At heart, Django Django make dance music.
The band's ethos – cherry-picking from genre to genre – only makes sense in a sample based universe, while Django Django's Dave MacLean even has his own label.
New cut 'First Light' was an emphatic return, a deliriously off kilter romp which expanded on the themes of their debut album.
Given the remix treatment, Django Django have called in some fantastic guest producers with Mickey Pearce' re-work going online now.
It's a percussive based roller – all dank and oppressive, it recalls the vital early years of UK funky but with a 2k15 spin.
The Swamp81 associate adds layers of bass, with the warm sub-low frequencies set against those ruffneck cracks and snares.
Check it out now.
It seems rock music frontmen have taken a collective New Year's Resolution to quit/get fired from their bands. That guy from Asking Alexandria quit to pursue his even worse side-project band, and the two juvenile pricks in Blink-182 fired the third, even-more-juvenile prick from their punk-rock armpit fart of a band. The split in the former was amicable; the split in the latter was a tit-for-tat spat of call-and-response press releases. Given the continued existence of both bands in both cases, the listener is the one that loses the most. Let's move on. Quickly.
Normally the heavy music fraternity shies away from dropping big records in the first four weeks of the year, preferring to capitalise on either late-spring release dates (so fans have enough time to acclimatise to new material before festival season) or the onset of autumn, when slow sales and a generally barren schedule for the wider world can ensure big chart positions (Pro Tip: Avenged Sevenfold didn’t get that UK number one album by releasing in a busy week. 2015, though, has seen an entire cluster of big names spew forth albums already. It’s as if the Christmas release drought was nothing more than a touch of trapped wind, and it’s all coming out in one, big, new music belch.
Marilyn Manson (pictured) has produced arguably his most critically well-received release in damn near a decade in the form of ‘The Pale Emperor’. After a series of weak and sloppy releases that saw many consign the man born Brian Warner to wistful whines about the good old days, this latest album sees Manson nearly back to his best. It marries that Bowie-love he wallowed in on 1998's 'Mechanical Animals' with a wry understanding of the blues, with just enough of that slick goth-shock-stomp to re-energise the fanbase he let wither when he was more interested in lounging about with ingénue actresses and painting bad watercolours than he was at being the best damn rockstar of his generation. Don’t mess it up this time, Brian.
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Marilyn Manson, ‘Deep Six’, from ‘The Pale Emperor’
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Closer to home, Enter Shikari are still pumping with more vim and vigour than all those Brit-rock halfwits they get lumped with on composite magazine covers. It’s almost laughable when you think about how many UK rock bands flap their gums aimlessly over “pushing the boundaries” and “trying new ideas” when you hold their flaccid examples of “experimentalism” up to Enter Shikari’s way of working. ‘The Mindsweep’ quite rightly smashed into the UK top 10, falling just two places shy of its predecessor, 2012’s ‘A Flash Flood Of Colour’. It makes Funeral For A Friend’s latest effort – the competent but arguably overfamiliar ‘Chapter & Verse’, released on the same day – look somewhat meh in comparison.
Taking things on a heavier tangent, Napalm Death’s fifteenth studio album, ‘Apex Predator – East Meat’, once again demonstrated that it’s more than just longevity and staying power that has kept ND at the rotten heart of UK extreme music. The band’s commitment to challenging the worst aspects of human nature was exemplified by the band’s frontman this month. Barney Greenway wrote a letter to the heavy-metal loving president of Indonesia, asking him to spare the lives of two Australian citizens who have recently received the death sentence for smuggling heroin into the country. You can check out the whole letter here. Makes a refreshing change from bands using their spare time to launch T-shirt lines or take selfies of their stupid pets, at any rate.
This month also saw the long, long, long awaited return of black metal/post metal/experimental solo beast Caïna, with his new record ‘Setter Of Unseen Snares’. It certainly sent some quarters of the metal fraternity (gender implications intended) into a bit of a spin, but the record itself is staggering: hellish, confrontational, mesmerizing. Go buy it.
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Caïna, ‘I Am The Flail Of The Lord’, from ‘Setter Of Unseen Snares’
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The dark horse of January's release schedule ‘Dormant Heart’, the new album from Reading’s Sylosis. The four-piece haven't lacked for critical praise throughout their career, but this latest effort shows principal guitarist and songwriter Josh Middleton as having a defter hand than any of his contemporaries when it comes to combining metal shred virtuosity with thumping, lines of heavy grooves.
