There are certain members of rock royalty whose prospects for an autobiography seem a little optimistic. That Keith Richards managed to recollect anything for his book, Life, was nothing short of a miracle, however it’s likely that we’ll be waiting forever to read his more reticent counterpart Mick Jagger’s journals. And so it was with Led Zeppelin, who have always closely guarded their own backstage secrets despite – or, perhaps, because of – mounting speculation and improbable myths that surround their legacy. Until now, that is.

An intensely private person, it’s taken over four decades for guitarist Jimmy Page to enlighten his fans with an insight into the inner sanctum of his colourful past. A new book, simply titled Jimmy Page, attempts to lift the lid on the memories from throughout his career, but in a unique and authoritative manner that’s fitting of the musician’s exacting standards. The book’s narrative is told by a succession of photographs, painstakingly researched and collected over two years by Page, which definitively charts his progress, his rise to fame, and his stature now as a living legend.

“I like to pit my wits against something that is pretty epic,” he tells Clash. “I’ve done that all the way through, I realise, in my life, now. To have something that nobody else has done.”

The first ever authorised Led Zep publication assembles 500 pages of stunning imagery from the likes of Linda McCartney, Gered Mankowitz, Pennie Smith, Jim Marshall and more, alongside unseen photographs from Page’s own archives, rare Led Zep memorabilia, tour dates, passport scans and accompanying captions. It begins in the late-’50s with Page as a choirboy, before his obsession with the guitar sees him first become an in-demand session player, then a Yardbird, then form his own group, Led Zeppelin, and conquering the world. His post-Zep years are brought right up to date with the band’s 2007 reunion, his work with The Black Crowes, and his appearance at the 2008 Olympics in Beijing.

Originally designed as a 2,500-copy limited edition collectible, this new and expanded affordable version is an essential and illuminating document for any Led Zep fan.

Clash met Jimmy to talk through a selection of our favourite photos, and discovered the enigmatic icon wasn’t as restrained as we’d been led to believe…        

- - -

FIRST GUITAR

“This is a picture of my first purchased guitar. My first [actual] guitar was a campfire-type guitar, which curiously enough was left behind at a house that my parents moved into. We moved from Middlesex to Surrey, to Epsom, where this is. There was this guitar there – nobody could play it in the family – and it was all strung up with six strings. You know when you see a guitar that’s been left behind and there’s strings missing? This was just there. Bit by bit, there was like an intervention into my life. I took to it like a duck to water.”

THE SESSION MAN

“When I was at art college, I was playing in the interval band at the Marquee club, which was on Oxford Street at the time; it was just really happening then at that time. I was at art college and I was playing in the interval band and I got headhunted to start doing sessions, and then they just came fast and furious. I had a break after one of the terms and I was doing like three sessions a day, five days a week. I had to go back to art college, and I had to make a serious decision. It was clear that I was a much better guitarist than what I was an artist. In those days, you weren’t just a specialist musician; you were just a guitarist and you were expected to be able to play in all these different genres.

“I played right across the board; from all the really, really good things like the group things, where I was brought in as a hired hand (for the likes of The Who, The Kinks and Them), to the point where I was doing muzak sessions. I worked with Brian Jones from The Rolling Stones for the film A Degree Of Murder. He said, ‘I’m doing a soundtrack for this thing. Have you got any ideas?’ I said, ‘I’ve got something straight away. I’ve got the bow (to play guitar with)!’ And he goes, ‘Oh! Listen to that!’ It was lovely working with a like-minded musician that was into the more avant-garde.”

THE YARDBIRDS

“The bass player Paul Samwell-Smith left the band. Their guitarist Jeff [Beck] and I were really good friends, had been friends since we were 12 – he thinks maybe even 11 – so I go in playing the bass, and then it gets to the point where there are two lead guitars, and Chris Dreja takes over on the bass. Jeff was really keen to have a dual lead guitar thing… Like, all those old blues records where they’ve got two guitarists going on, like the Howlin’ Wolf stuff and Muddy Waters; you hear some wonderful guitar parts blending. The Stones were doing that, but we wanted to have stuff that was more like a big band, with all the saxes – that sort of aspect, of all the riffs coming right out at you, and playing off each other. I was playing with the bow the minute I go in there, so we had a lot of interesting textures going on.”

LED ZEPPELIN

“I’d found Robert and routined stuff with him at home to see – because if he wasn’t going to get the ideas of what I had, then I’d have to look for someone else. I knew exactly what I was going to do. But it was like hand-in-glove, the two of us working. John Bonham hadn’t been playing with him for a while, I don’t think, but he said, ‘You’ve got to see John Bonham.’ I’d worked with John Paul Jones on sessions… Everybody just really suddenly took on their own persona, which moulded as the four and bonded. John Bonham had never had the chance to play the drums as John Bonham before Led Zeppelin. He’d just never had the chance to really flex his muscles musically, but that’s the same with all of us; everyone suddenly went into overdrive on this thing. It wasn’t over-playing, it was just playing in such a way with such attitude that it was just undeniable – this is some serious force going on here.”

LIVE

“It was supply and demand: we couldn’t supply the demand of people who wanted to come and see us, so you just see that these venues get bigger and bigger and bigger. Did I get nervous before big shows? Was it nerves or was it just the excitement and the adrenaline tap going on and champing at the bit like a horse before the shutters go up and it starts racing? It’s a bit like that, I think. Because the other thing about it is, by the time you’re looking at that picture there, we’re doing three-hour sets, and there was always going to be so much music that was going to come out on that night. Because every night was different, so it was quite exciting, you know? You knew what the set was, but the set’s gonna mutate. It was wonderful.”

