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R[CHARS

13 CLASH NEWS

The xx on their Mercury win, Yoko celebrates Lennon's birthday, win a trip of a lifetime to Iceland - all this and the month in music.

20 BOWMAN'S BLOG

Edith writes from New York. 21 PRIVATE PASSIONS

Zola jesus delves deep into her love of scifi post-apocalyptic porn.

22 THE (LASH ESSENTIAL 10

Fresh off the Clash stereo, direct to your eyes and ears.

24 IN THE WORKS

The Ting Tings on their new album.

26 CROSS SECTION DOWNLOADS Listen to the highlights of this issue of Clash, for free!

33 SOUND CLASH

Spotlight on Oasis, Royal Academy Reviews heads back to school. the essential club cuts in Electric Selection, Toddla T is our Locol Heroes in Sheffield, Nils Lofgren gives us his Rock And Rules, Sky Larkin gives us her Write

On, and The Vaselines meet Veronica Falls in Personality Clash.

50 ONES TO WATCH

Six bands thoroughly endorsed by Clash. 115 ALBUM REVIEWS

Critical breakdowns of the month's packed releases from Kings Of Leon, Chromeo,

Belle And Sebastian, Gold Panda and many more.

126 LIVE REVIEWS

Klaxons, Bestival, End Of The Road meets Eels, Offset and Fever Ray. 135 CLASH LOUNGE

The latest film and DVD releases reviewed, plus Clash Click, our technological round-up, and Tech Know, your must-have gadgets. 144 STALKER

We root through Ryan Adams' closet for the juicy gossip of his past. 146 SWAN SONG

Mercurial man and ground level guru Badly Drawn Boy curates his last day on Earth.

008 November 2010 CLASH

rUJUR[S

28 MARK RONSON

New York's production star gears up for some big musical business.

34 AEROPLANE

The most tipped of dance dons goes solo, and dazzles.

56 CARL BARAT

The busiest man of the summer drops his debut solo LP Expect change!

58 HERMAN LEONARD

A tribute to the life and work of the great jazz photographer. 64ANTONYANDTHEJOHNSONS

This fragile man of mystery bears allan his art. lifestyle and religion.

66 COVER SrORYPAUL MCCARTNEY Vilified for breaking up The Beatles, Paul McCartney began the Seventies as pop's underdog. Intent on proving himself and his music, he began the seemingly impossible task of building a solo career from the ashes of the world's biggest band. Here,

he talks exclusively to Clash about the

a rduous birth of Wings, and th e long and winding road to 'Band On The Run:

98 STUDENT LIFE

Heading for a new life· of higher education? Absorb our timely guide to leaving home and making waves, by those who know best.

rASH ION

78 FASHION NOTES

All the essential new elements to balance your fashion world.

81 CLASH MUSE

Stylish cats caught in the act. 82 T I HIE TEMPAH

Plumstead's grime geek breaks out. 88 FASHION PROFILE

The subversive world of designer Thomas Engel Hart.

90 CHERRY BOMB

Runaways-inspired glam-punk fashion. 96 STYLE CLASH

Gogol Bordello's Eugene Hutz reveals his path through the world of fashion to his distinct niche.

WELCOME TO CLASH MAGAZINE Extolling The Virtues Of Literary Sex And Loving It!

WOUO ANY Of ~S O[ limNING JO M~SI~ JODAY W£R[ IT NOT ron O~ R ~OYER STAR?

Paul McC artney was one quarter of the band that changed the world forever. The Beatles were pioneers in nearly every

part of music, from studio recording to business affairs. They wrote the rulebook for rock stars, and the blueprints for pop careers. That's a mighty big legacy for anyone to live up to, as McCartney himself knows aU too welL It's odd to think that in

The Beatles' wake, Paul was struggling to vindicate his artistry, looking on as the likes of Bowie and Bolan made

little girls scream. In this issue of Clash, Paul. talks exclusively about the formative years of his solo career, fighting for critical acclaim, searching for his own sound, and the challenges he faced leading up to his long-awaited breakthrough album, 'Band On The Run: It's a frank interview and a candid insight into the bygone insecurities of a now untouchable and established legend.

We've got aspiring legends here too - Carl Barat, Antony Hegarty and Mark Ronson are al! lining up for their tu rn in the spotlight. and we have words with Tlnie Tempah, Toddla T, Nils Lofgren, The Vaselines, and much more.

If you've just started your first term at university, don't miss our sixteen-page guide to making the most out of your new life. We've got bands and local faces giving us tips and pointers to all the essential

elements of uni survival, and How To recommendations to making your days more enjoyable!

Finally, I mentioned a couple of issues ago about my musical road trip of the USA - if you want to read about what happened, and keep up with the fascinatlng interviews conducted while there, check out dirtymacroadtrip . blogspot.com, or keep checking ClashMusic.com for updates. Twitter carries our ramblings at@clash_music,and mine at@Simon_Harper.

You might never know that I want you to know What's written inside of your head

YOUR EDITOR.

IH[ HIGHI PHOfll[

Name: Laura Routledge Age:21

Responsible for: Ones To Watch The Detachments. and Phi I Spector Stalker.

Stereo Staples: Arcade Fire, Broken Social Scene The xx. Local Natives

Fact I want Larry Lamb to adopt me

Exposing Clash's valued staff and contributors!

010 November 2010 CLASH

~ . ~

CLASH

EDITOR

Simon Harper (02071292 0564/ simon@clashmusic.com

DEPUTY EDITOH

Matthew Elenneu (02071292 0565 / matt@clashmusic.com

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UVE'EDITOR

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CLASHCLICK EDITOR

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ADVERTISI NG ENQU IR IES TO (0207) 734 9351 MANAGING DIRECTOR

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PUBLISHING DIRECTOR

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PUBLISHER

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STAFF WRITERS

EdithBowman, Alex Hills. Ben Murphy. Adam Park. Tristan Parker

COVER PHOTOGRAPH

Ch ris Floyd / www.chrisfloyd.com

PHOTOGRAPHY

Tom 8·unning, Ben Cook. Toby Hudson, Jesse John Jenkins, Elinor Jones. Phil Sharp

ILLUSTRATIONS Matthew Green. Bert Industries. Alex Woodhead

CONTRIBUTORS

Da,vid Aaron. Bee Adarnic, Alex Burden. Chris Ccllington, Colrn Field. Charlie Frame, John Freeman. Shane Glsdstnne, Sophy Grimshaw. Gemma Harnpson, Ben Homewood, Gareth James. Damian Jones, Anatoliy Kurmanaev, James Lawrence, Frezer Lawton, Kat Lister. Kingsley Mershal! Steven

Maughan, Matt Oliver. Mischa Pearlman. lee Puddsfoot. David Henshaw.

Mart yo Richmond, Laura, Routledge. Will Salmon. Tom Ward.

Peul Weedon, Teri Williams,

THANKS TO:

Stuart {;, Andy @ Dawbell. BC @ MBC PH. Adrian" Leo @ Darling, Jamie @ Rough Trade. Everyone @ Anorak. Duncan @ CoOperative. Gillian @ Hall Or 'Nothing, James @ Ninja Tune. Everyone @ Herrnana, Louise @ Mercury, Emma @ Notorious, Rachel Hendry, Beth @ Purple PH. Martina @ Warp. Nathan @ DogDay. Stephanie @ Polydor. Richard Wootton. Sherry @ lAM.

Everyooe@Toa5tandofcourse to all our advertisers,

CLASH MAGAZINE l TEl

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Y~K~ ~N J~HN l[NN~N / / GnOfRA~p / / ~~WMAN'S nOG / / WIN A rRI~ l~ ICHAND / / ln liNG liNGS / / CROSS S[CIION

IHH mKON IHERr~ a curse on Mercury winners, but it's hard to see The xx following Speech Debelle, Rani Size or Gomez into virtual obscurity. The Wandsworth trio were crossover sensations long before the envelope was opened, but there have been a few useful knock-on effects.

As well as a sizeable cheque Mercury winners invariably eujoy an instant surge in sales, and HMV reported that The xxs self-titled album was doing 448% better business the day after

the ceremony, which was good going, The band then played their first postMercury gig, at Bestival, which turned into quite an occasion. There were

twenty-odd rows of people stuck outside their Big Top gig, and someone even crowdsurfed, To The xx, Surely a first.

Even extra-curricular xx activities received a boost. Charlie Kubal, AKA Wait What, is the man behind 'The Notorious .xx', a splendid mash-up mixing xx riffs with Notorious BIG raps, which was a popular download before Biggie's people got involved. The album disappeared underground but 'bas gotten a nice little resurgence since The xxs Mercury win," the Californian tells Clash. "I've been kind of blown away with the level of interest it's received."

Corne on Biggie's lawyers, let it be.

Londoners perform

live at the noted aw ar ds ceremony.

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Ray Davies

The legendary Kink has acquired an intriguingcast for his new duets

album. Mumford And Sons, Texan rockers Spoon, Pixie Frank Black and Sm ash in g Pu rn pk i n Billy Co rgan join Bruce Springsteen, Jon Bon Jovi and

the late Alex Chilton. Big stars.

I ' .1 I

Bonlver

The oddest collab of the year so far might just be Bon lver's Justin Vernon and Kanye West. who've become big buddies, playing basketball and laying down tracks. They've recorded ten so far, the first of which, 'Monster: has just emerged on West's website.

Kanye West

Speaking of Kanye, 'Monster' also features Jay-Z, and should appear on the rappers' upcoming joint EP. Much weirder: West and Wu-Tanger Raekwon recently remixed Justin Bieber's 'Runaway Love' after a Twitter chat.

Maybe Kanye is just into J ustins.

I ~

~

~

( N[WS ClASH

1 U I N G, N 01 S ~ 0 HI N G

City Of God Man Hits Road

When Antonio Pinto started work on the newfilm by his renowned

compatriot Walter Salles in 2003, he couldn't have envisaged the knock-on effects, three years on. At the age off arty-three, the Brazilian soundtrack composer has finally realised his rock 'n' roll dreams and toured America with a band - and he's heading for Europe next.

"Am I having a middle-life crisis?" ponders the chap best-known for soundtracking the classic City Of God.

"Of course I am. Who doesn't?"

The new band began when Pinto and two members of the experimental rock/dance outfit Naeao Zumbi asked their fellow Brazilian, Seu Jorge, to sing the closing song for Salles' movie Linha de Passe. Jorge - best known for his Portugese covers of Bowie hits in the film The Life Aquatic - enjoyed it so much that after ten days they had a whole album ofmateriaI. He then gave it to Beastie Boys producer Mario Caldato to mix, and the record is being released by US leftfield hip-hop label Stones Throw, And very good it is too, with songs by Kraftwerk and Michael Jackson getting the funky Brazilian treatment. So will Pinto remain a rock star?

"Im having like a twenty-year-old's life now, it's a lot of fun, but I don't think I could live like this forever," he says, "I have three kids, I have a dog, I have a turtle, a wife:'

Interesting prioritisiug, there.

The album 'Seu Jorge And Almaz' is out now, and they play Camden's Roundhouse

on October 17th.

YES YES YES! JA JA JA!

Clash to curate an evenlng this month at London's Ja Ja Ja

London's music scene has always revelled in being varied, yet for inquisitive palettes craving northern grit then Ja Ja Ja, the Nordic music showcase, should be a stimulating stop for you.

With the ir firs t ann iversary n ex t month, Clash has put together a triptych

of edgy bands from the northern coasts of Europe to play The Lexington on Thursday 21st October.

Opening the diverse and musical evening will be Iceland's R6kkurro, then Finl an d's Deer Tracks play th e mid die, whilst Norway's mighty Low Frequency ln Stereo headline. We were privileged enough to catch our headliners play the Parliament building in Oslo last year and can't recommend their thundering rock enough.

Head to www.jajajamusk.com for more information.

www.dashmusie.com

Yoko marks Lennon's 70th, in style.

LENNON FACTS:

• The Imagine Peace Tower consists of fifteen search lights, beamed vertically to an a Ititude of up to 4000 metres. It darkens on December 8th, the date of Lennon's death.

Lennon's assassin Mark Chapman was recentl y denied parole, for the sixth time.

He admitted a Iso targeting actress Elizabeth Taylor and talk-show host Johnny

Carson.

Irs DUN MOOIEn many

times, but as yet there isn't an official John Lennon Day, celebrating the great man's life, work and - perhaps more importantly - his message. But then perhaps one day wouldn't be enough, as the seventieth anniversary of Lennon's birth looks set to span a full six weeks of festivities.

Behind several of the higherprofile events is his redoubtable widow, Yoko Ono, who believes a celebration of Lennon's work is very timely indeed. "I wanted to give the gift of John's music and lyrics to us all now, so that John's wisdom and energy will uplift us, inspire us, and make us more powerful," explains Ono, exclusively to Clash. "We need that now."

Lennon was born on October

9th but two of Ono's tribute concerts should have already taken place by the time you read this. Lined up to perform with the reformed Plastic Ono Band in LA earlier this month were Lady Gaga., RZA, Vincent Gallo, Sonic Youth's Thurston Moore and Kim Gordon, The Stooges' rOO Pop and Mike Watt, and even Princess Lela-turned-author Carrie Fisher. That's quite a bill. "They are especially talented singers/songwriters of our time," says Ono, of her choice of

016 November 2010 CLASH

acts. "But they are also very warm and human people, with goodness in their hearts:'

Ono will be taking her refonned band - featuring SOIl Sean Ono Lennou and Japanese experimentalist Cornelius - to Iceland for the actual anniversary. There she'll also perform the annual. lighting of the Imagine Peace Tower, a spectacular 'tower

of light' that shines above Reykjavik from nearby Viaey Island. The tireless seventy-seven-year-old has also been heavily involved in a major reissue campaign, with remastered versions of eight Lennon albums hitting the shelves on October 5th, plus a box-set and greatest hits. "His powerful voice will give fresh energy to the whole world," she condudes. "It changed the world from seventy years ago. It will change it again for the next seventy:"

Elsewhere, a major New York concert is being planned for midNovember, with the likes of Cyndi Lauper and Patti Smith performing, and no doubt countless commemorative events will occur in between. Stay tuned to ClashMusic.com for updates.

