Something For The Weekend: Secret Wars London Semi-Finals
Okay, okay - we know it’s only Tuesday, put we thought you could do with an early heads-up for the Secret Wars Semi Finals, taking place in London town this weekend. Imagine two street artists going head-to-head while everyone goes seven shades of apeshit-crazy to kickass music, and you’ve pretty much got it.
Our good friend, Session, is going to be manning the decks on this one, so you’ve got no excuse not to have a good time. Also: a credit-crunch busting £2 entry fee. If we weren’t going to be lost on a boat adrift outside Helsinki this weekend (no, really), then we’d be there like a shot.
Check out their official website for more details.
Metronomy on a world tour - fancy that!
Joseph Mount and his merry men, who the world knows as Metronomy, seemed to have blagged themmselve a world tour. Blimey! Look at that. I guess the UK has spent all its money so there’s no point sticking around here.
Here’s an interview with Metronomy we did years ago. And down below is a tune, an oldy but a goody - You Could Easily Have Me. It nevers to get us shaking our cakes on the dancefloor. Also: the video makes us strangely aroused.
Yes, we will be seeking professional help. Just as soon as you international readers go and get yourselves some tickets for these shows. Check our the official Metronomy website for more details. GO ON THEN, CLICK IT.
6.1.09 O-East - Tokyo, Japan
7.1.09 Club Quattro - Nagoya, Japan
9.1.09 King Arms Tavern - Auckland, New Zealand
10.1.09 Bar Bodega - Wellington, New Zealand
15.1.09 Popfrenzy Night @ Sydney Festival’s Becks Bar - Sydney, Australia
16.1.09 Empire Hotel - Brisbane, Australia
17.1.09 Revolver, Upstairs - Melbourne, Australia
19.1.09 Standard Hotel (DJ SET) - Hollywood
20.1.09 Wasted Space - Las Vegas
21.1.09 El Rey - Los Angeles
22.1.09 Popscene - San Francisco
23.1.09 Holocene - Portland
24.1.09 Biltmore - Vancouver
25.1.09 Chop Suey - Seattle
28.1.09 Pink Bar - San Diego
29.1.09 Pomono - Glass House
30.1.09 Salon Cuervo - Mexico City
31.1.09 Escenica – Monterrey
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Musical Advent Calendar - Recap Days 11 - 15
OHMYGODTHERE’S
JUSTTENDAYSTOGO! No, we don’t know why Christmas makes us so exicted here at Music Towers. Maybe because we know we’ll be getting that White Zombie boxset we’ve had our eye on for the last few weeks. Or maybe because there’s a Doctor Who special on TV. Or maybe because of the vast amount of mince pies we’re going to eat. Or maybe it’s the mulled wine. Or the mistletoe! Or the fact we’re going to get dressed up like Santa and ruin someone’s office party. Or that we’re going to hire a snow machine and set it off in our garage.
Or maybe it’s because the best is still yet to come on our amazing Musical Advent Calendar? There are some real gems coming up in the last ten days. In any case, here’s the last five entires, which you may have missed if you’ve been out Christmas shopping or something.
Day 11 - ‘We Wish You A Merry Christmas (Rave Mix)’ - DJ Cool
Day 12 - ‘It’s Christmas And I Hate You’ - Paloma Faith & Josh Weller
Day 13 - ‘Christmas Time (Don’t Let The Bells End)’ - The Darkness
Day 14 - ‘Jingle Bell Rock’ - Girls Aloud
Day 15 - ‘Someday at Christmas’ - Stevie Wonder
ALBUM: DeadMau5 - ‘At Play’
Dance music hasn’t always agreed with everyone at Music Towers. To this day, I still believe that whenever I go clubbing it fucks with my bodyclock.
I wake up the next day with a hangover as fierce as a pride of pissed-off lions, even if all I drank was Red Bull and over=priced bottled water. I get constipated for days. There is a residual throb that’s in my sinuses that that feels like someone’s going at my nostrils with an industrial milking machine, set to “udder buster” level.
But At Play by DeadMau5 makes me want to feel like I’ve gone through my personal clubland assault course. Listening to it makes me long for a mouth that doesn’t stop feeling dry even after 3 litres of water, for eyes that feel like we’re rubbing them with sandpaper every time we blink. It makes me want to stay up for four days straight, so stuffed full of cheap pills that we make a noise like a pack of tic-tacs when we walk down the street.
