Wild Palms

FREE MP3:Over....Time

It’s rare these days to encounter anyone who dares to hold steadfast opinions; those who will assert themselves without fear of condemnation have become a dieing breed amongst the so called creative community. Lou from Wild palms can be counted amongst this dwindling number. Although his band may seem at first an over-hyped re-hashing of the gloomy, gothic, post punk of the 80’s, they are in fact far more than a Bauhaus tribute band. Labelled as Converse music’s one to watch, Levi’s one to watch and suitably revered by the NME, a media sceptic may dismiss them as PR whores, unlikely to have any real substance. But a listen to their latest single ‘Over Time’ will remedy any such blasphemy.

I read that, like me, you are a fan of Alexander Von Humboldt, whose footsteps I retraced along the Orinoco River. Is this fascination with the wild and mysterious something that translates into your music?


Lou: Well you're a very lucky man, and I am an envious one. Wilderness, un-chartered territory and exploration have always been things that I have had a deep interest in, but not literally as geographical exploration. Lyrically much of what I write is based around these kinds of ideas: finding and inhabiting new and unknown spaces, both literally and metaphorically. I guess its escapism but in my eyes its attainable escapism, dreams and desires that are mysterious but within reach. I mean 'Deep Dive' is the shining beacon of exactly that. it's not about being in a jungle it's about working hard, and overcoming obstacles that are sent to try us in search of something original and unique, and yours alone; so, yes, in that sense its exactly what we're trying to do as a band in a work ethic way but also sonically.


You recently played in Dubai; did you perform to the idle rich sons and daughters of expats or in the lavish harem of an Arabian oil baron?

Lou: Dubai is weird, opulent and very hot. Not somewhere I’d particularly want to go back to; it's only been developing since 1971 and therefore is devoid of any arts culture, it’s completely about commerce. Saying that, we had a good time and were treated very well. We were out there for four days but only played one gig, at a place they called the 'Irish village' at midnight in 40 degree heat and then we were taken directly to some club in a hummer. As I said: very weird.


As well as Dubai, I hear you will also be spreading yourselves across Europe and over to Japan. What part of the world would you most like to see?

We’ve just come back from a tour of Italy, it's an absolutely beautiful country and we can't wait to go back next year when we go on the European tour. Japan has always been a place I’ve wanted to go, I’m a big fan of Japanese literature and haiku poetry which is quite pictorial and so I have a picture built up in my mind of what it will be like, which I want to put up against the real thing. I also really want to go to Iceland at some point, I think I’d really appreciate the amount of space that you have there and also that essentially you could be living in either total darkness or light all every day depending on what time of year it is: it would be interesting to see what effects that has on a person.

Do you consciously attempt to emulate the post punk sound of the 80s?

post punk has had such far-reaching effects on popular music since its conception that its hard to pin-point when it finished, because in all honesty all that moniker means is 'after punk' so in that sense we have been influenced by post punk but there has been no conscious attempt to emulate it. Like I said 'post punk' has evolved and developed to infiltrate a lot of music and there has been no cut off point. I mean listen to a lot Sigur Ros and I can hear post punk elements in that but you’d never categorise it as post punk. Our influences are quite fragmented because of the people we are, in that bag would be Captain Beefheart, Can, TV on the Radio, Bjork, Timbaland, Liquid Liquid, Billy Childish, Nick Cave, Stockhausen, Sonic Youth, New Order, Battles, Pan Sonic, Neu!, DNA, ESG, Jimmy Hendrix, Velocet, Radiohead etc ….


Please tell me about each of your interests outside music, what odd hobbies, pursuits and peculiarities take up your time?

Personally, I read and write a lot as well as doing carpentry to earn some money. Darrell (guitar) is the painter within the group. Gareth (bass) never stops watching programmes about nature or modern history also I think he's probably a comedian at heart but a solemn-faced one at that: he's got an acerbic, quick wit and can shoot you down with a couple of words. James (drummer) is a music man through and through; he never stops studying it, picking it apart. None of the rest of us really know what's going on in the music world today but he keeps us updated with his knowledge.

Who do you resent most and adore most in the world at this time?

1) Style over substance, definitely in regard to the music industry.
2) I resent that lack of responsibility that people seem to take for their actions, it seems likes everyone just does what they want with scant regard for the consequences. People just kind of float around doing what the fuck they want, me included sometimes. we're are all capable of acting like that and for that reason I have a lot of respect for people who don't get sucked into that and realise the weight of actions and decisions.

