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gotboredwrote · 5 years ago

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Chapter 11: Official Brit, Finally?

[[The American Publicist // JRD]

Pairing: John Richard Deacon x Reader Word Count: 3.3K Style: Multi-Chapter Warnings: Sexual references (nothing explicit) Summary: Y/N was just hired to become a co-manager and publicist for the band Queen. The boys had never travelled abroad, so meeting an American was . . . intriguing, to say the least. Permanent Author’s Note: To clarify, I write because I get bored. Nothing is meant to be professional in any way, nor is meant to offend, cause anxiety, cause anger, cause sadness, or promote disagreement among readers in any sort of (semi)permanent way. A/N: That’s all, folks! For those of you that have read this entire story, thank you for supporting me and my stupid writing! Look forward to more stories down the road!

Masterlist // Previous Chapter // Next Chapter // Masterpost

The two of you were so busy with each other’s presence that you completely forgot to shut the curtains in John’s room. The early morning flooded into the room, casting a soft glow through the room and onto the both of you. You both had slept peacefully, one of the first nights in a long time where the both of you could say the same thing. He was obviously overwhelmed with creating an album that had to live up to the standard of the first one, and you had spent countless nights forcing yourself to work into the early morning because you could not leave a certain portion of your job unfinished without going into panic mode. But last night was completely about the two of you, and there was evidence of that. Not the usual evidence of a night like the two of you had, but rather, the lack of what made the two of you, you. John’s bass was nowhere to be found, and neither were scattered pieces of scrap paper with possible new lyrics. Your bag of paperwork and the boy’s binders were not even in John’s house, and in these last few weeks, all that paperwork always traveled with you, in case you had a spare moment. No, last night was meant to be all about whatever connection you two had, and where it would blossom given the right nourishment.

At first, the glowing of the sun in John’s room was not enough to wake you two from your slumber. The warmth and comfort you took in each other was overwhelming, which kept you both in your deep sleep. Eventually, though, John shifted lightly in his sleep, which ended up waking him and you up, but neither of you made any real effort to get up right away. The two of you had switched places from the night before, you were now nuzzled into his neck, but everything else had remained the same. Arms wrapped around each other, legs intertwined and locked in place. Both of you were comfortable, so why force yourself to move? Eventually though, John lightly pressed his nose into your head in an effort to wake you up without startling you. It worked, and he could feel you stir lightly and force yourself to lift your head to look into his eyes. Before saying anything, you both just gazed into one another’s eyes, not needing to say a word. A silent, unspoken understanding and recognition of the other person’s presence and what you two mean to one another. You could each feel the other’s breath on certain portions of your faces, neither of you wanting the peaceful moment to end. John blinked a few times before sighing lightly.

“Morning, love.”

“Good morning.”

“I’m sorry about… what I did.”

“What’re you talking about, John?”

John pulled his head away from you for a moment to kiss part of your collarbone. You thought for a moment that he completely forgot your question, but then it dawned on you. The softness and gentleness with which he kissed that spot. It all came flooding back to you, and with each memory entering your brain, the more you woke up and the more you got red in the face. You remembered what happened the night before. What was said. And you were filled with happiness. And love. The events of the night before were not ones that stemmed from lust between two people. Sure, in the moment, that probably played a factor in the intensity of the events, but that was not where it came from. After finally admitting to the other that you had been pining for each other practically since the moment you met, you went on to physically show it to each other. The excuse? Not enough words exist to explain how you two felt for one another. Returning your thoughts to the numerous love marks littering your body, you lightly chuckled to yourself before addressing John’s ridiculous comment.

“Love, never apologize for marking me. I’m yours.”

Another blissful silence was shared between the two of you, despite the fact that John was as red as could be hearing you call yourself his. He never thought, given the circumstances, that this kind of thing would have ever happened. He did not regret anything that happened, not by a long shot, but he did become worried that the time you two had left would be short, considering that the album was approximately a month away from being complete. You could sense this in John, not because of his breathing, not because his body tensed up, not because his face shifted. You could just tell. You knew your John, and you knew when something was bothering him.

“I already told you not to worry about the hickeys, so what is bothering you now?”

“The time we have. Neither of us know how much there is. And I don’t even want to think about my life without you, now that you’re a large part of it.”

Clearly, John forgot something that you told him the night before. Before everything went down, including the two of you, on each other. You had told him if he said the words that you wanted to hear him say, and if he said them truthfully, you would stay, no regrets, no remorse. You could tell that the situation was really getting to him, because you felt a light tug at the back of your neck. While you had been listening to him talk, he had grabbed the bass situated around your neck and lightly played with it, pulling at your neck absentmindedly. You were trying to come up with something to say that did not give away what your plan was, but you felt that in order to really make the arrangements, you had to get him to agree with you.

“What if I don’t leave you?”

“What?”

“You have a spare room here, and we clearly don’t mind sharing a bed. It could work. If you want it to as much as I do.”

“Are you really suggesting staying? With me? Here?”

“Is that not obvious?”

“If… if you’re willing to do that for me…” At this point, tears were starting to form in his eyes, and you immediately kissed them away, then moving to kiss his lips.

“After I shower, I will make some phone calls, my love.”

By the time you had gotten out of the shower, thrown on a different tee shirt of John’s and made your way downstairs, he already had breakfast going for you both. He made one of your favorites – over-easy eggs with toast for dipping, and some breakfast sausage. He also made you a cup of your favorite tea – Lipton from back home, and gave you a glass of water to wash it all down. He made himself the same thing, and you ate on his back porch listening to the morning birds and breeze. Somehow, this already felt like you had been living with him for years. The few neighbors who happened to walk outside to water plants, let pets out, or pick up newspapers noticed the two of you enjoying breakfast together, and they could not help thinking how normal it felt. One small child in a house across the way even said to her parents that you look like an old married couple, just not quite old, yet. When you went inside, you cleaned up breakfast, since he cleaned dinner, and he was scuffling around trying to find your keys.

“Why do you need those?”

“I figured since we have a day before we have to go back into work, you would not be opposed to actually doing something productive, since that’s how we bonded before.”

“I don’t disagree, but what do my keys have to do with anything?”

“I’m going to go get your binders and paperwork, babe. That way you actually have work to work on?”

“John, you don’t have to drive all that way—”

“I know. I know. But it will make you feel good to have control over your work for a whole day without Roger or Freddie screwing it up.”

With that, John waltzed over to where you were standing in his kitchen, lightly grabbed your chin and cheeks, and pulled you into a kiss. A somewhat heated one, you noticed.

“Try not to miss me too much while I’m gone, love.”

And he walked away, smug as can be and cool as a cucumber. You both loved and hated this confidence that suddenly arose from inside of him now that the two of you are an item. It was, frankly, hot to see him so confident, but it was annoying and frustrating that he would leave you hanging. You would just have to give him a piece of your mind later that night. While John was gone, you decided to make the calls to your parents and your place of work to let them know of the change. You called work, first, that way you could ensure that they could get you a job over in England. Your company was international, so you knew that there would be a chance. Surprisingly, your bosses took it well, simply giving you the contact information for the person who you would need to speak with, and telling you that it was part of your new job description to come visit every once in a while. They also made it a point to tell you that your job in the states would remain in place until the new situation is sorted out, and they would take care of all the logistics for you. You just had to arrange the meetings. Simple enough. Then it was on to your parents. Your heart rate spiked. You did not quite know how to explain the sudden change of heart and plan. When your mom picked up the phone and brought your father over, you decided to just be straight with them. No games, no beating around the bush. That would never go over well, plus you were not a good liar. Never were. You told them what you and John had discussed, as well as what your company said. You made it a point to tell them that since your company provided access to all your doctor and dental needs, they would figure out your new physicians and dentists for you, so all that was left for you to do was actually bring all your stuff over to John’s place. Your parents were silent for a moment, and you could feel the gaze they were exchanging over the phone.

“Honey, if you’re positive that John’s the one, then who are we to stop you? You have never given us any indication that you could not make educated decisions on your own, so if you know, you know. And you also know that you always have a home to come to if things would not work out.”

Now you were crying. It felt like a movie, everything going the way it needed to. By the time you hung up with your parents, about 45 minutes had already passed and John walked in the door to see you practically sobbing on his couch. He knew you better than to drop the paperwork, so he set it down on his coffee table as quickly as possible and rushed over to grab your face.

“What the hell happened, are you okay?” The fear and franticness of the whole situation apparent in his voice.

“I’m absolutely fantastic, Johnny! It’s all okay! I’m staying here! I’m staying with you, Johnny!”

All John could muster was a breath of relief and a vice-like grip on your torso. He was just as thrilled as you were. Things had a way of working out between the two of you, and that was one of the things that gave you confidence in your newfound, but natural-feeling, relationship. Once the emotions had settled down, John and yourself had begun working on what you normally would have been doing. You were making all the finishing touches on each of the boys’ binders, when John walked back into the room, signature yellow Fender in hand. He just looked at you with a small smile before sitting across from you, scattering a bunch of papers on the floor. A smattering of sheet music and unfinished lyrics. He was tuning his bass, the sound soothing you into a deep focus, when his voice interrupted.

“I wrote something for you a while ago.”

“You did?”

“Yes. Never really knew the right time to show it to you, but now feels right. After I play it, I will leave you alone to work.”

“First of all, you never are a bother, you can interrupt any time. Secondly, get to playing, mister!”

Exchanging a laugh, John reminded you that it is not how it will actually sound, since there will be other instruments and Freddie will sing, but his voice would have to do for now. And he started playing.

Ooh, you make me live…

By the time the song had finished, you were in tears. It was gorgeous, but not as gorgeous as the man who sang it. You lunged forward as if your life depended on it, and smashed your face into his, kissing him with a passion unmatched. But despite how happy you were, there was a question you needed to know the answer to.

“John… how long ago did you write that song?”

“Well, I wrote the song not too long ago, but the feelings I’m talking about? I realized they were there back when you had that really bad panic attack and I took you to the doctor. I knew right then and there that I was put on this Earth to love you and take care of you. Why?”

“John… you waited this long to tell me all this?”

“I was nervous!”

You playfully hit him and you both resumed your positions working on other things, the song being a special memory that eventually would become one of Queen’s biggest hits. And it was all about you. Later in the day, you two had gotten a decent amount of work done when you realized that you needed to go home so you could actually properly get ready for work tomorrow. You gathered your belongings, and John drove you home. You were sat in your driveway when then realization hit you. Tomorrow, you and John were going to have to show his bandmates that their little scheme worked.

