Last night the PinBoard crew were invited to a preview screening of the highly anticipated biopic, ‘Marley’, which reaches all good cinemas on Friday 21st April. Produced by Kevin Macdonald, he manages to transport the viewer into both the world surrounding Bob Marley and his music, as well as the points in history that play a huge part in defining his sound, providing a huge emotional connection to one of the most influential musicians/activists/songwriters of all time. Using archive footage and stills (used with permission of the Marley family estate and for many, shown for the first time) we are taken on a definitive journey of his life…

What stands this film in such high steed is the depth of information provided by family members, early friends and musical luminaries (notably: Neville Livingstone and Neville Garrick) who were both highly influential in Bob’s musical progression as much as the development of arguably music’s most spiritual and accessible genre, Reggae.  Interviewing over 60 people and being given the stimulus to imagine a snapshot of his life from early sound system days with the legendary Coxsone, through the varying Wailers touring bands and recording with Lee ‘Scratch’ Perry; To his concerts for parliamentary officials – always staying true to himself, his vision and remaining rich – not in monetary terms, but giving everything he could to provide happiness and music to the people, encouraging peace amongst all.

Without the film being condescending, it caters for the interested layman as well as providing wonderful facts and compelling narrative on subjects ranging from his writing process, how the line-up of the Wailers changed over the years, to the reasoning behind song titles and lyrics. All this alongside incredible footage, that had me captivated from start to finish. Critics at the Berlin film festival argued its length (just over 2 hours) was too long, I would argue that it wasn’t long enough and for any fan of music it is a must see. Fantastic stuff.

Monday night saw a world music double header at the Barbican. Buena Vista Social Club prodigy and Havana Cultura star Roberto Fonseca accompanied by full band, coupled with London’s own Ayanna Witter-Johnson as support, made for a truly complete evening. Read my review after the jump.

Ayanna was the first non-American to win the legendary ‘Amateur Night at the Apollo Theater’ in Harlem, playing tracks off the current truthfully EP, her unique and captivating voice was accompanied beautifully by the dextrous use of her cello, which doubled up as a percussive instrument and bass (which I haven’t seen done as well live since Raul Midon in the same space as part of the London Jazz Festival a few years back). Crowd favourites included her rendition of The Police’s ‘Roxanne’ and a touching dedication to her mother, ‘Unconditional’. A really promising set from Hornsey’s finest and with her EP being produced by Marc Mac (4Hero) it’s definitely worth keeping your eyes open for any upcoming projects.

The godfather of world music, Gilles Peterson, introduced the headline act. Cuban pianist Roberto Fonseca delighted a packed Barbican with technical brilliance coupled with perfectly balanced instrumental battling between members of the band. Playing through the current yo album, Fonseca took us on a global musical journey through Cuba, Africa, Bulgaria and Morocco in a non-stop 2-hour set.

He admitted it had always been his ambition to make an album with strong African influence, enlisting the help of Baba Sissoko (n’goni) and Sekou Kouyate (kora) for both the longplayer and gig. Baba Sissoko was a focal point throughout the gig and the playful musical jousting and huge smiles between Roberto and himself were both entertaining and genius.

A rhythmically diverse evening, starting with fast paced album tracks with a more traditional (80’s) Latin pace, moving into passionate love songs (Asi es la vida) and those then a solid groove, switching styles effortlessly the sparing use of the vocoder was also appreciated.

The highlight of the night for me was the rendition of ‘Bibisa’, which saw vocalist and ‘queen of the night’ Fatoumata Diawara bought to the stage. A composition by Baba Sissoko, which saw Fonseca’s piano conversing with Diawara’s haunting and heavily reverbed voice. The duo of layered African strings creating a wholly atmospheric musical landscape.

The demonstration of superior musicianship sparring between genres, cultures and tastes ended the gig in a much-deserved standing ovation. A truly special evening for all who were present. You can get hold of Roberto’s wonderful yo here.

Wednesday night saw Portico Quartet take to the stage at York Hall in Bethnal Green. Having never seen a gig at the renowned boxing arena before I was keen to see how the ‘school hall’ venue would deal. The answer – very well. Very well indeed. Read the review after the jump…

Some critics had written Portico Quartet off after the departure last year of Nick Mulvey (here replaced by Keir Vine on hang and keys). The use of the hang was a trademark sound used expertly by the Quartet, but with Mulvey’s departure some assumed their unique selling point left with him. The change in line up has, for the most part, meant their sound moving further into the realms of the more electronically charged and away from the ‘traditional jazz’ they’ve become known for since being nominated for the Mercury Prize back in ’08. Not necessarily a bad thing…

They opted to start their set with ‘Window Seat’ from their current self-titled long player, providing a hazy opening before leading into crowd favourites like ‘Ruins’. They only briefly ventured back into past material, highlighting their catalogue by performing songs like ‘Clipper’ and ‘Line’ (off their second LP Isla) – the live sax and driving double bass putting emphasis on their Jazz foundations.

The highlight of the gig was their seamless transition into ‘Rubidium’… With a Garage like beat (I’m certain I heard the 4 bar instrumental opening to Wookie’s ‘Little Man’ reworking somewhere in there), their Steve Reich-eqsue minimalist approach to the instrumentation came together in an almighty soundscape.

Everything culminated with a performance ‘Dawn Patrol’, their encore of choice – it was a performance that cemented what everyone already knew – Portico Quartet was still the same band we fell in love with back in 2008, only this time round they’ve developed and evolved into something even stronger.

The Portico Quartet are playing their biggest show to date at Camden’s Roundhouse on Thursday 18th October. Considering how quickly the York Hall gig sold out I would act sharpish! Buy up tickets here.

SBTRKT. “Who?” Subtract. “Nah never heard of it!”