"Johi's wisdom and energy will uplift us, inspire us, and make us more powerful"

LETJS GO

TO CELANO!

( N[WS CLASH

CLASH HAS rHE PHIZ[ OF A lIHlIMf FOR YO~ AND A FRIEND.

Yuni In Taxco play, whilst Canada delivers Timber Timbre and Diamond Rings. For the first time ever they have acts from Greece (Film) and from Greenland (Nive Nilsen). But th is is just the start, there's loads that we don't have room to mention!

However, often the real treat comes from the locals, so from the home turf expect sizzling sets from such colourful characters as Angist. Apparat Organ Quartet. Benny Crespo's Gang, Deep Jirni And The Zep Creams, Feldberg, Hafdis Huld, Kimono, Klink.Olafur Arnalds, Jonas Sigurdsson, Krona, Foreign Monkeys and Wisteria.

Fancy an ali-expensespaid trip to Airwaves on us? That's right: travel, tickets and accommodation for a dream weekend in Iceland are all covered if you are

the lucky winner chosen from this amazing cornpetition. To enter, go to www.clashMusie.eom/ iceland-a i rwaves-win and explain why you deserve to go. Details of general flight packages can also be found on the Clash site.

Let's get volcanic!

Win a trip to Iceland Airwaves this month!

ith more bands per capita, Iceland is the most musical place on earth. Fact.

October's arrival means one of Clash's favourite events is almost upon us: Iceland Airwaves. It's the time of the year where we erupt in a cloud of exotic music, confirmed legends, gregarious hedonism and weird booze - Airwaves is Reykjavik's biggest party and Clash are set to be in the thick of it for the fifth year!

We've been give the honour of sponsoring the main stage at the city's art gallery, which will be swarming with the capital's cool kids and party hunters on Saturday 16th October. and blessed musically by the likes of Robyn, Bombay Bicycle Club. Bang Gang and Timber Timbre.

For those who aren't deterred by the odd volcanic explosion then Airwaves is for you, as every band in Iceland descends on the capital to sonically battle it out with the cream of the crop of international legends and the hyped huddle of recent releases. Once you've partied hard you can shake loose your hangover at the epic Blue Lagoon party in the geothermal luxury of a bubbling spa rocking to some seriously aquatic dubs.

In the wider programme they've booked Chateau Marmont, Gable and Mondkopf from France. The UK roster sees Everything Everything, Factory Floor. James Blake, Rolo Tomassi, Ramadanman, Teeth, Wild Geese, Yunioshi and Walls. Across the pond the US sees their musical children of Neon Indian,

CUllU I ClASH

ESSENTIAL TOUR BUS ENTERTAINMENT

Everyone knows Alison Goldfrapp is an electro-pop minx. But how does she unwind when no-one's around?

Album

"I really like the new album

by Arcade Fire, The Suburbs:

There are a couple of tracks on there that are absolute brain worms - you can't get them out of your head. But more than seeking out new albums, I'm usually looking for silence:'

Book

"I always read about three books at the same time. That's not because I'm

re all y clever, it's jus t be ca us e I get bored really easily. I've just finished a Graham Greene novel and at the moment I'm reading a book about the Bauhaus movement and a book about beekeeping. I

have thought about beekeeping. I just love bees."

Gadget

"I can't stand gadgets. 1 have an iPhone and a laptop and that's it. The guys

in the touring band are all crazy about that stuff, bu t I try to travel a slight as possible:'

Movie

"I watched Nanny McPhee on the plane home from Australia, which 1 really enjoyed actually. It was very comforting to be coming back to the UK and watching something 50 English:' Goldfrapp's album 'Head First' is out now. Interview by Sophy Grimshaw

THE UPDATE

WHAT'S HAPPENED SINCE lAST WE SPOKE

Good old Morrissey: still stirring up shitstorms. The uncompromising ex-Smith reckons the Chinese are 'a subspecies: due to their treatment of animals. Still, makes a change from the Tibet business. Elsewhere, Radiohead made better headlines by allowing a fan-mad concert video to be released, while Pavement are letting a fan play with them on a US tv show. Former Guns 'N' Roses bassist Duff McKagan left Jane's Addiction months afterjoining, while Axl and co made some, er, memorable appearances at various UK festivals. Plan B is

directing a film called III Manors (semiautobiographical, by any chance?), Mark Ronson is producing the new album by long-lost R 'n'B superstar D'Anlelo, and there's more FUlees news, although don't expect a reformation, well, ever again. Wyclef lambasted old bandmate Prss (and Sean Penn) for dissing his Haiti presidential bid, while Lauryn Hill is "getting dose" to finishing her second solo album, after twelve years. Don't hold your breath.

For updates on these stories and much, much more, head to www.C[ashMusic.com/news.

THE GREATEST VENUE IN THE WORLD ... ?

PLACE: Echo Curio,Los An ele

ADVOCATE: Cameron Parkins from LA

s ace-rockers Su erhumanoids

"LA's east side has a number of

fantastic ve nues but n one are uite

like the Echo Curio. Watkin a fine line

between art aller and dance hall, it

has an embrace-ali ethos that draws

from LA's dis arate musical currents

018 November 2010 CLASH

without reiudice, Most ins irin is

their focus on creatin somethin

communit -based, a lace where weird

freaks and art school kids can see thei

friends [a music, check out some

hoto ra h or listen to records. The

have a ood PA, and its small ca ac:it

often results in crowds overflowin to

the street - never bad for the e 0:

Superhurnanoids' 'Urgency' EP is out now.

NEWON THE IPOD.

Zola Jesus: this is alii have been listening to. The album IS celled '5 trid u lu mil.' I t will change your life.

Howdy Clashers, or in the style of where I am for most of this issue, how you doin'?Yup, I am in New York; the concrete jungle which dreams are made of indeed. No matter how many times

I come back here it always feels like the first time. I'm amazed by the sights, sounds and opportunities, the positive attitude towards life and living. Wow, thats a bit deep for this time of the day: I'm

BOWMAN'S

~ I

E e

t •
F1
e , Indie girl turned retro songstress Rumer on demolished pubs and taking over Alan Partridge's band.

020 November 2010 CLASH

A month in the life Radio 1 OJ and TV Presenter Edith Bowman.

writing this as I look out my hotel window down Bowery at 8.50am. I guess I've been here at least a dozen times but I still get that childlike excitement, that unrecquited want for new things.

So, before I get on to my shenanigans in New York, there's a few things to mention. Firstly let's get it out the way; the Mercury Awards. Nice work The xx, and nice work everyone involved. I really couldn't call it this year

The Coolest Person I've Ever Met "Steve Brown, my producer, played Glenn Ponder [Alan Partridge's bandleader in Knowing Me, Knowing You]. The other day 1 looked

at all the people in the band and I realised, my band is Chalet:'

The Happiest I've Ever Been "When I got the phone call telling me that Burt Bacharach likes me:' The Lowest Point I've Ever Reached

"I was in a band [La Honda] that was pretty glamorous, for an eighteen-year-old. We'd had a record out that Mark Radcliffe played on Radio One, we were just about to play SXSW, we had offers in from American labels, and I

quit. I thought, 'Fuck it. I'm going

to go and live in a caravan and be near my mum: I'm glad I did, even though it took me years to recover from the whole experience. It was terrible:'

The Angriest I've Ever Been "They knocked down a pub called the Speckled Trout which was

a huge music venue in our small town, it was a lifeline for everyone. It had bands five nights a week, everybody went there and it was brilliant. 1 lived and breathed for the place:'

My Worst Injury

"I was electrocuted. But 1 survived:'

Rumer's debut album is out in November. Visit www.CI.ashMusic. co mj artis tsjru mer

and also, when it came to

the crunch, conldn't put my money where my overpowering mouth is and say who I wanted to win as I loved so many ofthe albums.

work things out here, get the ball rolling as they say. I met some awesome people all with such a positive outlook on life so I came away buzzing from it and it's really given me a new lease of life for work and the future, I also caught up with some old friends, which wasjust wonderful and fun and my cheeks ache from laughing so much. If you are in New York anytime soon get yourself along to TIle Lion on 62 West 9th Street or Highlands (yes it's a Scottish gastro pub) on 150 West 10th Street, finer food I think you might never find. Kele from Bloc Party was playing Webster Hall out here so I went along to watch. It was a brilliant gig with so much energy and he

is just having the best time on this solo project.

And so I bid farewell to these fair shores - until next time New York!

edith@clashmusic.co

Twitter me: edibo

Text me: send EDITH then

your message to 8747

FuckYou

By now you must have seen it, heard it, sung it, probably bought the T-shirt,. but how many of you have played ee-Lo's 'Fuck You' on national radio with NO censorship?

I still can't believe I got to

do it! Sixteen 'fucks', twelve 'shits' and two 'asses'. All with

Cee-Lo sat opposite me in the studio. This was a great opportunityto administer band tourettes to the maximum. I bounded around the studio

~ like a baffoon singing every ~' word, He loved it. He also

~ smelled incredible and left a

co

"E

"' OJ

C

~

lovely floral lingering odour

when he left the studio - it

g hung around for hours.

>-

'" ::>

g: The Big Apple

LI"I

t; The main aim of my few e

~ days Stateside was to start

x

t:.

conversations about a few

Th[s month, mernerising songstress Zola Jesus, on her very private love for '80s sci-fi porn ...

"Imagine if Barbarella was a porn movie: that's what these films are

like. As far as I know there are only five of

that were made in 1976 and between the years 1980 and 1982.1 like them because just really aesthetically pleasing to watch and really interesting. They're funny too.

My favourite ones are Cafe Flesh and Night Dreams. whieh were both made Stephen Sayadian who uses the pseudonym Rinse Dream. They're probably the best ones: they have little porn skits within the main film. And there are lots of amazing images.

My fiancee had the DVD for Cafe Flesh and I watched it and was blown away. I even based my music video for 'Night' I on it. Cafe Flesh is set in a post-apocalyptic world and is basically about people who are sex nega-

tive and sex positive. There are very people who can actua Ily have sex so the ones that can't go to watch the ones that can in these clubs.

Night Dream is about

a science experiment where they hook this woman up to these machines and try to induce erotic dreams into her sleep cycle, so the whole film is about her erotic dreams. It's pretty far out.

No-on e re a II y m ak es this kind of porn anymore, now it's just straight-up fucking. which is lacking in integrity I guess. Porn these days is pretty lowbrow, it's really indulgent. but it's still a form of artistic expression sol don't see why you can't make it good:'

Zola Jesus"Stridulum' EP is out now on Sacred Bones Records.

www.dashmusie.com

October's postmen were worklng double time with the INSANE amount of releases, so with more noise, clamour and competition for the Clash stereo, here's the wheat from the piles of chaff.

rO~R IH[ PUNI0M BAND 'A GLAMOUR'

The avant-pops ters return with the

blis teringly lysergic rock of 'The Wants' - an album that's sure to pepper the looming end-of-year polls Th is opener, a swooning pop nugget roughened up from its Glasgow roots, will give you tough loving

[Chernlkel Underground)

flY[ R~Sm

'DRAGONFLY' Face-melting goodness from the la idback Glaswegian. Now he's endured the insane hype of two years ago by staying tactically silent we're ready for the next wave of demented sl ices of bass heavy crunk seared with plenty of psychotic synths (Warp)

ON[

BHU AND S[BASlIAN 'IWANTTHE

WORLD TO STOP'

Thi s track is arguably the most out and proud attempt at pop perfection that the Belles' latest album 'Write About Love'

has to offer. But it

still conforms to the unassum i ng trad it ions of indie-pop: bi ttersweet rnalefernale duets, gasp i ng stri ng arrangements jangly melodies and the occasional handclap too. (Rough Trade)

SIX PARIAH

'THE SLUMP'

lntri cate after-c lub elec tronics here from the hyped new act on R+S that's injecting some of the subtle soul of Carl Craig's blessed fingers into a post-dubstep scene that's open to all COIllers Bleepy plus occasiona lly banging equals perfect

(R+S)

lWD GOlD PAN DA

'BEFORE. WE TALKED' Hazey gazey works From the shoegaze revival to (he dawn

of chillhaze it seems people like the fluff. Gold Panda's produc-

t ions too are sheathed in the fuzz and warmth of a human hand. Dislocated samples, truncated strings

and a clipped rhythm forces us to fall in love with this maverick beast allover again (Notown)

INR[[ WYAHI AIZMON/SUPH[N

'WHAT A WONDERFUL WORLD' Funny how an overheard track can suddenly be reinvented. Working with some

c lose friends, Robert Wyatr transforms the admirable yet overplayed standard 'What A Wonderful World' into an emotional

tr ibute to the sheer vital i ty of human existence

(Domino)

022 November 2010 CLASH

SU(N S~rJAN Sl(nNS

'TOO MUCH'

It's been a year since we stumbled upon videos from Stevens' semi -electron ic show at a New York bar The song 'There's Too Much Love' stood out, so we were more than pleased to hear the ruthlessly cosmic 'Too Much' on 'The Age Of AdZ:

(Asthmatic. Kitty)

UGHl BUCH HOU S[

'WHITE MOON'

The Baltimore-based band have just released a six-track EP together with totally new. unreleased track 'White Moon: The song was recorded as a live iT unes session and is naturally strippeddown, sounding a

who Ie lot different to tracks off (he recent long player 'Teen Dream:

(Bella Union)

NIN( lAMARYN

'SANDSTONE MEXICAN'

The finer instrumentation of , Sandstone' is not obscured by

the overbearing and indulgent drone of reverb but is ins tead allowed space to breathe, resulting in

a kind of grandiose shoegaze. Imagine Bat For Lashes through

a Kaoss Pad and you mayget this. (Summer)

UN rAClORY nOOR

'WOODEN BOX' (STEPHEN MORRIS MIX) The hypnotic beat of 'Wooden Box' wi II pummel away your senses wi th its bru ta lity There are of course the obvious synth-Ied similarities to observe between Stephen Morri sJ pioneeri ng outfit New Order and industrial London three-piece Factory Floor.

