Album review: The King of Limbs - Radiohead

There are a handful of bands that define their generation – bridging the gap between underground credibility and mainstream acceptance. The Beatles managed it in the 1960’s, Floyd in the 70’s, U2 in the 80’s and Nirvana briefly in the 90’s. So who are today’s standard bearers? In my opinion there is only one real contender – Radiohead.



The Oxford quintet are undoubtedly the most important band in the world right now – selling out stadiums wherever they play, loved by critics and yet able to experiment with jazz rhythms and electronic instrumentation without fear of how their huge fan-base will react. They’ve been phenomenally consistent throughout a twenty year career. Firstly they redefined guitar rock at the tail end of britpop with The Bends and then went on to make what is regarded as one of the greatest albums of all time in OK Computer. They then completely re-invented themselves with the lush electronica of Kid A and Amnesiac before metamorphosing again to produce the (admittedly a bit patchy) Hail to the Thief and the triumphant record-industry breaking In Rainbows. Along the way they’ve played some of the finest ever festival sets (greatest ever Glastonbury performance?) and been one of the few musical acts to take a political stance on the key issues of our time.


Its fair to say then that there was some excitement last week when the band announced that they would release an album the following Saturday. The first point of interest about King of Limbs was the formats it has been released in. Fans had the option of MP3, WAVV or a deluxe vinyl edition. It is increasingly clear to the band that the CD format is obsolete (although there will be a CD release of the album further down the line). Those who simply want the music go digital while those who want to collect a format increasingly prefer the more tactile vinyl.


There had been rumours of recording sessions taking place for some time but no-one was quite sure when Radiohead’s eighth album would drop. In this age of leaks left, right and centre they’ve once again managed to release material on their own terms at a time of their own asking.

So, what’s the music like? Well, the influences, according to the band themselves include the work of Jamie XX and beats master Ramadanman although an album comprising of bass-driven electronica was always fairly unlikely. To be honest, at first listen, its a little underwhelming but this is often the case with their releases. The band’s sound is increasingly subtle and the hooks and melodies take a while to get under the skin.


Opening track Bloom starts with classical piano and juddering drums before giving way to what could only be described as a jazz bass line and Thom’s vocal. The time signature, in keeping with their last album is also reminiscent of jazz or even african music. As with In Rainbows things really kick off on the second track. 'You’ve got some nerve coming here...you stole it all, give it back’ sneers Thom on Morning Mr Magpie over an upbeat, Neu-esque guitar sound. The song breaks nicely about halfway through and as with many tracks on the album the bass comes to the fore. It goes without saying that the playing is excellent throughout with each member (with the possible exception of Johnny Greenwood) being given ample opportunity to showcase their talents but the rhythm section in particular are able to show what they can do and don’t disappoint.


The album gathers pace from hereon in. Little by little is perhaps the only track here that wouldn’t be out of place on OK Computer. It starts with some John Barry style flourishes and culminates with some backward masking. Feral meanwhile is more electronic sounding. Again heavy drums and a rolling bass feature heavily. This is probably the track that best reflects the influence of Flying Lotus and other electronic pioneers. By now the album is flying by as the sheer number of ideas is quite dizzying and only when listened to on repeat do they fully sink in.


It’s no surprise that Lotus Flower was chosen as the first track to promote the album via an online video (Radiohead don’t seem to do anything as conventional as actually release singles anymore). It’s the catchiest track on offer and features a great vocal performance from Thom. The subject matter vaguely sexual but somehow slightly creepy.


The album then switches a gear for its conclusion. Codex is essentially a piano ballad but is off-set with an ecstasy tinged vocal and jazz piano arpeggios to prevent it becoming too syrupy. Give up the ghost continues the mood. It’s very melancholy, perhaps reminiscent of Pyramid Song from Amnesiac and you can almost picture hugging cupples in woolly jumpers hugging up to each other on the hill of the pyramid stage as Thom wails into the night. The song ends with him singing rounds with sampled versions of his own voice – it’s spooky and quite lovely.


