So I get told…“go see Warpaint when they come to London… you have to go see Warpaint when they come to London.” I’m like, “what is all the fuss about?” So I found out – what all the fuss was about – and I LOVED the fuss!
When I arrived at Camp Basement it was rammed to the rafters with industry people and famous hangers-on, not to mention, Nicholas Hoult of Skins fame and Michael Fassbender, star of Inglorious Basterds… It was a who’s who kind of affair, but hey, gigs like this one always are. For me, not being familiar with any Warpaint songs, just added to the fascination about this band that has become one of the most talked about in recent months.
So where do I begin…
Well, not knowing what to expect, I felt sheer joy as that first ‘90s indie riff got shredded and an instant grin appeared across this writer’s face, that’s for sure. Dreamy, psychedelic shoe gazing wonderment in abundance as Warpaint gently eased themselves into their set list. What amazed me most was just how enigmatic they are as musicians, with what seemed like a perfect mix of Shocking Blue and Sonic Youth riding the wave of Tank Girl comic book geekdom. I did feel like I’d stepped into Empire Records though, and was being entertained by an in-store band which was a great feeling – a step into nostalgia if you like. Also don’t get me started on how fucking brilliant their drummer, Stella Mozgawa was – just simply off the scale, with her rip roaring drumming skills – crashing and creating such wonderful noise. At times I wondered if I was hearing a drum machine, but it was just perfect sticksmanship which stood out as one of the highlights of the night for me. The band continued through their set, harmonising effortlessly, while all the time just oozing coolness with a total belief in themselves that did not once transpose into egotism.
Tonight was a preview gig for the bands Reading and Leeds slots this coming weekend and it certainly did have that feel. We were left in no doubt that this was something special we were witnessing as the band rattled effortlessly through songs off their recently released EP as well as, what will be new tracks from their just announced album ‘The Fool’, released through Rough Trade Records in October.
So, as the night drew to a close and heads were slowly coming to a head-shaking end, a feeling of jubilation was left in the air. It takes a special kind of band to come through a night like that unscathed and Warpaint did. Finally, we have a band that lives up to the hype.
It used to seem pretty clearly defined. When I was growing up, it seemed that all protest songs were written by Bob Dylan (Blowin’ In The Wind; The Times They Are A-Changin’; Subterranean Homesick Blues; It Ain’t Me Babe…right through to Hurricane and Joey). It also seemed that he was protesting against social injustice, social constraints and the suppression of personal freedom.
As I listened to more and more music, and folk / folk rock in particular, it was clear that the protest song had been an important outlet for the downtrodden, their supporters, militants, beatniks, poets, activists, blowhards, film makers, playwrights, comedians, opportunists and both the righteous and misguided, for years.
The trend has continued, but protestation is all around us, not only in song and the written word but on the streets, the workplace and court rooms of the world.
A few years back Neil Young, (composer and performer, along with his cohorts in CSNY, of Ohio, one of the great protest songs) made an album called Living With War, which was a clumsy and rather clichéd attack on the Bush administration of the day. When promoting this record, which I don’t doubt was a sincere statement, despite its creators artistic misfire, Young claimed he had to do it. This says two things: protest songs appear to have gone underground, and Neil Young is out of touch with the cutting edge art he once towered over like a colossus.
People still write and record great protest music, but the press, radio and TV, for the largest part, now do not want to offend their advertisers, (just like in the fifties!) and are completely out of touch themselves. Dark days are upon us, and the response from the underground, always the first to address matters of social importance, has been strong with Arcade Fire, Eels, M.I.A., Ben Sommers and The Supernovas all striking out with words of protest…
“Never has this writer been so amazed and enthralled by a singer/songwriter as I am by one, Ben Sommers. Naturally gifted and with such a wild imagination, Ben has put together one of the most ambitious projects I think I have ever encountered. The album is called ‘Avocado Chip’ and with it’s post-apocalyptic imagery and Orwellian subtext, you can’t help but be totally seduced by this bleak and tragic world that Ben has created”.
‘A Town Called Starving Jane’ is the starting point of the Avocado Chip saga. CLICK HERE for to read the Ben Sommers NEN, interview.