Some may have said that a year ago and understandably too. Known this time last year as ‘another’ tadpole swimming in and out of the world of Electronic music, SBTRKT was yet another DJ/Producer from London who every once in a while would throw a blog a bone by remixing a relevant piece of music. Those that were more on the ball however, realised that although enrolled in the class of ’10, Aaron Jerome could quite possibly reign valedictorian come 2011.

Fast forward to summer this year, off the back of a few EP’s and remixes, ‘Wildfire’ quite literally spread. First through the blogs, then the clubs/tastemaker radio DJ’s, then the mainstream. “Summer banger” would be an understatement, even our most beloved emosh rapper – Drake – took to the beat. And with Aubrey in tow, the Stateside crossover was set: the intricate wobbles, smart punches and thumping bass positioned in all the right places allowed ‘Wildfire’ (featuring Little Dragon’s Yukimi Nagano) to garner it’s place and became a staple in many a summer playlists. But most promising was that even with the success of it’s first single, SBTRKT’s self titled debut would throw a number of surprises our way, surpassing expectations and becoming a strong accelerator for Electronic in the mainstream.

Sophisticated, circuitous and timely in its entirety, SBTRKT welded together the essence of 90’s UK garage and 2-Step together with the punchy Dubstep influences of the noughties and melted it within American style Soul & R&B. These influences, all piled up on top of each other within an album made of original compositions gave way for this debut to stand on it’s own merit. With producers throwing the proverbial ‘wobble’ onto anything with a pulse these days, it was refreshing to hear SBTRKT deliver a cohesive collection of tracks as well as collaborating with an inspired array of artists. Opting for a more song-focused LP, as opposed to a show-and-tell style production project – SBTRKT kept his audience in mind and curated an album packed with enough energy for the raver, sufficient downtime for low-end head and an abundance of musicology for the ‘academics’.

The albums opener ‘Heatwave’ nods to and explores Junglist sounds; With a deconstructed Amen Break and Sampha’s atmospheric, building wails, as the low end flutters rather passionately. Then as the BPMs rise and the lyrics fade, the puissance is turned up a notch with tracks like ‘Sanctuary’ and ‘Ready Set Loop’ – both favouring a more beat oriented focus with minimal vocals.

A key factor which makes SBTRKT’s debut such a strong contender this year was his foresight, featuring some of the brightest and most exciting homegrown talent. Jessie Ware, Roses Gabor and his most frequent collaborator Sampha each help to bring his productions alive. It is his chemistry with Sampha though that really shines through – armed with one of the most distinct voices, his breathy tone and succinct delivery style adds a fantastic dimension to SBTRKT’s compositions.

The chilling, unguarded tale of ‘Hold On’ allows for Sampha’s higher register to flourish, suited beautifully to the smooth bass rumblings and twinkling percussion. ‘Something Goes Right’ shuffles between the stuttering nature of 2-Step against Sampha’s buttery lead vocals – striking the right balance between instrumentation and song, realism and dreams, producer and singer. ‘Never Never’ bravely explores the indecision of relationships as the vulnerability of the lead vocal explains “see I‘ve never never had so much to gain / and threw it all away / and if I ever ever had the chance again / I’d probably do the same”. SBTRKT sits humbly alongside his muse(s), mixing live drums with funky synths, whilst his vocalists take focus.

Delving in, out and around sounds, SBTRKT is a rich textured tapestry which significantly pushes boundaries. Masqueraded in very few words – SBTRKT allowed his debut to speak louder than any thing else. The music won.

SBTRKT – iTunes / Amazon / Spotify

For some, it may be a controversial decision to induct a remix album into an ‘Album of the Year’ list. But, unlike most remix albums this one redefines the original, re-contextualizes it and most importantly reintroduces a quondam icon to an entirely new generation – making Gil Scott-Heron & Jamie XX’s We’re New Here one of the most culturally significant LP’s of 2011.

The legend of Scott-Heron runs subterraneous – his far-reaching, weighty career arguably spawned the birth of Hip Hop. Besides revolutions not being televised and people in the bottle, what more need be said? While our main protagonist Jamie Smith aka Jamie XX is a still a fresh face on the block, who in just a short span has established himself as one of the most influential producers of the past three years. It was Smith’s spatial injections on the Mercury Award winning album by his band The XX that catapulted this young adopted-Brixtonian into the niche consciousness. Combine this with his assault on the remixsphere (Adele, Radiohead, et al), a signature sound and general defiance against BPM guidelines in one of the hardest communities to appease (Electronic), and you have in the making perhaps one of British music’s best offerings to the world right now. Amalgamating these very two different visionaries could have easily resulted in travesty or conversely, utter genius – an ethos record label XL have long relied on… 2011 would suggest its a model that works for them.

Using acapella’s from 2010′s I’m Here New (originally produced by XL boss Richard Russel), along with select material from Scott-Heron’s back catalogue, XX reworked the project through his own ears. Ears that have been forged by a confection of sounds including (but not limited to) Hip Hop, House, 2-Step, Soul, Funk, Disco, Bass, Club and Jazz – all of which are prevalent throughout We’re New Here. It is this feat that makes Smith such a formidable force, his ability to produce “anything he wants” at such a high level is staggering. His productions are at times ‘tropical’, but suggest the steel pans of Notting Hill carnival if a black hole ruptured through the pavements of Portobello and sucked your loved ones into the aloof. Persistent in melancholia – even Drizzy needed a piece for Take Care – it’s a paradox that works impeccably with Scott-Heron’s noticeably fragile, but cogent voice. In parts this suffused method has heartbreaking results (see: the monstrous ‘NY is Killing Me’), aided now in part with the knowledge that just 3 months after it’s release the world would lose it’s most beloved wordsmith.

