JOVM chats with White Lies’ Charles Cave in a wide-ranging conversation centered around their latest album “Five.”
Earlier this year, I wrote about the Amsterdam, The Netherlands-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist, Tessa Rose Jackson, who’s perhaps best known for her solo recording project Someone. Now, as you may recall, her debut EP Chain Reaction was an ambitious and creative undertaking that involved an accompanying short film. Unsurprisingly, the Amsterdam-based singer/songwriter, multi-instrumentalist, producer and multi-disciplinary artist’s forthcoming sophomore EP, Orbit may arguably be her most ambitious undertaking yet: the material finds Jackson exploring the intensity with which art and music can be fused and how they can fully enhanced.
Thematically, the material incisively comments on our overstimulated digital age, suggesting that we spend so much time on our phones and on social media being exposed to external distractions that we’re essentially orbiting around each other and our passions, rarely touching, resting or even focusing long enough to truly connect to anything or anyone. Jackson also created an interactive augmented reality exhibition that combines her music with cutting edge technology and hypnotic art, which employs elements reminiscent of space and planets, with the exhibition being presented in gallery spaces in Amsterdam, London, Berlin, and Paris.
When viewed through a tablet or a smartphone, the artwork comes to life, and the song linked to that particular piece will be played through the viewer’s headphones. The artworks each react differently and react to the music, dynamically building as the songs progress. They will also react to touch from the viewer on their tablet screens, allowing full interaction and immersion. Trippy, huh?
Orbit‘s first single, the dreamy and ethereal “Get It Together” was centered by shimmering and arpeggiated synths, thumping beats, buzzing power chords and a soaring hook that in some way brought Tame Impala and Air to mind. Centered around an infectious groove, shimmering guitars, four-on-the-floor like beats, the EP’s latest single “I Can’t Remember How To Talk To You” will further Jackson’s growing reputation for crafting breezy and buoyant hooks.
Orbit EP will see a May 1, 2019 release through [PIAS] Recordings.
London-based indie trio White Lies’s aptly titled, fifth, full-length album Five is slated for a February 1, 2019 release through [PIAS] Recordings, and while marking the trio’s tenth anniversary together, the album reportedly finds the British pop trio pushing their sound in new and adventurous directions paired with arguably some of the most deeply personal and intimate lyrics of the band’s entire catalog. Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.
Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place. In fact, the song feels so lived-in that it bristles with the bitterness and hurt that comes from being in a relationship in which you’ve left broken, fucked up and confused. “Believe It,” continued in a similar vein as its immediate predecessor as it’s full of enormous, arena rock friendly hooks while bearing a resemblance to Pet Shop Boys, Tears for Fears, Jef Barbara and Joy Division/New Order.
“Tokyo,” Five’s latest single continues a run of rousingly anthemic singles centered around enormous hooks, arpeggiated synths, razor sharp grooves and McVeigh’s inimitable vocals. And while the song reminds me of Tears For Fears’ “Shout,” “Change” and “Everybody Wants to Rule The World,” the song will remind the listener, that the British trio have an unerring and uncanny ability to write a triumphant, arena rock-like song.
The recently released, gorgeously shot video for “Tokyo” was directed by long-time visual collaborator David Pablos and was shot back-to-back with the video for previously released single “Believe It,” in Tijuana, Mexico late last year. As the band explains in press notes “Once again we were lucky to work with David in Tijuana to create what is our best video since ‘Death’. His unique knowledge of the area affording us access into some of the city’s most stunning and bizarre locations helps bring to life his vision of stories of love and loss. Where in the world would you be able to film a scene of the band sat on a 4-story high nude woman? Tijuana, that’s where apparently and resulted in our favourite collaboration with him yet.”
Pablos adds “As soon as I heard the song I knew I wanted to shoot the video during night time. Everything starts with us seeing scenes of life through windows from the outside, but once we go inside we discover nothing is exactly what it looks like or what it appears to be. Each window is a metaphor; more than a real space it is a representation of a mental state. But more than portraying the city, what was important was the human face and to capture the personalities of each one of the characters.”