Elephant Stone get with the program and do the ‘Sourmash’ 10 question challenge…
1. Hi Elephant Stone! Firstly can I say what a great show it was at The Macbeth in London, you guys sounded magical. Has it always been an ambition to get over to the UK and do some shows?
We love the UK. All our favourite music came from here… Beatles, The Who, Kinks, Teenage Fanclub, Cornershop…. this list goes on!
2. With the recent release of your glorious EP, The Glass Box, did anything in particular inspire the songwriting process?
I guess the birth of my daughter was a big inspiration. Also, I wanted to see if I could write and record a record in a month; The Seven Seas took a while to put together, so I wanted to do something more immediate.
3. You hear bands talk about how their local towns/cities play a big part in their music, has Montreal been an influence on you guys?
Montreal has definitely been a big influence on us. There’s so much music and arts in Montreal, so it has definitely left it’s imprint on us.
4. I believe The Glass Box was recorded entirely on analogue, how did that come about and what was the experience like?
The engineer, David Smith, and I wanted to do a very raw and real recording. It’s been a while since I recorded all analog. So, basically, this ep was a huge experiment for me: write it in two weeks and record/mix in the next two weeks… just like they did in the ‘60s. Also, I wanted to have a limit and on we could add to the recording by only using 16 tracks for the recording process.
5. Rishi, it says on the bands MySpace that you are a multi-instrumentalist, what do you play?
in the band I play bass, sitar, guitar. I also play some tabla (very poorly) and keyboards (also poorly).
6. I obviously saw the inclusion of live sitar playing from yourself Rishi, what is it about classical Indian music that you like so much?
I grew up with classical Indian music… so playing the sitar was a natural progression. I’ve been taking lessons for the last 10 years. The thing that grabs me about classical music is that it is so different from rock’n'roll (very meticulous and requires a lot of focus), but at the same time, it shares a lot of the raw passion.
7. There is obviously a strong psychedelic influence in your music, what Psych bands inspire you guys the most?
Pretty Things, Beatles, Who, Flaming Lips, Kinks
8. Am I right in thinking that the name Elephant Stone is a nod to The Stone Roses? If so, have British Indie bands been an influence on the band?
I’m a huge stone roses fan. However, I originally wanted to call the band “Elephan”, but there’s already a band with that name. I have a stone statue of Ganesha at home… and the name “Elephant Stone” came up… very simple word association. Also, the stone roses reference didn’t hurt.
9. Being immersed in the Montreal music scene, are there any bands/artists that you feel deserve a mention?
The Besnard Lakes are definitely my favourite Montreal band.
10. So what is next for Elephant Stone?
More music, more shows. Would be great to do another UK/Euro tour in the fall!
The first half of 2010 has whizzed by in a blur of unprecedented proportions. Amongst the madness of the global meltdown, earthquakes, hurricanes, flooding, a football world cup, personal and professional ups and downs, we managed top get out and see a few gigs. Here are the pick of the bunch:
Hailing from Montreal, Canada, Elephant Stone arrived on the scene last year, and their debut album, ‘The Seven Seas’ immediately won a nomination for Canada’s Polaris music prize. The band were formed by Rishi Dhir, formerly of highly rated psychedelic pop outfit The High Dials, who won a dedicated fanbase among the lysergic music community.
Dhir, a multi-instrumentalist, studied Indian classical music for three years after leaving The High Dials in 2006, and the influence is evident on this pop-psych meisterwerk. His sitar playing can also be heard on records by The Black Angels, who dedicated a song to him (‘Deer-Ree-Shee’) on their classic ‘Directions To See A Ghost’ album, and prog-psychsters The Earlies.
The boys have recently completed a very successful tour of North American, supporting friends the Brian Jonestown Massacre, and arrive in the UK for a mini tour on June 30th, before heading onto Germany and France and then returning home to support Besnard Lakes in a series of summer shows.
The Glass Box EP and The Seven Seas is out on 27th June 2010.