You two made things simple and sweet in an effort to get the boys to understand the situation. You made sure to arrive last to the studio so you could kind of make a scene of yourselves, but in the most John and Y/N way possible. All you did was walk into the booth hand in hand. That should get the message across. Boy, did it. All that one could hear were claps from Freddie and Brian and rambunctious hooting and hollering from Roger. You and John sent them your signature dorky smiles and the boys were absolutely thrilled.

“Your plan worked. Didn’t really know it was a plan, but it worked.”

“I told you imbiciles that it would work! And John, I’m so glad that my love of love and love of you two created a plan so heavenly that you could not resist it.”

“I was just about ready to shove Y/N in your face for you, John.”

John just glared at Roger while Brian shook his head. For the next few hours the boys worked on music, like nothing major had just happened. It was a normal Monday at the studio. Then, after lunch, the plan was different. It was your time to shine. You had finished all of their binders and were ready to see their reactions.

“Alright, so listen. You all have been a bunch of nosey-Nancy’s about these things, but I can finally say that they are done and yours for the keeping! Basically, what you are going to see in here are newspaper clippings regarding various events, with my comments and suggestions on the same page, or outfits that I think could win crowds over. Other things are possible album cover ideas, how to promote certain songs using particular elements from other parts of the binder, things like that. You all can rummage through, do whatever you please with them, and you never have to do anything in the book. These are all simply recommendations based on what I know about each of you, what I have seen you wear before on stage, things like that.”

The boys scrambled to get their binders. Each one was huge, and they could tell you had put your full attention and effort into each one of theirs, which they really appreciated. Freddie was gawking over certain outfits and idiot critics, while Brian was studying the criticism to use later. Roger, meanwhile was just trying to wrap his mind around everything, and it somewhat creeped him out that you knew him so well and it had not been too long since you had met. Their reactions were genuine and made you so happy. You always do this for bands you work with, but very few of the people who receive them actually cared as much as the four dorks surrounding you. John was clearly infatuated with his binder, and he seemed to be stuck on one page. You leaned into his side to see which page it was, and it just so happened to be the one outfit from weeks ago that he almost caught you pasting into his binder, the one you thought he would look ethereal and god-like in at the same time.

“You know how you questioned me on how long ago I wrote the song and knew my feelings? I guess I could do the same to you, love.”

The boys were still intently gazing into their binders when you decided to bring up the news you and John walked into the studio with.

“John and I have something we need to tell you, and before you say it Rog, no I’m not pregnant.” Roger gave you a silly look, but everyone in the room knew he would have said it. Including Roger. “I made a number of phone calls this morning, and they all helped me make a really big decision. Basically, I don’t know if you all feel the same, but John and I… there is clearly something more here than just a silly adolescent attraction based on looks. We know it’s really soon and it’s slightly hasty to do, but I’ve decided to stay here with John and continue to work with you guys. Permanently. So long as you’ll have me.”

All three boys shot you and John looks. Their expressions came and went in waves. First there was initially shock. Understandable. You were uprooting your entire life for a guy you had only known barely over a month. Then came the doubt. Again, understandable. Pretty self-explanatory. Then came the recognition of what you two shared. An understanding that there is something there that is life-long. Something that would stand the test of time. And then, happiness.

“Darling, we support whatever decision you make. But are you positive this is what you want?”

You turned to look at John, who was already looking at you, and he pressed his lips to yours in a loving manner. Roger groaned lightly, while Freddie beamed and Brian looked at you with the same expression as before.

“Maybe you haven’t experienced the feeling yet, but when you meet your soulmate,” you started lightly playing with the bass on your neck, “you don’t run from them.”

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iveyshepherd-blog · 5 years ago

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How To Play A CDA File On An MP3 Participant

On Home windows eight or Windows eight Professional, when you insert a CD disc to the optical driver, you'll notice audio tacks are in the extension ofcda with a reputation in the format Track##.cda. Download a CDA to WMA conversion software. AllinONE CD to MP3 Converter, Complete Audio Converter and WMA MP3 Converter are cheap at under $20. These programs also include a free trial period for a tryout. SC free download of cda to wma converter software full version Audio Ripper can also be out there. This application rips your music CD (CDA format) into several varieties of information including WMA. Tips about the best way to convert CDA to M4A online with CDA to M4A Converter ? In contrast with Leawo Music Recorder, which helps WAV and MP3 audio codecs as output format, On-line CDA to MP3 converter and Format Manufacturing unit assist additional output codecs like MP3, WMA, OGG, AAC. Music can be saved in your MP3 participant mechanically in the event you select your MP3 participant as your trip spot by connecting MP3 USB cable with pc. ☉ Save recordings to either WAV or MP3 format.

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karolynfitz2564-blog · 5 years ago

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Flac Audio File Assist In Online Participant

If you happen to've ever tried to search for software program that may convert audio and video information on Windows, you might understand how arduous it may be to seek out dedicated options that are truly free and performance as marketed. FileZigZag is a FLAC to MP3 converter free on-line that is environment friendly. It has extra options with chopping-edge performance. It's got a complicated converter feature that simplifies all conversion operations. To convert FLAC to MP3 on-line is easy and fun for the reason that web page is comprehensible making it simple to transform files. Luckily, if you want to convert Apple Music losslessly with half size of authentic file, NoteBurner Apple Music Converter will assist you to, it helps to output file to FLAC format with zero loss. The next is an in depth tutorial on tips on how to convert Apple Music recordsdata to FLAC with the most recent model of NoteBurner Apple Music Converter. Please download this useful gizmo on your Windows PC or Mac first before getting started.

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So if need to play a flac to mp3 converter 320 kbps audio file in your iPhone or Mac, it's a must to convert it to ALAC format, which means that you need a handy FLAC-to-ALAC converter and I feel VideoSolo Free Video Converter can meet your demand. iTunes isn't appropriate with as many file types and would not convert as fast as the perfect merchandise we examined. Nonetheless, if you wish to import lossless files to iTunes as lossy recordsdata to save disk space, there isn't any purpose to use one other program. iTunes converts to solely four file codecs: MP3, Apple Lossless Encoder, AIFF and WAV. Also, if the file you are changing has DRM (Digital Rights Management), iTunes can't convert it as a result of doing so would remove the DRM. You'll find the converted file in the vacation spot location you chose before and now you can play your MP3 on any suitable media participant or portable gadget. four. 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There are alternatives for flac to mp3 converter 320 kbps changing the bitrate here as properly, flac to mp3 converter 320 kbps and the a number of customization choices actually make this tool shine when you have a very particular concept about how you wish to convert. FLAC: The Free Lossless Audio Codec (FLAC) is the most popular lossless format, making it a good selection if you want to store your music in lossless. In contrast to WAV and AIFF, it's been compressed, so it takes up rather a lot much less area. Nevertheless, it is still a lossless format, which suggests the audio high quality remains to be the same as the original source, so it is significantly better for listening than WAV and AIFF. It is also free and open supply, which is handy when you're into that kind of factor.Note: This technique doesn't apply to compress MP3 audio file. If you wish to compress MP3 to smaller file measurement, it's possible you'll refer to Step 2. WMA - Windows Media Audio is Microsoft's personal proprietary format, much like MP3 or AAC. It would not really supply any benefits over the opposite formats, and it is also not as nicely supported. There's very little reason to rip your CDs into this format. MP3 is the correct file format to your PC, MP3 gamers, iPod and cell phones. You possibly can enjoy MP3 downloads on all your mobile devices. Audials is your MP3 converter and converts nearly all file formats to MP3 files. Your MP3 songs may be performed back at your LAPTOP, MP3 player, cell phone, Apple iPhone, Apple iPod or Microsoft Zune Participant.Though there are free software program options, like iTunes, that can extract audio from a CD and convert it to smaller and more manageable file dimension, we found by way of our testing process which you can spend lower than $forty on a good audio converter software and future-proof your skill to gather, archive and share music efficiently. We additionally acknowledge that you will have a short lived must convert a few files, so we tested the perfect free audio converters so we could suggest a product that won't introduce adware and adware in your computer.

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bettinawharton5-blog · 5 years ago

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16 Greatest Free Mp3 Splitter Instruments To Split And Merge Mp3 Information

You just found one of the best place to put in writing and share rap songs on-line. All of them will assist you in WAV file changing into a member of and make this tedious process fast and easy. MP3 Audio Splitter Joiner is a program used to build, cut back up and merge MP3 recordsdata. As we talked about beforehand, you can also scale back up MP3 recordsdata into particular person tracks and experience every monitor individually. Set boundaries for elements to extract every by time or straight on the waveform of the file ( seen splitting ). It deserves discussing that the program works biggest and quickest with the MP3 music. With the iTunes Retailer, you may get all the music you want — and the music you didn't know you wished.1 You'll discover more than 50 million high-quality, DRM-free songs on iTunes for simply sixty nine¢, ninety nine¢, or $1.29 every.2 And it's all just a click on away. Take heed to a 90-second preview of select songs before you purchase. Full My Album makes it possible to buy a couple of songs to try an album out, then get the remaining for the original album value minus what you've got already spent. Buy on any device, and your songs are immediately accessible in your music library. And last but not least we've got MergeMP3 which we lined right here beforehand Be part of MP3 Information Together with Merge MP3 Be a part of MP3 Information Along with Merge MP3 Learn Extra You may obtain the appliance from the authors homepage. The appliance was a tiny 719KB file. Identical to the opposite functions we need to add our tracks to this system. You can drag and drop or use the File > Open feature to get your songs in there. Then you may transfer the tracks up or down in the order that they are going to be performed with the up and down arrows. Click on on the music notes button chosen within the shot beneath to merge your songs into one file.

Right here is one other online video combiner, Video Toolbox Frankly talking, it is a relatively advanced instrument that gives potential to course of video information as much as 1500MB. More brilliantly, this good software is able to analyzing your uploaded video information in fast manner so that you can familiarize your self with all the data, similar to bit rate, frame charge, codec, decision, etc. Combining 2 MP3 recordsdata is a fast approach to give you a novel tone. Though this would possibly take longer time to get your information merged, it's all the time an out there free approach so that you can try. This technique might have some time to merge songs online the songs collectively. You'll merge mp3 on-line multiple mp3 files into one steady mp3 file. MP3 Joiner helps on-the-fly changing, in different phrases, it doesn't generate momentary recordsdata throughout the conversion course of.

