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news

Thieves steal gravestone of Ian Curtis!

04/07/2008

The gravestone of Ian Curtis has been stolen from the Macclesfield cemetery where the Joy Division singer is buried. The gravestone of Curtis, who committed suicide in 1980 at the age of 23, was inscribed with the words “Love Will Tear Us Apart” – Joy Division’s biggest-selling hit released a month before his death. A police spokesman commented: “There is no CCTV in the area and there are no apparent leads as to who is responsible for the theft. “This is a very unusual theft and I am confident that someone locally will have knowledge about who is responsible or where the memorial stone is at present”. The popularity of Joy Division has grown over recent year’s following the release of Anton Corbijn’s Ian Curtis biopic, Control, and a recent documentary on the band. I thought the the used tissue I snatched from Shaun Ryder was disgusting; but stealing the gravestone of one of post-punk's most iconic figures is bloody sick.


tags: \| ian curtis \| more...

Fans have their say on Creamfields!

03/07/2008

The UK’s Numero Uno dance-fest, Creamfields, has undertaken research to find out the best from the rest at this years festival. Over 1000 people responded to a Creamfields survey, with questions ranging from where they’ll be spending most time at the festival to who they’re most looking forward to seeing. Creamfields CEO, James Barton commented: “We’ve had an amazing response to the survey and it makes for interesting reading, I have to say. It also proves how vocal our customers are, which is great for us, as it gives us an opportunity to analyse the data and respond to it” The results show that the majority of people will be travelling from the North-West, with 84% camping over the two-day period. Furthermore, DJ’s including Tiesto and Paul van Dyk are the main attraction, despite the inclusion of Ian Brown and Kasabian at this year’s 10th Anniversary event. To win tickets to Creamfields, taking place from the 23rd - 24th August, visit the Planet Notion competitions page. For the festival line-up, updates, and the full results of the survey, visit the Creamfields website.


tags: \| creamfields \| more...

Lounge on the Farm announces fancy dress theme!

02/07/2008

Somebody asked Planet Notion what we’d like to be if we could be anything in the world. It took Planet Notion a mere mili-second (sic) to come up with an answer… Catfish don’t have to worry about writing previews for dodgy House nights, or where that greasy white stain on their black jeans came from. Which is why we’re so excited that Lounge on the Farm (LOTF) has announced a fancy-dress theme for this year’s festival. Hoorah! LOTF, taking place at Merton Farm, Canterbury, from 11th – 13th July, is calling for all attendees to dress-up based around the notion of ‘Farm-Hands’. This isn’t limited to mucky slacks, slicked mullets, and mothers who are your brothers; Oh no, LOTF is willing to accept country gent attire, milk-maids, two-man cow costumes – anything really! Furthermore, the best costume will win the coveted ‘Best in Show’, given out by a really eccentric country dude. Um, you do get Catfish on farms don't you? Of the bands on offer, Mystery Jets, Holy Fuck, Dub Pistols Sound System, Lightspeed Champion, Los Campesinos, Polar Bear, Johnny Foreigner, Toddla T, Black Kids, Billy (friggin’) Childish, and The New York (fuckin’) Dolls will all be taking to the stage… Planet Notion has tickets to give away too: CLICK HERE TO ENTER! And for a full line-up and loads of other information on the festival, CLICK HERE !


tags: \| lounge on the farm \| more...

Record sales boosted since Glastonbury festival!

02/07/2008

Tinie Tempah to support Jay-Z at O2 Wireless this Thursday!

01/07/2008

Young Knives and Fun Lovin' Criminals among new acts for Beachdown!

01/07/2008

Beardyman to host Get Loaded! Wiley among new acts announced!

30/06/2008

competition

Win a Motorola ROKR E8 phone!

Win a pair of tickets to Creamfields!

Win a Topman: Wonder Workshop and Look Presents T-Shirt!

