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Brian Eno David Byrne'
WARB-NON-3555xDavid Byrne and Brian Eno
My Life In The Bush Of GhostsNow approaching its 25th anniversary, Brian Eno and David Byrnes My Life in the Bush of Ghosts appears downright visionary. With its found vocals, cut-and paste arrangements, funked-up rhythms and embrace of influences from all around the globe, the duos controversial work anticipated the creative cross-pollination and technological innovation of contemporary electronic dance music, world music, hip hop and alternative rock. You can hear echoes of My Life in the Bush of Ghosts in the anthems Moby built around vintage vocal samples, in the outrageously exotic beats of Missy Elliot and Timbaland, in the Middle Eastern-accented chill-out tracks of Thievery Corporation or Bjorks otherworldly soundscapes.
Back in the day, however, critics were divided and audiences were, well, confused. Eno and Byrne themselves didnt know quite what they were looking for at first. They shard an enthusiasm for African music, especially the hypnotic grooves of Nigerian Feka Kuti, and a desire to free themselves from the constraints of conventional songwriting. They embarked on a nomadic journey through studios in New York City, Los Angeles and San Francisco. The players who accompanied them on these sessions included drummers Chris Frantz (Talking Heads) and Prairie Prince (The Tubes), bassist Bill Laswell (Material) and Tim Wright (DNA), avant-garde percussionist Dave Van Teighem and conga player Steve Scales, part of the Remain In Light live band. The result of their labors was an album that married West African and American R&B rhythms with the impassioned voices of talk-show hosts and evangelists taped off the radio or the evocative sound of prayerful singers culled from Middle Eastern field recordings. Byrne recalls their entire adventure in fascinating liner notes that detail the recording process and address the resulting critical furor. My Life in the Bush of Ghosts was cut between Talking Heads Fear of Music (1979) and Remain In Light (1980), but sample clearance issues, an almost unheard-of-problem in the analog era, kept it on hold until 1981.1. America is Waiting
2. Mea Culpa
4. Help Me Somebody
5. The Jezebel Spirit
6. Very, Very Hungry
7. Moonlight in Glory
8. The Carrier
9. A Secret Life
10. Come With Us
11. Mountain of Needles$24.99Vinyl LP - 2 LPs Sealed Buy Now
Artificial DanceThe story of electronic music pioneer K. Leimer continues with a focus on his auteurist studio project Savant. Compiling the standalone album, 1983's The Neo Realist (At Risk), with Savant's debut 12" and a grip of compilation and unreleased tracks, Artificial Dance documents Leimer's complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually - and eternally - committed to tape. Savant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.'s A Period of Review (1975-1983)). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will. Leimer was creatively autonomous to the point of being a persona absentia in Seattle's 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer Marc Barreca, John Foster (founder of Op Magazine - the experimental music publication), Jim and David Keller of the New Flamingos, and their bandmate Alex Petit. Others, like Roy Finch and Dennis Rea, came from a similar orbit. Even with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their fortÉ. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, he'd capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres. Savant tonally operates in a space between This Heat's dark primitivism and the found sound collage of Brian Eno & David Byrne's My Life in the Bush of Ghosts. These analogies are simply stylistic, as the narrative behind The Neo-Realist's production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collection's liner notes: "I was looking for flaws, for faults to act as the stand-out features of the music." Far from a provisional stab at avant-garde sensibilities, Savant represents Leimer's repudiation of ambient music's passive side. Artificial Dance embodies a perfectionist's family portrait of outrÉ musicians conforming to Leimer's nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention.1. Using Words
3. The Neo-Realist
4. Shadow In Deceit
5. The Shining Hour
6. Knowledge And Action
7. Heart Of Stillness
8. Stationary Dance
9. Sensible Music
10. Deceit In Passion
11. The Radio
13. Falling At Two Speeds
14. Fault Index$26.99Vinyl LP - 2 LPs Sealed Buy Now
Fits & Starts
LP Packaging Features Custom Adhesive Wrap & 16 Page Booklet
For the tenth volume of FRKWYS, composer,
percussionist and sound designer david Van
tieghem alongside ten younger artists from
across the avant spectrum become a bulletin
of Fits & Starts.