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creativinn · 2 years ago

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Dame Black Releases “PEOPLE UNDER THE STAIRS” (Artist Interview)

Uncle P: You have a serious buzz around the release of your latest release People under the stairs. With a title like that, what was your thought process around this project?

Dame Black: Well thanks to all the people who supported the movement and, the Dame Black brand first they’re one of the main reasons for the big buzz surrounding the project. So The People Under The Stairs is actually one of my favorite movies I had to mention that but, I used to be in the streets trapping and, what not an 90% of my content is street so I looked at the people under the stairs as the clientele. I took the movie and, flipped the perspective into a dealers view. I wanted to still reflect the movie as well so I used the actual movie cover as well and, flipped it to once people hear the EP they’ll definitely understand the similarities and, the references.

Uncle P: So when did you realize you wanted to make something out of that film? After watching it a few times or did the tracks inspire it all?

Dame Black: I guess it came with the creative process of how I put together projects. The movie was definitely in the back of my mind but, I guess it was after the first song I knew how I wanted to sculpt the Ep. I try to give the fans a full meal to break down art, music, visuals, poetry, streets, all that exist with in this project so in short lol yea the tracks inspired me.

Uncle P: What was your favorite song and what has the public gravitated to so far? What did you learn from having listening sessions?

Dame Black: I dont really have a favorite to tell you the truth and, there’s a reason. I dont have a favorite out of any music I put out yet…. Only because I know I have alot more greatness in me to achieve musically so I guess im still waiting on a favorite. As far as the listening party I learned alot and, s/o to the muzik shop for hosting the party but, wow it was amazing! I learned good music and, humility will definitely bring alot of great minds together. Thats the biggest thing I learned from that I could go on for days but, I would say thats the most important lesson I learned from the listening party.

Uncle P: What was it like working with one producer for a entire Album? Can you share how it went down

Dame Black: S/O to Aaron Green hes responsible for every beat on the EP hes an amazing producer which made it easy to put this project together check him out on IG @AGmusic1989. If I can recall im pretty sure it was Ub who tagged me in a IG post to a beat snippet on AG’s page. I heard one beat and, was amazed I loved his sound an feel so I checked out more beats on his page and, was convinced on the spot that I wanted some tracks from him. After I bought at least 3 tracks I was in album mode but, I wanted to bring that old feel of hip hop that I remember back one artist working with one producer feel. Im real big on the essence of hip hop even tho my content is street based I feel thats where hip hop came from anyways… I continued to search his catolog and, I asked him to do a couple special samples for me until I felt I had a complete body of work and, thats how the EP came together.

Uncle P: How would you describe AG sound?

Dame Black: AG is almost undescribable he’s so universal as a producer its crazy! Leaving the description up to me tho I would have to say he’s so soulful saying that he plays instruments as well its just a taste of soul its like grandmas cooking. I definitely would have to say his strong point to me is soul music he makes beats you can feel in your soul some of his beats I dont even want to rap to I can just ride and, vibe to them.

Uncle P: The music scene is like the wild wild west right now, whats been your experience trying to gain exposure in the crowded space of music?

Dame Black: Thats a good question I would say for me its just easy being me my artisty comes from a truthplace so im just focused on being the best dame. Im not into gimicks or jumping on bandwagons or co-signs and, its alot of that going on alot of artist not being who they really are. I really think that changes the game alot and, makes it hard for true artits like me to break through but, all my recent buzz has comes from all organic work, quality music, and, me being the best dame I can be for my fans and, supporters.

Uncle P: Who you feeling right now musically? If somone was reading this interview and hadn’t heard a record yet, whos vibe would you say is similar.

Uncle P: What can we expect from Dame Black over the next year?

Dame Black: More and, more music lol I work hard and, I love putting out quality work for my fans so more music first. Im actually in album mode now working on another project with Sapiano Sounds as we speak. More dope artwork s/o to bryan gower on all my artwork hes the genious behind the Ep cover. Dropping more visuals s/o to mino shot dat on my recent drop the Kevin Garnett video on DetroitRap.com now. Ill definitely continue to keep people intrigued in my artisty with creative roll outs dope promotion s/o to my manager Ub hes a big driving force behind all that and, more. But im just gone keep grinding being humble and, putting out good music I think next year is MINE!!! Respect the scorpion.

Uncle P: You plan on getting out and touring any? How you plan on moving around the Midwest? Who do people contact to do some business with Dame Black?

Dame Black: S/O to my manager Ub again he put a dope concept together called “The pull up plays” and, the concept to that is we pulling up wherever rocking the stage. We get the dates in to the shows and, we give our fans acess thru flyer and, social posting then we pulling up and rocking the stage which is a “Pull up play”. Im definitely looking for bigger stages and, a bigger touring situation to reach more fans with the music but, for now we putting in all organic ground work trying to reach as many live bodies as possible which is a foreign art in todays game internet is the big thing. For anyone looking for verses, show booking, touring opportunities, etc… Contact my manager Ubadah McConner at [email protected]. Thanks for the interview I truly appreciate yall at DetroitRap.com s/o to Uncle P for all the help as well 6/21/22 I bring yall a true classic The People Under The Stairs Ep produced by Aaron Green (AG). Check my artist page out on FB Dame Black@ Facbook and, check all my latest content out on YouTube, Itunes, Spotify, etc…..

This content was originally published here.

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whatscoolaccordingtodom · 6 years ago

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July 2018

As winter nyasto settles into the Southern Hemisphere, I can’t help but think that maybe we’re doing something wrong and whoever has been in charge of the weather these past few years is mad. Our ancestors wore nothing but a bit of hide over their groins 365 days a year, my great-great grandfather never slept inside anything his whole life. They say on particularly cold nights, his family would come down from the hills to sleep around his fire, where he would sit there playing his mbira into the wee hours.

Umphako floated down to us on the 6thof July and I’ve been Mascandi through the streets ever since. The 4 track EP sees most of the songs go in different directions, but still make sense on the overall project. “Abangani” features label mates Emtee and Saudi, it’s definitely in the running for Squad Song of the Year. The “Confession” sample sounds like it was taken from an old hip-hop song, maybe a 50 Cent track and; the vocals though beautiful as they may be are overshadowed by the lyrics. I’m sure a few Zulu boys are convinced though. “Intombi” -also about a girl- talksis about all the lies she hears from interested suiters. The remaining is the hustle track, even the production is more upbeat than we’re used to from him. 2018 has been good to Sjava too, he came out from under the shadow of his labelmate and established himself as a serious contender with the Black Panther nod, BET award, and oh so Afrikan press run; this EP serves to show he’s still the guy who gave us favourites like “Before”. At least for now...

Strings and Blings is one half songs that can be bangers and the other is half is talking RnB. Nasty C’s on and off long-time girlfriend is kind of like the centerpiececentre piece, often finding herself being spoken to, of, from, about, and with; but he uses inconsistent angles. (Also, S/O to the girl who always sings on his songs but never gets credited). “No Respect” is my favourite offering on the project by far, it sounds like it was getting good, like he was about to rip at niggers, he’s about to start going in at the 1-minute mark then the just stops.; Tthe track ends 25 seconds later preventing what probably would’ve been a PR nightmare for him. “Jiggy Jigga”, “Givenchy”, “Strings and Bling” and “Gravy” are all easy plays in the club. We would like to thank Nasty for saying a Zulu word on “Blisters”. The whole album plays very well except for “My Baby”, that song is terribly cheesy; it sounds like every song by a boy band with a potty mouth lead singer. “SMA” is a standout from the other side, the dialogue verse’s add a layer to the rapper and Rowlene is just perfect. “Mrs Me” and “Everything” are the other emotionally heavy songs. “Casanova” cements just how much Nasty loves Metro Boomin and is perhaps the one track that doesn’t really fit into the 2 sides of album, it sounds emotional, but the lyrics really just aren’t.

A welcome addition to my favourite rappers in South Africa is Zakwe, he’s been around for a while but Cebisa is the first project by him I’ve listened to and honestly, it carries itself even without Sebentin. In true South African fashion, the remix is a who’s who of our rap elite but it’s all overshadowed by the obvious trade of bars by HHP and Cassper., Cass just seems to rub some people the wrong way, poor guy. At 20 songs, averaging well over 3 minutes each. The album is a long play but it’s well worth the listen, with a plethora of features to keep you entertained it plays like a Zakwe and friends playlist. The man himself has honed his sound, this nonchalant cross between hip-hop and kwaito is best described by the albums stand out line “Pac was Jesus, Zola wrote the Bible”. He isn’t stuck in old hip hop either, trap beats found themselves nestled in the playlist too.

Future gave us Beast Mode 2 and I am satiated, but Atlanta spoils us (I have a theory about how it had a direct influence on how music is frequently now released), they understand that the streets need new music often. Jeffery needs to give us something more now since Hear No Evil was a while ago and it was 3 songs long. Future seems to be the only one of late who can get Young Thug into the studio too., Tthey did release Georgia, but a Thug feature was not on the cards for BM2 which really only has 2 features, both young artists who were given a wide berth to shine. People who say Future isn’t a lyricist need to take time out to listen to the first Beast Mode. On these albums over Zaytovens most almost gospel like production, he addresses a wide range of issues from his self-medicating drug problem, he checks himself trying to hold onto some sense of reality I think, but he makes it so that you have to listen to know what he’s saying. Being a workaholic -the man releases projects at an alarming rate- and the excess that seems to come with the life of having your “Racks Blue”, he talks about his anxieties both external and psychological. BM2 is the classic mix of Futures braggadocio and insecurities. It plays like one long thing the first time, but if you take the time to listen to what he’s saying you might realise why his spot amongst those at the top of rap is a non-debatable topic.

Unjayam uSliqe… this calling card annoyed me when I first heard it, but it’s kinda grown on me since then. I know I’m about to hear a hit when it plays. His sophomore album is a shining example of how hip-hop albums by DJ’s have evolved into their own league. Jam packed with features, feel good songs, and amazing production from the man himself, I don’t know if he just makes the beats and let’s people do their own thing or if he composes and directs each song, maybe he does a bit of both. The formula works, Navy Black is like a calm afternoon with your friends, most of the songs share a skeleton, so the vibe is carried well. “Biskop” is a fitting way to begin the album, it’s an ode to how the journey Sliqe, Kwesta and Makwa has transformed the artists’ lives since they started hustling, when is a Kwesta verse not welcome? Chiano Sky is the new naughty white girl, “Aunty” was nice, but “Girls Jungle” is a lot; the sample is so perfect and her lyrics are irreverent. Sy Ari saw Black Panther 5 times, I was going to discuss this but then I found out he’s American; him and AKA really came through for “Oh Well” though, Supa Mega talks like the big brother all young rappers have always wanted. I’m kind of torn between “Fully” (because we get to say FULLY a bunch of times), and “Town Talk”, it’s cool to see Wrecking Crew members make hits without their big gun. “Backyard” is the vibe of the album, and who better to call for a feature than Mr Hennessy, Tshego can sound like him featuring him with the different pitches he can sing at; it’s smooth and never overly emotional?