Five, the acclaimed London-based indie trio White Lies’s forthcoming, fifth full-length album is slated for a February 1, 2019 release through [PIAS] Recordings, and the album marks the band’s tenth anniversary while finding them pushing their sound and aesthetic in new and adventurous directions, paired with deeply personal and intimate lyrics written by the trio’s Charles Cave. Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeysand Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.
Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place; so real, that the song bristles with the bitterness, confusion and hurt that comes from being in a relationship that leaves you fucked up and broken. Five’s latest single “Believe It” continues in a similar vein as its immediate predecessor as it’s full of enormous, arena rock friendly hooks — but it manages to bear a resemblance to Pet Shop Boys, Tears for Fears, Jef Barbara and Joy Division/New Order, as the song is centered around big power chords, shimmering and twinkling synths, a forcefully propulsive rhythm section and McVeigh’s baritone.
Interestingly, as the band explains, the song is “about types of therapy, seen from a shifting perceptive of those passionate towards it, those skeptical of it, and those out to make money from it. We wrote it mid-way through the sessions and it became an instant favourite of ours. It’s a four-minute ‘no-nonsense’ singalong with lots of ingredients we’ve used before so we hope our fans will love it.”
Over the past couple of years of this site’s eight-plus year history, I’ve written a bit about the Brooklyn-based indie pop act Pavo Pavo, and as you may recall the band, which derives its name from the southern constellation Pavo (Latin for “peacock”) can trace its origins back to when its founding trio Eliza Bagg (vocals, violin and synths), Oliver Hill (vocals, guitar, synths) and Ian Romer (bass) met while studying at Yale University. And since their formation back in 2015, individual members of the band have collaborated with the likes of Here We Go Magic, John Zorn, Dave Longstreth, Porches, Olga Bell, Lucius, Roomful of Teeth and San Fermin among others while the band has received attention both from this site and elsewhere for a retro-futuristic sound that draws from 60s psych pop, synth pop, prog rock and New Age.
Since the release of the band’s critically applauded debut album Young Narrator in the Breakers, the band has gone through a series of massive lineup changes as the band has become centered around two of its founding members — Oliver Hill and Eliza Bagg. Interestingly, much like Rubblebucket’s latest album, Pavo Pavo’s forthcoming (and long-awaited) sophomore album Mystery Hour is thematically and narratievly focused around the breakup of the duo’s six-year romantic relationship and the changing of their relationship; in fact, the album and its creative process began as a way for Hill and Bagg to process their breakup and what it meant both for them and the band — and in some way, it also became a feedback loop, influencing their separation and the new roles they would have in each other’s lives. And as result, the album manages to be a cinematic yet intimate mediation on relationships from different angles — but primarily on messy, incomplete endings between equally messy and incomplete people. Perhaps unsurprisingly, the album’s first official single, album title track “Mystery Hour” is an incredibly tight yet swooning pop song that recalls Sgt. Pepper-era Beatles, as its driven by a gorgeous orchestral arrangement, a soaring background choir arrangement, strummed acoustic guitar, and the duo’s haunting harmonies before a celestial fadeout; but the song is an acutely bittersweet and aching lament centered around the line “I realize love is to see every side of you/but mon cheri, I’m designed to be unsatisfied.” It’s a painfully sad reminder that eventually all things end — and we’re left to figure out some way to pick up the broken pieces and move forward.
Directed by Harrison Atkins, the video is a vibrant and gauzy fever dream full of joy, ache, longing and regret in the wild and confusingly ambivalent mix that life throws at us. As Pavo Pavo’s Oliver Hill explains of the video’s treatment: “Our new record was written after Eliza and I were separating after a six–year relationship. For the title track, we wanted to make a video that introduced us as two characters meditating on relationships from all angles, while matching the romantic melodrama of the orchestra and choir with lots of cinematic action and narrative. John, the 7–foot protagonist of the video, is an angel of love and sex, and serves as a superhuman mascot for the record – he represents the search for intimacy and connection. The human heart tattoo on his neck is the core of his power, and within the tattoo lives us, Pavo Pavo, casting spells and guiding his movements as he makes out with everyone in sight.”
Mystery Hour is slated for a January 25, 2019 release through [PIAS] Recordings.