Buy Elephant Stone on
30th June 2010 – The Black Heart – Camden, London, UNITED KINGDOM
1st July 2010 – The Macbeth – London, UNITED KINGDOM
2nd July 2010 – The Captain’s Rest – Glasgow, UNITED KINGDOM
3rd July 2010 – The Source Arts Cafe – Carlisle, UNITED KINGDOM
4th July 2010 - The Cellar Bar – Peterborough, UNITED KINGDOM
6th July 2010 – King Kong Klub – Berlin, GERMANY
8th July 2010 – Hafen 2 – Offenbach, GERMANY
9th July 2010 – Blauer Engel – (Brückenfestival) Kiel, GERMANY
10th July 2010 – La Bellevilloise – Paris, FRANCE
Within this article, then, lie lessons on the benefits of ignorance, bloody-mindedness and the value of another weary click of another speculative URL. Because – and listen carefully – if A Million Years isn’t the most damn beautiful song I’ve heard for weeks – months even – I’m a banana.
There’s no point in wondering where this song came from, or how it came to be, or even what sparked its existence. Just be pleased this song is here, and gratefully allow its downy softness to slowly envelop your body.
There are times when the weight of the world just seems too much, and times when finding comfort is impossible. This song can’t help you with that.
But when that weight is lifted, and when you experience the honey-sweet lightness of relief, the sound you hear in your head will either be a soft, delicious wash of tinnitus-white noise, or it will be a song as beautiful, orange and warm as A Million Years. Hopefully it will be this exact song.
Life is strange. Orson Welles touched greatness and then never recovered. Joseph Heller stumbled over a baby-sized gold nugget first time. Takeda might never reach these heights again, but who cares? This song is the sound of them standing at the top of the mountain; panting, happy, dizzy.
Mozzy Green are Ben Sommers and Anna Scott, and they make sublime, intense, delicate and powerful music that’ll invade your ears, brain and heart.
Recently featured in Cent magazine alongside Mumford & Sons and Jay Jay Pistolet, as the artists at the forefront of the current nu-folk boom, we sat the dup down and interrogated them on a number of subjects…
Q1: Where did you get that name?
Anna: The Mozzy were an ancient race, inhabiting our earth circa 600BC. They were an advanced but vertically challenged group of beings. Early drawings found indicated that they were a hybrid race, with features found in humans, droids and nanny goats. They were fearsome warriors and the ‘Mozzy Green’ is the name given to their most famous battle (the stories of which Homer recited, but they were deemed too stupid when compared next to the Odyssey, so were never published) for the then sought after material of the era – the pea. The Mozzy were triumphant, but the battlefield was a mess, ironically culling any pea growth the two sides were fighting to control. The Mozzy were left stained green, and the subsequent, albeit last generation of the Mozzy, were born green. This pigmentation alteration remains a mystery to this day, but scientists are currently investigating into whether this case could throw some light on to what happened to the smurfs.
Ben: It’s the name of an ancient medicinal drink used by a small tribe of transvestite hunters who were based near to junction 23 of the M25. Obviously before the M25 was built, but in that general area. Apparently the soil is extremely fertile around there. We saw the name in a book and liked it.
Q2: Tell us a little bit about the band’s formation and history.
Anna: We’ve had a few incarnations, I joined in 2005 when we were about 6 strong. Since then we’ve slimmed down – not on purpose, but we are now a duo with a drummer for the bigger gigs.
Ben: There has been many line ups over the years. I began recording under the name Mozzy Green in 2004 and later met Anna around 2005. In between then and now we have had around fifteen different band members. We moved to London in 2007 and gigged solidly for two years. It’s an ever changing vessel and I think I like it that way.
Q3: Your influences are not immediately apparent. Who would you cite?
Anna: We’ve both got a wide range and lots of differing influences, mine range from Bach, Palestrina, Shostakovitch, Stravinsky, Debussy, to various D&B artists, trad and modern folk, various types of jazz, Indian Arabic and Russian folk, lots & lots…
Ben: Imitation is not something we want to do as a band and so there are no immediate influences we would cite to describe to somebody what we sound like. I guess our main influences are the sounds of our instruments that make the feelings we have inside of us come out when we write. Artistic influences for me personally include Syd Barrett, Tom Waits, Peter Gabriel…
Q4: What are you currently doing, and what are your plans for 2010?
