Double Groove Issue #1
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Transcript of Double Groove Issue #1
Double Groove (By The Leeds Music Hub) Free / Issue 1 / Winter 2014
DANCING YEARS
PlusTake Turns
/ Galaxians
/Marsicans
/Albums of the Year
2014/
Gig Listings
the leeds music hub
I set up the Leeds Music Hub just over two-and-a-half
years ago, after a similar length of time spent working
on, and worrying about, making the idea a reality.
The concept itself was relatively simple – to
create an open space for local music, which could
operate as a means to access the grassroots scene, as a
social/hang-out space, as an alternative music school, and a diverse, informal and music-devoted events space. The idea stemmed
from an unwavering, fully Yorkshire-pride, love of
the local music-making scene and a real excitement for its broad range of musical and creative outputs. But it was also founded in my experience of where the
local music community lacked a certain infrastructure or support network. There
are so many talented people doing so many creative things in the city, but
I saw the Hub as a way of addressing some of the more fractured social aspects of how Leeds’ pocketed creative
communities interact (not always very much), as
well as offering another alternative aspect on Leeds
and new music in general (beyond the high-profile, the
student nights, the large scale Academy events and now the Arena). I hope it raises awareness of Leeds’ active “underground” music scene, increases engagement with music-making as a social activity with the local
population, strengthens the community side of it all and encourages people to value the city’s grassroots music
and its creators.The Hub houses a café space, a shop for local releases,
A short introduction by The Music Hub founder
Kate Zezulka
spot t
he differenceteaching rooms for informal lessons from practising
local musicians, an events space which hosts workshops,
seminars, live sets... as much as I can programme!
Since the Hub opened, it’s grown exponentially and it definitely feels like it’s become the underpin and
day-time focal-point to the music scene that I’d hoped.
Its progress is really exciting to me and I hope that it will continue to
expand and involve even more of the local community.
But I’ve never really got the hang of explaining the Hub as well as I’d like –
come down and experience it non-textually, that’d be a far better introduction!
Albums of the year
Run The Jewels – Run The Jewels 2
Run The Jewels are a hip-hop ‘super group’ consisting of rap titans Killer Mike and El–P, but if you’re easily offended, then maybe this album is not for you. Wade
past the potty mouth antics, and you’ll find one of the
most exciting hip-hop albums of 2014. Swerving between dirty double-time beats and even dirtier lyrical
disses, it’s an album that reeks of defiance. They’ve
also just been announced for next years Reading & Leeds festivals, and this album
is guaranteed to provoke an explosive reaction. So if you’re going, be careful, and expect utter mayhem.
Bombay Bicycle Club – So Long, See You Tomorrow
You may have worked out by now that Bombay Bicycle Club are neither from
Bombay, or own a bicycle club. Infact, this is the bands fourth album, and arguably their best. All the usual components are
there, and Jack Steadman’s silky-smooth voice is as
charming as ever. But there are a few seismic tweaks. Apart from the odd song or two, you’ll be hard pushed
to find a guitar on this album. Which is a stark
contrast to their debut ‘I Had The Blues and Shook
Them Loose’, where guitars featured heavily throughout.
But if you’re upset about that, then listen to ‘Carry Me’ or ‘Feel’, as they are guaranteed smile raisers.
Museum of Love – Museum of Love
LCD Soundsystem drummer Pat Mahoney has decided to team up with the Juan Maclean’s Dennis McNany, to produce an album that is likely
bring tears of joy to his former band mate James
Murphy. Their self-titled debut has everything you’d expect from a DFA release,
with its slick drum machines and bountiful amounts of electronic wizardry. Many LCD fans may be surprised to hear Pat sing for the
first time, and there aren’t many drummers that could move so seamlessly into the limelight at Pat has
done in this album. But he seems just at home behind the microphone as he does with a pair of drumsticks in his mitts. It’s also
worth noting that ‘Learned
Helplessness in Rats (Disco Drummer)’ is quite possibly the greatest song name ever.