Slated for a February 1, 2019 release through [PIAS] Recordings, the acclaimed London-based indie trio White Lies, comprised of Harry McVeigh (lead vocals, guitar), Charles Cave (bass, backing vocals) and Jack Lawrence-Brown (drums) will be marking their tenth anniversary as a band — and interestingly, the album reportedly finds the band pushing their sound and aesthetic in new directions with the addition of personal, and at times deeply intimate lyrics written by the band’s Charles Cave. Unlike the preceding albums, the writing and recording process was a Transatlantic one that included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.
Clocking in at a little over 7 and a half minutes, the album’s latest single “Time to Give” may arguably be among the most ambitious songs the band has released, as the track is centered around a lush yet moody arrangement of shimmering synths, a sinuous bass line that’s part of a propulsive, motorik groove and soaring, arena rock-friendly hooks paired with McVeigh’s sonorous baritone. And while nodding a bit at Snow Patrol and others, the song seems to focus on a dysfunctional and abusive relationship from a real an lived-in place; in fact, it’s so real that as a result, the song bristles with bitterness, confusion and hurt.
Over the better part of this year, you may have come across a couple of posts featuring Belgian singer/songwriter and guitarist Maarten Devoldere. Perhaps best known as the frontman and primary songwriter of the Belgian indie rock act Balthazar, an act that features members, who hail from Kortrijk and Ghent, Belgium; however, Devoldere has started to receive both national and international attention with his solo, side project, Warhaus, which has further cemented his growing reputation for deftly crafting urbane and hyper-literate material with an accessible, pop-leaning sensibility with his work managing to simultaneously nod at the surrealistic and moody art rock of The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, Leonard Cohen and the poetry of William Blake, complete with a decadent and boozy slide into sinful ruin. Unsurprisingly, one of his earliest Warhaus efforts We Fucked a Flame Into Being was derived from a line in DH Lawrence’s classic, erotic novel Lady Chatterly’s Lover, and the material thematically focused on lust, desire, the profound inscrutability of random encounters — with a decidedly European decadence and a deeply personal, confessional nature, as you would have heard on the slow-burning and sensual “Machinery.”
“Love’s A Stranger,” an equally slow-burning rumination on love’s fleeting and impermanent nature and on adultery was interestingly enough, the first single off Devoldere’s sophomore Warhaus album, a self-titled effort slated for release on October 13, 2017 through [PIAS] Recordings. The material on Delvodere’s sophomore Warhaus effort was written largely on the road, as well as on a remote Kyrgyzstan retreat with only a local shepherd for company, and was recorded back home in Belgium. But whereas his previously recorded efforts focused on sin, lust and love — with a bittersweet aftertaste, reportedly, there’s at points where the worldly cynicism gives way to sincere, honest love; while pairing his boozy baritone with the gossamer vocals of his backing vocalist and girlfriend Sylvie Kreusch throughout. “We’ve very different people,” says Devoldere. “She’s this natural force which I don’t understand at all and I’m the guy who thinks everything through. It’s an interesting combination.”
Reportedly, the recording sessions for the self-titled album was a much more spontaneous affair, heavily influenced by Dr. John’s legendary The Night Tripper period, as you’ll hear hints at voodoo rhythms and hints at jazz — and although his touring band, aren’t technically known for being jazz musicians, as Devoldere says of his band, “they’re good at faking jazz.” And with “Mad World,” the album’s woozy and boozy, late night shuffle of a second single, the backing band pair lush and atmospheric strings, voodoo and jazz-inflected rhythms with Devoldere’s boozy baritone. And while evoking something of a late night, drunken stumble, the song focuses on desperate, unfulfilled lust and desire but within an angst-filled world that’s gone mad — and Delvodere does so in a way that feels and sounds like a charmingly roguish and nasty come on.