Songs like ‘Home’ channel the spirit of the Caribbean, using the instruments of a paradise lost to supremely chosen effect, extenuating Gil’s post-drug ravaged, songlike slurs. Whereas ‘My Cloud’ adopts a more glitchy, low-fi vapor, floating on a bed of anesthesia. Hip Hop can be auscultated on songs like the ‘Running’ and ‘The Crutch’ – Smith cited sampling aficionado RJD2′s Deadringer as a notable inspiration in his past and that’s finally been allowed to flourish on this album, allowing our musician to evolve. The opener rockets Gloria Gaynor’s ‘Casanova Brown’ into space (a theory Jamie knows best), transforming it into a demented double-kick, bass battling, falling star. Then there’s the piercing heart monitor bleeps of ‘NY is Killing Me’ as we cardiac, spiralling into the metropolis-abyss, only to find a redemptive heaven somewhere off the horizon with the uplifting 4×4 and classic House chord staccato of ‘I’ll Take Care of You’.

Reference after reference, the ample scope of Jamie XX’s production penchants is reason enough to celebrate the life of his muse. We’re New Here, is the perfect balance between Gil Scott-Heron’s heart and the Jamie XX’s head.

We’re New Here – iTunes / Amazon / Spotify

For many this was the year that R&B was revitalised, which is ironic because when PinBoard first began a few years ago, contemp’ R&B was a proud forte yet it reigned at the nadir of intellectuality. Sad times. Thankfully a fair few sentimentalists have recently re-visited the sounds that shaped their formative years & brought an era back under the microscope. For me, it was Jamie Woon who really kicked-started some of that at the tail-end of 2010 with post-Darkchild stylings (and some mnemonic UKG riddims, another deep-seated passion of ours). It’s been a long time since D.C. warned us about the Writing on the Wall or Kelis displayed her fruity Kaleidoscope - a long time since a genre who’s golden era came and went with the 90′s/early 00′s became… challenging again.

What Woon delivered with Mirrorwriting was clearly a result of a transatlantic influence. His London-isms shine through with paranormal 2-Step, Dub & Bass tendencies, whereas melodically he borrows from the smooth tonal favours of American R&B. And while vocally he kept things quite lucid, it was the texture and innocence of his voice that tied all those dangers together like gossamer threads. Then there was the songwriting – creating the kind of metaphysical poetic imagery and spiritual motifs that R&B harmonizers all too rarely risk wrapping their lips around.

‘Night Air’, co-produced by the holy father of mod 2-Step, Burial, was a stellar opener. A track so tropical and expansive, yet so subtle and quiet – it became the perfect ode to eventide with the insects. Follow that with songs like ‘Spirits’, ‘Echoes’ and the breathtaking outer-limits of ‘Gravity’ and you began to see an artist willing and able to explore the slightly darker caverns of music whilst staying the right side of melodic and not veering into the wrong lane of self-indulgent. It can’t be ignored that some songs, although brilliantly constructed are clearly aimed towards a mainstream/radio market – Woon’s second single ‘Lady Luck’, which originally possessed a more ‘earthy’ sound was transformed on Mirrorwriting into a shiny, studio counterpart. The same can be said about ‘Street’ and ‘TMRW’ – which all feature a fantastic, singable hook. Even during these periods Woon was still cunning enough to inject a certain amount of Funk to try satisfy the most defiant of ears. Indeed for any left-of-centre musician it can be difficult to please both underground and overground, with their material’s objective descending into a war tug between either snobs or simple-minds. But our artist very much spends twelve tracks trying to strike the most tumultuous of balances and swings more often towards the experimental than the transparent – perhaps his bravery and that of quiet co-producer Royce Wood Jnr. should be admired.

Plus it was also the year that we saw major labels behave a little less pussy and actually commit a daring musical act or two in trying to infiltrate the mainstream consciousness with inventiveness. Mirrorwriting debuted at #15 on the UK album charts, a respectable feat Woon and his supporters should be proud of. Though it is impossible to ignore the tough quota which Woon had to meet this year. Released just two months before Mirrorwriting, James Blake’s full length album ticked the ‘singer/songwriter Post-Dubstep’ box right off the bat – which meant while Woon received critical and to some extent commercial success, the impact of his album wasn’t measurable as instantaneously. What resulted however, was an LP that through word-of-mouth has become an unravelling discovery for many new listeners, with a jigsaw sonic that even in this day and age won’t be outdated come next year. After all, it takes a smart soul to borrow something from the bygones, and make it sound like it’s ahead of it’s time.

Mirrorwriting – iTunes / Amazon / Spotify

We were first introduced to Jono McCleery when he supported Jamie Woon on his Mirrorwriting tour earlier this year. We were all taken back by the myriad of influences coming through both his vocals and instrumentation displayed through his songs.

The songs found on McCleery’s debut album There Is are complex, they create a labyrinth of sonics which only unravel through continuous play. His drums are at once mellow, yet compellingly persistent and when layered beneath the commanding voice he possesses, create an entirely unique collaboration. From distilled resignation and sadness to heartache, pain, love and hope – his voice seeps in emotion.

McCleery’s debut single ‘Tomorrow’ is undoubtedly the albums centrepiece – it begins with a lush extended instrumental, with heartbreak strings, a lonesome guitar and enough silence for a wondering mind to stay satisfied. Bringing together the quiet intensity of Folk, the exotic nature of Far Eastern influences and the dignified grace of Classical, ‘Tomorrow’ begins in the most beautiful fashion. By the time Jono’s deep, reassuring vocals interrupt, accompanied by an off-kilter, continually shifting time signatures (a persistent highlight) – it’s evident that this is an artist in his own paradigm, occupying a world of sound customised by his own influences.

As a full body of work continuum – There Is fails to falter; Songs like ‘It’s All’ with it’s darker Withers-like tendencies is glued together by a besieged piano, aching bassline and a frantic breakdown that feels like it’s running a mile from femme fatale carnivores. Then there’s ‘Stand Proud’ which borrows the spirit of Gospel – a sustained organ plays before Jono testifies his turmoil. And the open interpretation of ‘She Moves’ acts as evidence of Jono’s song writing ability; It’s meditative tone and obscure melodic structure builds into a ghostly ode to love… A noble and graceful closing number.