While not released until next month, a couple of tracks from the forthcoming album from Justin Pearson’s Retox, ‘Beneath California’, have popped up on Spotify. ‘Let’s Not Keep In Touch’ and ‘Disappointing Grade’ both feel meatier than most of 2013’s ‘YPPL’ LP. Pearson might have put The Locust back in its box (for the time being, at least), but he’s still mightily pissed off at the world.
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Retox, ‘Let’s Not Keep In Touch’
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The heavier end of the 2015's festival calendar has also been in the business of shoring up their line-ups over the last few weeks – except in one notable case. Sonisphere, which made a quite frankly triumphant return to Knebworth in 2014, confirmed what many people had already feared when they announced that the festival would not be taking place in the UK in 2015.
In this age of announcing bands in a drip-drip-drip manner throughout the year, in a flaccid attempt to keep media and fan attentions (with the intent of driving those ticket sales, always the ticket sales), for a major festival to not have announced a single act with a mere six months to go until the event was unusual in itself. AC/DC playing Wembley, and Foo Fighters’ decision to do their own arena tour, pretty much put the kibosh on Sonisphere this year. With Iron Maiden and Metallica ruled out because of the unwritten thou-shall-not-book-the-same-headliners-two-years-in-a-row rule, and Live Nation’s bigger chequebook laying claim to Slipknot, Muse and Kiss for Download Festival, there just weren't the big names available for another festival to hang their bill on.
In more positive news, Bristol’s quite frankly magnificent Temples Festival capped off its line-up announcements this month with some absolutely killer names. Joining the previously announced Friday and Saturday night headliners Converge and Sunn O))), Earth have been confirmed as the band that will close of three-day event on its Sunday night. They also added a whopping 15 more acts to the overall bill, including the aforementioned Caïna, Voivod, Pallbearer, and local types Svalbard.
There also came confirmation this month that there was going to be a Temples-splashback event in the form of Deathwish Fest, where the Deathwish Inc contingent of the Temples line-up (Converge, Trap Them, Harm’s Way and Young And In The Way) bring a whole day of noisy chaos to ULU in London. What a time to be alive.
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Words: Hugh Platt
Hugh is deputy editor of Thrash Hits
A revered UK producer, Laurence Blake recently unveiled his new Citizenn moniker.
Aiming to forge a more mature, hard-hitting style, the artist has now unveiled details of a forthcoming EP.
Azari & III vocalist SYF appears on title cut 'BE' while Hercules & Love Affair are on hand for a frisky house workout.
Seeing out the EP is Citizenn's own alternate mix, one fuelled by late night sessions in Berlin. The producer introduces the material thus:
"BE was put together over a number of months during a hectic touring schedule, Cedric (SYF) and I were messing around with some sounds and after a few hours we had the makings of the track. I wanted to do something a bit more emotive something that could be listened to at home and in the club. Andy (Hercules & Love Affair) coming on board for the remix was like a dream come true for me. I remember seeing them on the first UK tour and have been a fan ever since. Hope you enjoy this package as much as I enjoyed putting it together."
'BE' will be given a vinyl release on February 9th, with the full digital release following on February 23rd.
An off kilter collective who seem to shift and evolve with each passing release, Lower Dens are now ready for their next step.
'Escape From Evil' is released on March 30th through Ribbon Music, billed as another piece of monumental forward motion.
New cut 'To Die In L.A.' is online now, and it's a grimly humorous return. Musically, the guitar led track is bright and buoyant, displaying shades of early 80s new wave pop.
Lyrically, though, Lower Dens are at their most emotive, flamboyant and stark.
Check it out now.
'Escape From Evil' will be released on March 30th. Tracklisting:
1. Sucker’s Shangri-La
3. To Die in L.A.
4. Quo Vadis
5. Your Heart Still Beating
6. Electric Current
7. I Am The Earth
8. Non Grata
10. Société Anonyme
Photo Credit: Frank Hamilton
The tweeness of Hackney princess, Emmy The Great, has been swept aside for a new sound. Her pretty, minimal vocals are still here, but the rich, warming and comfortable backing of the songs from last album ‘Virtue’ have been binned. Instead, we have synths, space guitar and, rather oddly, some kind of ’90s rave revival.
It’s a slightly strange set-up in the sold-out Oslo. The venue is a little small for Emmy who, while she’s never hit The Big Time, has a dedicated following. There are couples dancing and singing her older numbers, especially the truly lovely ‘Paper Forest’. But the older songs eclipse her new material tonight – perhaps not the result the singer was looking for.
