The multi-monikered James Figurine has just released his first solo album Mistake Mistake Mistake Mistake. You may already be familiar with his work elsewhere as DNTEL or as one half of the band The Postal Service.
New album 'Mistake Mistake Mistake Mistake' sees Jimmy Tamborello aka James Figurine and DNTEL) delving up to the elbows in 4/4 beats - with the resultant album a master class in uncluttered machine music. Harboring a significant debt to Kompakt (particularly 'Total 3') and the likes of John Tejada (who appears on the LP), James Figurine makes electropop that doesn't deal in glittery clichés, preferring instead to ferment the digitalis in a rich compote of sweet melodies and sonic-somersaults that consistently avoid appearing superfluous.
James Figurine mixes his breaks with his silicon; lurching long with considerable velocity, the chunky beats soon give way to a sparkling vista of bubbling synths and couched vocals - the result being not a million miles from that of the Junior Boys, yet different enough to retain artistic autonomy.
James Figurine says:
So this record was supposed to be an extra melodic, minimal techno record with some sparse vocals. Instead, my technopop tendencies got the best of me, the songs slowly filled up, and this is what I ended up with. It’s called Mistake Mistake Mistake Mistake, because that’s what I kept chanting to the beat while I worked on the tracks.
John Tejada (Palette Recordings) assisted me along the way, adding sounds to some of the songs, helping write and arrange a few, and then mixing everything in the end. Sonya Westcott (Arthur and Yu) sang with me on “55566688833,” Morgan Nagler (Whispertown 2000) contributed some lyrics and vocals to “Pretend It’s A Race And I’m On Your Side,” Erlend Øye (Kings of Convenience, Whitest Boy Alive) sang some words written by designer/animator/poet Geoff McFetridge on ”All The Way To China,” and Jenny Lewis (Rilo Kiley, The Postal Service) sang with me on “You Again.”
Jimmy Tamborello comforts himself by combining melancholy melodies with an assortment of electronic production styles, as well as enlisting friends to add vocals and guitar on some tracks. The results range from Timbaland inspired minimal techno to pop songs buried in static, cut-up acoustic guitars, sampled symphonies struggling to find somewhere to settle, found sound and blissed-out drones.
Jimmy Tamborello started working as Dntel in 1994. A collection of tracks created between 1995-1997 (Early Works For Me If It Works For You) was released on the Phthalo label in 1999, followed by the release of an E.P. recorded in 1994 (Something Always Goes Wrong) in 2000. After contributing a song to Plug Research's Voices In My Lunchbox compilation he was invited to do a full length for the label, preceded by a 12" E.P. (Anywhere Anyone).
Tamborello was a member of the guitar based "Eno-core" group Strictly Ballroom and is currently 1/3 of the technopop group Figurine, who has a new record ready to be released on the New York pop label March records. In the past he has also served short stints in SoCal pop groups Further and The Tyde. Over the years he has released music on Plug Research, Phthalo, March, Darla, Blackbean & Placenta, ~Scape, 555, Sub Pop, Fierce Panda, Waxploitation, Thousand, Motorway, Monika, Q Tape, Elefant, Invicta Hi-Fi, tbtmo, Chocolat Art Returns, Silent, Little Red Square and Visible.»James Figurine Website
Here come’s Klanguage, all the way from France. They conquer electropop, indie, and trip-hop with no stress. The self-titled album released by Rise Recordings works fantastic as a whole. With sure influences from Air, Goldfrapp, Peaches, Add N to (X), Stereolab, and Portishead this band can’t go wrong. This band is going to blow-up so you better start paying attention to these kids!
KLANGUAGE is the DJ/Producer YUKSEK’s electro-pop combo. Their debut album is released on Rise Recordings / Discograph. This e.p. presents a killing pair of remixes of the 2 main tracks of the album, “Priceless things” and “All this time”, in addition of some album tracks.
