This month, to introduce the show, a residents special, featuring exclusives, classics, rarities and banter from Texture and AA.
This month we played…
oOoOO - Sirens/Stay Here [Nihjgt Feelings]
Tyler, the Creator - Jamba ft Hodgy Beats [Odd Future]
p.WRECKS - False Positive (prod. Pro Green) [Black Lantern]
David Lynch - We Rolled Together [Sacred Bones]
LUCIANBLOMKAMP - You & Me ft. Rosebud Leach [lucianblomkampmusic.bandcamp.com]
BunZer0 - On The Case [soundcloud.com/bunzer0]
James Holden - The Caterpillar’s Intervention [Border Community]
Run The Jewels - Run The Jewels [Fools Gold]
DZI - Enter & Break [soundcloud.com/dzibeats]
Paul White - Get Your Head Round This ft. Trim [One Handed Music]
Kool A.D. - EXOTISCHE KUNST [koolad.asia]
Crown Hutch - Midori Final Showdown (prod. Nattymari) [Aural Sects]
Asthmatic Astronaut - R52 [asthmaticastronaut.com]
Gasp - Haunted [gasp.bandcamp.com]
Emika - Wicked Game [Ninja Tune]
David Lynch - I’m Waiting Here ft. Lykke Li (Dolor Remix) [soundcloud.com/dolor]
J. Dilla - Trucks [Rappcats]
Ghosts - Watching You Go [soundcloud.com/ghostsmusic]
Shlomo - Post Atmosphere (Baths Remix) [soundcloud.com/shlohmo - www.anticon.com/artist/baths ]
Restform Bodies - Bobby Trendy Addendum (Alias Remix) [Anticon]
XXYYXX - about u (mist glider x aeropsia remix) [soundcloud.com/xxyyxx - soundcloud.com/mistglider]
Play Arounds (White label)
Sotnal - TONIGHT [soundcloud.com/sotnal]
soosh - the way you (feat. Carmel Khavari) [soundcloud.com/soosh]
SOHLA - wake [soundcloud.com/sohlamusic]
TWOS & Tours - As We Strive [soundcloud.com/twosmusic]
Teebs - _for phil [soundcloud.com/teebsio]
Kidsuke - Ghostgirl (KRTS RMX) [soundcloud.com/kidkanevil - soundcloud.com/daisuketanabe - soundcloud.com/krts]
Liars - 4 A Ring On Every Finger [Mute]
RocketNumberNine - Rotunda (Four Tet refix) [soundcloud.com/rocketnumbernine - soundcloud.com/four-tet]
(a is to b) is equal parts Crystal Castles’ domineering sonic assault and The Haxan Cloak’s crepuscular, gloomy atmospherics. At once lo-fi and viscerally immediate, they exist at in the perceptual bleed between transgressive performance art, punishing electronic noise and somnolent, dark ambient void-space.
Conceived as the meeting of Scottish noise artist Neil Morrison (The Colours Will Erase Us, Word or Object) and Polish performance artist Marta Adamowicz (MAdam, Gay and Immigrant), originally devised as a way to make club filling drum and bass tracks, it become evident that a shared love of neofolk artists Death in June was going to steer them down a completely different alley; as Neil later explains, “the music has a certain feel and aura around it, and that is similar to what we are trying to do with (a is to b).”
Driving hip-hop beats allow a lot of experimentation over the top, as you would expect from two artists who have had their art in galleries around the world, including Melbourne, Glasgow, Barcelona, Krakow and Oslo. The music deemed to be keeping some genres alive, with their track mróz being reviewed by Witch House Poland as keeping ‘witch house alive and well.’ To pigeonhole though is to miss the point.
Their first EP mróz, released earlier this year on Black Lantern, will be followed by the album Electric Grief later in the year, with major gigs planned for 2014; you’ll be hard placed to miss them tearing your city apart with a live show that constantly wins them plaudits.
What was the meeting that led you two to work together?
Neil: I was debating having a front person for (a is to b), mainly because I prefer to be hidden away and could quite easily be described as socially awkward. I was discussing this in the car with a friend on the way to a ‘Little Bit of Theatre’ night. I saw Marta perform there as Gay and Immigrant and knew there and then I had found the person I wanted.