‘Swimming Pool’, taken from her new EP ‘S’, ends the main part of the show after just 40 minutes of music. It’s serene, but a bit slow and droning, resulting in a slightly lacklustre response from the crowd.
It’s definitely one of the best new songs we hear tonight, though – dreamy and lo-fi. Others bash together conflicting sounds that try to be clever, but just don’t work. ‘Solar Panels’ begins with a layered cyber screech before beats and ravey synths crash in. It’s all a bit 2 Unlimited, and rather unpleasant to these ears. The lyrics are more La Roux-like than Emmy’s usual observant loveliness, and her voice is lost in a melody that's too high and too shadowed by these alien noises.
‘Social Halo’ is much more pleasing on the whole, except for its irritating guitar (a little Sting-like, sorry!). It’s an uplifting song with joyous moments, and Emmy sounds great, but it ends without having much of an impact.
The night ends with audience requests, which turns into a lovely, intimate, personal (or crushingly embarrassing and awkward) encore, depending on your love for Emmy! The wonderful ‘Trellick Tower’ begins softly, beautifully, before the keyboardist forgets the chords. It’s finished on the third attempt, to rapturous applause. Unprofessional? Perhaps, but absolutely endearing.
‘We Almost Had A Baby’ closes. It goes without a hitch. There is singing and happiness, and Emmy breathes a sigh of relief.
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Words: Gemma Hampson
Photo: Alex Lake
Sherlock causes a stir, but there’s always someone who pushes things too far…
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Benedict Cumberbatch caused controversy by describing black actors as “coloured”.
The irony was that Cumberbatch was criticising the lack of opportunities in the UK for ethnic minority actors compared to the States. Such phrasing would’ve been considered dubious when Ben was a child, but in the context of 2015 it’s thoroughly archaic. It would seem from the wording of his apology that he soon realised his mistake: “I make no excuse for my being an idiot and know the damage is done. I can only hope this incident will highlight the need for correct usage of terminology that is accurate and inoffensive.”
David Oyelowo portrays Martin Luther King Jr. in the upcoming film Selma and was inadvertently involved in a recent controversy when Oscar voters – 94% white, 76% men and with an average age of 63 – didn’t shortlist him for Best Actor for his performance. He came to Cumberbatch’s defence: “To attack him for a term, as opposed to what he was actually saying, I think is very disingenuous and is indicative of the age we live in where people are looking for sound bites as opposed to substance.”
In a time in which headlines often seem to indicate a different story to the actual article, it’s hard to disagree. And this negative incident has concluded as positively as one could hope: Cumberbatch immediately offered an intelligent and sincere apology; organisations such as Show Racism the Red Card acknowledged his apology; the news was dominated by discussions which reiterated the historical reasons behind the need for appropriate terminology; and Cumberbatch’s original point – the issue of racial inequality within the world of film – again came to the fore.
“I think it's just part of the silly news cycle that we all feed off and it will go away like chip paper as it does,” added Oyelowo. Yet there’s always someone who wants to push a point to its furthest extreme, and this time it’s the Daily Mail who opted to run a feature about a slave plantation in Barbados that was owned by Cumberbatch’s ancestors – a drastically unfair comparison given that his family left the island 150 years ago.
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Paul Thomas Anderson’s rich filmography is enough of a calling card in its own right to make Inherent Vice a must-see. That appeal is further bolstered by a cast rammed with consistently brilliant performers. It’s just as well, for an outline of the film’s early 1970s plot doesn’t offer much to help sell it.
Joaquin Phoenix leads as perpetually stoned private detective ‘Doc’, who appears to have borrowed Neil Young’s sideburns. His big dilemma is the return of his ex, Shasta Fay Hepworth (Katherine Waterston), who needs his help with a sprawling dilemma that involves her new beau, an underworld-connected property developer; his wife; her lover; and a plot which involves a devious plan to send the Mr. Big of the construction world to an insane asylum. And then we have the myriad motivations of the rest of the characters – a hard-edged cop, a scheming lawyer and a coke-sniffin’ dentist, to name but three.
It’s a charmingly hazy tapestry of a mystery mixed with dopey physical humour. Or at least it is until the layers of characterisation and confusion finally outstay their welcome. It’s fine for the viewer to fully experience the Doc’s spinning bewilderment, but it’s a big ask to be thrown into that swirling incoherence for almost 150 minutes.