Notion magazine

albums


		X-Press2 02/07/2008 House/Electro/Other

		Flight Night 27/06/2008 80s/Electro/Dance

		Red, Yellow and Blue 05/06/2008 Punk-pop

		Los Angeles 05/06/2008 Electronic

features


		Dangerous Dave interviews Jay Reatard! 09/06/2008 The Proud Gallery, Camden, is an unusual setting to be interviewing the saviour of the Memphis punk-rock scene, Jay Reatard. One of the more stylish venues in Camden, the crowd verge on semi-alternative and smart casual, giving an impression that they’re either pretentious creatives or attach themselves to a “hip-crowd” like leeches on a day-trip to Baker Beach. One certainly feels out of place with unkempt hair, armpits rising damp and a gut feel to the brim of a days steady drinking. No doubt Jay Reatard feels a similar sense of bewilderment; the venue’s hardly jam-packed full of punters, and those that are here to see Jay perform could be counted on one finger. But when Jay takes to the stage, his brown wavy mane coupled with bassist Billy Hayes’ afroesque (sic) fuzz, and drummer Stephen Popes’ long blonde locks - teetering on the realm of surreal and sublime, even the ne’er-do-wells stand-up and take notice. The performance is a 100-mph punk-rock ride on a schizophrenic LSD wig-out; riding a beast of a chopper down the M25 in the early hours of Sunday morn. Blood Visions, a relatively unknown LP that remains one of the most original of the past year, has given Jay Reatard a lot to live up to; but not only does the performance fail to disappoint, particularly astounding given the venue, but the blend of paranoid punk-rock, 80s post-punk, and a pinch of new wave, far outreaches expectation. Having witnessed an internet clip of Jay punching out a stage-invader with a vicious right-hook at the Silver Dollar, read countless reports of the multi-instrumentalist’s sporadic temperament, and listened to both anger and bitterness in his music, I was expecting Jay to be a bit of a loose cannon; Anton Newcombe all over again… Perhaps it was the Vodka-and-Tonic I bought him or the countless beer stains down my top, but I like to think it’s because Jay’s a jolly nice chap that all preconceptions were thrown out the window with a resounding BANG! It’s been said that you had a turbulent home-life when you were younger, and that your problems led to you turning to music and leaving school at fifteen. Would you say that you used music as a form of escapism from your problems? I suppose; I mean, I think all art is some form of escapism. Mostly just from boredom man, you know? I didn’t really like… I stopped going to school, so, when you’re fifteen, you know, the majority of people you’re going to meet are going to be at school and there’s not really a lot of places where you can be social with fifteen year-olds outside of school. So it was purely out of boredom; I hadn’t really… I wasn’t around anyone so I kind of just created my own group of friends out of my four-track. You know, I was like: ‘Oh, okay, I can play guitar and drums’ , and it was like interacting with another person, you know, just over-dubbing; and then once I realised I had a four-track and I could do the guitar and the bass, it was like… It was just an escape from boredom man, I had nothing else to do… I think there’s a lesson to be learned there for kids of today. Turning their misdemeanours and all the hate into something far more beneficial… Sure. I mean like, around that age, I was doing the same thing. I was doing petty crimes and going to jail for fighting and stuff; but I knew there was probably - it sounds like a close shave, but definitely something better to put all the negative energy into. And I figured that if music and punk-rock could kind of inspire me, than why not do something while you’re, you know, pissed-off, rather than sitting around like some jerk who’s angry at the world? So would you say that punk-rock was more of an inspiration to you than the Memphis music scene you grew up with? Well, you know, Memphis as a city has always inspired me more than the music. I mean, I’ve only ever… The last ten or fifteen years, I’ve only really enjoyed a few bands from Memphis. It’s more like the city, it just kind of… There’s this kind of ominous negativity that always exists there. It’s quite a violent place that teaches you how to hold your outlook on life. I mean, most the people there are pretty friendly, but it’s definitely more the city that’s inspired me than the music itself. But Stephen (Pope) and Billy (Hayes) (Jay’slive Bassist and Drummer) are from The Barbaras who came out of the Memphis scene. You must have had respect for their music to bring those guys in? Yeah, I thought they were doing cool stuff, you know, and they were young; they didn’t have anything tying them down, and it just seemed like a good situation for all of us. Like, they can help me by giving me a band to play with live, and I can help them by getting more people into their music as well. I think it’s just the perfect relationship… Sure, that's the impression I get. So does the Memphis music scene have quite a close community? Well, you know, it’s tiny, it’s small and it’s very accentual. It’s the same group at any given time; the same fifteen people all playing in service bands. I suppose it’s just like anywhere else where there aren’t a whole lot of people. I mean, Memphis is a pretty small town - it’s like 800,000 people… Maybe. So, it’s not so much that there’s a scene, it’s just a small group of people that try and get along well enough to collaborate together. There’s no certain movement or anything, it’s just very slow; and people are really - most people are pretty uninspired. Most people are pretty non-ambitious, they just wanna kind of sit around and play some local gigs at their local pubs and then work their jobs, you know? There aren’t a lot of people who want to work a seventy-four hour life just to get a pay-check and a place to sleep, you know? Yeah, definitely man, I‘m the same. So how does the Memphis scene compare to other areas nearby, like Nashville for example; somewhere that produces shed loads of music? Nashville ’s like a really music industry town… It’s just like, you know… Nashville’s like Country music that’s all mass-produced, it’s a pretty soulless place, you know? It’s not very interesting. It’s fun though. I get the impression that heart and soul in American music comes from growing-up in the smaller towns and suburbs. The Black Lips recently told me that growing up on the outskirts of Atlanta helped them create better music… Sure, absolutely - I mean they’re from Atlanta , so that’s a pretty big fucking city; it’s like five-million people. But you know, Memphis definitely - I’ve always felt like I could create things without anyone really paying much mind and that’s always something that… I think if you try to do something with people looking over your shoulder or people anticipating what your next move is, then you become a little bit subconscious. Now I kind of get that feeling that people are watching my every move because I’m on a bigger label and - I’m never at home anyway, so I’ve gotta figure out a new process, because the old one doesn’t work anymore… (laughs) What about the transition to solo artist, because you’ve played in a lot of bands; The Reatards and Lost Sounds… You produce your own solo material as well. How have you found going from working in bands to putting all your energy into solo work? It was pretty natural because in the Lost Sounds we gave it our all; everyone tried their hardest. I mean, our goal with that band wasn’t really to be a band that fully collaborated with each other; our goal in that band was to try as hard as possible and things didn’t really work out. We tried it for six years and… I like the records we made and I’m proud to have worked on them, but I guess everyone’s a little disappointed about some people in the band wanting a little bit more - a little higher success than we did. So, you know, we figured it was best to go our ways and - I was so bummed in being with a band at that point; it’s kind of like dating a girl for six years and you break-up, you probably wouldn’t wanna jump straight back into another relationship. So I was very apprehensive, and I took a year off from even playing music and… The next thing just seemed like: ‘Okay, I can’t stomach the idea of being in a band right now, so I’ll start making stuff myself…’ Sure man, I like that. Good answer. But what about the music, how would you describe it? It seems to be heavily influenced by punk but there’s also a touch of New Wave about it; especially on the last track (Waiting for Something)… Well, you know… It’s essentially punk-rock music in spirit; but from song to song, you know, I definitely don’t try to stick to a strict hole or anything. But I would say it’s… It’s the sound of nervousness. It’s kind of like really nervous punk-rock music and, you know, I was a kid who grew-up and was born in the 1980s, so of course it’s going to have a lot early 80s’ influence or something. It’s a good sound to hear. But it’s just punk-rock music as far as I’m concerned man; in my humble opinion it’s just punk-rock. So you were heavily influenced by punk bands of the late 70s? Yeah, I mean the solo stuff has been more inspired by, like… I never really listened to a huge deal of punk until a few years ago. I kind of just wrote it off as shit; and then recently I’ve started listening to The Adverts and bands like that. I guess the solo stuff’s been more influenced by English music, I suppose. Does the inspiration for your lyrics stem from your sub-conscious; are your songs completely made-up; or are they autobiographical in some way - which is the impression I get from songs like My Family ? No. Every lyric I write I try to like, take an aspect of my personality and exaggerate it so that it becomes a bit more interesting, or more severe, or over-the-top. I mean, if I’m writing a song that’s about a guy stalking a girl and killing her at the end of the song, it’s nothing that I would ever do in reality but, you know, maybe it’s a passing thought that went through my brain that I really fucking want to kill that person. So I write a song about it. Shit man, that’s some heavy shit. Good though. What about the recording process; would you say that you prefer performing - the experience and reaction of a live audience - to producing and recording your music? I definitely prefer recording because music’s a pretty personal thing to me; it’s like, something that I like to do alone. It’s like this weird thing where I spend hours in my bedroom working on these songs alone, and then I figure out that: ‘ Oh, I might have to perform them in front of a few-hundred people, or whatever, and play them.’ So, you know, I honestly prefer recording; it’s more of a creative thing. But as far as like, the charge I get from playing live, they’re two different things, you know? I… Playing somewhere like this though; I guess it’s not ideal… (let‘s just say that the majority of the audience rank among the upper echelon of smart-casual; hardly the finest fodder for fast-paced punk-rock) Kind of not ideal but, you know, sometimes I like being thrown to the tigers. I kind of like the complication of playing to people who are unsuspecting, you know? The kind of look on their faces, and how disgusted they are sometimes, makes me realise I’m doing exactly what I was meant to do. There was that incident at the Silver Dollar where a guy climbed on stage mid-performance; you pulled him back and punched him in the face. Do you get pissed off with fans that try and disrupt your performances? Well, you know, I used to - when I was a teenager; I was in bands that were kind of like… It’s so depressing for all these people to say: ‘Jay was in these crazy bands’. I mean I was a kid, so like, when I was eighteen I didn’t think I had a future; so I didn’t mind like, having my shit broken, or having something thrown in my face, or cutting myself up or whatever - because I didn’t think I was gonna be 28 anyway… If I’m gonna be hit it’s apparent I’m not writing a tight tune - probably. I just feel pretty misunderstood by some of these people; they expect me to act like I acted ten years ago or something, but people grow-up man, you know? People say: ‘You’re losing your edge’ and all this stuff; but it’s fucking growing up just like anyone else. You can’t keep doing that shit forever; and there’s nothing more depressing than a forty year-old man who likes to get on stage and, you know, throw shit at people and roll around in broken glass or something. It’s like, I don’t wanna be Iggy Pop. Sure, definitely man. I mean, when I interviewed The Black Lips I got the impression that they’d matured somewhat; that the music is more important to them than pissing about… Now their audience acts that way! Yeah, exactly. So would you say that’s fairly accurate; that you’ve matured as an artist? Yeah, I mean, you know… It’s just this thing where it’s like… Some people just come to the show and they come to Black Lips shows, and they’re like: ‘If you guys aren’t going to create violence, we’re going to create it.’ Fuck ‘em! It’s irritating, you know - it’s silly! I think, yeah, most of those bands - we were young and we did stupid shit, pissed in our mouths and all this stupid stuff - but now we’re in our twenties and we write songs. What about moving to Matador Records… How big has the change been for you; from being signed to smaller labels and then signing for a major company? Essentially I can afford to make any record I want now, so that’s a change. But I’m gonna do things exactly the same way; there’s no reason to change just because you get a big budget to change things… Yeah, you know - it’s good; it just allows me to relax a little bit and not have to worry that I’m gonna be like, old and broke and homeless. And, you know, I think they’ll be able to get a lot more people exposed to what I’m doing, as opposed to some of the tinier labels I was working with; which all did good jobs with what they had to work with, but… You know, Matador, as far as internationally and what not, I think they’ll help us maybe get away from just playing to Indie people and those close-minded punk-rockers they mix with. My goal has always been to play music to like, your common person. The album, Blood Visions, has had some excellent write-ups - it’s been received really well. Are you surprised by how successful it’s been? Sure, I mean, you know - it’s doing alright. I thought it would just be another record; it’s like the eighteenth full-length record I’ve made. So yeah, I think that if you’ve made eighteen of anything, and then the eighteenth thing that you’ve made is the only thing that people pay attention to, it can be a bit confusing. It’s like: ‘Well, hey, I did all this other stuff, what was wrong with that?’ It can definitely fuck with your mind a little bit, but, you know - it’s good . I kind of feel like Blood Visions - the idea behind the record, was to take every band I’ve been in, and take the one thing I liked about the band and put them altogether into one big like… One good idea; one big focus of ideas. Some of the other bands I picked and watered down, I wanted to strip everything away that I hated about all these bands and just combine them all [into something better]. Some artists are talented but lack the passion and drive to carry on with their music once they start making the money. Do you see music merely as a career path or do you have a genuine passion for it? I mean, obviously I see it more as a passion or… Until recently I haven’t really… I’ve always made a living out of music but the quality of life is - I guess its called living what you’d call living; but people wouldn’t call what I’ve been doing living too well. But until recently it hadn’t really paid off and now I’m comfortable for a while and I don’t have to worry about it. But, you know, I’m making it so that the way I’m making records I wouldn’t have to tour if I didn’t want to. I mean, coming and carrying the gear up this fucking cobblestone road and going to all this trouble, of course it has to be a passion otherwise I’d just give up on it, you know? Words: Dave Dryden NOTES: The Blood Visions LP is available to buy on on 'In The Red Records'. Matador Records will be releasing six Jay Reatard singles, on limited edition vinyl, by the end of 2008, and a singles collection album. A follow-up to Blood Visions is due for release in early 2009.