In July of 2012, RVNG Intl. was invited to participate in Bulletin Boards, a group
exhibition at Venus over manhattan curated by White Columns' gallery director matthew
Higgs. An extension of an ongoing project which resides in the entrance of White
Columns' downtown New York gallery, Bulletin Boards featured 24 artists/entities, each
given a new bulletin board as an inspirational starting point.
In 1981, David Van Tieghem produced the experimental music video Ear To The
Ground. The film features Van Tieghem "playing" downtown New York City, a world
in which Van Tieghem established his rhythmic roots as a member of the love of life
orchestra, a frequent collaborator with laurie anderson, and a player on steve reich's Music
For 18 Musicians, robert ashley's Perfect Lives (Private Parts) / Perfect Lives and david Byrne
and Brian eno's My Life in the Bush With Ghosts among other seminal recordings including
In Ear To The Ground, all city surfaces become communications-or bulletins-under
Van Tieghem's twiddling, thwacking and thumping thumbs. Partially inspired by this and
by our blank but physically limited canvas space, Van Tieghem agreed to take part in
a sequence of improvised performances and creative editing to become part of our
We also invited ten younger musicians to post objects to the board. A cross section of
present day New York artists were represented by way of sam Hillmer as diamond terrifier
(with the aid of max alper), Future shuttle, Georgia, roberto Carlos lange as Helado negro,
darren Ho, eli keszler, Hiro kone and megafortress, alongside the regionally sympathetic
Blanche Blanche Blanche and maxmillion dunbar.
In place of business cards, broadsheets, and flyers, the objects/communications
contributed were broken toasters, firecrackers, 2x4s, thunder drums and customized
electronics, each intended as a percussive device. On opening night, the bulletin board,
disguised as assemblage, welcomed David's dialogue.
In the spirit of Ear To The Ground's infinite conversation, Van Tieghem returned to
Venus Over Manhattan to "play" the bulletin board without an audience. The process
of Van Tieghem discovering and responding to the objects/bulletins again was multitracked in high definition.
These recordings were then presented to the ten contributing musicians for further
translation, "remix" and interpretation. For the final sequence, the unique pieces were
delivered to Van Tieghem to edit and embellish as the sound collages presented as Fits
& Starts across two album length sides of our tenth volume in the FRKWYS series.1. Slippery Slope
2. Cooler Heads Prevail$20.99Vinyl LP - Sealed Buy Now
I Had A Dream That You Were MineIncludes Limited Edition 14-page Booklet Of Handwritten Lyrics
I Had A Dream That You Were Mine is an album of songs Hamilton Leithauser and Rostam wrote and recorded together between July, 2014 and February, 2016. In the spirit of collaborative albums, not unlike those of David Byrne and Brian Eno, each musician's individuality remains in tact, while in fact, on this record, both Hamilton's identity as a singer and Rostam's as a producer seem to reach new heights.
This was a record I d been wanting to make for at least a decade, Rostam says. As a fan of Hamilton's voice in the Walkmen I'd been wanting to capture it in ways it hadn't been captured before to make songs with him that placed the crooner right beside the howler, the screamer beside the whisperer to try to leave no stone unturned in terms of how we should approach the delivery of a song. And also to try to push his voice outside of any musical context it had lived in before.
Says Leithauser, Rostam's one-man-band process is so fundamentally different from the way I've always written songs, and it's very impressive. We had no idea what kind of music we were going to make we actually didn't know we were working on an album at first but unexpected things kept falling into place. We were writing and recording everything simultaneously it was flat-out inspiring just to be there.
Many of these songs seem to take place in a memory of New York's past, or wading through the waist high waters in a half-submerged New York of the future. Yet what unites them is that they tell stories. I Had A Dream That You Were Mine is an album, a collection of songs yes, but also a collection of narratives. 'The Bride's Dad' faithfully recounts an unexpected (an probably uninvited) guest at a friend's recent wedding; 'You Ain't That Young Kid' follows the wistful narrator through a night of lost love and transformed resolve.