Published: P.i.X magazine: issue # 39, December 2009

A Grave With No Name

FREE MP3: Open Water

The cream of the UK lo-fi crop; A Grave with no name, nurtured by the consistently awesome No pain in pop label, have blossomed into a maturity that surpasses their humble origins as mere example of passing musical trend. Their new album ‘Mountain Debris’ is a demonstration of their staying power, the kind of album one plays to arouse a state of emotional and spiritual contemplation. It’s hardly accessible and certainly not as disposable as much of the content associated with the lo-fi riff raff on both sides of the Atlantic. Singer and guitarist Alex Shields, approaches Christmas with a sense of optimism and accomplishment, defending his self confessed egoism as Yule see in the following interview.

How do you feel about Mountain Debris, what do you think people will
make of it?
Alex Shields:I have a cool relationship with the record - it's a pretty accurate
representation of me as a person, so I both like and am frustrated by it in equal measure - at the same time, I am going to ensure the next LP is even better; I want it to be a total masterpiece.

'Mountain Debris' is kind of all-over-the-place, but that makes perfect
sense to me. Some people really seem to get the record, others really
don't - I read one review of it that said it was "conceptual art" as
opposed to music, when actually I intended the opposite - it's supposed
to be pure music.


What drives you as a band?
Nothing really. I just make music when I feel like it, and it will
probably reflect my mind-state at the time of recording. I'm not gonna
say something for the sake of it, like some post-punk bank trying to
sound intellectual, quoting modernist architecture or some bullshit as
their primary influence. That's exactly why I hate post-punk so much.

How do you see yourselves in relation to the increasingly popular lo-fi
music scene in the USA?
Well, I don't really want to be associated with any bands who record
their music badly in order to be part of some scene - what's more, I
really can't stand garage rock, it's mindless, meaningless and boring,
so I don't feel a whole lot in common with them at all. Believe me, if I
had some more money I would make the most hi-fi sounding record you've
ever heard.


If you could change any law what would it be?
None of them seem to intrude on my life too much, and people seem to
find ways to get around the ones that do - I guess growing up as a young
kid, it kind of bummed me out that I couldn't rent some horror movies
because I wasn't old enough, but that's about it.


If there is one thing that to you most symbolises the nature of your
music, what is it?
I am going to sound like an egotist, which I probably am, but I'd have to
say myself - the whole record is either me writing about myself, or
trying to react against myself. I'm super-inward looking, and don't have
much time for anything occurring outside my own world-view.


What are your plans for next year?
Go to the cinema; hang out on my balcony; finish off the second record;
play some shows; hang out with friends; have take-out pizza every
Sunday.


Published: P.i.X magazine: issue # 39, December 2009

We Fell To Earth

A hooded man sleeps on a sofa in an East London bar. It’s Richard File, one half of Anglo-American Kraut-hop hypnotists, We Fell to Earth. “Sorry” he says as he wipes his weary eyes, “I thought I could get some kip if I turned up early for the interview.” He is bald with no eyebrows, giving him the appearance of an Olympic swimmer and he speaks with an easy English manner. His band mate, Wendy Rae Fowler, is strikingly different, with her long black hair and thick southern states drawl.
“We come from polar opposites in a way,” Richard explains. “Wendy comes from the rock end of the spectrum whereas I’ve gone from djing and looping beats to learning to play guitar and singing. We challenge each other and we have to keep each other excited about the opposite end of the spectrum.”
Richard File is best known for his work with electronic break beat group UNKLE. He met Wendy, who has worked with the likes of Queens of the Stone Age, at Rancho de la Luna studios in Joshua Tree California, home of the fabled desert sessions. The desolate desert landscape is said to have been an influence on the cosmic Teutonic synth sound of We Fell to Earth, although the pair are now based in East London.
“It’d be nice to go to the desert someday and do some writing,” Says Wendy, “but I found the idea of coming here really inspiring. There is so much going on in the music scene, it’s exciting.”
The gap between the entirely different world’s these two musicians have occupied is bridged by a mutual adoration of that most enchanting of genres, Kraut rock. Richard and Wendy feel the time is ripe for a kraut revival.
“I think a few people with really good taste in music have got hung up on the kraut thing recently and it has sent a wave through the artistic community,” considers Wendy. “Everyone’s picking up on it, thank God, because it’s really intelligent and inspiring. You can get onto a level of stillness from the repetitive sounds. It helps to quiet the mind. Like a nice break from the chaos of everything that’s been going on in the world.”
Richard regards the last Horrors album and the new Flaming Lips record as evidence of widespread kraut fever and hopes that this will encourage fans to discover the old Gods of kraut rock. “Bands like Faust, Neu!, Can and any others we can mention, they need as many props and as many mentions as they can get for the rest of time.”
Kraut rock influenced both rock and electronic music in equal measure and it seems fitting that two artists from each discipline should unite over its reinvention. We Fell to Earth’s sound has a less organic texture than their Germanic influences and has even been compared to the likes of Massive Attack and Portishead. Although, as Wendy points out, the trip hop comparisons are not entirely justified as WFTE don’t use samples.
Their self titled album, released this year, is likely to gain a lot of attention due to the use of its content on several American TV shows. The un-intrusive compositions are perfect for soundtracks and producers of shows like Gossip Girl, Numb3rs and CSI NY seem to agree. Richard is ambiguous as to what extent he considers promotional use of their work to be acceptable. “We don’t watch TV. We don’t need it. There’s a certain point where a line has to be drawn with TV programs and adverts.” Still, I’m sure he appreciated the publicity and the money; although that isn’t the reason he and Wendy started this project. So what offerings have the pair to contribute to the Bavarian banquet of kraut rock history? Like a meteorite falling to Earth, they intend to make an impact. “You wanna make a mark don’t ya?” He continues, “We want to communicate with people at a level which will inspire them to create something else and take it even further.”

