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MOSHI MOSHI RECORDS (ENGLAND)

Written by on 3 juin 2019

Chaque mois, Euradionantes vous présente un label européen à l’antenne et sur le site internet. Gagnez des disques du label du mois de Juin 2019 en envoyant un mail à musique(at)euradio.fr en indiquant « MOSHI MOSHI».

THE LABEL

To mark their 20th anniversary, Moshi Moshi Records announce the release of “Twenty Years Of Moshi Moshi”. The compilation, which celebrates two decades of music released through the label, will be released on Friday 7th June, 2019 on limited 12” triple vinyl.

Moshi Moshi Records was originally set up in 1998 as a hobby by three friends (Stephen Bass, Michael McClatchey and Adrian Pike) to enable them to work with the artists that they loved but didn’t fit in with the agenda of their major-label day-jobs. To start with all the releases were one-off 7” singles and for the first 5 years it was a low-key affair, and very much a hobby. Then in 2003 things changed with a single from Bloc Party and Hot Chip’s first E.P. It was time to get serious and to bid farewell to the day-job. Unshackled from the responsibilities of the 9-to-5 and with a burgeoning reputation the label took off and started to spread its net wider with an album from NYC-based synth trio Au Revoir Simone and Australian indie-art-pop 8-piece Architecture In Helsinki. Then came artists such as Hot Club De Paris, The Rakes, Slow Club and The Drums.

In 2006, the two remaining Moshi Moshi founders – Stephen and Michael – decided they wanted to get back to their one-off 7” release roots and the Moshi Moshi Singles Club was born. Some 40+ releases later the singles club’s roster makes an impressive list – Late of The Pier, Friendly Fires, Lykke Li, Florence and The Machine, Kindness and Disclosure.

This compilation LP is a mix of Singles Club and full Moshi Moshi releases and takes us right up to the present with singles from current artists Girl Ray, Teleman and Anna Meredith.

“When your whole working life is orientated towards what is coming next, looking back is not something that comes naturally. We spent a long time wrestling with this when we realised it was our 20th anniversary and the more we discussed it the more plans got scaled back. The one thing we could agree on was this LP compilation of some of our proudest moments, and putting all these great songs together for the first time was actually a very satisfying and poignant exercise. I would guess a bit like reading your own obituary or listening to the soundtrack to your straight-to-Netflix biopic. After all these years and all the changes in the music industry holding a new record with your logo on is still the best thing about it.” – Moshi Moshi Records

The artwork for “Twenty Years Of Moshi Moshi” was designed by Babak Ganjei. The London-based artist has also designed a limited edition t-shirt with the text “When Your Band Is Too Big To Be Cool But Too Small To Be Big”, available to buy here.

To mark the release of the album Moshi Moshi will be hosting various events over the next couple of months. They launched celebrations in March with a party for their special edition pale ale by Hackney Brewery and live music from new signees The Rhythm Method.

From Monday 20th May they will be broadcasting daily from 4-6pm on Soho Radio as part of a ♯JägerSoho residency, with contributions from various Moshi Moshi artists past and present.

Over the May Bank Holiday weekend, Moshi Moshi Records collaborate with Art’s Cool to bring you the second edition of ‘CARING IS CREEPY’ where they’ll host a weekend of live music in Margate. The festival takes place 3rd-5th May and features acts including Bo Ningen, Audiobooks and Squid, as well as Moshi Moshi artists Flamingods, Kiran Leonard and Du Blonde.

They will also be hosting a stage at The Great Escape Festival on Saturday 11th May.

https://moshimoshimusic.com/

https://www.facebook.com/moshimoshimusic

https://twitter.com/moshimoshimusic

THE ARTISTS / RECORDS

20 YEARS OF MOSHI MOSHI

To mark their 20th anniversary, Moshi Moshi Records announce the release of “Twenty Years Of Moshi Moshi”. The compilation, which celebrates two decades of music released through the label, will be released on Friday 7th June, 2019 on limited 12” triple vinyl.