Listening to ‘Hey Baby’ is like having your best mate’s boyfriend whisper dirty talk in your ear when she’s in the same room as you. It borders on the pornographic, and no matter how much it gets your juices flowing, there’s something wrong about it. Whether it’s a case of “so-wrong-it’s-right”, or “plain downright wrong”, is something I can’t make up my mind on.
Watch DeadMAu5 perform live at the O2 Wireless Festival from this summer:
Then there’s the flat-pack instructo-techno of ‘This Is The Hook’. Oddly charming, it manages to keep the right side of toe-tappingly addictive without being overpowered by its vocal schtick - a disembodied Stephen Hawking-voice dissecting the various parts of a dance track.
The rest of the the record is chewy with house basslines and nightclub sleaze. Normally we’d find the juvenile lines of a track like ‘Afterhours’ (sample line: “Throw me down on the bar / should we do it in the car?” Urgh) too laughable for us to really mesh with DeadMau5‘ album, but it’s party season and common sense has deserted us. We just want something vivid and full of vigour to distract us from the prospect of having to spend a few days in the company of our closest relatives, and At Play does that and more. Pass the disco biscuits and get over here.
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VIDEO: The Count & Sinden ft. Rye Rye - Hardcore Girls
This should make me feel old - it wasn’t like this in my day. I should talk at full volume in a grumpy old white man voice, saying “This isn’t real music. Real music is Soundgarden or Slayer’s ‘Angel of Death’, or Led Zeppelin‘.
I should be dismissing this as “Yes, very good, but not my sort of thing”. <aybe I should dislike it for simply being on the same label as Emmy The Really-Not-Very-Good-Let-Alone-Great.
I would say all those things…but i am too busy grooving. Someone put me in the club, this move is too fresh to waste!
Seems they are doing a London residency, down Old Street way -
The Count & Sinden present:
MEGA MEGA MEGA
With guests:
Nov 27th – Skream, Emynd & Bo Bliz (Philly), Frankmusic
Dec 4th - Chase & Status, Example, Mystery Jets DJs
Dec 11th – Sunship, Mistajam (BBC 1Xtra)
But don’t go to the one on the 11th - come to our Beef Warehouse party instead.
Songs In The Key Of Hanukkah
Why are all those dudes in Golders Green in such sharp suits? Because they are all in carnival-ska, qausi-religious, Gnarls Barclay-type acts of course!
This track, ‘Dreidel’ is really nice, a big latin dance behind the floaty feel, and a big call-to-arms vocals to boot. Featuring Jules Brooks and MC Y-Love - whoever they are - it’s been put together by Erran Baron Cohen, brother of Sacha Baron Cohen. Yes, Börat. If there is any sibling rivalry, Erran - you have way more class.
It seems to be off an album, Songs in the key of Hanukkah, where bunch of hipsters making Hanukkah songs. Do you have to buy presents at Hanukkah? Maybe I will convert.
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Forget your troubles to the Bloody Beetroots.
I love this shit, banging classic thrash covers. One-part Metallica, one-part two geeks, to two-parts sugarcoated idiots. How can you possibly complain? Recently after posting some Bloody Beetroots on a message board we received some po-faced replies, along the lines of “Yes, they are obviously very talented but I would never listen to it”. Even as on the wrong side of 30, this makes me feel the urge to shout ‘Baldie’ at random strangers, throw Eggs and Flour at passing dogwalkers before chasing footballs in front of a buses. Yes, it’s got me that excited.
How can we save the Music Industry? WE CAN’T - SEEK AND DESTROY. This is the Bloody Beetroots, playing London next on the far away date of February 27. Don’t miss it.
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Interview: Dan Le Sac & Scroobius Pip
While we’re sitting down at one of the many tables in the guest area, Music Towers’ interview with Dan Le Sac and Scroobius Pip keeps getting interrupted by a seeming never-ending stream of small children asking Scroobius Pip to pose for photos. Perhaps it is his – and I speak as a connoisseur of facial grooming – magnificent beard that makes him so easy to spot.