(B la stfirstpetite)

TOTAL 28

The Verdict The nags finish neck-and-neck!

www.dashmusie.eom

Following the influence of greats like Bowie, Eno and Iggy, The Ting Tings have gone to Berlin in search of a different

son rc per spect: ve.

WOHDSI3PHJL weisn PHOTOGnanry I TOB Y H. unson

And they have emerged triumphant; after spending eight months "isolating themselves" in their very own jazz-club-turnedstudio, the result is an album glistening with polished pop perfection. Ranging from acoustic folk to bangin' electro, R'n'B and, of course, rock and roll. this second offering shows the band at their most ambitious and diverse.

Playing one of their first ever shows at Club West Germany, The Ting Tings' intital experience of Berlin was the catalyst for the move. Surprisingly enough though, the city's burgeoning music scene has had little impact on the album's overall sound.

"It's more the mood here that has affected our work;' explains Jules. "The streets are really powerful in Berlin. It was -Z?" when we first arrived and therefore it was a very different environment to what we're used to. The people just felt tough. That was a big influence on the first three months of writing:'

The pair have lovingly crafted a makeshift studio from the ashes of an abandoned jazz club. Bursting at the seams with vintage analogue synths, Jules says that they prefer the ramshackle surroundings of their own private den to the sterile booths of a proper recording studio.

I ntroverted so u Is, th is br ief 5 p e II of self-induced solitude has certainly done wonders for the band. But it's not long now before they will be making the journey back over to Blighty to unleash their new album on the UK. Das techno ist off da hook. ja?

024 November 2010 CLASH

Album title: 'Kunst'

• Release date:

January 2011 • Producer:

Se I f- produce d

• Songs include: 'Hands: 'Help: 'Oay-T o-Dav' 'One By One'

• Other facts:

The band Found the delights of Berlin tango a welcome distraction from

recording.

THANK YOU FOR PUTTING YOUR FAITH IN CLASH AGAIN. What you're holding is our little bundle of verbs and adjectives that describe the music what we like. If you really want to investigate further, get your modem burning by downloading this handy compilation of this issue's artists.

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been ex!=!eriencing a renais-

sance in recent onths and

his highly an ticlRated

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A demo version of tlieir

second album's title tracK, it

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with a rough recording sue as this. ans of 'Jhe Golden

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ma.ke your ilPod ~i.rtg!

Download the Cross Section right away. There is no time to waste. Close that Facebook tab, check

your emails later, and don't even think about mucky sites. Head now to www. ClashMusic.comJ cross-

section-download for your musical reward.

www.dashmusie.eom

WOHDSI KaTLISTCR

PHOTOG aanrv I JeSSC JOHn renxtns

"I feel like 11m doing a lot of apologising here ... and venting. I hope you don'! mind ... " Mark Ronson drawls. The tabloid's pop playboy is back, and this time he means business ...

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on the transatlantic DJ one thing's as obvious as the star's newly-acquired platinum blonde quiff: the box

MA~K ~ONSON

doesn't seem big enough. As he digs hungrily into his noodle soup and slurps over his whirlwind pop career thus

far, the infamous accent isn't the only contradiction on offer. Hailing from both New York and London, moonlighting as both DJ and solo artist, and, having ditched those serious brown

locks, Ronson has now thrown another spanner in

the works. He's only gone and changed his name ...

The nature of Mark Ronson's (now re-dubbed

:M:arkRonson And The Business Intl) celebrity isn't ..

something that is lost on the man in question. Nor

are his past mistakes made - mistakenly, perhaps

- in the limelight. But with a new electro-popping

album in tow (namely 'Record Collection') and a denunciation of the two words that are synonymous

with the star ("covers" and "lounge jazz"). Ronson

is now keen to clear a few things up. And it starts

with the media.

"People didn't like me for a little while, .. he shrugs ... »

www.clashmusie.com

People's opinions of you seem to change fairly regularly_

I think because I was linked to Amy [WinehouseJ and Lily [Allen], I also got thrown into the tabloid stuff. It was a drag because I w-anted it to be about the music - I never wanted to get myself into these papers and become famous. Somehow you just wake up one day and you're in that and you can't really change it.

Do you regret those decisions now you're such tabloid fodder?

The thing is, I never really make any decisions personally. I like going out to clubs and I'm not going out to these cheesy Mayfair clubs every night, but so what? I got my picture taken coming out of'somewhere in Soho tate at night with a Klaxon, they run that picture in The Sun or whatever ....

controversy with their fans ...

I understood why there are certain kids - especially The Smiths fans

- that so vehemently hold their stuff" dear. Morrissey is like this voice for the disenfranchised internationally - of course they're going to

feel like I'm hijacking something dear to them. I think it's much more encouraging for me to know as a fan of music that music still really does have the power - that you love The Smiths so much that you send a death threat to someone you don't know that did a cover.

Why have you chosen not to do covers on your new record?

Not doing covers on this record was a given. It didn't mean that it was any less daunting cos I've never been in a position of having to follow up something that was a success before. I'm never going to be able

to come up with thirteen songs that can be judged against tile songs of Badiohead, The Smiths, TI1e Jam and The Kasier Chiefs, that's

ridiculous. So I really had to convince myself

in my head that this is a new record and a new project.

When did you decide to change your name?

Well, it became evident to me as the record was getting on that to call my record "Mark Ronson" would be full of shit because Version' was essentially a bedroom record, but what brought

this record to life was the musicianship and different people collaborating. To just call it 'Mark Rouson'is misleading. Why 'The Bus iness Intl7

I wanted something that wasn't just a pluralised word like "Mark Ronson And The Tank Tops" - The Business was kinda cool because it's quite strong but I don't want anyone to get it wrong and think that we're trying to be like Reservoir Dogs in our suits. I think people can have any impression they want but at the end of the day you go into the studio fourteen-hours-a-day and you roll up your sleeves and it is work.

The titl e track on the new record dea Is with the nature of celebrity - perhaps the nature of your own celebrity. You're portrayed as a bit of a playboy in the tabloids ...

[Interrupts] Which is like, crazy, because I'm like this serious monogamist in long-term relationships. I think people are disappointed that I'm not a playboy ...

It sounds like this stuff bugs you.

III thlnk people are dlsappolnted that J'm not a p laybov'

.

Do you think with this new record 'R.ecord Collecti.on' people were expecting 'Version 2.07

I don't think people really stay up too much thinking about those things, but I guess you'd have more reason to have thought that it would sound like Version 2.0' than something else. There are sounds and rhythms I've experimented with that I've never used before. I think that's a good thing - it would be unfulfilling if the creative process didn't take that many unexpected turns, That's the exciting thing about this record

Do you think'Version' stereoty.ped you?

To be honest, I didn't know I was doing a covers album with Version'. I started making those songs because I was painfully tired of all the songs I was playing in my DJ sets. Zane Lowe started playing 'Just' and I ended up getting a deal. It never occurred to me to do another covers record .. ,

Picking The Smiths to cover was always going to cou rt

The stuff I find more annoying is "TI1e Best Connected Man in Pop"as if I turned up at the record industry one morning and someone gave me this golden phone book. I don't know anyone who's DJ'd nearly as long as I have in clubs in New York who hasn't at one point had a Jay-Z or a Puffy in the dub. Its just New York.

Were you surprised by that media backlash after your 2.008 BRITS win? Do you know what? I don't really remember any of that and to be honest

I was so taken aback that I had won a BRIT Award. Especially as I'd moved

to New York when I was eight - to me that was you saying: ''you may have an annoying accent but you're one of us".

www.ClashMusic.com/mark-ronson

OASIS / / SKY LARKIN / / lODDLA I / / PERSONAliTY tLASH / / HECIRIC SHECIION / / NILS LOfGREN

AS IH[ ULTIMATE songwriter's songwriter, Bob Dylan is a peerless and seminal artist whose works have been dissected, scrutinized and evaluated for almost five decades. It's never stopped him though - his recent tours have seen him play relentlessly with familiar melodies, rendering them unrecognisable, and casting him as even more of an enigma, Last

year he surprised everyone when his new album, 'TogetherThrough Life; became his first Number One in thirty-nine years. Clearly he likes to keep people guessing.

This month presents a unique opportunity, however, to peek into the early progress and creative development of the former Robert Zimmerman. The ninth release of his ongoing 'Bootleg Series' is titled 'TIle Wttmark Demos', and collects forty-seven original demos of now classic songs, recorded for Dylan's publishing company between 1962 and 1964 - fifteen of which are unheard, making this a must-have for collectors.

Listening to Dylan, alone with only a guitar and harmonica (and sometimes piano) for accompaniment, you can distinctly hear his growth from an aspiring Greenwich Village folkie through his biting social commentaries to the groundbreaking proto pop pioneer.

Also in October comes 'The Complete Mono Recordings; a box-set from Columbia Records comprising remastered mono versions of Dylan's first eight albums - from his self-titled 1962 debut to 1967's 'John Wesley Harding'.

The perfect opportunity to investigate the genius of Dylan if you haven't yet already.

o ~ o o >III

2 b

.,.

c;:

www.ClashMusic.com/bob-dylan

worms I James tawnence

ay two heads are better thar one, yet not 50 for eroplane when soaring to the top of the dance pecking order.

BACKIN& UP A &[HRE·DHINING ANTHEM with a relentless

slew of phenomenal remixes, Vito De Luca and Stephen Fasona had made Aeroplane the biggest new name in disco.

With their long-awaited debut album finished and awaiting a high profile release, the duo looked destined to follow Friendly Fires and Chromeo out from the underground and into the major leagues.

Then in June, just a few months before the scheduled release of their LP, news broke of Stephen Fasano's sudden departure from the partnership. In the media aftermath, what was I

a one-man operation.

still plurally-titled 'We Can't Fly' arrived in late September via Wall Of Sound, bringing with it a progression from the key-heavy, disco blueprint the pair had risen to fame using.

A lot has already been written about Stephen's departure. Now that the dust has settled, how are you finding life alone as a solo arti.st?

It would be lying to say it's not easier. It is easier.

In the way that there is only one head. Decisions are easier.

The album has been two and a haH years in the making. What were the biggest challenges you faced along the way?

Time! It has been the hardest part. It was to find time to actually record and mix and finish it. Sometimes there were long periods between the sessions. It was hard to stay focused. Also, moving from studio to studio made the entire technical side of things a real pain in the ass to coordinate.

There is a wealth of vocal collaborations on 'We Can't Fly: was this al.ways your vision?

I wanted to make tracks that could be played on the radio. So you need vocals. It was definitely a deliberate choice.

I heard Giorgio Moroder is working on an alternative version of the album's second single 'Superstar'?

vVe did work on something. But it's not finished and since we recorded I couldn't get back to it

034 November 2010 CLASH

properly. Let's see what comes of it, but you know nothing is ever certain. Never. I did a track with Sebastien Tellier which is not on the record. It's sad. He was amazing, but I wasn't good enough.

The album's opening track, 'Mountains Of Moscow' is reminiscent of Moroder's

work. on Oliver Stone's 'Midnight Express'. In the past you've expressed an interest in writing film scores. What .d!.tIQi,...lfOuld you most work with and why?

I'd like to work for someone like Daren Aronofsky. The theme of Requiem For A Dream is amazing. But I would prefer working on Pi. Something darker and a bit more deranged. Or maybe Scorsese, Shyamalan or Gus Van Santo

In previous interviews you've spoken about artists who have infl.uenced you from bygone eras of pop, disco and rock. Which modern ones do you admire most?

It's hard to love the work of one man today.

It's more isolated tracks. Talking about true producers I would say Danger Mouse, The Neptunes or Phillippe Zdar for the mixing work he did for Phoenix and Chromeo and also for the last 12", 'The Rawkers EP'. A track like 'I <3 U SO' really fascinates me. Musicians, I'd say Classixxx, Erol Alkan, Hannulelaur or lately Gipsy And The which I'm remixing. These are that cross my mind

drinka.a,..co.uk lar III.'a«.

Ramble, rant or reminisce, this is an artist's opportunity to pen their own Clash article.

SKY lARKIN

This issue, Sky Larkin's Katie Harkin notes the analytical r e.at ionsl ip between science and music.

WEIRD ~mN~E

Science coursework (compulsory) was completed against my bratty teenage will during lunchtime detentions. It wasn't until I studied the physical properties of artist's materials at Uni that science began to appeal. I discovered Earthworks artists like Robert Smithson who worked directly with the land, keeping the scientific processes

of nature in mind. His sculpture Spiral Jetty (1970) is a huge coil of rock that juts into a salt lake in Utah, its shape mimicking the whorls of the pink salt crystals that now encrust it,

Smithson's outlook seems to have been fueled by the same kind of acknowledgement of'the unknown that propels scientific investigation; "Religion is getting so rational that I moved into science because it seems to be the only thing

The original math ro eke r,

036 November 2010 CLASH

Katie Harkin, where's your homework?

left thars religious." He has been a huge influence on me CI first encountered The Golden Spike in his writings) and I formed Sky Larkin whilst jumped up on the discovery of these creative/scientific intersections.

