Sound of Rum Interview.

When this band get big, people are going to have a hard time pigeon-holing their innovative, lyric-based music. Really interesting and intelligent people. Great live. Catch them if you're at Glasto or Bestival. I understand that the interview is reeeeeeeeaally long and obviously needs cutting down, but it took me hours to type it up. So thats a job for another day. 

Welcome to Portsmouth by the way. Have you been before?

We came to Portsmouth to get the Ferry once.

Was that for Bestival?

Yeah. We had this amazing hour in Portsmouth. I got fish and chips.

Are you looking forward to opening the gig in Portsmouth tonight?

Yeah definitely.

How many dates have you done?

This is number nine. They’ve been amazing. Each one has been different. The first sort of five, we were finding our feet, but the last few have just been amazing. Really good strong gigs. 

How would you describe your sound to someone who had never heard your music?

Its sort of a collage of the things were are into really. Afro beat, hip hop, jazz, funk, rock. 

How did the name Sound of Rum come about?

Honestly, we were gonna come up with a really interesting lie for this, but there isn’t one. Its quite boring. We were in the car, we had just been at Glastonbury, and we were like, we really need a name. We need one else we are never going to move forwards. We were just looking at a map, and there are these islands that are just past Scotland, called Sounds. Sound of Rum, Sound of Egg. It looked good on the map, and I drink rum. It seemed really fitting.

And how about you guys? How did you all meet?

Just from giging in South London, playing in lots of different bands and line ups, then we just came together to start a new project. To try and see what we could do with small numbers and see how far we could push it. 

Who, or what would you consider your biggest influences?

We were in the car the other day, listening music that our friends had made, the contemporaries. I realised that I’m just as much influenced by the people that I’m around, and that music community, as I am these great poets and great writers that I love to read, great musicians and amazing rappers.

What are your favorite poets?

I like William Blake, I like Samuel Beckett although he isn’t really a poet. I like good authentic poetry. Well written written words and lyrics and music. When something is amazing then I love it. I haven’t really been blown away by anyone contemporary. Most of the people I love have been dead for 50 years. Which is a shame. 

I just read a Samuel Beckett book, I had to read Murphy for my course.

Murphy is amazing! That was the first novel he wrote, he had been working with James Joyce write. He hadn’t written anything before and he just wrote Murphy. Amazing.

How long have you been involved in music?

I’ve been doing music since I was a kid. 

How is the new album going? 

Its going really well. We’ve got all the tracks down. They’re being mixed and produced, its going to take a few months. Then we have to decide which ones to keep and which to throw away. Its definitely happening, its really exciting hearing the past year of us making music, coming into this one thing that is going to define us.

Is it really hard when you got really attached to songs and then you have to let them go, because they don’t go with the album?

That hasn’t happened yet. Its going to happen though. We’ve got two many songs. The thing is, is that you want to drop the early ones because the current ones are what you are most excited about. But relatively speaking no one has really heard us yet, so we want to come out with stuff that we first came out with. 

What festivals are you heading to this year? 

We get around. We’ve got Glastonbury, We’re doing a stage called Pussy Parlour on the Saturday afternoon at 3pm, and I’m doing some poetry on the left field stage. Bestival, Secret Garden Party loads. Latitude, Big Chill. We need to make sure we have some fun this time. We never really find out whats going on. We just sit around and go “should we go and see something? Glastonbury is going to be good this year. 

Whats your favourite festival? 

Bestival! Secret Garden party I really like, its in Huntington. Its really nice. Tts beautiful. Thats the one we had to leave because it was the same weekend as Camp Bestival, which was good as well. 

it gets stressful when you’ve got to do like three of four in one weekend, thats when you can’t really enjoy it. But their all wicked. The best ones are the ones which are a bit unique, like Bestival and Glastonbury. 

I went to this one in America Burning Man, that was nuts. I just like the ones that have got their own feel, their not just generic. 

You’ve been described as the sound of new England, do you have any idea what they meant by this?