Gigi Lamayne, in her short time has built an enviable career finding her place in the league of our small handful of rappers. “VI” is a 6 track EP, her first since signing with Ambitious and it was built kind of like this version Maslow'sMaslows pyramid.; Tthe top is tiny and signifies the worst song as we descend into the album the sections get thicker until the bottom where we find “VI” waiting for us. The tape gets much better immediately with “Iphupho”, this song see’s the artist sing her truths about living in this concrete jungle while demanding to cash in on her dreams. “Roll” is dirtier, real trap shit reminiscent of “Beez in The Trap”. “Stimela” is fun, Gigi even gets in some good raps and punchlinespunch lines, a highlight being “I’m Gautrain, you Shosholoza”. “VI” is really easy listening, with a light sprinkling of zulu lines, the beats are catchy but maybe none more so than “Twinkle”; “Londie London” croons the memorable chorus and Gigi offers her most solid verses on the project. Until you hear the title track, she does the correct thing on the outro; no chorus, shit she barely lets it breathe until the last minute.

Ice Prince is an established name in Afrikan hip-hop and his confidence oozes out of his songs too. A few of them seem to be more about weed than anything else in particular and I’m okay with that. The albums opening track is a bass heavy banger, with the help of Jethro Faded, Ice-Prince “Shuts it Down”, which might be a weird way to start an album. Remy Baggins comes through for “Space Funk”, a Bruno Mars-y chorus with solid verses by Ice. “Hit Me Up” is the albums single, a typical South African trap track, PatricKxxLee & Straffitti help bring the head nods out. “‘Interlude”’ is his way of letting us know that this is the emotional track of the album and “Die For Your Love” does not disappoint, mans really promises to die for her love; but doesn’t miss the opportunity to mention weed again. I think I noticed all the weed references because of how frequently and prominently most of them are placed. “254” has one right in the chorus, but the verses are some of the most enjoyable on the whole album; they play like one long story. The uncredited singing bit at the end of “254″ is really nice, if that is Ice then kudos to him. “So High”, seriously, has Ice Prince always been this proud about his stoner ways? Anyways, “So High” is an anthem dedicated to just how high Ice Prince and Kay Switch get. By the sounds of it they use regular rizla and not Raw like Nasty C and Snoop Dogg, I might suggest switching to unbleached rizla if he really does smoke from Niger to Ghana. I mean, it’s an obvious metaphor for other kinds of highs too, success, girls, etc, but with the sound effects and lines like “puff puff pass, real nigger smoking that gas” the weed references might be all we get. “Watching You” is a simpler, way more vibey track where Ice Prince gets back onto his singing shit, helping keep the song as smooth as possible. The album closer is arguably the best, the production is really enjoyable, and he made sure to use easy to remember lyrics.

In The Faculty NEWS; on August 2, Human Error turned 19 and Tinayeishe Elisha Makoni better known by his stage name S.K.eye released his debut solo tape titled “Pseudology”. Please listen to it on Soundcloud @ https://soundcloud.com/tinayemakoni/sets/pseudology

Couldn’t leave without acknowledging Stay Dangerous and Astroworld, but that’s for later.

Beyonce and her husband are coming on the 2nd of December, but you have to earn a ticket. The only other ticket you work this hard to get in life is the one to Heaven, if you’re into that type of thing.

Edited by @NyraBlac

#Umphako Sjava Stringsandbling Nastyc SaB Zakwe Cebisa Future BM2 BeastMode2 #Navy DJSlique GigiLamayne VI #IcePrince Cold #S.K.eye Pseudology TheFaculty YG StayDangerous TravisScott Astroworld NyraBlac

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flanneljammies · 3 years ago

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Lots of Listens in 2021

Missed the top 20 by that much!

Coalfalls - Pieces (4000 Records) Australian post-rock ala 65daysofstatic.

Cult of Luna - The Raging River (Red Creek) Another solid Cult of Luna release but I can’t help thinking that the days of churning out post-metal masterpieces like Eternal Kingdom are behind them.

Emily - Imbolc (self-released) Rutabega’s sometime-vocalist Emily recorded this collection of ambient dream-pop songs using Garageband on her Macbook’s built-in mic. The results sound like Bjork in the depths of a Barbiturate binge.

Fall of Efrafa - Owslafa (self-released) FoE is one of my favorite bands ever. Here is a demo recording of the first album, Owsla as well the final live performance in London. Probably for fans only, but that’s me!

Fluisteraars - Gegrepen Door de Geest der Zielsontluiking (Eisenwald) Weirdo dutch black metal.

Flust - Dance Le Metro (self-released) Auteur Michael Groome presents the second installment of his meticulously crafted synth pop. The ghost of Depeche Mode hangs heavy over this but rarely descends into that group’s penchant for navel-gazing self pity.

FoxMoulder - Discography (Zegema Beach/No Funeral) As implied by the title, this is previously-released material collected for easy reference. I’ve always had a soft spot for this sort of impassioned chaotic emo/hardcore and this hits that spot quite nicely.

G36 Vs JK Flesh - Disintegration Dubs (Pressure) Kevin Martin (The Bug, Techno Animal) and Justin Broadrick (Godflesh, Techno Animal) mashup and remix each other’s tracks and the result is some deeply disturbing dark, electronic dub.

Gift of Blindness - The Lake (Blindsight) This UK outfit plays industrial doom highly reminiscent of both Godflesh and Jesu. In fact, this could be a release from either of those bands. I dig it but the hero worship gets to be a bit much.

Godflesh - New Flesh in Dub Vol. 1 (Avalanche) A compilation of all the dubs/versions/remixes of the Godflesh reformation releases so far. Nasty, grimy, and fucked beyond belief.

The Great Went - Giardiniera (self-released) Minneapolis instrumental math rock reminiscent of Maserati.

Guerrilla Ghost - The Trumaine EP (Triple Eye) Milwaukee industrial rap group musing on Wesely Snipes movie roles.

Harakiri For The Sky - Maere (AOP) Yet more Austrian blackish metal. In this case, anthemic blackened post-hardcore.

Living Under Drones - Knot On Knot (self-released) Experimental instrumental noiserock made by a bunch of greek weirdos.

Light Bearer - Last Recordings (self-released) Light Bearer were/are one of my all-time favorite bands. While these tracks are demos/outtakes, they still show the band in all its epic post-metal glory.

Lovely Socialite - Quarantine Loops, Vol. 2 & 3 (self-released) Lovely Socialites recorded original loop material and used that the source material for electronic compositions by the members of the band and friends. Trippy, jazzy, contemplative.

Lower Automation - s/t (Zegema Beach) Spastic Chicago math-noise with a singer who sounds a lot like Cedric of At The Drive In.

Luggage - Happiness (Husky Pants) Grinding and minimal Chicago noiserock filtered through some sort of gauzy post-punk filter.

Numberwitch - Numberwitch (self-released) Super-brainy soundscapey electronic pop. Incredibly chill and incredibly brilliant.

Portrayal Of Guilt - We Are Always Alone (Closed Casket Activities) Absolutely insane hybridization of hardcore, black metal, grind, and doom from Austin Texas. Not for the faint of heart

Simple Syrup - Make Me Float (Business Casual) Gorgeous electronica in the vein of Bowery Electric or Cocteau Twins – but I guess the kids are calling vaporwave these days?

Slant - 1* (Iron Lungs) Frenetic and snotty, this Korean punk band absolutely shreds on these 10 songs. Definitely a throwback stylistically, but it’s done so well and with such much obvious joy, I can’t NOT love. (Note: one of the tightest hardcore bands I’ve ever heard!)

Snaum - Selfmadeself (self-released) Weirdo experimental industrial blacken doom. Super weird. And from Poland!

Tech Level 2 - Depths (Avalanche)| Justin Broadrick’s early 2000s industrial breakcore project finally given release.

To Forget - Echoes Take Their Place (Zegema Beach) Epic screamy hardcore with just enough polish to make it really get under your skin. When they start mixing in their post-metal influenced take on it, they do. Well, mine anyways.

Tron Jovi - Bass + Frequency Studies In Dub, Chapter One (Triple Eye) Sparse and spacey industrial dub from the producer in Guerrilla Ghost. Blaze it!

Trvss - New Distances (Cruel Natures) Classic 90s noiserock played with grit, resolve and spite. Touch’n’Go/AmRep personified. Glorious.

#best-of

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montrealfox426 · 3 years ago

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Editing audio can be a tedious task and to obtain professional results, proper pitch must be accomplished. With Auto-Tune Evo VST, you've got a set of tools to properly test, tweak and perfect the sound output.

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nataliehegert · 4 years ago

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I met Catherine Czacki in a Zoom yoga class. The instructor was our mutual friend Linnea Vedder, an artist based in New York whom I’ve known since we were both high school exchange students in Germany twenty years ago. Participants in the class were scattered around the U.S., from New York to Wisconsin, to California.

“Oh, you two should know each other,” Linnea said to me and Catherine, “I think you live really close to each other.”

I live in Lubbock, Texas, out in the middle of the high plains, far from pretty much everything. Turns out, Catherine lives in Portales, New Mexico, a mere hundred miles away. That day, Linnea sent us both an email with the subject line “connections.” “What a wild coincidence that you both live so close and are so like-minded and interested in similar things!” she wrote.

The isolating effect of the pandemic, with our bodies sheltering in our respective domestic spaces, has conversely allowed us, in some cases, to reach out and intermix with others in virtual spaces while geographically dispersed. If there is one bright spot from the pandemic, for me, it is that I have been able to seek connections with old friends in far-flung places, and participate in or watch events such as artist’s talks and readings that I would not have been able to attend otherwise, in any capacity. These social spaces, performed virtually, intimate yet removed, are one way I have been able to push against the motivation-sucking crisis-mode-reaction of my everyday life and try to regain a sense of being here, being present, and still listening.

As Catherine and I talked in a virtual “studio visit,” the sun set and our respective rooms darkened, with only the glow from our laptops illuminating our faces. We traced the orbits of our mutual friends, between San Francisco, New York, San Diego, and now the Southwest and Llano Estacado region. We would have met eventually, that much is certain, but our meeting would not have had the same emotional tenor.