“The beard is seeming to make a comeback,” Scroobius looks up from the pad he is scrawling on for the little girl asking for an autograph. “It’s got to be done. I feel the greatest facial hair tragedy is Hitler. No-one can wear that moustache now. I don’t know if anyone did beforehand, but you don’t see that about now at all. He’s ruined that for all facial-hair people now.” But oddly enough, Stalin’s beard is still acceptable, and he killed just as many people.
The duo have relaxing after bringing their unique marriage of Scroobius Pip’s spoken word delivery and Dan Le Sac’s laptop-based production to the Dance stage, and blowing the roof off with their tactical musical nuclear strike on pseuds and idiots, ‘Thou Shalt Always Kill’. It’s a towering monster of track that could’ve over-shadowed a lesser act.
“I hate it when bands get too precious over songs. We get a good reaction from it, which is really pleasing, so I’m perfectly happy to keep a banging tune in there.” Scroobius reflect. “We like to get some variation in there, and if it does become a continuing thing, it’s one that we can easily change and update. It could develop with us quite comfortably.”
“We’re quite lucky that the reaction for the next single has been so good. In a less novelty way, in a more serious way.” adds Dan Le Sac. “It’s nice that we can have ‘Thou Shalt…’ there as this calling card, but it’s backed up by other things. When we released it as a download we made sure people could also download ‘Angles’, which is as far from ‘Thou Shalt…’ as you can get. It’s about a kid killing himself.”
‘Thou Shalt Always Kill’, for those of you who have somehow not managed to hear it, is a series of new commandments for the modern music fan. Most of them are self-explanatory (Thou Shall Not Read NME, Thou Shall Not Buy Nestle Products), but there was always one that confused us: “Thou shall spell the word phoenix P-H-E-O-N-I-X, not P-H-O-E-N-I-X, regardless of what the Oxford English Dictionary tells you”.
“I’ve had sleepless nights over it – it annoys me. I genuinely have. The English language likes to bastardise Latin and most other languages, which is cool, but if we’re gonna change stuff a bit, let’s change it to how it sounds when we spell it and say it? Why spell it foe-ee-nix? Or say it as foe-ee-nix, don’t say fee-nix, say foe-ee-nix.”
“Why isn’t it F-E-N-I-X?” Dan Le Sac interrupts.
“Because that would be Fenn-ix. I like to spell things how I want to. ‘The Scroobious Pip’, the poem, is spelt different from how I spell it. [Edward Lear] spells it I-O-U-S, I spell it I-U-S. I’m a bit of a stickler for spelling things how I want. Development of language, I call it.”
So are there any other words that annoy Scroobius? “I’ve been so focused on phoenix for so long, it’s hard to think of any others. I want to get that one sorted out first, and then we’ll move on.”
.
During their performance earlier, the band mentioned they had just been booked to support hip-hop legend, Rakim. “We’re doing a gig with Rakim! That’s what it’s all about, really. Getting to do stuff like that.” There’s a sense of excitement churning around inside Scroobius, which manifests through a grin that shines out of his beard like pearls stuck in seaweed.
“In Dublin, of all places. Second time we’re going to Dublin and we’re supporting Rakim . Ages and ages and ages ago, we did an interview for a magazine out there called Foggy Notions, and they do promotions as well. They booked us for Electric Picnic, next weekend. It’s probably the biggest festival in Ireland; Bjork’s playing, we’re playing – it’s that sort of scale” Dan’s cheeky laugh sums up his persona perfectly – ever so slightly amazed to be where he is, but in no way being awed or taking it too serious. And in addition to Rakim, the pair are lined up to support Gogol Bordello in London come November.
“Once our headlining tour is over, we’re then just really concentrating on the album, so we’re only taking good support slots for a bit so we don’t gig as much for a while.” Yes, the album, we were getting round to that.
“The problem we have at the moment is we keep writing and then it gets better,” Dan sighs. “ We’ve got three in the pipeline that are stronger than things that would’ve gone on the album. We’re going to stop writing in the next month or so because if we keep on like this we’ll never release it. You only get to release your first album once, so it’s gotta be good. You can’t let people down and release your cack.” So have they cleared the Dizzee Rascal sample for ‘Fixed’, their UK-Hip hop-baiting track of contempt?