THE FASHION

“I knew how I wanted to look, which was different to other people, and then it got to the point where I could actually afford to buy outfits – because they weren’t going to be cheap. On the dragon suit, it’s really raised up like a kimono, and it’s all gold threads. But I could afford to buy that. I think I had the trousers first (laughs), then I had to pay for the jacket so the jacket and trousers match up. Then I had the poppy suit made as well.”

FAMOUS FRIENDS

“I met Andy Warhol in November 1966 when The Yardbirds were in New York. Robert Plant and I met Elvis Presley in 1974 after his show in LA. I sort of got a chance to meet everyone. If I’m really honest, I would have liked to have worked with Bob Dylan. There’s still time, but there’s a whole period when I would really have liked to have worked with him. At the time, he’d had a conversion to Christianity, and everyone thought I was like the Devil incarnate, and maybe he thought it might not be the best [idea]. He might have thought it was like mixing oil and water, but actually in musical terms I would have been really sympathetic to him.”

- - -

Interview: Simon Harper

Photo credits (top to bottom): Hipgnosis; Dennis Coffin x3; Chris Dreja x3; Hipgnosis

Find more information on the book, out now through Genesis Publications, at its official website. 

Jimmy appears at a special ‘stamping’ event at Waterstones, Piccadilly (London) on December 2^nd. He will hand-stamp copies of Jimmy Page with a location-exclusive ‘Zoso’ emblem. The event begins at 1pm and is strictly on a first come, first served basis with a queue restriction of 250 people. More information. 

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A complex, engrossing project, Feldspar spent 2014 getting conceptual.

The band's ongoing Compass tour saw the group take their music across the country, playing countless special shows in the process.

As they went, Feldspar wrote, recorded and released four singles. A narrative arc, the tracks focus on different sides of the human condition: heartache, lust, mortality, and anger.

Closing the quartet, 'Hang Your Head' is a powerful piece of songwriting. Frontman Will Green explains:

"It’s anger at the way a select few have turned the most basic of human needs, having a roof over our heads, into a way to get rich and thereby suppress the rest of the population."

Due for release on December 4th, you can check out 'Hang Your Head' below:

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Initially shy and retiring, Alex Burey's music leaves a devastating impact.

Slowly, subtly making his presence felt, the South London native is ready to unveil his debut EP.

'Inside World' is due to be released on January 26th, with Pling Recordings stepping in to support the songwriter.

Title cut 'Inside World' is online now - softly seductive, it's a neat introduction to a talent just coming into focus.

'Inside World' will be released on January 26th. Catch Alex Burey at London venue St. Pancras Church on January 21st.

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We all have our favourite record labels, houses of aural excellence that we feel a connection with, whose catalogue we’ve come to trust. Don’t we? Perhaps, in this fractured world of instant-download gratification, we’re not so bound to labels as we once were – but believe us when we say that there are some mighty fine stables out there, working around the clock to get the most amazing music out.

Here are just seven of the labels that we feel have really excelled in 2014 – which is not to say that others haven’t had brilliant years, too. You’re all superstars in our eyes (and ears).

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Big Dada

Key releases:Wiley, ‘Snakes & Ladders’; Young Fathers, ‘Dead’; DELS, ‘Petals Have Fallen’; Tre Mission, ‘Stigmata’; Kate Tempest, ‘Everybody Down’; Run The Jewels, ‘Run The Jewels’ (European edition).

Outstanding achievement: Two Mercury Prize nominations is right up there amongst the Pretty Flipping Impressive ranks, with ultimate winners Young Fathers and Kate Tempest both celebrated as amongst the year’s finest purveyors of long-play art. 

Select Clash verdicts: On Young Fathers’ ‘Dead’ (9/10): “They possess that which makes the best British acts truly special, a singular identity born of multinational mixology.” On Wiley’s ‘Snakes & Ladders’ (8/10): “‘I’m a weirdo, but label me grime, please,’ he spits on ‘Bloodtype’. Of course, Wiley – you are grime.” On DELS’ ‘Petals Have Fallen’ (9/10): “An album of consistent high quality and endearing personality, it’s worth popping a tenner on this making the Mercury shortlist in 2015.”

Online

Young Fathers, ‘Get Up’

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Erased Tapes

Key releases:A Winged Victory For The Sullen, ‘Atomos’; Douglas Dare, ‘Whelm’; Kiasmos, ‘Kiasmos’; Greg Gives Peter Space, ‘Greg Gives Peter Space’; Rival Consoles, ‘Sonne’.

Outstanding achievement: AWVFTS’s ‘Atomos’ proved a more than worthy follow-up to the pair’s eponymous debut album, an energised yet ambient set of heartache and cathartic comforts. And it was turned around in just a matter of months according to its makers, which makes the feat all the more impressive.

Select Clash verdicts: On Kiasmos’ ‘Kiasmos’ (9/10): “Striking, graceful and completely naked, this cold album hovers at the crossroads where dance meets the overgrown trail of modern classical.” On Douglas Dare’s ‘Whelm’ (8/10): “Both richly emotive and beguilingly, bewitchingly uneasy.” On AWVFTS’s ‘Atomos’ (9/10): “A slow-burning, deeply resonant collection with a stirring potency and the capacity to truly wow.”

