I’ve set up a new Twitter feed for the site. Follow blog post updates and other Discontent blipverts at twitter.com/discontentblog.
FACT Magazine today posted their “20 Best Mixes for 2008” featuring Mike (Italians Do It Better) Simonetti, Generation Bass, Prins Thomas, Dj/Rupture, Hyperdub, Esau Myanwaya & Radioclit, Optimo (with their mighty ‘Sleepwalk’ mixtape) and Metro Area. Taking out the top spot is Appleblim’s podcast for Rinse FM back in April, with the Skull Disco boss bringing together a mix of two halves: Part Two devoted to the outer fringes of dubstep (including Ramadanman, T++ and more), with the introductory half of the equation serving as a personal dig through his dusty crates. Says FACT: “This mix feels like a mate sharing his favourite tunes: classic Chain Reaction techno (Resilient’s ‘1.2’), The Beach Boys’ cosmic masterpiece ‘Feel Flows’, Mr Finger’s ’87 house classic ‘Stars’ and the fluttering, languid psychedelia of Alice Coltrane’s ‘Journey in Satchinanda’.”
FACT Magazine- 20 Best Mixes for 2008 | link
Appleblim – Rinse FM April Podcast | sendspace download
1. A Made up Sound – D1 (unreleased)
2. Resilent – 1.2 (Chain Reaction ’96)
3. Shed – Warped Mind (Ostgut Ton ’08)
4. Alice Coltrane – Journey in Satchidananda (Impulse ’70)
5. Bill Conti – Reflections (off Rocky III soundtrack)
6. Beach Boys – Feel Flows (EMI ’71)
7. Mr Fingers – Stars (Alleviated ’87)
8. Fun Boy Three – Faith Hope & Charity (Chrysalis ’82)
9. The Clash – Magnificent Dance (CBS ’81)
10. 2 Bad Mice – Waremouse remix (Moving Shadow ’92)
11. Davey Graham – I Cannot Keep From Crying Sometimes (Decca ’64)
12. Advanz vs Gescom – Viral (Skam ’98)
13. Skream – Siminimal – dubplate
14. Ramadanman – Humber – dubplate
15. Shut Up & Dance – Epileptic (Martyn’s No Strobe mix) – dubplate
(forthcoming on Z Audio)
16. Geiom – Reminissin (Skream’s Time Travel mix) – dubplate
(forthcoming on Berkane Sol)
17. Greena – Houze – dubplate
18. Vista – Elixir – dubplate
19. T++ – Audio19958 – dubplate
20. Jack Sparrow & Exodus – Blue – dubplate
21. Geiom & Appleblim – Shreds – dubplate
22. Calibre – Stolen Shadow – dubplate
23. Scuba – Systematic Decline – Hotflush
24. Martyn – All I Have Is Memories – Apple Pips
25. Komonazmuk – Bad Apple – dubplate – (fortchcoming on HENCH)
26. Wedge ft. Shadz – Everybody’s Movin – dubplate
It’s a grey, wet early morning in the city of Sydney, and this seems like the most idyllic soundtrack for this moment. ‘Sleeps In Oysters’ deliver under-stated, lowercase folk from their home in Berkshire (England). They’ve played recently with Efterklang, Leafcutter John and A Hawk And A Hacksaw – three distinctly different avenues of sound, although as a combination, the aggregated flavour does indeed give you a fair impression of the territory that Sleeps In Oysters are seeking to stake.
After a good 60 seconds of concrete insect chatter, ‘Moths Wings For John’ flows into a mourning one-note journey around the scale, with scattered wasp samples flicking around the ether and Lisa Busby’s vocal draped elegantly on top. ‘Sea Flowers Blossom’ (from the Luv Sound compilation ‘Summer Gate’) follows a similar pace with John Harries on solo accordian, dripping water & miniature bleeps locked together in tiny combat, and Busby’s vocals layered on top of one another to create a quiet, understated pean to the ocean.
Their debut release (via Seed Records), the succinctly titled “‘We Kept The Memories Locked Away Like The Beetles Of Our Childhood -Or- How To Appreciate Someone That Is Always Around” is available on limited CD with ” 5 bespoke postcards parcelled in paper, tied with string and sealed with wax, housed in handmade fabric sleeves, lovingly embroidered and individually numbered.” Quite. A less prosaic version of the release is available via bleep.com from November 24.