Marta: A friend asked me to book this strange guy for one of my gigs and he hasn’t stopped stalking me until I agreed to be in his band. That’s about it really…
Can you tell us a bit more about the gallery art you also produce, or artistic projects that exist outside (a is to b)?
Marta: My journey with art started with painting and video art and through time this has evolved into solo performance project (MAdam) as well as [the] Gay and Immigrant project, started with Andrew Campbell, which includes most of my political work.
Neil: I used to be highly into making acousmatique pieces under the name The Colours Will Erase Us, which I used to post on Soundcloud and Facebook. It was mostly something I did to avoid going out and have a life. For some reason a few people liked these and started to re-post them for me and that led to a few opportunities.
I never asked for them but I was always most grateful for the opportunities that were handed to me, and for that I thank two guys; Jason Kavanagh (who used to run a great little netlabel called Itsu Jitsu) and Sergi Saldaña Massó (artist and art director). Jason started to release myself and Sergi added me to a few groups on Facebook, so they both started the ball rolling for me. These led to a few offers here and there for larger pieces to go within exhibitions. One of the hardest was to create a piece about Japanese culture, I had no idea how to do that and be sympathetic towards the people who’s’ culture I was trying to represent. I must have succeeded as I got a few emails from Japanese people thanking me for not doing a typically Western thing and being correct with my interpretation of their music.
I am now working on my noise/grindcore project Word or Object and a couple of collaborations: Flow My Tears, ‘The Policeman Said, a synthpop thing with Euan Meikle (Yuan Mekong), and Passive Aggressive Vaguebooking Wives, with Tom Jenkins of Genetic Noose. I’m also failing at writing more stand up and will be working on a slightly political blog with Michael Q Black.
How much of your live shows is performance art and how much is a straightforward gig? Is there a separation, philosophically speaking?
Marta: I don’t think there’s a separation between them. All we do within (a is to b) is an integral part of the project and its message. If we started separating there would be danger of losing something, a certain sense of a moment that we are trying to achieve with our live performances.
Neil: The music is always a straight forward gig but if you’ve seen our visuals, the way I play a Maschine or Marta, you’ll get the art part. Words don’t really do it justice.
What is your music making process – does it start with a sound or an idea?
Neil: We started off with an idea of some generic pop thing but well I think our slightly darker influences came to the front and changed that. So, we now have a very distinct idea for (a is to b) and all ideas get put through that filter and become unquestionably (a is to b). I feel our Christmas single shows that. It was Jingle Bells and if you listen to it, it can only be us. Most tracks now start with an idea and then Marta works on a few lyrics and then we fit the music around or through the lyrics. The idea of having the vocals sitting in the centre of a track is something we avoid and does give some people problems when listening to our tracks. We don’t make tracks easy for people as we want you to discover new layers when you listen; the tracks are never going to reveal everything to you on the first listen and that drives their creation.
Marta: For me it starts with a word or an image. Something that somehow sounds appealing to me and then I work lyrics and vocals around it.
What would you like to incite in people who listen to your music?Neil: I feel our music is dark and would like to inspire a feeling of unease, perhaps a feel you get more from listening to Sunn O))) or Khanate rather than dance music. I want them to scratch their heads and think.
Marta: Yes, we definitely want to unsettle them slightly!
The use of hip hop beats across such ethereal and head-warping electronics and vocals keeps a sense of movement and journey on mróz; where are we travelling?
Neil: Its rather cliché but the journey is more important than the destination. You’ll know when you get there though.
Marta: Absolutely agree on this one. The destination is the most boring part of travelling.
I like to think of bóg as industrial hyper-gloom inspiring morbid curiosity; there’s a sense of a deeper story, especially the film quote inserts – what is bóg and what was the concept behind it?Neil: The working title of the track was The God Concept and the Polish title reflects that. The track was one of the few where the music was written before the lyrics and it was at a time I was looking at spirituality and wondering about the world. I was rather bitter at the time and was feeling a deep sense of hatred and I was wondering could I accept religion and just blame God for how I felt, or should I just accept that I am my own God and take responsibility for my own actions. I chose the latter.
