Rocketnumbernine – “MeYouWeYou” (Smalltown Supersound)

Rocketnumbernine are a relatively unknown duo made up of brothers Ben (synthesizers & FX) and Tom Page (drums) who formed in 2005, going on the release their debut album “You Reflect Me” in 2008. After meeting legendary drummer the late Steve Reid in 2010 the duo decided to take a more structured approach to their fusion of jazz, post-rock, electronic music and thick synth drones. This resulted in a live collaboration with Reid collaborator Four Tet at that year’s Mutek festival before releasing the single ‘Matthew and Toby’ on Four Tet’s Text label, followed by ‘Lone Raver’ the following year on Soul Jazz. At the start of 2013 the duo collaborated with Four Tet on the Floating Points produced single ‘Roseland/Metropolis’ that preceded this album.

The album opens with the echoing analogue synth and an acoustic drum break of ‘Lupe’, which develops into a filmic, dark and melodic monster across its five-minute length. Next up is ‘Rotunda’ which is firmly aimed at the dance floor with four to the floor electronic drums, energetic, tribal percussion, filthy wobbling bass line and a main melody that recalls DJ Mujava’s ‘Township Funk’. ‘Slide’ combines the previous two tracks approaches, starting with a thumping start-stop acoustic drum break which is swiftly joined by a descending synth sound and wriggling synth bass. There’s a great synth and drum build up that reaches its peak at 4 minutes in, with a ton of cymbals, acid synth and other synth FX bouncing around your ears.  

‘Steel Drummer’ opens with four to the floor bass drum, insistent cowbell and a stabby but thin synth riff. . Around a minute in a new more expressive and rich synth melody comes in building to the dropping of an acoustic drum break and rising, roaring synth bass that rattles the brain and adds an epic feel to the track. Everything breaks down to four to the floor drums swiftly followed by a thick, phat and funky synth bass line. Then the epic section kicks in again around 4 minutes in. It is a brilliantly structured and devastatingly effective track. ‘Deadly Buzz’ is a real album highlight opening with stuttering vocal sample and boxy drums before a whining synth and huge synth bass and delayed synth FX come in. Around two minutes in the track breaks down to an echoing computer vocal and drums while a doomy, heavy bass guitar builds in the background giving way to all out trash!! Epic, closer ‘Matthew & Toby’ manages to match a lighter sound with the live and intense feel of the album’s other tracks.

All-in-all “MeYouWeYou” is a great album that effortlessly combines live music influences with dance music influences and Rocketnumbernine are definitely a band to look out for in the future, they already have an album with Neneh Cherry confirmed for release later this year.

Psychedelia: The Return

Disclaimer: This post is in no way attempting to suggest or create a new  musical genre or sub genre. It is intended to observe some of the, at times tenuous, links in a burgeoning network of new psychedelic artists.

After a decade in development 2009 saw an organically grown set of artists exploring new and different ways of creating psychedelic music reaching critical mass. While the mainstream music press bangs on about ‘nu gaze’ they have missed a much wider and larger development that has and still is producing amazing, mind expanding music.

So who and what am I talking about when I refer to new psychedelic music? There are three main strands of this phenomenon. The first is the noise scene of UK and North America  where wildly oscillating colourful music has become the predominant feature for the likes of Animal Collective (who’ve come a long way from their humble beginnings), Black Dice, Fuck Buttons, Holy Fuck and 8-bit legend Dan Deacon. Animal Collective are currently earning the most column inches but they were virtual unknowns prior to the 2007 release of ‘Strawberry Jam’, which coincidently is when the band hit upon a winning formula for their music. Both ‘Strawberry Jam’ and the commercially successful 2009 follow up ‘Merriweather Post Pavilion’ showcased Animal Collective’s great musical achievements and exposed people to their contemporaries.

This scene also demonstrates that the genre is a step forward. Unlike Britpop this resurgence isn’t a retrograde movement looking through rose tinted glasses back to the ‘60s heyday of guitar and organ based psychedelic music. The employment of synthesisers, sequencers, drum machines, games consoles, toys, guitar effects pedals and circuit bending (the modification of musical and non musical toys to create new sounds) creates a digitised, corrupted version of psychedelia that is more in tune with the modern world. Occasionally these acts write lyrics with a similarly naive hippy vibe but by and large artists have shunned this in favour of a more modern post-irony lyrical slant. Much of the noise scene even avoids the use of conventional vocals. Though Animal Collective have two singers they treat the vocals as another instrument or effect in their music, veering from the disturbing and distorted to the ethereal and dub-like. Most importantly in a genre where it is difficult to establish yourself as unique and vital, to outsiders at least, all these acts have managed to achieve this, whether through a long development period like Animal Collective, Black Dice and Dan Deacon or a seemingly quick time in the case  of Fuck Buttons and Holy Fuck.

