Wiki will release new album 'Half God' on October 1st.

The New York figure connects with Navy Blue on the project, who will exclusively handle production on the release.

Out on October 1st, 'Half God' links Wiki alongside the young artist, contrasting two generations of NYC underground voices.

The project is Wiki's second full length in 2021 so far, and it follows his Nah-produced long player 'Telephonebooth' earlier this year.

New track 'Roof' is online now – check it out below.

'Half God' is out on October 1st.

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With excellent production, wildly varying quality control, and some decidedly dodgy guest appearances, Kanye West’s tenth studio album is finally here. Spanning 27 tracks over 109 minutes and no less than 29 features, there were bound to be some ups and downs throughout this epic ride, but is this monumental musical rollercoaster more filler than thriller?

The album opens with the repetitive acapella vocal chant of ‘DONDA’ Kanye’s late mother’s name. It is repeated 59 times in a variety of ways, and although incredibly meaningful to him, for the casual listener, this intro is a grating throwaway noise and serves as an awful introduction which will surely be skipped upon hearing. We are then launched into ‘Jail’; a half-decent Kanye cut over a slow rock guitar synth melody. Here he is joined by Jay Z at his most recent best, sneering into the mic with a cockiness that is unmatched even by Ye himself. 

‘DONDA’ ups the ante with appearances by Fivio Foreign, Lil Baby, The Weeknd, and Playboi Carti. before really bringing out the literal big guns with Conway the Machine, Westside Gunn, Kid Cudi, and Roddy Ricch. But before we reach these mostly memorable highs, we first must experience the lows.

The first tipping point of the album (not including the awful intro) is ‘24’: a track that sees West breathlessly singing over gospel inspired beats before taking centre stage in a church choir. He repeats the mantra "we're gonna be OK" until it becomes annoyingly off-beat, whilst a steadily overpowering church organ (that sometimes sounds as if Kanye is hitting the keys himself,) plays in the background. The album momentum then seems to dwindle with a series of forgettable, subsiding tracks that would be better off left in the studio.

But all is not entirely lost. Kanye picks up the pace with ‘Jesus Lord’, a reflective nine-minute track featuring Jay Electronica, building up the anticipation with a series of 808 beats and claps before reaching the crescendo. ‘New Again’ brings the bafflingly popular Chris Brown into the mix, combined with a synth-heavy Daft Punk vibe. ‘Tell The Vision’ – the eagerly-awaited Pop Smoke cut – lasts 104 seconds and is over before you know it; the menacing, dark piano beat promising much but delivering nothing in the way of content. Then ‘Lord, I Need You’ brings back the nostalgia of the ‘College Dropout’ era, and the assurances of a Kanye persona I miss.

The final four tracks on 'DONDA' are remixes of previous songs. The standout track, although not for any of the right reasons, is ‘Jail Part 2’, which features vocals from Marilyn Manson and DaBaby, both of whom are enormously controversial figures in music due to recent allegations both on and off stage. Why Kanye decided to include an accused sexual predator, a homophobe, and a convicted domestic abuser (in the case of Chris Brown) on his self- proclaimed magnus opus is a mystery. One can only assume his ego overshadows any sort of critical judgement on his behalf.

Ultimately, ‘DONDA’ is almost impossible to come to any kind of an objective conclusion on. To Yeezy stans, the highs are evidence of his continuing genius, the sparks of positivity worth ploughing through the negative headlines to absorb. But on any moral level, ‘DONDA’ is nigh-on unlistenable – its creator has built a platform for individuals who have behaved in an unconscionable way, without yet enduring any of the most basic consequences for their actions.

Amid its evangelical filler and overly long run-time you’re left with a decent album. But its lack of moral core means that many will rightly shun Kanye West’s message from the mount.

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Clash will not be providing a mark for this album review.

Words: Mike Milenko

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Potter Payper will release his new 'Thanks For Waiting' mixtape on October 1st.

Since the original 'Training Day' mixtape back in 2013 Potter has established himself as one of UK rap's foremost names.

The most recent instalment in the series – 'Training Day 3' – went Top 5, sparking 68 million combined streams along the way.