The recently released video for “Mad World” was directed by frequent collaborator and friend Wouter Bouvjin and Benny Vandendrissche and shot in one continuous take by Jeronimo Fantini Foradellas during some nighttime escapes in Magaluf, Mallorca, a city known for wild parting, boozing and casual sex — and the video features Maarteen Devoldere initially dancing in neon-drenched street by himself before random pedestrians join him or jump in front of the camera. Personally, while watching the video, I was reminded of walking out of the Sugar Factory nightclub in beautiful Amsterdam at 4:00 in the morning, and as I was heading back to my hotel room near the Museumplein, I came across a group of rowdy and fun-loving kids who were dancing and chanting in the street. And although I was alone and far away from home, there was something strangely comforting and warmly ridiculous at that moment, perhaps because we were all trying to escape our own loneliness?
Over the past 15-18 months or so, I’ve written quite a bit about the Paris-based electronic music and production duo DBFC. Now as you may recall, the duo, comprised of Manchester, UK-born, Paris-based David Shaw and Paris-born and-based Dombrance, the duo emerged onto the French electronic music scene with the release of a handful of singles during 2015-2017 through renowned indie label Her Majesty’s Ship Records — including “Autonomic,”a track that channelled Kraftwerk’s “The Man Machine,” and Primal Scream‘s “Autobahn 66” — but with a trippy, hallucinogenic vibe.
Along with that, you’d also likely remember that the duo, building upon a growing national and international profile through that same batch of early singles, released their full-length debut Jenks earlier this year through Different Recordings/[PIAS] Recordings. Unsurprisingly, the album’s last two singles, “Sinner” and album title track “Jenks” further cemented the duo’s reputation for pairing slick, dance floor-friendly electronic production with live, organic instrumentation in a way that nods at the classic Manchester sound of Primal Scream, New Order and others but while possessing a larger, universal theme — that sweaty clubs, strobe light and a propulsive grove can indeed change your life for the better.
Jenks’ latest single “The Ride” finds the band meshing the classic Manchester sound of singles like “Jenks” and “Sinner” with the tight motorik grooves of Kraftwerk and others; in fact, when I first heard “The Ride,” I immediately thought of Primal Scream’s “Autobahn 66” and The Chemical Brothers’ “Star Sitar” — but underneath the slick, dance floor friendly sound is a song, much like its predecessors, that comes from a series of extensive jam sessions, and as a result, it possesses a loose yet immediate “you were there in the studio” vibe. Of course, along with that the single echoes many of the themes on the album — in this case, a swooning romantic and unbridled sense of possibility, making it one of the more upbeat songs the duo has ever released.
The recently released visuals for “The Ride” employs a relatively simple concept — the members of DBFC performing the song in a small rehearsal room with their instruments and their electronic gear in front of a wild and dizzying array of colored strobe light, extreme close ups of the musicians performing their hearts out, and rapid fire cuts. And while capturing the immediacy of the song, the video’s directors MDS-HMS employ the colored lights to create a strong visual identity — “visualised here as a rainbow tornado.”
Now, if you’ve been frequenting this site over the past year, you may recall coming across posts featuring one of this site’s newest mainstay acts, the Paris-based electronic music and production duo DBFC. Comprised of Manchester, UK-born, Paris-based David Shaw and Paris-born and-based Dombrance, the duo emerged onto the French electronic music scene with the release of a handful of singles during 2015-2017 through renowned indie label Her Majesty’s Ship Records — including “Autonomic,” a track that manages to nod at Kraftwerk’s “Trans Europe Express” and Primal Scream‘s “Autobahn 66” — but with a subtle cosmic glow around its edges.
Building upon a growing national and international profile, the Parisian electronic duo’s highly-anticipated full-length debut Jenks is slated for a June 2, 2017 release through Different Recordings/[PIAS] Records. And you may recall that I wrote about Jenks‘ first official single “Sinner,” a track that further cements the French duo’s reputation for pairing slick, dance floor-friendly production with organic instrumentation — but while “Autonomic” took its cues from Kraftwerk, “Sinner” nodded at Come With Us-era The Chemical Brothers, as it possessed a similar cosmic haze. Album title track “Jenks” however, reminds me even more of Evil Heat-era Primal Scream, EMF‘s “Unbelievable” and the Manchester sound as dreamy vocals are paired with an infectious, motorik groove featuring a sinuous bass line, shimmering arpeggio synths and a rousingly anthemic yet dance floor friendly hook.