Sleeps In Oysters – Moths Wings For John | mp3
Sleeps In Oysters – Sea Flowers Blossom | mp3
With characteristic nonchalance, Various Production distributed another free track through their mailing list last week. As has been the story from the outset, no information, no context, no details are forthcoming. Whilst much of this info-lockdown technique is compelling (we are forced to focus entirely on the strength or the weakness of the music for gratification), it’s also often frustrating. Various Production swim between many different genres – from grime and dubstep, to rural folk and sea shanty, all without blinking.
With its looped, shuffling electro warble and chopped sampled chanting, ‘Warchild’ is less dramatic than most of their output, and thus less obviously a ‘Various’ track. It also features a precise, politically-inspired vocal from an MC that – as with all their contributing artists – remains nameless.
Next up: more remixes (from Rustie and Actress), a full album with Gerry Mitchell and their follow up to ‘The World Is Gone’. News and previews at official-various.blogspot.com.
Various Production -Warchild | mp3
This podcast mix for XLR8R from London production duo Dusk & Blackdown dropped many months ago, but it’s ripe for re-appraisal. I say this primarily as the album which it promotes – ‘Margins Music’ – is a unique document that pinpoints all that is compelling about music in 2008. Yet, it still remains largely (although not exclusively) uncommented by the blogeratti.
Blackdown (aka Martin Clark) knows his dubstep – he is, after all, Pitchfork’s resident advisor on the subject. His 2008 review, now up at Pitchfork, presents us with a distinctly grey picture. In reference to his closing remarks at the end of 2007 (“Anthem bashing was endemic, with sections of the scene competing in harder-than-thou production contests”), he says this for the last 11 months:
“If anything dubstep was worse, as a percentage whole, in this department in 2008. Anthem bashing, cloned derivative productions, reduced experimentation, constrained diversity, and distorted wobble tracks became more endemic. In truth, if this path continues to be the major part of the scene in the future, the genre will burn itself out or turn itself musically and culturally irrelevant in less time than it took to incubate in the dark Croydon shadows. The leaders, fans and advocates of this style will have the blood on their hands of a once vital and unique genre that had been and had the potential to continue to be truly different and original. They will have to live with that shame.”
He’s been blogging about the scene from both a promotional and philosophical standpoint for a number of years, and thus has unique understanding of what the scene requires to push it forward. When his track ‘Lata’ dropped back in 2006 (coupled with a Burial remix of ‘Crackle Blues’), it fast become worn out on my turntable – a beautiful slice of downtempo, percussive dub with a vocal from legendary Hindi singer Lata Mangeshkar delicately woven over the top. It was a spectacular exercise in ‘beauty through minimalism’ and a shock to the dubstep system.
Thankfully, lessons were obviously learned from the production, as ‘Margins Music’ is awash with sounds and vocals that represent the true cultural diversity of its birthplace, London Town. It is, in truth, a concept album, a documentary of the capital in 2008, with contributions from Pakistani singer Farrah and Punjabi vocalist Teji, rolling Bhangra dhols, tabla and sitar all competing with innovative electronic production and grime verses spat by Trim and Durty Goodz. In short, it’s a breathtaking ride.
If you remain unconvinced, use this mix – full of unreleased cuts – as a precursor to your main fix (Buy @ Boomkat):
Dusk + Blackdown – Keysound Radio ’08 | mp3
1. Blackdown “Con/Fusion feat. Farrah” (Keysound Recordings)
2. Sully “Jackmans Recs” (unreleased)
3. Grievous Angel “What We Had” (unreleased)
4. Skream “Angry World” (unreleased)
5. Al-Haca “Kryptonite (TRG remix)” (unreleased)
6. 2nd II None “Waterfalls (Peverelist remix)” (Heavy Artilery)
7. JME “Go On My Own” (BBK)
8. Joker “Digidesign” (unreleased)
9. Dot Rotten “I’m a Professional” (GPP)
10. Starkey “Gutter Music” (unreleased)
11. Ghetto and Rudekid “Sing For Me” (unreleased)
12. Gemmy “Supligen” (unreleased)
13. Geeneus feat. Wiley, Riko, and Breeze “Knife & Gun” (unreleased)
14. Zomby “Aqafre5h” (unreleased)
15. Blackdown “Concrete Streets feat. Durrty Goodz (Keysound Recordings)
16. Wiley “If You’re Going Out I’m Going Out Too” (Grime Wave)
17. D1 “Oingy Boingy” (unreleased)
18. Dusk “Focus” (Keysound Recordings)
19. Dusk + Blackdown “Kuri Pataka feat. Teji and Farrah” (Keysound Recordings)
20. Pangaea “Router” (Hessle Audio)
21. Zomby “Duality” (unreleased)
22. Guido “Orchestral Lab” (unreleased)
For those with Paypal accounts, or a UK credit card for that matter, Buraka Som Sistema’s new album ‘Black Diamond’ is now avalable for download over at 7Digital. The debut full-length features contributions from M.I.A., Kano, Petty, baile funk’s First Lady Deise Tigrona and Angolan kuduro artists DJ Znobia, Saborosa and Puto Prata. Pitchfork have posted a mixtape featuring a couple of tracks and a new remix of ‘Sound Of Kuduro’ from bass cadets, Drop The Lime.