New project 'Thanks For Waiting' ups the ante, with 0207 Def Jam stepping in to support the release.

The tape includes 19 songs, with guests including M Huncho – on the single 'Catch Up' – as well as South London legend Suspect.

Potter Payper says: “The inspiration behind the tape is to elevate my sound and take it to the next level whilst still remaining true to it.”

'Thanks For Waiting' will be released on October 1st.

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Hailing from Nottingham is the rising songstress full of soul, HarleighBlu, who’s rich tone and effortless swagger has caught the attention of many. Taking influence from various crowned voices including Nina Simone, Lauryn Hill and Amy Winehouse, not to mention her mum’s impeccable taste in music, the feminist and singer-songwriter aims to empower women all over the world with her unapologetic, candid, raw, and relatable sound.

Having already been labelled as the new queen of hip-hop soul, HarleighBlu made a fierce come back this year with the release of 'Stuntin’, a charged-up and feel-good single that’ll blow your blues away! Posing as the first teaser of what’s yet to arrive on her forthcoming EP entitled, ‘Crown’, this summer-infused banger is a strong and empowering experience that was swiftly followed through with 'For The Likes'. Setting the tone for what’s sounding like another quality project from the promising talent, HarleighBlu is a force to be reckoned with!

As we gear up for the release of her forthcoming EP ‘Crown’ that is set to drop on September 10th, Clash got the opportunity to catch up with HarleighBlu over the phone for an in-depth chat about her journey thus far, the trials and tribulations that lockdown bought, her forthcoming EP, being a woman in such a male dominated space, and more.

Tap in below to see what she had to say…

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How have you been? How have you been finding lockdown as an artist?

I won’t be alone in this, but I was really depressed! I put on three stone; I took on a teaching job as well because there was no touring. I lost my debut American tour; I was about to perform at SXSW Festival the week we went into lockdown. There were some massive things about to happen in my career, I was fresh off the back of my album ‘She’, everything was going great and within a week I lost everything. I try not to feel sorry for myself because everyone has lost something in this time and everyone has been affected in a big way, especially musicians.

For me, I went into the trenches and had to pull myself out of it. Some people were really productive and making loads of music and I sank into a dark patch. I couldn’t make music unless I forced myself and even then, it wasn’t good. Instead, I counteracted the damage I had done that year and got into fitness, knocked the teaching job on the head, and threw myself back into the things that I loved including music.

I got back on track really slowly, lost all the weight and moved into a new house with my partner! I was like a phoenix rising out of the ashes. I feel like I am in a much better space now even though I lost the steam of the album, I have learnt some huge lessons from what has happened. Your mental health is extremely important, and you do have to take care of your body. I’ve gained some new skills as well over lockdown, I learnt how to DJ! I feel like I am a well-rounded human being for it. It makes you realise what’s important.

What was it like for you growing up? How were you introduced to music?

My mum should have been a DJ; she has the most impeccable taste in music! My house was a treasure trove of vinyl’s and old-school records from reggae, northern soul, rare groove, and classic soul and funk. She introduced me to neo-soul, from D’Angelo, Erykah Badu, Lauryn Hill, and Jill Scott – all the big names!

I introduced myself to hip-hop and in my teens, I started listening to jazz, from Ella Fitzgerald, Nina Simone, and Etta James. My sound is a mix of all of those but with a new school twist. I spent a lot of time in both LA and Nashville working on music and 'Stuntin’ is one of the tracks I made out there. One of my top streaming countries is America so it felt good to go out there and make music because I love American music. It was an honour!

Do you remember your first memory with music, maybe the first album you purchased or the first show you played?

I was bought up in Nottingham and there was a studio in St Ann’s that I used to make music in since I was around seven years old. I was writing for local hip-hop producers – not sure how that happened at seven but I must have thought I was sick! (laughs) And the first performance I did was at Nottingham Carnival when I was 10! I did beat-boxing and singing, and they haven’t gotten me off stage since! (laughs)

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Are there any artists now that you would say have played a big role in helping to shape your music in anyway?

