#futurecut

[shaveloversblog]

Futurecuts: Janine's Step-by-step Headshave for Futurecuts

[omdaily10]

THINKING OF ME

Writers: Olly Murs, Steve Robson and Wayne Hector

Producers: FutureCut, Steve Robson

Album: Olly Murs

Release Date: 22/11/2010

B-Side: 'Sophie' (Writers: Olly Murs, James Bryan, Jason Pebworth, George Astasio, Jon Shave / Producers: The Invisible Men)

Chart Positions: #4 (UK), #3 (Scotland), #13 (Ireland)

Certifications: Gold (UK, 400k)

If you'd stopped and asked most people who'd watched The X Factor on the street c. early 2010 how they anticipated a single by Olly to sound, then 'Thinking Of Me' probably wouldn't have been too wild an approximation. In fact, where his first album is concerned, it seems to be this and another single we'll meet in a couple of weeks from now which are the most easily and fondly remembered from that era.

One thing we neglected to mention on 'Please Don't Let Me Go', but that we will now, is that the final mixing and production on both that single and this were helmed by FutureCut, a Mancunian team of producers with a leaning towards the retro ska/reggae pop feel that Olly and Epic Records had been establishing him in, with a slight feel of more cooler, British urban sounds, hence their roll call of previous work with artists in that mould like Lily Allen, Dizzee Rascal and Professor Green.

The latter was almost meant to appear on this single, but clearance by his label (Virgin EMI) couldn't be made in time for him to feature on it, although they have remained good industry pals since. Although still leaning towards the sonic inclinations of light ska influenced pop as on the debut, it's slightly less pronounced on 'Thinking Of Me', and its verses and melody are rooted in peak 90s Britpop.

In fact, of all Olly's singles, it's probably the one with the least conventional structure. The verses lead into the one sentenced chorus 'And I know that you're somewhere, thinking of me', a second chorus in the latter half that kind of isn't, and two disparate middle 8 bits that don't really fit anywhere else in the song, before it closes on the second demi-chorus again and then the hallmark of many a great pop song: a built in whistle. If postmen the land over weren't going to whistle it before, then they definitely were now.

Described in one review as a ‘gap year anthem’, owing to its lyrics of reminiscing on ‘picking up seashells on a pebble beach’ and ‘rocking Converse with your old Raybans … somewhere listening to Bob Marley’ with a holiday romance, ‘Thinking Of Me’ came out when it was quite literally the wintertime in London referenced in the opening of the song – the coldest British November on record for this decade, in fact.

Not for the last time in his career, Olly had to don a harness for the flying sequences in the accompanying video, where he plays a down and out ice cream truck driver on a typical rainy British day. It was also the first of his singles to be premiered via a homecoming performance on the very stage he’d been introduced on a year previously, that was all red phone boxes, bowler hats and braces – and a tongue in cheek change of the lyrics to reference Cheryl, who was then still a judge on The X Factor at the time.

Although it proved a bit of a stretch to repeat the chart topping success of ‘Please Don’t Let Me Go’ (partly thanks to the collective charity single from that year’s finalists, a cover of David Bowie’s ‘Heroes’ to raise money for the Help For Heroes charity, sweeping all before it), ‘Thinking Of Me’ secured Olly’s second top 5 hit of his career, and was still inside the top 10 by the time the new year rolled around, as well as awarding him with his second gold record. So far, so good.

OTHER THOUGHTS

The Invisible Men were also on hand for co-writing and production of this single’s B-side, a stripped back acoustic ditty titled ‘Sophie’, which lyrically foreshadowed the same topic of his biggest hit two years later, being as it was lyrically a song about a lady friend who proved irresistible despite being a bit of a no-gooder. It’s definitely in keeping with the material from his first album era and is worth reinvestigation.

