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B16 said in Gennaio 29th, 2011 at 16:11

When Jamie Smith heard Gil Scott-Heron’s distinctive drawl on his parents’ stereo growing up, he never imagined releasing an album that featured his name alongside the revered poet’s. But the upcoming remix LP We’re New Here (out February 22 in the U.S. and February 21 in the UK on XL/Young Turks) features the sought-after xx producer putting Scott-Heron’s voice over his own instrumentals, creating a dialogue between generations and styles.

Along with reworking tracks from Scott-Heron’s 2010 comeback album I’m New Here– which was produced by XL label boss Richard Russell, who conceived the remix record– We’re New Here features the 22-year-old Smith digging up some of the older Scott-Heron vocals he heard as a child, too.

Click on to read about Smith’s concept behind We’re New Here as well as some tidbits about the next xx album and hooking up with similarly minimal-minded Toronto rapper Drake:

Pitchfork: As a longtime fan of Gil’s, were you nervous to take on this remix project?

Jamie Smith: It was a bit nerve-wracking because this is the first time I’ve ever done an album on my own. But I was really just eager to get at and I knew exactly what I wanted to do. I didn’t feel as nervous as I should’ve, probably.

Pitchfork: Did you have any contact with Gil while making the album?

JS: Originally, I sent him the album and there were a couple of tracks he wasn’t sure about. I had to write to him– he does handwritten letters, not e-mail– and explain why I wanted to use some of his older vocal tracks on the album.

I wanted to show the difference between him then and now as well as the difference between my taste then and now. The songs that use his voice from older records are influenced by the stuff I liked 10 or 15 years ago, mostly sample-based productions like RJD2. And I wanted the album to explain itself, like a DJ set. I wanted to represent Gil well, but also use his voice as my own.

So after I wrote him the letter, he said I was free to do whatever because he knew what I was doing.

Pitchfork: Have you met Gil?

JS: I briefly met him a few times at his gigs but we didn’t get to talk about the album. He’s just a very genuine guy, the same onstage as off. Very charismatic and also quite intimidating just because of who he is– a lovely guy, but also kind of scary.

Listen to “I’ll Take Care of U” from We’re New Here:

Pitchfork: Are you working on the next xx album yet?

JS: At the moment, we’re just making music, like we used to. We’re not thinking about it in terms of what’ll go on the album and what won’t yet.

Pitchfork: Are you trying to stick to the same sound as the first album?

JS: I think it will definitely sound different than the last album and anything I’ve ever done, just because our ears have been opened to so much music. Two years ago, I wouldn’t have dreamed of listening to most of the stuff I listen to now. Like, I wasn’t interested in techno and house at all before but, when I was in Chicago, I bought a bunch of Dance Mania records from the 80s and 90s, and I’ve listened to a lot of that.

Pitchfork: You recently released a solo song called “Far Nearer”. Is that part of a bigger project?

JS: Well, I’m making tracks I want to release as 12” singles but I’m not planning on making my own album.

Pitchfork: In an interview, the producer and singer James Blake cited you as a strong influence on a lot of minimalist music that’s coming out of England now. Do you pay attention to trends like that?

JS: Yeah, definitely. That’s what’s going on in London still. James is basically a contemporary, along with people like Mount Kimbie, Ramadanman, Pearson Sound, Joy Orbison. We all end up on a lot of the same bills together in London, and you get to know each other. There are a lot of producers in Brixton, where I just moved, so it’s sort of a community.

Pitchfork: I hear you’re working with the rapper Drake, too.

JS: Yeah, he was in London two weeks ago and we went to the studio. He played his new stuff, I played my new stuff. He’s not just after making a hit album again, he really wants to make things we’ve never heard before. I think I’ll be flying to New York or Toronto to work with him in a few weeks. I’m happy to try new things, that’s what this year is about.

Posted by Ryan Dombal on January 28, 2011 at 3:05 p.m.


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B16 said in Gennaio 29th, 2011 at 16:15

Destroyer ‘Kaputt’ … grande album e grande articolo di Pitchfork.


Every era has a sound. When considering this, it can be easy to forget that the sound developed as a way to express something. Music heard as kitsch years later was once put forth with complete sincerity. I mention this in connection with Kaputt, the new record from Dan Bejar’s Destroyer, because the first thing that strikes you about the album is its unusual sound, one for which we’ve all developed a cluster of associations. The production and arrangements evoke a narrow window of time– sometime between, say, 1977 and 1984, or between Chuck Mangione’s “Feels So Good” and Sade’s Diamond Life with stops along the way for Roxy Music’s Avalon and Steely Dan’s Gaucho. It slides between soft rock, smooth jazz, and new romantic pop. The bass is fretless; the synths have the blocky contrast of a Nagel painting; there are heavily reverbed trumpets and saxophones that almost serve as a Greek chorus, trilling away at the end of every line to enforce the beautiful plasticity of these songs. For Destroyer, this sound is new, and it’s there for a reason.

The sound casts Bejar’s songs in a very particular light, and reinforces the feeling of the singer as persona. Bejar has always come across this way to varying degrees, sure, and his albums all have their own unique feel– the rootsy art-pop of Destroyer’s Rubies, the MIDI experiments of Your Blues, and so on. But here the persona seems even more sharply defined. Singing these songs, Bejar comes over as the wizened ex-playboy; he’s indulged every vice, come through the other side, and now looks on amused. The cover of Leonard Cohen’s Death of a Ladies’ Man, a record that seems to serve as a spiritual (though not sonic) father to this one, shows this figure in its quintessential form. On that sleeve, we see a man in sharp but slightly disheveled dress, a cigarette dangling from a couple of fingers; beautiful people are seated at the nightclub table, ready for another night of glamor and pleasure.