While objectively it’s fair to say the album has been commercially ignored, critically overlooked (shocker) and unspoilt by hype – the self-effacing, gimmick-less creator behind this work begs for none of those. Clearly motivated by self expression, There Is is evidence that McCleery is an artist comfortably evading convention. His debut is so rich in musicology, so steeped in multitudinous influences and performed with such conviction – it deserves a place as one of the years best albums.

There Is – iTunes / Amazon / Spotify

This past week saw the second annual Buma Rotterdam Beats Festival, an event organised to celebrate and emphasise the importance of Hip Hop, R&B, Soul, Reggae & Electronic music. Through various workshops, seminars and live performances, the festival brought together a wealth of international delegates, including top European and American managers, bookers, industry pioneers, bloggers and several widely respected innovators.

PinBoard was invited to take part in one of the panel discussions, alongside respected co-commentators like Okayplayer (U.S), Juice Magazine (DE), Puma (NL) and Splash Magazine (DE). The discussion was about the emergence and subsequent dominance of the blogopshere and dissected what it is, as online moderators, we do to ensure our outlets represent the best of spheres. These seminars were a vital ingredient for what made the Beats Festival such a vibrant success. Bringing together creative minds from across the continent and the U.S not only allowed for stimulating debate, but also a chance to exchange insights.

Of course it was ultimately the music that brought everything together and with some incredible shows on offer, we were literally spoilt for choice. James Brown incarnate Charles Bradley was undoubtedly the most electrifying, awe-inspiring act on the bill – his performance at Rotown, supported by London homegirl and Plug Research signing Szjerdene, had the entire city doing the electric slide. An artist and performer birthed from an entirely different world – they really don’t make them like that any more. Most impressively however was Buma’s foresight to invite the UK’s cult rising Hip-Hop collective Piff Gang- a genuine salute to Buma for having ears to the ground and recognising the movement. Very proud to see the boys representing the LDN.

Having taken a significantly large step forward this year with festival programming and increasing their profile in doing so, we give a shout-out to Buma Rotterdam Beats for putting on such an incredibly positive and forward thinking event. The beauty of bringing together an international community and sharing ideas on this scale is how the music communities represented, will thrive in future.

Looking forward to next year…

When a label like Ninja Tune sign up an artist, you pretty much know you are going to get a certain level of quality. And so it is with Jono McCleery, a musician who is hard to pigeonhole into one musical genre. When you first read this, you may be forgiven for thinking that an artist that doesn’t fit into predefined categories is a jack-of-all-trades and a master of none. You’d be wrong. Dead wrong! For me, the joy of listening to McCleery is taking the time out to hear the myriad of influences coming through both his vocals and instrumentation.

Many when writing about McCleery have said his sound is similar to that of Jamie Woon and James Blake, two artists I rate very much indeed. My concession to such statements is that if we are talking about the use of electronics in music making, then yes, to a degree McCleery is like these guys. However, the truth is that to group such a diverse set of artists together is sloppy and a convenient way to write about musicians who cannot easily be categorised.

This sort of ‘sloppy’ critiquing is closely linked to another of the things I find tragic at the moment, the current trend in musical ‘short hand’. We all know that there are ’nuff artists out there who don’t really seem to be saying anything, who don’t even try to bring something new to the table, or indeed, allow themselves to be themselves! What I am talking about is the fact that much of what we hear produced today is too accessible. Even what we would call ‘good’ music is very predictable, following all too familiar rhythms, patterns and structures. Yet, without making his music inaccessible, McCleery defies this fashion. To get the true joy of this adept musician, you must take time with his music. Listen with patience and let the sounds and their accompanying associations take you where they will. The complexity within each song reveal new things each time you return to them. This, for some, might be the primary ‘weakness’ of the album, many might easily dismiss it because they have not paid it the full attention it deserves. More fool them…

Many of the tracks have a beguiling easy groove to them that makes you think of chilled nights. The drums are at once mellow yet persistent, layered on top of this is Jono’s commanding vocals. From distilled resignation and sadness to heartache, pain, love and hope. It’s difficult to pick favourites on an album where nearly every song can stand alone on its own merit. But it seems to be the way of album reviews so here goes…

‘Tomorrow’ (see our Rehearsal Rooms recording here) is undoubtedly a signature piece beginning with an instrumental introduction. Here the violins bring in a quiet intensity encompassing tones that are evocative of folk, the music of the Far East and classical to create what is a powerful intro. This lasts three and a half minutes. you are then awoken from this almost dream like state with the clarity of Jono’s voice, deep and reassuring. His vocals are accompanied by a laid-back insistent beat reminiscent of the Jungle music of Roni Size. He has sited Bill Withers as an influence and you can hear it in the quiet concrete wisdom of his vocal delivery. Some believe that McCleery’s music suffers from over production, but I think that that misses the point entirely. The intricate production acts as a fitting counterpoint to the calm solidity of his singing. Without it some pieces might, I fear, move more towards easy listening.

For ‘It’s All’ we again begin not quite knowing where we are; now it is the bass that sets the opening tone. This time Jono’s voice enters and gives us a deep yearning that simply calls out to your heart. The song ascends into a crescendo of sounds at the top of which is Jono’s wailing. This is a man attempting to get across emotional depth words can’t convey- and he succeeds.

On ‘Stand Proud’ I feel like he has taken me to church and is testifying something true and powerful. In this one song we have gospel, blues, experimental pop and, obviously, soul. Sometimes, the sounds and sentiments he is able to get across with just his voice and a guitar are so exquisite all you can do is shake your head. There are moments in ‘Only’ that are very much like this.

