’s second album, to be titled ‘Touch’, began in early 2004 – it came out in the spring of 2005, preceded by ‘1 Thing’. She collaborated closely with Rich Harrison, her “musical soulmate”, a producer and songwriter who’d served on ‘All I Have’ as well as contributing to tracks by Kelly Rowland, Usher and Tha’ Rayne. It’s another of his productions that almost certainly explains the confusion between ‘1 Thing’ and a Beyoncé number, as Harrison is the primary architect behind the Destiny’s Child singer’s ‘Crazy In Love’ single of 2003 – a six-million-seller bearing more than base similarities to what would be Amerie’s biggest hit.

Both tracks look to funk from 1970 for inspiration. ‘Crazy In Love’ samples The Chi-Lites’ ‘Are You My Woman (Tell Me So)’ while ‘1 Thing’ lifts The Meters’ version of ‘Oh, Calcutta!’ from the very same year. Each rides on rhythms synonymous with go-go funk of the early 1970s, music where a call-and-response dynamic was often employed – as was percussion that played light and fast, allowing bursts of brass and bass to punctuate proceedings. Listen to both songs and these elements are evident – and the BPMs are near identical too, ‘Crazy In Love’ at 99 and ‘1 Thing’ just a beat more per minute.

Despite the precedent of ‘Crazy In Love’, executives at Columbia were initially unmoved by ‘1 Thing’ – at least in the form they were receiving it in. They asked for several revisions, to the great frustration of artist, producer and management alike. Behind the scenes, Columbia was plotting to remove the song from Amerie and place it with another of their artists, namely Jennifer Lopez.

They never anticipated having their plans torn apart by an increasingly annoyed Amerie, who – with Harrison’s support – leaked the song in late 2004. Radio stations took to it immediately and continued to air the track even after Columbia pressured them to remove it from their playlists. This put the label in an unexpected position: they were forced into action against their will, moving quickly to issue ‘1 Thing’ as an official single in the first week of 2005.

Their decision – or, rather, Amerie’s decision to stick to her guns and get the track out there, whatever the cost – was totally vindicated. Not only did ‘1 Thing’ become a hit, its maker’s biggest to date, but it was also a massive critical success. Rolling Stone named ‘1 Thing’ their top single of 2005, and Pitchfork ranked it second. Robert Christgau rated it the 25^th best song of the ’00s. The accolades continue to this day: Australian site Fasterlouder, commenting on the artist’s return as Ameriie, called the song a “pure popsplosion”. And, of course, its inclusion in GTAV is no small matter: publishers fall over themselves to get songs in those games.

But Amerie’s momentum faltered somewhat after ‘1 Thing’. Her next single, ‘Touch’, wasn’t a Harrison production, with Lil Jon filling the role. Like ‘1 Thing’, which came backed by a remix featuring Eve, ‘Touch’ also got a rap version, with T.I. on board for greater impact in that market. But the song completely failed to emulate the success of ‘1 Thing’, missing the Billboard top 200 and reaching only 95 on its Hot R&B chart – just the 94 places behind its predecessor. ‘Touch’, the album, improved on the performance of ‘All I Have’, peaking at five on the Billboard 200 – but after that the only way was down, her latest LP, 2009’s ‘In Love & War’, managing only 46 on the same chart.

The press has remained on Amerie’s side, though – and after such a gloriously infectious breakout track like ‘1 Thing’, who can blame them, as who knows when another slice of the same magic might appear. She’s just recently released the single ‘What I Want’, which samples The Sugarhill Gang’s take on ‘Apache’, now trading as the extra-i Ameriie. Why? Said the singer: “I operate on vibes and intuition… the vibration of the double I is right for me.” Okay. Anyway, there’s no denying the girl’s tremendous vocal power hasn’t dipped an inch between ‘1 Thing’ and ‘What I Want’ – check it out below.