Final track Separator again uses bass rather than guitar to build its melody, just as you think you’ve got to grips with it what sounds like a steel guitar comes into the mix followed by a synthesized choir which lifts us towards the light. It’s a fitting end to an intriguing record, subtle but joyful. The whole album clocks in at under 40 minutes which feels a bit short but certainly leaves the listener wanting more.


The fundamental problem with Radiohead is that we’ve come to take them for granted. This is a band that makes truly beautiful music entirely on their own terms, the complete antithesis of the majority of today’s acts. This isn’t their best work but it bears comparison with it and those who are prepared to persevere with repeated listens will be rewarded. Radiohead continue to intrigue and inspire. We should all be grateful.

The 20 greatest heavy metal albums

Heavy metal – that most derided of genres. Critics hate it, girls (for the most part) hate it and its core audience is teenage boys – how uncool as that? Having said that, metal is one of the biggest genres of all time with huge sales worldwide. Its apologists argue that its the very fact that everyone else hates it that makes it so popular with the disaffected. For an excellent exploration of this theory and metal's enduring appeal check out the movie Metal: A headbanger’s journey. In the meantime enjoy the fact that sometimes there’s nothing better than punching the air and banging your head – even the most cynical towards the genre will find something to love here...if you disagree with my choices please leave your own suggestions at the end of the article.



20. Blackout in the Red Room - Love/Hate


This is an album that takes you straight to LA’s infamous sunset strip of the early 1990’s. Love/Hate wore their drinking and drugging on their sleeves as much as their numerous tattoos. From the title track to stoner anthems Why do you think think they call it dope? and Mary Jane, this record rocks.

19. Ritual De La Habitual – Jane’s Addiction


Features classic alt-rock anthem Been caught Stealing (which notoriously starts with the sound of dogs barking) but this album works from start to finish with its second side (a memoriam to a dead friend of Perry Farrell's) in particular showcasing some excellent songwriting. Ritual... made Rolling Stone's 500 greatest albums of all time
18. A vulgar display of power – Pantera


One of the few metal acts to emerge from the post grunge years with any credibility intact.Texans Pantera were clearly as much influenced by hardcore as metal and used crunchy guitars rather than long solos to showcase their power. Fucking Hostile and Walk were just two of the great tracks on this record. Guitarist Dimebag Darrell was later tragically murdered onstage.
17. Van Halen-Van Halen


Arguably the album where US metal found its feet (although Kiss fans might argue the point). This set the template for everyone who would follow in their wake from Twisted Sister to Motley Crue . Eddie Van Halen became a guitar hero for millions and the track Eruption set the model for all other guitar solo led tracks that followed. David Lee Roth was the consummate metal front man excelling here on such classic tracks as Runnin’ with the devil and Ain’t talking about love.
16. The Real Thing- Faith no More


Few metal albums display as much invention as this. It features rap (Epic), creepy torch songs (Zombie Eaters) and heads down thrash ( Surprise You’re Dead). The Real Thing deservedly became a huge seller prior to the grunge years which alt-metal (Faith No More, The Chilli Peppers, Jane's Addiction, Soundgarden et al) arguably set the context for.
15. Blues for the Red Sun – Kyuss


Kyuss were Joss Homme's band before he formed Queens of the Stone Age. This album set the template for stoner metal– a wonderful combination of Sabbath riffs and drawn out acid rock.

14. Slipknot – Slipknot


Slipknot completely reinvigorated a dying genre when they burst upon the scene (even getting coverage in hipster’s magazine the Face). The combination of terrifying masks and field pummelling nu-metal immediately appealed to teenage boys – the core market for all metal before and since.


13. Burn my eyes – Machine Head


A Modern Classic – essentially thrash but with a more crunchy guitar sound and embracing more modern production techniques. Opening track Davidian is about the Waco siege and pulls you in with its ‘Let freedom reign with a shotgun’ chorus but there is quality stuff throughout.Like Sepultura and Slipknot, this was released on the classic metal independent label Roadrunner.