The next strand is the UK electronic and indie scenes that in recent years have received an injection of psychedelic sound. The main artists include Clark, Four Tet, The Big Pink and Maps. Over the last few years these acts have all released albums that resonate with their own unique sounds. Four Tet’s (Kieran Hebden) fourth album ‘Everything Ecstatic’ in 2005 delved into the relatively untouched worlds of late ‘60s psychedelic jazz of Art Ensemble of Chicago and Alice Coltrane and Krautrock (a German form of progressive rock) whilst retaining Four Tet’s originality. Hebden was a huge hip-hop fan and the joy he took in deconstructing and reconstructing these genres into a new sonic tapestry is indicated in the album’s title. Around this time his remix work shifted focus in the same direction and he began a fruitful relationship with Stone Throw Records and producer Madlib. The Krautrock influence would also rear its head again albeit in a colder form on the ‘Ringer’ EP from 2008. The next crucial release in this chain was 2006’s ‘Body Riddle’ by Clark on Warp Records. Though not the most obvious psychedelic album I’ve discussed it nevertheless reveals its twisted, swirling and dark heart with repeated listens. Like ‘Everything Ecstatic’ it uses modern hip-hop and R&B rhythms and production techniques to create a dense, evolving collage of sound to the extent that it feels as if ‘Body Riddle’ is the flip side of ‘Everything Ecstatic’ but where Four Tet looks backwards for his core influences, Clark uses modern sounds and electronic influenced noise to communicate a near pitch black sound of emotional turmoil. In 2007 these artists were joined by Maps (James Chapman) who released his multi-layered synthesizer heavy debut album ‘We Can Create’ to critical acclaim. The album was purely electronic music balanced with pop melodies. His sound is the most commercial that I’ll discuss but even Chapman is grounded in indie roots. Maps’ new album ‘Turning the Mind’ (2009) is true psychedelia. It takes the textures from his debut and adds new colours to what had been a very blue sound. ‘Turning the Mind’ is vividly colourful; resonating with bright reds, yellows and oranges yet there is a dark undercurrent to the sound, which is spoiled occasionally by Chapman’s naive lyrics and the odd Pet Shop Boys melody.

The latest arrival in this scene is the most hyped of the so called nu gaze bands The Big Pink. They combine electronic beats, guitar and synth sounds that owe to the original shoegaze bands like My Bloody Valentine, Slowdive, Jesus and Mary Chain and the Cocteau Twins and their sound has much in common with Maps’ debut but employs guitars instead of synths. The Big Pink recorded their debut ‘A Brief History of Love’ at Jimi Hendrix’s Electric Lady Studios in New York, stating that it helped create the vibe they wanted and ‘added a magic’ to it. Much like electronica and indie the noise scene is trying to forge a way forward instead of merely repeating past ideas and it has mostly succeeded in this aim in a time when this is near impossible.

The final strand is the underground hip-hop scene in the US andUK. The former is based around Stones Throw Records and Madlib and the latter helmed by Four Tet and Warp Records’ recent signing Hudson Mohawke. Though they are all different they have led to the creation of the first truly psychedelic hip-hop records and although the Beastie Boys and De La Soul had come close in 1989 with ‘Paul’s Boutique’ and ‘Three Feet and Rising’ and OutKast’s ‘Stankonia’ in 2002 was a brilliant tribute to classic Parliament/Funkadelic concept albums, Madlib is the first truly original psychedelic hip-hop producer. His name standing for Mind Altering Demented Lessons In Beats.

He is hugely prolific and flits between a vast array of black music genres but his work is always under the banner of hip-hop and almost always has a drugged feel. The high points of Madlib’s catalogue include the albums he released as Quasimoto  – ‘The Unseen’ and ‘The Further Adventures of Lord Quas’ in 2000 and 2005 and his work with MF Doom under the name Madvillian who released their debut ‘Madvilliany’ in 2004. He and Four Tet use hip-hop’s main weapon to create their unique sounds: the sampler. As Quasimoto Madlib created the weird vocal effects by slowing his beats down, recording vocals on top then replaying the vocals over the original beat. He also used his sampler and drum kit to create a disorienting dark world for MF Doom’s character Madvillain to live and breathe in for their album. This created a sound more akin to jazz or stoner rock music than traditional hip-hop. It was around the time of ‘Madvilliany’ that Madlib and Four Tet struck up a collaborative relationship and swapped remixes over the next year or so, many of which ended up on Four Tet’s ‘Remixes’ album. This then extended out into remixes of other Stone Throw artists and vice versa. Madlib has also worked under the guise of Yesterday’s New Quintet, in which he plays all four fictitious musicians and explores psychedelic jazz and incorporates influences from the Beasties Boys’ organic hip-hop and the atmospherics of Jamaican dub. With YNQ Madlib achieves his dual ambition of paying tribute to the styles of the past while being faithful to the progressive nature of jazz and his own innovative music.