Angel Olsen – Burn Your Fire For No Witness
The second full length offering from the Illinois based singer saw her sound evolving in a way that few would have predicted. She
ditched her acoustic guitar and went electric, which has transformed her sound
entirely, and has given this album a real punch that
would be powerful enough to knock out any half-decent
boxer. ‘Burn Your Fire For No Witness’ is one of the greatest love stories you’ll hear all year. You
feel every ounce of Angel’s heartbreak when she sings, “Everything is tragic, it all just falls apart, but
when I look into your eyes, the pieces of my heart,”
in the emotionally charged ‘White Fire’.
Parquet Courts – Sunbathing Animal
Parquet Courts have actually released two albums this year, but we’ve decided to go with their first.
‘Sunbathing Animal’ manages to retain their trademark
razor sharp kick that epitomised ‘Light Up Gold’. But ‘Sunbathing Animal’ is less raw and more refined than it’s predecessor.
There is also perhaps even more of the usual Parquet Courts lyrical wit packed into this album. “Racing down the stairs in a nude decension, shedding and
discarding my hide,” drawls a very cheeky Andrew Savage in ‘Black & White’. Parquet Courts are fast gaining a
reputation for having one of the most hectic and sweaty sets around, so make sure you go and see them live!
(Oh and if you like cats then check out the video for ‘Sunbathing Animal’, it will
definitely make your day.)
St. Vincent – ‘St Vincent’
Apparently Annie Clark started writing this album the day after she got back
from touring with David Byrne, and it seems like she may have picked up a few tricks in showmanship from the legendary Talking
Heads frontman. If you see her live, expect to
be dazzled by syncronised dance routines that wouldn’t
look out of place on Stop Making Sense. You sense
that not many artists would attempt to pen an eclectic brass fuelled dance-romp,
but Annie has, and ‘Digital Witness’ is one of the
best songs you’ll hear all year. There are numerous adjectives that could be
used to describe this self-titled album, but none could do it true justice, except
maybe pure genius.
take turns /interview
This is an exciting moment for Take Turns, it’s their first official interview. So naturally I ask them what’s the first thing they would like to be published about them. “We think our bassist
might have hyperthermia, he’s been wading around half-naked in Wharfdale canal all morning.” Oh, right. There is a reason for this though, and it’s not because they’re avid fisherman. It’s to do with
their new music video, which features Zen Warriors, a running competition, and bassist Rob emerging from the canal in a slow motion shot. They assure me that
he looks like Daniel Craig, but I bet James Bond never
contracted a serious medical condition from an icy-cold
Leeds canal.
Early reviews of bands can
The band are about to release their new EP
‘Animal Fat’ when I talk to them, and I’m incredibly
interested to know how such a nice bunch of lads came up with such a gruesome name, and an even grislier album cover. “Well Animal Fat in
general is a nice expression that I like, and it was the first song we did this EP. So I sought of knew it was going to be called that, as it was like the blueprint
of what we were going to do for this EP,” says Mark.
Drummer James Grinton chips in with the story of how he made the cover art,
“With our previous EPs the cover art has been an after
thought. With this one I wanted to make something that looks gross, which reflects the song as it’s about fast food culture.
sometimes be way of the mark, as some journalists
feel the need to pigeonhole artists by comparing them
to already established acts. Take Turns have been
subjected to this, as they’ve been compared to
Parquet Courts, Blur and NME said they have a ‘shade of Biffy about them’. “I was a bit surprised by the Blur
one to be honest,” says lead singer Mark Wright. “I can see where they get Parquet Courts from though. Because when we first started out, we
started off with more pop punk influences, but those have now waned, and we use college rock as a starting point.” So I ask them to describe who they think
they sound like, and they throw various names around like Superchunk, Pavement
and Sebadoh.
So basically I bought lots of burgers from McDonalds, and went into my yard, and started hitting them with shovels. I looked like a
lunatic. My neighbors came out of their houses and were
just watching me hitting burgers and throwing mayo
at them.”
There has been a question that has been bothering
me for days, and it’s the kind of trivial question that’s perfectly suited
for a session at the pub, so it seems right to ask the band. “Which crisp do you think you could throw the furthest?” I say as my face reddens whilst taking a sip of ale, fearing that I’ve completely misjudged
the situation. But I haven’t, and their eyes
light up. Never have crisp aerodynamics, surface areas
or weight, been more hotly discussed.