Buraka Som Sistema – Mixtape | mp3
1. Buraka Som Sistema: “Intro”
2. DJ Malvado: “Puto Mekie”
3. Radioclit: “Secousse (Crookers remix)”
4. Buraka Som Sistema: “Skank & Move” [ft. Kano]
5. DJ Znobia: “Patchy Luanda”
6. Debonair Samir: “Samir’s Theme”
7. Buraka Som Sistema: “Kalemba (Wegue Wegue)”
8. DJ Furioso: “Activate”
9. Buraka Som Sistema: “Sound of Kuduro (Drop the Lime remix)”
10. Reso: “If U Can’t Beat Them
Mark Barrage has been all but absent from the recorded music scene over the last three years or so – ‘Hero Or Dirt’ dropped on Feral Media back in 2005. In the intervening continuum, he’s been playing many live shows (including support for Telepathe, YACHT and Dan Deacon) and steadily crafting the follow-up ‘Delays’, which is released this month via Mistletone Records, Australian home of El Guincho, Lucky Dragons and Panda Bear. ‘Hindsight’ blends Mark’s characteristic dark, singer-songwriter pop with an analogue electro pean to early-era Kraftwerk or Cabaret Voltaire. A mini-Australian tour kicks off in Melbourne at the end of the month – hit the Mistletone site for info.
Mark Barrage – Hindsight | mp3
Mark Barrage – Poisoned | YouTube
We’ve seen Japanese baile funk and Portuguese kuduro – here’s another genre displaced from its homeland: Australian Cumbia. The Cumbia Cosmonauts may be based in Melbourne, but they have deep links back to Mexico via a long-standing creative relationship with the Nortec Collective and other artists in Tijuana (see myspace.com/melbournetijuana for details). The Australian collective have launched a series of ‘sessions’ titled “This Is Tijuana!” in Melbourne, starting recently with a local premiere screening of the documentary ‘Tijuana Remix’. The latin connection continues with this remix of Argentinean producer, Leonardo Martinell, aka Tremor, whose new album of the same name is released this month via Los Años Luz and who recently toured North America as part of the 2008 Zizek tour. The Cumbia Cosmonauts bring a stripped back, at times dubbed-out re-version to the fore, hinting that a twist on the Cumbian-norm might be Australia’s next top export.
Tremor – Viajante (De La Tierra Remix by The Cumbia Cosmonauts) | mp3
With a URL such as skweee.com, SKWEEELICIOUS! is putting itself out there as a defacto official home of the growing Scandanavian electronic movement. Blending bleep-tronica, twitch hip hop and 8-bit funk, Skweee is created by a large, loose collective of almost exclusively Finnish and Swedish producers and will be appreciated by lovers of Flying Lotus, Hudson Mohawke, Quarta 330 and their ilk. Skweeelicious has posted an interview with Mesak – producer and founder of one of the two main Skweee labels, Harmonia.
“The skweee is about to shatter in dozens of subgenres by all the artists performing their own music so strong that it slowly blends into being just top music and great artists. As there is more worldwide attention more people get into it and start producing or organizing parties. I think no one really knows what is going to happen. It’s also bit worrying if it gets popular.”