Would anyone mistake that for Beyoncé? I don’t know, maybe they would. But to GTA players, wives and friends, recently wedded couples and complete strangers in bars I have DJed in, I say this: it’s Amerie, A-M-E-R-I-E. Although, with an extra vowel, apparently. Now, stop pestering me while I try to mix out of this, and get back to dancing on that table.

- - -

Words: Mike Diver

Related: more Just One Song features

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Simply, six of the best long-players that have come out over the past month. Because albums are dead, obviously. Pillock. 

June was a pretty rich month for new albums. Not featured below but definitely worthy of investigation are sets from How To Dress Well, Venetian Snares, The Antlers, Teleman and Martyn. 

- - -

Jack White – ‘Lazaretto’
(Third Man/XL, released June 9^th)

“Coming two years after his debut ‘Blunderbuss’, a vitriol-filled purge that dropped in the wake of White’s divorce, ‘Lazaretto’ does sound like a transitional step. Its songs convey a post-closure sureness; indeed, opener ‘Three Women’ is White’s brazen introduction to his concurrent concubines. His band, taking turns for frantic fleeting solos, share his newfound joy.”

Read the full review
Listen on Deezer

- - -

clipping.– ‘CLPPNG’
(Sub Pop, released June 9^th)

“While it aims to push boundaries, ‘CLPPNG’ does so in a way that demonstrates a love for the music and culture that forms its source material. Diggs talks about club culture, twerking, “getting your eagle on”, hipsters in Young Jeezy T-shirts, and he makes references to Clipse and Biggie, but never in a way that you’ve heard before.”

Read the full review
Listen on Deezer

- - -

Brontide – ‘Artery’
(Holy Roar/Pink Mist, released June 30^th)

“Brontide are amongst the foremost proponents of a brand of instrumental rock that carries both turbulence and tenderness. Their music doesn’t need a lexicon beyond the interface between instrument and identity, their language a universal one of potentially boundless possibility.”

Read the full review (and bonus interview)
Listen on Deezer

- - -

The Phantom Band – ‘Strange Friend’
(Chemikal Underground, released June 2^nd)

“Coming four years after acclaimed second album ‘The Wants’, ‘Strange Friend’ proves that the Phantoms’ Kraut-folk muddle is still as giddily rewarding, as Rick Anthony’s saturnine tones slither – like Jim Morrison on Buckfast – through unpredictable textural twists.”

Read the full review
Listen on Deezer

- - -

Alex Banks – ‘Illuminate’
(Monkeytown, released June 2^nd)

“The result of two years of head-down studio time, the Brighton-based producer has laced this debut with heart-racing drums that trip over each other and dark-hued synth rollers.”

Read the full review
Listen on Deezer

- - -

First Aid Kit – ‘Stay Gold’
(Released June 9^th, Columbia)

“With lyrics dripping with casual poetic nuance and bold, full arrangements, ‘Stay Gold’ is at once an arresting set of classic country reference points as well as a towering body of stirring, beguilingly original songs.”

Read the full review
Listen on Deezer

- - -

Lots more albums reviewed, here. Some good, some bad. None dead.

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

To quote the French author Andre Gide: "do not understand me too quickly."

Luluc isn't a band built for quick consumption, for sitting easily in the background while life passes by. Rather, the band's songwriting demands time, patience, stamina in order to really come to grips with each meaning, with each idiosyncrasy.

A duo - real names Zoë Randell and Steve Hassett - Luluc caught the attention of The National's Aaron Dessner. Recommended to Sub Pop, label boss Jonathan Poneman quickly fell in love with what he describes as their "bracing, subtle, tender and magnificent" beautiful.

Co-produced by Dessner and Luluc themselves, new album 'Passerby' is a real gem. Rooted in acoustic songcraft, comparisons could be made to Neil Young's more introverted moments, or even British pioneers such as Nick Drake or Vashti Bunyan.

There's a softness, a grace to each passing note, with Luluc focussing on sound as well as meaning. Underneath that tempting surface, though, lie dangerous emotional undercurrents with the pair knowing how to pit blissful sounds against quite cutting language.

Out in the UK on July 14th, you can listen to 'Passerby' below.