I leave them debating it, safe in the knowledge that
I’m not the only person who has been perplexed by the great crisp-throwing
conundrum. But I’m also not the only person who will be taken in by the bands
friendliness, entertained by their stories of backyard burger smashing, or who
will fall in love with the spectacular riff-heavy tunes
on ‘Animal Fat’.
Dancing Years describe themselves as a ‘five-piece band who play songs’ but
really they’re being rather modest. Because not every ‘five piece band who play songs’ get the chance to
play Reading or Leeds, tour with George Ezra, or have their songs played on the radio by Huw Stephens, Jen
Long and Steve Lamacq.
The band recently decamped to Sweden to write some new
material, and try their hand at as many adventure
based activities as possible it seems. “We had this
beautiful little lodge by a lake, and every day we used to go swimming in the lake, and do a bit of canoeing or rowing. We basically spent the rest of the time having a good time, and trying to write some songs in between it,” says lead singer David
dancing years /interview
Henshaw.
The band have so far released three singles,
which are some of the most sincere and heartwarmingly smooth indie ballads your likely to hear for a long time. Seeing as they’ve
written some new material, I feel as if it’s appropriate
to ask them the dreaded interview question. Is there
an album in the pipeline?
“That’s kind of what we’ve been working on before we came on tour with Boy &
Bear. Our drummer’s friend had a barn that we’ve
commandeered, and we’ve just been trying to write as much music as possible. We’ve got a lot of material
that we’re sat on, which is a bit of a first for us. We’re used to writing music and releasing it straight
away, so it’s nice to have a collection, but I think we’d maybe think about releasing
an EP first.”
In June of this year, Dancing Years embarked on a full UK tour supporting
George Ezra. “We absolutely loved it, George is a
brilliant guy,” says David. Did they have any worries about playing to such big audiences? It appears not.
“They were the biggest shows we’ve ever played, and we were really excited about that. It was also a very
different crowd that we were playing too, as we are used
to playing to people our own age, and I’m not sure if 16 to 18 year old girls are really our demographic. But I think we got a few of them on board,” they giggle.
After having a song included
galaxians /interview
Leeds future-disco duo Galaxians have been tearing up stages across the country
recently supporting the likes of Har Mar Superstar,
The Juan Maclean and The Tom Tom Club. I had a chat
with Jed and Matt from the band about speedboats, being startstruck by Tina Weymouth, and the current state of the Leeds music
scene.
Please could you tell us a little bit about yourselves for anyone who hasn’t heard
of Galaxians before?
Matt:We’re a duo (Jed Skinner: synths & programming // Matt Woodward: drums &
programming) from Leeds and we play live dance music
using analog synthesizers, acoustic drums, drum machine sounds etc. We met in 2011
and started playing shows in 2012, and have played in the UK and Europe a fair bit since then. So far we’ve had
four releases, all vinyl cuts, of course!
The Leeds music scene is getting a lot of positive press lately, why do you
think this is and what are your thoughts about it?
Matt:For me it’s the best place
in the country to make music, because it’s a city full of talented musicians,
proactive people, and a tangible, strong sense of community. My thoughts on the positive press thing are that it’s cool to see that recognition from the
press and I think it’s deserved. People here have worked really hard - and continue to do so - to
on a film soundtrack, the band decided to take it one step further, and they are currently composing their own soundtrack for local Leeds DIY film ‘Busking
Tearfalls’. “We love cinema, and the music that goes with
it, so we’d definitely be interested in pursuing it further. You obviously get paid well in film as well,”
jokes David.
Before the interview I flick through the bands
music videos, and there’s a particular comment
on ‘Leaving The House’ that I have to ask them about. A commenter named
‘maturecheddar’ said “I want to roll Dan up in a carpet and keep him under my bed”.
So they beckon guitarist Dan Fielding over, and the look on his face is one of
worry and intrigue. But he’s
surprisingly welcoming about maturecheddar’s advances, “It’s nice to hear that people want to give you
attention like that. But if I was to take that literally
then I’d don’t think I’d like that,” he says. It’s safe to say that 2015 is set to be a good a year
for Dancing Years, as long as they manage to fend off advances from cheese-based
commenters that is.
a vinyl-only kind of band and our songs are so long
if we did an album it would probably have to be a double
12”. We’ll see.