		Cassius discuss their Nike+ workout project! 02/06/2008 Following in the footsteps of Crystal Method, Aesop Rock, and LCD Soundsystem, French house/electronica duo Cassius have recorded the latest Nike+ Original Sport Music track. In collaboration with the sporting brand, Philippe Zdar and Boom Bass took on the challenge of recording a 45-minute continuous downloadable track with the specific goal for people to workout to. Zdar and Boom Bass, real-names Philippe Cerboneschi and Hubert Blanc-Francard, are two of the most highly respected producers to come out of the French electronic scene. Collaborations with Wu-Tang Clan, Leroy Burgess, Jocelyn Brown and Ghostface Killah, as well as production for hip hop artist MC Solaar and electo-pop/dance trio Cut Copy, are just a few examples of the pair’s credentials. The Cassius duo are also renowned as perfectionists of their art, their attention to detail highlighted in the fact that single tracks alone have taken them years to finalise. These are just a few reasons why, when discussing the Nike+ 'CASSIUSPLAY' track with the duo, Boom Bass is quick to point out that Nike approached them as first option for the project . The limited time given to record CASSIUSPLAY, and the structure of a seven-minute warm-up period, a thirty-minute workout, and a seven-minute cool down, created quite a challenge for the band. Furthermore, both Zdar and Boom Bass set themselves the added objective of recording a piece that wouldn’t just appeal to runners, but their long-established fanbase too. “It was challenging because it was new to us,” commented Zdar. “We had the guide that it was for runners, and so you need a ten minute slow-track at the start and a ten minute slow-track at the end. But the biggest challenge for us was to do it not just for runners, but also for Cassius fans that prefer to their running on the dancefloor.” Whereas previous exponents of the Nike+ series have recorded the track as a single-entity, Cassius decided to combine a number of individual tracks and meld them together to create the flow necessary for a continuous workout. “We had a lot of tracks and a lot of ideas,” explains Boom Bass, “we didn’t want to do just one track. So we tried a lot of things, put a lot of things together, and ran to them to see how they worked.” Of course, that’s all very well and good, but what are the components necessary for a project as specific as a workout track? “In fact, that’s what we asked ourselves,” laughs Zdar. “We realised by asking friends and by checking what each of us listen to whilst working out. When I was running I was running with a walkman, listening to The Clash, and then I’d have forty-five minutes of mainly disco, disc-funk, and Italo-disco. We realised that you can run to anything.” Boom Bass is quick to agree. “There are no rules,” he adds with a smile. Trying out the warm-up section, the workout section, and the cool down period firsthand, was an essential element of perfecting the track. “At the start we said let’s do everything really fast,” recalls Zdar. “And then we tried it and said ‘Oh, it’s too purposey [sic]’, so we turned-down some beats and took-out some kicks. “Then we made a little beat with some reggae, tried it, and it worked. It didn’t take me off the running, so I knew it was going to work. Some people might say ‘I can’t work with this because it’s changing too much.’ Whatever, I don’t know. But with me, if I’m running I like the music to change every few minutes.” This approach will come as no surprise to those familiar with Cassius’ sound. The pair have dabbled in a range of genres; blending rock and blues with their synonymous house and electro sound is just one example of their limitless scope. As a result, the final 45-minute-track offers a diverse blend of influences. The opening seven-minute warm-up, the reggae section that Zdar refers to, was a particular highlight of the recording process. “The first song we knew would be perfect, the one with the reggae,” Zdar beams. “We had it finished maybe two months before Nike called us and we knew: ‘This one’s going to be perfect for the starting warm-up!’” Despite having the opening section already at their disposal, Zdar points out that it still presented a problem in context with their goal. “The problem was that it was twenty-five minutes and we knew we’d have to make it nine; otherwise it’s building very slow and then going nowhere.” Something far from ideal when the warm-up period’s over and you’re waiting for a 30-minute intense workout to kick-in. As for the ten-minute cool down period, this was another section that Zdar instantly fell for whilst experimenting with their objective. “I remember I was walking to the beat - ‘dmm, dmm, dmm’ - after listening to it; and I said ‘this is just too perfect for the last track!’ You can just cool down to it; get home, sit down and say ‘Ah, I just ran like a man!’” Zdar and Boom Bass, who both contribute vocals alongside French artiste Gladys, also decided to include the theme of running in their lyrics, an approach in stark contrast to bands that have collaborated with Nike+ in the past. Gladys is no stranger to the Cassius set-up; as well as being Boom Bass’ wife, she has collaborated with the duo on a number of occasions and, according to the pair, will soon be a long-term addition to the band. “She’s been singing with us for some time and now she’s really part of Cassius,” Zdar explains. “She has two sections of the track where she sings; I have one and he [Boom Bass] has one. We’re a team with Gladys; we write fantastic melodies, we write lyrics… I think the next album will be very good because there’s going to be the three of us as a vocal group.” CASSIUSPLAY is available for download via i-Tunes. For further information visit the Nike+ website: www.nikeplus.com