12. Chaos AD- Sepultura


Signifying the huge global appeal of metal – Brazil’s Sepultura recorded a number of key albums but this is probably their most accessible and manages somehow to combine thrash metal with traditional Brazilian rhythms. The opening track Refuse/Resist is widely regarded as a classic and like a number of the records featured here manages to transcend the usual metal lyrics about sorcerers and shagging.
11. Operation Mindcrime – Queensryche

This one is at the more proggy end of the spectrum. A concept album (of course!)about a hospitalised revolutionary which featured pomp-rock classic Eyes of A Stranger and power ballad Silent Lucidity. Tommy Vance used to hammer this album on his Friday night rock show.

10. Reign in Blood – Slayer


29 minutes of pure thrash heaven (hell surely?) Often named as the heaviest album of all time, this is the full realisation of the power of thrash and manages to be completely uncompromising and raw. Subject matter included Nazi atrocities and organised religion.The sleeve also set the template for pretty much every thrash album since. I always loved Kerry King’s wristband made of nine inch nails – METAL!



9. No Sleep til Hammersmith – Motorhead


We had to have at least one live album and it was a toss-up between this and Thin Lizzy’s Live and Dangerous, Kiss' Alive and Iron Maiden's Live after death. This wins for being the most metal, for going to number 1 and for including the all time classics Ace of Spades and Bomber.

8. Earth versus the Wildhearts – Wildhearts

Some would argue that this isn’t metal in the strictest sense (songwriter Ginger is a master of creating huge pop melodies set to crunching guitars) but this is a personal favourite. I saw them play in Liverpool once to seven people but I'm pleased to say that since then they've gained a loyal and sizable following. This album kicks off with the gloriously sleazy Greetings from Shitsville and also features huge singles TV Tan and a Nine Inch Nails-esque Suckerpunch.
6/7.Rocks/Toys in the Attic – Aerosmith


I can’t choose between these two records so I’ll take them both. For me, Aerosmith are one of the most underrated rock n roll bands – only really appreciated by the metal fraternity which is a shame because they’ve written some fantastic stuff over thirty years. These two albums show what a great band they were – Walk this Way, Sweet Emotion, Back in the Saddle, Toys in the Attic – all stone cold classics. Slash famously went back to a girl’s house when he was fourteen – she put on Rocks and he couldn’t speak to her for an hour being so drawn to the music. Its supremely funky stuff and the Toxic Twins (Tyler and Perry) are two of the greatest characters in rock.



5. Iron Maiden– Iron Maiden


Bruce Dickinson’s air-raid siren vocals even alienate some metal fans (although many would claim Number of the Beast as a classic). My preference is for their debut, recorded with original vocalist Paul Dianno – its more punky in feel but already displays Steve Harris’s ability to write strong hooks and those famous duelling guitars. Running Free still sounds good now and Phantom of the Opera (famously used in a Lucozade advert featuring Daley Thompson) is one of my favourite ever metal tracks for its sheer stop-start energy.

4. Black Sabbath – Black Sabbath


Where it all started. The title track opens the album with wind and rain and the chiming of a church bell – its probably the most atmospheric start to any album. You also get The Wizard (sampled by Cypress Hill among others), NIB and Evil Woman. Sabbath were metal, Zeppelin were heavy rock – there is a difference. The subject matter and sound here is undoubtedly metal.



3. Ride the Lightening – Metallica


Few would disagree that Metallica have had an extraordinary career. There is some debate about which of their albums is the greatest although many would plump for Master of Puppets. I’ll champion the album before, Ride the Lightening. This is their first work where you can really hear their melodies coming to the fore although its still remarkably powerful. Fight fire with fire, the title track, Creeping Death and Fade to Black must be one of the strongest Side A’s of any album. It starts with classical instrumentation and ends with their first power ballad but what comes in between packs an almighty punch. I saw them live last year and they still put on a fantastic live show.