I can think of a few musical influences on your current style, please tell us in your own words what art (musical or non) inspires you?
Marta: Roland Topor, Zbigniew Beksinski, Douglas P. Wojaczek (Polish poet) and Gilbert and George in equal measure for all the disciplines I work in. There are a few more faces and names but these are always in the back of my head whatever I do.
Neil: Musically I am inspired by Khanate, Sunn O))), Death in June, Nurse With Wound and then a few electro bands such as Crystal Castles, The Knife and The Haxan Cloak. I think our music is a bus crash involving all these bands. I am also really inspired by The Beat authors and also Koestler and Conrad, which probably refers more to the darker side of life. This is also backed, I feel, by the fact one of my favourite paintings is ‘Study after Velazquez’s Portrait of Innocent X’ by Francis Bacon. All of these are jumbled up and added to the sense of isolation I feel towards modern society. I’m also highly interested in various philosophies. I feel Malthusian thought will ultimately be proven true and will tie in with where Marx sees the world going, these both lead to a certain feeling of impending doom. Marx, not because the idea of communism is abhorrent, but because the only way we’ll get there is through senseless death and destruction. It’ll probably all come true after the next world war the IR scholars keep telling us is on the way. I do also believe that there will be day found a moral truth and that used to inspire my music but now it is just a thought that leaks in subconsciously, it does resurface in ‘bóg’ though. All this gets fed into the laptop one way or another and becomes (a is to b).
What’s next for (a is to b)?
Marta: We decided to retreat into darkness for few months and work on the album while we are planning some major gigs for the 2014.
Neil: We had a load of gigs and a few festival appearances planned but we decided to work on the album as we would then have more material to choose from. At the moment live wise we have 45 minutes to an hour and it was getting repetitive, so we decided to take the time to have a more varied set list. Keeps things exciting for us and that will then hopefully keep the crowd excited.
Stand up? It’s an interesting juxtaposition to the atmospherics of (a is to b)!
Neil: Stand up is terrifying and I’m currently procrastinating on writing new material so as to put off the inevitable getting up to do it again. With music I can hide behind an instrument/laptop. With stand up you are up there alone and with nowhere to go if it dies. I try to stay away from the darker side that I embrace with (a is to b), so in many ways it is my other side that music does not allow me to explore. When I say that I seem to find it impossible to write an upbeat cheery pop song but I can easily give you a so-bad-it’s-kind-of-funny/cheery joke.
Most exciting / terrifying / exhilarating moment onstage so far for you?
Marta: Definitely the first time I had to sing in public. Before (a is to b) I have never done it outside of my bath tub.
Neil: I used to get very worked up before every gig and have certain rituals I had to go through, eventually with help from a therapist I don’t have that anymore. Although our gig in Warsaw was one I was truly worried about. Always coming off stage after a totally banging set has me on cloud nine for a few days. Some of the improvised dubstep things I’ve thrown in have the emotions everywhere as it can all go so wrong but usually it works and that feels great.
art by BOILZ
keep it locked on BLACK LANTERN
Interview by Alex Burden
Mild Maynyrd, also known as Dan Black, is a multi-instrumentalist and producer from St. Paul, Minnesota, making and sampling electronic and hip-hop music borrowing inspiration from popular music throughout the 20th century and even earlier.
Dan picked up his first instrument, a guitar when he 13 as a direct result of Hendrix, Page and Dimebag Darrell, fascinated by the pitch bends, feedback and downright crazy noises emitting from the strings. He moved on to experimenting with recording a few years later, breaking apart a pair headphones and using one side as a microphone, dubbing onto tapes on boom-boxes.
Dan became “entrenched” in playing music, joining several teenage bands. “If we were just jamming, not practising for anything in particular, I was always the one who hopped around instruments,” he recalls, “I’d play drums if the drummer wasn’t around, or sometimes I’d sing (yelling, more like), or I’d play bass.”
During a difficult time in his personal life, Dan was regularly posting on Warren Ellis’ Freakangels board which led to further conversations with Bram Gieben (original co-founder of BLM). Dan remembers how Bram “took notice of these little EPs I was posting on Bandcamp,” and it led to Dan’s alter-ego, Mild Maynyrd, releasing with BLM.