Although I've never had (or would want) a formula for making a song, songwriting as investigation, not just recollection, seems like a neat mindset to me. Edward de Bono, of off 'lateral thinking' (and, erm, Mannite for the Middle East), said that "focusing on things that are normally taken for granted is a powerful source of creativity".

Fon NO ~O nND~

Focusing on the sonic qualities of everyday objects was the origin of many new noises for the BBC's Radiophonic Workshop (1958-1998). The electronic music pioneers generated "original sound treatment" for programmes usingjust tape machines, wave oscillators and found sounds from items such as a bottle in B-flat, a fire extinguisher in D-sharp and a green metal lampshade. Delia Derbyshire, who previously studied both Mathematics and Music, created the Doctor Who theme-tune at the workshop. She herself supposed that she had been "experimenting

in psycho-acoustics". David Cain made Radio Sheffield's radiophonic jingle with a material nod to the steel city's heritage; he recorded and manipulated the clattering vibrations of genuine Sheffield cutlery.

However, the world's first metalhead was Pythagoras.

His investigations into the relationship between mass and sound pitch that first identified 'perfect' musical intervals were inspired by noting the variation in a blacksmiths clangs. The title of our new album, 'Kaleide' is roughly hewn from the word kaleidoscope (,observer of beautiful forms') and reflects how science, music and art have collided and fused in my life."

~ www.ClashMusic.comlsky~larkin

drinltaw.r •. co.uk for t". raw

The classic Oasis line-up. L-R: Whitey. Liam. Noe!. Bonehead, Guigsy

f All mE AlB UMS by all the British bands in the last three decades, it could be argued that none has had a bigger impact on the UK's musical landscape than' Morning Glory'.

First, the stats: it is an album that has shifted fourteen million copies worldwide; is the third biggest-selling LP in this country after Queen's 'Greatest Hits' and 'Sgt. Peppers Lonely Hearts Club Band'; it won Best British Album at the 1996 BRIT Awards; and it was named the BRITS' album of the last thirty years in February this year.

TIle build up to the album's release wasn't without controversy. Drummer Tony McCarroll was sacked by the group after he'd laid down first single 'Some Might SaY, with Noel claiming that he didn't think McCalToll was up to the job. Enter Alan White stage right to pick np the sticks for tills and the following three Oasis albums.

desire to sing on WonderwaIl' and 'Some Might Say', relations between the brothers were fractious. The situation developed into fisticuff's after Liam brought a motley crew of support

from the local pub back to the studio following Noel's vocal take for the latter song. Sessions were abandoned, with the group escaping back to London until Noel had cooled off. (Both song-s eventually saw Liam on lead.)

With the tracks eventually laid

down and a release date of October slated, everything was set for a smooth ride for the quintet. Until the release date of second single 'Roll With It' was announced, leading to one of the most well-documented rock disputes of all time in The Battle of Brit pop as 'Roll With It' was pitted against the release of

Blur's 'Country House'. TIle tabloids had a field day; sales for both singles went through the roof. Blur pipped Oasis to the post to become Top Of The Pops.

Oasis have had the last laugh, however, with an album that has stood the test of time over 'The Great Escape' in polls across the board.

Opening with 'Hello', a squall of guitars that morphs into a stomping calling card utilising the familiar refrain from disgraced child botherer Gary Glitters 'Hello, Hello I'm Back Again', 'Morning Glory'is all album stuffed with anthems.

It epitomised the swagger and strut of Britain at the time - a country riding high on the culture of'Cool Britan-

nia'. TIle sneer of debut 'Definitely Maybe' had been maintained, yet Noel's song writing had reached its zenith in

the form of anthems like

Recording took place in Rockfield Studios in South Wales, and sessions were fast and furious. The band were tearing through a song a day, but sadly Noel and Liam demonstrated their usual tempestuous relationship by tearing iuto each other over vocal duties.

With Noel having declared a

lilt epitomised the swagger and strut of Britain at the time - a country riding high on the culture of

ICOO l B r ita n n i a"

038 November 2010 CLASH

Wonderwall' and 'Morning Glory'.

Oasis have often been accused of wearing their influences too heavily on their sleeves, and it's true to say that some of the songs are shamelessly derivative - 'Don't Look Back in Anger'

'M.id'''''! •• :13"·11

2.'ROLL WITH IT

3. 'WDNDERWALL

4. 'CON'T LOOK BACK IN ANGER

t?IIIJmij'31IM:Uili:I#I."«lf.'1!1iJ.1.I~tCl tlijij#j ;;lill.gl

7. 'SOME MIGHT SAY

8. 'CAST NO SHADOW'

9. 'SHE'S ELECTRIC'

10. 'MORNING GLORY'

".llmn. #jIlL' :(_. :1j.irM'!1il.1mt~ tI Uij#j il:;'11I

12. 'CHAMPAGNE SUPERNOVA'

1995; IN THE NEW

- ROBBIE WilLIAMS UITS TAKE THAT

- OJ. SIMPSON IS AC UITTED FORTHE

IWli! 113.III:Ulffi Iii I iiil I:WI'j~111 :13" m3il

1995; THE ALBUM

PAUL WELLER· 'STANLEY ROAD'

LEFTFIELO - 'LEFTISM

MASSIVE ATTACK· 'NO PROTECTION

is Lennon's 'Imagine' re-imagined, while the lyrical stream of conscious ness in 'Champagne Supernova' gives a hefty nod the more fantastical Beatles lyrics.

However, these comparisons have faded into the ether as the album itself has stood the test of time, aud the songs have become karaoke mainstays in their owu right.

If only the brothers Gallagher could manage to take their own advice and not 'look back in anger' ...

www.ClashMusic.com/oas is

~ ~

C Sp~mGHJ

HOYAl A~AD [MY H[VI [WS

ISSUE 5S I 'lEJl 100IS MONIO:: SCHOOl (Gf' I ~g~~MBER

CLASI-I'SIN-I-IQUSE MUSIC BOFFIN 15 ALEX HILLS, A COMPOSER AND LECTURER IN THE DEPARTMENT OF ACADEMIC STUOIES AT LONDON'S ROYAL ACADEMY OF MUSIC. HERE. HE BLINDLY REVIEWS THE COMPOSITIONAL MERITS OF FOUR SONGS

THIS ISSUE. ALEX GOES BACK TO SCHOOL IN MUSIC.

1. HOLCHU?

'B.QY_F B.D M..SLH 0 01' My first impression

here is of the contrast between the short repetitive figure that is the groove and the more expansive, but also repetitive, vocals. This starts off interesting, but beg ins to grate after two minutes, when I've really had enough of the groove. The last two minutes or so break this down, and the instrumentals become far more diffuse and unpredictable and everything seems to gradually melt away. This makes the

song and it earns its five minutes!

Mostly this is just clich e, but the little tran 5 ition after the chorus - "no more teachers" - with the long held guitar E note and the melody surrounding that in serniquavers is actually rather stunning, The "We can't even think of a word that rhymes" line is also quite brilliant, sort of ira nically re lcceting his celebration of stupidity back into their own song.

This is a thras ier version of the same cliches that we had in the song before, but without the redeeming humour or moments of musical relief. This is clearly someone taking themselves more seriously! Surely we can try a bit harder with our lyrics than "Just my luck, no recess'? Quite awful. I can't think of much els e to say about this!

. 4. SUPERTRAMP

• 'SCHOOL'

This song is really full

of surprises - it never quite settle s into its genre - there are times

I think it is going to be conventional soul-blues, but then other things come in from disco and even muzak: that really strange keyboard 5010, for example. I like how much this keeps me on my toes -I really have NO idea what is going to happen next, and when I think I

do I'm always wrong. But

I won d er if it isn't taking this just a bit too far; it could do with something to hold on to as well as all the extreme contrasts.

The Verdict

These are all songs about going back to school

(or not, in the case of Alice Cooper), which is dangerously appropriate at this time of year - I start teaching next week! Despite the very hackneyed bits, the best parts ofSchools Out' for ever were surprisingly striking and memorable. I also liked the transformation that happens half-way trough the first song. Song 3 is really quite abysmal, and an easy loser. TIle last song, despite my reservations about its coherence, is really risk-taking and adventurous.

The Winner:

Supertramp - 'School'

www.dashmusie.com

Alright, they may not be able to actually fix your broken-down wagon, but with some of the freshest electronic talent of the moment and a grassroots release policy, who cares?

Since its inception, Wagon Repair

has seen a few changes: moving its headquarters from Canada to London, staffing line-ups and a name change, but one thing that hasn't shifted is the origina I musical ethos that began the label. "We did have an idea when we set it up, but the idea was just to do whatever we wanted.Taughs Mathew Jonson,

Canadian electronica luminary and cofounder/co-owner of Wagon Repair.

Maintaining a personal approach with its artists ("It's kind of a family affair:' says Jonson. "We're releasing people's music that we know personally. That's important to us:'). the label also holds down an impressive release record, including the hyper-intelligent dubtechno of Deadbeat, Seth Troxler's slick minimal creations, the broken hip-hop of Jules Chaz and Jonson's own techno/ improv hybrid, Cobblestone Jazz.

But such an inclusive music policy can create difficulties for an independent label. says Jonson. ThankfuUy, he is resolute in his refusal to compromise:

"It's difficult because when you're trying to push the envelope and release music that's special to you, it's not necessarily what's going to sell cornrnercially. 50 we've taken a lot of hits because of our ideas. But really it's about the music and the art:'

'India In Me' - Cobblestone Jazz 'Versianist Car mat EP' - Deadbeat 'Captivated Hrart' - Hrdvsion

U[lHOn GRAND PUHAH~

'Does Humour Belong In Music?' Frank Zappa once asked via an album title. Well, if the result is anything like Detroit Grand Pubahs then it most certainly -does.

Their latest record, 'Madd Circus' ("a do whatchalike type album;' as opposed to a straight dance album, says Pubahs main man Paris The Black Fu), is once again full of the wickedly dark humour that characterises their pas t decade of releases but there is now a far greater focus on the killer acid grooves and electro booty funk, all underpinned by a Detroit techno backbone. Funny, funky and grand in every sense.

DETROIT GRAND RUBAHS ESSENTIALS

'The Clapper' - Poker Flat Recordings 'Much Better' - Detelefunk

'Numb, Deaf And Dumb' - Detelefunk

KELPE ESS

garage, Detroit techno and flurries of grimey crack house it's got two paws

in the future and two paws in the past "We are in a perilous era when history is roundly ignored. We need to unfuck the worldl The same goes for music!"

THE 2 HEARS

You can't beat a cuddle, and there's few better clinchers than Raf Daddy and Joe Hot Chip. Whilst their name conjures images of Yogi and that happy blue dude from Monsters I nc smashing their way into global OJ booths with toothy smiles and banging slabs of tough jacking house, it's really not far off the mark.

Their second EP 'Curious Nature' on Southern Fried confirms these veterans are putting the fun back into dancefloors whilst seriously trying to not take themselves too serious Iy: "We do a lot

of talking about our favourite music:' explains Raf. "Then we get in the studio and get busy A couple of good loops and a beat AsVan Heiden famously said. "It's not rocket science"

In playful derogatory style they refute that they make 'thinking man's pop' insisting that they "set\out to make club bangers and got sidetracked" whilst.

\

when quizzed on their beer-on-bear

chemistry, Raf follows up\ "I bring tea and biscuits, Joe brings bonafide musical genius:' Never believe a bear!

With splashes hom Chicago. UK

THE 2 BEARS ESSENTIALS: 'Follow The Bear'

'Curious Nature'

'Work It Out'

l

K[lP[

Kelpe has dropped a truly impressive new single of-low BPM bass. "I wanted to make something that was catchier

___ and more infectious than my previous releases. and tess noodly" reveals the Dalston-based producer.

Kelpe stood out in the pack of new beatsmiths charging through au r iPods

a couple of years ago, rubbing shoulders with Rustie and Bullion. But he's stili feeling fresh: "I really thought I'd be bored of the new beats scene by now but I'm still finding myself listening to the new stuff that comes out and wanting to participate I guess:' Get low.

'Toy Castle' - Black Acre 'No Film' - Black Acre 'After Gold' - DC Records

Memory9, whose obscene production skills are reflected by a suitably genrespanning mix. Bringing to mind the eccentric intensity of Amon Tobin and the beat-driven electronics of Apparat, Memory9's podcast proves his mixing skills are indeed on a par with his tech wizardry.

Second up for some October action is Martin Dawson, the UK/Berlin techhouser perhaps better known under his King Roc moniker. Martin knows his stuff, and presents a slick selection of intelligent club cuts in his Clash mix.

The next October mix is a special one indeed, friends. Why? Because it's the two-year anniversary of the podcast series! And who better to celebrate two glorious years of banging, bustling and blinding DJ mixes than two of the best DJs around, who also happen to be the very cats that provided podcast number one back in 2008: Booka Shade. The German electro-house legends here provide a suitably special mix to say 'happy birthday'

French psychedelic Krautroc~ers/ Zombie Zombie bring October's OJ podcasts to a close with a wonderfully bizarre, moody and generally superb mix. Full of typically genius oddball selections - a few 6f which display their admiration for none other than cult B-movie director and composer John Carpenter - ZZ:s forty-five minutes are indeed a tripped-out electro delight. Impossible noJto love.

