Amelia’s Magazine | We Have Band – Interview

We Have Band could be the most interesting group I have ever interviewed for the sole reason that every question results in the three members talking over each other, medications treat telling jokes and generally launching into their own internal debate. This is hardly surprising when you consider that two of the members of the band are married to each other and the third member has unwittingly become part of that relationship. Regardless, viagra the London-based three piece are always hilarious and charming in equal measure.

The group has already been tipped by numerous music critics as the band to watch in 2010 and have their songs have been remixed by Bloc Party, site Carl Craig and DJ Mujava. It seems inevitable that We Have Band’s debut album, WHB, will thrust them into the limelight with the same feverish hysteria that surrounded Hot Chip’s The Warning, as their dance floor friendly electro pop is already getting some heavy rotation by some of the world’s biggest DJs.

Amelia’s sat down with Darren, Thomas and Dede to find out more about their debut album and the unlikely way the band came together.

Howdy, guys. How was the band formed?
Dede: Thomas was making music and he wasn’t feeling very inspired so I offered to make music with him. I came up with a concept name for the band and mentioned it to Darren. He liked the name and asked if he could join. He came round for dinner and then we formed the band.
Darren: Thomas and Dede are married so I am like the third member of the marriage. It’s quite weird because we don’t really know each other but we just experimented. On the first night we wrote WHB and that’s why we called the album WHB.

How long have you been together?
Dede: Just over two years. That first dinner was in late 2007 and then we spent about 6 or 7 months writing songs. Then everything just went crazy.

Why did you choose to work with producer Gareth Jones (Grizzly Bear, Interpol) on this album?
Thomas: He actually just did additional production and mixing. We had done most of the production ourselves so we just needed someone to help us take it to that next level. We didn’t want to stray too far from what we had originally done but we wanted to give it that shine. He understood that. We wanted someone who would tailor themselves to the band rather than try to change things. We basically tried to capture the energy of the live shows.

You seem very polite and welcoming on stage. How true is this in real life?
Darren: It’s all a huge lie!
Thomas: Dede gets excited.
Dede: If everyone is enjoying themselves then you start enjoying yourself and you start getting excited by the atmosphere. We are quite relaxed.
Thomas: We all have our quirks but we are quite happy in each other’s company. As Darren mentioned, Dede and I are married so there is always something bigger than the band.
Dede: We all just go and have a cup of tea and a bag of crisps after a show.

Painting by John Lee Bird

What are you noticing about each other as you tour together and immerse yourselves in each other’s company?
Thomas: Darren has a laptop addiction.
Dede: He is also addicted to eggs

That can’t be very pleasant on a tour bus!
Darren: No, it isn’t! I tend to avoid Thomas and Dede until they have had a coffee in the morning.
Thomas: We can all be a bit short with each other but that’s fine. For the first hour of each day we just don’t speak and then after that we are fine!

You have been referred to as “part Hot Chip, part Talking Heads”. What do you think about this?
Thomas: Dede is banned from reading reviews but we’re fine with that.
Dede: That’s fine. It’s just not what we are.
Thomas: Yeah, it’s not what we are. Talking Heads were obviously an amazing band and we have only released a couple of singles so far but we will let them just say that and take it.

Piano is a very misleading first song on the album as it is nothing like the rest of the record. Did you have a theme or is the album just a bunch of songs that you were happy with?
Thomas: We were aware that they were quite stylistically diverse but they are all us. They are all produced in the same way with the same equipment. Plus, lots of bands have one, maybe two songwriters but all three of us contribute equally to the songs. We didn’t want to hide Piano at the end of the album just because it was a little different.

Categories ,david mcnamara, ,interview, ,london, ,piano, ,We Have Band, ,whb

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Amelia’s Magazine | TOY at the Lexington: Live Review

Toy by Christina Pavlou

TOY by Christina Pavlou

Taking refuge from unusually arctic conditions outside, the main bar of the estimable establishment that is the Lexington was already beginning to swell as people patiently waited for the signal to head to the venue. There was a distinct mix in the clientele (not least age), reflecting the vintages of both of the bands who were due to play tonight.

Toy by Thom Lambert

TOY by Thom Lambert

Part of the five day DRLL:LONDON festival curated by influential art punk band Wire and music website The Quietus, tonight saw rising new band TOY supported by ‘secret special guests‘ (though it didn’t take much working out who those special guests would be).

Toy by Sylwia Szyszka

TOY by Sylwia Szyszka

Playing the understudy tonight, Wire hit the stage with bass player Graham Lewis mischievously announcing that ‘We are Horsemeat Searchlight.’ They then powered through a short, loud set, mainly composed of their choicer nuggets, before hot-footing it across town for another DRILL:LONDON show at Cafe OTO, where they were due to be play alongside another new band, Teeth Of The Sea.