Mesak – The International | mp3
AIH never fail to amuse and confuse at the same time. ‘That Beep’ sounds like a parallel universe offcut from Annie’s ‘Anniemal’ (with ‘chewing gum’ swapped for ‘bubblegum’). Radioclit break things up with an offstep rhythm and a bonus verse from ex-Bonde Do Role vocalist Marina. Single out 22nd Nov – info at thatbeep.com.
Architecture In Helsinki – That Beep (Radioclit French Mix feat. Marina) | mp3
Recent mix from Dutch techno / dubstep artist 2652, aka ‘A Made Up Sound’, featuring Bristolian dubstep producer Pinch, the excellent Headhunter and Romania’s TRG. Out now: 2562 remixes Martyn’s ‘Vancouver’ on a new 12 with a Flying Lotus mix on the rear. Buy @ Boomkat.
2562 – Electronic Explorations mix | mp3
01 – Pinch – Emo [Dub]
02 – 2562 – Moog Dub [Tectonic]
03 – 2562 – resistance dub [Dub]
04 – Martin Buttrich – Well Done (Headhunter Mix) [Four Twenty]
05 – Headhunter – Grounded [Dub]
06 – SMD – I Believe (Pinch Remix) [White]
07 – Peverelist – On & On [Dub]
08 – 2562 – Enforcers [Tectonic]
09 – s.u.a.d. – Epileptic (Martyn Remix) [Dub]
10 – 2562 – Techno Dread [Tectonic]
11 – TRG – 2084 [Dub]
12 – Shed – Masque (A Made Up Sound refix) [Soloaction]
We’ve all been waiting to see Ellen Allien dance to a track from ‘Sool’ whilst washing her knickers in the local laundrette. At last, the wait is over.
‘Sool’ itself is a venture into more minimal territory for Allien, a sidestep away from the heavier tones of the last album, ‘Thrills’, into something more spacious and less defined.
New wonky dubstep mix from UK’s Ikonika, whose latest 12 ‘Millie / Direct’ released on Kode 9’s Hyperdub label. Ikonika is one of the few female producers (can we name some others?) that can be loosely branded ‘dubstep’, although the sound here – much like most of the recent releases on Hyperdub – is entering trajectories outside of the standard template. In pairing lush sweeps with a perverted, wonky bassline, ‘Millie’ in particular is representative of the type of production (along with artists such as Martyn and Shackleton) that is ensuring the longevity of the scene.
IKONIKA Minimix | mp3
1 Ikonika – Please *Tease*
2 Ikonika – Millie
3 Ikonika – Girls
4 Ikonika – Smuck
5 Ikonika – Loser
6 Ikonika – Red Marker Pens
7 Ikonika – Direct
8 Ikonika & Optimum – Space Rock
Buraka Som Sistema drop a rare video interview on XLR8R TV, articulating their own take on the origins of the Kuduro genre and the false start for the sound in Portugal as far back as 1996. BSS make note that they are ‘representing the Lisbon scene’ rather than Kuduro’s original Angolan roots, although production on their new ‘Black Diamond’ album took them back to the source.
Buraka Som Sistema at 2009 Sydney Festival | link
Kuduro on ‘Fat Planet’ (October 2006) | link
“I’m kinda over the whole MILF thing now; I’m having to skip back a generation and go for the GILFs.”
MUMDANCE Big Shot Mix | mp3
1. Wheres My Mumdance Double Drop Intro:
(Dillinger / “Where’s My Money” (Caspa remix) vs Claw / “Jersey Shore Guidos”)
2. High Rankin / “No Money For Guns”
3. AC Slater / “Jack Got Jacked” (Jack Beats Remix)
4. Boabinga / “The State Of Ghetto Jackin’”
5. Vybes Kartel / “Tigerstyle” (Sinden Remix)
6. Artwork / “Red”
7. Sticky feat. Miss Dynamite / “Boo”
8. Roll Deep Crew / “Heat Up”
9. Chase & Status / “Eastern Jam”
10. Maths Class / “Branches” (Mumdance Remix)
welcome to discontent / dis-content / disco in tents.
This week I’ll be on a panel at Sound Summit in Newcastle titled ‘LICENCE TO ILL: LEGALITIES, LICENSING, IMPLICATIONS AND IMPLEMENTATIONS!’ described as “Key representatives from APRA, the PPCA and Creative Commons join artists and industry to discuss the latest on artist copyright, licensing, downloading and legislation. In particular, addressing the impact & implications for local music communities.”
