Tag: Moshi Moshi Records

New Video: JOVM Mainstays Flamingods Release a Lysergic and Feverish Visual for “Olympia”

Over the better part of this year, I’ve written a bit about the acclaimed multi-continental-based psych rock act Flamingods, and as as you may recall, the band’s Bahraini-born founder and frontman, Kamal Rasool has traveled widely to collect rare and unique instruments from Tanzania, The Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest. Their first live show together was a highly praised, attention-grabbing set during 2010’s ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of Sun’s release, the British government enacted new visa laws, which forced Rasool to return to Bahrain after finishing school. He then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were rising on different continents and unable to play together, they managed to find a way to continue working on new material, which would eventually become their critically applauded sophomore album, Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. Shortly after Prest’s relocation, the band began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. The album was released to generally mixed reviews, but it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records,who released that year’s Kewali EP. The band toured to support the effort, which included their SXSW debut. The band also released a remix album of  Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and Oasis‘ Andy Bell. They also released a Dan Carey-produced live version of “Hyperborea.”

The band’s fourth album Levitation was released earlier this year, and the album was largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s — but filtered through mysticism, positivity and sun-drenched imagery. More importantly, the Levitation recording sessions found the band living and working together on the same continent for the first time in about four years. And as a result. the album’s material may arguably be the most unified effort they’ve written and released to date. 

The album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream of the entire album.  Interestingly, the album’s latest single is the breezy, Sgt. Pepper-like “Olympia.” Centered around fluttering synths, fuzzy and distorted guitars, a propulsive rhythm section and Rasool’s dreamy vocals the track is a seamless and brightly colored synthesis of 60s psychedelia and Brit Pop. 

Directed by Andrea Mae, the recently released video for “Olympia” is a lysergic fever dream, featuring the members of the band having wild visions while in a sauna. “For this video, I was inspired by the ghosts that haunt each of us human beings. I chose to have one of these as a central character of the narrative and to give it a place filled with light, positivity, or perhaps a touch of humour,” Mae explains. “The sauna was an addition to this concept because it is purifying place, a room where you are in company and in a state of peace. I wanted something that looked like a modern day psychedelic cartoon, but mixed with some vintage, experimental footage to try and create a hybrid that looks part 60’s and part now.”​

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New Video: Acclaimed Multi-Continental Pysch Rock Act Flamingods Release a Lysergic Animated Visual for Motorik Groove-Driven Single “Paradise Drive”

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods has traveled widely to collect rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school. Rasool then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were residing on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. And shortly after that, the members of Flamingods began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les BaxterTito PuenteArthur Lyman and others. Although the album received mixed reviews, it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records,who released that year’s Kewali EP and the band toured to support the album, including their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound MachineMeridian Brothers and Oasis‘ Andy Bell. And the band released a Dan Carey-produced live version of “Hyperborea.

Flamingods’ fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but while channeled through mysticism, positivity and sun-drenched imagery. But perhaps much more important, the Levitation recording sessions found the band living and working on the same continent for the first time in about four years, and as a result, the album’s material may arguably be the most unified effort they’ve written and released in years. The album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream of the entire album with the song sounding like a disco-like “Autobahn 66” meets LCD Soundsystem, thanks to the copious use of cowbell.

Animated by Mien’s John Mark, the recently released video uses the incredibly trippy album artwork created by Indonesian artist Ardneks. “I wanted something that looked like a modern day psychedelic cartoon, but mixed with some vintage, experimental footage to try and create a hybrid that looks part 60’s and part now,” Marks says of the video.

Currently comprised of founding members Alexis Taylor and Joe Goddard, along with Owen Clarke, Al Doyle, and Felix Martin, the critically applauded, Grammy Award-nominated, London-based electro pop act Hot Chip can trace its origins back to when its founding duo of Taylor and Goddard met while studying at Elliot School, Putney. Bonding over a shared love of R&B and house music, Hot Chip’s founding duo started collaborating together musically as early as 1998.

