Archive for February, 2011

Belongings (teaser) from Clock Opera on Vimeo.

Teaser for the new single out on Moshi Moshi Records very soon!

We have three free gigs next week (little bit of a tongue twister) and each one looks great.

Koudlam - Old Blue Last - Wednesday 2nd March

Trophy Wife - The Wheelbarrow - Thursday 3rd

Visions of Trees - Macbeth - Thursday 3rd

So three of the best upcoming bands making waves right now, and completely free, just head on over to our event page on our website and download your ticket/s!

We have up-and-coming producer Seams supporting Gold Panda next weekend, and we thought we’d treat you to a stream of a song from his recent E.P. It has the same kind of glitch to it as Gold Panda, but maybe pushes melody even more, with a lot of nice depth. Listen below.

Hung Markets by seams

Check out this very entertaining session with Martin Creed for The Guardian. Really into his post-punk sounding ‘Thinking/Not Thinking’ too. Something straight out of Gang of Four/Wire territory and we like it. The man plays for us next week.

ROUNDHOUSE RISING - DOORS 7:30 - The Roundhouse

(PRIZES / GHOST EYES / TEETH OF THE SEA)


Tonight is the Eat Your Own Ears programmed night at the Roundhouse Rising festival, showing the hottest upcoming talent in the UK in one of London’s finest venues. We are very excited about our line-up, Prizes played for us at last years Field Day Festival, Ghost Eyes recently supported Gold Panda on tour and Teeth of the Sea have plaudits from BBC 6 Music to The Quietus, so all of these bands are proving themselves already. Come and see them take the next step.

OYA FESTIVAL AND FIELD DAY PRESENT - DOORS 8:00 - XOYO

(FICTION / LUCY SWANN / TEAM ME)

Two of the most carefully and interestingly programmed festivals in Europe come together to programme a special night of music from the UK and Norway. Fiction have been one of the hottest live acts of the past year and continue to go from strength to strength and Lucy Swann has captured the hearts of Norway with her extraordinary live performances and big pop songs - she looks destined to continue the strong line of Scandinavian Pop, passed down by Lykke Li and Robyn.

LYLE AND SCOTT PRESENTS - DOORS 8:00 - XOYO

(CLOCK OPERA / MAY 68 / I ONLY DATE MODELS)

The recent Lyle and Scott shows have been one of the hottest tickets in town, and they continue to present yet more brilliant talent in XOYO tonight. Clock Opera is a superb one man band signed to Moshi Moshi, they play alongside May 68 - yet another exciting band to come out of the exploding Manchester scene. Opening will be Lyle and Scott competition winners I Only Date Models who will be looking to impress all with their brand of universal indie music.

MUSIC:

Dartmoor by Prizes Lucy Swann - For Heaven’s Sake by lele91 Clock Opera - A piece of string by Maman_Records

Our diary is groaning under the weight of all these fantastic shows we have coming up, we had three last night (Glasser, Gruff Rhys, Caribou) and another three tonight (James Yorkston, About Group and Darkstar) so we thought we’d take a moment to get right back to the music. Check out our playlist above for an overview of what we have coming up. It’s a great little list and the one-two punch of the Mount Kimbie and Chilly Gonzales viceos is quite something (If you don’t like intimacy or butt-shakin’ look away).

It’s a little way off but we are already feeling the buzz for Twin Shadow’s next show with us (plus his appearance at Field Day). He’s puts on a great live show, as this nicely shot video above can attest to.

Check out this great interview Glasser did with Dummy Mag. The gig is tonight at XOYO and it’s safe to say we are very excited about this one.

(full text: http://www.dummymag.com/features/2011/02/21/glasser-interview-the-thing-that-cannot-be-controlled-/)

One of the things I really like about the album is the way the rigmarole of life is set against this epic backdrop.

That’s just how it came out! That self-expressing state of mind, and the possibility to be heard or not, and just to see what would come out if I’d just let it roll [was what was important]. There was a lot of that – when I wrote that song, Apply, I had this reoccurring sleep paralysis, which affects your dreams, or in my case, nightmares – it’s where you wake up but you can’t shake yourself out of it. It’s those domestic things like the window or the sounds happening in my room or street noise that filtered in to this woozy, fluid world where we all go for half a day. Half of our time is concerned with domestic concerns and the other half is concerned with riding a dolphin through the forest [laughs]. It’s funny that we can have these wild dreams then go to work the next day and take ourselves really seriously and act like we weren’t just riding a dolphin. There’s a lot of that – laughing at the world and cursing it for not letting me take myself seriously. I had such a funny, psychologically explicit dream last night. Do you want to hear it?

Yeah!

I knew I had a full day of press today. So I had a dream where lightning struck near to where I lived, and everything was the same, but slightly roughed up around the edges, slightly shredded and someone came up with a paper, saying “You’ve gotta read this, it’s so good!”, but every page was shredded and ripped and I could never get there.

It’s hard being suddenly judged. Even when it’s nice, I’m like “Don’t pay too much attention! Don’t pay too much attention!”

Wow. What do you think that means?