Already drawing comparisons to DJ Shadow’s early work, his music has reached several corners of the world, featured on radio stations, playlists and podcasts from New York to Moscow. Along with a series of Notorious B.I.G. remixes (MMvsBIG, Volumes I and Volume II) and a mash-up project combining The Flaming Lips and Felt, Dan has produced several DJ mixes and remixed a variety of artists from Black Lantern’s own Texture to Aesop Rock.
MM has released two EPs via his Bandcamp page (Nordic Rust and Broadcast AM) and three full-lengths (Dead Herring, The Parallel, and Hills Run Red) since joining BLM. Hills Run Red, released in 2012, is a surreal trip through the American West, taking the concept of a coherent narrative used on The Parallel to new places.
On his most recent, self-titled album he comes full circle, reflecting on the circumstances which led to his involvement with electronic music. Here, he tells us the story behind his new album, and the genesis of his approach to music.
When did music stop being a hobby and become a realistic option?
After I moved away for college I stopped being a part of a band, but the fascination continued, if not grew. I was already listening to hip-hop at this point, but my listening expanded a ton. I got into jazz, electronic music, and down-home, original blues: roots blues, from the 20s and 30s (and even 10s). I experimented with classical and soul and whatever I could get my hands on.
At one point I had a keyboard I borrowed from someone; I would put lines on a loop and kneel on the ground making noises and patterns with feedback and my pedal board. The whole floor probably thought I was a weirdo. They’re all going out to party on a Saturday night and I’m in my room manipulating feedback. What eventually got me back into making music formally was its usefulness as a coping mechanism.
What sort of coping mechanism?
When I was well into college, my Mother was diagnosed with an extremely rare blood disease called amyloidosis. At the time, we really didn’t know too much about it. And we still don’t, though that is changing every day. Amyloid is something we all have inside us, but in small amounts. It’s made of protein. If you get too much of it, however, it can latch onto organs and vital areas of the body. My Mom got very unlucky and it attached to her heart.
For a while her body was actually coping with it very well, and the treatments (chemo, amongst a whole slew of medications) were working. What messed everything up is that she had a stroke, which weakened if not temporarily paralysed half her body. Eventually she was put into a home for physical therapy/rehabilitation, but it quickly became clear that was a very long shot. So they moved her upstairs and we found ourselves in a hospice situation.
At that point I just needed a release of some kind. I can remember sitting in my basement with my MPC that I still wasn’t very proficient with, my laptop, and a guitar and thinking, ‘well, who knows what’ll come out or if anyone will ever hear it, but you need to do this.’ So I just started making a beat with the drum hits I had and what came out was probably terrible… but it was like nothing I had ever made before, and very much so felt like me. Not the part of me that was obsessed with Pantera and Led Zeppelin, though he was buried in there somewhere, the part that had gotten into every type of music imaginable and had been coping with a family member’s terminal illness for a few years. And some of it - most - was awful. But I wouldn’t change it for the world.
So your creative output was focused during that stressful time…
Eventually I had enough of this stuff to make a project, so I figured what the hell. The first EP I put on the internet was recorded leading up to her passing. Actually, looking at the release date now I put it up the month of her passing. This was early 2010.
What does your latest release, ‘Mild Maynyrd’ mean for you?
This album is particularly personal for me. All roads have been leading to this. It’s self-titled for a reason. It’s a concept record, which, apparently is what I do, with a sort of meta-twist in that it’s about that time in my life when Mild Maynyrd became a formal thing.
It’s the total opposite of my last record (Hills Run Red): which was a three-track Western based on a three part dramatic structure, telling the story of a farmer/rancher who goes off to the Civil War only to find his family killed by a greedy land owner when he gets back from the War. Not very personal stuff. I wanted to go the opposite of that both with content and structure. Structurally, the album is a lot of tracks that are fairly short. Most of the tracks are about two and half minutes or shorter, with the exception of the last track, which is I think about eight minutes.