2. Appetite for Destruction – Guns n Roses


The album that changed my (and many other people’s) lives. One minute I was into Dire Straits, the next I was travelling up and down the country camping outside stadiums in hope of a glimpse of one of the most infamous bands of all time. Even now I can’t get over how utterly cool they were on that first album – the Stonsey indifference of Izzy, the smack-addled Steven, Punky Duff, guitar legend Slash and the bandanna wearing nutter that was Axl. And then there was the music – quite simply this album has at least eight of the all time greatest metal tunes including the best opening track (Welcome to the Jungle), the funkiest metal track since Walk this Way (Mr Brownstone) and arguably its best ever ballad (Sweet Child O Mine) - an incredible achievement – especially given the state they were in when recording it. Pretty it ain’t.

1. Back in Black ACDC


Worth the entry price for the title track alone. The opening riff of Back in Black is arguably the greatest metal riff of all – it’s no wonder that its loved by hip-hop DJs as its as funky as much as it is heavy. Back in Black is famously the second best selling album of all time after Thriller and all the more remarkable given that it was their comeback album following the death of original vocalist and key member of the band Bon Scott. I’ve seen You Shook Me All Night Long rock the coolest of dance floors. ACDC are the definitive rock n roll band with Angus's riffs and Brian's raspy holler - irresistible.

Interview with Skitz

OK I admit it, I came to hip hop fairly late. I wasn't one of those guys whose favourite record at the age of 14 was Planet Rock. It was only when I was at university that I got into Cypress Hill and from there discovered The Fugees, Nas and eventually KRS One. Even then, it was some time before I really enjoyed UK hip hop, not because it wasn't good but simply because it didn't occur to me to listen to it (this was a time before Roots Manuva and Dizzee Rascal were scoring chart hits). There were good artists who finally caught my attention - from Manchester you had the Grand Central Crew led by the likes of Rae and Christian and Aim while in London you had Skinnyman and a young Roots Manuva. My favourite by some distance though was Stoke Newington's Skitz. His Countryman album immediately connected with me and made me completely rethink what hip hop was about. It brought home that the point of hip hop was not necessarily clever wordsmithing (although that clearly helps) but the artist's reflection on his environment. Skitz brought together the cream of UK talent to provide a brilliant distillation of what it was like to like in urban Britain in the year 2000 (or 2001 as this was when the album was released). 

Countryman was an album that didn't necessarily sell loads of copies but those who did buy it loved it (Its interesting to note that 11 out of 12 reviews by customers on Amazon give it a full five stars!). If you haven't heard it and you like urban music (whatever that is) then make sure you do. Countryman is like a who's who of British hip hop - featuring (amongst others) Rodney P, Roots Manuva, Skinnyman, Estelle and Represent's MC Dynamite. It surpasses most other urban records in terms of MCing and production and is a pleasure to listen to from beginning to end.  I caught up with Skitz recently keen to find out what his inspirations were in making the record and to find out more from the man behind one of the very best hip hop albums of the Twenty First century .

What were the first hip hop recordings that made an impression on you?


I guess that would have been Run DMC, Fat Boys, LL Cool J, UTFO.Just old school stuff really. After i got into it I started trawling second hand record shops and understanding the foundation. My Sugarhill section is the pride and joy of my vinyl collection.

When did you first decide that you wanted to make your own music?

I was doing pause button mix tapes about 87-88 stringing up two tape decks going into another before i got decks. I guess that's when i fell in love with building stuff.

Who were the key influences on the 'Countryman' album?

Really my life at the time. UK Hip Hop, Primo, a lot of underground US stuff. My Son Solomon, Graff, My people, sweaty dingy clubs, big sound systems, revolutionary music and obviously a lot of producers that were around at the time.

What do you remember about the recording of the album?

Well it took a while. We spent a long time mixing and recording. Jonny Too Bad that was doing all the engineering and co producing had a nice studio round the corner from my house in Stokey and we'd just hang out catch a vibe and go in. The vibes were good and the Ronin label was pretty happening so yeah it just felt like a good productive and creative time.

How do you work in the studio?

All ideas are done at home then i take it to the big studio for the vocals and to mix. Any extras are recorded that need to be

For me, one of the stand out tracks is Fingerprints of the Gods which consists of 4 different MCs showcasing their skills – how did the idea of that come about?