After releasing 2001’s Mexico EP, 2002’s San Frandisco EP and a handful of other material through small labels and independently, the act caught the attention of Moshi Moshi Records, who signed the band in 2003 and subsequently released their full-length debut, 2004’s Coming on Strong. Interestingly around this time, the project expanded to a full-fledged band with the additions of Owen Clarke, Felix Martin and Al Doyle. And with their new lineup, the act began working on their sophomore album The Warning while signing a UK and US record deal with DFA Records and EMI Records, which resulted in Astralwerks releasing their full-length debut in the States in 2005.

Released in 2006, The Warning earned the band a more mainstream following while being critically applauded — the album featured two UK Top 40 singles  “Over and Over” and “Boy from School,” before eventually being shortlisted for that year’s Mercury Prize and Mixmag‘s Album of the Year. Adding to a growing national profile. “Over and Over” was named the best single of that year by NME.

The acclaimed London-based electro pop act’s third, full-length album, 2008’s Made in the Dark featured “Ready for the Floor,” which peaked at #6 on the UK charts. Building upon the buzz the single received, the band made appearances on Friday Night with Jonathan RossJimmy Kimmel Live! and Last Call with Carson Daly — with the song receiving a Grammy nod for “Best Dance Recording,” eventually losing out to Daft Punk’s “Harder Better, Faster, Stronger (Alive 2007).

After completing a lengthy world tour to support Made in the Dark, the members of Hot Chip returned to London and began writing and recording their fourth full-length album, 2010’s disco and early house music influenced One Life Stand, which found the band collaborating with This Heat‘s and Camberwell Now’s Charles Hayward, The Invisible’s Leo Taylor and Trinidadian steel panist Fimber Bravo.

Since then the band released two more albums: their fifth album, 2012’s In Our Heads, an album that the band’s Alexis Taylor said was written and recorded in a speedier fashion with less pressure and more fun — and 2015’s Why Make Sense, which featured album single “Huarache Lights.”

Hot Chip’s seventh full-length album A Bath Full of Ecstasy is slated for a June 21, 2019 release through Domino Records — and while being their third album for Domino, the album reportedly finds the band firmly cementing the sound they’ve been celebrated for — bringing euphoria and melancholy with breezy and colorful melodies, plaintive vocals and propulsive beats. Interestingly, the album which was recorded in Paris and London finds the act opening themselves up to a more adventurous and collaborative songwriting process, choosing to work with outside producers for the first time in their history —Cassius‘ Philippe Zdar, who has worked with Phoenix and Rodaidh McDonald, who has worked with the likes of The xx, David Byrne, Sampha and others.