Online

Douglas Dare, ‘Nile’

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Warp

Key releases:Aphex Twin, ‘Syro’; Clark, ‘Clark’; Flying Lotus, ‘You’re Dead!’; Rustie, ‘Green Language’; Plaid, ‘Reachy Prints’; Eno - Hyde, ‘High Life’; Nightmares On Wax, ‘N.O.W. Is The Time’.

Outstanding achievement: Um, the small matter of a first new Aphex Twin album in 13 years? Yeah, that, we reckon.

Select Clash verdicts: On Aphex Twin’s ‘Syro’ (8/10): “An effortless comeback that almost plays like a greatest hits set.” On Flying Lotus’ ‘You’re Dead!’ (8/10): “LA’s most talented producer is using his vivid heritage to explore the album format… and has brewed up some seriously bitching beats.” On Plaid’s ‘Reachy Prints’ (8/10): “Another artful and aerial treasure.”

Online

Flying Lotus feat. Kendrick Lamar, ‘Never Catch Me’

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Hyperdub

Key releases: Tenth-anniversary celebrating compilations ’10.1’, ’10.2’, ’10.3’ and ’10.4’, plus EPs from Ikonika, Flowdan, Cooly G’s ‘Wait ‘Til Night’ album and Fatima Al Qadiri’s ‘Asiatisch’ LP. Then there was the small matter of the final recordings from The Spaceape (alongside Kode9), on the ‘Killing Season’ EP.

Outstanding achievement: Marking its 10^th (Clash feature) with a remarkable showcase of diversity across four essential compilations.

Select Clash verdicts: On ’10.1’ (9/10): “The cumulative effect of this shatters any doubts over the label’s continuing vitality… Essential.” On ’10.2’ (8/10): “Celebrates the diversity of a neglected side of the label’s output.”

Online

Cooly G, ‘Wait ‘Til Night’

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Sub Pop

Key releases:clipping., ‘CLPPNG’; Shabazz Palaces, ‘Lese Majesty’; Avi Buffalo, ‘At Best Cuckold’; King Tuff, ‘Black Moon Spell’; J. Mascis, ‘Tied To A Star’; Chad VanGaalen, ‘Shrink Dust’.

Outstanding achievement: Continuing to throw its strictly-indie reputation against the nearest brick wall until it – or the wall – crumbles, the venerable stateside institution has made some seriously impressive moves into the avant-garde in 2014. Albums from clipping. and Shabazz Palaces have furthered its interests in leftfield rap circles, while a complete reissue series from Sleater-Kinney serves as the perfect way to introduce a comeback LP, their first in 10 years, from the Olympia trio – ‘No Cities To Love’ is out in January.

Select Clash verdicts: On Shabazz Palaces’ ‘Lese Majesty’ (8/10): “Anyone looking for a mind-expanding trip to the outer edges of the Solar System, these rap futurists are your guides.” On clipping.’s ‘CLPNNG’ (8/10): “While it aims to push boundaries, ‘CLPPNG’ does so in a way that demonstrates a love for the culture that forms its source material.”

Online

clipping., ‘Work Work’

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4AD

Key releases:tUnE-yArDs, ‘Nikki Nack’; SOHN, ‘Tremors’; Future Islands, ‘Singles’; Ariel Pink, ‘pom pom’; Scott Walker + Sunn O))), ‘Soused’. 

Outstanding achievement: It’s got to be the unlikeliest partnership of this year – and many before it – hasn’t it? ‘Soused’ is just the most arresting, alien listen of 2014, full stop.

Select Clash verdicts: On ‘Soused’ (8/10): “An uneasy, intuitive, idiosyncratic masterpiece.” On SOHN’s ‘Tremors’ (8/10): “Sure to be a hit with the disenfranchised, give the man a single bulb to perform under on stage and fans will be riveted.” On tUnE-yArDs’ ‘Nikki Nack’ (8/10): “Invigorating, wilful and wildly exuberant.”

Online

SOHN, ‘Artifice’

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Mute

Key releases: Swans, ‘To Be Kind’; Liars, ‘Mess’; Ben Frost, ‘A U R O R A’; Arca, ‘Xen’; Zola Jesus, ‘Taiga’; Cold Specks, ‘Neuroplasticity’; Plastikman, ‘EX’.

Outstanding achievement: Mute’s consistency has been amazing across 2014, although not one of their album releases has borne all that much of a similarity to the preceding set. From Liars to Ben Frost, the mighty Swans to the bruises of Zola Jesus, the label has always put art before business, allowing some of the brightest creative talents to shine through its doors.

Select Clash verdicts: On Liars’ ‘Mess’ (8/10): “Another ambitious statement from a band that has made a habit of reinventing itself at every stage, while still sounding uniquely Liars.” On Swans’ ‘To Be Kind’ (9/10): “Imagine Karlheinz Stockhausen’s jarring classicism, Captain Beefheart's twisted blues, and the industrialism of Einstürzende Neubauten coalescing into a swirling musical miasma. Near perfection.” On Ben Frost’s ‘A U R O R A’ (8/10): “Nothing he has released before has resonated with such life, such energy and desire for breaching the barrier separating the extraordinary from the wholly otherworldly.”

Online

Liars, ‘Mess On A Mission’

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Photo via

Many of these labels will be present and correct at the Independent Label Market, London, taking place at Old Spitalfields Market on Saturday, November 29^th. More information. 

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Returning to spread some festive cheer/visual stimuli/evidence of a degree for the fourth year running, London College of Fashion’s College Shop opens its doors this time on 11^th December.

The six day pop-up boasts a new location for 2014 – 33 Marshall Street – but remains a unique source of retail for LCF students past and present, exclusively stocking their garms.