No. Well, he isn’t from London which means we embrace other parts of the world [laughter]. Growing up in London you forget you’re on an Island, and when you start hanging around with people from towns, especially northern towns that have a proper identity, you realise you’re from a country with a culture and not some mad metropolis. 

You’re songs seem to be pretty issue based, would you agree?

I tend to write really intense poetry and lyrics which are about things. So I guess they are issue based. They just are what they are. If its about a realtionship, or something I’ve seen in London, or a friend who has gone a particular way, its not really anybody’s issue apart from mine. I guess they are issue based though. 

So you wouldn’t say as a band you were really political then?

No, I think when I was younger I would have like to spread a political message through music. As I’ve got older, I’ve realised how naive an idea that is, and how little I know, actually about politics. I’m more interested in self-enrichment and improvement and just enjoying music and enjoying creativity. I think its a lot more useful to say love yourself, than fuck Esso. 

What other artists would you associate your sound with? 

Speaker’s Corner Quartet. Jamie Woon. David Jay. Polar Bear, John Merkovich. DJ Snuff. There’s a load of rappers, their called Speaker’s Corner, they’re like my peers. All these guys play with jazzers from around the way. 

All the people that Kate just mentioned, they’re the contemporaries, their the people that we’re moving forward with. If we were going to get a tour like this, their the people that we would want to come along with us. Or if they get a tour then we want to be on it with them. Its that all movement thing. Its not quite a scene yet, but I think in the next year, it will be something more definite, more defined. I feel like what we do is quite different from other bands so its difficult. If you’re in a punk band, you can get together with other punk bands and go do a massive punk night. 

When we play with Polar, or Jamie Woon it makes sense because its all music coming from a genuine place. Its less about genre, and more about people doing something real. 

Who would you most like to make music with? 

There’s a lot of people. Shall we go round? All the people in that list before, is on the cards. Speaker’s Corner I wanna do, their a Jazz quartet. We’ve both got drummers, but apart from that we’ve all got separate instruments. I’d like to get them down, and do a track with Kate rapping on it. Jamie Woon, because he is a really amazing singer, and it would bring a new vibe to back up a chorus, or a whole verse. We’ve done a collaboration with Polar Bear, which will hopefully be on the album, it might be promotional we’re not sure yet. 

I want to collaberate with Rizza and the Wu Tang Clang. I’d like him to make me a beat. I’d like to collaborate with Bjork. Willy Mason, I want to write lyrics with him. Anyone who you listen to and you just go wow. I love that feeling, when it makes you cry and stuff. I’ve been listening to Johnny Cash, he makes me cry, buy obviously he is dead so that would be a bit difficult. 

Where do you want Sound of Rum to take you? Just a really really good legacy of albums. We’ve got our minds set on not just this album, but the next one and the next one. We want to make some truly incredible music. We want to keep blowing each other’s heads off with new ideas. We want people to know about it. Its not really fame, where you blow up and you’re massive for a few weeks and then you disappear. We want it to be sustained. Some bands just everything they release is a step forwards, its an amazing achievement to keep yourself fresh and interesting, and with the times, not getting stale. Keep being the sound of new England!

 Would you ever compromise your music to reach a certain goal, or level of popularity. 

These days if you’re a musician or a writer, and you need to survive, you might need to do a commission for somebody, or a company that can pay you enough money to pay you’re rent. I would write someone a poem, that I would have never written for myself if they hadn’t asked me to write it. But I don’t know if that is compromising your integrity because times have changed. Nobody is really making money from selling records. If you’ve made the decision to enter into this industry, and into this game then you’ve got to be prepared for it. You can’t be afraid of selling out. Great music is great music, and if you have to make shit music as well to pay your bills, then alright. Aslong as you’re still making great music. I wouldn’t want to be rapping for Mcdonalds or something I don’t really believe in, but I’m not going to say I wouldn’t do it, because there might be a time where I need to. Which is a horrible thing to hear myself say. 