		Andy Cato talks Café Mambo 2008! 28/05/2008 Andy Cato, perhaps better known as one half of Groove Armada, couldn’t be a better choice to take charge of Café Mambo 2008, the first in the illustrious series without resident Pete Gooding at the helm. The two-disc CD boasts such names as LCD Soundsystem, Finley Quaye, J.J Cale, Band of Flys, Weekend Players, The Brian Jonestown Massacre (it’s true), Groove Armada and, of course, Andy Cato. Here Andy gives us a personal perspective of his choices of eclectic and Balearic beats inspired by the sunsets of and culture of Ibiza. What does it feel like to be doing a solo project? Pretty natural. Whilst Tom and I sometimes team up on the turntables, a lot of DJing is done solo. Why did you decide to move to Barcelona? Do you miss anything about England? Mountains, sea, weather, food, those small cold beers, a social way of life. I miss mates, family, and sitting inside when it's raining with a cup of tea. What was life like before you formed Groove Armada? I can't really remember. In the last ten years, we've played live to more than 6 million people around the world, put together 8 albums of different types, DJ'd in most clubs you can think of and checked out every after party we could find. I've lived on boats and in 3 different countries and worked in studios all over the world. So what happened before all that is a bit of a blur. I lived in Brixton, and things were going pretty well with another band until the van got stolen with all the gear in it. What’s you relationship with the magical island of Ibiza? Explain a little about what it means to you. As of this year, I've been going there for 20 years. The first time I went there, it was only because it was the cheapest holiday I could find. It was an18-30 thing, though I'm not sure how that worked as I was 15 at the time. I spent my time in the West End of San An. It was a time when lads went out in crisp shirts and I remember a girl getting her iron back from some boys across the way and shouting down the hotel corridor " the f`***ers pissed in me iron ". Since then, it's got better. It's become a second home, with friends all over the island. There's nowhere else I've found that has so much variety of life and beautiful things in a such a small space. It's a special place too - as people have latched onto [it] since the dawn of time. Did you know, for example, that the soil on ibiza can't support any plant or animal which is dangerous to mankind? Things are going on over there... We know its paradise in Ibiza, so tell me what your average day in paradise is… what’s your Ibiza routine? Depends on the night before. If it's daylight when I get to bed, then the routine is a few hours sleep during the really hot bit, before heading off to somewhere like Es Torrent for the afternoon. A cold beer or two, fresh fish, some Rosé, and bit of hierbas always gets things back on track. Then across to Mambo to DJ or listen to [music] and watch the sunset. After that and a brush up, it's off into Ibiza port to see mates at The Rock or Match bar. I'll probably pop in on Duji's bar too - a tiny treasure in the backstreets. After that, it's off into the night. This usually involves a club or two, a lot of dirt tracks followed by a villa party, and a bit of walking about in the morning sun trying to get home. Ibiza is a crazy place if you want it to be – can you give me an experience you have had that you would not be able to have had anywhere else? Where else can a typical night involve eating a barbeque cooked up by a local fisherman, seeing one of the world's finest sunsets, DJing at one of the world's best clubs, and ending up dancing in a villa with Kylie and Sienna? You’re used to playing at stadiums across the worlds, does that mean that small parties are very rare for you now? They are, although whenever possible, we'll do free parties, boat parties or beach parties to keep that side of things alive. How did you get involved with Mambo? I don't remember how I met Xavier (the boss) and his sons. Probably going down there with my mate Simeon and Djing for Pete Tong's radio one broadcasts. Anyway, they're family now and their spirit is what makes the place special. Why are you so fascinated by chillout music? I'm not. Most of my DJing happens at 3 in the morning on the worlds biggest dancefloors. What I love is the power music has to transform an experience - to make it really special. This applies to sunsets or peaktime dancefloors. What’s it like to play sunset at Mambo? Imagine being with your best mates, playing your favourite tunes, with a cold beer and one of the world's finest views. The term Balearic gets banded about everywhere these days, but what does Balearic music mean to you? When I go out to DJ in Ibiza, the record box will have a massive anthem alongside Chris Rea, or an up to the minute Beatport obscurity alongside dubs of Findlay Quaye. House tunes spanning twenty years. That's what it means to me. What was your plan with the Mambo compilation, how did you put it together and what tracks are the highlights? I wanted to capture the magic of the place - that last hour when the sun falls into the sea, and the first hour after, when the night begins. That's why I needed two CDs. The sunset hour features that Balearic blend that takes in JJ Cale and Coldcut, LCD or Jose Gonzalez, alongside classics that a lot of people might not have heard - Morgan King for example. Getting these things to flow takes work, and it's something that I've had a lot of practice at in the Mambo hotseat. CD2 is that kind of locked in groove which lets you move through the decades, the ups and the downs without losing that hypnotising house music core. I could keep this going all night long. Do any of the tracks included in your mix trigger any particular Ibizan memories for you? Were you there at the beginning? Well I was there in '88, which is nearer the beginning than most. Tunes like Last Rhythm take me back to big moments on the old Terrace with the plane so close to your head you could touch the wheels. Can you see yourself spending a lot of time in Ibiza when you are old and grey? I can't ever imagine not spending time there. There's nowhere better to be old and grey. Are there any up and coming acts or DJ’s you can give us a heads up on? Well, joining us at our Fridays in the new Lovebox room at Eden are the like of Brodinski & Yuksek , Herve, 8 Bit Boy, Mok and Toof, Rub and Tug, Horsemeat Disco... Words: Toni Tambourine Check out the album here: http://clients.ihouseu.com/defected/mambo/