Marking her second year at the shop, Camilla Elphick replaces last year’s Pez shoes with a luck doused collection titled ‘You’ve Got The Luck’; shoes decked in lucky number sevens and four leaf clovers.

Joining her is Barbara Kolasinski, responsible for the tartan and pink shaggy numbers above, plus Min Wu (also womenswear) and Nicole Paskasuskas (silk braided accessories); C Studio will be selling men’s and womenswear while Esoteric returns with a selection of jewellery.

An exciting newbie to the gang is a fashion photographer zine corner, which promises the best of the college’s BA (Hons) Fashion Photography course. And potentially the early work of tomorrow’s Clash contributors. Potentially.

Until 16^th December. 

Styling: Saskia Cole
Photography: Eugene Shishkin
Hair Styling: Mattie White
Make up: Ekaterina Novinskaya

www.arts.ac.uk

----

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With record sales remaining low, bands are increasingly focussed on live performances as a means of getting their music heard.

Some are better than others. The DICE Live Award was launched earlier this year, aimed at shining a light on fantastic live talent.

The ceremony took place last night (November 27th) at Shoreditch venue the Old Blue Last, with Wolf Alice scooping the award.

Accepting the trophy, vocalist Ellie Roswell said: "We feel really honoured that people are enjoying our live shows, especially when we spent so long playing to nobody and wishing for a moment like this. Thank you to DICE, we completely support No Booking Fees."

Fancy catching Wolf Alice live? Well, try any of the following shows:

March
23 Glasgow Oran Mor
24 Nottingham Rescue Rooms
26 Manchester The Ritz
27 Sheffield Leadmill
28 Newcastle Riverside
31 Birmingham Institute Library

April
1 Cardiff Globe
2 Bristol Trinity
3 London O2 Shepherd's Bush Empire
4 Oxford O2 Academy 2
7 Reading Bowery District
8 Bournemouth Old Firestation
9 Brighton Concorde 2
10 Cambridge Junction

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Hailing from Bristol, BRIDGES have been able to hone their sound free from metropolitan hype.

Soft, supple songwriting with a dark edge, the band bring to mind names such as The National or even Interpol in their evocation of glamorous melancholy.

New single 'Ballgowns' is out on November 30th, combining sweet melodies alongside lyrics with just a hint of noir.

The accompanying video focusses on these lyrical themes. Beautifully shot, you can watch it below:

'Ballgowns' is out on November 30th.

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A pioneering work in minimalist composition, Terry Riley's 'In C' continues to challenge and beguile, entice and confound.

Africa Express musical director Andre De Ridder recently decided to re-visit the piece, using it as a framework to compare Western avant garde to African music.

In a performance at London's Turbine Hall, a host of musicians helped to interpret the piece. Brian Eno, Damon Albarn and more took part, with the results partially online now.

Due to be the focus of a full documentary, a snippet has been placed online.

Check it out below.

The physical release of 'In C' is forthcoming through Transgressive.

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"No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do.
To swell a progress, start a scene or two..."

The completeness of a work of art renders the small details with incredible importance. To some, it's the parts which linger in the background, almost unseen, which have the most meaning.

It seems to be themes such as these which underline a new compilation from theQuietus. Pairing up with Arts Council England, upcoming release 'Minor Characters' finds East India Youth, Forest Swords and more contributing new music themed around lesser figures in classic texts.

East India Youth, for example, is inspired by Lucy, from 'Fear And Loathing In Las Vegas', while Forest Swords plumbs for Miss Lonelyheart from 'Rear Window'.

Here's theQuietus editor John Doran to explain more:

"People have been singing stories about characters since year dot. I have always loved tunes that take me on a journey through some sort of narrative. At the same time I've always been fascinated by eccentrics and those on the periphery. The sort of people who inhabit John Steinbeck’s Cannery Row, or a Tom Waits number. I'm not saying it's some original break- through, I just wanted to kind of expand on it a little and see where it took people."

Set to be available as a free download via BandCamp, 'Minor Characters' was created with assistance from Arts Council England's Chris Bye.

Tracklisting:
1. East India Youth – 'Terminally Jangled' (Lucy from Fear And Loathing)
2. English Heretic – 'Lavinia Whateley' (Lavinia Whateley from The Dunwich Horror)
3. Luke Abbott – 'Fantasy Wurlitzer' (Organ Morgan from Under Milk Wood)
4. Ten Mouth Electron – 'Lux Mundi' (de Selby from The Third Policeman)
5. Forest Swords – 'Miss Lonely Heart' (Miss Lonelyheart from Rear Window)
6. The Lone Taxidermist – 'Marion' (Marion from Wings Of Desire)

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Have you seen it? Peeled yourself off the ceiling?

- - -

That was the week in which...

The first teaser trailer for Star Wars: Episode VII – The Force Awakens went live.

THANKSGIVING pic.twitter.com/46811BgWiF

— Bad Robot (@bad_robot) November 24, 2014

Look, here it is! (Assuming this is the real one, of course.)

- - -

The Big Film: Horrible Bosses 2

Whatever you made of the first one, it did well enough to warrant a sequel. And here we are, three years after the first vulgar, puerile affair, with the follow up.

If you’re wondering how they could possibly spin out a story involving three conspiratorial friends plotting to off their odious bosses into a second film, the answer is as follows.