P(RMAN£NT VACATION

Sometimes quiet works. The two chaps from Munich who been plotting their label's rise to the top of the disco tree seem to have all but succeeded. TomB-t" oly and Benjamin Froehlich's Permanent Vacation looks set to be so as they

hit their fiftieth release with a double compilation revealing their genealogy stretching back to 2006. Adopting the 'vinyl only' release strategy that saw Dissident achieve cult status 50 fast their disco nuggets have mainly been the preserve of OJ boxes yet this double label compilation of 'Selected Works' should considerably now find a bigger audience. Serious tackle for fun loving minds.

PERMANENT VACATION ESSENTIALS:

'Coma Cat' - Tensnake

'My Fantasy' - Sally Shapiro 'Reckless' - Azari &:I III

II Ilil 1 b I (\1'1111. II ('1."11

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* * * * * * * * * * * * * * * THE TWO MET UP THROUGH THE WIRE TO CHAT COMEBACKS, THE VASELINES' NEW LP 'SEX WITH AN X', RELATIONSHIPS AND EVERYTHING IN BETWEEN •.•

ROXANNE: So how's the tour going?

EU G EN E: We're still on the road; we've done about five shows now. It's going well, we've got a new line-up so we've been trying to find our teet for the first couple of shows and get the balance going.

ROXANNE: Has it been nervewracking getting out there and performing again? EUGENE:Yes, definitely. We haven't played for a year-anda-halt: so even though we've rehearsed a lot it took me a couple of shows to really focus myself, get the lyrics properly in my head and the guitar solos right. ROXANNE: How have people responded to your new album?

E UG ENE: I think everyone's getting it. We've been playing

lots of new stuff and lots of old stuff at the shows so it's hard to say because I think at a lot of the shows in England people are only

seeing us play for the first time and want to hear old stuff ROXANNE: Why do you feel that this was a good time to get back together and start writing songs together?

EUGENE: When The Vase-

lines broke up we weren't even interested in reforming because we were both doing our own stuff and it would have felt a bit like we were cashing in then if we got the band back together when we weren't getting on.

ROXANNE: SO did you not get on for a while?

EU GENE: After we split up we weren't friends for a couple of years but then we started to get tu know each other again and became friends. We did a charity show a couple uf years ago and

I thought this would be our one chance to get The Vaselines back together, so we played with the full band and just really liked it. Up until that point I hadn't really thought about being in The VRSelines again, but it just felt right and the timing was perfect. ROXANNE: Was it weird writing songs together again after so long?

EU G ENE: No, not at all. Once we decided to write we met up

044 November 2010 CLASH

l.ondon-basec 'Ollrpiece Veronica Falls have experiencpd the

"irs t ha ld benef ts

of Glasgow's rich -nusical h ismry and cnannel mat typical '80s indie-pop sound into :'1eir sweet C86-

srv.e pep. Ha~d Y surpri sing l 'len that they cite Tne Vase ines an-angst the i r higges t influences..

( P[H~ONAlilY IClASH

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ISSH

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Thp Vase .nes may have re ,eased Just :wo albu ns <inr s

.neir 1986 :'lCepl:orl, bu~ ~he legacv Of the Glasgwegians'mLls:c

is unques tionab le. Charnpioneo by the onp and only KU'I Cobain. Eugelle, i=ra~lces and CC, have Inspired a steady stream of Ja'lgly lo-f r-nthus i asrs to fol.ow suit.

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in my front room and we played each other the songs we had. ROXAN N E: Is that how it works then, you each have an idea and then you work on it together?

E UGEN E: E.'Lch one of us comes with a bit of an idea and a song and then we get in my front room and V...TIte all the lyrics together. That was great fun and the best part of it. When we split up I thought we would never be able to write together again because our songwriting was born from our relationship. But we started writing together a couple of years ago and it seems like it's a really natural thing to do and we could really communicate and have fun with it.

ROXANNE: I watched the video that you have on your website. It's really funny. Why is Frances fixing a car, is she [ill amateur mechanic?

EUGENE: We just thought it would be quite funny to get her doing something conventionally macho and to get me doing something conventionally feminine ... ROXAN N E: SO have you always lived in Glasgow then?

EUGENE: I've always wanted to leave but things have always kept me here. I've always made music

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and I've always gone on tour a lot. I've never had the chance

to go somewhere but I guess I'm getting too old to move now anyway. Where are you living at the moment?

ROXANNE: London EUGENE: How do you think Glasgow compares to London then?

ROXANNE:, I think it's a lot easier being a musician in Glasgow, in terms ofpractising, etc. Everyone is a bit more laidback about it, less pretentious.

E U GEN E: Yeall, the music scene is really small and everyone seems to know each other and what everyone is doing and it can all get

a bit too much, so I don't really hang about in Glasgow anymore. I'm a bit past it all.

ROXANNE: Exactly. All the things you loved about it at the beginning start to tum in on themselves. But I went up recently and had a really nice drink in the west End and I really miss all those amazing tenement flats, as you can't get them in London. But maybe I will move back there one day ...

www.ClashMusic.com/thevase lines

www.dashmusic.com

SH[rrl[lD, [NG AND

53°23'Ol"N 1 °2S'Ol"W A hometown lowdown from its musical residents.

WOItDSI THISl'an FaHReR

IJ. ON~[ ~ONSID[RED a lifeless, concrete 'I metropolis by those too scared to

travel north of the Watford Gap, Sheffield's music scene has been quietly morphing and expanding over the past three decades thanks to various pivotal record labels, bands and DJ s, one of which - the new face of the Sheffield scene, Toddla T (Tom Bell) - supplies the lowdown on the wonder that is the Steel City.

Aptly enough, it was the remnants of the city's once-thriving steel trade that helped give Toddla and other dance producers the opportunity to start DJing, at various free parties and raves held at disused industrial buildings scattered around Sheffield. After playing at parties and releasing a handful of tunes that mashed up ragga, dancehall, hiphop and bassline iu a delightful combination, Toddla rapidly began getting booked

for indie nights and clubs across the city - a shock to the system, he confirms, ''After I put out the first couple of tunes it was mad getting offered loads of money to play ill these places. It freaked me out. Then 1 got used to it. I've found me feet, I'm confident in it and 1 fucking love it!"

046 November 2010 CLASH

This sudden success resulted in a hugely well-received and instantly enjoyable debut, 'Skanky Skanky, signing to the Ninja Tune record label and a second album due for release next year, following on hum recent bounce-bashment single 'Sky Surfing'.

Still immensely passionate about his home city and its residents - some of the friendliest people on earth, bar none - Tom is also acutely aware of the city's influence OIl modern music over the years, from Heaven 17 to Pulp to Warp Records to Arctic Monkeys, all the while underpinned by a club and party scene that has encountered various states of health.

"When I was growing up and getting

into dance music, there weren't really any successful club nights in Sheffield" saysTorn.

"It was through this avenue of underground parties that I started to hear house and techno and garage."

Today, however, the city's clubbing scene has been revitalised and the free party circuit is as strong as ever, much to the delight of Toddla and countless other Sheffieldiaus:

"There's loads of people doing dub nights and warehouse parties now. You've got an actual choice between doing something weird, proper and underground or doing something bigger and straight-up in a club, and it seems to be working really well."

Finally, love them or loathe them, Arctic Monkeys unarguably put Sheffield back

on the musical map after the city had been laying low for a few years. In turn, this helped to spark a resurgence of indie acts, both in

Top, Toddla T and friends.

Above: She ffie!d in all its glory.

Sheffield and across the UK. For someone like Tom whose priorities lay with dance beats it was a painful process, but one with a highly encouraging outcome:

"I ain't gonna lie, it did my head in" says Tom. "Sheffield became really saturated. Every other night was an india night and every other kid looked like Alex Turner, but no-one was doing anything different. At the time it pissed me off and we bitched about it, but looking back it was great, because we had a massive focus on music and things were back to where they were with Pulp or Warp Records or TIle Human League. Now it just seems like kids in the city are into bands

as well as dub step or indie or whatever. It's wicked."

That's Sheffield for you. Reet good and that.

Boozers

"TIl ere's a couple of different areas where you get proper boozers where they homebrew all the beers, like in Kelham Island. One's called The Fat Cat, where it's pure homebrewed ale, and they're all under two quid so it's proper affordable. It's right nice. There's another pub called The Sheaf, which is the same sort of thing, but they're not party pubs really,

it's just about right quality ale and a nice atmosphere:'

Niche appeal

"Niche has had the strongest scene in Sheffield of the last ten years - the most sustainable, on-it scene. The DJs there understand their own vibe, If you go to Niche and hear bassline and bassline house, that's like our version of grime. Everyone knows the vocal tracks and the hooks - it's proper homegrown. It's our hip-hop; everyone makes the beats at home, people are spitting with local MCs, it's not borrowed from anywhere. Any night you go there is rammed and just proper energetic music, no bollocks."

Party animal

"When I was younger the only way we

could hear decent dance music was to go to underground parties. TIle main party I went to and still go to and DJ at is Kabal.The first one I ever went to was in a recording studio. And now they've done them everywhere - in an old church, a disused morgue, under lUI archway. It's mad, it's all about where they can carve out a place to put in 11 soundsystem and 11 good atmosphere."

'-1:J www.Clashlvluslc.ccm/toddta-t

~ ~ ~

~

THEA-Z OF SHEFFIELD A BRIEF BUT HANDY GUIDE

,_, oN i [II ~ til ~ 1:4 iii(:

F rom the Sheffield environs, Alex Turn er and co. brought local colloquialisms into the upper reaches of the charts.

I: I :t_lIIIt:,_, ;tC1=

Sublime and utterly de' bauched hard techno night - now defunct - held in a former railway arch.

1~[IX.l~~1:U~I=

Lush pale ale brewed locally in the Abbeydale brewery.

I~I[IUI;

Occasionally troubled but eve r- i mpo rta nt nigh tclu b that helped create the bass!ine genre.

R.evered Nineties band who epitomised Sheffield and a more grounded indie sound.

I~ :til.) :ri'~ II. ;tJWi

Genius little book and record shop selling all kinds of cult delights.

~2';I~,):(I(,';JI~

The spiritual home of beats and bleeps was founded in Sheffield in 1989.

www.dashmusic.com

HO~K&H~l[S 0

NILS LOFGREN

The indespensable guide to surviving a life in music, by those who know best.

BEING THE BOSS ISN"T ALL FUN

Nils Lofgren has been a successful artist for over forty years - through his short-lived Grin. playing with Neil Young. his solo career, being part of Bruce Springsteen's E Street Band. he has seen and done it all.

If you're in a great band with people you love and music you love it's nice not to be the boss all the time. With the E Street Band I get a chance to be a part of a great musical team without having to be the leader, which is kind of refreshing, and it's also a nice different musical view of something; play a lot of different instruments, playing the supporting role as opposed to always taking the guitar solo.

wonns: sun on uanren

lLLUSTnar I on I seHT@S0HTtnDUSTlUeS

STAY IN SCHOOL

I'd actually advise people to go to college and study music. I know there's plenty of colleges regimented but there's such an amazing amount to learn now whether you're dancing, singing, choreography, writing, scoring, reading, or all of the above. I've learnt that anything you learn you never know when it's going to be applicable. Just because you're going to college taking some music courses doesn't mean you can't make your CDs at home on your home studio and put it out on your website and go play; You ron do all of it.

FOLLOW YOUR INSTINCTS

Trusting your instincts is a good idea as long as you temper it with the reality of what your needs are, and that includes being an adult who wants to pay your own way and have some more time in his life too.

HAVE PERSPECTIVE

When I grew up in the '60s I had a lot of great musical adventures but I never had that giant hit record where everyone was running around doing everything for you and

I think that gave me some perspective. Even back in '82

I couldn't get a record deal; people would tell me I'm a dinosaur, and again in the '90s I had trouble. That helped me stay grounded, I've never had the big hit record, I'd love to have one, not for the commercial value and freedom of it, just to reach people. TIle main goal is you do something you're excited with and passionate about and hopefully some people get

it and you can share it.

BELIEVE IN LUCK

We played anywhere and everywhere for anything or very little just for the experience or to keep playing our live new music in front of audiences to get a feel for what worked and didn't. After a lot of ups and downs with bad management and agents we had David Briggs, Neil Young's producer, taking us under his wing and helping us out. I was very nervous, I knew I didn't know anything about the music industry aud ] knew that the odds weren't good that I'd ever become massively successful, I just knew I had to play music. A year later when I was eighteen-years-old I was asked to do [Neil Young's] 'After The Goldrush' record and that was a very unusual, great opportunity. I think most people who drop out of high school looking to be a rock 'n' roll musician aren't going to have that opportunity, I just got lucky.

~ Read the fun interview at

~ U www.ClashMusic.com/nilslofgren. Get Nils' latest album and new music at www.nilslofgren.com

Nils Lofgren: right-hand man to The Boss.

048 November 2010 CLASH

'-~',1l;1*iDOY

1"

LUKE

-

IH[ H[AHIBH[AKS

"Teenage heartbreak is like the end of the world -I (ave the melodrama;' chuckles Joseph Kondras. WOHDSI JOHn raeeman

Originally from the seaside town of Morecambe ("the place completely informs what we are - small town lives;' says Joseph), the boys in The Heartbreaks bonded over a love of their parents' Northern Soul collections, Orange Juice and gritty Northern literature. New single, the swoonsome '1 Didn't Think It Would Hurt To Think Of You' fuses Mary Chain power, the poetic sensibilities of The Smiths (check that title) and the romance of Spector pop. "One of our biggest influences is '60s girl groups like The Ronettes," explains Joseph, the band's drummer and principal song writer. "I love how tragic the songs are but how poptastic they are; choruses that are heartbreaking but soaring, melancholic but uplifting:' Although now based in Manchester, Morecambe has defined the band. "Its not a cultural hub like London, so you have to find romance in what is around you," says singer Matthew Whitehouse. Joseph agrees, "If you want to create in an environment like that, it is hard But it's made us hungrier"

There is an Anglophile angle to

The Heartbreaks; Matthew is happy

to follow a fabled blueprint, "Wben

The Smiths came out music was very similar to now. It was very international and there was something very organically English which set them apart.