Published: P.i.X magazine: issue # 38, November 2009

Dealing with the Whores of London

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It’s the oldest game in the world and plenty of women are on it. From the drug addicted working women of London’s back streets to expensive West End escorts. Most disturbing of all are those unfortunates who have been ensnared by the people trafficking racket of the sex trade. It can be described as the very embodiment of capitalism yet it is regarded as a criminal activity, forcing its workers to operate behind closed doors. A spokesperson from the Poppy project, a North London organisation that provides accommodation and support for trafficked women, elaborates, “It has been said that we are never more than six feet away from a rat in London. Apparently, something similar applies to brothels.”

Despite the brothels themselves being discreet, the filthy underbelly of London’s sordid sex trade can hardly be said to be unseen. A number of popular magazines, newspapers and websites allow prostitutes to advertise their services. But this kind of advertising may disappear with the arrival of newly proposed government legislation.

The proposals being brought before parliament are part of government plans to increase criminalisation of the sex industry in the hope of deterring trafficking and targeting exploitation. The legislation is based on the research of a supposedly feminist organisation, The Poppy Project. However the legislation has divided the feminist community. Whilst some support the new legislation other groups, such as The International Union of Sex Workers, believe the new Bill will drive the industry further underground making it easier to hide trafficked women and get away with violence against prostitutes. In some circumstances the law will overrule a woman’s legal right to consent to sex.

Is feminism a battle for sexual equality, a counter balance to patriarchal hegemony and a defence of women’s human rights and freedom to choose? Or is feminism more conservative? Perhaps based on a fearful resentment of men, depicting them as cruel predators from whom weak and vulnerable women need to be protected.

The research carried out by the Poppy Project is of questionable intellectual value and yet it is on this research that the legislation has been based. The research already fits in with the government’s agenda but they have not consulted the actual workers of the sex industry on what measures should or should not be taken. People trafficking can take place with or without prostitution, the bodies of the cockle pickers of Morecambe bay are testament to this fact. But this year the government are seeking to criminalise the buying of sex from a person who has been trafficked – whether the trick knew it or not.

This ill-advised legislation may have disastrous consequences. The clampdown on newspaper advertising and phone box cards cuts off working women from their clientèle and makes it more likely that they will take to the streets or seek management. In either case they will be more vulnerable to exploitation.

Things will be much worse if the Olympic Games stimulate the sex trade in London. It was recently reported that prostitution boomed during a papal visit to Australia. The influx of lonely/horny tourists and labourers increases the demand for sex workers. But will they be supplied by people trafficking? Data from examinations of major sporting events, including the Athens Olympics and the World Cup in Germany, shows a relatively minor increase in cases of trafficking - 88 in Athens, 5 in Germany.

The abolitionist measures may create more problems than they solve, but the IUSW’s calls to relax the laws relating to prostitution could be seen as an invitation for people traffickers to step up to the mark. Whether or not a more relaxed approach would ultimately have more positive effects can only be proven by research, but many agree that the government should consult those who are involved in the industry and acquire reliable and impartial research before forcing through ill-conceived and questionable legislation.