I blatantly took the idea straight from Primo and the tune 'speak ya clout', he had Guru, Jeru and Lil Dap on it. He had 3 mcs and 3 riddims. I had 4..

What about We Make Them Make Noise – what were you trying to achieve with that track?

Just fusing my love of Jungle and Hip Hop and showing that Jungle mc's could hold their own on the lower tempos.

How did the cover art come about?

She One was a friend of mine i used to roll around with in Brighton. I was a second rate graff artist so loved the letter form..She is the don when it comes to wildstyle so was an obvious choice to do the cover. Mau Mau who is like one of my oldest friends did the back cover. On Sticksman he did the cover.

What impact do you think the album had? Do you think the breakthrough of artists such as Dizzie and Plan B as well as Roots Manuva has led to a tipping point for the UK sound?

I like to think that it showcased a lot of talent that we had over here and shone the light on a few. A lot of people went on to bigger and better things...but they all had their own thing going on before Countryman. I think it was just nice for them to all be heard together. The UK goes from strength to strength on the underground. Shame about all the absolute shit that's sweeping our radio dials and DABs. So much weak watered down garbage that gets support...drives me crazy. But the diversity of the UK scene always comes through...Dubstep, DnB, Dancehall, Garage, Electro, Grime, Hip Hop....Everything pushes boundaries. Its just a crying shame that most Radio stations follow fashion and are just scared to take a risk or really support talented acts.

The follow up Sticksman came out this year, how has the reaction been to that?

Amazing. The feedback has been so positive and everyone seems to agree its a quality album that you can listen to the whole way through which is what i set out to achieve. No weak tracks! I spent a whole heap of time mixing and tweeking each track as well as bouncing all the album to tape for that beautiful warmth that only tape can give. Then I mastered it. No corners were cut! Although obviously the scene has changed since the first album. This is a Smartphone, app loving, Youtube generation who don't go record shopping, people hardly buy Cd's any more. Everyone downloads for free. The next generation are here and UK Hip Hop is different now. You can't really make money from sales as a smaller artist. Its all about gigs, live shows, merchandise and building the brand. Change is good and has to be embraced otherwise you get left behind.. I feel like i did that on Sticksman influenced by other genres and other sounds and tempos. Go check it on itunes and honestly you can't tell me its not quality...!!

What next for Skitz?

Keep building, hustling, ducking and diving (fucking and skiving).
Look after my children.
Make a million.
Keep it revolutionary.
Sticksman is available now at Itunes, Amazon and all good retailers
http://www.amazon.co.uk/Sticksman-Skitz/dp/B003A060XS/ref=sr_1_1?ie=UTF8&qid=1295477722&sr=8-1

Hidden gem: Harmonise or Die - Me (Popgod, 1993)

I wasn’t a cool teenager. Growing up in Gloucestershire there were two possible musical routes – heavy metal or indie. I chose the former. It was when I got to sixth form college that this orthodoxy was challenged. There were regular coach trips to indie gigs and being a music lover I tagged along in order to catch some live action. I recall what I considered a dire Wedding Present gig in Newport – although everyone else seemed to enjoy David Gedge’s miserabilism. Far more to my liking was a trip to Gloucester Guildhall to see Bristol indie hippies Me.


The only non-metal album I liked at the time was the Stone Roses’ debut. It wasn’t therefore too much a departure to get into this psychedelic shoegazey collective. I remember thoroughly enjoying the gig ( probably aided by my newfound love of marijuana) to the point that I bought their album at the end of the gig and got it signed. That album was Harmonise or Die. I played it quite a lot at the time until it inevitably moved to the back of my collection where it lingered for 15 years.


I recently picked it up again and had a listen. At first listen it brings to mind a number of bands of the era – Gorky’s Xygotic Mynci for one and the Stone Roses another but the obvious comparisons are with bands on the Creation roster – Super Furry Animals, Primal Scream and, perhaps most obviously, Teenage Fanclub. Having said that it doesn’t really sound like any of them. None of the aforementioned acts featured a recorder in their songs for instance, or for that matter a didgeridoo. This is an album that has a pop heart but dig below and it is awash with experimentalism. It has dated for sure and is very much of its time but if you loved Fuzzy Logic, Bandwagonesque or the Stone Roses you could lose your heart to Harmonise or die.