It tries to chronicle that whole period of my life from my Mother getting diagnosed, through the stroke, meeting my wife, through me making my first beat, and her eventual passing, which is why the tenth song is a remix of the first song off my first EP. It’s also a bit special in that I’m expecting my first child, so this may be the last LP I do for some time. Eventually I’m sure I’ll come back to it. It’s self-titled because it’s sort of about the creation of the entity.
There’s a lot to like about the new album…
I’m really excited about it and I hope people like it. It’s perhaps the most accessible thing I’ve done, and not in a bad way. It’s fairly sample based, and special in that 90% of the musical samples are classical. I’m doing a lot of sampling of classic female jazz vocalists, which for some reason has become my thing. But there is guitar and synths and breakbeats too. Sometimes it gets a bit dance, and other times it’s melancholic or just plain weird.
What percentage of your music is emotion and what is imagination?
Interesting question and I’ve got to say I’ve never thought about this. I think as a whole, emotion probably trumps imagination - about 70/30. When I look back those tones and moods and things are, or were, buried somewhere deep inside me. Even without lyrics it’s easy to tell where I was at during any given period through music alone. Naturally the western (Hills Run Red) was more imagination… shit, almost all imagination. But I think generally I’m speaking from my heart than any sort of imaginary landscapes inside my head… I think if you can successfully meld those two, or even kind of switch back and forth, that is ideal.
The Parallel was also quite a bit of imagination because I was trying to paint a sort-of depression era world of weary travellers… but even with those two albums I’m sure some of those moods were still coming from inside me, and how I was perceiving the world around me. There’s just no way you can completely block that out. Even with a conceptual, dramatic-structure based, narrative driven album telling the story of a western!
How fast do you work, or how long does it take you to put together an idea?
It takes a long time. More than people would think. It sort of depends on how I’m going about it, what I’m starting with or what’s the spawn for the idea for the song. Generally when I’m knee deep in it I like to be working on stuff everyday if possible. Sometimes I’ll spend three or four hours just trying to get a guitar lick right or a run with a turntable.
I’m always in the mood to make music. Of course some days aren’t as productive as others, and part of that is I need to realise when to relax, step back, go for a walk or eat a chimichanga or whatever I need to do before getting back into it.
You talk about the beginning and ends of chapters, part of that moving on with your own family and new addition soon to come, after the loss of your mother; do you feel the reasons you make music now may slightly change from being a coping mechanism when the positive things in your life grow?
Oh, absolutely, yes. There is doubt in my mind that the next time I go to write a song, whether the seed is a synth or a chord progression or sample, that it will have a different, likely more cheerful, sound to it after my baby is born. You can hear that a little bit in [MM] at times. Of course I wanted some of the tracks to be quite beautiful, because seeing someone die can be a very beautiful thing, surprisingly.
The custom-printed CD and sleeve includes an immediate download of the full album along with extensive liner notes and exclusive flash fiction pieces written by Dan Black, previously published on his blog.
Mild Maynyrd online:
Here’s MM on the album’s genesis:
"Hello there. Welcome to my 4th LP, released by the lovely folks of Black Lantern Music. The album is self-titled, and for good reason, its content was the catalyst for getting me back into music in the first place. It should be obvious upon first listen that the album is of a personal nature. It chronicles a period of my life that would forever change me: my mother’s diagnosis and subsequent passing from an extremely rare blood disease called Amyloidosis.
Naturally it is dark at times, but there are also some moments that are hopefully quite beautiful. The combination of creating the album and writing journals/prose has been a healthy, nurturing experience. It feels like the final piece of acceptance for me from such a transcendent event and time. I wanted to give this away for free, which we are. But we are also asking for donations, both for leading researchers of the condition and for the leading non-profit for coping with it. Every denomination helps, even a single dollar or pound.
CDs were also printed, the proceeds of which will be going to said charities/research.Thank you so much for listening.”
The album is available on a full color, glossy, face and sleeve printed limited edition CD, for just £5. All proceeds go directly to Myeloma UK. Digital download (included in CD purchase) comes with liner notes, exclusive flash fiction pieces written by Dan Black aka Mild Maynyrd, and full album artwork.
Hailing from Glasgow, NEVADA BASE are the newest addition to the Black Lantern roster. Celebrated for their live performances, which have seen them play high-profile support slots for the likes of New Build, Metronomy, Silver Columns, Late of the Pier, and Memory Tapes.