The first remix by TACTEEL (the TTC crew’s Dj) is purely awesome and already played by a lot of DJs. In parallel, YUKSEK associated with INVADERS’ member Clément Daquin offers an efficient electro vision of the pop tune « All this time ».»myspace.com/klanguage
The track "Nothing Is Getting Us Anywhere" comes from a duo named Guns N' Bombs. Made up of Johnny Love (Founder of Opaque and Chicagos Dionysian Prince) and Filip Turbotito (Ima Robot, ex Junior Senior).
These two have teamed up to make some dark electro-disco comparable to that of Sebastian, Para-One and the other Ed Bangers. But heres the twist.... they are American. Finally someone giving the french a run for their money.
Johnny Love says:
"I'm epic like King Crimson and I rock it like my name is Herbie Hancock. I fanatically study electronic music history, from the debaucherous disco days of new york, to the italian interpretation on the dancefloors of
europe, to the pre techno prep parties of detroit, to the post disco dancefloors of chicago, to the latin american east coast freestyle movement, to the transportation of house and techno to the UK in the late
80s to the rave explosion in the united states on the early 90s."
'Save Our Souls' is Craig Morrison and Graeme Reedle's third album from Soma and their most accomplished work to date. It comes one year after the release of their critically acclaimed 'Staring Into Space' album. It is certainly a more focused body of work, which portrays the unique Silicone Soul sound....
Craig and Graeme use their music as an outlet to comment on the subjects that affect them personally or in the world around them, whether it's relationships, drugs or politics. They have strong ideas about artwork too (Save Our Souls is loosely based on the works of 15th Century Renaissance artistl, Bosch) and their track titles are carefully considered to have a meaningful relevance.
Craig reflects on the album name, "I suppose on another level, the title is a call to arms to save (our souls) from the issues facing today's society. From the bland homogenised popular culture and lifestyles of today and the culture of fear and loss of liberty, to the immorality and current obsession with celebrity and reality, which are so relevant."
Since the release of their last album they have moved out of their main studio and set up new ones in their homes, which are virtually interchangeable. This has resulted in a more flexible and efficient mode of working which allows them to collate and concentrate on individual apsects of their tracks when they are not collaborating together.
Graeme says, "We were in a much better position in general for producing this album - so it was quicker for us. We hope the new album picks up from where the last album left off".
The outcome of their efforts is a cohesive musical production and a cerebrally intensive listening experience that will occupy headspaces and dancefloors alike.
'Save Our Souls' marks another pivotal transition in their musical development. This is the refined sound of Silicone Soul, and enthralling and emotive journey which contains elements of danger and drama combined with deep hypnotic quality that evolves through intoxicating slow burners to euphoric house anthems.
Once again they have incorporated live instumentation to add a real depth to their music. Live keyboards are used on the majority of the tracks and guitar is included on 'The Hikikomori', 'Fading', 'Dreaming Again', 'The Stars' and 'Venom'. Their preview single release, 'The Snake Charmer' contains a bewitching live flute melody that has already entranced DJ's and club kids everywhere with its enchanting rhythms and ethereal Eastern vibe.
An introspective notion is exemplified by tracks like 'The Hikikomori', '3 AM' and 'Do some Good?' all which are melancholic and convey genuine emotion. The mood shifts smoothly from these atmospheric, downtempo workouts to classic Silicone Soul uplifting cuts, like forthcoming single 'The Pact' and 'Bad Machines' with their rapturous piano lines and killer bass. 'Margin For Madness' is destined to be another crowd pleaser with its bubbling acid and old school, wild pitch groove.
Vocal tracks have always been part of Silicone Soul's repertoire and for the first time Graeme has used his own vocals on the string soaked 'The Stars Became The Sun'. Craig comments, "It's our first proper attempt, so we are quite pleased with the results. It's cool because a vocal is effectively another instrument, which can really add another layer and help define the track".
The album concludes with one of their personal favourites, 'Eloge De L'amour'. The title was inspired by the work of French director Jean Luc Goddard and the enchanting melody evokes a postive summation. Craig says, "The melodic hook is a real spine-chiller and I think it's a great summing up of our vibe".»Soma Records
Whether the trend-setters of the electronic genre like it or not, this album is undoubtedly an essential success of the fusion of styles. Eleven tracks of today’s music, a sort of snapshot of a certain vision of electronic music, terribly ambitious, yet perfectly accomplished and mastered. A few dance floor tracks with the aim to bring the listener to a sort of melancholic reverie, to insert a bit of bittersweet reflection beyond the original bang-bang-bang.