Regardless, there’s lots to enjoy, albeit on sporadic basis: for example, an audacious scene in which the Doc’s consciousness is lost between a brothel and a crime scene, as well as a glorious detour into what visually appears to be a blend between a cult HQ and a high-end dental practice. Anderson’s visual aesthetic is also stunning when it steps aside from its sun-baked environment, notably with an intensely intimate sex scene and a painterly reconstruction of The Last Supper.
Inherent Vice, therefore, is simultaneously a joyride and a drag, a mesh of contradictions that feel like they’re shaped to be exactly that. It’s almost stronger in retrospect. Shaken by Charles Manson and Vietnam, this depiction of Los Angeles as its hippy dream passes in favour of a new era of commerciality offers plenty of substance to reflect upon.
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After the success of Kick-Ass, Matthew Vaughn and writer Jane Goldman’s latest film is another adaptation of a Mark Millar graphic novel. This time it’s an odd couple buddy movie as suave upper-class secret agent Harry Hart (Colin Firth) and troubled young hoodie Eggsy (Taron Egerton) battle to save the world from the clutches of an evil tech genius, played with malevolent glee by Samuel L. Jackson.
Such a synopsis sounds like a game of spy cliché bingo, but this is a film that often moves in unexpected ways. A stylish, post-modern ultra-violent movie that both pays homage to and subverts the usual Bond narrative tropes, Kingsman: The Secret Service is a rare beast: a film that blends elements of the kind of military experiments depicted in The Men Who Stare At Goats together with a plotline which compiles most of the in-vogue conspiracy theories and a knowing sense of self-awareness.
Even in the world it inhibits, however, it’s a film that leans towards rather depressing stereotypes. Eggsy is a cartoonish representation of underclass, more Goldie Lookin Chain than Nil By Mouth, while his boorish fellow recruits in spy university are pretty much The Riot Club minus any moral quandaries. Similarly, a late scene which features a Swedish princess would probably have got the chop from an episode of Men Behaving Badly for being too sexually outmoded.
That aside, Kingsman: The Secret Service is a little like a turbo-charged Brit blockbuster companion to last year’s The Guest. It certainly isn’t going to exercise any grey matter, but it’s slick, bold and gloriously demented entertainment.
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Perfectly shot, poor plot: a little rhyme for what could have been an outstanding debut for Julius Avery. Within the competitive prison break genre it is essential to have a twist, a movement in a direction no one could have foresaw. Avery misses a trick here with a linear but somehow slightly disjointed Aussie crime drama, following the successes and failures of thieves as they attempt to become disgustingly rich.
Son Of A Gun begins as 19-year-old JR (Brenton Thwaites) enters prison for the first time, only to find that to be protected from the violence that surrounds him comes at a price. Hardened and infamous, although we never find out why, thief Brendan (Ewan McGregor) uses the boy’s naivety to his advantage, embroiling him in a prison break, followed by a drug-lord driven gold heist.
He becomes a sacrificial pawn in a metaphorical game of chess, an idea that in review could have framed the film.
There’s little traction in the development of either character, even when JR (un)surprisingly falls for the forbidden woman. More importantly there’s just no empathy, an essential part of all prison movies as the ‘are they good or are they bad?’ question lingers.
The film sums itself up perfectly: “Things are never as you imagine.” Sadly true for newbie Avery this time round. Words: Anna Pintus
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The cast of the upcoming Ghostbusters was confirmed as an all-female affair with Bridesmaids duo Kristen Wiig and Melissa McCarthy doing their best not to cross streams with Leslie Jones and Kate McKinnon of Saturday Night Live fame. Dan Aykroyd, star and co-writer of the original 1984 movie, has called the casting “magnificent”.
American Sniper still has its crosshairs focused on the top of last weekend’s UK box office with Ex Machina representing its closest new challenger at #5. Despite a critical mauling and questions about the status of Johnny Depp’s career, Mortdecai (pictured) followed at #7. Despite critical indifference and most people being baffled by the casting of Marky Mark as a professor of literature, The Gambler weaselled in at #8. Despite critical adoration and endless hype for Oscar Isaac and his lovely collection of coats, A Most Violent Year stands somewhat sheepishly down at #17.
Finally, documentary auteur Alex Gibney met with some unsurprising opposition following initial Sundance reviews for his Scientology investigation, Going Clear. Variety argues that it’s “a great film about the dangers of blind faith”.
Scientology has created a twitter account @FreedomEthics to attack my film on the church, "Going Clear." Orwell prize for its name.