Toy by Katie Eberts

TOY by Katie Eberts

Formed from the ashes of one-time indie hopefuls Joe Lean & The Jing Jang Jong, TOY have been making waves over the last couple of years, earning praise from the likes of Rhys Webb of The Horrors along the way with their psychedelic, krautrock referencing sound. Their self titled debut album was a keenly anticipated release last year, and they’ve been playing to steadily larger audiences – indeed, tonight’s show had almost sold out even before it became apparent that Wire were also playing.

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TOY snuck on stage about ten minutes earlier than billed, so I’d luckily timed my bar run right, and immediately launched into an epic Dead & Gone, with its hypnotic rhythm building into a wall of noise mid-way through. The set was largely a run through of tracks from the album, with vocalist Tom Dougall (who, incidentally, is the brother of former Pipette Rose Elinor Dougall) doing a quick introduction to each song. A pacy Colours Running Out led into a new number, Fall Out Of Love.

Toy by Sylwia Szyszka

TOY by Sylwia Szyszka

As a band, TOY visually seem to reflect their music, looking almost as though they’ve just stepped out of a rehearsal studio in Düsseldorf in 1974. Dougall is, as ever, clad in black, delivering clipped vocals between bursts of guitar, whilst there is some serious head bobbing from rhythm guitarist Dominic O’Dair and especially bassist Maxim Barron. Drummer Charlie Salvidge chips in with backing vocals, whilst a near motionless Alejandra Diez conjures some synthesizer washes.

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After early singles Left Myself Behind and Motoring, TOY finished with a distinctly cosmic Kopter, before leaving the stage to cheers from the heaving crowd. With a short break before festival season begins, with appearances including Field Day, Glastonbury and the Hop Farm Music Festival lined up, it looks like TOY are going to be taking their far-out sound far and wide.

Categories ,cafe oto, ,Christina Pavlou, ,DRLL:LONDON, ,Field Day, ,glastonbury, ,Hop Farm Music Festival, ,Horsemeat Searchlight, ,Joe Lean & The Jing Jang Jong, ,Katie Eberts, ,krautrock, ,Lexington, ,Pipettes, ,Rose Elinor Dougall, ,Sylwia Szyszka, ,Teeth of the Sea, ,the horrors, ,The Quietus, ,Thom Lambert, ,toy, ,wire

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Amelia’s Magazine | Album Review: James Pants


All artwork courtesy of James Pants
I must confess, advice I have been a bit over focused on just one genre of music recently; pretty much every track that I have downloaded, gig that I have been to and festival that I have attended has been of the alt:folk variety. If it doesn’t have a banjo or mandolin, it hasn’t shown up on my radar. So what a refreshing change to listen to James Pants, the eponymously titled album by James Pants, a noisy, feral, snarling beast series of tracks that would probably rip a banjo to shreds in ten paces if it tried to sneak into the studio and join in the melee.

This album gives us a telling insight into the workings of James’ mad professor mind, where musical fusions are created with a lightness of hand, and somehow, all the ingredients seem to come together seamlessly. Given that James blends electro, synth experiments, garage rock, a soupçon of shoegaze and a touch of dream pop, it all could have ended terribly, but somehow the tracks glide smoothly along; almost as if the musical DNA of the above styles was always destined to be mashed up.

It’s also telling that James’ most recent abode has been Cologne, Germany. The album has an unmistakeable electro/experimental and minimalist influences that puts the listener in mind of Kraftwerk. I had thought that Kraut rock is kraut rock, but apparently, there is a further genre of German rock that mixes traditional hard rock with dance-like keyboard parts called Neue Deutsche Härte (NDH): ‘New German Hardness’ (there you go, your fact for the day) and this album reminds me a little bit of this (but without the NDH Satanic imagery). Pleasingly, there is a beating heart beneath the shiny, futuristic contours of this album. Newly released single “Clouds Over The Pacific” is soft and fuzzy and layers delicate female harmonies over a nimble plucking of a guitar string ( or could be a harp), which in turn is layered over a wall of synth sound. James Pants is kind of loopy (and that’s the album I’m talking about, not the man), but I like it. Songs like These Girls, Alone and A Little Bit Closer are the type of tracks that give you a second wind when you hear them in a club (or field) at 2am and go crazy to the beats that sound like they have a bolt of electricity running through them.

If you need a clue as to how a collusion of styles and genres has been weaved together so artfully with ne’er a foot out of step, look no further to the unconventional life of its creator. James is the son of two Presbyterian ministers from an American backwater called Spokane, and his non-conformist journey has taken him from being a teenage DJ for a black nationalist rap group to a multi-instrumentalist with fans and collaborators ranging from Flying Lotus, Zane Lowe, Erol Alkan and XL’s new teen hip-hop internet sensation Tyler The Creator. His backround gives me a further understanding of this album. Only a man who can straddle as many different worlds and cultures as he does – and be wholeheartedly accepted – could make an album as diverse as this without losing any authenticity.

Categories ,album review, ,Dream-pop, ,electro, ,Germany, ,Indie, ,James Pants, ,Kraftwerk, ,krautrock, ,music, ,shoegaze, ,usa

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