Anna: We’re recording an EP at the moment, and have some good gigs lined up – we’re on at the Junction Cambs in June. We also have a plan to turn the entire population green (like the Mozzy of old) but that’s on the backburner at the moment.
Ben: Currently Mozzy Green are writing and recording for a debut EP. Both of us have solo projects and working with other bands. Myself, I’m working on a project called Avocado Chip which will be coming out on 360. It’s a pretty big project so keep your ears peeled for details. Anna is recording solo material and also working with a few bands, namely Underground Railroad who are signed to One Little Indian.
Q5: Are there any bands and artists currently playing that you like?
Anna: Unfortunately I live on a forced diet of Radio 2 at work at the moment, nothing that inspiring on there, but I do like Ruth Theodore, Bat for Lashes, Gogol Bordello, The Strangerhood are awesome, Imogen Heap, to name but a few…
Anna: That depends…the voice that musicians have to say what they need to say is so very important and should never be censored (like the Dixie Chicks were..) but if you mean ”politics” in the industry, then no, but anything that generates revenue will always attract situations where politics will arise. Music in an ideal world would be pure and free of greed and vanity, but as soon as it becomes a living, the politics begins. I think that’s got a lot to do with why there’s been a shift towards more independent models: you’ll find a little less politics and more creative freedom.
Ben: If a person has an opinion on a subject then I think they have the right to express it, no matter what they do for a living. Would you ask ‘does politics belong in plumbing?’ Well as long as the plumber does his job and fixes your sink then it’s your choice if you want to make him a cup of coffee and chat to him about the Labour party for half an hour. The same applies to music. If an artist feels compelled to campaign about things they feel strongly about then who am I to say that they shouldn’t. It’s my choice to listen or not listen. Music should be a free for all for any subject or feeling or anything the artist wants to express. There is far too much focus on ‘Oh, I hate that band, they always rant on about the church, or love, or grapefruits, etc etc.. fuck it, don’t listen to them then if it pisses you off. I take my hat off to any band or artist who honestly writes about what they actually feel. So yes, politics does have a place in music. As much as anything else does.
Q7: The music business, such as it is, appears to be populated by opportunists, sharks and leeches. How do you navigate these treacherous waters?
Anna: Trial and error I think! You listen closely to what fellow musicians say and experience, and you have to research but ultimately go with your gut instinct. There are so many bands and artists who can be romanced by the idea of a quick rise to success, and there will always be people ready to exploit that. I think you have to become business savvy and not get excited about seemingly good opportunities that could come back to bite you later. We all still fall to exploitation when playing live for free, because if we didn’t do it, there would be a queue of other bands who would. It will take all the bands on the live circuit to stand up and refuse to play unless promoters and venues start to pay the bands who generate them money.
Ben: We bought guns.
Q8: Obama or David Icke?
Anna: David Icke, Crazy (or at least that’s what we’re meant to think) but inspiring.
Ben: Both are good at talking bullshit for hours. Although David’s is more often entertaining and I’m positive – he’s the more honest of the two. All Obama is, is a charismatic actor to charm the masses. He works for the banks, not the people. So fuck him.
Q9: Coca Cola offer you £500,000 for the use of a song for their ad campaign. What do you do?
Anna: Tell them to p**s off.
Ben: Now how do I answer this? We could say ‘no way would we ever work with a corporate company like Coca Cola. It would destroy our credibility among our peers and we’d be forever labeled a sell out by future generations’. Or we could say, ‘hell yeah, £500,000? For that money we’d write a song for Pepsi’. Ah, I don’t know. Depends how hungry I was on the day. As I’m writing this I’ve not long finished my dinner. So today I’ll say no.
Q10: London: hell hole or paradise?
Anna: Bit of both really, I used to live there and it sapped the energy out of me, I didn’t bounce off the wonderful hive of creativity like I hoped, but now when I visit for gigs or generally, it’s inspiring and full of life. I always go back to the sticks feeling revived and full of ideas. It’s an amazing city, I think sometimes you can become blind to what’s around you if you’re there for a while.