Buy Clash Magazine

Get Clash on your mobile, for free: iPhone / Android

Ryan Hemsworth is one of those people that you feel you know before you’ve shook his hand for the first time. Such is the inclusive effect of social media these days, that his online presence – an explosion of Pokémon (specifically, Pikachu) and pictures of cute dogs – makes you feel like you’ve already been round his house to hang and watch stupid YouTube videos together.

But today he’s not in his hometown of Halifax, Canada, but in an East London hotel suite, having just hopped off a plane from Toronto and rubbing the sleep out of his eyes.

The DJ and producer, whose own output swings between thugged-out bangers and hazy emotive lullabies, has just launched a new venture titled ‘Secret Songs’. In essence, it’s a platform to showcase relatively unknown artists, without label involvement, blog premieres, or A&Rs. Clash takes a seat at Ryan’s hotel dining table to find out about this and his other goings-on.

- - -

‘One For Me’ feat. Tinashe, from the album ‘Guilt Trips’

- - -

You’ve played in London a few times now. What d’you like, or maybe dislike, about being in this city?

I like it – I have a lot of good friends here now. I feel like when I go to LA or something it’s just super chaotic and crazy, which is a lot more motivating than just being at home or certain cities: you can just party every day and not get anything done. But when I’m surrounded by so many producers out here [in London], it makes me scared and I think, ‘Okay, I need to get to work’. So yeah, I just find it fun and motivating to be in London at any time. I mean, the weather’s not great most of the time, but I’m kind of used to shitty weather growing up in Halifax, so I can’t really complain. I do get lost pretty much everywhere I go, though.

And when you’re on the road what are some of your tour essentials? What do you have to bring with you?

I feel pretty lucky because everything I need fits in a backpack. I see certain bands touring and I’m not jealous of that at all. All I need is my laptop and a controller for my sets and then, besides that, I just try and pack as tiny as possible: my stupid clothing, lots of sweatpants and sometimes some toys to make me feel at home and happy.

- - -

‘Still Cold’ feat. Baths, from ‘Guilt Trips’

- - -

Now that you’ve been performing for a while, do you feel completely comfortable on stage? What goes through your head when you’re up there?

I don’t feel physically scared, I’m not shaky or anything, but I’m definitely super conscious. In essence, you’re in the spotlight and people are staring at you and judging you and listening and critiquing sometimes, so it’s hard to get out of that mind frame and just focus on what you’re doing. The way I used to perform when I first started playing music was guitar, singing and stuff like that, which was terrifying to me because I had to actually rely on my voice and all that. As soon as I eliminated all those things from the equation I became much less nervous and much less self-conscious. 

So yeah, it’s fun for me to have a lot of technology in the way I perform, because it’s the way I naturally live my day by day – I’m always on my computer. If I’m producing I’m just geeking out in that way, so it doesn’t feel like I’m out of my element – it’s just that a lot of people are watching me. I have to be entertaining in some way.

Back in April you DJed at an animal shelter. Did the dogs approve of your selections? Are dogs better to DJ to than humans?

Sort of. I played some Baha Men and stuff like that, that I thought they might be into. But it was the quietest set I’ve ever played, because when I turned it up a tiny bit they all started barking. The reception was better than some of the sets I’ve played to humans, so I can’t complain! It was cool though. It was sad to have to hang out to all those dogs for 10 minutes and then leave. But yeah, any time I can chill with some dogs, I’m down for that.

So are there plans for some future full-on animal sets?

Yeah for sure, if any shelters wanna hit me up and get a booking…?

What would the dream Ryan Hemsworth show look like? I’m giving you an unlimited budget here…

I just want it to look like Kyary Pamyu Pamyu’s live show. I wanna steal what some J-pop star is using. I’ve never actually seen them in real life, but just from videos I’ve watched, [Kyary] has people dressed up as stuffed toys, and her live show specifically is this huge oversized bed and she’s just dancing on it and stuff. And I think stuff like that, as silly as it is, creates a feeling of a sleepover. It’s more intimate, and that’s what I’ve been wanting to create with my shows lately.