Czacki moved to Portales in 2019 to teach art history and ceramics studio classes at Eastern New Mexico University. She lives with a large and lovable, mischievous dog named Big Buddy. She makes objects, sculptures, paintings, talismans, and wall hangings from a variety of different materials—clay, fabric, beads, found objects—and writes poetry and sews clothes and plays music and works in her garden. These multifarious practices find their ways in and around her oeuvre.

While the pandemic and the lockdowns hit many of us hard, coping with limitations and finding workarounds is a practice Czacki has honed over many years. “There have been so many times that I was going and going, and then suddenly everything fell apart and I just had to stop everything,” she says. “But going through it so many times, I know what to do.” Meditation, yoga, and other spiritual practices, and eating clean, healthy food are part of it, but the real trick is adaptability, switching tasks frequently, and finding ways to circumvent problems. Can’t type? Record with the voice. Right hand injured? Make a sculpture or play music with the left hand “and whatever comes out is the art.” “I think that is partly why my artwork is so idiosyncratic,” she says.

Czacki studied painting in undergraduate school at the San Francisco Art Institute, but soon switched to new genres, intending to focus on video and installation. At the time, she says, she wanted to make “big objects,” but it never really felt right. For many years she felt the pressure to “follow that bureaucratic hierarchical order” and “get really good at one thing,” as either a painter or a sculptor, or to go big-time contemporary artist-style and form a studio with hired assistants. None of this felt right. In grad school, at Columbia University in New York, a faculty member stated “We didn’t know if you were an outsider artist or a genius,” she reveals. “For a while I let it poison me, and then I gained my self-confidence back.” After New York, Czacki pursued a PhD in art history, theory, and criticism at the University of California, San Diego where she produced a dissertation that is part theory and art history, part experimental writing and poetry. Through all these experiences, as some of her peers abandoned object making in the name of Marxist critique, Czacki continued to be drawn to “the making impulse.” “I had read all the art history and theory, but what was missing was the making,” she says.

Returning to object making, and exploring craft, she felt she was accused of participating in “some kind of fetishism” with regards to material. “I did a lot of research on the idea of the fetish as a colonial concept,” she says. “This idea of us being separate from the material world has a lot to do with Cartesian dualism; it’s a very masculine and Western-centric concept of the world.” Western art history privileges history painting over craft, and hand-made ritual objects that existed outside of European aesthetics were denigrated as “fetishes” and eyed with suspicion. Contemporary art theory continues to support this negative view of the “fetish” with the primary means of discussing the value ascribed to objects as “commodities.” Czacki resists this ascribing of hierarchies of value as supporting entrenched institutional, bureaucratic powers. “How those things do and don’t get seen as serious art has a lot to do with people’s relationship to institutional power,” she claims.

“There’s something radically healing about making my own art, and taking the time, turning off my phone for a whole day and focusing on cooking a bunch of meals, making one or two ceramic objects and sewing a patch on a shirt,” she says. For Czacki, the pleasure of indulging in the material, the “beauty and magic” of making, has a subversive side. “I could have continued to launch a critique against Western art history and I still do feel that,” she says, “but in the work is that [critique] while also giving me the pleasure and the healing that I need.”

In her research, Czacki discovered a kind of ancestral link in her attraction to the handmade and her own family history, though she is wary of emphasis on biography. Czacki lived in Poland in her twenties and learned there were deeply complex and conflicting narratives to her family history. “A lot of what I’m doing feels recuperative,” she says. Her relations on the maternal side were farmers and quilters and exhibited a strong relationship to the land—something Czacki has returned to in some ways as well, in the form of growing her own food and creating artworks from leftover fabric and stolen beads (her mother has an impressive bead collection).

Czacki’s fabric works are created intuitively, sometimes suggesting clothing or referencing the body, sometimes taking the form of wall-hangings or tapestries. Her clay works range from the functional to the talismanic, including a whole series of what she calls her “demons.” “I’ll make them when I’m feeling frustrated,” she says, showing me a green-glazed clay object that fits in the palm of her hand. “When I was doing union organizing work I had my ‘union demon’; I had my ‘PhD demon,’ or my ‘person-I-was-dating-last-week demon,’ or ‘my-dog-ate-a-whole-bag-of-rice demon.’” The most planned works, she says, are the paintings, which start from a vision, a color, or a drawing. “I don’t have a hierarchy between the planned or the intuitive,” she notes. “I let myself flow. The art is the easy thing at this point.”

This flow continues through Czacki’s practice in poetry and music. “My poems are telling people verbal information about the art that’s not didactic or narrative or essayistic,” she notes. “It’s pretty simplified and it’s on purpose. I want it to be about a sort of resonance with the material world that I’m trying to have.” The poetry contains an anticolonial endeavor as well: in her dissertation, she references Audre Lorde in how poetry strives for an “irreducible form of knowledge,” and Aimé Césaire, that “Poetic knowledge is born in the great silence of scientific knowledge.” Czacki recently published a 310-page book of poetry and images, entitled Creosote, with Line Script Diary Press, in collaboration with editor Adrienne Garbini.

Czacki is currently collaborating on an album of sounds with Andrew Weathers and Gretchen Korsmo of Full Spectrum Records, based in Littlefield, Texas—between Lubbock and Portales—who are more mutual friends between us (since 2019, Andrew and Gretchen have curated an experimental concert series at the gallery I co-founded in Lubbock). She met them by playing in the Llano Estacado Monad Band (LEMB), which bills itself as a “decentralized, asynchronous, collective, free” improvisational group, and discovered they all had friends in common from San Diego. “This is not uncommon in my life,” she says. “With a lot of my collaborators we will circle around each other in life, and then find a resonance. Collaboration is like everything else in my practice, I end up in a space and a time and a moment where you’re just around certain people and it makes sense.” The limitations of digital collaboration offer another opportunity to discover workarounds and circumventions. Since the pandemic began, LEMB has produced several improvisational pieces performed and recorded via Skype, as well as a couple of socially distant concerts. “I have learned to forgive the digital,” she says. “We’re all having this existential moment where we are learning the limits of the digital while at the same time we have to allow ourselves to let it be what we need.”

The real isolation Czacki felt after her move to Portales became a reality for most of us as we entered this age of social distancing. Czacki evocatively describes her dispersed social world as a “gummy tendrilled support network” or a “forcefield” of people scattered around the world that she can draw on for support. “These ways that we have these spread-out networks—this softness, these reserves—that we have to touch base with,” she gestures with her fingers inching forward. “At this moment we are feeling disjuncted in a lot of ways, so we are reconnecting with people that we’ve gathered along the way.” She adds, “If at any point in life we can take a positive view of something, it’s important, because life is shit and life is hard.”

As we talked, Czacki’s words struck chords of wisdom. Slowing down, pursuing contentment in everyday tasks, focusing on art every day, remaining optimistic—all are ways she has found to “deal with all the pain and trauma in life.” Everyday things become spiritual groundings—“write a poem, make a sculpture, do the wash.” Repeat, rotate, switch tasks. Work with the material, and find pleasure in it.

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jeantue · 7 years ago

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SLAIN by guitars

I love guitars! Though as a guy in a band, I usually think of the song first and the guitar second. At least that was the case up from my Pie days through Verst’s last album Starship Crash. But leading into our new album David Slain, that started to change. The songs on this new record are built around riffs and I did stuff with the sounds just to make the guitar louder, more cathartic, and more over the top than ever before. I don’t know why. It’s just the way I felt. Anyway, here are the guitars we used to record Verst's David Slain LP..

Rickenbacker 4003 Bass

Since he bought it a couple years ago, John Parsons has played only this instrument. I've never seen anything else in his hands. He just loves it.

JP's ricky sounds incredible, and stays in tune like an absolute champ - much better than you'd expect for such a lightweight bass. Like any stock Rickenbacker bass, it hummed quite a bit when he got it, because the single coil pickups do not come with reversed polarity. I have no idea why Rickenbacker doesn't set them up in humbucking mode. Weird. Anyway, I tried to do the polarity mod myself, but realized pretty quickly that there was a possibility that I was going to damage a pickup irreparably. So I backed away from that, and John had Chris Barnett do it. Now it doesn't hum when both pickups are selected. I don't think John ever sets it any other way. The both-pickups sound seems to be his jam and I just love it.

Speaking of Jam, Bruce Foxton played his Rickenbacker through Marshalls and it sounded like God’s piano.

I just see that bass and famous Ricky players come to mind - Lemmy, Paul Gray, Paul McCartney, Bruce Foxton, Lou Barlow.. the list goes on. I think that in order to play a Ricky you really need to be a BASS GUITAR player, not a low end or clean player. I suppose you could use it as a slap pop machine, but with no gain loading from the amp, it's a pretty thin sound. But run it through a cranked up tube amp, such as John Parsons' 200-watt Hovercraft, and you are on your way to achieving a very rich, thick, punchy, piano-like tone. Now that we have only one guitar in the band, there is a huge amount of space for John's bass to own. His Rickenbacker really does that space justice. You can hear nothing but this bass in the first couple minutes of Secret Sea.

That’s Paul Gray on the right here with The Damned. Gray’s extremely sick Rickenbacker tones and guitarish playing can be heard on The Black Album, Live at Shepperton, and Strawberries.

1993 Gibson Les Paul Custom

This guitar is the living document of just how far my Les Paul obsession has gone. Last time I wrote a blog entry, I said that I was obsessing over a cherry sunburst Custom. Then voila. LOOK at the thing.

It's gorgeous. And it plays like a big heavy brick of butter. Smooth as hell. Resonant, but not overly midrangey. It is so heavy that the notes it produces are like icebreakers smashing and cutting through a mix like so much glass. I'm pretty much playing this guitar 95% of the time and it pretty much comprises about that much of the guitar on the album, so I guess that makes me a real Les Paul guy. For all the fighting and ergonomic crime involved, it is so addictive and sounds so powerful that I just can't put it down. It’s the best instrument I’ve ever had.

While I was thinking about this album, and wanting the guitars to fucking completely take over, I kept going back to Iggy Pop's Raw Power - the sound of James Williamson's LP custom through a dimed Vox AC30. It’s so huge and in-your-face. I realized pretty quickly that the stock 90s pickups that came on my Custom were too heavily wound, too dark. The key to Williamson's sound is the brightness, the presence. So I got some fantastic pickups for this guitar - some Throbak PAF-style things that give it a holographic, smoky brightness. Man, that hit the spot. Because in a big way, I was tired of polite and pretty sounds. I wanted this record to be an aggressive guitar album. I wanted weaponized guitar. The LP Custom seemed to force all of that to happen anyway. My challenge was just to capture those sounds and mix them in a way that didn't puss out.