I’m the new school version of the artists that I am about to list, so D’Angelo, Jill Scott, Lauryn Hill – the neo-soul heroes shaped who I am musically! Sonically, LA is where I’m at now, with the wonky electronic sound. I spent a lot of time in Berlin when I was making my last record and they do some crazy wonky sounds out there as well.

How would you go about describing your sound?

There is a little bit of that wonky sound going on but the core of it is soul and hip-hop. The new single named, 'Vintage Love' which is dropping soon, I would say has some dancehall influences as well as my Caribbean roots in it. As an artist the more you create the more you evolve!

You recently shared both 'Stuntin’ and 'For The Likes'. Tell me a bit more about these and what your intentions were behind each single?

'Stuntin’ is a glow up song, which is quite fitting with what’s happened with the pandemic! It’s a no f*cks given track that’s about bigging yourself up and doing the most! I want people to listen to it and feel empowered, we dropped it when we had that little heatwave, and it got a really dope response. That is my summer banger!

'For The Likes' is a nod to Kelise and The Neptunes with the contemporary electronic R&B sound. It’s been getting a lot of love out in Germany! Lyrically, this song is about how we play games with our exes or people in general, when you are always trying to come off as the person who wins, is liked the most, or does everything they can for the likes and validation! It’s a new age observation from me. It’s a toxic cycle and societal pressure that we experience just because of the internet.

You have an EP dropping soon named ‘Crown’. Tell me a bit more about what we can expect to hear from that and why you picked that title.

I have dreadlocks and they are my crown! My hair is important to who I am as a person and what I represent and that goes the same musically as well. I love to empower women, I’m a feminist! It’s a way of saying hold yourself high, empower yourself, be positive, live your best life and just be yourself. I think it’s powerful, I gravitated towards the title.

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How do you think this one will differ to previous bodies of work?

The previous one’s I have done I would say are more underground in a sense that they stick to the core of hip-hop and soul. Whereas, with this EP I travelled a lot and it helped to develop my sound. I know what I am doing a little bit more. It feels more polished but also raw at the same time. Maybe my older music was a little bit more rugged and rough n’ ready! I am super proud with how everything played out.

You’ve just mentioned how you are a feminist and big on empowering women. Unfortunately, we are still in a male dominated industry. What’s your experience been like as a woman in such a male dominated space?

It's a weird one! Some festivals recently – not mentioning any names – but the whole line up is men! We are constantly taking two steps froward and 20 steps back, it’s a constant ying yang back and forth.

I’d be lying if I haven’t been in a room full of men who’ve made a comment about my weight in label meetings, or that I’ve not felt intimated in those spaces as a woman. It’s a huge problem and we need to bridge that gap; they move like women don’t create music! There are female producers and artists that are absolutely smashing it, but the gap still isn’t bridging…we need to do more!

Putting the music aside, what do you like to do for fun?

Well, it’s going to sound boring but working out and getting my mental health back up!

What else can we expect to see from you this year?

I’ve still got a killer track that no one knows about yet that I just shot the visuals for and I’m very gassed to get it out!

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Stay in tough with Harleighblu HERE.

Words: Elle Evans // @elleevans98

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John Lydon has responded to the verdict delivered in his law suit against the other members of The Sex Pistols.

Danny Boyle's incoming series Pistol ruffled his feathers, with the film maker basing the script on Guitarist Steve Jones' 2016 memoir Lonely Boy: Tales From a Sex Pistol.

John Lydon attempted to block the Sex Pistols' music from appearing in the series, but in a recent court hearing this was dismissed.

The judge cited a 1998 agreement that committed the punk legends to majority rule – meaning that the rest of the band could overrule his wishes.

In a statement, John Lydon has spoken out on the ruling. A post on his official website reads: “Understandably, John, as the creative force of the Sex Pistols wanted to know how he was going to be portrayed and his musical works were going to be used to lend credibility to the series. Despite asking for details of the script or screenplay, John still does not know these details.”