From the doo-wop of 'When the Truth is...' to the country pedal steel of 'The Morning Stars'; from the piano and organ alchemy of the 'Band in A 1000 Times', to the Leonard Cohen-esque Spanish triplets of 'In a Black Out'; the album harnesses the exploding musical styles of midcentury America which, when melded with the warbled 1980s analogue synthesizers of 'You Ain't That Young Kid,' the ultramodern sub bass of 'Sick as a Dog,' the intimate falsetto of '1959,' and the raucous bar-room chorus of 'Rough Going' sparks an entirely unexpected and innovative style.1. A 1000 Times
2. Sick as a Dog
3. Rough Going (I Don't Let Up)
4. In a Black Out
5. Peaceful Morning
6. When The Truth Is...
7. You Ain't That Young Kid
8. The Bride's Dad
9. The Morning Stars
$19.99Vinyl LP - Sealed Buy Now
REDI-WAR-4918xEno & Hyde
Someday WorldBrian Eno and Karl Hyde (of Underworld) come together with a new album to be released this May on Warp Records. This is the first vocal/band project from Eno since 2008's David Byrne collaboration. Someday World comprises nine songs, composed and sung by Eno & Hyde together with a highly distinguished cast of supporting musicians, including Eno's Roxy Music bandmate Andy Mackay, Tessa Angus, Nell Catchpole, Marianna Champion, Will Champion, Kasia Daszykowska, Don E., Darla Eno, Georgia Gibson, John Reynolds and Chris Vatalaro. Following his 2013 Grammy nominated album LUX, Brian Eno produced this new album with 20 year old Fred Gibson, and continues an ongoing collaboration between Hyde & Eno which sees the two together on a complete album for the first time. "I had a big collection of 'beginnings' sitting around waiting for something to galvanise them into life, to make them more than just 'experiments'. That something turned out to be Karl Hyde." -Brian Eno1. The Satellites
2. Daddy's Car
3. A Man Wakes Up
5. Strip It Down
6. Mother Of A Dog
7. Who Rings The Bell
8. When I Built This World
9. To Us All$24.99Vinyl LP - 2 LPs Sealed Buy Now
ChromaticsWhen songwriter and producer Sam Genders last donned his Diagrams hat, captive listeners found themselves truly stunned by the Streatham Hill artist's imaginative and inventive arrangements that made up 2012s debut album Black Light. Having now upped sticks from his London lodgings and settled in Sheffield with a new lease of life and wife, fresh pastures and friendships are what form the heart of Diagrams' brand new album Chromatics.
"Relationships are a constant thread. In all their frustrating, exciting, mundane, beautiful, wonderful, sexy, scary glory," reveals Genders of the album's themes. "And there's lots of hope in the songs. They shouldn't be taken too literally mind you in my head Chromatics is life in Technicolor; with all its ups and downs."
Equally drawing inspiration from the writing on relationships by David Schnarch, Ester Perel and the book Division Street by Sheffield poet Helen Mort, whilst spending time in his own home studio for the first time, it's without doubt that the Steel city provided the ideal backdrop for Genders to write whenever the inspiration came and, essentially, whittle down the fifty or so tracks he had recorded as part of the album's creation. "There are woods over the road and a little garden out the back with a greenhouse, shed, and flower beds. Being in a new place has brought something special to the process. Sheffield is a very open and direct place and I'd say the songs are more that way too."
Whilst Black Light fizzed with electronic effects, synth-bass, programmed beats and low-key funk grooves that brought about comparisons to the leftfield pop of Arthur Russell, Metronomy, Steve Mason and Hot Chip, it's without doubt that Genders' next offering falls closer to home comforts and marks the next step in Genders' renaissance. Take lead track 'Phantom Power'; it's the track which truly sums up what it's like to find yourself forever reassessing. "It's about feeling like you're losing a grip on your sanity at one moment, then feeling inspired and up for anything the next. Or frustration with yourself yet believing that it's possible to sort yourself out," explains Genders. Elsewhere 'You Can Talk To Me's delicate rolling melody and 'Serpent' once again showcase the playful, eclectic slant to Genders' songwriting prowess alongside an innate sense of crisp production and programming techniques.