It's something we're doing, which is as perverse to do now as it was then. I see no problem in having a similar agenda to The Smiths:' Neither do we.

Welcome to Clash's breaking bands section.

Here are the new musical crew ploughing a furrow of success.

MUij:1=

Morecambe, Lancashire

rnI1li

English seaside Spectorflavoured rock.

l!mUm 1lJ!ij.

-

Matthew used to

be an ice-cream vendor.

~ "'i·J~[~

'Jealous, Don't You Know: 'Liar, My Dear: 'I Didn't Think It Would Hurt To Think Of

You'

050 November 2010 CLASH

IHHS

A skateboarding injury led Teebs to throw himself into art, first painting and then musk.

wo nDS I Ben uornewann

Mtendere Mandowa's music is a psychedelic mirror's image of his vivid, technicolour artwork. Kaleidoscopic sounds ebb and flow in a wave of warm intoxication, creating a mind-bending sensory assault of radically innovative beat production.

The twenty-three-year-old is happy with 'Ardour: his debut album. "It was my first experience making music so I was really in the zone, it came from a really honest place in my head:'

"I blame my environment; whatever emotions I'm experiencing or even just hearing something weird in my head;' he says when asked about the inspiration behind the improbable levels of imagination and imagery 'Ardour' is packed with.

Sharing an apartment with fellow Brainfeeders Flying Lotus and Samiyam can't have hindered the creative process either. "Moving in with them was a big turning point. FlyLo said, 'let's see if you can really focus:

He's an inspiretion'Teebs says ofThom Yorke's favourite producer. "Just the way he carries himself and how dedicated

Los Angeles, California

~

Subtle trip-hop beats

LmIl!tm Imi

Flying Lotus described Teebs' music as sounding "the way Avatar looks:'

ffi:Dl !'-i·J~[ij#i

'WL T A' :My Whole Life: 'Sunrise Remedy'

he is to pushing himself further is really inspiring;' he adds.

So, holed up in a modern day Warholian Factory-style environment, as part of a collective comprising America's boldest musical minds, Teebs spent two years making a record that wi!! raise the bar higher still.

Created with daring impulse and finetu ned with plenty of TL C, T eebs' mus i c

is genuinely innovative. Just keep that skateboard away from him.

-

~N[S 10 WAUH

MONA

Meet Nick Brown, leader of Nashville's newest kids on the block, Mona.

WOHDSI narman rones

Bubbling with more bouncing energy than a boxer waiting to get in the ling, this guy knows a thing or two about the three 'Fs,

Firstly, fighting: "Our original guitar player just didn't fit. One time he got so drunk and got in our drummer's face so I ended up having to beat the shit out of him. I literally broke my hand on his face."

Faith: "I'mjust trying to be as honest as I can, I hate bullshit man. I was raised in church, I had friends raised 011 politics and you hear a lot of bulls hit. I don't want that anywhere near my music." And finally, fucking: "I'm super obsessed with women's accents, whether they're from Italy or Georgia. It drives me nuts:'

Living in Nashville has already seen the four-piece lazily lumped in with the Kings Of Leon. Yet like their global straddling deep south counterparts, Mona have that same burning desire for world domination. Heck, they even want be

as big as U2. "They set the standard especially in their heyday," Brown affirms. "Thats how ambitious every rock 'n' roll band should wauna be."

Songs like 'Listen To Your Love' are as massive and emotionally charged as anything KOL or U2 have etched into their bible of universal anthems. And there's plenty more where that came from. But you're gonna have to wait cos these boys ain't in any rush to get their music out. 'We want people to be happy to hear us and not go, 'Shit not these guys again:" argues Brown.

Vi111@:)= Nashville

rnIlaj

Epic rock In' roll

LmII!tm [l!ii

Nick came within

a whisker of a

terrorist sho oting in Belfast the last time he visited the UK. a decade ago.

~

'Listen To Your

Love: 'Lines .1 n The Sand:

Teenager'

www.dashmusic.com

'HAL' actually come out of my love of hip-hop," lead singer and creative forceBastien Marshal explains. "In fact, if I was stuck on a desert island and had to bring an album, I'd choose Pet Shop Boys instead of fucking Nine inch Nails,"

Feeling more misunderstood than a thirteen-year-old on

the Jeremy Kyle show, Detachments channelled their disenchantment into an enthralling debut. The marriage of sleaze, frustration and seduction on tracks like 'The Flowers That Fell' and 'Circles' tempt you in

a way that is hard to fight -like a hostage with Stockholm Syndrome - and it's almost impossible to not find this despondency alluring, one of the band's traits which Marshal is more than aware of. "I don't take much notice of many other bands but I can't sense anyone doing quite what we're doing. -the flavour we have is somewhat different, it's a bitter, an acquired taste perhaps," he says. "But once people get it they're hooked:'

Having taken the decision

to alter their sound earlier this year, Detachments spent most of 2010 re-establishing themselves as a live band and getting used

to their new musical dynamic. "The album was completed

in spring, with the vast majority recorded on synths. Ai; a result, we had to ditch bass and guitars to make the switchover this summer," Marshal says. "The change meant that we've only just got the re-invented live show up and running again and it meant we weren't ready to play festivals or anything over the summer."

Making up for lost time, Detachments kicked off an extensive autumn UK tour in September to promote the release of their debut. And with future plans for a second album sounding even more eclectic than its predecessor, Detachments look set to can'}' on enticing us into the shadows of Marshal's warped, creative mind.

WORDS.ILallHa 110lJTLeDOe

P Ii OTOGRaPHY I TOBY Btl DSO n

There's something deeply enticing about the darkness,

~q=I=4:Jij North-West London

~

'80s synths and electro sleaze

tmmtm Il!!ii

Marshal recently made his acting debut in a film by a n Italian director.

~ ~1·J~[ij:!

'HA~ 'The Flowers That Fell: 'Circles'

Whether it's the way that the comers of seedy dance floors seem to curl a proverbial index finger and beckon you to come hither, or the way that brooding back alleys cause you to tum and inspect at a second glance, it's the shadows that are interesting: these varying shades of black stir up something in us that few other things can.

Lurking somewhere beneath the melancholic gloom are Detachments, the London-based quartet who spew-out heavy synths and noise rock, with a smothering of'sos electro pop and a dreary miserablism, all of which has made lazy comparisons to the likes of Joy Division and New Order all inevitable pain in the arse for the band. 'We get called 'industrial' a lot - what the fuck? I don't even know what that means. And Joy Division blah, blah, blah. I think. songs like

052 November 2010 CLASH

~el~ ~~~i~~fd ~~OPI:~h~~x~~~~~;~~~c~an

be hard. but not so or _ uy

WOHDSIDaVlD aensnaw

The found each other across the family dinner table,. ~ The~e brothers, sharing a frustration at lacklus.tr~~nt~~e

'I.:V . d .by a moment of clarity via. emg

rnusic were save h d

. . Ib . ('Untrue') to my broter an ..

innovator Burial. "I played that a . urn n G

" h the music for us, says uy.

we Just knew that was -r r-r-c _ heir own blend of vibrant beats

T. he duo soon started .. to creatle t", their debut single. 'Offline

h t P recently re easlngd

and punc y two s e . . 0 t . and nineteen-years-ol

. , . M hi M hi. At Just SIX een. ._

Dexterity via .• os I os u feel like a relic but they are taking the

Disclosure mig. ht m .. ake yo h -_ h s Joy Orbison and Mount

I id d by t ell eroe

recent blueprint at .. own" e Oust love mus ic;'explains Guy. "We

Kimbie and runnmg with It. W J I ike Skream and Four Tet

look up to guys I. d II

&lW~3# and want to be like.th~t. Wespen a

C~n:d.,..,~ our tin;e ~orking, finding. samples and

.. recording. _,

You can feel this craft in Disclosure s dl s with technical and intricate

recor Ing ,

idllng up alongside soulful patterns Sl ,

vocal cuts and floor shaking d.rops. The pair are ambitious too, with big live show

I . "We want it to be more than a

pans.

typical set with us behind lap~ops -.we to both play instruments and we regOl~g

be playing a lot when we get every~h~ng . together;' says Howard. Currently hVI.ngln their heroes' shadows. don't be surprised if Disclosure are inspiring hearts and

---

Whip-smart twostep cut together with glitchsoul samples.

Lmn!tm lim

Guyand Howard's parents are both musicians, his

Dad's band were big in Canada apparently.

mDl ~1·J~rC§ 'Offline Dexterity; 'London Town; 'Lin stigator'

C ~N[S 10 WAUH

ro PS . duo FOPS' electro-pop is inspired

San Franciscan k d Ghanaian dance dubs.

by obtuse Krautroc an ..

WOHDS I roun rneeman

. b . _ . Chad Bidwell ofRal

FOPS is a collaboration etween - . ..• f _ . ri-

-'"1 H ° lbacher and singer Dee K. esler 0 expe _

Par tna voge. _. . all ., d allows

tal - ck troupe Thee More Sh OWS, an men ro

the pair to forge a new sonic ::th'te b. eak between those other

"We wanted to make a de _ . e~a . r .. _ b b _._ 'We wanted: to

b ds," Chad tells us while nestling his new a y. ., d

an s, -. . _. I". that meant no drummer an

keep FOPS to onl~ two pe:~ ~~: listening almost exclusively to using drum maclll~es. I h d 1-'80s _ guys like Michael Rother

tufffrom the Iate-vos an ear y . -. d I wanted:

s - .. . t] tu fflike Transparent IllUSIOn - an . _

and obscure syn 1 S . __ _

it to sound like from that era~ . d fi' inspiration' "For a period

But Chad travelled far an WI. e ~r . Africa in Accra in

I was livlllg ill West _ - _.ca, 1 . __

Ghana. There was a crazy nigh~Iub I would occasionally go to with friends

d"

andjust stand aroun . . ...

Chad met Kesler in 1997, WIth .a white lie cementing their friendship. "He was looking for a drummer, ~ told .

hi I· uld drum even tho.u. gh I d never

In co, I"

played. We kept in touch after that.

Their current album, the endlessly

h Yeth' will be fol-

fascinating 'Yeth, Yet , , ..'

lowed by another - the more bass driv~n 'Priests In Them Caves' - early next .year. "We just kept recording and recor~ng

"Chad admits

and had all these songs,. '.'

You never can have too much of a good thing.

"41:1@:j~ San Francisco.

USA rnIlaj

Head-scratch ing synth ROP.

Lmll!llli [l!ij

Chad was an inte rn for C lintonbaiting Republican congressman Bill McCollum.

@IDl

~1·mC'Pl 'Yellow Jacket Corpse, 'Scandinavian Preppy: 'Dragomirov On The Dancefloor'

www.dashmusic.com

For many, the most fun you can have in a field is at Bestival, the music wonderland that gets more than a little surreal with its elaborate fancy dress.

~IS YUH ClASH boogied down to Bestival on the Isle of Wight with Right Guard's V\V camper van to get some back seat action. Complete with two Beetlejuices, a gorilla, Lara Croft,

She-Ra, a fantasy footballer and a NYPD cop, we set up camp in the artist village to tempt some special performances from the assembled stars, and made Mr. Motivator work doubly hard!

Clash landed backstage with our crack team of video makers to capture a wealth ofhistorical moments on celluloid. With

Mercury nominees such as Wild Beasts

054 November 2010 CLASH

getting under our feet it was rich pickings, so armed with an acoustic guitar, a small keyboard, a didgeridoo and a massive bag of banter we went big game hunting to snare some unique performances,

Join us online to see how artist egos exploded against one another and the magic from the main stage rubbed off on

our intimate V\V van.

Logon to www.ClashMusic.com/ off-guard-gigs for 20 exclusive off-

guard moments.

( ClASH PRUM~1mN

ROLF HARRIS TEACHES US HOWTOBLOW

Antipodean anti hero Rolf pitched up to Clash and taught our own Beetlejuice how to play the digeridco. He serenaded our 8eetlejuices wi th a Scot ti sh di tty and dep loyed many a wise word to the Clash crew.l t fast became clear why

Ro I f is such a co nsu rna te legend

as he turns on his unique blend of charms, educational banter and a Few choice ca tchphrases. Check out the exemplary showman performing online now,

BEARDYMAN AND MR. MOTIVATOR MAKE SWEET MUSIC

Wi th so many large talents floating around the artist village it was only a matter of time before they smashed into one another.

Beardyman has one of the fastest minds and mouths on the live circuit. fusing improvised comedy with beatboxing and a dash of political critique. Nothing however prepared Clash for Beardy serenading Motivator in the van on his woes that the larger-than-life fitness fanatic was no longer on TV. And he demanded a naked return!