Leonard Cohen in that image has a sense of swagger, and you want to pull up a chair, have a drink, and hear him hold forth on the topic of his choice. The figure inside the songs of Kaputt understands the allure of this life while understanding equally its futility. On early listens, a couple of lines from the title track jump out and seem to serve as a thesis for the record as a whole. “Wasting your days chasing some girls, alright/ Chasing cocaine through the backrooms of the world all night,” Bejar sings, as horns twist around in a bath of reverb. He sounds bemused, but not necessarily judgmental, holding two feelings in mind at once: our reflex to indulge ourselves, and the knowledge that it’s killing us.

But this happens on just one level, which is what makes Kaputt so fantastic. It goes as deep as you want to go. People can miss that Dan Bejar is funny as hell– he seeds his music with lyrical and musical in-jokes, and everyone has their own favorite lines to pluck out of his songs and admire for their concise wit. He likes surprises– few lyric sheets have as many exclamation points. But the essential quality of all his records is complexity. They are doing a lot of things at once. Kaputt feels rich.

For one, there is the surface beauty of the sound. Some less inclined to the pleasures of the music from the aforementioned era might have an initial reaction to its essential corniness, but once you’ve tuned in, it sounds beautiful. The songs seem delicate and glassy and shimmering, and Bejar has toned down his quirky voice and sounds relaxed and focused. So it’s easy to enjoy bumping the wet, jazzy pop of “Chinatown”, which suggests the rainy streets of an old city and new dramas unfolding around every corner. Or wallow in the simple and elegant hook of “Blue Eyes”, the way Bejar voice works next to Vancouver singer Sibel Thrasher, a regular vocal presence on Kaputt who sort of serves as the Nicolette Larson to Bejar’s Neil Young. But “Blue Eyes” also has sly lyrical references (“your first love’s new order,” “Mother Nature’s Son”) and funny put-downs (“I sent a message in a bottle to the press/ It said, ‘Don’t be ashamed or disgusted with yourselves'”). More than any other Destroyer record, you can just throw this on and it sounds good, and plenty will do well stopping there. But for those so inclined, there’s more to explore.

So the lite-jazz style can seem a little funny, but it can also be sad and sexy and joyous. And the writing is dense with references– to other songs on the album, songs by other bands, to the music business, art outside the sphere of music. “Suicide Demo for Kara Walker” is the most striking example. It’s a collaboration with the artist Kara Walker, whose work, among other things, probes the racial history of America. Bejar adapted the words she provided for him on cue cards, and the result is fragmented and dream-like, taking the Destroyer project to a new place. “Wise, old, black and dead in the snow: My Southern sister…” isn’t the sort of thing we’ve heard from him before. An early demo of the song reminded Bejar of the band Suicide, hence the title. That’s how things work in his world. Laughs are mixed with grim insights.

Two tracks stick out a bit here. The astonishing “Bay of Pigs”, released as a single in 2009, concludes the CD version of this album, and it’s the one song that feels out of place. It’s longer, proggy, uses different textures, and ultimately seems to be here because it’s an amazing song and as many people as possible need to hear it. Fair enough. And the vinyl version of Kaputt also has a side-long, 20-minute ambient track with just a bit of voice called “The Laziest River”, which is enjoyable and immersive but not essential. Both indulgences are easily forgivable.

Bands can be brands or concepts that can be summed up in a line or two– which is the power of brands. It’s a good thing in proper doses. But Bejar’s essential complexity ultimately feels human. It seems absurd to look for genuine wisdom in music in 2011, when we’re constantly gorging ourselves on the all-you-can-eat buffet of post-modern web culture. But Kaputt feels wise. Like a mirror that actually points back at something better. Something you can jam and let wash over you, but also something you can use. It feels funny, tragic, artful, and ultimately true.

— Mark Richardson, January 24, 2011


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B16 said in Gennaio 29th, 2011 at 16:17

Late last year, the National’s Aaron Dessner talked to Pitchfork about the song that the band had written for Win Win, a new independent drama from The Visitor director Tom McCarthy, starring Paul Giamatti. Now that the film has had its premiere at Sundance, HitFix reports that the song is called “Think You Can Wait”, it features Brooklyn singer-songwriter Sharon Van Etten, and it plays over the movie’s end credits.

As Aaron Dessner told us in that interview, he’s currently producing a record for Van Etten. She’ll open for the band on their European tour next month. National frontman Matt Berninger tells HitFix that the band plans to release “Think You Can Wait” near Win Win’s March 18 opening date.

Win Win isn’t the only Sundance movie to feature music from the National. HitFix reports that the band also contributed instrumental music and their 2004 song “Cherry Tree” to the environmentalism documentary If a Tree Falls: A Story of the Earth Liberation Front.

Movies aside, the band has plenty to keep them busy in the next few months. On February 1, they’ll play “Conversation 16”, the next single from their 2010 album High Violet, on the “Late Show With David Letterman”. They’ve also got a number of shows coming up, including sets at the Lollapalooza Chile, Coachella, Vive Latino, and Primavera Sound Festivals. And on April 24 and 25, they’ll play Chicago shows with fellow indie world-conquerors Arcade Fire. Check here for the band’s tour dates.



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buzz said in Gennaio 29th, 2011 at 17:18

no non sarebbe affatto male caro b16! sono contento che hai ritrovato il modo per postare direttamente e grazie per il prezioso contributo che sempre ci elargisci.Consiglio: sentiti i Braids!!!


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