You’ve played with some great artists (Tom Tom Club, Zombie Zombie and Ital) But what has been your favourite
gig to date and why?
Matt:The Tom Tom Club show was definitely a highlight. I was pretty star-struck at the moment I shook hands with Tina Weymouth and Chris Frantz. They were so utterly charming and
eccentric and friendly that it only increased my love
and affection for them. Our show at L’International in Paris this year was also incredible. I mean, who
wouldn’t want to play to a packed-out room of beautiful
happens. The way I see it is that Galaxians isn’t
really about us as people but about the music, so it’s the music what matters, to
borrow a phrase.
Could you tell us something about Galaxians that nobody
knows yet?
Matt:We’ll be doing a European tour in May next year and buying a shitload of gack and a speedboat. One or
more of those statements is false.
Jed: No, because nobody
knows about it yet.
Parisians all losing their shit and getting on stage
to dance around you?!
Jed:It’s really difficult to pick one gig out because
we’ve been really lucky to be able to play at a lot of really intimate spaces where people have been really up for it. But playing Beacons
Festival this year was unbelievable. It seemed like so many people were there. I was so nervous that my
hands were shaking. But it was totally exhilarating.
Have you ever thought of adding vocals to your music?
Jed:
We definitely want to explore new things. Working with a singer is a definite yes, as is collaborating with
other musicians to see what
build something meaningful, with a high quality-control
threshold, but I’d guess that a lot of people in Leeds might feel that it
would be the same regardless of positive or negative
press.
You released ’Personal Disco Component’ and ‘Galaxians’
through US dance labels Dither Down and Rotating Souls last year, can we
expect any more releases in the near future?
Matt:Hopefully! We currently have
around 70% new material in our live set and by the time we get to spring 2015 we should have enough new music to record 10 songs. We would really like to do an album as we’ve done EPs and singles only so far.
Only problem is that we’re
marsicans/wharfchambers
Marsicans look a little embarrassed. Its their sold out homecoming show and the
crowd are singing every word, of every song back to them. There are throngs of
long fringed lads in leather jackets bouncing off the walls like malfunctioning pogo sticks, despite the fact that the venue is so hot that any avid potter
would have been happy to use it as a makeshift kiln.
It’s been a busy year for the Leeds four-piece.
They’ve just released their new EP ‘Chivalry’, and
have earnt themselves some impressive support slots
with Catfish & The Bottlemen and Embrace. But you sense by the rapturous reception
this gig received, that it may well have been the highlight of their year.
If catchy pop hooks were criminal, then Marsicans
would be wanted men. Every song is packed full of dangerous amounts of
delicious guitar licks and harmonies so sweet, that it’d be wise to book a
dentist appointment after extensive consumption.
They are a band that are clearly enjoying themselves at the minute, as they all
excitedly bobbed around stage like a group of
teenagers who have just overindulged on their first
energy drinks.
At the end of the gig the crowd demanded an encore,
which they finally got after lead singer James Newbigging initially came onstage and embarrassingly waved off their requests. Which is the kind of support that some bands can only dream
of. A few more electric gigs like this one, and it surely won’t be long until Marsicans are lighting up venues across the country.
dancing years /brudenell social club
After being subjected to blasts of bitter winds and
icy rain on the journey to the gig, some people may have been tempted to
don their Christmas jumper early, and you wouldn’t of blamed them. But luckily
Dancing Years had the perfect remedy up their sleeves, a heartwarming set that could thaw the
frostiest of hearts.
There’s a reason why Dancing Years have toured with
Benjamin Francis Leftwich, Dry the River and Boy & Bear. It’s because they
have an uncanny ability to reduce any crowd to a state of utter gooeyness, which is
partly due to lead singer David Henshaw’s velvety
voice, which is warmer and more welcoming than any cup
of cocoa could ever be.