This time, Nick (Jason Bateman), Kurt (Jason Sudeikis) and Dale (Charlie Day) become their own bosses and get themselves embroiled in a kidnap plot. Inventors of a clever in-shower dispenser, they’re offered a deal by father-and-son duo Bert and Rex Hanson (Christoph Waltz and Chris Pine) to take control of both product and company. When they’re predictably screwed over, they set about planning their revenge.

Although many of the jokes are as tasteless as in the first, this feels less misogynistic – one of the major criticisms of its predecessor. Kurt may be hiring staff based on their looks and his desire to sleep with them, but he’s ridiculed for his attitude and actions. Dale, meanwhile, is a loyal husband and father, and Nick is painted as a decent guy. Falling for Dale’s former boss Julia (Jennifer Aniston), he’s caught up in an interesting role-reversal scenario, where Aniston adopts the more typically male sexual predator persona and Bateman takes on the position of the doe-eyed infatuee.

Essentially, they’re all more likeable this time around – particularly since the blackmail plot they’re drawn into is not of their making.

The cast is clearly having fun, and there’s a warmth to the film that’s lacking in the first. There’s great chemistry and some funny deliveries, but be under no illusions – this is far from cinema’s finest moment. For the most part, Horrible Bosses 2 is juvenile toilet humour for pubescent boys. Words: Kim Taylor-Foster

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Also Out: Stations Of The Cross

“If your parents tell you funk and soul is bad music, it’s because we’re older than you and know where danger lies.”

It’s just one of numerous admonishments delivered to 14-year-old Maria by her strict mother in Stations Of The Cross, a film which examines a family that lives according to the rules of a fundamentalist Catholic community. Rock, jazz, gospel and the “Satanic rhythms” of Roxette are also disapproved of in a script which poses numerous intelligent questions about faith while also managing to take a darkly comic satirical swipe at the strange extremities of belief.

In addition to her mother’s control, Maria is educated by Father Webber about her purpose as one of God’s soldiers on earth: his talk of self-sacrifice and illness as a punishment for past sins strikes a chord with a teenager whose younger brother is yet to utter a word. Even for someone as deeply pious as Maria, her upbringing means that every natural impulse leaves her on the cusp of committing a major sin.

Structured around 14 episodes that see Maria following Christ’s own Stations Of The Cross, director Dietrich Brüggemann crafts almost all of these stations as a long static shot. Often recalling religious art in their compositions, each scene necessitates rigorous concentration from the cast. Its meditative tone heightens the power and occasional absurdity of its dialogue, and – especially as events become even more serious – underpin the film’s intimate emotional intensity to discomforting levels.

Stations Of The Cross isn’t a scathing critique of religion as a whole – indeed, the family’s actions are viewed with bewilderment by the rest of the town which appears to have struck just the right balance in which belief is a core part of contemporary living rather than the sole purpose of existence. The central question that remains is: at what point does well-meaning faith overcome its believer’s rationality to inadvertently become abuse?

- - -

Shorts

Last weekend’s UK box office was dominated by The Hunger Games: Mockingjay – Part 1 (has there ever been a more cumbersome title?) which not only earned the accolade of the year’s biggest opener (£12.5 million+) but it also, according to my rudimentary mathematics, took more than the rest of the top 15 combined. The higher-ranking new entries included another live performance from the Met Opera (#8) and the Flight Of The Conchords recast as vampires in What We Do In The Shadows (#12). James Brown biopic Get On Up entered at a flaccid #13, and was followed by Israel ‘Beastie Boy papa’ Israel Horovitz’s My Old Lady at #14.

Tommy Lee Jones walked out of an interview to promote his film The Homesman, seemingly because he didn’t appreciate it being described as a Western. He probably didn’t appreciate the film debuting at #21 either, but such is life.

At any other time, the Jurassic World trailer would be the biggest event of the week and almost 30 million views for a long-awaited movie sequel is indeed a pretty darn big deal. But, y’know, most other weeks don’t bring new Star Wars footage.

- - -

Words: Ben Hopkins, except where indicated

More Clash Film content

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Deep techno-head Mike Shannon takes it down a gear for his exclusive Clash DJ mix, finding his Sunday afternoon shuffle. Or as he puts it, “tripping into the unknown”.

The Canadian producer has been one of the most influential figures in nurturing his native country’s dance music scene. Now based in Berlin and with a long catalogue of releases for respected labels – including Wagon Repair and, of course, his own Cynosure Recordings label – Shannon is as likely to roll out jazz-dusted house as he is hypnotic techno in his DJ sets – then again, he might just thrown in a few rip-snorting numbers to keep everyone on their toes.

How best to describe his “cheeky yet serious” mix for Clash, recorded to give a flavour of a London party, Half Baked, he’s about to play? Best ask Shannon himself.

“The Five Years of Love Mix was recorded at the Love City Central studio in Berlin. I had the spirit of the Half Baked parties in mind when I recorded this one, with a selection of house tracks that, in my mind, reflect the essence of a night at Half Baked. Sunday afternoon shuffle/late-night grooving, tripping into the unknown, cheeky yet serious at times, but at the end of the adventure always landing on your feet. Well, most of us anyways…”

Listen to it now.