Moshi Moshi Records was originally set up in 1998 as a hobby by three friends (Stephen Bass, Michael McClatchey and Adrian Pike) to enable them to work with the artists that they loved but didn’t fit in with the agenda of their major-label day-jobs. To start with all the releases were one-off 7” singles and for the first 5 years it was a low-key affair, and very much a hobby. Then in 2003 things changed with a single from Bloc Party and Hot Chip’s first E.P. It was time to get serious and to bid farewell to the day-job. Unshackled from the responsibilities of the 9-to-5 and with a burgeoning reputation the label took off and started to spread its net wider with an album from NYC-based synth trio Au Revoir Simone and Australian indie-art-pop 8-piece Architecture In Helsinki. Then came artists such as Hot Club De Paris, The Rakes, Slow Club and The Drums.

In 2006, the two remaining Moshi Moshi founders – Stephen and Michael – decided they wanted to get back to their one-off 7” release roots and the Moshi Moshi Singles Club was born. Some 40+ releases later the singles club’s roster makes an impressive list – Late of The Pier, Friendly Fires, Lykke Li, Florence and The Machine, Kindness and Disclosure. This compilation LP is a mix of Singles Club and full Moshi Moshi releases and takes us right up to the present with singles from current artists Girl Ray, Teleman and Anna Meredith.

“When your whole working life is orientated towards what is coming next, looking back is not something that comes naturally. We spent a long time wrestling with this when we realised it was our 20th anniversary and the more we discussed it the more plans got scaled back. The one thing we could agree on was this LP compilation of some of our proudest moments, and putting all these great songs together for the first time was actually a very satisfying and poignant exercise. I would guess a bit like reading your own obituary or listening to the soundtrack to your straight-to-Netflix biopic. After all these years and all the changes in the music industry holding a new record with your logo on is still the best thing about it.” – Moshi Moshi Records

The artwork for “Twenty Years Of Moshi Moshi” was designed by Babak Ganjei. The London-based artist has also designed a limited edition t-shirt with the text “When Your Band Is Too Big To Be Cool But Too Small To Be Big”, available to buy on our Bandcamp page. 

MORE INFOS : https://moshimoshimusic.com/album/20-years-of-moshi-moshi

THE RHYTHM METHOD

“Once Upon A Time In Middlesex…” So begins one of the most original, smart, idiosyncratic, infectious, often confounding, always entertaining, British debuts of recent years.

Against all odds, The Rhythm Method have finally made it official. After a stream of ante – and sometime eyebrow – raising singles, appearing on publications including The Observer, Q, i-D, The Guardian, Dazed & Confused, Notion and Mixmag New Artist Tips across roughly three years, numerous shows and tours throughout the UK, the duo of Joey Bradbury and Rowan Martin will release their hotly anticipated, long overdue debut album How Would You Know I Was Lonely? on June 21st on Moshi Moshi. The announcement arrives with majestic Railway replacement service anthem ‘Sex And The Suburbs’ – an encapsulation of the ecstasy and the agony that makes The Rhythm Method such a uniquely addictive proposition.

Formed half a decade ago in a Thameside squat protection scheme intended for professionals but inhabited by the barely-employed, the duo turned a summer of FIFA tournaments, cosmic breakdowns and 4pm beers into a series of bizarre, outsider-music iPhone demos that became a Soundcloud, then a band, then a live show and now an album.

How Would You Know I Was Lonely? is a journey through the present – a descent into late 20’s, late-capitalist mind-funk; 12 stories of near-romances, yellow label dinners, chemical catatonia and lack-of-identity politics. Its influences are strange and diverse, not always entirely credible or tangible; Scritti Politti, Aswad, Irish Pub karaoke, ITV4, YouTube freestyles, Celtic standards, Golborne Road radios and more than a dose of Rod Stewart.

Pocket symphonies such as ‘Sex and The Suburbs’, ‘Local, Girl’ and ‘Cruel’ sound like the Saturday night playlist from a Quantum Leap FM Radio station – ostensibly pop songs, but ones in possession of a rare intelligence, frankness and deep weirdness. The references may be initially esoteric, but the themes are palpably universal. Opener ‘Salad Cream’, referring to a mid 90’s Heinz campaign, is about creating social demand for yourself via scarcity. ‘Cruel’ is pub-karaoke paean to the spectre of addiction. ‘Single Life’ explores the dark, bleak desperation of romantic dejection, set to sleazy noir funk and muted trumpets. Joey Bradbury’s verses could be a man on the verge of a nervous breakdown recording the voice notes of his crack-up, whilst Rowan Martin’s choruses ask questions you never thought you’d hear in such hummable form.