I’m doing one in Toronto for a festival called North by Northeast, and I finally had the freedom to choose who I was playing with, and what we do with the live show. So I’m trying to make that feeling of a sleepover. I’m actually getting someone to do the crafts so there are papier-mâché clouds hanging from the ceiling, with weird and obscured lights. So just a dark, intimate show.

- - -

Kyary Pamyu Pamyu – ‘PONPONPON’

- - -

Your ‘Cool DJ Mix’ and mixtape for Sonar this year contained some tracks from the PC Music label. I was wondering what you thought about what those guys are doing?

Yeah, they’re by far my favourite producers right now. When I was saying about the London producers that I’m scared of – A.G. Cook and Sophie, all those people, I feel like they’re light-years ahead of other producers right now. They’re sweet and I’ve actually had the chance to hang out with them a bit, hopefully this week we’ll meet up and work on something… or I can look over A.G. Cook’s shoulder and steal what he does! But yeah, they’re definitely about to be huge. Hannah Diamond is definitely the weirdest, most interesting pop star character I’ve found in a while.

- - -

Hannah Diamond – ‘Pink And Blue’

- - -

I’ve found that they can be pretty divisive – people who grew up in the ‘90s seem to be especially into them and connect with what they’re doing, while other people just don’t get it at all.

I find them fascinating because I always show them to whoever I’m hanging out them and some people – when I show them Hannah Diamond – are just mad at it, like, ‘This is making me angry!’ To me it feels so right… I think the melodies and everything are super – everything is references to stuff we grew up on and Y2K pop and all that. But it’s also growing with that somehow, there’s those references but there’s something new. And I think that’s something I’m really attracted to with my own music.

Let’s talk about the launch of your own ‘Secret Songs’ series. Is that right, to call it a series?

I don’t even know what to call it! It’s a faux-label thing, but there’s no business model or anything. I just want to say these are a bunch of producers that I think are amazing and are not getting enough shine, so I’m just putting them on a pedestal as much as I can.

And how did you select the artists – Tennyson, Schwarz x 333 Boyz, Maxo x Jonathan – that you’ve showcased so far?

The first track was this dude Tennyson from Edmonton, and he’s someone that I’ve been following for a while, this super young kid who’s fully developed musically. He’s only 17 or something, and I keep finding myself attracted to producers for this project who are just way more developed than their following is or anything – they’ve already figured out exactly what they wanna do and put out all these amazing songs and people haven’t really caught up on them. I’m putting up another one today by this dude Maxo, who has like 10 albums and a shit load of EPs and only has 400 followers on Twitter. So it’ s just stuff like that, that doesn’t add up to me. I think that people should be obsessed with these artists like I am, so it’s just wanting to share that feeling.

- - -

Tennyson – ‘You’re Cute’

- - -

Is that a process of you trawling through producer’s pages, or is it that people reach out to you…?

A lot of people have been hitting me up about it, but for me I’m really trying to make it more or less my own discoveries. It’s all people that I’m fully aware of that I put out – it’s not like someone sends me an MP3 and I’m like, ‘Oh, sure, I’ll throw this up.’ It has to make sense to me, and some of the tracks aren’t as accessible or obvious as other ones and it’s not really about that. I want it to be someone who shows so much potential and doesn’t have enough eyes on them for whatever reason. Just trying to push them into the spotlight a little.

What do you think about labels themselves? Are they perhaps less necessary these days?

I mean, it’s really tough. For me, I started in the music industry four or five years ago, where the money side I saw came from shows and whatever, and there was no model for releasing music and getting money from that. And I think that’s a beautiful thing, honestly, because there’s no middleman in a lot of these situations. Like, with Secret Songs or a lot of the indie labels that I’m really into, like PC Music or WeDidIt, that I’m part of, there’s no real money involved. The artist can just do whatever they want, and I think that’s the purest form of music, releasing music, I guess, in 2014.

You just need a platform, which is what you’re providing for the smaller artists.