Never one to shirk away from those around him, Genders would be the first to call Diagrams, and particularly Chromatics, a collaborative process. Once again featuring a rolling cast of inspirational musicians the album includes vocals from, amongst friends and family members, The Smoke Fairies whilst the skilled brass and string arrangements come courtesy of Danyal Dhondy and Sam Ewens. 'London's greatest' drummers Karl Penney, and Cacophony drummer Fletcher Adams provide the beats whilst live band members Emma Black and Ben Malitskie lend their expertise of Baritone Saxophone and Viola. 'Brain' meanwhile, was co-written with long-time friend and collaborator Matt McKenzie and features an in utero recording of his son James' heartbeat.
Yet it's the partnership with producer Leo Abrahams (Wild Beasts, David Byrne, Brian Eno, Jon Hopkins, Ed Harcourt, Marianne Faithful et al) that has truly brought Diagrams to life. After a long search, Abrahams was picked to piece all parts together and as a result Genders found himself writing songs that worked across a variety of production styles. "Leo's incredibly good at what he does and virtually all the impressive production and soundscaping is down to him. He's also an amazing guitarist and played some of my favourite guitar moments on the album."
Who knows exactly what kind of relationships will inspire Genders next? Currently finding himself midst China's south central city of Changsha in Hunan as a Musician in Residence on behalf of the British Council and PRS foundation, life for Genders right now is all about new experiences, meeting new faces and learning from new friendships. "It feels like anything could happen from one day to the next. I'd like to record a Chinese version of 'Phantom Power' so that once I'm back in the UK I can reconnect with the music lovers I've met. I've heard lots of very poppy pop songs that incorporate both Chinese and English lyrics so I'd like to try my own twist on that."1. Phantom Power
2. Gentle Morning Song
5. You Can Talk To Me
7. Dirty Broken Bliss
9. The Light & The Noise
11. Just A Hair's Breadth$18.99Vinyl LP - 2 LPs Sealed Buy Now
Remain In LightRanked 126/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Cut from the Original Analog Masters and Pressed at RTI for Stunning Sound!
Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius.
From their 1977 debut through their Brian Eno and self-produced classics and on to their swan song (1988's Steve Lillywhite-produced Naked), Talking Heads constantly broke creative boundaries while also scoring smart radio hits including "Burning Down The House," "Wild Wild Life," and, from 1980's Remain In Light, the brilliant "Once In A Lifetime."
Considered by many fans and critics alike to be the band's best album, Remain In Light was the third release in the Heads/Eno trilogy and fourth overall. More melodic and funkier sounding than that of its predecessors, the recording finds the band further exploring the African rhythms hinted at on 1979's Fear of Music with the help of a growing personnel that now included Adrian Belew (guitar), Bernie Worrell (keyboards), Steven Scales (percussion) and backing vocalists. As propulsive and essential as ever here on 180 gram vinyl courtesy of Warner Bros. Records!
"On this New Wave watershed, the avant-punk avatars became polyrhythmic pop magicians. David Byrne and Co. combined the thrust of P-Funk, the kinky grooves of Afropop and the studied adventurousness of producer Brian Eno - and they still had a pop hit with 'Once in a Lifetime'." - Rolling StoneThe Great Curve
Crosseyed and Painless
Born Under Punches (The Heat Goes On)
Houses In Motion
Once In A Lifetime
Seen and Not Seen
The Overload$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
More Songs About Buildings And FoodThe title of Talking Heads' second album, More Songs About Buildings and Food, slyly addressed the sophomore record syndrome, in which songs not used on a first LP are mixed with hastily written new material. If the band's sound seems more conventional, the reason simply may be that one had encountered the odd song structures, staccato rhythms, strained vocals, and impressionistic lyrics once before. Another was that new co-producer Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing. Where Talking Heads had largely been about David Byrne's voice and words, Eno moved the emphasis to the bass-and-drums team of Tina Weymouth and Chris Frantz; all the songs were danceable, and there were only short breaks between them.
Byrne held his own, however, and he continued to explore the eccentric, if not demented persona first heard on 77, whether he was adding to his observations on boys and girls or turning his Psycho Killer into an artist in Artists Only. Through the first nine tracks, More Songs was the successor to 77, which would not have earned it landmark status or made it the commercial breakthrough it became. It was the last two songs that pushed the album over those hurdles. First there was an inspired cover of Al Green's Take Me to the River; released as a single, it made the Top 40 and pushed the album to gold-record status. Second was the album closer, The Big Country, Byrne's country-tinged reflection on flying over middle America; it crystallized his artist-vs.-ordinary people perspective in unusually direct and dismissive terms, turning the old Chuck Berry patriotic travelogue theme of rock & roll on its head and employing a great hook in the process.