Clocking in at 6 minutes, the album’s first single  “Hungry Child” is centered around glistening synths, tweeter and woofer rocking beats, finger snaps, plaintive vocals, an anthemic hook and a motorik-like groove — and while clearly being indebted to classic house and sultry French electronica, the track also subtly recalls JOVM mainstay Beacon. And as a result, it has a bittersweet air; the sort that comes from the recognition that joy is often paired with pain.
2019 will also see the members of Hot Chip embarking on what may arguably be the biggest tour of their entire history with a number of club shows during the Spring across Europe and North America, including a sold out April 29, 2019 stop at Elsewhere — before making stops across the European festival circuit. They return to New York in the fall with two dates — September 3, 2019 and September 4, 2019 at Brooklyn Steel. Check out the tour dates below.
Tour Dates
4/4 – London @ Village Underground SOLD OUT
4/5 – Brighton @ Concorde 2 SOLD OUT
4/6 – Bristol @ Trinity SOLD OUT
4/8 – Paris @ Trabendo SOLD OUT
4/9 – Brussels @ Botanique Orangerie SOLD OUT
4/11 – Cologne @ Luxor SOLD OUT
4/12 – Hamburg @ Mojo SOLD OUT
4/13 – Berlin @ Columbia Theatre SOLD OUT
4/14 – Amsterdam @ Paradiso Noord SOLD OUT
4/29 – Brooklyn, NY @ Elsewhere SOLD OUT
5/1 – Los Angeles, CA @ El Rey Theatre SOLD OUT
5/2 – Pioneertown, CA @ Pappy and Harriet’s SOLD OUT
5/4 –  San Francisco, CA @ August Hall SOLD OUT
5/24 – London @ All Points East Festival
6/1 – Egeskov Castle, Denmark @ Heartland Festival
6/8 – Helsinki, Finland @ Sideways Festival
6/14 – 6/18 – Mannheim, Germany @ Maifeld Derby Festival
6/28 – 6/30 – Somerset @ Glastonbury Festival
6/4 – Catalonia Spain @ Vida Festival
6/5 – Six-Fours-les-Plages, France @ Pointu Festival
6/11 – Lisbon, Portugal @ NOS Alive Festival
6/11 – 6/13 – Bilbao, Spain @ Bilbao Live Festival
6/19 – 6/21 – Jodrell Bank, Macclesfield @ Bluedot Festival
6/19 – 6/21 – Biarritz, France @ Biarritz en été Festival
6/26 – Aulnoye-Aimeries, France @ Les Nuits Secrètes Festival
8/2 – 8/4 – Waterford, Ireland @ All Together Now Festival
8/4 – Glasgow @ Playground of Sound Festival
8/16 – St Malo, France @ La Route du Rock Festival
8/16 – 8/18 – Hasselt, Belgium @ Pukkelpop Festival
8/30 – Vlieland, Netherlands @ Into The Great Wide Open Festival
Autumn 2019 headline tour
9/3 – Brooklyn, NY @ Brooklyn Steel
9/4 – Brooklyn, NY @ Brooklyn Steel,
9/7 – Washington, DC @ 9:30 Club
9/8 – Philadelphia, PA @ Union Transfer
9/9 – Boston, MA @ Royale
9/10 – Montreal, QC @ MTELUS
9/12 – Toronto, ON @ Phoenix Concert Theatre
9/13 – Chicago, IL @ Riviera Theatre
9/14 – Minneapolis, MN @ First Avenue
9/17 – Vancouver, BC @ Vogue Theatre
9/18 – Seattle, WA @ The Showbox
9/19 – Seattle, WA @ The Showbox
9/20 – Portland, OR @ Roseland Theater,
9/24 – Santa Cruz, CA @ The Catalyst
9/25 – Oakland, CA @ Fox Theater
9/27 – Los Angeles, CA @ Shrine Auditorium
10/17 – Dublin @ Olympia
10/18 – Birmingham @ O2 Institute 1
10/21 – Bristol @ O2 Academy
10/22 – Nottingham @ Rock City
10/24 – Norwich @ LCR
11/30 – Milan @ Alcatraz
12/2 – Amsterdam @ Melkweg
12/3 – Berlin @ Columbiahalle
12/4 – Luxembourg @ den Atelier
12/5 – Lausanne @ Les Docks
12/7 – Paris, @ Elysée Montmartre
12/11- Hamburg @ Docks
12/14 – Stockholm @ Vasateatern
12/15 – Oslo @ Rockefeller

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods has traveled widely to collect rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school. Rasool then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were residing on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. And shortly after that, the members of Flamingods began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. Although the album received mixed reviews, it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records, who released that year’s Kewali EP and the band toured to support the album, including their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and OasisAndy Bell. And the band released a Dan Carey-produced live version of “Hyperborea.

Flamingods’ fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but while channeled through mysticism, positivity and sun-drenched imagery. But perhaps much more important, the Levitation recording sessions found the band living and working on the same continent for the first time in about four years — and as a result, the album’s material may arguably be the most unified effort they’ve written and released in years. Now, as yo may recall, the album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream; in fact, “Paradise Drive” reminds me quite a bit of one of my favorite Primal Scream songs, “Autobahn 66” but with a subtle disco element to it,  complete with cowbell.