We’re pretty lucky that the label we’re signed to, Sunday Best, they’re happy for us to put out what we want to put out. They’ve been guiding us, they know what is good and what is going to sell, they give us advice, but they don’t say “if you don’t put keyholes in this track, and vocoder over Kate’s vocals then I’m not putting this out. They’re giving us free reign. We’ve never been told do something that goes against what we think is good, if they tell us to do something, its normally a really good idea. 

I was pretty hurt when I heard Bright Eyes on a bank advert on telly, but have you ever stopped liking a band for ‘selling out’?

It is hard when a band you really love, does something crass like an awful advert or something. As I’ve moved into a position of becoming a professional artist myself I understand it a bit more now. 

I used to be really against advertising music on adverts but the more I think about it, the more I think its a great way to get you’re music out there, millions of people are going to hear you’re music without realsing it. The only thing is if it gets really annoying, but thats generally when the tune is already a bit annoying. You’ve got to make money, and you have the right to make money. 

Its tough though, I do think that when an artist a little bit of over exposure you stop caring. Especially when someone suddenly becomes famous then before you know it their music is on every advert and trailer. 

Bob Dylan is on a trailer at the moment, “times are a changing”, doesn’t mean thats going to detract from my enjoyment of his work, but he is different. 

Its all about giging, and people paying to come and see you. 

People keep saying to me, you’re not going to sell any records. But I’m just entertaining the thought of it, we have to get the album out. Thats the most important thing. I do want to sell loads of records. So much of that is out of your hands, you can make the best record in the world, but if it isn’t publicised and you don’t tour so not enough people know what it is. You’ve got to tell people they want it so they go and buy it. 

Its tough playing to a crowd who have never heard your songs before. When Pip goes on stage, all the mouths are saying every lyric. 

If they said that the gig tonight was cancelled how would you spend the evening?

Is there any parties happening tonight?

Not that I know of. 

Do parties ever happen?

Parties happen every night! 

We’re obviously not cool enough, only the lead singers get invited.

Exactly yeah. I’m not saying a word. 

Well obviously hope it isn’t cancelled!

Reviews. Reviews Reviews

So this entry and the last are chatting, about artists and records that everyone has, no doubt already made their minds up about, but they were written for my music journalism project so I thought I might as well chuck them up on here. Keep the anti-Ellie remarks clean please, if you would be so kind.

February 2010 [When I started writing this, then it got neglected]

Two Door Cinema Club - Tourist History  (I always seem to want to call them Three Door, you can to if you like.)

Irish love spawn of Bloc Party and The Futureheads

At this time of year, hype generators like the BBC’s Sounds of 2010 poll can give bands a lot to live up to, and the ‘tastemakers’ didn’t leave ‘Two Door Cinema Club’ behind. This exciting Northern Ireland export are defiantly set to get some teenage knickers in a twist with their debut release Tourist History, which has eventually broken through to the masses after years of touring the array of small venues around the UK. But in fact this short and bitter-sweet marvel deserves the same level of admiration given to other distinctive bundles of inventive indie/electro such as Foals and Delphic which the band have opened for, during the time when most of their fans only new them as a myspace page or blog entry. 

The opening track ‘Cigarettes in the Theatre’ pushes the comic-book-reading student art-rock buttons and definitely shines some light on the Bloc Party comparisons. ‘This is the Life’ is a more indulgent melodic entry and ‘I Can Talk’ shows some cracking Futureheads inspired riffs and quirky vocals, putting them up there with some of the indie-pop names around this year. ‘Something Good Can Work’ is for me, the icing on the neatly iced sponge cake with heartening lyrical progressions and The dazzling catchyness of ‘What you Know’ show Two Door to be the  love spawn of many British bands before but still bringing something new and superb to the electo indie-pop table that you can’t quite put your finger on. The album ends on the ironically high spirited tune, ‘You are not Stubborn’ about arguing to the point that you can’t remember why on earth you fell out in the first place. 