“John Lydon did not ask for the recent proceedings. He was asked to allow the Sex Pistols works to be used without any prior consultation or involvement in the project. He took a stand on principle for what he sees as the integrity of the Sex Pistols legacy and fought for what he believed and continues to believe was right.”

“For more than 23 years the Sex Pistols have operated on the basis of unanimous decision making. The Disney production is the first time that the unanimous approach has been ignored.”

“It is disappointing that a High Court judge has decided that John Lydon is bound by an undated agreement signed in 1998, which imposes on the Sex Pistols a majority rule arrangement in place of the unanimous decision making process that has been followed for 23 years. Looking forward, there is great uncertainty about what the majority rule approach might do to water down and distort the true history and legacy of the Sex Pistols. Time will tell.”

“Whatever Disney does, it is doing it without John’s involvement or creative approval. John is powerless to prevent any distortion of the true history of the Sex Pistols and whatever results will be at the wish of the majority only.”

In a personal statement, John Lydon labelled the decision "destructive" to the future of the Sex Pistols, and said it would have a "negative" impact on the band.

He writes: “I am the lead singer and songwriter, front man, image, the lot, you name it. I put it there. How is that not relevant? It is dumbfounding to me. It is so destructive to what the band is and so I fear that the whole project might be extremely negative.”

“How can anyone think that this can proceed without consulting me and deal with my personal life in this, and my issues in this, without any meaningful contact with me before the project is announced to the world. I don’t think there are even words that I can put forward to explain quite how disingenuous this is. As I said in the lyrics of The Order of Death, This is what you want, this is what you get…”

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Kuna Maze returns with new track 'Bill'.

The Brussels based multi-instrumentalist has a deep passion for jazz, something that intersects with his use of club tropes.

New EP 'My Fish Is Burning' is out shortly on Tru Thoughts, and it finds Kuna Maze going deeper into his sound.

New track 'Bill' is online now, and it matches broken beat elements to jazz textures from keys player Dorian Dumont.

There's a neck-snapping element to the percussive drive, while the layers of melody add something soothing and light to the mixture.

Kuna Maze comments on his incoming EP name: “I was listening to a Moodymann interview on radio, and at one point he says to the interviewer; ‘hold on I gotta go, my fish is burning’. I don’t know why but it made me laugh like he planned an interview while cooking his fish meal…”

Cooking something special, you can check out 'Bill' below:

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It’s an argument as old as time. It bubbles over every year without fail as the first festival line ups are unveiled, as one side spews tired lines about “a small pool of headliners” and “needing to sell tickets” while the other have the temerity to ask for a tiny shred of representation. You know the one. ‘Sometimes I Might Be Introvert’ is the kind of album which makes it increasingly difficult for the usual culprits (we see you) to keep trotting out the same old cliches.

If we’re being honest, Little Simz should have been headlining festivals already. If her first two records brought critical acclaim and a loyal following, 2019’s ‘Grey Area’ felt almost stratospheric (and had such an impact on me that I still joyfully yell “Little Slimz!” in the style of ‘101 FM’ most days). It was ferocious in places, didn’t fuck around and felt like a defining statement. After such a killer offering, where do you go from there?

With ‘Sometimes I Might Be Introvert’, the answer seems to be found in widening that scope and ambition in a way we’ve never seen before. The cinematic flourishes are cranked up and Simz is more confessional than ever, pondering what defines her as both Little Simz the artist and Simbi the person. It makes for addictive listening.

Spliced with regal interludes and fairy tale meanderings like on the dazzling ‘The Rapper That Came To Tea’, which echoes back to the rabbit hole tumbling of 2017’s ‘Stillness In Wonderland’, it marks Simz warmly acknowledging what’s come before while sounding positively future-charged.

As jaw-dropping as it was as a first single, ‘Introvert’ retains the same staggering quality as an album opener, with its soaring horns scorching a remember-where-you-first-heard-this mark on each listener’s brain. If it begins with bombast, the strings sequence which comes later indicates an artist fully aware of the power she wields as lines like “I’m a black woman and I’m a proud one” gloriously ring out.