Tracklisting:
1. House of God Acapella
2. ? - Fathers and Sons
3. Cab Drivers - Affect [Cabinet]
4. Rob Ordell - Nobody loves Bishops Gate [Half Baked]
5. ? - Licht und Kino - (Mike Shannon remix) [Milagro]
6. Nikola Kazimir - The Cocody Groove [Les Points]
7. Dewalta - McNulty (Ghetto mix) [Meander]
8. B2 - GL-008 [Rush Hour]
9. Daniel Jacques - Emotion Devotion [Mistress]
10. Andrea Fiorito - Free Jam (Brain & Butter) [Cynosure]
11. A - GL 008 [Rush Hour]
12. Nikolas Rowland - Headspin [Borft]
13. Andrea Fiorito - People In The House Jam [Cynosure]
14. DJ.Spen - The Feeling (dub mix) [Basement Boys]
15. Mike Shannon - Over and Over (Time To Celebrate Mix) [Half Baked]
16. Pepe Bradock - Vermeille [Versatile]
17. Kenny Dix Jr. - Midnights [Soul City]

Words: Tristan Parker

- - -

Mike Shannon will be playing at the 19-hour Half Baked Fifth Birthday at Studio 338, London, on November 29th, alongside Zip, Hold Youth, Sammy Dee and dOP.

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Pop outlaw and supreme memoirist, Luke Haines remains one of Britain's most delightfully individual voices.

Ever knowledgeable of pop culture, the songwriter is ready to unveil his next project. New mini-album 'Adventures In Dementia' is out on February 2nd - billed as a 'micro opera' it features Luke Haines and Scott King.

First performed as part of Scott King's 'Festival Of Stuff' over two nights in Berlin, July 2014, the work pits two rather opposing figures in British music against one another.

Here's the blurb:

A Mark E Smith impersonator and members of Fall Group are en route to a rock 'n' roll festival. Members of Fall Group are not aware that 'MES' is actually an MES imposter.

Smith is driving a battered Renault 5 and towing a Swift Swallow caravan (possibly under the influence of amphetamine sulphates and alcohol) when he crashes into an Austen Maestro. The Austin Maestro is being driven by a skinhead: Ian Stuart, lead singer of notorious 'white power' band Skrewdriver...

A truly unique prospect, the music more than matches the imagination. New track 'Caravan Man' is based on a rollicking rockabilly rhythm, with Luke Haines intoning some hilarious lyrics which speak of tracing a path across the land in a moveable home.

Backed by some joyously DIY visuals, you can check out 'Caravan Man' below.

Related: The Fall Of The Outsider - Luke Haines Interviewed

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A charitable soul, Frightened Rabbit's Grant Hutchison recently decided to call in a few favours.

Aiming to raise money for cystinosis sufferers, the musician asked some well known friends to pen him a postcard.

Named Line Drawings, the results are due to be auctioned online, allowing fans to own a priceless piece of memorabilia. Those taking part include The National frontman Matt Berninger, Snow Patrol's Gary Lightbody, Ben Gibbard, Aidan Moffat and more.

Here's a quote from Grant:

"Line Drawings was an idea I had a couple of years ago. As someone who doesn't write lyrics I've always been really interested in the process and how lyricists get to the final product of a song. I thought that asking songwriters to visualise their favourite lyrics might give an interesting insight in to how they formulate and develop their own words. I contacted a few of my favourite writers and the response was great. I chose to make a postcard set of these drawings to raise money for Cystinosis Foundation UK. The charity is very close to my heart as my niece Morven suffers from cystinosis. It is a very rare genetic condition which forces her to take a large amount of different medications daily. As it is so rare the funding is limited - almost all funds are raised through personal projects like this or event fundraisers. Check the website for more information or if you'd rather just make a donation the justgiving page is below. All the profits from Line Drawings cards go towards CFUK."

Here's the full list of contributors:

Scott Hutchison (Frightened Rabbit)
Matt Berninger (The National)
Gary Lightbody (Snow Patrol)
Craig Finn (The Hold Steady)
Ben Gibbard (Death Cab)
Alisa Xayalith (The Naked And Famous)
Aidan Moffat (Arab Strap)
Tracey Anne Campbell (Camera Obscura)

For more information please visit:
www.cystinosis.org.uk
www.justgiving.com/morvenspage

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Two vital forces in guitar music, Savages and Bo Ningen agreed to join forces earlier this year.

Billed as a 'simultaneous sonic poem', the performance was a molten, volcanic flood of ideas. Taking control of London's Oval Space venue, the collective spewed forth 37 minutes of inspiration, deeply improvisational music.

Released as 'Words To The Blind' via Stolen/Pop Noire, Boiler Room were on hand to film proceedings.

Full footage has now been placed online, with the full 37 minute available to stream in its entirety.

Watch it now.

Savages & Bo Ningen Boiler Room London Live Setby brtvofficial

Photo Credit: Simona Mizzoni

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The best albums of November 2014, go…

(Click the covers to scroll through them.)

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DELS – ‘Petals Have Fallen’
(Big Dada, released November 3^rd)

“One of those rarely heard, potential-fully-realised collections that can only emerge from a creative environment of comfort surrounded by friends tight enough to feel like family. It’s worth popping a tenner on this exceptional LP making the Mercury shortlist in 2015.”

Read the full review
Read our interview with DELS

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Ryan Hemsworth – ‘Alone For The First Time’
(Last Gang, released November 3^rd)

“It’s a sad record, but one that envelops you in a warm hug, wipes your eyes and plays with your hair. Its juxtapositions are characteristic of an artist addicted to sampling and SoundCloud discovery. Sonically, nothing is off limits.”

Read the full review
Read our interview with Ryan Hemsworth

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Dean Blunt – ‘Black Metal’
(Rough Trade, released November 3^rd)

“As Blunt strings low cryptic one-liners together, we’re guided by awestruck voyeurism. From ‘cover art’ to core, it might seem the listener is last on his list, but this is just classic reverse psychology. The less Dean Blunt cares, the more we do.”