This summer will no doubt be a massive summer for Two Door Cinema Club, prepare to be singing their tracks around the fields of Glastonbury. 

ELLIE GOULDING - Lights.

This singer/songwriter has been blogged and discussed online for as long as two years, with her album only just released this month, so the power of releasing tracks online has clearly been staggering. She topped the BBC’s Sounds of 2010 poll, and took the critic’s choice award at the Brits, and it does appear that the young star has, willingly or not, tatooed her name across the arse of 2010 already. NME have deemed her average and said that excessive hype is to thank for her chart topping album success, despite giving her a place on their Radar 2010 Mixtape, perhaps just as an accurate prediction or hype reaction. Such foregrounded, pre-hype has made the mainstream an unavoidable destination for Ellie Goulding, and any wishes to sneak into the limelight were completely eliminated. Along with the likes of Mumford and Sons, she has kissed the London underground folk scene goodbye, and said hello to Fern Cotton interviews. 

Lights will please fans who were looking for a record that laid her enchanting vocals on a bed of charming pop-folk and electronica, but any big ideas of this being the sound of the future would certainly seem questionable. It offers a great folk-pop sound but doesn’t move far from anything but the middle of the road. Highly successful single, Starry Eyed includes some rather gimmicky synths and sampled vocals but undoubtedly catchy power melodies. Under the Sheets is a definite addictive electro-pop love song, admirable for the bewitching lyrical hooks, and quirkyness to rub Kate Nash up the wrong way. For the less mainstream ear, ‘Wish I’d Stayed’ would definitely be the best bet, with its weighty sincerity, opening with  “why can’t we speak another language. One that we all agree on”. 

Potential pop singles like ‘Your Biggest Mistake’ cripple any denials of moulding the record to include the most mainstream of listeners and will no doubt allow for ongoing commercial success. A great first album, but it does show signs of the pop-filler which may be a struggle for some. To be recommended, but familiarise yourself with the humble skip-button. 

I sit on the fence. Which isn't normally I place I perch. 

Kasabian gig review for school project.

Kasabian - Milan Alcatraz 18th Feb 2010.

After supporting Oasis in a sell out summer tour last year, as well as headlining the Pyramid stage at Glastonbury, Kasabian have earned themselves stadium status. This makes things difficult for a fan to remain calm and give a rational written recollection of a gig when in the UK the prospect of seeing them without the company of 30 000 other sweaty fans becomes ever more remote. The Alcatraz is an impressive and big-ish venue near the centre of Milan, it resembled a more stylish Cardiff International Arena or 02 Academy. 

When there is no support bands at a gig, you’re not sure if you’re excited or disappointed, its the kind of rare, confusing and elated feeling you get when you bite into a Kit Kat to find its all chocolate and no biscuit. It did leave a lot of time for waiting around, drinking beer out of plastic cups, and watching the happy hardcore cling to the bar for dear life. The multiplying crowd eagerly gazed at the roadies as they wallow in their on-stage banter and guitar groping. The slightly early arrival allowed for a pretty mint almost-front-row position which would have to have been camped out for 24 hours at Glasto, so this measly 1 hour 40 minutes, would be certainly be worth it. 

As the faint rumble of Led Zepplin 3 that was barely oozing out of the speakers came to a grinding mid-solo halt it was clear that the waiting was over. The lights dimmed, drummer took to his throne and mysterious tour guitarist Jay Mehler donning dark glasses set up camp in front me. Then on strutted guitarist and vocalist Sergio Pizzorno, while hired keyboard player got in position for his role in this musical spectacle. Then the silhouette of charismatic showmanship that is lead singer Tom Meighan emerged mid stage, dipped his head and flew out his arms to the enticing sound of the ‘Underdog’ intro mixed with the roaring applaud from the suddenly animated crowd. 