My favourite song, if my arm had to be twisted to commit to just one, would possibly be ‘She Moves’. This is a song open to interpretation. My preferred theory is that McCleery’s delivery makes you think of a lover watching in wonderment their sleeping loved one inhaling and exhaling serenely. This meditative quality to his voice builds to a sense of rapture when, in the middle, the song moves from minor to major key. The result is that you are left transfixed by what is happening, fixed in the moment in much the same way as the adoring lover. (I love it when a musical theory comes together!)

McCleery is clearly someone who does not want to follow convention. It is interesting that the penultimate song on the album is ‘Gymnopedist’. The nonconformist French classical composer, Erik Satie, gave himself this title in 1887. It is difficult to know whether or not McCleery is referencing Satie, what is clear though, is that they both share a similar aim, to make a new type of music.

There Is is released today – buy it via iTunes now

All pictures courtesy of  Danny Wood.

This time last week, I was soaking in every minute detail of the deer park that Big Chill Festival hijacked for 4 music filled, bass stricken, dance fuelled days. With an unbelievable  madness erupting in London that the world hadn’t seen in 20 years. On the other side of the country in Eastnor Castle situated somewhere in between Wales and the Midlands, since the Thursday that I arrived, myself, @def_danny and some good friends had happily had a constant flow of good music to take our attention and our minds for at least 12 hours every day. Bliss.

Thursday

The day of arrival, things had not completely kicked off – music wise and gave us time to take in the sights of the festival arena. The main stage, two large dance tents, a kids section – Little Chill, a Ibiza inspired Barcadi hang out, plenty of bars, makeshift clubs and outdoor soundsystems aplenty alongside what felt like a 100 stalls of various cuisines from around the world made up the little village that became home.

James Blake, the only act performing for us early birds, eased us into the Big Chill with his introverted, blip beat emo led mystic. For those who weren’t as familar with the haunting sounds of ‘To Care (Like You)’ or the frail fragmentation of ‘Why Don’t You Call Me’, started to develop a bit of a lull throughout the set.  At times I wasn’t sure if Blake was the right backdrop for such a mainstream festival, but then I realised this is what seperates the Big Chill from other summer fests, they always sit slightly left of the norm. Content in knowing this, Blake continually thanked everyone for coming out to watch him on the first night, since the same time last year, he was working on a food stall only yards away from the stage. Gotta love the Cinderella story.

Friday

Fresh and ready for a full days worth, the gang and I headed over to The Revellers’ Stage to watch the kooky eclectic Cubic Zirconia outfit. With frontwoman Tiombe Lockhart in skin tight leopard print leggings and a Barbie blond, hair sprayed coiffure, there were definitely indicators to an electro funk era circa mid 80′s. Subtle sexy dance moves balanced with tongue in cheek, lustful lyrics from favourites such as ‘Hoes Come Out At Night’ and ‘Fuck Work’ got the crowd in the mood mid afternoon.

The rest of Friday we fluttered from stage to stage watching PinBoard favs Aloe Blacc, Electric Wire Hustle, Ghostpoet, Starslinger and Ladi 6.

Eventually, we pitched a spot main stage and watched the Swedish soul legend, Neneh Cherry, at the ripe young age of 47 climb off the towering stage, racing into the crowd to hoards of Big Chillers reciting ’7 Seconds’ . One of the stand out, unique moments of timely music. I caught the last twenty minutes of the Chemical Brothers big beat electronic extravaganza and even at the back end of the audience, the panoramic view alongside the light show was a stunning spectacle that engrossed the whole deer park.

Saturday

Also known as KanYe Day, the whole festival had a distinct buzz around it that hadn’t occurred on the previous days. I bumped into friends that had made the roadtrip up from London and beyond up to the Big Chill just for the day specifically to see Kanye West perform his only UK date this year. Expectations were high to say the least.

Starting off at midday with the God daughter of Amy Winehouse, Dionne Bromfield kept Amy in our minds whilst taking on a touching cover of ‘Love is a Losing Game’. The 15 year old, bought a tear to many of the audience’s eyes and another thought went out to the loss of the young singer.

Missing out on Andreya Triana, but catching some of Submotion Orchestra’s euphoric set, I thought it best to position ourselves by the main stage for a good view for later that night. And we were right to do so. By the time The Bullits et al (Lucy Lui, Idris Elba, Jay Electronica) filled the stage, the rain started to trickle yet the crowd had grown in multiple numbers.

Highlight of the afternoon was definitely the ArchAndroid herself, Janelle Monae and her uniformed full band. She shaked her tailfeather, she painted, she James Brown’ed around and even instructed us to kneel down as the rain fell at the most perfect moment. Proudly taking credit for it, Monae told us she “made that happen”. Weird? Yes. But all apart of the enticing, endearing eccentricity of the Wondaland Arts Society. Janelle had the crowd on her side so much, I wondered why she was not the precursor to the anticipated ‘Ye. Instead a summer bay Metronomy set and a regal Jessie J sing down later, the countdown to ‘Ye began.

In the hour or so wait, the crowd moshed, fought, pushed and shoved their way as close to the front as possible. Cups of water were handed around the front few rows, fans were escorted out of the crowd by security as it was hotting up and people were fainting. It felt almost surreal and reminscent of old school Michael Jackson pandeomuim. Just after 10pm, in the middle of Herefordshire, Kanye West came on stage.

Well actually he started from the sound tower which was in the middle of the crowd. When he made it on the front stage, he was joined in tow with a minimal 3 piece band all dressed in angelic white and a dozen or so swan like petit ballat dancers fled the stage with their long limbs and elegance. For nearly two hours, Kanye tried his utmost best to keep to his promise earlier saying:  ”For me, this is the most important show of my summer. I’m going to try my hardest for y’all.” And aside from the 15 minute rant (I can’t say I didn’t expect it) and the hoarse voice at times, there were clear moments of genius and multiple reasons why we (I in particular) love ‘Ye.