STROLL ON INTERVIEW HAPPY BIRTHDAY - One of our favourite bands of recent months have just released their self titled debut album, a stunning collection of great pop songs. We decided to interview them, here’s is the outcome…
1. You guys have released your debut album on Sub Pop. How it come about you signing with them?
I met some people from the label at SXSW in Austin, namely Dean Hudson. They came to see me play as King Tuff because they liked my album. We started talking and the relationship blossomed into them putting out our record. I really didn’t have any other labels talking to me, and I like the label so it just seemed like a good match.
2. On you’re your debut record, there seems to be a lot of different influences. Who would you say are the bands influences collectively?
We all love The Beatles. I had a ton of unfinished songs in my head for a long time and they were all really different from each other. Once we started the band we just kinda randomly decided which ones we wanted to work on, so that’s why it’s all over the place.
3. There seems to be a very special scene in the US at the moment including bands like you guys, Vivian Girls, Real Estate and Tune-Yards – there is a very communal feeling about it, how do you think this has come about?
Well I have known Katy from the Vivian Girls for a really long time, and obviously Tune-Yards is Ruth’s sister. Once you start playing shows you realize that all these bands know each other and are friends because we’re all in it together. Most of us were teenage punx, and I think its more acceptable nowadays to have a more DIY approach. Of course it all gets lumped together as “lo-fi” but its not true, most of these recordings actually are pretty clear sounding.
4. When did you guys start? And what made you want to be in a band and make music?
We’ve all been playing together for a long time, first in Feathers in 2004. I was in punk bands before that and I made my solo albums but didn’t have a band. It’s really cool to play with other people because they always have ideas you never would have thought of. I just always wanted to be a musician and be in a band since I was a kid, I can’t really do anything else except draw dots on everything.
5. Where do you see the band in 5 years?
I just want to be able to support myself from my music. I don’t need to be rich, I’d just like to pay rent and eat sometimes. I hope that happens sooner than 5 years from now.
Lead track ‘Boomerang Boy’ features the guitar playing and production skills of Micko Larkin, ex of Larrikin Love, (alongside Gaoler’s Daughter bassist Alfie) and currently playing guitar in Courtney Love’s current incarnation of Hole.
It follows on from the acclaimed debut EP ‘The Only Way To Travel’, which came out at the tail end of 2009. The response to the last EP was excellent, with Steve Lamacq, Tom Robinson and Huw Stephens all playing the lead track, ‘Jumbo Jet’, followed by regional stations playlisting the track nationwide. Gigs with Babyshambles and a mini-headline tour followed.
The action has already begun for ‘Alchemy’, with bloggers showing their support across the world. In early May, Sun Coming Up displaced Eminem and leapfrogged Jay-Z to claim the number one spot on the incredibly influential Hype Machine. Radio has also been swift to show support, with a BBC 6 Music session and interview mooted for June. Radio Two’s Dave Cash even proclaimed his love of the band, playing the country tinged ‘Meet You On The Other Side Of The World’ alongside Johnny Cash on his show at the beginning of May.
Gaoler’s Daughter will be out and about over the next few months so catch them while you can. There is even a STRONG rumour that Micko Larkin will make a guest appearance at the London show on May14th.
GAOLER’S DAUGHTER UK TOUR Thursday 13th May 2010 The Lock Tavern, Camden London Friday 14th May 2010 Staggs Head, 55 Orsman Road London Saturday 22nd May 2010 The Windmill, Brixton, London
Friday 28th May 2010 Concorde 2, Brighton Sunday 30th May 2010 Marquee, Liverpool Monday 31st May 2010 Coal Vaults, Coventry Saturday 5th June 2010 Sound Control, Manchester CANCELLED Sunday 6th June 2010 1 St. James Street, Nottingham CANCELLED Monday 7th June 2010 Acoustic show – Boogaloo, Archway, London Friday 11th June 2010 Half Moon, Putney, London Saturday 12th June 2010 Sellindge Festival, Hope Farm, Ashford Sunday 13th June 2010 Strummerville Summer Session Friday 9th July 2010 Lounge on the Farm Festival, Kent