James Williamson wielding a generator of raw power back in the day.

I also changed the tuners on this guitar, from the big fat stock Grovers to Schaller knock-offs that I found on eBay. They're not quite as good as real Schallers, but they're much better than the Grovers. I don't know why people like the Grovers. They're heavy and they have all this unnecessary, undignified lash in the way the gears mate up and move. Now the guitar is incredibly stable. I can often play 4 or 5 songs with string bends and everything and it's still in tune. I love the dependability and stability of it. And that's a change for me, because in the past, one thing I've loved about Jazzmasters was their very unpredictability and the cool pitchy wooziness you can create with them. Now when I want to do that with the Les Paul, it all has to be in my left hand - not in a whammy bar or from waving the neck around. It's a different way of playing and I think it makes me a better, more deliberate player.

Homemade Stigmata Jazzblaster

For the first time since I started playing a Jazzmaster (1992?), my Jazzmaster took a back seat to another guitar - the Les Paul. But I did have to pull out the Stigmata. This is the best Jazzmaster I've ever owned, just incredible. And I made it! (See my old blog post about it). It is a weapons-grade Jazzmaster, with all top shelf bits, and it's black with that anodized aluminum pickguard. It's all business and looks like some kind of weapon. It just so happens that it plays beautifully and has incredible halo of harmonics ringing off the string lengths after the bridge. Somehow all those dimensions lined up perfectly to make that happen. And the light swamp ash isn't too light on this one. I think it's too light on the red Jazzmaster I made, but that's a topic for another post. Sadly, I sold that red guitar.

Even though I am still more comfortable playing a Jazzmaster than a Les Paul, I only played the Jazzblaster guitar on a handful of songs on this record.. Sick Pretty Pilots, Laid Off For The Summer, and (Nice). There are songs, like those, where the Jazzmaster sounds better, either because you can hear the notes of the chords more clearly, or because a whammy bar is needed to do the parts justice. When we rehearse, sometimes I stick with the Les Paul all the way through, even on those songs. But I don't think I'll ever get away from the Jazzmaster for shows and recording. It's in my bones.

Homemade Telemaster

"Burnt candy grind" is how my brother Matt so vividly describes the incredible and unique sound a Tele can produce with its bridge pickup and the right kind of bright clean amp setting. This is the sound you get just before breakup, when the tubes are loading up some compression, but not breaking up yet, bass is set on 0, treble is on 10. The first three Echo and the Bunnymen albums are rife with that sound (example: Do It Clean). I kept hearing some Will Sergeant style chords over the final ending section of Sick Pretty Pilots. For as long as I've been into EBM you'd think it would have been easy for me to get the sound. But I'd tried several times to get it right, using different guitars or having Mike play it on his Telemaster, and none of that quite worked.

Will Sergeant doing it right.

I finally got it right myself with my own Telemaster and a 70s silverface Fender Twin Reverb. Right when I hit record and it was sounding perfect, Christine and Eli came home and I was already late making dinner for them. So I just finished my one take, saved the file and that was it. But it was the perfect sound and take. Luckily, finally.

I guess the neck pickup isn’t quite aligned, but it’s still a cool guitar.

2014 Fender Johnny Marr Jaguar

This was not my guitar. I don't like Jaguars very much because of the short scale and the brittle-sounding pickups. But sometimes, that's just what's needed, and Fender did a really sweet job on this model. This guitar belonged to Brian Shultz, but I believe he has sold it by now. Brian is a super cool guy with fabulous taste in guitars. We share rehearsal space with him. I used his Jaguar for the left-channel rhythm guitar in Bath Salts & Me, where I needed a single coil sound that would provide just the barest but still great-sounding sketch of the chords and rhythm.

Squier Bass VI

This is also Brian Shultz' guitar. I used this to fatten up the power chord refrains in Bath Salts & Me, because it can actually dip down for the low D-flats that are in that part. It's in there sorta subliminally in the left channel, slamming through a Marshall Super Lead with the volumes on about 6.

Not quite sure what one would accomplish with the whammy bar on this thing but it must be fun to try.

"Plastic Hippie Values" - 1977 Yamaha FG-345 Acoustic (wounded)

Poor Plastic Hippie Values! A couple years ago I took it on a Summer camping trip to the Southwest where it was basically roasted in the back of my pickup truck for a week. Stupidly, I tried to adjust the truss rod while the neck was in the throes of warping and swelling. The truss rod snapped. So now the neck is permanently bowed inward and the guitar has painfully high action. This is my only acoustic guitar, unfortunately, so it's all I had to use to double the arpeggio parts in the choruses of Plastic Cow.

Sometimes I create parts I refer to as "music box" sections, where several layered guitars play the same or interlocking arpeggiative parts together to form a machine-like arrangement. It reminds me of a music box or player piano because of how prescriptive and interlocked the parts are. I don't know if that's how it comes across to other people when they hear the recording. But playing that particular part up around the 12th fret with some strings ringing open on this super high action guitar was really difficult. It's already the kind of part that I have to learn by muscle memory and not think about while I play it, or I'll screw it up. The high action made that all the more difficult to do.

Here’s a very little Eli back in San Leandro with Plastic Hippie Values and a couple Jazzmasters I don’t have anymore.

I do have an emotional attachment to this guitar, because it is the only acoustic I've owned in my adult life and I've had it since around 1991. But replacing a truss rod is very expensive, certainly costing more money than the guitar is worth. And what I really want for an acoustic guitar is a vintage arch top, like a Gretsch or Gibson. I'm not really an acoustic person anyway, so I don't know what I'm going to do.

#gibson #gibson les paul #yamaha fg-345 #jazzmaster #jazzblaster #les paul custom #rickenbacker #rickenbacker 4003 #fender #jaguar #squier #bass vi

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deadcactuswalking · 6 years ago

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REVIEWING THE CHARTS: 12th May 2019 (Logic & Eminem, Shawn Mendes, Lewis Capaldi)

We have a bunch of new arrivals this week, most of which are big-name debuts within the top 20, so safe to say we have another busy week on our hands. Let’s get it.

Top 10

One of my biggest surprises on this chart is that the top five is still relatively stable, and Stormzy’s “Vossi Bop” is still at the number-one spot, even though I thought it’d collapse like Dave and Fredo’s “Funky Friday” did after it debuted at the top due to insane streaming. Despite my expectations, it’s fine. It’s still here. Speaking of...

“Old Town Road” by Lil Nas X and later remixed by both Billy Ray Cyrus and Diplo, and possibly Young Thug(?), hasn’t moved from the runner-up spot from last week.

Lewis Capaldi had a good week here – even his single “Grace” that has been mostly stagnant increased three spaces elsewhere – but he places twice in the top 10. The first appearance here is for “Someone You Loved”, rebounding a singular position up to number-three.

His other appearance within the top 10 is right here, funnily enough, as he makes a consecutive appearance here at number-four, with the debut of “Hold Me While You Wait”, Capaldi’s third top 40 hit in the UK as well as his second top 10 and top five hit.

At number-five, up one spot from last week, is “bad guy” by Billie Eilish.

Meanwhile at number-six, we have MEDUZA and Goodboys with “Piece of Your Heart” down one space from last week.

I’m surprised at how Taylor Swift’s “ME!” with Brendon Urie of Panic! at the Disco essentially just collapsed entirely as it drops down four spaces to number-seven. Yes, it’s still in the top 10, but it’s worrying how quickly this is dropping down; The UK doesn’t count radio in its charts so I suppose it’s impressive that such a radio-targeted song is doing so well on sales and streaming, but I’d chalk that up to YouTube.

Meanwhile, at number-eight, “SOS” by the late Avicii featuring vocals from Aloe Blacc is down one spot from last week.

We have yet another top 10 debut as “If I Can’t Have You” by Shawn Mendes makes its chart premiere at number-nine (Noticeably lower than its #2 debut in the US), becoming his ninth UK Top 40 hit and his sixth to reach the top 10.

At #10, to round off the top 10, we have “Just You and I” by Tom Walker slowly making its way out down two spaces. It’ll probably have a bit of a comeback next week.

Climbers

Naturally, due to the nature of this week’s business, we don’t have many songs being able to make room for themselves on the charts – by that I mean we have one notable enough climb, and it’s “Sixteen” by Ellie Goulding up five spaces to #31.

Fallers

I would like to say these are a different story, but there are less than I expected. Going from the top, we have expected yet arguably slightly premature losses for Khalid and P!nk’s “Talk” and “Walk Me Home”, down six and five spaces respectively to #20 and #21. I think their runs have been long enough, although I expected “Walk Me Home” to smash considering the top 10 debut, but it’s since faded away and has just been fodder in the top 20 for a while. We also have consecutive losses for mediocre British hip-hop, as Digga D’s “No Diet” is down seven spaces to #27, right next to JAY1’s “Your Mrs” down five to #28. Otherwise, we have mostly continued losses, including “Don’t Call Me Up” by Mabel down five to #32, “i’m so tired...” by LAUV and Troye Sivan down seven to #33, “Boy with Luv” by BTS featuring Halsey down eight to #37 (I’m surprised it’s lasted this long), and sadly, “Disaster” by Dave featuring J Hus down seven to #40.

Dropouts & Returning Entries

First of all, I’d like to note “wish you were gay” by Billie Eilish has dropped out from #35 to not even in the top 75 due to streaming cuts. That’s how detrimental they can be to a song’s success over here, although that song was already on its way out. Anyways, we don’t have any returning entries, but we do have some drop-outs – quite a few – but all to be expected, really. “Let Nature Sing” by the RPSB is out from #18 but it’s a charity birdsong single, I’m just surprised it’s still at #63. We’ve just got three others, and those are quite literally last week’s bottom three. All of these dropping out from #38, #39 and #40, we have “Let Me Down Slowly” by Alec Benjamin featuring a duet with Alessia Cara, “Shallow” by Lady Gaga and Bradley Cooper, and finally, “Wow.” by Post Malone. New arrivals time.