Throughout the exuberant performance I was captivated by the humble cheeky grins from a band who seemed genuinely beaming to be playing in Milan, in front of a crowd that knew every line and sang along from the word go. There was no feeling of Brits-abroad in the calm, collected crowd with not one high tempered face in sight. Perhaps lacking that welcoming sense of unpleasantness to match a UK crowd. The set would have pleased an avid fan and lover of Kasabian’s debut self titled album with highlights being ‘Club Foot’ and ‘Processed Beats’. ‘Vlad the Impaler’ and ‘Where Did All the Love Go’ stood out from the recent album along with ‘Shoot The Runner’ from the 2006 release Empire. 

When the band returned to the stage after the encore, it was clear what was next on the set list and not a word was said before the evocative, and stomach turning intro to “Fire”.I remembered of the occult hold Kasabian had over Glastonbury 2009 with the hasty release of this single just before the festival. The set finished with the classic, epic, and distinctive Kasabian track, ‘L.S.F.’ Then, a wave of the Italian flag by Sergie before it flew into the crowd, and off they went. 

To see this band, in this situation gave this night the memorable moment factor, and knowing that people had travelled from all over Europe, like myself to be there made it an extra special show. The Alcatraz was packed, but the gig seemed to show a Kasabian stripped bare of hype, glitz and celebrity to reveal a fantastic live band who gave a crowd pleasing set enjoyed by all. 

Daisy Dares You - 'Number One Enemy'

A gimmicky approach to “I’ll do what I want” pop stardom, in a “girls want to be me, boys want to kiss me”, Pixie Lott clone, highly sellable package. ‘Number One Enemy’ lacks the mature, spot-on lyrical eloquence of Ellie Goulding but she does defer from sickly “he loves me not” teeny emo that may have been predicted. Daisy has followed her heart with her lyrics and takes more meaningful inspiration from family feuds and strong friendships.

The song could be completely believed as a 13 year old angst fueled rant, or a chart single attempt from a recently killed off Hollyoaks hottie, but as anything else leaves no excuses The video seems to be a feeble attempt at Lilly Allen’s ‘The Fear’, without the witty and topical song to match. 

I wonder if whoever harvested their money tree, or made promises of exploding record sales to Chipmunk for his weak rap appearance is the same person who encouraged Daisy to clamber head first through the Brit award shaped tunnel pathed by recent talents like Florence and the Machine and Marina and the Diamonds. 

More Avril circa 2002 than one to watch for 2010, do ‘know it all’ music predictors like BBC think the country has lost the ability to see through blonde hair and ripped Guns and Roses Tshirts? If (in the words of Chipmunk) Daisy is indeed “bout to take off”, then my faith in young British musicians will have to be restored soon, before it is lost forever.  

Foals - "Spanish Sahara"

Is a Maccabees style, second album chill-out and grow-up on the cards?

This track doesn’t only show Foal’s restraint to mount the alluring bandwagon of catchy vs quality, pop - indie boundary pushing, but with this anti-anthem they seem to have completely denied any acquaintance with it. 

With their second album, Total Life Forever not due for release until 10th May 2010, fans are left wondering if “Spanish Sahara” is an encompassing reflection of what we should know the Foals as from now on, or is it an emotive rose between the thorns of more Skins party hyper-tunes and more ornately and abstractly catchy tracks like Red Sock Pugie. Either way It seems a wise choice of first release for them to keep afloat in the unsettling and stormy current of indie-electro floor fillers.

After the first listen you may be blinded by the intensely mellow intro and distant vocals, leaving you feeling like a big flashing question mark, but you’ll be micro- seconds into the next when you’ll be goose-bump-riddled and lip-chewing at the prospect of this track being played live. 

Singer Yannis’ listless vocals and minimal beats initiate the record but then without time to wallow in ennui, the track makes a b-line for a mid-song progression that will hit you like the most sublime ton of bricks you’ve felt in a while.

When reading the mixed bag of online responses I conclude that “Spanish Sahara” is showing marmite-like properties. 

One word reviews

Mark Sharland - "Dynamic"

Anonymous - "Joke"

http://www.youtube.com/watch?v=_7tyLdKaru0