Combining elements from indie, synth-pop, disco and electro, they are quintessentially a tight, rhythm-driven band with killer pop hooks, and their label debut FORESIGHT is an earworm track which will stay with you for weeks after you hear it.
Black Lantern’s roving reporter ALEX BURDEN interviewed the band in advance of their new single, which you can stream and download below.
You are one of the newest additions to the Black Lantern camp – how did you get involved with the label?
We became aware of BLM after they put out some tracks by our good friend Magic Daddy.
Where did it all start for you as a group? How did you meet, and how did the idea of an electro pop band form?
It started out with Andy and Albert just jamming together, discovering Kraftwerk and italo disco, picking up a mad keyboard player (Gus) and finally a German exchange student called Johannes who brought the whole thing together. He introduced us to Ableton Live (a company he now works for) and we recorded our first demos with him. Look out for his remix of Foresight under his Raketenbus moniker…
After a few months he had to head back to Germany before we’d played our first gig. We started off with purely electronic beats but now have live drummer Calum for added groove (and balls) as well as James on synths and samples.
Most exciting moment onstage so far for you?
Supporting New Build at a sold out Captains Rest. Loved that show.
So, the ‘illiterate Talking Heads’ description from your Facebook page – can you tell us a little more about that?
Haha! That was a review of our first single in The Skinny by guest reviewers The Phantom Band. I believe they gave us two stars for being “difficult to pigeon-hole.” I’ll take it.
What hardware / software / real instruments or sounds do you use?
On stage we have drums, bass guitar, guitar, synths (Prophet 08, Korg R3, MicroKorg) a Roland SP404 for samples and an MPC for sequences.
In the studio we work mostly in Ableton Live but tend to use more classic synths - a Roland Juno 60 and Moog Rogue feature on Foresight. Yamaha CS01 is all over Hindsight.
Tell us about ‘Foresight’, your new release for BLM.
It’s our first recording with live drums and shows the more discoey, funky side of our sound. B-side “Hindsight” is another flavour of our sound with a more downtempo, hypnotic, almost hip-hop vibe.
Who are the electro pop artists you rate the most, and why?
Georgio Moroder is responsible for Donna Summer’s I Feel Love. Just a beautiful song produced in such a futuristic way.
What sounds are integral to your productions to capture the electro vibe?
We use a lot of arpeggio sounds; often driving 16th notes that give an almost mechanical feel to contrast the live instruments. We use some samples too, as well as sequencing for some baselines which again gives a more clubby feel because it’s much tighter. Also essential is a drummer who can play tightly in sync with these electronic elements.
Who does what in the band, and what element(s) do you think each member brings to the music?
Calum plays drums and brings sheer energy.
Andy provides the solid low-end on bass guitar (often with added funk) as well as occasional synth duties.
James provides synth soundscapes from driving bass rhythms to spaced-out chord sequences, as well as funk guitar on some tracks.
Albert’s guitar playing also tends towards the punk-funk side. He’ll occasionally bash away at some keys. Or a cowbell.
Albert leads the singing, though we do make frequent use of group harmony vocals onstage.
Who would you most like to tour with and why?
Talking Heads. They might tell us about some good books to read.
What has been your most enjoyable track to produce to date?
Foresight. Recording to analogue tape at Green Door studios was a new and exciting experience, both sonically and in terms of workflow. Definitely something we want to repeat.
Which synth is the most favourite to use and why?
The Roland Juno 60 just has an incredibly simple interface and such a lush sound. The Roland 101 is similar too - these old synths are just so immediate. No menus or screens, just twist the controls and see what happens…
What are the themes you like to tackle in your lyrics?
This has changed over time. I mostly try to sing about things that I think or feel strongly about but place them in a context or story that anyone can hopefully relate to.
Having said that, technology is a recurring theme… I’m sure there are others.
How do you NOT want to be perceived, or who do you never want to be compared to?
It’s not something we’ve ever talked about really, and I don’t think comparisons with individual artists mean that much. One thing we have discussed is how we have quite a diverse sound from song to song, and we’d like to keep it that way. There’s always a temptation to “define” your sound; to settle on some “formula” and I hope that’s something we never do. (We won’t.)