Performing tracks from his debut LP, we travelled together through all 5 albums until we caught up to the beautifully produced MBDTF. Hit after hit, the crowd and I sang back each word to him. Basking in complete glory has never been ‘Ye’s style, so rather than close on a classic track and have the crowd roar happily, he finished on an awkardly placed, but touching Amy WInehouse tribute. Playing two of her songs then stating “Thank you for protecting your artists that are still here. This is for McQueen, for Amy, for Michael and for all the media, can you lighten up on all your artists that are still here.” Ahhh KanYe.

Sunday

The day after the exclusive Mr West infiltration, the festival found it’s chilled out nature again and world music took a shining alongside the sun. The afternoon was filled with Femi Kuti’s political afrobeat stance and call for a better Africa with his Postive Force. Art rockers Warpaint followed shortly after and were a favourite of mine. Friend of PinBoard, Jamie Woon grew even more since the last time I saw him.  I’m sure main stages and headliner spots will be commonplace for Woon’s dark soulful, futurist R’n'B  next summer festival season.

While I was dancing away in the Big Chill Radio Tent to Norman Jay and Mr Scruff Live on 6 Music, @def_danny was grooving to the incredible Sharon Jones and the Dap Kings. Heading over to the main stage one more time for the guitar brillance of Rodrigo y Gabriela and Chris Cunningham closing, it was a shame it had to end. One last Big Chill gift was a 2 hour DJ set by Jamie XX over in the People’s Ear Tent. He drifted between deep electronic sounds,to old school Oxide and Neutrino and closed the show with his remixes of Gil Scott Heron to play us out at 3am. And with that the festival was over.

Although the cries of original Big Chillers of the late 90′s/early noughties are convinced yesteryear was better, my first experience was nothing but one of my best weekends this entire summer. Big Chill – see you next year!

The word ‘epic’ is frequently used for many a event that is neither epic, sensational or extraordinary. However, on a Friday night a couple of weeks ago at the prestigous and established Barbican venue, I headed down to watch Basement Jaxx loan their back catalogue  to the Dutch Metropole Orkest to deliver an entertaining evening of complete music merging and fulfill all the criteria that epic-ness involves.

Seated front row centre awaiting the first note, I had a quick glimpse around and assessed the crowd. It was clear that classical music lovers were in the house, alongside dedicated Jaxx fans seated with those who were just intrigued by the unique concept. As the lights revealed the 70 strong orchestra, 40 person Crouch End Choir and ‘Battlement Jaxx’ began, without a strobe light or whistle in tow, who would of thought dance music would of evolved and matured into such (classier) things. A cutting edge approach and a distinctive goal to interpret the music in the most orchestral way possible, I was apprehensive that within the uniqueness of the collaboration, that the essence of Basement Jaxx would be lost.

Luckily fifth song in, Jaxx’s regular singing features blessed the stage. Brendan Reilly, Sharlene Hector and PinBoard homie Vula Malinga all adorned in flamboyant costume injected the famalirity necessary for old school fans like myself. Joined also by a breakdancer, a ballet dancer and the funniest guy of the night, Le Gatueu Chocolate (think Barry White dressed in drag and heels with a little bit of an opera twang to his voice – lol) made for a great mish mash of visuals to keep everyone watching and listening.

Highlights definitely include the constant congo-ing among the front rows and the contagious and seemingly overpowering urge to spontanesouly get up and dance that spread across the auditorium’s audience like a wildfire when tracks like ‘Do Your Thing’, ‘Romeo’ and ‘Samba Magic’ were performed. Brillant vocal performances by Sharlene during ‘Lights Go Down’ provided a rare moment of calm in the show and was definitely a favourite of mine.

At times some tracks seemed almost unrecognizable (‘Red Alert’). Whilst other classics in ‘Good Luck’ and ‘Do Your Thing’ were exactly what you would expect and got the crowd on their feet pronto and all hands clapping.

Hearing 10 years of the Brixton duo’s greatest hits with an elegant string section, perked up and amplified with sharp horns and sexy brass. Then sprinkled with detailed percussion, all orchestrated and executed with conductor Jules Buckley’s guidance was the most skewed interpretation of dance music I have ever experienced. Although the whole concept was entirely out of the box and quite ambitious, by the sounds of the final roar of applause, I would say they pulled it off.

Epic.

The album Basement Jaxx vs Metropole Orkest is out now.

Today marks the release of Beyoncé’s fourth solo album appropriately titled 4. Amidst reports last year that the 16 time Grammy Award winner was recording new music after a year-long hiatus and in the process creating “a new genre” – anticipation for her return was high.

It was a surprise to most then when the first few snippets of the albums lead single ‘Run the World (Girls)’ surfaced. Featuring an uninspired sample of Major Lazer’s ‘Pon De Floor’, nothing about it sounded new or ground-breaking. Reviews didn’t improve after the song’s video premiered either, with most finding the general essence of the track contrived and uninspired – a forced anthem at best.

‘Best I Never Had’ and a stunning performance of ’1+1′ soon followed suit; The former like the first single failed to ignite excitement. The middle of the road mid-tempo penned by Babyface isn’t all-bad, just not strong enough to launch an album into the stratosphere. ’1+1′ however was a beautifully 80′s/Prince inspired ballad written by The Dream, produced by Tricky Stuart and sang to perfection by Beyoncé – signs of hope.

But three singles in and the 4-era seemed a bit shaky. Unlike her previous releases there was no clear definitive ‘hit’ – something the world was not accustomed with Queen Bey. Of course die-hard fans (stans) blinded by their adoration were resilient and defiant against any negative (but founded) criticism.

… But did we all judge Beyoncé too quickly?