THE CUBAN BROTHERS BITE OFF MORE THAN THEY CAN CHEW Epically on the edge

of getting podgy,

The Cuban Brothers requested a tune-up with the TV legend. We're not sure e i the r expecte d what they got as martial arts blended with moves best suited to the bedroom. There were surely some sore loins the following day. Watch their incredible moves, plus more Bestival fun, online now: www.ClashMusic.com/ cff-guard-glgs

INUHVI£WS AND LlV[ S[SSIONS ONLlN[ NOW

Tricky Chilly Gonzale.s Racehorses Silver Columns Bookhouse Boys Unicorn Kid Sparrow And The Workshop ROX

Here We Go Magic Wild Beasts Jamie Woon Japanese Popstars The BoyWho

Trapped The Sun Mount Kimbie Dan Le SacVs Scroobius Pip

www.ClashMusic.com/ off-guard~gigs

As Carl Barat, prepares to go solo clash finds

him, finally at ease with himself.

rs UH N A BUSY year for Carl Barat: he's had his theatre acting debut, narrated a film, v vritten his eponymous debut album, penned his first book, and reformed The Libertines. He's even found time to get his girlfriend pregnant. It makes you wonder if there will ever be a point when he will stop

creating thing'S?

"If I could be happy and not create things then that would be lovely, but I don't think I can see that happening," he explains, sleepily: When Clash catches up with Carl, he's just stepped off the plane from Dusseldorf where he has been promoting his new solo album: "I could try and sex it up and make it sound something romantic, but there is no point," he deadpans.

Released on October 4th, he's told fans to "expect the unexpected" ofhis self-titled debut. "I just had too much selfish stuff to deal with in music and life,~ he explains of his decision to go solo. "I just found that being in a band was distracting and potentially compromising ofthat. .. It was basically restrictive to what could be played instrument-wise:'

Carl Barat is certainly a surprise on first

WOHDSITlmmasa. wano PHOTOGRaPHY I ROGer. saucerrr

listen, especially in consideration of his collaborative past in The Libertines, Dirty Pretty Things and The Chavs. There is still the poetic romanticism, sentiment and soul that kindles at the heart of his work; but now, musically, Barat has matured in his musicianship. '1 guess 1 have learned to

grow more as a musician and a person;' explains the thlrty- twoyear-old. "1 think 1 kind of got stuck in indie-stasis for a while, and of course that became

something of a warm comfort zone, but it was something that I had to break out of'

C CARl BA~A1

It's a definite departure from the indie cliches that he feels his name and career has been embowered by. Born from a set of introspective demos written on a piano in his North London home in 2009, the brash buoyancy that has been familiarised his work to date has been replaced with symphonic tenderness and theatrical melodies, In its essence, 'Cad Barfit' sees Carl put a full stop to certain chapters in his life while starting afi .. esh on new ones - lyrically and musically. ~I guess Lnever did write a break-up album," he muses, "but the stories of being in bands and being in love ... I guess it is, I suppose."

The narrative that underlies each and every song on the album comes with its own cathartic nuance. From the obvious odes to his "simple, yet complex" relationship with Pete Doherty ('So Long, My Lover', 'Run With The Boys'), there are buried a number a ditties towards women that he bas loved and lost within his life (,Carve My Name; 'The Fall', 'What Have I Done', 'Ode To A Girl'). "I think they will be grateful to remain anonymous," he offers when asked about the protagonists. "I don't want this to become a public kicking match."

For now, the only lady in his life is the one bearing his child, Edie Langley. With his firstborn due ill December, Carl is "bracing" himself for fatherhood. "What I hear about this old parenthood thing is that it is no joke;' he quips. "I'll have to work it out as I go along. But yeah, I am excited by the thought,"

And what of the thought of'his new album and birth of a new start for his career? "If you've been working to the idea that it doesn't have to sell anything, which I have;' he poses, "it makes it a lot easier. You can really just go with your heart. I always knew in my soul that this album was the truth and I genuinely love this record. I've never said that about a record I've made. I'm happier and more complete as a person for having made it now."

www.ClashMusic.com/cad-barat

www.dashmusie.com

058 November 2010 CLASH

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Badly Drawn Boy refilms wllh Ihe (hI I" a frIIogy or new albums. U-mlled 2eD ./ncll)desbonU5 dIsc ·of com,plete rewotking of 'Ilealbum by Andy VOletReleased OCtober 4th.

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Keb DC1gels the leading dj in the world today playing 50's mb and 70's rare runk. SInce 1996 his compllotions on BBE have te Introduced a

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Wolvernompton.'s finest, The Unes, debut aJbUmre./eased October) Ith .rllIed with energy driven on/hemIc guitar tunes cnd he<:srtfelt melodies .. Gutrentfy on tour across the UK then off to the US.

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In the wake of The Beatlesl split, Paul McCartney beat depression, public antagonism and critlcal derision to produce his own personal masterpiece This is the stOI-Y of/Band On The Purr and ItS punishing creation

066 November 2010 CLASH

Wings and crew prepare to leave far their first tour, 1972 - Paul', first proper gigs since 19:66.

., '"

G

· I

( ~AUl MttmN[Y

www.clashmusie.com

y the time the world learned of The Beatles'demise, Paul McCartney was holed up in

his farm on the Scottish island of Kintyre, preparing for the onslaught of legal and personal consequences [see

side panel for Paul's side of the tumultuous story], His debut solo record was released the week after 'Let It Be', the group's final album - it had been ready for some time, but he was outnumbered and powerless to get it out before The Beatles' swan song. It was the final straw in a futile conflict and he publicIy declared the end of the band to a shocked world. From hereon in, Paul was on his O\VD..

TIle lead-up to 'Band On TIle Run' was fraught with critical indifference [see Discography for progress], Between 1970 and 1973, Paul had bolstered his group with wife Linda, drummer Denny Seiwell aud guitarists Deuny Laine and Henry McCullough, and recorded four albums, each with a distinctly different style or recording concept, and

each facing varying levels of disparagement. As plans were made to decamp to Lagos, Nigeria, for the recording of his fifth album, Paul McCartney had much to prove, with even more to lose - and it wasn't going to be an easy ride.

Speaking to Clash during a well-earned holiday following a summer of sold-out arena gigs, Paul revisited the traumatic years that bore a classic.

068 November 2010 CLASH

Was the diversity of your first four solo albums due to you enjoying the freedom of working alone. or was it because you were finding your feet as a. solo artist? I think it's both. I certainly was enjoying the freedom of just doing something different. I've always been like that, and I still am> it's like me doing The Fireman project: suddenly I can actually try something new. And then, the other ele-

ment was that I knew I couldn't just try and make a carbon copy of The Beatles - I knew that was impossible; without John, George and Ringo there was no way I could do that, So I knew I had to try and make something new. So each of the albums was to by and establish [ill identity for Wings that would then be recognised in time as Wings

music - the Wings sound.

After the mixed reactions

o

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DIA:NE, HIS WI.FE.

BUTCH, :HIS DOG ..

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for the fa~l5drink.w.r •• co.uk

to those albums, 'Band On The Run'felt like you were trying to prove something. Was that the case? Did you feel like you had to come up with something special?

Yeah, in more ways than one too. Because a couple of the guys [McCullough and Seiwell] left the band the night before we went to Lagos

to make the record. That was like

a bombshell. You can imagine me getting off that phone call: it was like, ~. Okay. Thy and hold your nerve; try and keep it together. What do we do now? Sod it, we're going'. And at that moment it was one of those, 'I'll show you. I will make the best album I've ever made now. I will put so much effort into it because I wanna just prove that we didn't need you guys'.

Did that make it an angry record?

I don't think the actual record is that angry. The first week of the record

I felt pretty angry. You know what though? TIle truth is I get over things like that quite quickly. I mean, that

Wing. p reo. p lit. L -R; Hen ry McC u 110 ugh, Denny Laine, Denny Seiwell. l.inda, PauL Two·dimen;;onal band member unknc>wn,

070 November 2010 CLASH

( fAOl MttmNEY

originates from that time, or was it jus t something that was lingering in your mind?

I don't remember that being a George line. I don't know about that. But yeah, that certainly was to do with an of that. It was symbolic: "If we ever get out of here ... An I need is a pint a day. It was feeling like that, the whole thing. Because we'd been .. .if you think about it, we'd started off as just kids really, who loved our music and wanted to earn a bob or two so we could get a guitar and get a nice car. It was very simple ambitions at first. But then, you know, as it went on it became business meetings and all of that, and eventually it was really not fun. You'd have to go into these meetings. So there was a feeling of 'if we ever get out of'here; yeah. And I did.

How much of the feud between you and The Beatles was actually spiteful.? On the album there's 'Let Me Roll It: which was apparently a response to Lennon, but the lyrics sound like a plea to be friends ...

Well, no, there was other stuff that was more like that. 'Let

Me Roll It' wasn't to John, it

was just in the style that we did with The Beatles that John was particularly known for. It was really actually the use of the echo. It was one of those: 'You're not going to use echo just cos John used it?' I don't think so. To tell you the truth, that was more [about] rolling ajoint, That was the double meaning there: "let me roll it to you". That was more at the back of mind tha.n anything else. 'Dear Friend' [from 1971's 'Wild Life'], that was very much 'let's be friends' to John.

The creati.ve progress

of your albums which

we talked about earlier seemed to find its place with 'Band On The Run'

~ from there onwards it seemed to be albums with straightforward popular appeal. Were you keen to consolidate what you'd

done and prove your worth as a solo artist rather than risking more critical taunts? No, it was just the wa.y it worked out. I think we just became a better band. I'd figured out what I'd been trying to work out, which was 'what was the Wings sound?' And once you had it, then you could be with it. The albums that came after that were still different, but now that we were more popular, we discovered what our fans liked. So then that's your style. I think that's what happens with bands - it certainly happened with TIle Beatles and with Wings: you start off

imitating people and just goofing around, trying to find out

what works and wha.t doesn't work. And at the time of

night it was like, 'Shit'. It was bad - two of your band has just left, and the drummer as well; he was fairly central. But Denny can play guitar - that wasn't too bad - and then I just thought, Well, I've done 'MeCartney'; I can drum, I can do this and that, and we'll just completely rethink the whole thing'. But it was full of difficulties.

Was it a case of having to rethink the songs? Did you go in there with songs planned and have to start from scratch, or did you start writing brand new .songs?

We hadn't actually rehearsed everything up with the band yet - we were gonna arrange them there - but I had it alI planned in my

head. And yeah, we did just have to think. .. particularly the recording method: that had to be different. We wouldjust get the three of us - me, Linda and Denny - to do a track. and get the basis of'the song, and then I would do back in and add the missing parts. You did have

After the fall-cut. smiles all round from Denny. Paul and Linda. 1973.

to rethink what you were doing. I think the songs themselves were the sa.me - it was the instrumentation and the arrangements that [changed]. But in a wa.y I found that to be quite a good thing, because stripping things back is never the worst idea. Like, Elvis Presley in Vegas, he was the opposite: it WdS just so much you could hardly hear him. The backing, compared to his Sun Records days when it was stripped ba.ck - it was just a couple of guys and Elvis - the records

get denser and worse, I think. Youjust hear millions of people going 'waaaas a .h: 'ooooohhhh', 'aaahhhhh' It's like, 'Get me out ofhere!'

You were mugged when you were in lagos. They stole

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www.dashmusie.eom

'Band On The Run; things like 'Band On The Run' and 'Jet' and 'Let Me Roll It', we suddenly found songs that people identified with. I remember Richard and Karen Carpenter ringing me up to tell me about 'Jet' - they were like the last people on Earth I thought who'd like 'Jet'! But they were like, 'Oh, great record, man!' So, you know, it was actually resonating with people. They were liking the stuff, For instance, Dave Grohl, it's one of his favourites. Again, I wouldn't think it would have been. So yeah, what we'd done was we'd found our style, and

so that was like, 'Okay, now we know what Wings is'. So we kinda stuck with it, and the nice thing about that is they are now big numbers in my show now.

Are there any plans to play an an niversary show of 'Band On The Run' and do

the whole album in its 4IrrrrrrrrII

entirety? ..

co u u

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I've been asked to do it, so I'll definitely look into it and consider it, but it's not an idea I would have ever thought of myself. It might be a cool idea, but I'm thinking about it.

Does revisiting older material influence what comes next?

Yeah, that's one of the good things about playing Jive: you're always playing older material, even if it's only a year old. All the time that I'm singing my stuff I'm

like reviewing it ~ I'm literally re-viewing it: I'm looking at this song and thinking, 'Oh, this is an interesting bass line I'm playing', and '011, these words - Christ, that was pretty good for a twenty-fouryear-old boy'. You do that. You think, 'Why didn't I just say 'walking down the road' instead of however I put it?' Like,

in 'Eleanor Rigby', as I'm singing it I'm sort of thinking, 'Wait a minute .. .' "Look at him working" - because he's writing

the words ... ha, I'm talking to you like you absolutely know the songs as much as I do! But "Father Mackenzie / Writing the words of a sermon that no-one will hear / No-one comes near / Look at him working .. :' Well, the next follow-on line from that should have been 'scribbling ... ith his pen to try and get the sermon written', because you've set up that idea, but it suddenly goes to "darning his socks". When I'm reviewing it, singing it, I'm going, "Thats a good idea, yeah; just switch paths mid-verse'. Suddenly he's writing a sermon and darning his socks. Absolutely impossible unless you have nimble feet.' It's a good way of keeping your wordplay and imagination healthy. Yeah, I love all of that. Looking at these songs does make me think, 'That's a good idea', so when I come to write a song now, I'll just try <lid use that kind of knowledge in the new song.

Well, to be perfectly fair, I think everybody else leeks at the same songs and thinks the same things! So you're not al.one!

Well, there you go! You see? That's good.

How well does Paul McCartney know himself? Clash asked Macca five questions from a Beatl.es trivia quiz book - to find out how well he did, and to read this interview in full, head over to www. Clas hMusic.com/ paul-mccartney.