 

New Video: Flamingods Release Trippy Visuals for Their Motorik Groove-Driven New Single “Marigold”

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods traveled widely and collected rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile. 

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away and 2013’s full-length debut Sun, a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail’s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school.  

Rasool moved to Dubai, where he worked for an independent magazine and coffee shop. Although the members of the band were on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.” 

During the release of Hyperborea, Prest relocated to Dubai to work closely to Rasool. The band quickly began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. Although the album was received mixed reviews, it was championed by BBC Radio 6’s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival. 

In February 2017, the band signed with Moshi Moshi Records, who released that year’s Kewali EP and the band toured to support the album, making their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and Oasis’ Andy Bell. Additionally. the band released a Dan Carey-produced live version of “Hyperborea.” 

The acclaimed act’s fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and interestingly, the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but channeled through mysticism, positivity and sun-drenched imagery. Interestingly, the album’s recording sessions found the band living and working in the same continent for the first time in about four years — and as a result, the album’s material has a unified feel. Levitation’s first single “Marigold” is a trippy and sunny bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths and while delivered with a self-assured swagger, the song sonically reminds me of Evil Heat-era Primal Scream. 

Directed by Barbu.TV, the recently released video was shot during a trip the band made to Oman — in particular, the remote city of Nizwa, known for a gang of vintage motorbike riding youths — and the trip involved hazardous border crossing, self-made ornate, denim jackets. Additionally the video features some innovative camerawork and some appropriately hypnotic animation. As the band’s Kamal Rasool says of the video, “We had heard about this gang of motorbike riding youths through our friend [photographer] Ali Al Sharji and knew immediately that we wanted to make a music video with them. They live in a remote city in Oman called Nizwa and have had these vintage bikes passed down from generation to generation. The police aren’t so fond of them but they are some of the nicest guys we’ve ever met.  We joined them riding through the city and had a proper road trip along the way with the Barbu. TV guys, exploring through deserts, mountains, skate parks, palm groves and old monuments. I think the motion of them riding the bikes melded with the motorik groove of the song perfectly and the sun-soaked environment was just what we needed to capture the song’s themes”

New Video: Benin City Returns with a Thumping, House Music-Inspired, Club Banger

Comprised of Joshua Idehen (vocals, spoken word), Shanaz Dorsett (vocals) and multi-instrumentalist Tom Leaper, the London-based trio Benin City have received both national and international attention for a sound that meshes Afro-pop, hip-hop, spoken word and electronica in a seamless, club banging fashion. The trio’s forthcoming sophomore effort Last Night is slated for a April 6, 2018 release through Moshi Moshi Records, and the album reportedly is an ode to London’s nightlife and club scenes with the trio commenting on what their hometown’s nightlife scene has meant to them while expressing anger, frustration and weariness over a rapidly disappearing scene.

For countless people across the world, especially those in a city like New York, the disappearance of beloved clubs, bars and music venues create much larger, universal questions: What does it mean for your town and its culture? What does it mean socioeconomically? With nightlife being both an escape from the soulsucking horrors of the daily grind and a way for weird kids passionate about dance, music, art and fashion to find a supportive loving alternate family, where do these kids go to find that kind of support and love? What happens to them if they never find the support and love they needed? Where do they find a sense of belonging and purpose? And if they have found all of that in a beloved club or bar, what happens when that spot closes?

Interestingly, each individual member of Benin City has spent the past decade in London’s nightlife scene in a variety of roles including artists, ravers, bartenders, bouncers, bar backs, scenesters, drinkers, partiers and weekend warriors, and as a result the album’s material emphasizes a deep, inconsolable sense of loss. As the trio’s Joshua Idehen explains, “London nightlife has been our way out, our release, our daily escape. We’ve been clubbers, barmen, part / full-time drinkers. We’ve served cocktails and downed shots. We’ve found ourselves on dancefloors and lost our dinners on nightbusses. We’ve laughed, we’ve cried, we’ve engaged in dumb drunken squabbles and we’ve found ourselves in strangers’ houses. We’ve danced to songs we didn’t know the name of. We made landmarks out of hidden corners of London: Passing Clouds, Ghetto, Trash Palace, Plastic People, Vibe Bar, Cable, Crucifix Lane. Those places, and the stories they held are gone for good as London becomes pricier and ever more grey. On this album are some of those stories: this is an ode to London’s nightlife.”