Since signing to Warp Records Glaswegian producer Hudson Mohawke (Ross Birchard) has released the ‘Polyfolk Dance’ EP and debut album ‘Butter’. At first his sound was difficult to pin down but a little research revealed what made this strange brew. Mohawke grew up listening to soul and funk records and the rave tapes his cousin played and as a teenager he learnt the art of turntablism (becoming the youngest DMC UK champion at 15), which explains his unique sound that mashes together the luxuriousness of modern hip-hop, the day-glo noise of rave and found sounds and samples. ‘Butter’ is an apt title for a record that is so rich and textured yet has roughness indebted to the bass and found sounds and samples, lending the album an analogue feel evoking classic mid ‘70s Parliament/Funkadelic through a very modern filter. None of these three artists live in the same country but they have contributed to and influenced a new generation of hip-hop producers who can take these new ideas and twist them into varied shapes and sounds.

As stated earlier the music examined is not a retread of old psychedelic music genres but it would, however, be naive to suggest that these artists are rootless and are creating completely new music. There are three main components of influence, some of which interlink. The first is Krautrock or kosmiche music that originated in Germany in the late 1960s continuing throughout the ‘70s and up until the present day. Though many important Krautrock artists such as Kraftwerk, Neu!, Faust and Can have been canonised for their work the new breed of psychedelic artists also take their influences from the ambient organic work of Tangerine Dream, Ash Ra Tempel, Cluster and Harmonia.

Tangerine Dream emerge as the biggest influence and indeed achieved the biggest sound and sales at their height. Their authority is detectable in the music of Animal Collective, Holy Fuck, Dan Deacon, Maps and Four Tet. Their music, which is comparable to the dense texture and melodic styles used by their successors, allowed ‘sound patterns to build up slowly and blend into one another’. The classical and silver-toned guitar of Ash Ra Tempel and Neu! can be heard on records by Four Tet, Clark and Hudson Mohawke (though they probably aren’t a direct influence on Birchard’s work). Rhythms and harmonies employed by Can are mirrored in the work of Holy Fuck and Four Tet and are closely associated with Madlib’s style with Jaki  Liebezeit’s drum breaks been a constant source for sampling for hip-hop and dance music since the late ‘80s. The colder, pre-industrial ambient sounds of Cluster and Harmonia have also found their way into the corners of material by Maps and Four Tet’s ‘Ringer’.

The next influence is closely associated with the Krautrock and kosmiche music artists discussed. It is best described as ‘70s synth music, a rough generic term bringing together the music of Jean-Michel Jarre, Vangelis, Isao Tomita (Japanese synthesizer artist famous for his reinterpretation of Gustav Holst’s symphony ‘The Planets’), Klaus Schulze (Tangerine Dream and Ash Ra Tempel) and others. These artists and their music were musically ambitious, taking  Krautrock’s expansion of the potential of synthesizers to a symphonic level. Vangelis began his career in Greek prog rock band Aphrodite’s Child and, like Schulze, managed a smooth transition to a more symphonic sound; in Vangelis’ case, to successful soundtrack work which includes ‘Chariots of Fire’ and ‘Blade Runner’ (1982). Tomita and Jarre made similarly bold synth-led, reverb drenched sonic adventures. Tomita produced his own brand of synth music and was a successor to the classical reinterpretations by Walter/Wendy Carlos. Jarre successfully turned this music into a commercially successful sound and created huge visual shows to compliment this. In 1977 Jarre hit the charts with ‘Oxegene IV’ in a breakthrough year for synth music, which finally saw Kraftwerk infiltrate the mainstream and Donna Summer top the charts with the Giorgio Moroder produced ‘I Feel Love’. This became the catalyst for Jarre’s burgeoning live extravaganzas and the proliferation of synth music worldwide in the following seven years.

Schulze represents a darker, more contemplative and less grandiose sound but no less layered. He came from what is now referred to as the Berlin School, an experimental selection of  Berlin-based artists determined to discover the very outer limits of what a synthesizer and music could do.

The multi layered, ambitious and synth heavy material of the acts listed above has had an influence on the similarly layered and luxurious sounds of Maps, particularly ‘Turning the Mind’, which explores interesting sonic and emotional depths, Four Tet, Holy Fuck, Hudson Mohawke, Fuck Buttons and Animal Collective.