Where do you want to take the band in 2013?
We want to finish more recordings and put them out. We have a lot of stuff in various stages of production so we’ll be working hard on that.
We always love playing live and have some great shows lined up already. More of that would be just swell.
Your music straddles both club and gig scenes, easily entertaining both audiences - is there one you personally prefer to the other and why?
Club nights are fun because they’re generally much later, the audience is more lubricated, there’s lots of dancing, jumping and physicality.
But a great gig usually feels more special. You feel like you’re connecting with people in a more personal way. And gigs can get pretty sweaty, too…
Are there any not so obvious / subtle musical influences in your music? I just interviewed a glitch hop artist whose main influence was John Carpenter compositions…
Lead singer Albert is of Lebanese descent and you can hear hints of Arabic melodies and percussion sounds and so on. The percussion in Hindsight is a good example of that.
Also, I’m sure we’ve nicked at least one synth line from Dr Dre…
Who would win in a fight amongst these early titans of synth-pop: the Pet Shop Boys, Erasure or New Order?
It would be New Order, hands down. You could probably prove this mathematically.
"The brilliant Nevada Base blend arpeggios, synth lines, house beats and live instrumentation with harmony vocals, plus flashes of New Order and The Beloved.”
Vic Galloway, BBC Scotland.
Low pounding tribal drums and percussion introduce Foresight - the sumptuous new single from Glaswegian electro outfit Nevada Base. The drums soon give way to bubbling synths, driving disco bass, and an irresistible vocal hook. B-side Hindsight retains the single’s tribal refrain before heading off on a trippy, low-tempo groove, while a remix from Magic Daddy (releases on Optimo Music / member of Machines In Heaven) takes the track into bass-led electro territory.
Nevada Base have been been busy since the release of their debut single Love In My Mind, taking to the T-Break Stage at T-in-the-Park, playing a sold-out show supporting New Build (featuring members of Hot Chip and LCD Soundsystem), as well as roof-raising gigs up and down the UK alongside the likes of Metronomy, Silver Columns, Late of the Pier, Memory Tapes and others.
The band’s original line up of Albert Kawmi (guitar and vocals) and Andrew Brown (bass) has also grown to include Calum Muir (drums) and James Vorley (synths and backing vocals). The addition of drums to the band’s live performance adds an astonishing energy, displayed to full effect on Foresight. Kawmi’s vocals travel from understated drawl to urgent command, Brown’s bass keeps everything tied to a funk groove. Muir’s drumming is tight and expressive, while Vorley knows how to reign his synths in then let them explode.
The single will be supported by live shows around the country including a launch party at Paradise in London on 30 April.
"Joining hands is all it takes to keep our enemies at bay. Don’t be afraid."
MAGIC DADDY, aka Glasgow-based musician Greg Hurst, has been writing and producing electronic music for 15 years. He has produced solo instrumental tracks and various vocal and band collaborations. He flippantly defines his style as ‘trifle-tech’, referring to his method of throwing everything in to see what sticks. In fact he has never settled on a particular style, preferring to be informed by current club trends but always trying to create something fresh. One thing’s for sure: he will never be accused of minimalism.
His first releases were the Black Rabbit Whorehouse EP (2005, Optimo nightclub’s Oscarr label) and the Insert Title Here EP (2005, on Stuffrecords, which later became Numbers). Since then he has been playing keyboards and producing for several Glasgow bands, including post-rock / post-bass synths-and-guitars outfit Machines in Heaven. His acclaimed remixes of Glasgow bands Nevada Base, How To Swim and For Abel have all been released in 2012. His Soundcloud page has been very active of late, having recently been updated with all previous releases and many unreleased tracks.
The Rock Hyrax EP on Black Lantern Music contains two tracks of slow / fast bass-heavy electro-techno-hiphop, informed by the current Glasgow / London / Bristol triangle of bass culture… but once again with the unique maximal Magic Daddy approach. And track three’s an acid electro banger!
Also be sure to check out Magic Daddy’s remix of NEVADA BASE, from their forthcoming single, out on Black Lantern on 27 April!