- William Ruhlmann (All Music Guide)1. Thank You For Sending Me An Angel
2. With Our Love
3. The Good Thing
4. Warning Sign
5. The Girls Want To Be With the Girls
6. Found A Job
7. Artists Only
8. I'm Not In Love
9. Stay Hungry
10. Take Me To the River
11. The Big Country$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Fear Of MusicFear of Music is the third studio album by American New Wave band Talking Heads, released on 3 August 1979 on Sire Records. It was recorded at locations in New York City between April and May 1979 and was produced by the quartet and Brian Eno. The album reached number 21 on the Billboard 200 in the United States and peaked at number 33 on the UK Albums Chart. Three songs were released as singles between 1979 and 1980: Life During Wartime, I Zimbra, and Cities. The record was certified Gold in the U.S. in 1985.
Fear of Music received favourable reviews from critics. Praise centred on its unconventional rhythms and frontman David Byrne's lyrical performances. The record is often considered one of the best Talking Heads releases. It has featured in several publications' lists of the best albums of all time. England's Channel 4 named the record at number 76 in its 2005 countdown of The 100 Greatest Albums.I Zimbra
Life During Wartime
Memories Can't Wait
Drugs$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Journey Man"In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."
Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"
It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.
But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.
Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.
Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.
"I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."
What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.
Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.
By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."
Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).
Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.
A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.
The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.
Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.
"I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."
Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.
'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.
Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".
And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.
- Tim Barr, 2017LP 1
1. Horizons (feat. Terri Walker & Swindle)
5. The Mirrored River
1. I Adore You (w/ Ulterior Motive)
2. I Think of You
3. Truth (feat. Jose James)
1. Tu Viens Avec Moi?
2. The Ballad Celeste
3. This Is Not A Love Song
4. The River Mirrored (feat. Terri Walker)
6. Tomorrow's Not Today
7. Run Run Run$35.99Vinyl LP - 3 LPs Sealed Buy Now
Remember Us To LifeRegina Spektor returns with her seventh album Remember Us To Life out on Sire/Warner Bros. Records.
The new LP marks Spektor's first outing since 2012's What We Saw From The Cheap Seats, which debuted at #3 on the Billboard Album Chart and her Grammy-nominated theme song "You've Got Time" for the hit Netflix show Orange Is The New Black.
Remember Us To Life is composed entirely of all new songs recently written by Spektor, a change from past albums when she would record songs written throughout her career. Spektor gave birth to her first child in 2014 and she spent considerable time writing during and after her pregnancy. Says Spektor "I made more art and felt more inspired than I had in a long time."
Spektor recorded with producer Leo Abrahams (David Byrne/Brian Eno, Frightened Rabbit, Paolo Nutini) in Los Angeles at The Village Studios. Says Spektor of Abrahams, "he is such a kind and talented musician. And person! I felt very grateful to work with him."
Born in the Soviet Union, Spektor began studying classical piano when she was six. Her family emigrated in 1989, landing in New York City, where she continued her classical training. Spektor eventually studied composition at the Conservatory of Music at Purchase College where she graduated with honors. She began writing pop songs in her late teens and made her recorded debut in 2001 with the self-released 11:11, a collection of songs heavily influenced by jazz and blues. Songs followed in 2002 and Soviet Kitsch in 2004. Spektor's commercial breakthrough came in 2006 on her fourth LP, Begin to Hope. The gold-certified album included the singles "On the Radio," "Better" and "Fidelity," which climbed the Billboard Hot 100 singles chart. Spektor's fifth album, Far released in 2009, and sixth album, What We Saw From the Cheap Seats released in 2012, both debuted at No. 3 on the Billboard 200 albums chart.1. Bleeding Heart
2. Older And Taller
3. Grand Hotel
4. Small Bill$
5. Black And White
6. The Light
7. The Trapper And The Furrier
10. Sellers Of Flowers
11. The Visit$26.99Vinyl LP - 2 LPs Sealed Buy Now