On first listen 4 is unremarkable, it seemingly lacks any clear direction and quickly feels dismissable. This is because 4, unlike any other Beyoncé album before it – is different. Heavily reliant on ballads and mid-tempos, with only 3 real ‘bangers’ throughout (‘Girls’ being one of them), 4 is uncharacteristic for a singer who has over the years been criticised for being too predictable.

Unlike her previous efforts this album isn’t systematic. It isn’t robotic. Infact, it’s refreshingly a little rough around the edges. Beyoncé has done what many have hoped she’d do for years – she’s taken a risk.

4 symbolises an artist who has nothing to prove, an album which could only be birthed after having sold over 80 million records, won countless awards and been recognized as one of the biggest and most successful female artists of all time. For the first time it feels Beyoncé allowed herself to be emancipated from pressure and expectation and made a record she wanted to make, as opposed to an album she should have made. But taking risk is tricky business (especially in the fickle age we live) – at best it will earn you respect, at worst it will invite an onslaught of criticism.

And critically speaking this album isn’t without it’s faults, it is by no means an opus – something Beyoncé is frustratingly yet to deliver. But musically speaking it is arguably her best. It may not feature the most ‘popular’ songs of her career or the most ‘expected’ but it does symbolise her most progressive work to date (remembering everything is relevant and that ‘progressive’ in Beyoncé terms isn’t necessarily ‘progressive’ in the wider sense) but above all else it allows, for the first time, a glimpse into an artist as opposed to just a performer.

Vocally Beyoncé has never sounded better than she does on this record – she sings with a rawness only previously heard during her live shows. Yet another example of her taking a less mechanical approach to the new material. Sonically, 4 sees her at her most eclectic too – channeling influences from the likes Prince, Fela Kuti and Teena Marie – it’s much richer than most would expect.

The power ballad drums of ‘I Care’ which in many ways feels strangely modern in 2011 (thank Drake & 40 for that) also showcases an advance in lyrical content (“ever since you knew your power/you made my cry/and now everytime our love goes sour/you won’t sympathize/you see these tears falling down to my ears/I swear you like when I’m in pain”) and vocal prowess. And with it’s Alanis Morrisette-esque style chorus it’s a far cry from perfect and formulaic constructs of songs like ‘Irreplaceable’ or ‘Halo’.

‘I Miss You’ -  one of the best songs on the album – was at it’s very inception out of the norm for Bey who opted to work with Odd Future’s Frank Ocean instead of ‘go-to’ writers such as Ne-Yo or Bruno Mars etc. The harmony structures and vocal arrangement on this track in particular are among some of Knowles’ best work.

Even with all this considered songs like ‘Best Thing I Never Had’ (‘Irreplaceable’ part 2), ‘Countdown’ (better placed on a Destiny’s Child record) & ‘I Was Here’ (the albums most cringe-worthy moment) feel like ‘good measure’ additions – a step back from off the proverbial ledge. Disappointing selections but ones that remind us that Beyoncé is still very much an artist with an audience to cater to and records to sell.

However the downfalls are quickly forgiven and followed by songs like ‘Party’, produced by Kanye West and featuring Outkast’s Andre 3000. The 80′s block party throwback with it’s beautiful harmonies and feel-good lyrics sees Knowles at her very best – but begs the question “why hasn’t she been doing this from day one?”.

‘Rather Die Young’ despite a terrible opening line (‘you’re my James Dean/make me feel like I’m 17′) matures into a rather classy, singable ode. ‘Start Over’ the albums biggest power-ballad is driven by strong drum progressions and an emotive lead piano – sent into hyper drive with Beyoncé’s immaculate (but not too ‘clean’) vocals and anthemic chorus. ‘Love on Top’ is a bright, easy-on-the-ears, feel good jam happily serving most corners of her fan-base. And the off-beat military drums and funk bassline of ‘End of Time’ brings forth a fantastic, epic sounding up-tempo.

With an internet generation of undiagnosed ADHD sufferers, it’s difficult to ask anyone in 2011 to give any album time to resonate – but time is exactly what 4 demands. If invested, the sounds, themes and directions of this album will flourish. However if a traditional, ready-made-meal album with ‘instant hits’ is expected – you’re about to be grossly disappointed. If you listen to 4 with an open mind and an understanding of the context and time in which Beyoncé has decided to release it – then you too will realise that it is undoubtedly her greatest musical accomplishment.

The world has watched her churn out digestible and instantly loveable hits time and time again, and we’ve loved them all – but at some point in every artists’ career (especially ones with over 10 years under their belt) they must progress and do something daring. With this album Beyoncé did just that. Will the world respond with a resounding “YES”? Possibly not, but that’s the chance you take and at least for the first time in her career she can say – she’s taken a risk and has exercised her artistic integrity and for that – she has my respect.

Beyoncé’s 4 is out now via iTunes.

Yesterday evening, whilst some of the team went down to ol’ PinBoard favourites, Eletric Wire Hustle on one side of town, I headed down to East London’s coolest venue of the day, XOYO to witness how How To Dress Well would portray his unique ethereal pop/R&B live.

I was somewhat apprehensive since in the last few weeks that I have found out about HTDW, I have been intrigued by his sound, even those times when it was an awkward listen. But as I walked into the venue, I still  knew very little about the man. To ease me into the unknown, I was happy to see Holy Other was the opening act. I posted up his EP at the backend of last month, which after a few solitaire listens, I started to enjoy the emo’ness that was taking over my body courtesy of his intense mystique.

When the cloaked unknown producer came on, although I liked the tracks I was aware of and some of the fresher ones too, the new experience made up of a large group of people, all caught up in one hypnotic sway was definitely erring on the best side of depressing. Nonetheless a perfectly awkward opening act, for a even more curious headliner. Tom Krell, better known as HTDW came on stage initially thanking all in the packed room. Told us how he just got from Barcelona and he felt sick. Gotta love the honesty.