— Alex Gibney (@alexgibneyfilm) January 27, 2015
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Words: Ben Hopkins, except where indicated
Seconds ago I was sat eating a sandwich outside a studio where Rick Ross was recording an interview with BBC 1Xtra’s Charlie Sloth. Now, I’m racing down flights of stairs amid a small crew of publicists as we try to beat the Miami rapper and his entourage to ground level – they took the lift. As we reach the pavement a cab is already taking off and we find ourselves compactly packaged into a second car as we race Ross through the streets of London.
From the discussion that the publicists are having between them, I discover that if Ross reaches his hotel room before us, our interview isn’t likely to go ahead.
When we reach our destination, a central London hotel that Ross is staying at for the night, there isn’t any sign of the other cab. We did lose sight of it in the rush-hour traffic, so it’s likely long gone by now. A concierge meets us and lets us into a two-bedroom apartment around the side of the building, and we are relieved to find that – other than whoever came and set up a bowl of pears, a reoccurring motif through our day with Ross, although he never actually eats one – we are the first to arrive.
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‘If They Knew’, from ‘Hood Billionaire’
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When the self-proclaimed biggest boss enters the room, his mood has switched considerably since our morning at the BBC. He has a blunt in hand and he’s begun to get aggravated with press, a contrast to the polite gentleman we watched conversing with DJ Semtex at 10am.
“Photo man, start taking pictures,” he commands, despite our photographer still being on his way. Immediately we’re sat down on a couch as Ross exhales pungent weed smoke and scrolls through his Instagram feed. “I’m ready,” he says, without looking up from his phone.
At the time of our meeting he’s preparing for the release of his second album of the year, ‘Hood Billionaire’. It’s the first time that a major hip-hop artist has dropped two LPs in a year since DMX back in ’98, and Ross’ two discs are distinctly different records. ‘Mastermind’, released back in March, channels the East Coast 1990s Mafioso vibes of collections like Biggie’s ‘Life After Death’, with soulful production and tales of luxury living with criminal undertones.
‘Hood Billionaire’, on the other hand, focuses its attentions towards the South. “I wanted this album to most definitely lean towards the South, and have that feel production-wise and the way I wrote the choruses and just the way the rhymes was written. So it’s more catchy, rap-along-ish type rhymes versus being wordy rhymes.”
I comment on the Memphis vibe that’s particularly rife on the tracks that we’ve been played from the album, and he reveals that he spent a lot of time in the city during the recording process.
“I opened a few Wingstops (chicken restaurant that Ross owns several franchises in) in the Memphis area, and I’d just received the key to the city. That was a cool moment – for bringing X amount of jobs to the city. But I was in Memphis doing a lot of different things.”
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You know, when you get up and shit on the toilet in the morning you read your CD covers for the eight-hundredth time. I might’ve did that more than a normal muhf*cka…
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It was there that he found an unlikely idol in Elvis Presley, who is the subject matter of ‘Hood…’’s lead single, ‘Elvis Presley Blvd’. “I wasn’t familiar with Elvis Presley at all, I’m pretty sure anybody in Miami would have told you that,” he admits. “But by me being in Memphis and riding around, you see that he was really a boss. So I said, ‘I’m gonna do this record and salute him like that.’”
The track also features another Memphis legend, Project Pat, who he was working with in the studio when he came up with the track. The Three 6 Mafia rapper’s brother and band member Juicy J also makes an appearance on the remix. When asked whether Ross listened to a lot of Triple Six growing up, he answers softly, “Of course.”
Despite the larger-than-life ‘Boss’ figure that Ross paints in his rhymes, at his heart he is a hip-hop nerd and a lover of the culture. He relaxes from the aggressive mood we found him in at the beginning of the interview, as we chat about his passion for the music.
“I always just loved it more than maybe a normal muhf*cka,” he says. “Just a little bit more.” He laughs cracking open a bottle of his own Belaire Rosé. The black bottle is another Ross motif. He pours out two glasses and continues: “I just kept the CD covers a little more. You know, when you get up and shit on the toilet in the morning you read your CD covers for the eight-hundredth time. Shit like that. I might’ve did that more than a normal muhf*cka.”
On ‘Mastermind’ he revisited his initial motivations, which naturally involved making some money, but the album also revealed an influence that surprised a lot of listeners.
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I think the beauty around me is you hear so many different things and so much around my name and around me as a person… [But] once you’re in the room with Rozay, myself, people understand…
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“All I ever wanted was to make scrilla (money), have a recording session with J Dilla,” he roars on ‘Walkin’ On Air’. “I think J Dilla was one of the most underrated producers,” he laments taking a sip of wine, his eyes flickering towards my untouched glass. “He did a lot of different shit, he was just one of them dudes that kept it humble. He kept the light, he was a legend.” He gestures at his friend who is stacking up promotional $100 bills with Ross’ face in replace of the president. “Swalu, what’s my favourite?”