‘I Love You I Hate You’ glides between suave Bond soundtrack and groove-laden singalong, while ‘Little Q PT2’ is a wistful slice of infectious soul. The intensity builds on tracks like ‘Speed’ and ‘Rollin Stone’, as Simz sounds razor sharp over spacious beats. More than ever, Simz knows when to hold back, toning it down to devastating effect, and when to unleash hellfire. It’s a balancing act only she could achieve so effortlessly.

Inevitably, the same ignorant voices will once again chirp up around festival season but that’s OK. ‘Sometimes I Might Be Introvert’ will comfortably drown them out. If there’s any justice, Little Simz will be headlining the lot in 2022.


Dig this? Dig deeper! FLOHIO, Cleo Sol, Bbymutha

Words: Lee Wakefield

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Secret Garden Party will return for its 20th anniversary.

The festival was founded in 2002, and grew to become a landmark event for British summer revellers.

Sadly, 2017 saw the curtain come down on the event, with founder Freddie Fellowes insisting that “all good things must come to an end…”

Now Secret Garden Party is teasing its return, in line with the event's 20th anniversary.

Re-activating their Twitter account, the team have kicked off a 48 hour countdown until all is revealed.

Fans can register for tickets from September 1st – find the landing page HERE.

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As we make a return to live music, the August bank holiday weekend saw the long awaited return to Southsea sea front for one of the South East’s best smaller scale festivals in the form of Victorious Festival. Victorious has been a fast growing festival over the past decade with previous eclectic acts including Noel Gallagher’s High Flying Birds, Elbow, Franz Ferdinand and The Specials. This year’s line-up continued in this vein with headline sets from Madness, The Streets, Manic Street Preachers, Chic and Royal Blood.

Friday saw just the main Common Stage in use and a sign of the weekend’s appeal was the size of the crowd throughout with audiences treated to a string of hits from Joy Division and New Order from Peter Hook & The Light, with the sun coming out for the evening with Blue Monday. Following some technical hiccups early on, Feeder produced a storming set with hits including 'Buck Rogers', 'Feeling A Moment' and 'Just The Way I’m Feeling', warming the crowd up for the double treat of The Kooks and Madness. The Kooks were one of the weekend’s biggest draws and delivered on their promise, marking the 15th anniversary of their debut record with tunes from across their career and eliciting some of the best crowd responses.

Madness closed the opening night to a delighted and exuberant crowd containing hit after hit from early staples 'One Step Beyond' and 'The Prince' to some of their best loved tracks 'Our House', 'House Of Fun', 'It Must Be Love' and many more. For a band that has now been going just over 40 years, Suggs and co certainly know how to put on a show and treat their audience to their Camden flavour of ska.

Saturday saw huge crowds and perhaps a sign of how much the festival was missed in 2020. With the addition of the Castle Stage there were a few clashes, an indicator of the diversity of acts on display. Following rousing sets from Black Honey and The Lathums, Blossoms were the early main attraction delivering a set with tracks from across their three albums to date and making room for a cover of The Rolling Stones’ 'Miss You' in tribute to the late Charlie Watts (Rolling Stones tracks appeared throughout the build up to many acts across the weekend). The Stockport group continue to impress and show why they are one of the UK’s biggest indie acts at present.

The Fratellis proved a fine appetiser for The Castle Stage delivering a rousing set as the sun set. Manic Street Preachers, a late addition to the bill following Richard Ashcroft’s withdrawal proved why they are one of the finest British bands of the past 30 years with a set featuring tracks from their upcoming 14th studio album. Opening with 'Motorcycle Emptiness' and closing with 'A Design For Life' the set was one of the best of the weekend with James Dean Bradfield in fine voice, proving his quality as a vocalist and guitarist.

The final day of the festival was kick-started by Britpop group Cast, delighting the crowd with 90s nostalgia although also beset by some slight technical glitches. Miles Kane ratcheted things up a notch drawing an impressive crowd and treating the crowd to 'Aviation' and 'Standing Next To Me' from The Last Shadow Puppets. This was one a rollicking set and really set the festival up for a grandstand conclusion. Fontaines DC while delivering impressive sound would perhaps have been better suited for a Friday or Saturday evening, their punk-esque sound proving a tad dark for a Sunday evening.