Not knowing much about HTDW, other than his distinctive  voice, I enjoyed the set and it seemed the crowd did too, performing new songs and mixing them with previous releases like ‘Sucicide Dreams 2′ and his Transparent release ‘Take It On’ where there were definitely moments of Justin Timberlake’ness sprinkled in for good measure.  As he scattered between high pitched vocal and Mika-like sounds, whilst pulling his jumper with childlike tendencies, there was a freedom in all that HTDW was doing – it was all  imperfect to the mainstream eye, yet for me, it was uncomfortably acceptable. That is what kept me watching. From the folkey acapella which suddenly had a fighting falsetto harmony section, to the three minutes which HTDW intensely stared at a projection playing a haunting (to say the least) montage, then rapidly leaving the stage. All out of the norm yet enjoyable to get drawn into.

He performed new songs, such as  ’How Many’ which had a easy on the ear dancey loop, with soothful harmonies kicking in midway. I also enjoyed what he described as his ‘Eurovision entry – possibly?’ ‘Happy’. The track possessed a massive thumping bass, rave sirens and a complete fall to floor that could only make you dance. All this alongside his nu-R&B flavour is all the more reason why HTDW will be closely watched by us PinBard lot for a while.

After hearing Tanya Auclair’s reworking of Roy Davis/Paveen Everett’s ‘Gabriel’ right here on PinBoard, I was on a feverish hunt to track her down at a live gig. My mission came to an end last Thursday at the launch party for her new EP Origami held at Servant Jazz Quaters in Dalston. What can I say? I am in love with Tanya Auclair! Not even two songs into a set of 10, Auclair had already played five instruments. This is a woman who loves to play with music to see what she discovers.

It’s worth mentioning that I was stood in the midst of some hard-core Hip Hop fans who had been talking about seeing Mos Def and Talib Kweli live and who were sad to hear about the death of the legend, Gil Scott Heron. It was, by anyone’s standards, a tough crowd. By the middle of her set, standing pretty much under her nose- not a psycho fan, I promise- I turned around to see a packed room of people swaying to the good vibes coming from Auclair’s beautiful and at times, haunting music.

It’s easy to dismiss an artist like Auclair as merely being about the gimmick of using the loops. I’m sure many of y’all have been to gigs and open mic nights where the loop is used as a sure fire way of proving musical worth and breadth of talent. But, the fact is, not many, really only very, very few, can match the rich musicality of Auclair. I felt like a kid seeing ET for the first time watching her create music from seemingly nowhere.

Central to the EP is the concept of how origami shapes are formed through a process of tiny folds, which combine to create a complex object. For Auclair, this is what she is doing through music. As a listener you are brought back to the old days of the blues, where basic and unassuming instruments are put together to make music that could tear at the heartstrings. To some extent, Auclair is a follower of these particular musicians rather than the studio centred approach of electro/experimental pop. Obviously, layering of musical elements is not a new thing, all music to some extent does this. What is special about Auclair’s way is that when you are given the opportunity to see her live, you are brought closer to the process of song making. It’s exciting for the audience, because we are seeing how composition comes together to create music. There is a sense of wonder that comes from seeing where she will go with the layering of: fingers clicking; teeth ‘tictching’ (if that is even a word); light breathless sighing with military drumming and Kraftwerk type electronica and it is this that makes the live experience a must and privilege.

On stage Auclair is in her element and proves that some people are just born to do what they do. Through the course of the night, her music took us from a sexy coolness that has you tapping to the infectiousness of laid back swinging beats to slight and distant echoes of dirty drum ‘n’ bass, to discordant trippyness. At points contemplative and light, it’s easy to think that this is just music for falling in love in the summer to, yet she is able to smack you with tunes that have the deep intensity mountains give off, weird, maybe, but it is the only way I can put it. Her layering of sounds shows a maturity of musicianship that proves Auclair is worthy of being talked of in the same breath as Bat For Lashes and, maybe one day, Kate Bush. She is brilliant, like I said and in case this review didn’t make it obvious enough, I’m in love with Tanya Auclair.

Mad props to Auclair’s drummer Joe Allen and double bassist, Arista Hawkes. If you can see her live, do it, if not, download her EP!

An impromptu visit to Manchester over the bank holiday ended with me leaving a gig by one of the best male vocalist to come out of the UK this year.
Jamie Woon (or Wooney as he is known by the locals) was as beautifully dark, subtly intimate as a show can come.

Void of a extravagant light show or alternatively a  gang of dancers, the night started with the welcomed surprise in supporting act Jono McCleery.  Unaware of the young crooner, I was taken by his mixture of acoustic guitar, layered bass line and jazzy fractured drum patterns that just about kept in enough time for McCleery to sweep through the gaps with his haunting tone. McCleery’s soft melodic structures are far from the frequently cliched folk tunes often churned out, ‘Tomorrow’  (single out on Ninja Tunes) being the standout track. A passionate dreamy prelude that provided a great transition into Woon’s set.

The same authenticity embedded in Woon’s debut LP oozed out in the live show without any comprise. He built each song with a enthralling amount of human beatboxing, looping and finger clicking in front of the audience, as if he was doing it for the first time in the studio. ‘ Shoulda’ and swinging gospel soaked ‘Spirits’  were layered meticulously using his trusty loop machine, plethora of guitars and the threeman band. A crowd familiar with Woon’s transferability allowed him to ease through a rockier version of ‘TMRW’ to fluently perform ‘Middle’ that is laden with Michael Jackson echoes and then flip to an electronic commercial gem such as ‘Lady Luck’. All with the same dose of substance carved in each track.  In a time where every artist has at least 10 dancers on each side of them or a hypeman, it was a pleasure to witness an artist possess equal measures of soul, complexity and originality in their live show, as their debut album boasts.