60 Seconds


		Welcome to the sex-crazed world of Muddyloop! 20/06/2008 Blonde Peterson and Metro Williams, otherwise known as Muddyloop, are a pair of randy Prince enthusiasts with a penchant for 80s, cheese-tinged, electro grooves. A distinct hip-hop, synth-heavy, sexy-electro sound, the kind that makes one want to pull the nearest floozy and have their oh-so wicked way with em’, is the lads’ forte; the knife that butters their bread. Planet Notion caught up with the sex-obsessed cheeky chappies to talk about debut album Flight Night, girl on girl action and, um… she-males? Tell us, how did Muddyloop come to be? Metro: Me and Blonde are cousins, so we pretty much grew up together. We clicked from a young age cos’ we both had a warped sense of humour and an unhealthy obsession with Prince. About 7 years ago we bought a drum machine and an 80’s sounding synthesizer and started writing songs to impress girls. That didn’t really work; but by chance, one of our tracks got signed to New York house label, Chez Music, so we had to come up with a name for our outfit. Blonde: Metro wanted to call us something dumb like ‘Spandex Death’. I came up with Muddyloop cos’ when we started making music our loops were real dirty cos’ we sampled everything from cassette tape. Then everyone would tell us our music sounded muddy; hence the name. I personally think that your music’s a tad on the cheesy side; but that’s by no means a criticism. It’s infectious cheese - kind of like fungal foot-rot, except it makes you want to spontaneously get into the groove. Was it your intention to make infectious cheesy music? Blonde: Thanks for the compliment. I guess, to be honest, it wasn’t our intention to make it like this. It’s just our personalities coming through. We just wanted to make music that was fun and not too serious. Metro: But still kind of fresh and cool. Like myself of course. Blonde: You love yourself too much! The problem is that people think we’re actually being serious when we sing songs like ‘Hairstyle’ and ‘Girl on Girl’, when in fact it’s all just tongue-in-cheek. We just make sure that we work the groove so that it makes suckers move. The track ‘I Could Do Things 2 U’ is definitely about the karma sutra or sado-masochism or something, right? Is most of your music and lyrical content of a sexual context? Blonde: The concept’s a guy letting a girl know that he fucks like Rocco Siffredi. Metro: Damn man! You’re so crude. Blonde: We do love the sexual side of things. I guess it’s all those years listening to Prince and watching porn. And the fact that we didn’t actually get much sex growing up cos’ we were strange and geeky. I guess we’re making up for it now in our music. Metro: Sex is just one side of our characters. We’ve also got tracks like ‘Glamour Magazines’ which talks about everyday modern relationships and a song about the end of the world; there’s even one on the album about a time traveller. There’s a good balance of topics, moods and tempos. Do you write lyrics for the music or music for the lyrics? And if you write lyrics for the music, surely that means that you see music as more important than lyrical content? Blonde: Lyrics to the music; always. It’s the music we make that inspires the vocal melodies. Then once we come up with those we start writing lyrics to the beautiful melodies that ooze out our hearts (laughs). Metro: We see lyrical content as very important. We always try and avoid coming out with lyrics that ain’t really saying anything. Even if we are talking about quirky shit, like on ‘Hairstyle’ or ‘80s Love’, the lyrics still have to be humorous and cool. Blonde: Me and Metro really take our time over the lyrics and make sure they’re at least better than Usher’s. That’s the minimum standard. Tell us about the inspiration behind the debut album (Flight Night)? Were you inspired by other artists or does the album tell some kind of story? You know… About a night flying around on the town and all the shit that happens; something like that? Blonde: I guess the album is a melting pot of everything that inspires us artistically. Sure, it was inspired by other artists - you can blatantly hear the Prince and Michael Jackson influences. But you can also hear the old school hip hop and soul influences on the album too. Metro: The album doesn’t tell a story, but the title points towards some kind of late night journey through the world of Muddyloop. The production and sound of the album is very 80s influenced. Combining classic 80’s hip hop and soul with synth pop, electrofunk and groove. Blonde: With catchy songs all over it. Finally, anything you’d like to add? Some words of wisdom perhaps? Blonde: Metro needs to bath more often Metro: Blonde is into she-males Blonde: Metro’s mum is a she-male Metro: I think we’ll leave it there. Muddyloop's debut album, Flight Night, is available now on Muddytrax Recordings. Click here to buy. www.muddyloop.com / www.myspace.com/muddyloop Words: Dangerous Dave

		Bashy chats about Adulthood The Movie! 18/06/2008 Gang culture is on the rise in London. Stabbings are becoming more prolific and post codes are sparking turf wars. But rather than the government installing X-ray machines to scan weapons at school entrances, it's films like Adulthood that are likely to have the most effect. Bashy, the emcee who did the lead single for the film, ‘Kidulthood to Adulthood’, is hopeful that this is the case. He’s all for people approaching their lives more positively. “The film concentrates on choices you make in life and what kind of path you take. On the street, a lot more is happening but at least it conveys the correct story,” he says. “Now, my response to all the stabbings is that I’m not as shocked anymore. We as a nation of people are becoming accustomed to it.” Bashy’s the man behind last year’s ‘Black Boys’ single and this was yet another contribution to encouraging people to raise their game. “The song’s a celebration of achievement, and it’s not only for black boys. I’ll go and do a show and it’ll just be white kids and then they’re all like brap! White people are struggling, black people are strugging, Asian people are struggling. Especially in London, we’re all in the same community,” he says. This is represented in Adulthood, which has a multicultural cast – “an accurate reflection of London’s society,” says Bashy. He reckons more films need to be made in this spirit. “I think a lot of the violence is bred through slavery – people were bred to hate each other,” he opines. “We need to get out of this.” The film itself is a brutal 24-hour journey through a west London underworld, where director Noel Clarke's dystopic universe offers little to those caught up in the vicious circle he's desperately trying to break. But its brutality puts a mirror up to the proceedings, and this is where its social relevance lies – especially in the current climate. To recognise that these lives yield little promise, and violence is becoming endemic, is the first step towards healing. www.bashy.com Words: Helene Dancer

		MAN LIKE ME's "sweet as a nut" 60 Second homemade video! 09/05/2008 We asked ‘Man Like Me’ if they could contribute to the 60 Seconds section of Planet Notion. "Hell", we thought, "we’ll give them a wide berth", you know? We told them: “Do what you want, go crazy, let your mind wander.” You see, Man Like Me are creative guys - blending the old-school elements of ska with the new-wave grime scene, an electro-pop backbeat, a smidgen of funk, and a pinch of hip hop thrown into the equation. The results are: "Well fresh!" Anyway, the lads contributed a 60 Second video, sort of in the vein of ‘Oh My Gosh’ and ‘Doughnut’ but with a really, really low budget. We’ll let Man Like Me’s Peter Duffy talk you through it… “In 60 seconds we decided to each list our personal top ten favourite whatevers. Johnny chose crisps, I chose cartoons and Edwin chose diamonds. Johnny doesn't even really like crisps, I’m being childish, and Edwin is trying to make out like he's in the market for precious stones. Edwin kept his bit to the agreed 20 second length, Johnny went a bit OTT and overflowed at 24 seconds, but I fell short at 16 seconds so it all worked out quite nicely. Most of the items mentioned in each 'top 10' are only there because they rhymed with the previous ones. We used a camera phone for all the pictures even though there was a proper good digital camera upstairs. Safe.” Peter (Check out the 'Man Like Me' MySpace page!)

who the f**k?