[niamhrhymeswithleave]

8 years ago. What an art student. #tbt #undercut #futurecut #me

[djkrpt-blog]

One a de original wobble dem! The first big tune from Future Cut was also considered by many to be the best off of the huge Trouble On Vinyl compilation, Mission Control back in ‘99 - we couldn’t get enough of this one, especially when those growling synths pop in - mental stuff and a sign of big things to come from the super duo! Swipe for the clip - TOV LPV 02 ... #dailydnb #dnb #drumnbass #drumandbass #jungle #techstep #jumpup #rollers #neurofunk #liquidfunk #dnbdj #dnbproducer #dnbarchive #historyofdnb #dnbnation #dnbfamily #futurecut #2d #dcutz #2020 #missioncontrol #compilation #troubleonvinyl #1999 #wobbledem https://www.instagram.com/p/B-IIU02qinr/?igshid=16f4dhdznuc4s

[marcolen-hayes]

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[unearthedsounds]

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[bc9world]

Pendulum - Girl In The Fire - Hold Your Colour Commix - Strictly - Call To Mind Ed Rush & Optical - Kerb Crawler - The Brazilian Job Matrix & Futurebound - Rat Trap - Universal Truth Pendulum - Slam - Hold Your Colour Commix - Belleview - Call To Mind Origin Unknown - Believe - The Brazilian Job Pendulum - Another Planet - Hold Your Colour Trinity - Picture On The Wall - The Brazilian Job High Contrast - Angel & Fly - High Society High Contrast - Brief Encounter - High Society Pendulum - Sounds Of Life - Hold Your Colour Matrix & Futurebound - Skyscraper - Universal Truth Hatiras Vs J Majik - Spaced Invasion - The Brazilian Job Commix - Change - Call To Mind Fernando Porto - Sambassim (Marky VIP Mix) - The Brazilian Job Matrix & Futurebound - The Edge - Universal Truth Commix - How You Gunna Feel - Call To Mind High Contrast - Racing Green - High Society Matrix & Futurebound - American Beauty - Universal Truth Uncut - Midnight - The Brazilian Job Commix - Satellite Type 2 - Call To Mind Pendulum - Tarantula - Hold Your Colour Pendulum - The Terminal - Hold Your Colour Shimon - Hush Hush - The Brazilian Job Futurecut - The Specialist - The Brazilian Job High Contrast - Basement Track - High Society Shy FX - Shake Your Body - The Brazilian Job Marky & XRS - LK - The Brazilian Job Commix - Be True - - Call To Mind. After DNB◉UNITED.COM exclusive interview with Viper recordings, artist Loko we asked the artist to give DNB◉UNITED.COM his go-to list of 5 must have DNB Albums if deserted on a deserted island. This is a standard question that Jason Bakes & Adam Vinsant of DNB◉UNITED RECORDS have always wanted to include in every interview going forward since their first interview at the launch of the website in March of 2016 with Maduk and Dj Malcolm Mx of Drumandbasslines.com. The music that each artist listens to is as important as the music they create and is often a bird's eye view of what inspires the artists evolving sound.After the first interview, it was then decided that DNB◉UNITED.COM would then have each artist interviewed follow up his or her answers with an exclusive mix created for DNB◉UNITED.COM from those five albums of choice. DNB◉UNITED.COM is proud to bring you our debut desert island mix exclusively from one of our favorite DNB artists “Loko” of Viper Recordings. Big ups to Maria@Viper for all her support in making it happen as well. On behalf of the staff at The United State Of DNB Radio, we want to tip our hats to Loko for this incredible mix which we are giving our highest rating 5 Stars of DNB Excellence award. Jason Bakes aka BᏟ⚡︎➒ CEO/FOUNDER OF DNB◉UNITED RECORDS / DNB◉UNITED.COM & THE UNITED STATE OF DNB RADIO.