Fans and supporters have ranged from spiritual forbearers such Mike Skinner (who produced ‘Cruel’, featuring London electronic pop artist Zoee), Squeeze frontman Chris Difford (who lends a knowing baritone to the chorus of Zone 2 opus ‘Wandsworth Plain’), Elton John and Suggs; contemporaries including The 1975’s Matty Healy (who is responsible for half of the band’s YouTube views), Wolf Alice and Shame; actress and poet Michaela Coel and Denise Welch; highlighting the varied magnetism of the lyrical insight, classic songcraft and inquisitive spirit at the heart of these off-kilter pop tunes.

“How would you know I was lonely if I didn’t tell everyone?” wonders Joey Bradbury on ‘Ode 2 Joey’. It’s a paradoxical sentiment with no clear resolution in sight, but there is something comforting in it being asked.

MORE INFOS : https://www.facebook.com/therhythmmethodse1/

FLAMINGODS

Place au soleil et à la fiesta chez les Flamingods ! Le quatuor britanno-bahreïnien, fort de nombreuses tournées mondiales et de quelques collaborations notables (Vanishing Twin, Snapped Ankles, The Comet Is Coming), a décidé de passer à la vitesse supérieure et de se détacher encore un peu plus de cette étiquette d’outsider qui lui colle à la peau depuis ses débuts. Si, lors des premières écoutes, ce nouvel album pouvait sembler un peu (trop) grandiloquent et livré à quelques facilités, il n’en est rien. Certes, indéniablement taillé pour le live, Levitation a beau être un disque qui fleure bon la saison des festivals, il n’est est pas moins dépourvu d’authenticité, de maitrise, de qualités et d’ambition.

Immersive, hypnotique, transcendante… sont autant de qualificatifs usés ces dernières années pour décrire la musique psychédélique des Flamingods. Avec Levitation, le groupe rajoute encore quelques cordes à son arc, cette fois-ci dans un domaine gagnant : le dancefloor. La formation ne s’en cache pas, elle souhaite faire bouger les foules et affiche d’entrée le message avec le titre d’ouverture Paradise Drive, soit la rencontre parfaite entre The Rapture et le rock psychédélique oriental.

Si ses deux premiers essais – Sun et Hyperborea – paraissent encore aujourd’hui bancals, fermés, voire timides, Majesty (son troisième album sorti en 2016) avait quant à lui permis au groupe de structurer sa musique afin de la rendre plus digeste et appréciable. Dans un sens, Levitation est là pour accomplir la fin de cette mutation, enfoncer le clou et ouvrir les portes à encore plus d’accessibilités, et ce n’est pas l’écoute des singles déjà connus (Paradise Drive, Marigold) ou en devenir (Koray, Olympia) qui prouvera le contraire. On pense évidemment aux expériences hindoues des Beatles en écoutant Nizwa, ou encore aux Flaming Lips (si si) sur la conclusion éponyme. Il y a des airs d’Animal Collective sur le titre Olympia, alors qu’un doux parfum d’orient plane sur Marigold et son riff proche des Black Rebel Motorcycle Club. Le disque, riche d’influences, combine à merveille le disco, le funk, le krautrock et le psychédélisme, tout en gardant comme véritable ligne directrice l’idée de rassembler le plus de monde autour de choses simples telles que la joie, le fun et le soleil.

On ne cessera jamais de le répéter : dans une période aussi morne que celle que l’on vit (regardez les dernières élections européennes), et notamment chez nos amis anglo-saxons (Brexit), il est bon de pouvoir se prendre une dose de bonne humeur, de joie, de partage et d’ouverture, comme le représente si bien ce disque. Et à défaut de pouvoir contempler et savourer pleinement leur musique dans le décor somptueux d’un désert ou au bord d’un fleuve du Bangladesh, on ne saurait trop vous conseiller de vous dégoter rapidement un ticket pour n’importe quelle salle ou festival dans lequel ces quatre musiciens se produiront, car leur nouvel album vaudra à coups sûrs son pesant d’or sur scène. Parole de scout !