NEW ARRIVALS

#34 – “M.E.N. II” – Bugzy Malone

Produced by Zdot

Now for some brief backstory. This is a sequel track to Bugzy Malone’s 2015 track “M.E.N.” that directly interpolates the prior single to reflect on how far his career has changed from the year he released that single. Looking at the album charts, you can really tell as his last EP debuted at #4 in 2017 and his 2018 album at #8, but Bugzy Malone, despite being one of the key grime MCs to form the modern, trap-influenced style and become less commercially focused as they were in the early 2010s, has never made the top 40 until now. This is his first UK Top 40 hit, despite a few close calls and even an album bomb, in which none of the tracks touched the top 50. He has since built up a lot of hype, clearly, collaborating with the likes of Rag ‘n’ Bone Man, but is the music any good? Well, I’m not familiar with much of Bugzy at all, I’ve only heard a few singles here and there, but I’ve never been all too impressed, although I have been listening to the poppier, charting stuff. Maybe I would appreciate a return to its roots more, and you know what, to an extent, I do. The upbeat synth is quite cloudy but allows for a fun, bouncy flow over an admittedly stilted drum beat that feels very generic although definitely more fast-paced than what I’m used to hearing on the charts. I do appreciate Bugzy Malone’s introspective lyrical content, where he looks back on his come-up and has some very specific details in how he made it, with eerie synths shrouding his blunt vocal delivery in an odd mystery, which seems unfitting considering Bugzy Malone’s lyrics are quite hard-hitting; A lot of the instrumentation feels too sparse and spacey, in fact, for such a personal and intimate song talking about struggle with religious worship and beliefs, experience with cocaine since he observed his friends slowly suffer from the abuse of the drug, relationship issues where Bugzy feels like he needs to overly compensate for the lack of attention and speaking on how he wouldn’t mind dying and going out as a legend of Manchester if that’s what it takes for respect. With a beautifully-sang outro in what I’m assuming is Bugzy himself in a falsetto, it really should be more than what it is, but he struggles to stick to a topic at once sometimes and often the beat is less intense than it really should be. This is still good, but I’m not entirely sure if it’ll have any longevity.

#18 – “Guten Tag” – Hardy Caprio and DigDat

Produced by JT and CallMeTheKidd

Oh, hey, another relatively non-notable UK drill/trap song that debuts into the top 20 inexplicably, is expected to drop off quickly, sticks around for way too many weeks before it’s cut down by the streaming chart rules in the UK. This one is by two familiar faces though, Hardy Caprio and DigDat, who have both charted once or twice before and have both been incredibly uninteresting. This is Caprio’s fourth Top 40 hit and first Top 20, whilst it’s DigDat’s second of both – and this one might just be a tad weirder and a tad more unique than any other UK trap song that could have debuted this week. There’s no chorus at all, barely even anything resembling it other than how a refrain is kind of implemented into an intro and outro, and it takes only a couple bars for an odd Family Guy/The Cleveland Show reference to talk about the cocaine he’s trafficking, because, well, sure. The beat is fantastic, it has got a summery tropical vibe in its breezy synths and flutes but it’s immediately drowned out by the insanely dark and heavy 808s and sub-bass, which sound great. Caprio and DigDat flow well over it, and the slight tinge of guitars that appear throughout the beat are so cool, especially when they’re used to build up to the chorus in an otherwise menacing section of just bass and the skittering trap percussion and it can only be heard in the left channel. It really shows how any natural, lively instrumentation is distant from the intense and tragic lives of UK drill musicians, I suppose. This is really good, actually, I’m surprised. Sure, the lyrical content is nothing to speak of, ut that doesn’t matter when the beat is this interesting and the vocal inflections are this powerful. Check this out, I’d recommend it, even if just for that beautiful watery synth melody and the incredible flute in the outro.

#15 – “Homicide” – Logic featuring Eminem

Produced by Bregma and Shroom – Peaked at #4 in New Zealand and #5 in the US

God, where do I even start with this one? Okay, well, since none of the other singles from Confessions of a Dangerous Mind took off, Logic essentially put on Hot 100 Easy Mode and got an Eminem feature while rushing something at the beginning to make sure you knew it was a Logic song as well. Hence, he got the second biggest hit of his career. This is Logic’s third UK Top 40 and top 20 hit, and I’m not even going to count Eminem’s, he has way too many to even start trying at this point. Let’s just take this one step by step because there’s a lot to unravel here. First of all, we have Logic’s dad Smokey Hall telling an obviously scripted reverb-drowned joke with some fake laughter. If that’s really how Logic laughs, then I’m scared for his life. Logic’s dad REALLY sounds like Logic, though, like they’re nearly identical, especially when they both laugh in unison. The joke isn’t funny either, and it’s just kind of painful to sit through, especially with little drowning it out other than the beat warming up. The beat by itself is actually just kind of okay, but definitely is menacing when you hear the intimidating bells and pair them with Logic and Eminem’s rapid-fire flows. Logic’s verses sure are... Logic verses from 2019? They’re incredibly generic, although I do like the Eminem references and Logic’s flow and vocal delivery is on point, until...

(In a weird voice) When I rap like this, do I sound like s***? / Well, it don’t really matter, ‘cause I’m killin’ this s***

Uh, Eminem, you must have heard Logic’s verse, right? You admitted on “Not Afraid” that the use of the dumb accents on Relapse was pointless and unnecessary, so why are you letting Logic do them? His voice is even more nasal here, and I’m still baffled by how little self-awareness he seems to have here. No one is criticising Logic for rhyming words with themselves, they’re criticising his subject matter, so rhyming a phrase with itself four or five times isn’t a valid argument against these critics, because you don’t know their argument in the first place. Also, I’m not letting Logic anywhere near my baby, especially if it is in fact true that he does have rabies.

There’s nowhere to hide, we call this s*** genocide

No, you don’t. The song’s called “Homicide”.

We gon’ leave ‘em crucified, we call this s***...

Homicide.

...genocide

God damn it, Bobby, can’t you get anything right? Okay, well, the criticism of autotuned mumble rappers makes no sense considering how shallow his criticisms are and how he himself has focused on the exact subject matter he mocks for the past two years, and only that subject matter, as well as the extensive use of autotune on Bobby Tarantino II – the only hit single from the tape, “Everyday” with Marshmello, owes a lot to it. He then talks about how if he’s calling himself the greatest ever, he must come with the best raps, and then he repeats a couple words, has some filler, but honestly the monotonous droning of the sub bass and darker synth tones really add to the pure aggression of Logic’s distorted yelling by the end of his second verse.

Honestly, all of the lyrical content can be forgiven because at no point does the momentum of the track come to a halt, especially when Eminem comes in and feels like himself again. All these forced 2018 Slim Shadyisms aren’t there, or at least harder to spot, so it just feels like Eminem with Slim Shady-like vengeful tendencies but more importantly a passionate, violent rapper who loves what he’s doing and wants to prove himself as the best to ever do it, which is all I want from Eminem. His rhyme schemes are complex and insane, his baseball wordplay is fantastic and continues for a much longer time than I initially thought, which is impressive. He has some quotables about farm animals, specifically sheep and dogs, continuing the metaphor he started on Boogie’s “Rainy Days”, that he is the violent wolf or dog who leads a pack of sheep. I love Eminem’s verse and I’ll take anything I can get from Logic, so after Eminem talks about bringing the fingerless gloves back (Yeah, remember those?) he has a couple more bars before finally killing the song’s momentum by abruptly ending the beat and his verse entirely, because he’s too good for it. This is the Eminem I love, this is the Eminem I wanted out of Kamikaze but wasn’t treated to. Eminem on trap beats can work fantastically, and if anything, this just proves that Eminem still isn’t even on a comparative level to those he inspired. Oh, yeah, and the outro is a Chris D’Elia skit sampled from Twitter or something that mimics Eminem’s rhyme scheme. It’s funny for about 10 seconds, but not for nearly a whole bloody minute as that’s how long they keep it for. Yeah, okay, that was unnecessary, and does kill the momentum more than Logic ever could. I guess I’m revealing my inner Eminem fanatic here, but God, do I love his verse, and I feel with a better Logic verse (The hook is great by itself, and the beat is fitting enough), this could have been 10/10 territory, honestly, but even without that, his verse works in the most primal, violent way it could have possibly worked with, so I’m not complaining, in fact, this is probably the best new arrival here. Honestly, I’m just glad it’s not “Lemon Drop”. Now for some boring pop singers, I guess. Did you realise none of these new arrivals have been females? Yeah, none of them are. Three out of five are hip-hop as well. Interesting.

#9 – “If I Can’t Have You” – Shawn Mendes

Produced by Scott Harris, Mark Williams & Volta, Shawn Mendes, Nate Mercereau and Teddy Geiger – Peaked at #2 in the US

Apparently this song needs five producers. Okay, what is this, “SICKO MODE”, or did we really need five producers? Did all of these producers seriously contribute enough for a full credit and not a co- or additional production credit? Ah, well, that’s nitpicking. I’ve talked about the stats before, but this is Mendes’ highest-peaking song ever in the US and it seems to have just been a massive smash hit everywhere, and it will be even bigger once radio picks up on it. What have I heard about the track before peeping this new song? Well, I see that everyone loves it, and I understand why. It’s really upbeat and Mendes’ performance, albeit breathy, is really powerful and intense. The bassline is pumping and the guitars are nice and tropical, but I can’t feel like I would have found this more refreshing in 2016. What I’m saying is that this is bland and tasteless, and I now understand why there’s five producers. It’s overproduced to hell and back, or at least that’s how I see it. There’s reverb absolutely EVERYWHERE, as if it’s a Post Malone deep cut, and the vocals are in the front of the mix so the instrumentals in the back of the mix just end up piling into a pile of mush. The multi-tracking in the first chorus sounds like a choir of Shawn Mendes, but it ends up sounding like Shawn Mendes breaking the microphone. That freaking piano part as well, it’s so tackily added in, especially since the video uses it as a focal point. Has this had any actual arrangement before the CDs were burnt and the vinyl records were pressed (Yes, they made them, because that’s the only way this got #2 in the US)? My friend said this sounded like royalty-free vlog music, and yeah, that’s a pretty solid description, except there’s no ukulele... I pray to God an acoustic version of this song with a ukulele gets released. Yeah, this is just tepid, saccharine and uninspired, I don’t see the praise. Sorry.