074 November 2010 CLASH

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FASHION Nons / / TlNn HMPAH / / THOMAS [NGEL HAHI / / ClASH MUS£ / / GOGOl BORD[lLO

This month's top accessories, clothes and goings-on in the world of fashion. Sourced and selected by the Clash style team to keep you in the know,

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Denham Garment Library

A flagship store will be opening on October 14th in a four-storey town-

house in Shoreditch for men's and women's Denham clothing. The brand specialise in denim. military and Japanese workwear, reworking vintage and can structing un ique

quality garments. £420

Good Jeans Expert 'I D curve consultants' at Levi's have worked to develop the pe rfect jean for us. A revolution in the way in we buy denim, each pair is suited to the indi-

vidual shape of your bum to make it look its best.

from £80

You looking At Me?

Randolph are the original shooting eye wear brand, made since 1972. Traditionally supplied for the US military and marines, their retro styles transcended onto the streets and silverscreens when worn by De Niro in Taxi Driver.

£120

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Fur Felt Siren This is a, surprise new range for the

hat brand made famous by LL Cool J back in the '90s. Kangol's new Luxe

headwear collection is designed using fine fabrics and flawless finishing combining British heritage. retro hip-hop and recent catwalk trends. £130

Come Up Trumpets Available at stylish erotic boutique Coco De Mer and online retailer farfetch.com are these clever little designs from Burt Industries. The beauty of this little intricate designed trumpet pendent is that you can actually playa little tune on it. £130

Velvet Docs

This pair of velvet Docs are every goth grunger's dream. With new takes on the classics and collaborations with Gemma Slack, Komakino and Opening Ceremony - the label are building quite a name for themselves as both an originator and innovator.

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IR[ND R[PORI ARAN KN I W[AR

The Irlsh knit svveater wtll keep us snug thiS auturnn_ Here Lll-e SOITle of the classics and variations

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The authentic vintage Aran can be found at ROKit. Originally made for fishermen. the cable knit is said to be a wish for safety and good luck when out at sea.

1m ~I.] ~.;'1IUI Agreat fan due to his Irish heri tage. the designer here incorporates a thin transparent mesh layer over the look for this season. Punk rock sea-Iering.

001"\'11! II: II)! I ~I§ ThiS navy cable k.nlt Jumper is a sleeker a I terna rive to the heavy cream claSSIC With a low scoop neck and gold weaving, Aran has never looked so glamorous.

'&.11ILi:1 This huge chunky. cosy knit is the ultimate In comfort wear for th IS au tu mn Team with oversized blazer- and flats for daytime chic.

www.dashmusie.com

The New Autumn/Winter Men's & Women's Apparel, Footwear & Accessories Range Instore Now: www.supremebeing.com

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Johnny Blue Eyes

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THE COOLEST LOOKS AT THIS MONTI-fS COOLEST GIG: CLASH CLUB, LONDON

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www.dashmusie.eom

First emerging in 2006, Tinie made his name on the underground with tracks such as the MIA-sampling 'Hot Like This' and grime anthem 'Wifey'. However, it wasn't just his friends and peers that Time wanted to impress; his scope spans wider than that, with one listen

to his album 'Disc-Overy' showing that desire to breakout and take things world wide, Speaking to Clash, Tinie is refreshingly open about his wait: "I always wanted my shot and my opportunity but I'm glad that I waited and matured as a person along the way;' he says.

"1 moved to a really nice area when I was twelve and I had a good upbringing. So my take on things has always been quite lateral, even when I was recording in my bedroom. I think about things globally in everything I do, from the way I write music to the way I dress. I present modern British culture to the rest of the world;' he claims.

This year has seen Tinie grace the

top five with two more singles as well as supporting Rihanna on tour and taking the summer festival season by storm. All this from a man who, just two years ago, was making music in his bedroom and putting homemade videos on YouTube. "I saw a lot of my friends progressing a lot quicker than me and it made me snap out of the bubble I was living in and develop;' explains the ambitious star.

Teaming his down-to-earth, observational lyrics with a glamorous American swagger he picked up from studying Kanye West, Tinie creates a world that is relatable but fresh and never dull. He's worked with Damon Albarn 011 a Gorillaz remix and performed with Snoop Dogg at this year's Glastonbury, so has his fair share of A-list approval too. "Snoop told me to relax more than anything. He gave me a lot of great advice," claims Tinie.

Street smart as well as book smart, Tillie pokes fun at himself regularly, including ill his first hit 'Pass Out' with the claim that he has so many clothes he keeps some at his Aunt's house. However that's not quite the case any more. "I finally managed to buy myself a flat so now I've got lots of room for my clothes!" he jokes. Something tells us he might need to upgrade again once the platinum discs start coming his way.

www.ClashMusic.CDm/tinie-tempah

084 November 2010 CLASH

Time T arnpah wearS:

Shirt by C P COMPANY, tr 0 U sers by D&6. sh 0 e 5 byO&G , watch and j.well.,y his own.

( lINIE 1[M~AH

Tinie Iernpeh wears, J acket by ALL SAINTS, top by ALL SAINTS, jeans by DloG, glosses by RAY BAN. belt by LEE. wa,teh and jewellery his own

www.dashmusie.eom

A sinewy, leather-clad punk slouches against the \tvall of an LA street an-ned wlth 21 snarl and ,3 svvagger, that's Thomas Engel Hart.

WORDS I aPRlL weLSH.

Carving a name for himself in New York, the US designer now mainly resides in the capital of couture, Paris, where he has launched his own self-titled label. Not new to international acclaim, he did a three-year stint as Creative Director for established fashion house Thierry Mugler Homme on his rise to the top. Spurred on by his increasing need. for greater creative freedom, he made the bold move to quit the prestigious post and go it alone. Now in its third season, his menswear collection is stronger than ever.

Engel Hart's Spring/Summer collection was fittingly called 'LA Punx', presented a dazzling array of cropped

088 November 2010 CLASH

jackets, deconstructed vests, skinny jeans and shirts, all embellished. with safety pins, rips and skulls, a nod to the

designer's first love: punk.

"I'm obviously completely fascinated by anything that happened in the 1970s; this encompasses punk but I'm also a big glam fan too," he says, speaking on his musical influences. "T. Rex, RoX)' Music and in particular the way Eno looked."

And as further testament to this, the rebellious designer also took it upon himself to transform a tranquil Parisian street into a microcosm of 70s LA, for a raucous and unconventional fashion show for the collection.

His collection for next summer, which he previewed in Berlin in January, had a more grown-up fashion sensibility, though there was still a nod to his past influences with tough looking skinhead models and polo neck Tshirts.

Bam in New York, Engel Hart moved to South Carolina when he was six, but the pull of the Big Apple was too strong and he hurried back there in his early twenties.

"You grow up thinking you're the biggest freak and then you go to New York and you realise that there are loads of other freaks;' says Engel Hart.

MICRO PROFILE Hanging out with the likes of Antony Hegarty and The Stiffs, Engel Hart eventually got tired of the New York party scene and decided to move to Paris in his mid-twenties to practise his art.

Fascinated by infamous choreographer Michael Clark and drag culture, he was a regular on the citys gay scene, partying with the likes of Antony And TIle Jonsons' enigmatic frontman Antony Hegarty.

'i\ntony was doing performances at The Pyramid Club, which I was immediately drawn to and then our

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within the confines of gender convention and I guess 1 just know what's going to work."

That's not to say that Engel Hart's work is in any way mediocre. "I still really want to make something that has an amazing energy though and the clothing I make is definitely for somebody who is an out and proud showoff."

Although he was always interested in clothes, Engel Hart never intended become a fashion designer per se, but instead unwittingly fell into it all, after years ofperusing flea markets for off-kilter gems and Victorian antiques. It was only after enrolling on a pattern cutting course at night school that he began to make garments for other people, before finally setting up his own company in 2001.

Engel Hart fled New York in the Nineties and sought solace in the chic Rues Parisiennes: "I had to get out; it was about to turn in on itself. 1 didn't want to be forty and fabulous and still going to night clubs in New York."

Despite relocating to Paris, Engel Hart's New York upbringing stilI

heavily resona:tes throughout his work; his current collection for Autumn/Winter 2010 is a visual homage

to his time spent in the city and was inspired by punk troupe and close confidantes, TIle Stiffs.

The creative temperament of the French capital has favoured him well and made his designs more refined, considered, luxury and defi-

"You're not goiJ:lg to turn a monKey mto Yves Saint Laurent b,y moving hint to Paris!

friendship just developed from there;' he recalls,

Femininity, masculinity, androgyny, dandyism; the fashion psyche is often preoccupied with questions of gender. And Thomas Engel Halt can talk for hours about this; his overtly macho aesthetic seems to contradict his persona and interests.

"If you had seen pictures of me when I was younger you wouldn't think that I'd make the kind of clothes I'm making now: who knew that a Leigh Bowery fan could make that kind of shirt!"

So while the theatrical New Yorker has always tended more towards the subversive, he admits that his designs still conform to traditional ideas of gender.

"Antony's got this whole gender thing going on and I certainly approach fashion in a different way; r work

nitely more desirable.

"There's just something very beautiful about the place and it makes your clothing or whatever you do here very sophisticated because of that;' he says. "But that's not to say you're going to tum a monkey into Yves Saint Laurent by moving him to Paris of course!"

With his feet now fixed firmly in Paris, but his heartstrings steadfastly tied to New York, Engel Hart offers a unique cross-continent cultured approach to fashion and as such, is fast becoming one of the most reputable and exciting names in menswear today.

www.dashmusie.com

090 November 2010 CLASH

GOGOl HOHO[110

Eugene Hutz is the lead-singer of r-arnshackle collective Gogel Bordello, who are now on their fifth album JTr-arlz

Continental Hus tie' The gypsy pur.k talks about his allarchic fashion style.

WORDSI carruu,a FeLICl

WHO ARE GOGOl BORDELLO?

Gogol Bordello are a gypsy punk band from the Lower East Side of New York City. TIle name originates from the Ukrainian writer, Nikolai Gogol and 'Bordello' means brothel in Italian. Their latest recordings are produced by Rick Rubin and

combine riveting folk punk rock with Latin twists borne from Eugene's move to Sao Paolo. They

are known to run riot to the sounds of Spanish guitars, whirling fiddles, accordions and blasting bandone6ns.

rock also influenced her. We made everything ourselves and we had sewing machines in our house."

THE SEVENTIES WAS AN ERA OF INSPIRATION TOME ...

"If you take records from Afro Funk and look at the fashion that those guys were rocking, it was coming from a peripheral sense of fashion where anything goes:'

OUR WHOLE THING IS TO MAKE FASHION ... "An atom-smashing experience. When I first moved to New York everyone was just wearing black, when it becomes a cliche it's boring, it takes the life out of it,"

WHEN I GO TO BRAZil IT SIMPLY CLICKS ...

"Brazil is still in the Seventies, that's how it appears to me, a lot of what goes on stylistically and the feeling of life there."

WHEN WE STARTED OUT IT WAS LIKE EVERY SHOWWAS ..•

'~ Dadaist happening: there was a lot of Dada and Surrealism going on and we have played at a lot of galleries including The Tate Modern in London."

I HAVE ALWAYS BEEN INTERESTED IN ... "Ethnography. I have looked up a lot of national: costume from anywhere in the world from Mongolia and the Amazon, a lot of it was warrior outfits, because we were preparing not only for shows but also for touring so we wanted to make it functional, so it didn't fall apart. One way to go was to just buy army clothes, but army wear is so generic, so we looked at warrior wear."

I MADE ALL THE ORIGINAL GOGOl BORDELLO UNIFORMS WITH ...

"The designer Rachel Come, who used to be my girlfriend. We moved to New York together and did fashion shows together and designed the whole GB costumes, In a lot of ways gypsy punk

096 November 2010 CLASH

( Sm~KISIS

www.dashmusic.com

~

CDITCD BY Lal IUl F( )~T(,H & HOB DaBHOvVSKI ~

niversity life can be full of experiences

_ - some of them

good, others bad. The good include going out drinking until 5am and making a whole host of new friends, hearing new sounds whilst being too swept away to notice your hang-ups and reservations being demolished in a brave new world.

The bad can be pretty inexcusable - dancing to Bryan Adams in the Union Bar, unconventional use of your body waste, and joining the University Chess Club are just three of many. There's a world of cliches out there waiting for you to topple into.

Luckily, we're here to

New places, new faces. Great music, great boozin'.

098 November 2010 CLASH

help you navigate this social minefield. A whole host of bands have got together to give you tips on how to be the coolest cat on campus, while local experts are on hand to tell you the best music haunts in the top student cities.

Stick these pages at the top of your reading list, and you'll be sorted for the rest of your student days. Or you'll at least have some great tips on how to throw a brilliant house party.

Here's to the best years of your life.

I I

www.dashmusic.com

Finnieston is the place for getting drunk in Glasgow. Here's a few of the best places: The Ivy in Argyle Street for rum and cocktails; The Big Slope in Kelvingrove Street for outdoor seating; The 78 in Kelvinhaugh Street for dub and grub and Chinaski's for bourbon.

GLASGOW

By Bobby Cleaver of the record label Numbers

SHING M~SI~

Stereo is the one here. Upstairs is a dope wee bar with plenty of great wheat beers and tasty (vegan) food. Downstairs is a big bare b rick ce Ila r Jw alehouse space, which hosts decent gigs and clubs most nights of the week. You can find it in Renfield Lane.

D~YING MUSI~

It's got to be Rubadub

in Howard Street for me. I t has catered for the needs of Glasgow's DJs for eighteen years. I think they're one of the main reasons why the city has such a strong music scene these days. Plus, the people are allround good guys.

100 November 2010 CLASH