Towards the end of last year, I wrote about album single “All Smoke, No Fire” a track that featured a minimalist yet propulsive and club rocking production consisting of stuttering beats, an eerily repetitive and chiming synth line and an enormous yet sinuous hook over which Idehen and Dorsett rhyme about prototypical club situations — while noting that those who engage in and love nightlife culture need it to survive with their dignity and sanity intact, even if the bouncer is a no-neck having asshole or if someone spilled their drink over that dope new outfit you brought just for that one night of freedom; but underneath it all is a subtle and undeniable sense of loss and unease over your personal headquarters disappearing — forever.

Last Night’s latest single “Final Form” is a thumping and sinuous house track production featuring arpeggiated synths, tweeter and woofer rocking beats, chiming percussion paired with a rousing and anthemic hook — and in some way,  the song strikes me as a swaggering and modern synthesis of Snap!’s “Rhythm is a Dancer,” and Stardust’s club classic “Music Sounds Better With You” but with an ecstatic yet deeply personal bent. As the British act’s Joshua Idehen explains, the song was inspired by a night at Zoo Bar, “I once went to Zoo Bar in the West End with a poet I really fancied. It was a Saturday night, and neither of us drank but we felt like dancing. They were playing soulful house (this was back in the noughties). Spurring and daring each other on, we started with the running man and ended up at last orders, dripping in the worst sweat, making up entirely new dance moves, downing large glasses of tap water. She, a Dragonball Z fan, kept saying ‘nah, you haven’t seen my Final Form. Next song I will be over 9000.’ Obviously, that stuck with me.”

As for the video treatment, Idehen explains, “Our last video for “All Smoke, No Fire” was in memory of all the clubs that have shut in the last five years, so we wanted our next video to celebrate the mainstream and alternative scenes still thriving in London. Working with George Bushaway, we crafted a narrative of two clubbers working up the courage to lose themselves in three very different dancefloors: Lindy hopping with Swing Patrol in Holborn, Jungle/Garage raving in Fire down [in] Vauxhall, and a soca night at Ruby Blue, Leicester Square.” The video focuses on these two lonely men, feeling self-conscious, awkward and as though they couldn’t possible belong — that is until they figure out a way to let go, and embrace the moment, absorbing the joy, ecstasy and community of the room they’re in, while being authentic to themselves.

New Video: Benin City Releases a Poignant Ode to London’s Disappearing Nightlife Scene

Comprised of Joshua Idehen (vocals, spoken word), Shanaz Dorsett (vocals) and multi-instrumentalist Tom Leaper, the London-based trio Benin City have received both national and international attention for a sound that meshes Afro-pop, hip-hop, spoken word and electronica in a seamless, club banging fashion. Interestingly, the trio’s forthcoming sophomore effort Last Night is slated for a April 6, 2018 release through Moshi Moshi Records, and the album reportedly is an ode to London’s nightlife and club scenes with the trio commenting on what their hometown’s nightlife scene has meant to them while expressing anger, frustration and weariness over a rapidly disappearing scene. 

Certainly, as a New Yorker with some of my favorite venues and bars seemingly every few weeks, it leaves larger universal questions– what does it mean for your hometown and its culture? With nightlife being both an escape from the daily grind and its increasing horror, and a way for weird kids to find a supportive, loving, alternative family, it leaves some universal questions for anyone who loves nightlife and/or clubbing — namely, what does it mean for my city culturally and spiritually for these places to disappear because of gentrification? With a significant portion of the nightlife scene, they’ve found the supportive and loving family that has eluded them their entire lives, where do they find that sense of belonging and purpose — if their favorite club or bar closes? 