The beautiful “Code 1026”, “Europa”, or “Les Violons Ivres” are not about to cease pleasing dance floor ecstatic around the world. Peter Murphy, mythical singer of the cult band Bauhaus, plays his David Bowie better than anyone to serve the vicious pop song Edenbridge. Sclade, a young dandy from Lyon, put his vocals for the tracks “Baboul Hair Cutting” - sort of destroyed and chaotic yet resolutely contemporary r’n’b - and the highly vaporous Your Inner Kiss a poetic electro/pop bravery.
The divine and sexy Princess Superstar for a Lips On Fire with its furious break beats, dirty text and moist song. And the superbly sensuous “Million Miles”, which leans on the timeless voice of Neneh Cherry at the peak of her art, perpetuating the tradition of lyrical velvet resting on humming ultra basses.
Remains three titles evoking a personality that is more complex than it seems at first sight, and, that is predominantly emblematic of his constant quest for modernity.
Like A Bull is a devastating deflagration where the obscure facet of the current techno, which links volleys of electro and sheets of old school, condensed by twenty years of underground. On Wrong Line Agoria dares the murmur of a text in French, a demanding love song that rips the heart on a carpet of electronica to cry for.
The magnificent Cécile is an emphatic electronic instrumental piece that calls upon the ghosts of a Pink Floyd; even still, a very moving tribute to the greatness of a genre that is still misunderstood – techno – as a revelatory of emotions buried deep within a soul that is – I swear – the essence of an innocent adolescent, for this atypical and deeply human artist.
There’s still one question tough… Why “The Green Armchair” ?»myspace.com/thegreenarmchair
The new single 'Fa-Fa-Fa' is out since the 25th of September. It is released as a CD single, 7", 12" and digital, and features remixes by Bjørn Torske, Princess Superstar and Shakes.
Pop fact: the first Datarock release - a split 10" with Stockhaus - came out before they'd even played a gig. Not true. It was ready, and it was supposed to, but it got postponed by six months and, in that time, they'd debuted at Annie's Pop Till You Drop club. She even joined them on stage. That was December 16, 2000. The 10" came out in the new year on the tiny label that would end up defining a period in Norwegian pop music - Tellé (or Éllet as it was sometimes called), the original home of Röyksopp, Kings of Convenience and Annie.
Early Datarock gigs were as they are now - bonkers. Like their heroes Devo, they wanted to put on a performance, but, unlike them, they didn't have swanky equipment or fancy art school backgrounds. So they did what they do best: they called in their friends, improvised, and did everything on the cheap. As many as 20 people could be witnessed on stage, 15 of whom were doing nothing other than dancing around like goons in stupid sunglasses and speaking into gigantic walkie talkies. Oh, and everyone had to wear white. You have to have some rules.
Datarock caught people’s imagination instantly. One of the first interviews they did was with our own Radio 1. Keen to capitalise on the interest, they began to make plans for their second release. They thought and thought and then it came to them: a 3” CD! And stuffed full not just of songs, but a Datarock video game as well. Brilliant! Amusingly, they called it ‘Demo/Greatest Hits’. Four hundred copies were burnt and hand-painted by the band themselves and, with no real effort, the mini record travelled far. That was 2002, and Datarock were hot. At 2003’s Sonar Festival, where they played a Tellé Records showcase, people were name-checking them on the streets, and all because they’d come across their little CD somewhere down the road. They were greatly amused.
An EP entitled ‘Computer Camp Love’ followed in 2003 and sold out quickly. They were touring the world now and finding they had hardcore fans in unusual places. Switzerland went crazy for them, and so did Canada. Come 2004, though, they knew they needed to keep moving forward. How come they had never been asked to play the Roskilde festival? Because they didn’t have an album out! They set to work in the only way they knew how – by doing everything themselves. It would be called, simply, Datarock Datarock, and they would put it out on their own label, Young Aspiring Professionals.»Datarock website