Read the full review

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Arca – ‘Xen’
(Mute, released November 3^rd)

“The otherworldliness of ‘Xen’ is down to a moving of brightness through a mutinous church of new-school New Romanticism, with more archetypal monochromes – ‘Bullet Chained’ develops a techno arrhythmia with an 8­bit blister – inserted like trapdoors. A captivating, at times unexplainable reaching of pained highs and battered lows.”

Read the full review

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Wiley – ‘Snakes And Ladders’
(Big Dada, released November 3^rd)

“Wiley’s always been an outsider – a weirdo, who eats dessert before dinner and looks for the sky while he’s chilling on the sofa. In classic Eskiboy fashion, this 10th – and, apparently final – solo album’s dropped suddenly, without any press, the main hype being Instagrammed shots of track names on his iTunes and a handful of tweets. By the time the album winds down we find a mature artist bowing out of the ring.”

Read the full review

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Wildbirds & Peacedrums – ‘Rhythm’
(The Leaf Label, released November 3^rd)

“For the uninitiated, Wildbirds and Peacedrums’ music is ultimately a melodic tussle between inventive percussion and the riveting vocals of Mariam Wallentin. The sense of a swelling and subsiding storm at the heart of her performance on ‘Gold Digger’ is staggering, while the constant sense that the drums are chasing the words on ‘Soft Wind, Soft Death’ evokes memories of Björk’s ‘Volta’.”

Read the full review
Read our interview with Wildbirds & Peacedrums

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More of these monthly round ups. 

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Ostensibly based in Glasgow but with creative tendrils extending across the globe, LuckyMe have dominated 2014.

From Sevendeaths' debut release in January to last month's return of Baauer, the collective has continued to grow without losing sight of its essential identity.

Ending the year with a flourish, LuckyMe have just launched their ever-vital Advent Calendar. Expect sonic treats from now until Christmas Day, with the project opening with a track from Sevendeaths.

Check it out HERE.

Alongside this, LuckyMe are politely asking fans to aid a charitable pursuit. Drummer with LuckyMe group American Men, Robbie Cooper sadly passed away earlier this year - in memory of their friend, the collective are asking fans to donate to Marie Curie Cancer Care via a button on the Advent Calendar.

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Now signed to Ninja Tune following two exquisite EPs on Black Acre, Romare's upcoming full length has caused no small ripples of excitement.

After all, this is a producer capable of matching Delta blues against house music... and making it work: effortlessly, naturally.

Debut album 'Projections' will be released on February 23rd, with Romare placing the artwork online now. A line drawing - in opposition to the collage effect on his EPs - it's nonetheless enticing.

Alongside this, Romare has posted a full album trailer and the complete tracklisting for 'Projections'. Get stuck in now!

'Projections' will be released on February 23rd. Tracklisting:

Nina's Charm
Work Song
Motherless Child
Ray's Foot
Roots
Jimmy's Lament
Lover Man
Rainbow
Prison Blues
The Drifter
La Petite Mort

Related: Ones To Watch - Romare

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Jillian Hervey and Lucas Goodman have grins spread all over their faces. And not only because they’re standing in a members club in the middle of a circle of journalists, having just premiered their latest music video; snapshots of one day spent flouncing around New York’s rooftops and basketball courts.

Nah, it’s because Rick Rubin’s just tweeted one of their tracks. “We just found out,” says Goodman. “That was pretty amazing; like oh my god that’s one of our heroes of all time.” “You were wearing a T-shirt with his face on last night!” squeals Jill.

It’s not the first time a superstar’s reached out though; Rick Ross phoned Jill up once to tell her he loved their track. “He wasn’t trying to holler or anything, he just said he was a fan of our work,” she beams. “Since then he checks in, he texts me.” They just need another Rick and then it’ll be a hat-trick. A hat-Rick, if you like.

Terrible puns aside (believe me, it’s been a challenge to not litter this feature with big cat re-fur-ences) it’s no surprise that soul-pop duo Lion Babe is attracting such levels of attention. Though there are two of them, you wonder whether Lucas gets slightly eclipsed by the lady standing by his side; she’s the dancer, and moreover, her springy mane of hair has lent the pair their name.

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Lion Babe – ‘Treat Me Like Fire’

- - -

“Blondie was a great reference point to us because yeah, I am in the forefront, dancing around and stuff,” Jill remarks on their choice of name. “But when you see us on stage, it’s both of us.”

She elaborates on the name: “Lucas is a Leo. And I went to South Africa a while ago and had my life changed on a safari. I bonded with a lioness. It’s also the idea of a girl coming of age, empowering herself. The lion is a huge symbol of pride and strength and endurance, and I felt that way in New York – taking life on my own.”

The beats that her voice sits on are slinking, Kaytranada-like neo-soul and ’70s-inspired lounge-funk. They’re also what originally united the pair – they met at a frat party, where one of his tracks (he produces solo as Astro Raw) was pounding the speaker system. Introducing herself, sheepishly, she then followed his MySpace page before the pair went back to their respective schools in Boston and New York, eventually reconnecting via mutual friends. She asked him to produce the soundtrack to one of her jungle-themed dance pieces at college, where she studied professional dance.  

Performance is in Jill’s blood. She’s the daughter of Vanessa Williams, known mainly for ‘Save The Best For Last’ (and for all you Curb Your Enthusiasm heads, her uncle stars as fictional rapper Krazee-Eyez Killa). At university she studied dance, as shown by her on-screen pirouetting in both of Lion Babe’s videos, while Lucas is the beat-head, having grown up on a diverse diet of Dilla to Dionne Warwick, Sly Stone to The Strokes.