		Nick Sunderland 30/05/2008 Nuts and Bolts: Nick Sunderland (Vocals/Guitar) Stomping Ground: East London . Set to Soundtrack: Love… Loss… Hope… Destined to Upset: The clubbing fraternity. You’re in business if you like: Peri-Peri Chicken style Indie-Rock. Soft, but with a kick. Imagine going for a leisurely run through the woods whilst listening to your I-pod; some gentle Indie-rock beating slowly against your drums. Suddenly there’s a kick, a harder edge to the music, and you pick up the pace. You’re really working it now; your armpits are rising damp and your brow’s getting wet - until suddenly you stop with a jolt to admire an unusual looking specimen! It’s a Liberty Cap: A Magic Mushroom . It looks tasty, and you’re feeling a wee bit peckish, so you take a bite… Oh god! Minutes later you’re on a crazy paranoid trip, peculiar voices infiltrating East-End artist Nick Sunderland on your I-Pod, as he explores deep themes of love and loss; loss and love. You’re running through the woods in a blind panic, arms flailing like an irate gibbon, the trees closing in on you like some paranoid delusion of Edgar Allan Poe. Memories of lost relationships are flooding back to haunt you, like an outer-body experience on a journey to the fiery gates of hell. There’s a bitter edge to Nick Sunderland’s music and lyrics, occasionally interrupted by the schizophrenic voice of inner thoughts and times that were. Sunderland explores subjects more at home within the softer realms of Indie-rock; albeit with a little more panache. By adding distorted electronic-infused vocals as a response to the lyrical context, on top of far edgier guitar solos, he explores the demented side of break-ups and the eternal search for love. Far from being depressing it kicks your sorry arse into gear; tells you to drop that quart of Whiskey and put down the sharpened knife. After all, break-ups and love are rarely lardy-dar (sic); they’re a subject that’s supposed to be approached with edginess and bite. Perhaps that’s why the London artist reached number two (2) in Metro’s singles of the week… Sure, Sunderland may not be everyone’s cup of tea, but he’s a damn sight better than the current crop of soft-Indie rockers littering jukeboxes nationwide, for single drunks to listen to whilst weeping into pints. Check out his MySpace ! Words: Dangerous

		The Power Lords 02/05/2008 Nuts and Bolts: The Power Lords (Pierre and Bohdan) Stomping Ground: South of France (St. Tropez) and the Ukraine. Set to Soundtrack: Clubs where people sport Croydon facelifts and neck Bacardi Breezers. Destined to Upset: Anyone without a sense of humour. You’re in business if you like: Regular trips to the Krakow club scene. “Let my weiner fire your hummer / Start in the cupboard later the freezer / Ask Boris Becker I’m a grand slam winner.” The Power Lords (Lords of the String) The Power Lords have burst onto the club scene like a teenager on his first gram of cheap whizz; garnering reactions of befuddlement, guilty pleasure and disdain in equal measure. They’re the kind of Euro-techno outfit you’d imagine four fat birds in Benidorm doing ‘big square, little square, cardboard box’ to whilst taking the occasional glug of their Lambrini and pawing over a Spanish hunk - topless but for a dickie-bowtie. We’re talking cheese-smeared, holiday-camp cabaret, only a hell of a lot more polished and with a back-story that makes Star Wars episodes I-III look as dire as Series 4 of Deep Space Nine. The Power Lords’ story started as a dream of two playboy London Hedge Funders living it large in St. Tropez, a mutual love of European Techno inspiring them to have a pop in the music production game. James Burrell, a young composer and songwriter whose résumé includes work for the BBC, Nickelodeon and John Lewis was recruited to help the dream become a reality. Alas, with the playboy Hedge Funders jobs requiring a certain je ne sais quois -“Oh so respectful” - public image, the notorious twosome’s elation soon turned to concern. Having their names attached to a Euro-Tech song deep-set around the ‘St. Tropez G-String’ was hardly going to preserve the respect they’d worked so hard to build, right? Alas, the two pulled out, expecting an end to the whole shebang, but with the wheels set in motion James felt that the “show must go on.” And so the story ends. Well, you could say “And so the story begins” because the national press are lapping The Power Lords up like the Cheshire Cat with a bowl of Jersey’s finest. The Power Lords backstory is one of intrigue and mystery with more questions than answers and this is what makes them perfect fodder for the pad and pen. Debut single Lords of the String is going to be bigger than King Kong’s crown jewels and reading The Power Lords philosophy on music it’s easy to see why: “We love dance music that make you want to dance! Laugh! Kiss! Cry! Make Love too!!!” their MySpace beams. If that’s not the talk of global superstars I’ll eat my St. Tropez G-string and lick King Kong’s bellend! Check out their MySpace ! Words: Dangerous Dave Dryden

		Jay Reatard 28/04/2008 Nuts and Bolts: Jay Reatard (vocals, guitar, bass), Billy Hayes (drums), Stephen Pope (bass) Stomping Ground: Memphis, Tennessee since 1998. Set to Soundtrack: A ketamine and whizz binge. Destined to Upset: Fans of Happy Hardcore. You’re in business if you like: Raucous full-throttle punk-dipped rock with a pinch of new wave. Sometimes an artist will come along and kick you in the balls with such ferocity they go flying through your system and drop out your mouth; before sliding back to their rightful position, intact and twice as big and brutal as before. Jay Reatard is one such artist; his short, sharp, hook-laden tracks triggering an “I’m not gonna take this shit anymore” attitude - only way more successfully than heavy-metal (which isn‘t difficult). Jay began writing songs alone in his bedroom due to an overwhelming sense of boredom and a turbulent home life. He was recognized at the tender age of 15 after sending a demo tape to Goner Records and dropping out of school - which ultimately proved a wise move. Jay produces the kind of music that grips one shoulder tightly and slaps you round the face with a free hand – with lyrics that delve into everything from inner demons and a crap childhood to romance past and drinking piss from a jar… Take ‘Not a Substitute’ from Jay’s ‘Blood Visions’ LP which at 1:04 minutes long contains the simple lyrics “It’s not a substitute / not a substitute for you” before launching into a full-throttle guitar chorus of “MISSING YOU” like a skipping record that you daren’t change. Quite what the substitute for a lost love is remains unclear. It could be drugs, it could be a new missus, and it could be a chocolate bar. The fact is Jay leaves these small details for your interpretation. Jay used to be in punk-band The Reatards, alternating between singing, guitar, and a bucket for percussion. He then created/joined a few other bands, including Lost Sounds, before finally launching his solo career. An initially surprised music press have generally lavished praise on Jay’s first and only solo LP ‘Blood Visions’ which contains a full-throttle 15 tracks at under 30 minutes long. Anyhow, if you’re after punk-rock with the occasional Adam Ant new-wave eccentricity thrown in, Jay’s as good a bet as any… Check out his MySpace .

future gigs


		Okay, it's not a gig, but... Lucha Libre Mexican Wrestling at The Roundhouse! 24/06/2008

		New Generation Arts Festival with Julian Lloyd Webber! Birmingham! From June 5th! 29/05/2008