MAXIME TROYANO / MOWNO

MORE INFOS : https://www.facebook.com/flamingodsmusic/

DU BLONDE

Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.

Her new album delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own.

Lung Bread For Daddy veers wildly between genres reminiscent of proto-punk, psych rock and the whole- some song writing of the 1970’s, taking the listener on a journey through the landscape of her past. It is an honest and often uncomfortable look into the life of a person who’s experiences have been touched by a myriad of characters, homes across continents, periods of extreme loneliness, mental illness and a search for an understanding of personal identity.

Album opener ‘Coffee Machine’ sees Du Blonde sitting in a room, surrounded by material gifts, but ultimately alone. ‘I’d rather have the man than the coffee machine’ she sings of her desire for human connection, before releasing a howl of rage and a guitar riff so heavy it could only be the sound of a person within the grips of emotional agony.
For all of the seriousness of Lung Bread For Daddy, Du Blonde’s notorious humour, often employing the un- comfortable and grotesque, has not been subdued. From bloody sheets, pubic hair and apathy towards dating, she remains blunt and unforgiving.

We first met Beth at 18, filled with a desire for creation, travel, adventure and experience. Lung Bread For Daddy is Beth at 28. She has created, travelled and experienced for 10 years straight, she has lived between London and Los Angeles, spent 5 months sleeping on a plastic air mattress during 100 degree heat, road tripped across the united states with strangers, endured a nervous breakdown, yielded to psychiatric medication, endured both positive and abusive relationships and learnt from both. She has documented it all in Lung Bread For Daddy. 

MORE INFOS : https://www.facebook.com/DuBlondeOfficial/

INVISIBLE MINDS

To-date, the illusive creator behind the aptly named Invisible Minds, has remained somewhat of an enigma. When debut single ‘Yo Mae Leh’ rocketed to half a million streams in late 2017, gained playlist support from BBC 6 Music and champions by way of Lauren

Laverne and Steve Lamacq; no one knew the mysterious mastermind was esteemed DJ, Tim Green. Make Up Your Own Stories, feels a felicitous title. Less a departure and more a new chapter in Green’s adventure; the 11-track debut is a melding pot of musical inspiration that has
been ruminating for over a decade, and crafted between studios, tours and rare quiet-moments. Revealing a more melodic side to Green’s musical personality, the vivacious debut is “honest and innocent and kinda searching for a feeling” as Green himself puts it.

From the guitar loop hypnotism of track ‘Autum’ and breathy haze of ‘The Cut Girl’ (one of three tracks featuring newcomer vocalist Howard Hobbs) to the MPC hip-hop of new single ‘905 Users!’, it’s a record inspired by everyone from Peter Gabriel to Icelandic icon Björk.
Compiling the album across a long time span, then working to turn them into a cohesive body of work was a surreal experience for Green: like looking back on old diary entries from across his entire adult life. “It’s funny – you go back to a particular track and can’t help but
be transported back to where you were in your life when you wrote it,” he says. “There’s a lot of nostalgia in there.”

Nostalgic in its sentiment, but forward-thinking in its production; Make Up Your Own Stories marries synth melodies with deep bass squelches on epic finale ‘Take Them All’, the last track written for the album, while standout track ‘Jump Jet’ feels every bit as soaring and propulsive as its title would suggest. “Just when you thought you could come out of the
shadows, there comes that poison drizzle in your ear hole,” a ghostly vocal intones over its Radiohead-ish bed of guitar, atmospherics and experimental percussion. 