[takuramusic]

#FutureCut patterning da ting

[omdaily10]

NEVER BEEN BETTER

Album: Fourth

Writers/Producers: Jason Evigan, Sean Douglas, Sam Hollander, Claude Kelly, Steve Robson, Martin Johnson, Peter Wallevik, Daniel Davidsen, Cutfather, Ryan Tedder, TMS, Steve Mac, Wayne Hector, Paul Weller, Jamie Scott, Matt Prime, FutureCut, John Newman

Release Date: 24/11/2014 (Original) / 20/11/2015 (Reissue)

Chart Positions: #1 (UK), #1 (Scotland), #7 (Ireland), #20 (Switzerland), #27 (Australia), #28 (Finland), #38 (Germany), #38 (Denmark), #40 (Austria), #42 (US), #50 (Sweden)

Sales: 861k (UK, 2x Platinum)

As we touched on with our 'Wrapped Up' review, anything longer than six months away in pop and people can start to ask questions about an artist’s future, such is the fickle nature of the beast. Olly was certainly in more of an interesting position than most, having now had two back to back million selling, chart slaying albums. He had quite literally confounded all expectations. ‘Never Been Better’ was a significant album for that reason, but it’s also a landmark album in other respects.

Back when work on the ‘Right Place Right Time’ album had only just got under way in the summer of 2012, a massive shift in personnel happened at Epic Records. Nick Raphael and Jo Charrington, who had overseen Olly from his launch, were poached by Universal Records to head up the relaunched Capitol label, in turn going onto launch the successful careers of 5 Seconds of Summer and Sam Smith.

Eighteen months on, and whilst Olly stayed under the Sony umbrella, he subsequently moved from Epic to the reactivated RCA label, headed up by former Island Records MD Nick Gatfield, meaning he had a new A&R man overseeing him and a new album for the first time since his debut. Now entering his fifth year in pop – which many cynics will tell you is the point popularity can either sustain itself or wane from a peak for an artist – Olly had a hell of a lot to prove. It certainly explains why he took as long as he did on it.

This album had to cement his position and popularity in the UK music scene and most importantly, have the songs to back it up. And it’s fair to say that for the vast majority of the album, that was the case. Certainly, you’d be hard pressed to find a more fitting song to kick off the album than the cheekily titled ‘Did You Miss Me?’

Initially touted as the first single before Olly got cold feet about a potential press backlash regarding misunderstanding of the title, and co-written with Los Angeles based hitmaker Jason Evigan (Maroon 5, Madonna, Kelly Clarkson, Britney Spears) this mischief making, horn drenched, Prince-esque strut was bold, brash and attention grabbing: ‘I can tell that you’ve missed me / Cause your eyes give it away / I know you can’t resist me / So show me, show me, show me that you missed me’. It’s a shame he didn’t go with his instincts, because really pop is built on those grand moments of statements of intent.

For that same reason, the title track, co-written with the TMS team, and a record that upped the epic grandeur of ‘Army of Two’ from the last album, was also a highlight. Recorded with a 60-piece orchestra and coming off as part Bond theme part McFly at their hardest, it was a soaring rocket of a track that Olly stretched his vocal chops on, hitting higher notes than he ever had before, and which he performed to devastatingly brilliant effect on the accompanying tour for the album (more on which in a second).

TMS also offered light and shade to Olly’s personality as an artist on the tracks ‘Why Do I Love You’ and ‘Nothing Without You’. The latter was a plaintive, simplistic piano ballad, stating to his then girlfriend of the time that life without her would be nothing. The former track, however, was possibly one of the most dark and experimental tracks he’d done to that point, an almost psychedelic, Northern soul leaning pop number on the agony of being in love with a non-committal partner. It was in many ways, like the renegade evil twin of ‘Oh My Goodness’.

British singer songwriter John Newman, who’d famously topped the charts with drum and bass outfit Rudimental on their 2012 single ‘Feel The Love’, as well as hitting the charts with songs like ‘Come and Get It’ and ‘Love Me Again’, co-wrote ‘Stick With Me’, a pulsing dance track with an eerie choir effect produced by Steve Mac and Wayne Hector. Immediately following it was the very lustful ‘Can’t Say No’, a stripped to the bone part acoustic funk pop number.