Supergrass proved one of the standouts of the weekend and why they are held in such high regard as a live act delivering a storming set full of tracks from across their 25 plus year career with 'Pumping On Your Stereo' and 'Moving' proving particular standouts and their trademark track 'Alright' sending the crowd into a frenzy. Gaz Coombes voice has aged remarkably with much of the setlist sounding close to the record, Gaz also proved his worth as a lead guitarist.

Royal Blood, from along the South Coast proved a fine capping to a triumphant return to live music delivering a loud and raucous set opening with 'Typhoons' off their recent album and concluding with 'Figure It Out', there was rarely a misstep and an opportunity for Ben Thatcher to cut loose on the drums and solo on 'Little Monster' showing the group are more than just a noise machine. While a tad loud compared to some of the weekend’s other acts Royal Blood more than demonstrated why they are one of the best loved bands in the UK at present and the crowd were thoroughly engrossed.

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Words: Chris Connor

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Daniël Elvis Schoemaker and Daniël de Jong are Feng Suave. One of the smoothest musical duos around right now, the Dutch pair initially sprung from different musical realms before building chemistry together. Millions of streams later and with performances alongside slick contemporaries Khruangbin in the bag, essentially, Feng Suave are two typically laid back Dutch dudes doing their thing.

They unexpectedly catapulted onto the global scene with their self-titled debut EP back in 2017 and followed that up fittingly with ‘Warping Youth’, which brought us some respite from the anxieties of lockdown back in June last year. Now, Feng Suave have brought out their third EP, ‘So Much for Gardening’. Leaning into more existential, folk rock territory than their previous releases, the duo cite the likes of The Beach Boys as having a large influence in their latest body of work. It displays the band’s most refined lyrical wordplay yet whilst retaining that loveably hazy soundscape they muster up time and again. Its surface is bright, but a darker core lies beneath.

We caught up with the two Daniëls for a Zoom call shortly before their EP release to talk about Radiohead, new music and dingy but dreamy Albanian clubs.

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Tell us a little about your artistic journeys: When did music first come into both of your lives? When did you decide to form a duo together?

DDJ: When I was 13 or 14, my dad gave me a CD. On that CD was a lot of 90s rock songs, one of which was ‘Karma Police’ by Radiohead. I remember having a shitty job around that time and I would download a new album to my iPod every day to listen to music. My first ones were ‘OK Computer’ then ‘Paranoid Android’. I’d heard bands like Red Hot Chilli Peppers before that, but it wasn’t as experimental as Radiohead. I think that really got me into writing my own songs.

After a few years, I tried out this singer songwriter, Jeff Buckley kinda thing which didn’t really work out for me. Then I sent Dan a message because I’d seen some of his work. I knew he was different, I was different, so I thought why not hook up and be one act together? Which we did. We listened to very different kinds of music when we first met each other. We really found common ground in stuff like The Beatles, Jimi Hendrix and RHCP but we didn’t really have an idea of what it could be that we’d make together.

How close is your relationship with one another as friends as well as artists? Are there ever any arguments?

DDJ: I think we can safely say that we’re best friends and we never really fight with each other. It’s kind of a perfect marriage so far.

DEJ: It is. I’d say we’re both pretty undramatic characters. We’re pretty dry, you know? But no, there’s not a lot of drama or friction. To do what we do together, the intimacy of that professional relationship that we have, you’d definitely have to be pretty good friends to be able to uphold that for a long time.

What’s special about your new EP, ‘So Much for Gardening’?

DDJ: The way we recorded it was especially different. Previously, we would just record everything into our laptops. For the latest EP, we recorded everything live onto tape. I think we’re working towards a more old school approach. A good chunk of the music we’re listening to is from the 60s and 70s. It’s the music we like the most, so it kind of makes sense to do it that way ourselves as well. It was a difficult process, but it was also fun.

DEJ: It has its limitations, but one big upside from working to tape is that you’re not buried inside of a laptop for three months. When you’ve got a digital recording and are doing at least some of the mixing yourself, there’s a lot of digital work involved. We hardly touched a laptop during the whole recording process, which was a really nice change.