The last strand of influence on new psychedelic music is the ‘90s shoegaze scene which featured the heavily processed guitar sounds of the recently reunited My Bloody Valentine (MBV), Slowdive, Ride and their predecessors the Jesus and Mary Chain (JMC) and Cocteau Twins. This scene varied from the feedback driven sound of MBV and JMC to the ethereal ruminative guitar sketches of the Cocteau Twins’ Robin Guthrie. The mainstream media have focussed on the ‘nu gaze’ scene but the influence of these acts has been evident for a while now. LCD Soundsystem covered ‘Slowdive’ by Slowdive in 2005; Black Rebel Motorcycle Club’s verbatim theft of JMC’s sound and image; and the constant comparisons of Jonsi of Sigur Ros’ vocal style with that of Liz Fraser of the Cocteau Twins. Although it was the reformation of My Bloody Valentine that really thrust the spotlight on those that were obviously influenced by shoegaze’s brand of guitar pedal  noise. This ‘nu gaze’ scene is led by The Big Pink, No Age, School of Seven Bells, Atlas Sound however many of these acts are merely derivative. The really interesting manifestations of the influence are mainly on the noise scene. Holy Fuck, Health, Animal Collective, Dan Deacon and Fuck Buttons all take something from shoegazing even when they’re not using guitars. Health are the most indebted to MBV and the other shoegaze bands but they have managed to create a more obtuse take on the original sound that has more common with noise’s roots than most shoegaze acts. The density of the music by Animal Collective and Dan Deacon has the feel of a less attack oriented version of MBV, JMC and Ride. You’re not being abused but there is enough edge that it’s not merely background music. As I mentioned in paragraph three, the use of vocals as another layer or instrument can be traced back to Liz Fraser’s vocal techniques and are present  or rather deeply buried in the music of Holy Fuck, Fuck Buttons, Animal Collective, Four Tet and Hudson Mohawke . The fetishisation of guitar pedals and their analogue sound is also evident in the sound of the modern psychedelic acts that I’ve discussed and is another tie to the original shoegaze bands.

Though all the artists I’ve discussed are in themselves unique and individual, this article demonstrates that the artists that influence them and the techniques used to achieve their sound interlink in various ways to show a broad landscape of sub genres and artists that make up a reinvigoration of psychedelic music. In a time where the majority of bands and artists struggle to free themselves from commercial pressure or the inevitable repeating of what they’ve been influenced by these artists are attempting individually and collectively to direct us forward and to expose us to experiences and music that we may not have heard or felt before.

The influence of Krautrock and synth music is keenly felt but unlike previous artists who have just taken on these influences e.g. Stereolab and Muse these artists have discovered ways of creating something of their own in the spirit of those who had gone before. Their influences all ploughed their own furrow and it is difficult not to fall under their shadow so I salute the work of the extraordinary artists who’ve taken the risk on making something even more adventurous and exploratory.

Here’s a Spotify playlist (HTTP links, then Spotify URL) so you can check out the bands mentioned in this post:

Psychedelia: The Return

Psychedelia: The Return

2010 through my (biased) eyes – January

This is the first in a series of more informal posts where I share my thoughts and feelings about each month. Other entries that will form this blog’s main content are imminent, so keep checking back.

January hosted a mixed bag of album releases for me. However, it has left me feeling that it’s one of best starts to a musical year for quite a while and following months promise many more treats.

On the one hand, this month provided some disappointments in the form of long-awaited and much anticipated albums by Four Tet (who is this imposter?), RJD2 (who seemed to be trying to marry his two career paths thus far and the results were mixed) and Jaga Jazzist (a band that the more I listen to the more I realise they are incredibly hit and miss). Still even in these perceived failures there was hope and signs of great creativity. Jaga Jazzist in particular are immense and a force of nature when on form.

However, I was caught out by those that I’d not expected much from. Manchester’s Delphic impressed with an album full of strong tunes that managed to neatly dodge the cliches usually associated with indie-dance. Meanwhile the misunderstood (even I didn’t get them first time round) These New Puritans blew me away with fine songwriting, complex arrangements and insanely high production values!! I also enjoyed the dizzying highs of ‘Real Life is No Cool’ by Lindstrom and Christabelle and newly converted Ableton Live lover Blockhead finally added new colours and moods to his excellent production palette with his album ‘The Music Scene’.

I’ve yet to get out to a gig or club night in 2010 but there’s plenty lined up, including Hot Chip in a week’s time.

Back again in March with my February thoughts and feelings.

A Spotify (http link then Spotify URL) playlist for you to enjoy the acts mentioned above:

January 2010 playlist

January 2010 playlist

and due to unresolvable editing issues here is the Spotify playlist for the Albums of the Year 2009 post:

Albums of the Year 2009

Albums of the Year 2009