		THE INSOMNIACS BALL: London's biggest annual one-night Indie extravaganza! May 31st 27/05/2008

future clubs


		Smartie Partie to launch Scala residency, July 12th! 02/07/2008

		TOGETHER presents The Animal Rave @ Scala! June 28th! 26/06/2008

		Manumission welcomes Jade Jagger and Jezebel! Every Friday at Amnesia! 23/06/2008

gig reviews


		The Great Escape Festival: A Diary Review! 29/05/2008

		Breakin' Convention: 'Hip Hop and Dance Performance' at Sadler's Wells 21/05/2008

		'Smirnoff Electric Cabaret' featuring Pete & The Pirates, ABC Glasgow 12/05/2008

club reviews


		Friends and Family featuring Guilty Simpson 20/02/2008

		AREA51 Launch Night 08/02/2008

		Trojan vs Rawfuion 29/01/2008

film & tv


		Teeth (Cert. 18) 23/06/2008 They’re sharp. They bite. And they’re not in her mouth...Woo yeah! At last, that classic tale of the small town girl who grows a set of angry choppers comes to the big screen. How can we have wasted all this time making RomComs and things about unscrupulous police detectives when the perfect storyline has been sitting under our noses all along? I say “noses”.. Jess Weixler is the superprim Dawn, the darling of her local church and spokesperson for True Love Waits. Both serenely beautiful and the paradigm of chaste purity (much like myself), she refuses to countenance having any form of sex. Her nether regions are strictly ‘out of bounds’. Somewhere that, despite seeming exciting, you should never go in – not even to look around for a bit - a bit like the Teacher’s Common Room at my Primary School. Unfortunately there’s a hidden terror lurking deep down in Dawn’s dangerous dark dungeon and it’s getting peckish! In retaliation, presumably, for 50,000 years of leaving the toilet seat up, Dawn and her carnivorous twat embark on retribution. The reckoning is coming fellas. And it’s going to be pret-tee painful. This tongue-in-cheek (ahem!) horror-comedy is really funny. Joss Weixler satirises the bible-belt anti-evolution America, whilst admirably retaining her dignity – not easy when you’re being upstaged by your own vagina. This can be painful viewing – people do get their penises bitten off. If you’re a guy who ever feels even the mildest performance anxiety, you might want to steer clear. If you’re a rampant feminist who hates cocks, you’ll love it. Words: Matt Harvey

		Robbie Williams at Knebworth the biggest selling music DVD! 29/04/2008 The DVD player has been around for ten years. We’re talking British shores obviously, as the Americans and the Japanese are way ahead of us when it comes to technology. I guess you could say they’re ahead of us as far as the health service goes as well but – hey, I’m no expert. Still, we don’t have licenses for guns and stuff and the Americans do, which is crazy, so I guess that’s one-all. But then gun-crime is on the rise in the UK and people don’t even have licenses. To borrow a quote: “We are indeed drifting into the arena of the unwell”. To the story and further proof that “we are indeed drifting into the arena of the unwell” with news that Robbie Williams’ ‘What We Did Last Summer’ DVD has been named (by industry experts) as the best-selling music DVD of the last decade. Cough, choke, spit and splutter! Bang you head against a wall and fill the room with claret. “How can this be true?” “Who are these experts on DVD sales”, I hear you cry as you scratch your balls, befuddled and confused, “Where’s the evidence? Where’s the science? We need proof damn-it – SOLID PROOF!” Well, proof comes from the British Video Association (BVA), who obtained their data from the ‘Official UK Chart Company’. Well, if they’re official , it has to be true; despite sounding as barmy as the Tooth Fairy and Joe Pasquale. Here’s some data to drool over; history, if you were. By the end of 1998 UK DVD (disc) sales stood at a meagre 200,000. When you consider that an estimated (non-official) forty million people own four TVs and some households own more than four TV’s, 200,000 is a pretty low number. These statistics are ‘predicted’ and cannot be proved as scientific fact. They’re a rough estimate. But rest assured they’re close enough. So, the sale of DVD discs was a meagre 200,000 in 1998, but exactly one year later (to the second, minute and hour) in 1999 that figure had risen by 4 million. Now, this represents that people in the UK were either breeding like sex-starved nymphs and the population had rapidly grown, or that the DVD craze was spreading like an STI (probably originating from those god damned nymphs). It gets even crazier. 2007 marked new heights of 248 million DVD sales with that figure increasing by 63.3 million in 2008. We’re nearly in May. About four month’s into 2008. There are twelve months in a year. 4 x 3 = 12. So we can predict that 63.3 million will treble to 189.9 million by the time the year is over with experts (yes, experts) predicting that the Christmas period will push the figure up by more. Wowzers! So there we go; the science is done and dusted and, I’m proud to say, no calculators were used. So back to the story. Robbie Williams’ ‘What We Did Last Summer’ has sold roughly 500,000 copies. It was recorded live at Knebworth and, yes, people do apparently like Mr. Williams because he has two entries in the top ten music DVD’s of the last decade. That’s two! 2. Deux. It would appear the public are like lemmings; Williams sings “LET ME ENTERTAIN YOU” and they’re happy to jump into musical oblivion... The fiery gates of hell. Allow us to present a quote from ‘What We Did Last Summer’. An indication, if you were, of why the nation have ingested a Robbie Williams live performance with such relish. An indication of why Mr. Williams’ live performance at Knebworth is so damn special. An indication of why we, the Great British public, are by far the most intelligent nation. Proof. Fact. Pudding. Go on Robbie, go for it - shoot, show us why the UK can't get enough of that DVD: “ Good evening everybody, my name is Robbie Williams, this is my band and for the next two hours YOUR ARSE IS MINE!” Words: Dave Dryden

		Battle for Haditha (Cert. 15) 31/03/2008 In the good ol' days of cinema (circa 1985), watching Americans shoot foreigners was a comforting, cathartic experience. It was easy to sleep at night knowing that well-trained, muscle-bound men were available to drop behind enemy lines and murder those stinking Communists. Sadly things have changed. Today, rather than relying on former bodybuilders with bizarre accents, the US military employs entire platoons of slack-jawed morons who rely on the rule that if you wear something that looks like a towel on your head, you were probably personally responsible for 9/11 and should be shot immediately before you do it again. In their hands, the 'shoot-first, ask-questions-later' routine just doesn't seem quite so amusing. Such is the lesson from documentary legend Nick Broomfield (Biggie and Tupac, Kurt and Courtney, The Leader, The Driver, and the Driver's Wife) in his second foray into drama and acting. It tells the harrowing true story of a unit of Marines who slaughtered 29 Iraqi civilians in the wake of a roadside bomb on one of their jeeps in 2005. It's a finely detailed account that can't quite move beyond Broomfield's documentary instincts. The big mistake was using real marines as actors - which makes precisely as much sense as sending actors to carry out counter-terrorism operations in Afghanistan - but the slightly embarrassing first hour of amateur dramatics does at least leave you unprepared for the shockingly realistic, stomach-churning violence of the main event, presenting at least one version of the reality behind the headlines. The question is whether anyone really needs to be told that the American military is populated by trigger-happy, gung-ho dickheads, and run by even worse. Words: Eric Randolph BATTLE FOR HADITHA - Cert. 15 - Available now on DVD!