Basically, yeah. It was a super simple idea, there’s not much to it. It’s just the fact that I’ve realised that I’ve got 80,000 followers on SoundCloud, so I can share the love a little bit, I guess. And people have trusted my taste in my mixes and whatever, so just growing from there, I guess.

- - -

RL Grime’s a pretty good hugger. He’s a big guy, so it’s a nice warm bear hug...

- - -

You studied journalism at university and have done music writing and artist interviews (check out Ryan’s blog, A Half-Warmed Fish). So what do you think about some of the stuff that’s written about you? Do you pay much attention to it? Do you find it funny?

Yeah, yeah, it’s hard to avoid. Especially if you’re on Twitter 24/7. I try not to read into anything too much, but at the same time I think I’m pretty lucky. I haven’t seen too much hate, which is kind of amazing to me. I try to avoid it when I can, which is next to impossible, so I try not to think about it.

Is there anything you’ve read about yourself that you totally disagree with?

It’s just weird when full-on sites like EDMCanada.com say, ‘This is our favourite EDM star right now, Ryan Hemsworth!’ – the best trap producer! Just when it’s a super honed-in tag, or when it’s just like, ‘Instagram star Ryan Hemsworth!’ I understand why all these things are attached to me, but it’s a little scary when you’re just limited to that one little thing, the way that people perceive you. I just like being an overall general thing… hopefully that people can be entertained by and enjoy. I guess.

As a producer who does work with other artists a lot, this is something I’m sure you get asked non-stop, but: who’s on your bucket list for collaborations right now?

For a while it was thinking about rappers, but now I’m more interested in… Well, I’ve said for a while that Ben Gibbard (of Death Cab For Cutie) would be pretty amazing, or the singer of Jimmy Eat World (Jim Adkins), but that’s something that’s not happening for a reason – these producers aren’t really working with singers from that world. It’s a lot of ‘producer works with female R&B singer’, or ‘producer works with rapper’, but nobody’s really taking a step back to the white boy high-school bands, so I feel like that’s hopefully something I can take advantage of soon enough.

I started working with Jens Lekman on a couple of tracks, but it’s really hard because he writes ballads and I’m pretty stuck in the way that I write, so it’s making me think in a different way and pushing me. Hopefully I can get something done with it. We started talking last year, and he basically recorded him playing piano and lyrics that he wrote so he sent me those and was like if you can figure out something to do with it let’s do it! Really beautiful stuff, but it’s tough. A good challenge.

That’s cool. A question you recently tweeted to your followers was, ‘what was the best hug you had with a musician you love and tell me how it felt to u’, so I thought I’d pose that same question back to you…

That’s a good question, yeah! Maybe… I feel like RL Grime’s a pretty good hugger. He’s a big guy, so it’s a nice warm bear hug. We toured a bunch of times and you’re lonely on the road, so it’s good to have a nice big manly hug. That sounds horrible! Or this girl DJ from Australia, Alice in Wonderland, who’s like (gestures low) this tall. Good question, though.

You teamed up with Wave Racer recently, to release a joint 7” where you remixed each other. Where did you meet and how did that come about?

He’s great. I’ve been to Australia three times now, and gone back out again just for a festival. I love it out there. I’ve toured there before touring America or Canada. For some reason I just click there, and Wave Racer has been having a really awesome past six months. I met him last time I was out there and really liked him, and we started talking – it made sense. I had a track that I needed to put out as a single and he had the same situation so we were just like, ‘Let’s remix each other, do it together.’ It made sense, I think.

- - -

Wave Racer – ‘Streamers’ (Ryan Hemsworth Remix)

- - -

And I hear you’re planning to release an EP in autumn? What’s that going to sound like?     

Yeah, I’m trying to finish up something right now. It’s gonna be six tracks and similar to what I was saying earlier about going back to guitar and high-school indie-rock vibes, stuff like that. I’m working with a few singers, this dude Alex G who’s on a label called Orchid Tapes, and a bunch of other people, but I’m really excited for that one because it’s gonna be a fairly different sound for me. But I wanna switch things up.