I’ve done my goofy [thing] for a while with no one watching. And now people are watching and it’s like “Woah!” I read a review that was supposed to be nice, I think, but it was very backhanded with its compliments. And I was like “What have you done?” It’s hard being suddenly judged. Even when it’s nice, I’m like “Don’t pay too much attention! Don’t pay too much attention!”

It’s strange that artists have to be oblivious to the opinions of the world but then super-sensitive to the world around them.

Yeah! Because you’ve got to sensitive to the world enough to make observations about the world that actually mean something. It would be hard if I weren’t so proud of what I’ve made. You’d be screwed, all the criticism would feel right. But when people don’t see what I see when I look at it… [Laughs] I pity them!

Poor them.

Exactly! But you can’t please everyone. Especially when you’re laughing in a world of people crying. Or crying in a world of people laughing, which sometimes I get confused.

How do you mean?

I feel like what I made is pretty sincere. Even the humour is not meant to be ironic – so many things right now are campy, or nostalgic, or ironic, and it all falls into that overflowing pool of stuff that is taking the piss, as you would say. I feel like it’s people not taking responsibility for making what they make. Maybe it’s a result of how over-saturated the word is now with popular culture, a defense mechanism and an urge to still feel in control of the content. Despite feeling inundated with media, they can still maintain a sense of control. Does that make sense?

Absolutely. “What this person has made is meaningless compared to my ability to take the mickey out of it.”

That’s like a blog thing, isn’t it? It’s self-importance. Sometimes it’s good. But I always feel extra proud of friends or peers who create things that are true to themselves, and not just a grasp to control the thing that cannot be controlled. Does that make sense?

Yes.

Good [laughs]

One thing that struck me about this record was the fact you composed it on GarageBand on a laptop and it was delivered to me digitally, where I heard it on another laptop. There’s something quite elegant about that process.

That’s so funny! Yeah, I guess. But you missed out the bit where I got other musicians to record some elements. The violin, the saxophone, all real. That’s a funny thing though. I suppose that a lot of people are listening to the record through their laptop.

There’s that nice feeling you get listening to music made on a laptop that you get only when you stand in front of – I don’t know – the Mona Lisa and think “This is where Leonardo stood, right here.” There’s a directness of communication.

Yeah! I’ve never thought of that. I was just a means to an end, really. I was like “Oh, it would be so cool if I had a band! I have a band … with myself …” It was never meant to be a GarageBand endorsement; it was just the only thing that I experimented with long enough to make something. I suppose I also felt comfortable with it. It didn’t feel like I just being another guitar player. So many people are like “I was to make music, so I should play guitar or piano” and I always felt sad that I never gave up enough time to be an expert pianist, but I ended up getting much better results when I stopped trying to fit myself around another programme. I came to it new, and I had that advantage. I spent many years going around picking up instruments saying ‘is this the thing?” Finding instruments …

… Making instruments [Cameron once made a two-person organ, called the Auerglass, which she plays with her friend Tauba Auerbach] …

… Trying to work out how to fit a 16’ organ into a band. You saw the organ then?

Yeah! I like the name too.

Thanks. Auerglass is actually the name of the collaboration, and the organ is project one. We’re going to get together in the winter and start making some plans that I can’t disclose … I’m still really into this idea of interdependence. It’ll be fun. It’s been fun the whole way through, too bad you didn’t hear a performance. You saw the video above though, right?

Yeah! I love it when people make their own instruments. “The instrument that I want to play is an organ which needs me and my friend. The instrument doesn’t exist, I shall make the instrument.” Do you think you’re a very ambitious artist?

[Cautiously] I’d like to think so. I’d like to think I go for things that are hard to get to. I mean, why not? I used to know, but I think I’ve forgotten, which is a good job. I somehow unlocked that gate, and now I don’t live there any more. [laughs] Getting into Glasser was really hard, you know? Just doing something that was really, real, not a joke band, which I’ve done before.

“I’d like to think I go for things that are hard to get to. I mean, why not? I used to know, but I think I’ve forgotten, which is a good job.”

Are you stubborn?

I … try not to be.

[Pause]

I have a hot temper. I’ve reeled it in somewhat. It’s such a waste of time. Some of the ways I feel like acting when I’m angry are not productive. But sometimes they are. I lost my temper the other night at a gentleman in a bar, who physically violated my space.

Crikey.

It was done in a joking way, funny to him at least. He thought it would be hilarious to move me, so he literally picked me up and placed me somewhere else. And I was so shocked! That someone would literally take control of my geographic place and deposit me somewhere else for their own amusement. So, my temper may have been lost.

I’m very glad to hear that! After all, that’s not losing your temper … that’s using your temper.

Yeah. My bag may have impacted on his face. That might have happened.

Comes In Waves from psychologist on Vimeo.

Here’s a great new talent for 2011 and we are very excited to have him play for us soon. Check out this nice song and video from Psychologist as we eagerly await more material.



Field Day presents:

A Field Day Night

Four Tet (DJ set) / Floating PointsBracklesCasper CChimes 

Friday 11 March at XOYO, London

RSVP // Buy Tickets