Ahead of the panel I was interviewed in The Brag, click on the thumbnail to view:
Next week I’ll be at the annual Big Sound Conference in Brisbane, chairing a panel titled ‘The Gatekeepers’ featuring author & journalist Everett True, U.S. Radio Plugger Paul Brown, Richard Kingsmill, Music Director of Triple J; Mike Walsh from Xfm Network and Paul Cashmere from Undercover Media.
Here’s the blurb: As we progress from a world of radio and music magazines telling us what’s cool and what to listen to, has a sea change arrived where everyone’s a tastemaker online? Is there such thing as a music “expert” anymore and what are media doing to prove their credentials as sources audiences can trust to show the way.
Fat Planet is coming to the end of its journey (for now…). Here’s the story:
In August 2003, I started broadcasting the Fat Planet show on the (then) newly-birthed FBi Radio in Sydney. FBi was set up to take a unique view of Australian music, to reposition both the city of Sydney and the country as a place for new, original and innovative sounds – and to tarmac over the notion that we were good for nothing more than Kylie Minogue, INXS and Men At Work. When I was approached to do a ‘world music show’, I opted to toe the line on exactly the same philosophy – to reposition the notion of ‘world music’, and promote innovation and experimentation from unlikely locations.
Of course, the whole concept of ‘world music’ is in itself a paradox – it is a marketing and sales term, designed for ingestion by Western audiences. ‘World music’ means nothing to consumers in South America or Africa. Not only that, but it is quite insulting to apply such a broad and meaningless term to well-developed and flourishing local music industries. The term also generally implies indigenous and traditional sounds, and as I was quick to discover, most countries falling in the ‘world music’ category consider indigenous music in much the same way that Westerners treat their folk heritage – as something to be acknowledged, but mostly unrepresentative of the current musical climate.
Back in 2003, music was only starting to be distributed online. Most labels and artists had a general mistrust about duplication and piracy, and had yet to wake up to the web’s full potential. Luckily, there were a few vanguards around the globe taking advantage of the medium – often from the most unlikely of places. Those vanguards naturally became staples on the Fat Planet radio show – music that was unreleased in Australia, often only released in its country of origin, but nonetheless music that was refreshing, challenging and utterly compelling.
As so much of the show’s pre-planning was spent trawling the web, I inevitably started to post a few links on my personal blog, zero-G. The first tracks went online in January 2004 (Finland’s Lacklustre, Wang Inc from Italy and South African Portable taking early honours) and, a couple of months later, the content shifted to its own URL at fatplanet.com.au. Although this was something of an organic and common sense process, it was also partly inspired by the early pioneers of the mp3 blog who had started shortly prior – Fluxblog, Said The Gramaphone, Music For Robots and, primarily, Swen’s Weblog, a curation of mp3 links from artists that had appeared in The Wire magazine.
Over a five year period, the Fat Planet site went on to feature many hundreds of artists, exposing new sounds and styles often for the first time in an English-speaking environment. Fat Planet was also one of the first to expose emerging genres and feature tracks from scenes such as baile funk, kuduro, congotronics, balkan hot step, baltimore, cosmic disco and Boston bounce. Artists who received some of their early blog-love on Fat Planet included M.I.A., Ghislian Poirier, Juana Molina, The Knife, Filastine, Konono No.1, Frikstailers, K’naan, Mutamassilk, Edu-K, Esau Mwamwaya, Para One, Villa Diamante, Jahcoozi, Cardopusher, Sibot, Stacs Of Stamina, Tetine, Bostich, DJ C, Ramallah Underground, Sweat X, Peter Bjorn & John, Mochipet, Datarock, Annie and many more.
In January 2008, the Fat Planet blog was featured in the UK’s ‘Guardian‘ newspaper in Chris Salmon’s column ‘Click To Download’. In referencing a number of mp3 blogs from all over the world, Fat Planet was dubbed “Best Blog for world music“. The Guardian called the blog: “a fantastic melting point of cutting-edge international sounds; be it Danish rap-techno, Argentinean cumbia, Israeli dub or Chinese hip-hop. The range and quality of the music Buchanan tracks down is astonishing”. (read the column here). Time Out also reviewed Fat Planet earlier this year, calling it “a stunningly diverse range of music from all corners of the globe”.
Writing now in mid-2008, Fat Planet is drawing to a close (for now…) as it’s time to map some new terrain. Thanks to everyone who tuned in to the show or the blog, and I look forward to bringing you along on the next part of the ride.