“He didn’t clear the Billy Squires track that he sampled so I dunno why we should. But it’s one of those tracks that we’ll clear what we need to clear if we decide to put it on the album. We’ve got quite a lot of bangers stashed away,” he says, tapping his nose conspiratorially.
“I’ve always seen it as a possible as a live b-side. We might sling it out as a free download and not have it on the album,” Scroobius shrugs. “It goes down well at the moment – and it’s not having a go at Dizzee Rascal, as we try to make clear as often as possible.” He makes a big show of banging the table with his palm to emphasise this point.
“When I walked passed him yesterday he didn’t hit me, which is a good sign.”
Moving away from whether or not they’re marked for death by Rascal, why did the pair settle on their unusual stage names?
“It’s taken from an Edward Lear poem, called “The Scroobious Pip”. It’s about a little creature that wakes up in the jungle and doesn’t know what it is, and it goes with the lions for a bit, but it’s not a lion, so it goes with the insects, and so on and so forth. And in the end it decides it doesn’t have to go into any of those categories, it can just be The Scroobious Pip. So that’s where I nicked that from. It’s not just a silly name. Obviously, it is a silly name, but not just a silly name,” he says as he switches his attention from the tape recorder to his musical partner in crime. “And yours [indicating Dan], is about testicles, isn’t it?”
“Yeah. Basically. I’m Dan The Bag. That’s my name. There’s not really an explanation to be had.” That’s a good enough reason in Music Towers’ book. “If I was in France and actually in a bag, I‘d be Dan Dans Le Sac, which isn’t bad either.”
The way the pair bounce off each other, interrupt the other in the middle of speaking, and generally correct, contradict and tease each other, they must’ve been finishing each others sentences for years.
“We’d known each other donkey’s years, lived in the same town, worked in the same shops, that sort of thing. It weren’t until June last year, when I did a couple of remixes from [Scroobius Pip’s] solo album, and then it seemed to be working. People seemed to be receptive of what I was doing to what he was doing, so we just wrote together and it seems to have exploded. It’s popped, really.”
“It’s been an amazing reaction,” Scroobius takes over. “It’s shedding more light on an already hugely popular and very strong spoken word scene in the UK, so it’s good that it’s having that effect. It was surprising, but a very welcome surprise. It proves there are more people listening.”
“A lot of festivals this year have done spoken word tents and it’s been great.” As soon as he’s said it, the name that simultaneously pops onto everyone present’s lips is Latitude.
“Awesome. I spent the whole time in the poetry tent. Polar Bear and David J, and a few others just blew me away – absolutely amazing.”
Scroobius Pip and Dan Le Sac aren’t the only act incorporating spoken-word into their work. Reverend & The Makers, playing on the Carling stage, incorporated spoken word pieces between their songs, and have done loads of stuff with John Cooper Clarke as well.
“Eddie Temple-Morris [XFM’s minmaster extraordinaire] has said that the two best lyricists in music today are Scroobius Pip and [John McClure] of Reverend and The Makers. I tried to see him on Friday at Reading but they’d swapped slots with Cajun Dance Party – fucking had to sit through Cajun Dance Party [shaking his head in disgust] – no, no, it was alright, it was…pleasant.”
The expression on Dan Le Sac’s face tells us that the Cajun Dance Party experience was actually anything but pleasant.
And so to the WigDogs: like every other act Music Towers has interviewed this weekend, can they describe them in ten words or less? Apparently not, as Scroobius Pip, man of words, seems unable to do anything except stare at the picture with wide-eyes and giggle.
“I am literally speechless. That’s amazing. It’s the future of canine fashion.”
The pair are giggling and smiling, clearly pleased as punch that everything is going so swell. They’ve achieved what so few people thought they’d be able to do, and escape being just a one-hit wonder with the mantra-manifesto of ‘Thou Shalt Always Kill’. With new single, ‘The Beat That My Heart Skipped’ getting warmly received by everywhere they play,
But we’ve got last question, after the tour, after all that, after everything’s been said and done – give people one more commandment in the ‘Thou Shalt…’ manner, what would it be?
“Thou shalt…buy our album. If that’s all said and done, and that’s all we’re ever gonna do, let’s do it, let’s make some money!”
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