Me were actually formed in Durham by Francis Kane and George Claridge who moved to Bristol and met Ronan Maguire and brothers Mark and Paul Bradley. Their break came when they hooked up with the Moonflowers, another great psychedelic band in the city at the time. Both bands were signed to Popgod who ruled the Bristol roost until trip-hop hit the city later in the decade. Harmonise or Die was the band’s debut in 1993, they released one other record (Fecund Haunts 1996) before splitting.


The album starts with what can only be called an acoustic lament. It leads the listener into thinking they are going to be hit with a hippy-drippy folk thing but then, just as you reach that assumption, they kick into We Must Be a jangly slice of indie pop. Its quite lovely and makes you want to dance by flopping your head from side to side while wearing a long sleeved t-shirt.


Next track Funny Thing gives us something else again. Beach Boy harmonies over acoustic guitar but very dark lyrics ‘I don’t know how this will end, but I do know that it’s a funny thing, when you let the creatures in and you tremble in the wind’ suggests someone has some serious demons at bay. We then get the didgeridoo-led Here Comes Everybody which has a slightly Krauty beat and Dreambleeding which for me is one of the weaker tracks, a fairly standard indie tune. Much better is ...To The Stars which wouldn’t be out of place as a Stone Roses B-side – its got a lovely bassline and Byrds harmonies – for starters – shame its less than a minute long. The final track on side one is the really peculiar Yousong which consists of someone half-singing, half-rapping numbers alongside someone with what sounds like a helium-fuelled voice which isn’t dissimilar to Madlib’s Quasimoto. Sounds odd? It is.


The optimistic Water kicks off side two ‘You’re the moonlight in the darkness, you shine for everyone’. It has the feel of a  Meddle-era Pink Floyd track. Next up is a straight up electro-folk number and this in turn is followed by perhaps the best track on the whole album. Guilty Feet Fall Foul has a fantastically funky drum beat and yet more lovely harmonies. The playing on this track in particular is very tight with a lovely breakdown in the middle. Paul is another quirky track with some really funky playing. The lyric 'Paul its your birthday, soon it will be over, nothing will have changed.' makes one wonder whether the Paul in question is Paul Bradley or another Paul living in Bristol dining out on the fact that someone once wrote a tune about him. Either way its a nice track. Final track Happy Place is a fitting closer with its piano chords suggesting a lullaby - its a lovely end to an album that constantly surprises and yet somehow still hangs together. It won't be to everyone's taste (the harmonies may grate for some) but its a real slice of West Country exentricity and for that should be treasured.


PS: One interesting thing I note is that the producer was one Andy Smith. I presume this is the Andy Smith that later found fame as Portishead's DJ and curator of the Document series but don't know for sure. If you do, perhaps you could leave a comment?!

Review: Ventriloquizzing - Fujiya and Miyagi (Full time hobby)

I interviewed Dave Best of Fujiya and Miyagi a few months before Ventriloquizzing was released. He talked about the fact that the band's new album was the first where they had worked with a producer and that they had gone to Los Angeles to record it. This left me a bit unsure of what to expect. F&M have to date been a band that have sounded very northern European, bringing to mind late night drives through urban wasteland rather than the sand kissed beaches of California. Having now listened to the record I can report that their previous modus operandi appears to be intact - Ventriloquizzing is a direct progression from previous records Lightbulbs and Transparent Things. This is both a relief and a little of a disappointment.

Many great acts from AC/DC to Fela Kuti have sustained a good career without fundamentally shifting their sound. Fujiya and Miyagi are not one trick ponies but its fair to say that many of their songs follow a similar formula - slightly twisted lyrics half whispered over a driving drum and melodic synths. Its a great sound for sure but over the course of an album it has the danger of sounding a little samey. There is no doubt that this record is musically more fully realised than previous efforts, final track Universe in particular employs a female choir to great effect and immediately calls to mind Meddle era Pink Floyd but greater excursion outside their standard palate would undoubtedly yield more satisfying results.