What drew you to the existential topics you cover in tracks like ‘Come Gather ‘Round’ and ‘Tomb For Rockets’?

DDJ: The first EP revolved around lyrical content that I’m not vibing with as much – it was just an early stage. But with this EP, we had the chance to delve more into the lyrics and spend more time on them. There are more observations this time round. Tracks like ‘Come Gather ‘Round’ or ‘Unweaving The Rainbow Forever’ could very easily have a lessons in them. But we just think it’s nice to make observations with daily life. Especially when you pair it with something that sounds pretty happy and then the lyrics are pretty dark. I think it’s fun to combine those two elements.

There’s actually this video of a couple getting married to one of our songs ‘Half Moon Bag’ and they must not have understood that the lyrics were cynical. It happens quite a lot actually, people think it’s romantic and beautiful but it’s really not, which is kinda funny.

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What does the Amsterdam music scene look like today? Is it much different from UK music scenes?

DDJ: We feel that Amsterdam is very, very different. More good bands start out in London every day than there are in total here in Holland. There’s not that much of a band culture over here. Well, there is, but a lot of it is garage rock. Dutch hip-hop is also pretty good.

DEJ: We have our own theory for why this is: What do all the big, English speaking countries have in common? They all have developed economies and they generally tend to be spacious countries. Holland is developed and people do speak English here, so you would expect there to be a budding music scene as well. But because everyone is kind of stacked on top of each other throughout the country, there’s not really room for drum sets anywhere. You would have complaining neighbours, so we think that’s why a lot of people resort to EDM or something they can mix on their headphones rather than something that they would have to bang out in their garage and keep their neighbours up.

DDJ: It’s very difficult to get space in London and that has a flourishing music scene – maybe the theory doesn’t 100% hold up man…

DEJ: Okay, maybe it doesn’t 100% hold up. But there’s a really low drum set density in the Netherlands because of the population – it’s just a theory.

I read in an interview a few years ago where you said you’d like to perform in Brazil or Indonesia. Why there? Any other places you’d love to play?

DDJ: A while ago, we had a lot of very enthusiastic fans from those places so we wanted to see what it was like. But personally, I would really love to go to Japan. We’re going to Mexico next year which is also very nice. After that, we’d really love to go to Brazil but it’s such a huge country. The numbers of listeners we’re gaining seem pretty impressive, but they’re spread across the whole country. There’s 200 million people in Brazil, and we’re like, ‘we’ve got 50,000 listeners in Brazil. We’re huge!’ But we’d love to go there. It’s not often that people from different continents listen to your music so it still feels very weird.

DEJ: I would really love to go to Balkan countries!

DDJ: We’re not doing very well there.

DEJ: We may not be doing very well there but I’d still love to go some dingy club in Albania and be like, ‘yeah, we are out here’, you know?

Has there been anything you’ve learned about yourselves over the course of the pandemic?

DDJ: For me personally, I noticed that I am more of a social being than I initially thought. Prior to the pandemic, I felt like I’d never been bored in my life; there was always something to do. But during the pandemic it was like, ‘God, I really want to see some people’ you know? It’s taught me that my friends are even more valuable than I’d initially thought, which sounds corny but it’s true.

What would be your dream to achieve as Feng Suave?

DEJ: I’d dream of bigger things than we are now, that’s for sure. I think every step you take that’s closer to an ultimate dream, that dream also takes a step further away from you. I think that’s how it works with desire satisfaction and dream realisation. Headlining big festivals is definitely a big part of that dream, doing a huge theatre show, or an arena tour in Brazil. Mostly though, just being able to hold something tangible that represents you would be the best way to put it.

DDJ: That would be my answer too. To just be hold one record and be able to say, ‘this is as close to perfection as I can get it’, would be amazing. If I was to die right now, I’d want people to listen to this so that they would know who I was.

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'So Much For Gardening' EP is out now.

Words: Jamie Wilde
Photo Credit: Pasqual Amade

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