No government in any part of the world has ever been successful in eliminating prostitution. The most we can hope for is that the whores working London’s brothels are doing so by choice and that legislation is not enforced to criminalise them but to protect them from the real criminals.

Published: State of Play, 2009

Tonstartssbandht

Free MP3:Tonstartssbandht - Black Country

A week ago, I received a message from my ex girlfriend advising that I investigate another lo-fi psychedelic rock band from Brooklyn. What followed was a week of obsessive, repetitive listening that alienated both friends and family. I played them while I worked, I sang my own made up version of the indecipherable lyrics to the awesome ‘Black Country’ while in the shower and I even demanded that a bewildered young woman play their new album 'An When' during sex.

Some musicians may be disturbed to learn their music was inducing such behaviour. But Floridian brothers Edwin and Andy White feel such stories better represent their musical intentions than overused genre definitions. “What I’m interested in is the personal experiences individuals have with our songs and live shows,” says Andy, "Stuff like ‘every time I come see you guys play, I get so excited I have to pee.’ Or ‘your music harkens back to a pre-bicameral mind, when memories and ideas were ghosts and gods."

Their childhood in Orlando provides a wealth of shared personal experiences that the brothers draw on for inspiration, “we grew up listening to almost the exact same sounds for 20 years” Edwin reveals. But the brothers White don’t just share blood and musical tastes. They also have a fascination with the soundtracks and alien landscapes of science fiction cinema. Bladerunner is a favourite for both of them, largely due to Vangelis’ score, who Edwin maintains they are both big fans of. The visual elements have been equally inspiring, as Andy elaborates, “The visions of Tokyo in Akira are present in a lot of the work we do. I think Ed dreams as often as I do of living in an enormous ocean of contiguous human settlement and awe-inspiring infrastructure with a familiar and foreign culture, to give us that ungrounded, fresh high that contributes so much to creative visions.”

Some of these awe-inspiring landscapes may be less foreign to us than they are to Andy. He recalls semi-conscious visions of a trip to the UK he made in his youth as a member of The Orlando Deanery Boy Choir, “all those unreal, ornate houses of worship, ancient fortresses, crumbling cemeteries, and the wholly un-Floridian landscape have been a fantastic influence on every creative work I’ve ever realised.” Edwin attributes his brother’s membership of the choir to their ability to construct intensely stirring vocal harmonies on songs like Preston “great ass” imfat.

Tonstartssbandht recognise the need to balance the anthemic choruses, catchy melodies and vocal harmonies of conventional rock music with psychedelic elements to create a multi-textured and unpredictable aural landscape. Edwin knows that people appreciate this dynamic approach, “the audience has always been open to both sides, which is awesome. Thanks guys.”

www.myspace.com/Tonstartssbandht

Published: P.i.X magazine: issue # 37, October 2009

Real Estate

FREE MP3: Real Estate - Suburban Beverage

Nothing ever happens in New Jersey, wrote author Henry Miller. A sprawling suburban tumour sprouting from New York’s rectum, it exists on the cusp of everything and yet it is nothing. From behind white picket fences the frustration of youth’s creativity burns eagerly with a passion to break free. These are the typical circumstances that force young people together and lay the foundations for musical innovation. With the exception of drummer, Etienne Dugay who lives in a hotel in Brooklyn, Real Estate are very much a product of this environment. Guitarist Martin Courtney and bassist Alex Bleeker have played in bands together since they were 13 years old. “A lot of the chemistry of our band comes from the fact we’ve known each other for a long time,” Martin explains.

The band cut their teeth playing at home grown shows which Martin describes as, “Not so much DIY as just playing in your parents’ living room with all your friends, having a good time.” They’ve been involved in music for a decade in some form or other. Martin is a former member of Titus Andronicus, Etienne is in Predator vision and guitarist Matt Mondanile’s side project, Ducktails, produces quality psychedelic pop to rival the warm fuzzy suburban drone of Real Estate.

It’s no secret that lo-fi production is somewhat in vogue on both sides of the pond at present, but what is it that attracts these Jersey boys to Stone Age recording techniques? “It sounds better,” Bleeker explains. “There’s a lot of digital music, and it’s like, where does it go? It’s not real. You can’t feel it the same way you do with tape.” Perhaps the analogue sound is the logical and most financially viable choice for the band, given their intimate approach to the recording process. “We record most of our stuff ourselves,” Martin reveals. “We work with our friends but we don’t go to studios, it’s all about home recording.”