Most of the lyrics are written in the second person, Best addressing someone (a woman) who clearly doesn't meet his full approval. Yo yo is used as a metaphor about mood swing while he accuses his listener of 'not knowing 'which side your bread is buttered on' on Cat got your tongue. The later is one of the funkiest tracks on Ventriloquizzing and along with Tiawanese Boots (a post-modern take on Dylan's Spanish Boots of Spanish Leather) is likely to be well received live. Sixteen Shades of Black and Blue meanwhile kicks off with a riff that is somehow reminicent of Muse before giving way to brooding vocals and pretty synth melodies.

Minestrone is a real highlight 'I heard the sound of the devil's electric windows asscending' creates a wonderful visual picture and the playing (as throughout the album as a whole) is superb. The Brighton four piece also clearly have great taste in music - Berlin-era Bowie, Can and Floyd are reference points and its no surprise to hear that they listened to Iggy's Idiot throughout making the record. I wonder though if its their taste that holds them back? There is little evidence here of throwing caution to the wind, of taking a risk to provide a more rounded and eclectic sound. The humour on show is all very much within the context with which the band frame themselves and very knowing, there are certainly no cheesy moments on show or real surprises (except maybe for the aforementioned final track).

Fujiya and Miyagi have attracted a small but commited fanbase over the last decade and are undeniably cult heroes with a great sound. On current form this is likely to remain the case and that might suit this wonderfully quirky band. If they really stretch themselves however I think they can create something really special - here's hoping...

Interview with Gustav Ejstes, Dungen

In the last few years there have been a number of psychedelic guitar bands who have secured a good payday without particularly having to compromise their sound. Flaming Lips, Animal Collective and MGMT are all spaced out sonic adventurers and yet have managed to break into the mainstream and secure radio play and massive sales. Stockholm’s Dungen are perhaps less likely to breakthrough. All of their lyrics are in Swedish for one thing and ultimately their sound is more complex, jazzy and (dare I say it) proggy than those aforementioned. However, they have undoubtedly gained momentum over five albums – they were recently picked up on the critically acclaimed Amorphous Androgynous Exploding Bubble compilations and they continue to received very positive press whenever they release new material. They are also well respected by their peers, their next single is being released on Jack White’s Third Man records. I recently caught Dungen live in a rare visit to London and can attest to a great live band who really push the boundaries sonically and artistically to leave their audience begging for more. They combine jazz, folk, psychedelia and cinematic sounds with more conventional songwriting to create a heady brew that stimulates the head as well as the feet. I caught up with founder, primary songwriter and bandleader Gustav Ejstes to find out more about this fascinating band.



What were the first records that hit home for you – that set you on your own musical journey?

Are you experienced (Jimi Hendrix Experience), Revolver (The Beatles) and Fear of A Black Planet- Public Enemy
And how did you come to form the band?
I started pretty much all by myself in 1998, making music on a 4-track, playing all instruments by myself, met musicians along the way and some of them i still play with. Like Reine Fiske that i met in 1999.
Who do you regard as your key influences at the current time?
I always return to Aphex Twin's early ambient stuff, the best music ever made.
I’m guessing you like a lot of the German ‘kraut’ explosion?
Not really, haven´t heard much more then the classics by Can
What is your philosophy for the band? You obviously aren’t too concerned about storming the charts?!
Dungen is my songs performed together with my favourite musicians and friends and we are able to get the music spread because of all the wonderful people who like to listen to it. Its amazing and could end tomorrow so we try to have a good time with it.
How do you write material?
Often begins with piano or guitar, then make the arrangements, sometimes on recordings but often just in my head, hook up with the band and presents the song.
You listen to hip hop – do you think this impacts on how you approach composition at all?
I don´t know, I have so many different influences so it´s hard for me to say what comes from where.
You came to wider attention in the UK via the Amorphous Androgynous compilations – do you see yourselves as a modern psychedelic band?
I don´t call Dungen anything specific. That's for those who listen, to make up names for it, but it´s been called that amongst psych, rock, pop, folk, prog and jazz.
Do you feel the need to sing in English at all to reach a wider audience?
No, It´s (singing in Swedish) been working so far, it´s weird in many senses, but even some listeners that doesn´t understand Swedish think it´s better than if it would have been sung in English

What do you strive for in your music?
Make better songs, keep it honest artistically,
What next for Dungen?
Hopefully do some more touring this spring.