With each individual member of Benin City spending the past decade of their lives in London’s nightlife scene as artists, ravers, bartenders, bouncers, bar backs and scenesters, drinkers and partiers, the album’s material emphasizers a larger sense of inconsolable loss. As the trio’s Joshua Idehen explains, “London nightlife has been our way out, our release, our daily escape. We’ve been clubbers, barmen, part / full-time drinkers. We’ve served cocktails and downed shots. We’ve found ourselves on dancefloors and lost our dinners on nightbusses. We’ve laughed, we’ve cried, we’ve engaged in dumb drunken squabbles and we’ve found ourselves in strangers’ houses. We’ve danced to songs we didn’t know the name of. We made landmarks out of hidden corners of London: Passing Clouds, Ghetto, Trash Palace, Plastic People, Vibe Bar, Cable, Crucifix Lane. Those places, and the stories they held are gone for good as London becomes pricier and ever more grey. On this album are some of those stories: this is an ode to London’s nightlife.”

Last Night’s latest single “All Smoke, No Fire” consists of a minimalist, propulsive and club banging production featuring stuttering beats, an eerily repetitive and chiming synth line and an enormous yet sinuous hook over which Idehen and Dorsett rhyme about prototypical club situations and while noting that there’s a sense of needing nightlife to survive with one’s dignity and sanity intact even if the bouncer is an asshole or someone spilled their drink on you; but underneath that there’s a sense of anger and frustration over another beloved place disappearing forever.  

Directed by Shaun Grant, the recently released video foe “All Smoke, No Fire” features nighttime footage of the London area and friends of the trio meeting in front of closed clubs, beloved landmarks and libraries, with the some of their friends speaking about the loss of their scene with a poignant and devastating honesty. 


 

 

Mark Dobson, the creative mastermind behind the British electronic music sensation Ambassadeurs has developed a reputation as a producer and electronic music artist for a sound that employs the use of samples that have been processed beyond recognition and that’s informed by dub, hip-hop, jazz, and drum ‘n’ bass. And as result of his signature sound and production style, Dobson has also become a go-to producer as he’s done work for a number of renowned labels including Tru Thoughts, Ninja Tune, Moshi Moshi, Fat Cat, Wah Wah 45s, Universal, and Rough Trade — all while heading his own label, Lost Tribe Records and releasing a number of free singles for his rapidly growing fanbase. (He currently has 35,000 followers and his singles on SoundCloud have exceeded over 7 million plays.)

Dobson has received airplay from several BBC Radio 1 personalities,  as well as praise from the likes of The Fader, Mixmag, Vice, i-D, Clash, XLR8R and others, and as a result he has opened for the likes of renowned artists such as  ODESZA, Machinedrum, The Gas Lamp Killer, Danny Brown, Gold Panda, Daedelus and Kelpe, had a 15 date co-headline tour across North America with Daktyl and played at festivals such as Hard Day Of The Dead, Brooklyn Electronic Music Festival, and The Sound You Need Festival.

2015 has been a rather busy and prolific year for the London-based electronic music artist and producer as his debut effort Patterns was released to critical praise earlier this year, along with a number of EPs. Building up on the increasing buzz and serving as a teaser for his forthcoming 2016 efforts, Dobson recently released his latest single “Halos,” which was written and recorded during a vacation in the country — and in some way that vacation has influenced the single’s sound as it is reportedly much more organic than his previously released work as layers of staccato synths are paired with skittering drum programming, swirling electronics and soulful vocal samples with warm bursts of strings and twinkling keys. Sonically, the song seems to be equally influenced by Peter Gabriel (think of “Shock the Monkey” and “Biko“) as it is by house music; as I listened to the song I was reminded of Octo Octa‘s Between Two Selves. In other words, the material manages to be atmospheric and melodic, while possessing a cinematic quality.