My final question concerns the fact that you expressed the desire to start some beef with Chad Kroeger, via Twitter. Could you give me some sort of disparaging quote to get the wheels in motion?

Yeah, Chad Kroeger’s hair looks like shitty cheap noodles. And you can quote me on that!

- - -

- - -

Ryan Hemsworth’s Favourite Videos On The ‘Net Right Now

As a part-time curator of the weird, undiscovered crevices of YouTube, we asked Ryan to give us a few of his current favourites. Here’s what he came up with…  

-

Gucci Mane – ‘NWA’ feat. Migos & Peewee Longway
“I think I produced this in my sleep and emailed it to Gucci's engineer, but I can't remember.” 

-

Japanese funny senior high school girl, Reika Ozeki.
“Really into annoying stuff these days, for some reason.”

-

‘Californication’: original song in Major key
“Is this drugs?”

-

CIMG6155
“This is my dad, his name is Rodney. He used to be in the Canadian Football League and he loves a good bowl of stew.” 

-

Lil Shark – ‘Shark Boys 4Life’
“This is my son, his name is Shark.”

-

Especia「No1 Sweeper」 MV
“Jacques Greene showed me this and I don't know what's going on, but there's lots of vegetables and glitter so I feel refreshed upon listening.”

-

Jimmy Interviews Michael Jordan

“Kristen Wiig is the only perfect person.”

- - -

Words: Felicity Martin

Ryan graces London again with his presence on 22nd August, performing at XOYO with Oneman, Cashmere Cat and Kutmah, and embarks on some European dates with RL Grime. ‘Guilt Trips’ is out now. Ryan Hemsworth online. 

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android

Intriguingly sweet synth-pop with a slight undertone of melancholy is what Toronto-born Allie X does best. The enigmatic, self-producing artist released her first track ‘Catch’ at the start of 2014, which was a Technicolor triumph of a pop song, with inescapable hooks and lyrical content that curiously hinted at obscure hospital imagery.

“The main themes in my music seem to be self-destruction and addiction, medicine, hopeful hopelessness,” Allie opens up. “I like to think that when I write lyrics I am letting some of the darker feelings out of my unconscious.”

A month after its release, ‘Catch’ was tweeted by Katy Perry, who referred to it as a “spring jam” to her 53 million followers, giving Allie a full induction into the world of pop.

“I always had a feeling it was a good song but almost gave up on it a few times. It’s been a real triumph for me to have it embraced by so many people.”

Two tracks followed in a wave of increased interest from fans – the shimmering ‘Prime’ and ‘BITCH’, the latter of which reveals a darker side to Allie’s soundscape, complete with defiant shouts of “I’m your bitch!” as it swells into full-scale fuzzy pop production.

“I spat out ‘BITCH’ in one day when I moved to Los Angeles last summer. Really strange lyrics were coming out. I wasn't sure who I was singing about at first, then I realised it was about my relationship with my own shadow self and likening that to a marriage where each person has to make concessions for the other.”           

Not settling for anyone else’s musical vision, Allie X has self-produced all of her releases so far, presumably with that mystical “shadow self” in tow.

“I believe in a new model for the artist in the music industry. I want to be at the forefront of that revolution. And I don’t believe my project will succeed if it gets in the wrong hands, or gets slowed down.”

Allie X stands as a defiant and bright beacon in a saturated world of pre-packaged pop and musical beige. 

- - -

- - -

WHERE: Toronto/Los Angeles

WHAT: Theatrical dream pop with hints of melancholy

GET 3 SONGS:‘Catch’, ‘Prime’, ‘BITCH’ (above)

FACT: Despite the sugary sweetness of some of her production, Allie X doesn’t have any sugar in her diet, or apparently in any other aspects of her life: “I don’t sugar in any form. Ever.”

- - -

Words: Hana Barten
Photo: Mike Hernandez

Allie X online

Buy Clash Magazine
Get Clash on your mobile, for free: iPhone / Android