The single Oga Nasa Mun is releaased on January 22nd 2011 on Third Man recordings.

Hidden Gem: Eastern Sounds - Yusef Lateef (Prestige, 1961)

One musical genre I can’t claim to be any sort of expert in is jazz. For many years I was deeply cynical – it was, to my ears, self indulgent and tedious. Odd, given that my father had brought me up on a strict diet of Miles Davis. Gradually though, having exhausted most other areas of popular music I was drawn in. Mingus Ah-Um was a significant turning point as was Coltrane’s Crescent but if there is one piece of music that has really led to my increased love of jazz its Lateef’s Theme from Spartacus from the wonderfully exotic, mellow and superbly-played Eastern Sounds - a record that has taught me that only jazz can create such joy in the space around the music itself (which in turn has led to an appreciation of such great musicianship).



The album was a mixture of standards, film themes and Lateef's own pieces. It is not an exaggeration to say that he could claim to be the first western musician to properly incorporate ‘world music’ into his sound having used eastern instruments since 1957 when he began recording as a band leader. By 1961, with the recording of Into Something and Eastern Sounds, he had emerged as the pre-eminent jazz musician using eastern influences in his work (John Coltrane in particular had been experimenting with similar sounds but had not recorded them). Lateef used a variety of instruments including the rahab, shanai, arghul, koto, Chinese wooden flutes and bells along with his tenor, oboe and flute and incorporated the eastern influence into the more established jazz sound of the day, hard bop.


Sounds would be one of Lateef’s most enduring recordings and was one of the last made by the band that Lateef shared with pianist Barry Harris after the band moved to New York from Detroit, where the jazz scene was in decline. The session, recorded by Rudy Van Gelder, was dominated by Lateef’s exploration of Eastern sound, as well as his improvisation. His genius was to situate them within a context that was accessible to Western ears.


His band was one of the best. As well as Harris, he had Lex Humphries on drums whose brushwork was deemed the most deft and inventive of almost any player in jazz. Bass and rabat player Ernie Farrow was no slouch either. The album kicks off with The Plum Blossom, a mellow but haunting oboe, flute and piano piece that comes from an Eastern scale and works in repetitive rhythms. It is second track Blues for the Orient however where things really take off. Harris' playing in particular is outstanding with the piano almost holding the tune together in the middle eight while Lateef’s oboe accompaniment almost moans over the notes as the track veers from jazz standard to eastern souk and back again.


Third track Ching Miau evokes some of Coltrane's work, the tenor saxophone picking out an infectious melody. The band’s version of Don’t blame me ( a cover of a jazz standard) meanwhile starts in contemplative mood, evoking the rainy streets of an American City. This is a masterclass in playing with both Lateef and Harris wringing pure emotion out of their instruments – jazz at its very best.


Both key players also sound great on Snafu, the most upbeat number on an otherwise fairly mellow album. This, to these ears at least, has a slight latin feel. Purple Flower is one of the most understated tracks while Three Faces of Balal is the shortest track at just two and a half minutes but features a wonderful double bass outro which is quite unlike the rest of the record.


Then there are the two cinematic themes - from the aforementioned Spartacus and The Robe. Both are utterly, hauntingly beautiful. Spartacus features great interplay again between Lateef and Harris and is set against a shuffly drum beat. Some argue that it suffers by comparison with Bill Evans' more widely known 1963 readings on Solo Sessions (Milestone) and Conversations with Myself (Verve) but throughout the whole album the respect with which Lateef incorporates the Eastern influences and the emotion with which he plays them make this album a landmark jazz recording which still sounds wonderful some 50 years later. This is a record that relaxes the mind and draws you in to the wonderous world of the possibilities of music. Seek it out.