Their cover of Broken Social Scene’s “Anthems for a Seventeen Year-Old Girl”, provided the rock
and roll moment of the set, and violently shattered the tranquil bubble that
they had worked so hard to create. As the band erupted
into the songs climax, a wave of grittiness swept across their faces, which
startled the besotted crowd into bouts of polite head
bopping.
Dancing Year’s songs sound like a collection of love letters, and if they are,
then the rest of you wannabe Romeo’s best up your game. Because Dancing Years are about to come and muscle in on your turf. But you
shouldn’t worry about that, because it’s likely that
they’ll charm the pants off you too.
“I miss you so much Bradley, even though we’re in the same house.” David repeatedly declares over
delightful shimmering guitars on set finisher ‘Keegan Bradley’. Well whoever Bradley is he’s
certainly missed by Dancing Years. But after tonight’s performance, these lovely Leeds lads will be sorely
missed by large sections of the Brudenell crowd.
Bilge Pump
Wharf Chambers19th December
Carvella
The Library 20th December
Martha Reeves &
The Vandellas
Brudenell Social Club21st December
Belgrave Music Hall4th January
Baby Strange
gig listings
Glass Skull
Nation of Shopkeepers 31st December
Brudenell Social Club26th January
Alvvays
Fresh from crafting one of the most beautiful singles
of this year, (‘Archie, Marry Me’) Canadian indie dreamers Alvvays return to our shores in January for a full UK tour. Their
self-titled debut album was produced by folk singer Chad
VanGalen, and was rightly featured on countless end
of year polls (except ours, sorry!). Those of you who were lucky enough to see
them in October supporting Real Estate, will know
that this is one not to be missed.
Jessie Ware
O2 Academy 24th January
The South-London songstress is one of the hottest names
in pop after releasing her second album ‘Tough Love’ earlier this year. Containing tear-jerking ballads, uplifting pop
ditties and Julio Bashmore produced dance numbers; you wont know whether to bring
out your hankie or put your dancing shoes to some good use. But one thing is clear; this is a gig not to
be missed.
One of Leeds’ hottest club nights has curated a line up of bands and DJs that will blow your Christmas themed socks off. Welcome the New
Year in style with Nai Harvest, Beach Skulls and Chaika, and better still, it’s absolutely free! What
better way is there to dance off all those mince pies you
consumed over the festive period; do you really need
any more convincing?
Hora Douse – Crash
If rage-poppers Pulled Apart By Horses and Turbowolf got together and had a child,
then Hora Douse would be it, a screaming mess of sweaty
brilliance.
The banshee-esque screaming in ‘Bored’ may make your ears bleed slightly, but it’s okay because ‘Speak’ is the perfect remedy for
that. It’s a sobering three minutes full of heartfelt lyrics and lilting guitars
that will wash away any moshing sustained injuries.
But the fidgety guitar on ‘Crash’ is likely to get your pistons pumping once more, so be on your guard.
Warning: do not listen to either ‘Crash’ or ‘Bored’ in a confined
space. It will make you
want to jump about in a highly aggressive manner, meaning that anything in the near vicinity will be
obliterated.
Like this? Then check out - God Damn, Menace Beach, Fawn
Spots or The Wytches
Cottonwoolf – Cottonwoolf
One look at the artwork of this EP and you can
tell that it’s going to be something special. It’s of a hitchhiker strolling around some picturesque mountains,
and it seems like the perfect setting to listen to
this dreamy set of songs.
Grant Fenell’s voice may be smoother than a freshly polished wooden floor, but don’t be fooled, as there
is venom in his sweetly sung words. “You call yourself a human, but you’re no more
than a dog to me”, he sings over some furious acoustic
noodling on ‘Owning A House’.
This debut EP is swimming in gorgeous reverb, and
you’d certainly be a fool
not to take a dip. Veering between the effortless
sounding guitar-licks on ‘Coming Up Roses’ and the emotionally charged ‘The Power’, Cottonwoolf show that they’re not happy to stick to one particular
style, which makes this EP well worth a listen. But
whatever genre it is, it’s rather beautiful.
Like this? Then check out - Incredible String Band. Tweedy, Damian Jurado or
Willis Earl Beal
ep/reviews
contacts us/