#4 – “Hold Me While You Wait” – Lewis Capaldi

Produced by Lewis Capaldi, Edward Holloway, Nick Atkinson and TMS – Peaked at #1 in Scotland and Ireland

Speaking of the devil, here’s more pop that I’ll find embarrassingly dull and saccharine, except this time it’s going to be a gruelling piano ballad because that’s all Capaldi does. He’s not the first, we’re just feeling a lack of Ed Sheeran right now and when he comes back, this dude will be off the charts, hopefully forever. What a talentless, putrid hack. Okay, maybe he isn’t talentless, he can sing, sure. He doesn’t know where to sing, though, because he does borderline spoken word in this raspy voice over once again, just a boring piano melody like his last one, a freaking Zedd alarm clock ticking in the background, and Lewis Capaldi sounding like a frog sobbing over its grandfather that had just flatlined. He sounds strained and he just repeats that “My love”, it gets on my nerves. It’s not intense or intimate, it is aggravating and I never want to hear it again. This is borderline unlistenable to me and I can’t even figure out exactly why, I can’t pin-point it, but it’s just assault on my ears, with the incessant layers of background vocals haunting me as I try and find some solace in the strings, but the last note has to be Capaldi vomiting up his kale yogurt from the night before. Disgusting waste of studio time, and what an overbearing, sickeningly overproduced piece of gutter trash that even Sheeran would spit on and give to his cats. I hope to see this guy fall naturally out of public consciousness before I get much more repulsed of him than I already am.

Conclusion

Should be obvious here – Worst of the Week goes to Lewis Capaldi for whatever the hell that three minutes and 26 seconds was, with Dishonourable Mention going to Shawn Mendes for “If I Can’t Have You”. Logic and Eminem grab Best of the Week for “Homicide”, whilst Honourable Mention is going to Hardy Caprio and DigDat for “Guten Tag”. Yeah, I know, I’m surprised too. Follow me on Twitter @cactusinthebank for more pop music ramblings and Top 20 rankings, and I’ll see you next week!

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shopfortnite4742-blog · 6 years ago

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thexxplace · 8 years ago

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As The xx gear up to tour their new album, I See You, Oliver Sim reflects on a new version of himself

It was during The xx’s residency at New York’s Park Avenue Armory in March 2014 that Oliver Sim found out what stardom really looks like. “Those shows were crazy,” he says of their 25 performances at the former military headquarters on the Upper East Side. “The response we got, the people who came, the whole experience was mind-blowing.” Each night - at an event more like an art installation than a gig - the band performed encircled by an audience of just 40 people, who watched them play in complete silence. On the last night, A-list attendees included Jay Z, Beyoncè, Björk, Anohni and filmmakers Wes Anderson and Noah Baumbach. “Throughout the show I was facing (co-vocalist) Romy, and Madonna was standing directly behind her,” he says, reliving the moment. “Every time my gaze went up an inch, I was staring straight at her. It was surreal.”

Recognition and the sense of worth it brings is a central theme of The xx’s stunning new album, I See You. Recorded in Texas, New York, Los Angeles and Reykjavik as well as London, it sees this extravagantly talented South London trio - Sim, co-vocalist/guitarist Romy Madley-Croft and programmer Jamie Smith - fully embracing their role as global players. “We wanted songs we could sing out,” says Sim, acknowledging the gaivanising effect Smith’s solo success with the rave-centric In Colour as Jamie xx had on the band. “We feel a lot more confident now. We want people to connect with the music and with us as people.”

While its predecessors - 2009′s xx and 2012′s Coexist - only contained arrangements the band could reproduce live, I See You is full of sonic surprises. From brassy opener Dangerous and the Hall & Oates sampling On Hold to the spooked space-gospel of Test Me, it nods to club culture while maintaining their trademark emotional intensity. As we’ll discover, however, for pop’s premier wallflowers learning to look the world in the eye hasn’t been easy.

London Fields, 3 January 2017, and the sky is the colour of flooded ashtray. It’s the first day back at work after the holidays, and a chance to catch up on the events of the last fortnight. Like the rest of the music community, Sim is still reeling from the death of George Michael on Christmas Day. For The xx, the star’s music holds a special significance. When Sim and Madley-Croft started making music as naïve 14-year-olds at the music-focused Elliott School in Putney, an early staple of their set was a cover of Wham’s Wake Me Up Before You Go-Go. “I’m a huge fan, we did it because that song is fun,” he says. “It was easier in the beginning to take ourselves not too seriously.” You sense that Michael must have loved The xx. With its minimalist beats and murmured vocals, their debut ushered in a new kind of suburban soul music: intimate, yet desolate. Sultry and seductive, the intertwining voices of Sim and Madley-Croft made the listener feel as though they were eavesdropping on private conversations as they quarrelled, confessed and made up. Yet the simmering sexual tension was illusory - both, like Michael, are gay.

Winner of the Mercury Prize and one of only three gold-certified debuts by a British band in the last decade - along with Mumford & Sons, and One Direction - The xx’s stripped-bare sound quickly became a byword for understated cool. Sampled by Rihanna for Drunk on Love, covered by Shakira and an atmospheric staple of TV (CSI, Grey’s Anatomy, Gossip Girl), their ability to express complex emotions in a simple way was summed up by Kanye West after one of the armory shows. “He told us that our music reminded him of Steve Jobs, who’d taken something as big as the computer and put it into a cell phone,” says Sim with a grin. “Was he right? It’s not really for me to say, is it?”

Oliver Sim, 26, has the languid delivery of a late-night radio DJ and the dashing good looks of a 40s matinèe idol. Scrupulously polite, he exudes a warmth rarely found in pop stars. He’s also immaculately dressed. Today his 6ft 2in frame comes swathed in black turtleneck, trousers and boots, all by Ann Demeulemeester, giving the impression that he’s arrived off the catwalk rather than from his East London flat, ten minutes away. He modelled for Dior Homme last year, and is passionate about the relationship between fashion and music. “I think they can feed into each other so much,” he says, citing the example of gender-fluid Venezuelan producer Arca as someone willing to push the sartorial boundaries. “One of my favourite movies is Depeche Mode 101. Seeing these English musicians walking around small-town America in fetish gear - it’s such a bold image.”

A teenage fan of James Dean - “I liked the Hollywood rumours about him; the love affairs with men, that he was a masochist” - Sim’s firs pop-star crush was Chris Isaak. “I remember seeing the video for Wicked Game and thinking, ‘Now that is a cool man,’“ he recalls. “I had the same feeling when I saw Josh Homme. They made me excited, made me think, ‘That’s how I want to be.’“

Equally inspired by the look of 90s R’n’B artists The fugees, D’Angelo and En Vogue - “I’ve never seen wearing black as a goth thing, to me it’s chic” - his own signature look is central to The xx’s carefully cultivated image. “The xx do simple things very well,” explains Imogen Snell, creative consultant at label Young Turks. “They’re consistent and there’s a wonderful confidence to that. Oliver personally has a wide appeal. He’s confident, charming and beautiful, but also has a wonderful gentle sensitivity - as well as being incredibly down to earth and kind.” If Sim appears to have been born with impeccable taste, blame his parents. Raised in a council flat in South London by his mum (a social worker) and father (a charity administrator), he was encouraged to express himself from an early age. His dad - a fan of Talking Heads - brought him his first bass, while his mum took him to his first gig, The White Stripes at Brixton Academy.

Friends with Madley-Croft since nursery school - their parents were close - it was natural for the pair to play music together. Both cripplingly shy, they would initially exchange song ideas by email, with no ambition, at least on Sim’s part, to take it any further. “I left school thinking I wanted to be a nomad,” he says, almost wistfully. “Free-floating. Of course things didn’t work out like that.”

Signed by record label XL at 17, The xx were internationally famous while still teenagers. “We had no idea what was going on. We were thrown into it,” he says, recalling a rabbit-in-the-headlights showcase at New York’s CMJ in October 2009, reviewed by Pitchfork with the words: “Their live presence is not exactly dynamic.”

“We were promoting the album and we just didn’t have the answers,” he remembers. “Where does the simplicity come from? Where does the space come from? The truth was that those things happened through mistakes, who we are as people, and our own limitations.”

When The xx’s global touring commitments finally came to a close in 2014, Sim suddenly found himself at a loose end. “It was the most anti-climactic feeling,” he says, running his fingers through his hair. “We’d been on the road for so long with a tour manager looking after us and telling us where to go and suddenly I didn’t have that.” With Madley-Croft temporarily relocating to Los Angeles and Smith promoting In Colour worldwide, Sim filled the void by plunging headlong into the capital’s nightlife. “I wanted to celebrate being back in London - get a bit of life in me,” he says, choosing his words carefully. “I wouldn’t change it, but it wasn’t necessarily successful. I learned that I need something: not a routine, but a structure. Being idle is not my friend. I did a lot of regrettable things...” This self-destructive side of his personality reveals itself on I See You. “Am I too needy, am I too eager?” he sings in Say Something Loving, while the spectral Replica hints at an uncomfortable reconciliation. “Twenty-five and you’re just like me,” he sighs. “Is it in my nature to be stuck on repeat?”

While he doesn’t go into details, it took private interventions from his band mates to make him seek help. He’s been off alcohol for a year. “I’m in the programme,” he says, referring to the 12-steps of the AA. “I go to meetings. It’s fine. But I’m still figuring out how to celebrate.”

Spending an hour with the sparky, energised Sim, it’s clear sobriety suits him. He enthuses about Duncan Macmillan’s 2016 play about addictive urges, People, Places and Things and cites Trumbo - about blacklisted Hollywood screenwriter Dalton Trumbo - as the last film he saw; his New Year’s resolution, he says, is to “read more”. Being clean has also brought some unexpected bonuses. When The xx played across Europe in December, it was the first time he’d played live without having had a drink. “Booze took away a lot of nerves but it also dampened the highs,” he explains. “I’m not sure if it’s a spiritual thing, but when I’m up there it’s really intense. The connection with the audience is the strongest thrill there is.”

It’s time to go but there’s one last thing. Rather than play arenas in support of I See You, Sim explains they’re deliberately playing smaller, more intimate venues, including a record-breaking seven-night run at Brixton Academy. For Sim these shows will have a special significance. “I can still remember staring Jack White in the face,” he says, recalling the thrill of seeing The White Stripes there at 14. “Those are the nights you don’t forget. The album title is a message to the fans, saying that we can definitely spot them when we’re on stage.”

For Oliver Sim - songwriter, musician, model, A-list magnet and all-round pop visionary - it’s all about recognition. He says goodbye, offers a firm handshake, and strides away down the corridor. He’s got people to see.

(Interviewed by Paul Moody. Photos by Alasdair McLellan)

#oliver sim #the xx #another man

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227snewfacebookfries · 7 years ago

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erojiwag-blog · 5 years ago

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