The ‘Fake Blues ep’ was released in the UK, 20th July on half machine records. Real Estate hope it will be followed by a UK tour. These Grateful Dead obsessed stoners live for the road and Britain is their dream destination. “Why else would you play music except to spend your time on the road?” Etienne asks. He stresses his vision of changing the global perception of psychedelic rock. “We’re trying to make it so jam-band is no longer a dirty word.” May the power of Jerry Garcia guide them to us.

Published: The Stool Pigeon, Autumn 2009

Offset 2009 - The Best Review of Them All

There are too many festivals. Most of them are too expensive and are full of idiots. Offset is at present a remarkable exception. It is affordable, has the finest selection of new and classic bands on offer and you can stroll around the beautiful Essex woodlands and fields without a single person offering you a free hug or shouting bollocks until their throat bleeds and fills their adolescent lungs with blood.

All weekend the heavy sun beat down steadily on swarms of beautiful young people, many of whom travelled only a few stops along the central line from East London to attend. As well as the Shoreditch socialites, a number of seasoned old punks and rockers attended, some even bringing young children with them, such is the relaxed and pleasant atmosphere of Offset.

The offstage antics are what truly make a festival memorable. Saturday bore witness to a bizarre kind of sports day involving drunken teenagers frolicking through the grass like beasts in heat. The comedy tent was dominated by a rotund ex jockey by the name of Bob Slayer, whose border line paedophilic brand of comedy involved lewd remarks being launched at a 14 year old girl wearing a sailor costume, while her Father looked on in dismay. Mr Slayer was rewarded for his comic exploits by being repeatedly punched in the bollocks by an attention seeking, stage invading young lady who was covered in sick.



Despite the compulsory shake down from the over zealous security each time you re-enter the festival, I, along with most other people, was able to accumulate enough intoxicants to see me through the weekend, and remain contentedly twisted throughout all the following performances.

Saturday

KASMS – Fiery haired singer Rachel boasted of her Essex roots as she shook her supple body vigorously to the eerie goth-punk rhythms. At one point she started to climb the rigging in an attempt to shake the audience from their complacency, but after climbing 3 feet, she gave up and got down again.



Teen Sheikhs – Sounding punker than ever, the Brighton lads tore the tent to shreds with their awesome fun time tunes.





Male Bonding – The audience, already psyched up from Teen Sheikhs, went ballistic to this lo-fi bro-core trio. Much of the set was performed with half the audience cavorting about the stage, picking up instruments and moshing like they were 14.





Damo Suzuki – The legendary Damo was but a whirl of swinging raven locks as his band knocked out mesmerising psychedelic electro-rock.

Factory Floor – A band who have yet to perform a bad set, Factory Floor’s pounding rhythms and captivating electronic noise was made unbearably intense by the relentless onslaught of powerful strobe lighting.

The Slits – I think there was some confusion, Notting Hill Carnival was last weekend, who booked this mediocre white reggae band? The tacky dub was punctuated by awesome performances of classics such as ‘Typical Girls’ and ‘Shoplifting’. During the performance of the latter every man in the audience wished he was a girl so he could join the exclusively female stage invasion that Ari-Up instigated. Still, this was not enough to excuse Ari pouring water on her cunt and shouting “ARI PUM PUM, FRESH AND NEW!” between each song. Embarrassing.





Metronomy – I was hoping they would provide the party atmosphere they did last year. Alas, it was pretty boring; despite the novel entrance of three people playing one keyboard for the first song.

Sunday

Ulterior – Some people compare this band to Suicide. Those people are idiots. Pretty much a wank rock group with an Axl Rose look-alike on the mic.

S.C.U.M. – This band were big news last year. Singer Tom had a fine smoking jacket on. Besides this, their performance was less than captivating.

The Ruling Class – Decided to sound like the stone roses, and why not?

Hatcham Social – One of the highlights of the weekend. Everything admirable about pop music and the balance of the catchy and the experimental can be heard in the music of Hatcham Social.

The Horrors – Wisely focused on the excellent material from this year’s exceptional kraut rock influenced ‘Primary colours’. I had to leave while lanky singer Farris clumsily waltzed about his mic stand, the last train was about to leave.

Goodbye Offset.

Published: P.i.X magazine: issue # 36, September 2009