“Our parents grew up on some of the most amazing music ever – Jimi Hendrix and The Beatles, all of that,” he adds. “So we definitely grew up on multiple things at the same time, and whatever we were watching on MTV when we were 12 years old.”

- - -

A unique voice is always interesting, and those are the ones (belonging to) the timeless people. You always know what Marvin Gaye sounds like…

- - -

But Hervey’s cues come from even further back. “Vocally I’ve been drawn to lots of women from the soul era, really. Strong voices like Minnie Riperton’s. Strong messages, but also very personal messages. Even, like, Billie Holiday, going way back, she really had a unique tone and stood out – that’s what I’ve been drawn to. That can go from reggae to rock to other stuff… a unique voice is always interesting, and those are the ones (belonging to) the timeless people. You always know what Marvin Gaye sounds like.”

Lucas’s laptop (using the trusty Ableton) along with a guitar and keys, and naturally an array of samples and sounds, is responsible for these excellently crafted beats, with Jill’s vocals laying both on top and comprising certain parts of the tracks’ instrumental elements. “I live for backup vocals,” she gushes. “So Lucas will let me go nuts and then he can filter them through something and they sound like their own instrument, they’ll be the bass of the song, the beat, the melody, whatever.”

New single ‘Jump Hi’ (featuring Childish Gambino) samples Nina Simone’s version of ‘Mr Bojangles’ and is an earworm that’ll no doubt burrow into the ears of many. The rapper came on board in a natural way – they became friends after he asked them to open his show at SXSW. “We’re just kids trying to make some cool stuff that makes us feel good and we think people want,” says Lucas, humbly. “Everyone’s normal.”

- - -

Lion Babe – ‘Jump Hi’ (ft. Childish Gambino)

- - -

It’s all about collaborating, in fact. They’ve got a crew of friends in New York who group together their ideas and creative projects. “I feel like I’m part of this collective of people who are just doing ground-breaking things,” says Jill. “I think of Andy Warhol and Patti Smith and all them, we have our own thing like them.” The above video for ‘Jump Hi’ was directed by their pal Kate Moross – the UK creative who’s worked with everyone from Cadbury to Jessie Ware, and who they met through a Ray-Ban campaign they worked on last year.   

After the ‘Jump Hi’ video ends to a smattering of applause, the New York pair takes the opportunity to play us an exclusive new track, which they reveal was produced by a certain Pharrell Williams. 

“It was a padawan to the sensei type of experience,” Lucas glows. “We grew up on this guy’s music! He produced so many of the jams before our early teens that we were listening to all the time, so his influence is so much there in us.” Jill nods excitedly: “Before the studio session there was so much pressure. I was like, I have to write the best song ever! But [Pharrell’s] totally no ego, just trying things out. He might be making the weirdest sounds ever for 10 minutes and then all of a sudden you get a beat… he’s just playing! The act of serious play, we saw. A session doesn’t need to be scary.”

Lion Babe’s next priority is formulating a live show. “We’re taking this music we’ve been working on for so long and giving it a new life,” Lucas smiles. “It’s my forte,” Jill chips in confidently. “I think that’s the best part about music – experiencing it live. It’s great to listen to a record by yourself, but it’s best when you really connect.”

- - -

Words: Felicity Martin

Lion Babe online. ‘Jump Hi’ is out now, and the ‘Lion Babe’ EP is released in the UK on December 15^th– pre-order.  

Previously on Clash: Lion Babe in our Next Wave section

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Launched 12 months ago, Myself & Others is a creative hub helmed by music journalists Tiffany Calver and Errol Anderson.

Aiming to showcase new music, the project has introduced British audiences to the likes of Iman Omari, Sango and Jeftuz.

Toasting a successful year, Myself & Others will helm a new Advent Calendar. Launching today (December 1st) it will run until Christmas Day, exposing fresh ideas during the festive season.

Clash is delighted to support the first track, a new joint from Abhi//Dijon. A duo - Dijon Duenas and Abhi Raju - from Ellicott City, Maryland, the pair specialise in fragmented R&B which niggles its way under your skin.

Blissfully smooth production is allied to songwriting which cuts deep, with their recent four track EP even winning the attention of MNEK.

'ECS' is a wonderful entrance point; all poise and drama, it's the perfect way to keep your mind away from last minute shopping.

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Kelis has had a long and diverse career, finding real commercial success in 2003 with her ‘Tasty’ album. Fast-forward to 2014, and she’s had another decent year, with her excellent album ‘Food’ (review) released in April to plenty of acclaim.

This, as it says on the sleeve, is a recording of her sold-out show in London last July, and it’s quite the career-spanning showcase, encompassing blistering performances of ‘Food’ tracks as well as some of her classics. We even get an inspired version of her 1999 collaboration with the late Ol’ Dirty Bastard, the evergreen floor-filler ‘Got Your Money’.

The New Yorker opens this set with an impressive version of ‘Feeling Good’, and her unique, undeniably powerful voice hits home, swelling brass and glistening piano supporting her spot-lit presence in resounding fashion. She holds down tracks from ‘Food’: the passion is clear in ‘Breakfast’ (listen below). But it’s when she gives a frantic, absorbing performance of ‘Trick Me’ – a flashback to the ‘Tasty’ days – that this collection reaches its high point.

Kelis impresses here, as she did on ‘Food’, and it’s excellent to see that she can pull off a full band set to such a high standard.

7/10

Words: Sam Bennett

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