Here’s some of the chunkier content from the radio show, all yours to digest in perpetuity:
INTERVIEW PODCAST ARCHIVE:
Lindstrom (July 2007)
Amon Tobin (February 2007)
Miho Hatori (January 2007)
El Perro Del Mar (January 2007)
Frederic Galliano, Kuduro Sound System (December 2006)
Annie (October 2006)
Filastine (October 2006)
Peter, Bjorn & John (September 2006)
OMFO (August 2006)
CSS / Cansei De Ser Sexy (July 2006)
FAT PLANET BLOG ARCHIVE (All 300 posts, give or take …)
Video: Lykke Li ‘Little Bit‘
I’m certainly not the first to write about Lykke Li and I’m sure I won’t be the last. And while there’s a tendency for blogs to swarm around hyped artists in an effort to stay painfully relevant, I’m jumping on this bandwagon for good reason – the reason being that ‘Youth Novels’ is a remarkable album, worthy of the attention it has already received; an album that has been on repeat rotation in the Fat Planet house since its Swedish release earlier this year.
A swift comparison places 22-Year Old Li Lykke Timotej Zachrisson in a continuum that joins the dark, moody sweep of El Perro Del Mar and the skewed electro pop of Robyn, levitating above ground between both. With production from Bjorn from Peter, Bjorn and John, the album fails to fully adhere to the Swedish indie-pop blueprint and chooses instead to veer into less obvious laneways. Case in point: while ‘Dance Dance Dance’ might be something you could hear falling from the lips of the glorious Victoria Bergsman, ‘Complaint Department’ – with its dirty, looping piano stabs – is in a forest of its own.
Even more remarkable is the seemingly carefree ability for Li to continuously channel that rarest of commodities – the perfect pop song – and do so many times over in one extended collection. Lasse Mårtén worked as engineer on the album and a glimpse at his resume might explain why this brand of alt.pop works so well – he’s chalked up fader duties for Pink, Peter Bjorn and John, Marit Bergman, Shout Out Louds, Kelly Clarkson (for ‘Since U Been Gone) and … (bless ’em) The Veronicas. Put simply, ‘Youth Novels’ is as good as indie-pop gets.
After wearing out the shine on my copy of their ‘Lick My Favela’ CD, it’s good to have Tetine back with a new release. The Brazilian duo are dropping a full length for choice UK label Soul Jazz Records on April 29th, preceded right at this moment by the Deize Tigrona voiced-single ‘I Go To The Doctor’ (featuring a tidy electro remix from local neighbours CSS).
Unless my thick fingers are deceiving me, ‘Let Your Xs Be Ys’ is Tetine’s eighth album, rollercoasting on a journey that began with 1996’s ‘Alexander’s Grave’, a release which drew musical comparisons with Philip Glass and theatrical similarities to Antonin Artaud – quite a combination. Yet this experimental hyrbid of music and performance has come to define Bruno Verner and Eliete Mejorado over the last 12 years – taking them from their Brazilian home to a long-standing residence in the UK and creative partnerships with Robin Rimbaud (Scanner), Sophie Calle and Igloo, and appearances at Sao Paulo’s Sonar, Whitechapel Art Gallery, Barbican Centre, Miami Music Conference and London’s South Bank.
Trying to pin down Tetine’s sound is almost an artform in itself – veering from the Clash’n’Kraftwerk beds that make up their largely funk-focussed aforementioned Favela EP, to the electronic rumble of last year’s single ‘A Historia Da Garca’, to the mix of electro, baile funk, minimal, new wave and sparse post punk on this latest release.
It’s perhaps no surprise that Tetine played curatorial duties on two important Brazilian compilations a few years back – ‘Slam Dunk Presents Funk Carioca’ (the first funk compilation released outside of Brazil) and ‘The Sexual Life Of Savages’ (also on Soul Jazz) – a near-defintive history of early 80s Brazilian post punk.
Ingested with their history in mind, ‘Let Your Xs Be Ys’ feels as playful as it is relaxed – soundtracking an artistic project that wears its authenticity, confidence and continuing need for experimentation proudly on its sleeve. Less ‘we do not give a fuck’, more ‘we do not need to give a fuck’ – a crucial difference in a music market riddled with attitude, desperately seeking substance.