But closing off the album was possibly one of the biggest coups Olly could have hoped for in his career at that moment. Some two years previously, he had performed a cover of ‘Broken Stones’, a track from ‘Stanley Road’, the iconic 1995 album from British rock legend Paul Weller, first for The Sun Biz Sessions, and then at his headline slot for the annual iTunes Festival in Camden, North London. Olly had grown up around Paul’s music in his dad’s record collection and had stated what a fan he was of both his solo work and his work in The Jam (he also covered their 1982 chart topper ‘A Town Called Malice’ on the previous tour).

Fast forward to spring 2014, and he was fortunate to meet Paul at the annual Teenage Cancer Trust fundraiser gig at the Royal Albert Hall in London, who mentioned that he had written the bones of a song with Olly in mind. With some additional co-writing from Olly, that song became ‘Let Me In’, a genuinely moving acoustic number which showed off the more soulful, reflective tones in his voice and which you could almost picture being sung around a campfire at dusk.

If ever he’d needed confirmation that he was more of a serious proposition than ever, then his work with such a respected legend was it. In fact, many reviewers subsequently highlighted it as such, with The Guardian proclaiming it to be “the best thing he’s done in his career” in their analysis of the album. Amy Davidson, reviewing the album for Digital Spy, was also full of praise, stating that with ‘Never Been Better’, “Olly isn't in the wallflower business, rather he fully intends on running with his title without a whiff of uncertainty.”

‘Never Been Better’ then, ultimately proved to be a prophetic title – it became his third consecutive UK number one album, once again taking just under a month to achieve its first platinum disc, as well as sailing into the top 10 or top 40 in seven other countries, eventually going onto be certified double platinum by the end of its chart run. It also showed that, far from being forgotten with a year away, Olly’s popularity was quite undiminished and had, well, never been better.

BONUS TRACKS, UNWRAPPED

As with his previous album, the original release of ‘Never Been Better’ came in a standard 13 track version, and a deluxe edition, once again in a digipak booklet format, and substituting the yellows and reds of the standard artwork for a mixture of creams and beiges, as well as four additional tracks.

Highlights among these extra four songs included ‘Ready for Love’, a folksy, rousing foot stomper that you could almost picture being sung by a 70s era Elton John (although no relation to his 1979 song and subsequent 2003 chart topper of the same name). The twilight strewn dreaminess of the ballad ‘History’ ensured that it quickly became a fan favourite, and was performed by Olly on that year’s telethon for ITV’s ‘Text Santa’ charity.

Internationally, fans in Germany and Japan were treated to two further bonus tracks. Only available on copies of the deluxe edition sold in the German entertainment store Mediamarkt, ‘Alone Tonight’ saw Olly team up once again with the Future Cut team on possibly the steamiest sounding song he’d recorded to that point: ‘Kiss me like a stranger / It’s time to misbehave, don’t leave me lonely / I can’t leave you alone tonight’. It’s still currently unavailable for streaming or digital download in any territory at time of writing.

'Alone Tonight’ was also on the deluxe edition in Japan, along with a very special track recorded with another music legend. ‘Sukiyaki’ (literally translated as ‘I Look Up As I Walk’) had been a phenomenally successful record for the Japanese crooner Kyu Sakamoto back in 1961, having sold something in excess of 13m copies worldwide. Olly was invited to re-record a version of the song with English lyrics, titled ‘Look at the Sky’, written by none other than Yoko Ono, who sung his praises highly of his performance of the song.

As of time of writing in May 2019, Olly is still yet to release a Christmas album despite much continual demand for him to do so. The ‘Unwrapped’ EP, a five-track acoustic EP given away free for download on Google Play during December 2014, and recorded at Google’s British headquarters in London, is thus the closest we’ve probably got to an official seasonal release of his. ‘Wrapped Up’ and ‘History’ were performed in his set, along with an additional cover of Wizzard’s ‘I Wish It Could Be Christmas Everyday’, in the same arrangement as his previous recording of the festive favourite for BBC Radio 1’s Live Lounge in December 2012.