		MARTIN SCORSESE and THE ROLLING STONES: 'SHINE A LIGHT' 25/03/2008 When we’re talking about the Rolling Stones we’re talking about the greatest, coolest and most definitive band in the history of rock ‘n’ roll. Sorry ladies and gents but that’s an indisputable fact. That’s not my opinion, it’s a given, like grass being green and shit being brown. I mean psychologists say that you only ever find true love once and I guess that’s kind of true because I used to love bananas. I know it’s a bit different, but I really REALLY loved ‘em. I think they’re a despicable fruit now, since mistaking banana fritter and potato croquettes for a plate of fish and chips. It was that taste of the unexpected; a real jolt to the system. Anyway, the point is, my banana affair wasn’t true love. If a band’s still doing global tours forty years after they first hit the road, that’s true love. The Rolling Stones have it with music. Martin Scorsese has it with film. Stick the two together and we’re not talking your usual run-of-the-mill rock ‘n’ roll documentary or concert film… First a wee history lesson on Martin Scorsese’s ‘Shine a Light’. The film started with a Mick Jagger dream. It wasn’t wet and it wasn’t beyond the realms of possibility. At the time the Stones were on their worldwide ‘Bigger Bang’ tour preparing to play for two million Brazilians on Rio De Janeiro beach. Jagger wanted to shoot the show as a documentary film and had one of those “if we’re going to do this we may as well do it right” moments. One thing led to another and Martin ‘Marty’ Scorsese was on board. Let’s face it, Marty jumped at the chance and who wouldn’t? It’s the fucking Stones! Anyway, once on board Marty brought in a veritable crew of top producers; some had worked on Stones documentaries in the past; Victoria Pearman formed ‘Jagged Films’ with Jagger himself; we’re basically talking the best in the business. Right: with all the ins and outs of “how Shine a Light came to be” out the way we’ll head to the Marty philosophy. Everyone’s seen footage of the Stones, right? Clips from ‘Cocksucker Blues’ on YouTube or ‘Gimme Shelter’ and all the rest of it. They’ve seen Keith strung out on heroin, they know about the Altamont tragedy, they know about Brian Jones’ death and Keith’s arrest et cetera et cetera. They know the Stones music whether it be in literary context (Sympathy for the Devil as a soundtrack to Fear and Loathing) or film (have you seen Mean Streets? “It’s a gas gas gas”). All that’s fine; well, legendary in rock ‘n’ roll folklore. It’s the Rolling fucking Stones! However, Marty succeeds in making something a little different via concentrating on four icons over the age of sixty, who have been touring for just as long, and the subsequent connection all four have on stage. That’s something rare. Something special. And something totally unexplored (more the fool) until one of the greatest director’s in the history of film took the project under his wing and made it his own. It’s also a direction that has come under criticism for being “just like any other concert film” but frankly that’s ludicrous. Some journalists are so far up their own arses they taste their shit before they smell it. Trust us, believe us: ‘Shine a Light’ has groundbreaking cinematography! Marty suggested shooting a concert in the more intimate surroundings of New York’s stunning Beacon Theatre, the venue where the final cut was taken. The film kicks off with black and white footage of Marty’s preparations and backstage footage of the Stones, giving an insight into two sets of characters who have been, and arguably remain, at the very top of their game. It’s an interesting approach and Marty’s inclusion in the film emphasises his importance to the project, as well as the respect both parties have for one another. Quite refreshing, I’m sure you’ll agree. Anyway, the introduction provides an understanding of both Marty and the Stones creative limitations, Marty meticulously attempting to acquire the final set-list and Jagger announcing “We’ll be done Marty, on the night, an hour before the show”. The opposing forces of both the Stones and Marty creates some insightful points. The Stones want the set-list to be perfect for their more intimate surroundings, you can understand their deliberation, whilst Marty wants his production to be a-okay and is well aware that knowing the set-list in advance will help define guitar-solos, intros, outros, hooks, riffs et cetera to be caught perfectly on camera. Blink and you’ll miss it, but Marty and the Stones are no different when it comes to the care, attention and undoubted love for their professions. There’s also a hilarious section where the Stones meet the Clintons (it’s Bill’s birthday), including Hilary’s mum. Keith’s face is forever golden (you rarely see the human riff without a smile) but the relatively quiet Watts proves that he’s one hell of a funny fucker! Anyway, rather than guide you through the film detail by tiny detail and song by song let’s cut to the chase. Marty’s sixteen strong camera crew - their every move controlled by the man himself - capture the Stones as never before. Even if Marty had known the set-list way in advance nothing could prepare him for the spontaneity between them, particularly Jagger, whose presence on stage defies his sixty-four years: leaping about with elegance and characteristic camp gesticulations. The man oozes sex appeal, something all too evident in an amazing ‘Live With Me’ duet with Christina Aguilera, the ageless star grinding against her whilst yelping suggestively. The music itself creates a real sense of nostalgia, and you can’t help but smile, something all four Stones do in abundance. A particular highlight is Jagger’s entrance for Sympathy for the Devil following a rare Richards solo. In black feathered coat, Jagger emerges like Beelzebub himself, a bright white light emitting from behind as he skips through the crowd ‘Woo-Wooing’ to the stage. Perhaps the most touching moment comes when Jagger and Richards share a mic during ‘Far Away Eyes’ the pair staring into one another’s eyes, arms round each others shoulders in a manly affection in context with the song. Buddy Guy and Jack White also guest on ‘Champagne and Reefer’ and ‘Loving Cup’ respectively, the Stones smiling in admiration at one and all of their guests - Guy being a particular highlight. But for all the brilliance of the Stones’ music, Marty deserves credit for the intricacy of his shots, highlighting the beauty of the band, the setting and the instruments in a direction never before caught on film. Anyone could shoot a concert film but filming in such a way that does the band or artist justice is a different ball game altogether. Whether anyone other than Marty could have succeeded is certainly an interesting question, as many a director would have gone down the familiar route of drowning out concert footage with documentary overkill. If you were to do a documentary on the Stones any justice it’d have to be an epic, with more twists, turns and chapters than Crime and fucking Punishment. By keeping the footage to a minimal, in context with the Stones’ music and united performance; Jagger’s abounding charisma, Keith and Ronnie’s overlapping guitar skills, Watts’ ability on the sticks and even the backing singers, musicians and bass player Darryl Jones, Marty’s arguably achieved far more in Shine a Light then any ordinary director could. Many would say that Shine a Light is the final chapter in documented footage of the Stones, but as the film suggests, the Rolling Stones continue to defy all odds. They remain as important now as ever, their music changing, blending and sometimes shaping situations through time whilst they remain ever consistent. Shine a Light kicks the doubters and critics that have labeled the band “dinosaurs” and “past it” straight in the bollocks with a steel-capped boot. As Keith would say “it’s one big trip, baby” and Marty takes you on the ride. Martin Scorsese and The Rolling Stones ‘Shine a Light’ will be shown at selected IMAX Cinema’s nationwide, April 11th, certificate 12A. Visit: www.shinealightmovie.co.uk for further information, offers and updates. Words: Dave Dryden