“‘Labcabincalifornia’ [by] The Pharcyde, where he produced the whole album,” Swalu answers enthusiastically. “One of the greatest smoking albums in the world!” (Editor’s note: don’t bother emailing us to say Dilla didn’t produce the whole album. We know.)
Ross nods in agreement. “That’s my favourite! And when we get high and we just ride, it’s like, ‘Yo, that n*gga did this.’ So it’s just, you know, a different vibe, and I love what he did.” Constantly being commended for his excellent beat selections, it shouldn’t be a surprise that Ross is a fan of the late Detroit producer, particularly given his penchant for soulful vibes.
Perhaps someday we will get to hear Ross spitting on one of the many Dilla productions that are locked away in the vault. But he won’t take on the task lightly. “It’s a possibility because, salute to his whole team, but when Busta Rhymes heard that line he reached out to me and told me that, when I’m ready to get in the studio, he got a few beats.”
Swalu nudges my glass of Belaire closer to me, and despite being teetotal I feel inclined to drink; a toast to Dilla with the boss. “I just said, ‘Not yet, I just want to wait. Let me clear all this shit off, because when I get in there, you never know what that may turn into.’”
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‘Thug Cry’, from ‘Mastermind’
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I comment on Ross’ presence in person and on wax, admitting that I truly became a fan when I first saw him perform live. “I think the beauty around me is you hear so many different things and so much around my name and around me as a person,” he considers. “Once you’re in the room with Rozay, myself, people understand. Wherever you from, gangsta, whatever you is, you understand who I am, and you understand what it is. And that’s how I’ve been able to move the way I’ve been able to move.”
“At first it was just about writing a dope verse, then writing a dope hook on a dope beat, then altogether,” he continues. “Now, it’s all that. I’m still stacking shit on top of that. That’s still first. And now it’s the rollout, it’s the colour of the posters; I want to have two different covers. I want to have the red for the standard and the blue for the deluxe, and when you open the blue I want the red disc in it.”
He points at the posters for ‘Hood Billionaire’. “You know, it’s that. It’s my pictures I want to use, I took the pictures, those are my pictures. It’s that now, it ain’t just the raps. It’s us writing the treatments to the videos. Us having our own film crew, our own directors. Hopefully that’s what I’m inspiring to the youngsters who are watching.”
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When childhood friends Alex Caplow and Sam Vanderhoop Lee decided to go travelling, neither quite realised just how profoundly their travels would effect them.
Working for food and board across France, the two began swapping musical ideas – on their return, Magic Man was born.
An explosive pop phenomenon, the group have already toured with Panic At The Disco, MSMR, Walk The Moon and Sir Sly, while footage from a pre-party show for Victoria's Secret at the end of 2014 has been seen by more than one million people.
New single 'Paris' drops on March 1st via RCA, but ahead of this Magic Man have prepared a fresh mixtape.
Detailing some of their loves, inspirations and guilty pleasures, it's an insight into a group who are rapidly blowing up.
Check it out now.
Photo Credit: Gavin Thomas
Now held in Finsbury Park, Wireless is set to return this summer for three massive days of music.
The first names on the line up have been confirmed, with Drake set to headline. The Canadian rapper will make his return to London, with the initial acts on the bill strongly favouring hip hop and arena dance.
Kendrick Lamar will perform at Wireless, with other names including Joey Bada$$, Nicki Minaj, Childish Gambino, Wretch 32 and more being announced.
On a dance front, David Guetta and Avicii are set to take part, with NERO, Knife Party and Clean Bandit all set to take part.
Wireless runs between July 3rd – 5th.
Coming of age in the Britpop era with their parents playing new wave hits on repeat, SHINERS grew to love guitar-led pop music.
Snappy pop songs with a lyrical bite, the newcomers have brought admiring glances, with their deeply British songwriting stance earning comparisons to Elvis Costello.
Smart and occasionally extremely funny, the group's Vox organ wash recalls lost Medway heroes The Prisoners or even those brattish Nuggets cuts.
New cut 'Karma (Is Coming To Get You)' is smart, sassy and a lot of fun. Born from everyday life, it matches stark observations with a great sense of humour – oh, and the chorus of catchy as hell.
Check it out now.