NEVER BEEN BETTER: SPECIAL EDITION

As in 2013, Olly spent much of 2015 touring (and pursuing other activities as we’ll come onto discuss in later entries for this era). Once again with no time to get a full new album ready, he decided to repeat the formula that had worked so well for the last album by repacking it as a special edition for reissue a year after it first came out. A new black and yellow colour scheme adorned the artwork, the original 13 tracks from the album remained. And joining them were seven brand new songs, including a further two singles which we’ll be discussing at a later stage.

Claude Kelly and Steve Robson bought the frenetic funk to ‘Sacrifice’, a lively up-tempo floor filler that hardly had time to pause for breath. Meanwhile, Sam Hollander, an American based songwriter and producer who had written for decidedly more punk pop orientated artists like Blink 182 and Good Charlotte, delivered the haunting, lighters aloft ballad ‘If I Stay’, an empowering song about wanting to not give up on a relationship until the last.

‘Love Shouldn’t Be This Hard’ marked Olly’s first collaboration with Toby Gad, the hitmaker for the likes of Beyoncé, Pixie Lott and JLS. A genuinely compelling, almost country leaning midtempo about that awkward first stages of dating when there’s a desperate but repressed need to fill the silences, it seems all but forgotten now but is a gem worth unearthing.

Rounding off the repacked album were two more recordings for BBC Radio 1’s Live Lounge from December 2014: his then new single ‘Up’, performed acoustically with Ella Eyre, who subsequently performed it with him when she supported him on his UK and Ireland arena tour for the album in April 2015, and his version of Wham’s timeless festive favourite ‘Last Christmas’, gentle sleigh bells jingling in the background and all.

Ella also crops up on the second home video release of Olly’s, as the repack included the accompanying DVD of the fourth and final London O2 show of the ‘Never Been Better’ tour, recorded on 7th May 2015, as she performs ‘Up’ with him on there too. The DVD sadly had to omit the popular ‘Funk Medley’ section of the tour that year, owing to the failure of clearance for use of several of the songs in the medley for release. However, the performance of ‘Troublemaker’ with Robbie Williams as a surprise guest is retained and is well worth a watch even now.

The repacked ‘Never Been Better’ had the dual misfortune of coming out during one of the toughest weeks in Olly’s career (more on which in future entries), but also during one of the best for Adele, who released her third album ‘25’ that same week and which sold over 800,000 copies in its first week alone. However, it still returned the album to the top 10 for Christmas that year, ensuring that Olly notched up one of the year’s best-selling albums in the UK for a fifth year on the trot.

[akaida]

@dominationdj goin in on the #raykeith amen rinseout, #futurecut comin in @radiobombfm 90.7FM in LA streaming worldwide @ kpfk.org #junglist #dnb #losangeles🔥

[djkrpt-blog]

The next instalment of the History Of Drum & Bass mixes is almost here - this time we’re up to the end of the world (or one of them, anyway...) : 1999 - the year we were all biting our fingernails in anticipation - a LOT of great D’n’B tunes made it out there inside the dark, smoke filled clubs and I’ve packaged them all up for your convenience - so keep your eyes peeled for the release date! In the meantime, swipe across to hear one of the favourites from supergroup Future Cut: Whiplash ... #dailydnb #dnb #drumnbass #drumandbass #jungle #techstep #jumpup #rollers #neurofunk #liquidfunk #dnbdj #dnbproducer #dnbarchive #historyofdnb #dnbnation #dnbfamily #futurecut #whiplash #renegadehardware #armageddon #1999 #prince #chapelle https://www.instagram.com/p/B2MhQRlizm1/?igshid=1q3ikwfha6pgr

[marcolen-hayes]

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[watcharapongw]

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[djkrpt-blog]

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