MORE INFOS : https://www.facebook.com/InvisibleMinds/

THE WAVE PICTURES

Les Londoniens nous avaient promis deux nouveaux albums pour 2018, ils auront donc tenu parole. Moins de six mois après la sortie de Brushes With Happiness, Look Inside Your Heart atterrit déjà dans les bacs des disquaires, confirmant ainsi la stupéfiante productivité du trio composé de David Tattersall (chant, guitare), Franic Rozycki (basse) et Jonny Helm (batterie). Sur les routes depuis près de vingt ans, les auteurs de l’immortel I Love You Like A Madman ne connaissent pas l’usure du temps et continuent à avancer avec la spontanéité et la conviction d’une meute de jeunes loups affamés (Dodge City Blues). Moins songeur mais tout aussi fringant que leur premier effort de l’année, Look Inside Your Heart est un disque jovial en forme de puzzle, dont chacune des pièces symboliserait l’une des diverses influences de la bande. Le groove terrien de Creedence Clearwater Revival, l’immédiateté crue des Violent Femmes, l’amateurisme touchant des Vaselines ou la poésie urbaine du Velvet Underground : ce sont les mêmes obsessions qui tournent, encore et encore, dans la grande lessiveuse à chansons des Wave Pictures. La petite nouveauté vient cette fois-ci des accents afro-pop de Roosevelt Sykes, qui pourraient évoquer une improbable rencontre entre Jonathan Richman et les musiciens du Super Rail Band. Mais c’est I Came To You Once, grande ballade crève-coeur comme Tattersall et ses camarades savent en écrire de temps à autre, qui résume le mieux ce groupe adorable. Un havre de simplicité dans un monde de plus en plus complexe.

FANFARE POP

MORE INFOS : https://www.facebook.com/thewavepictures/

KIRAN LEONARD

I like the phrase “WESTERN CULTURE” very much because it is a resounding clang from a hollow vessel, connoting so much (grandeur; authority; hostility) without possessing a concrete meaning in of itself. What does ‘western culture’ consist of? This question changes shape depending on who is speaking: e.g., ’culture’ is constantly evolving and autonomous, rapidly reacting to and altering the present in which it unfolds, but is simultaneously regarded as something static and possessed, corresponding roughly to ‘tradition’ or ‘heritage’, something people can call on when the world seems precarious and alien and antagonistic. And so very often when we talk about culture, we reveal our personal conceptions of world events and of what is to be done.

“WESTERN CULTURE” — these heavy phrases without substance are of great importance because they are easily manipulatable agents with the potential to sustain great impact on the real world. Not every issue stems from language, and sometimes we allow our discourses to replace real things, which belittles violence and misunderstands the very real violence that phrases inflict. But I wanted to write about the relationship between the two, and show how a lot of very real brutality is distorted and justified by how we choose to depict it.

In part, then, it is a response to brutality. We seem inundated by a brutality beyond our comprehension: the kind of nationalisms and capital, and the brutality of not knowing. The latter is particularly damaging because it is so difficult to oppose what you can’t understand/articulate. I wrote this record about all this not because I wanted the real world to be eclipsed (that is; I didn’t want to self-absorbedly change a problem of violence into one of self-expression) but because I don’t understand any of this, and the struggle to depict the world and lived experience in a more truthful way is waged discursively.

Process of understanding; process of recognising perspectives beyond your own, and the historical, political forces of imbalance that engender them. I am interested in where songs might fit into all this; I think that it might be a valid means of approaching an articulation of violence, but I also suspect there is something totally absurd about the whole venture.

MORE INFOS : https://kiranleonard.bandcamp.com/

TELEMAN

En l’espace de deux albums, Teleman fait son bonhomme de chemin en toute sérénité. Le quatuor londonien nous a bluffé avec leur second album Brilliant Sanity paru en 2016  et ils comptent récidiver avec leurs pop songs survitaminés et sucrés qui font effet avec leur successeur tant attendu nommé Family of Aliens qui fait suite à leur EP Fünf paru quelques mois plus tôt.

Thomas Sanders et ses acolytes continuent dans leur voie en creusant un peu plus le sillon électronique qu’auparavant. Ainsi, leur mue électro-pop est plus que palpable à travers des titres colorés et doucement psychédéliques comme l’introduction bien entraînante où l’interprétation de notre hôte fait effet mais également le progressif « Cactus » qui suit et les brillants arrangements de « Song For A Seagull ».

Les gimmicks synthétiques qui fusionnent avec les guitares rayonnantes, tel est le combo gagnant pour Teleman. Et on est gâtés par des trouvailles sympathiques à l’image du jovial « Between The Rain » au riff de piano ragtime qui reste dans la tête, du groovy « Submarine Life » avec la voix vocodée de Thomas Sanders et de l’énergique « Twisted Heart ». A l’inverse, on peut être touché par des ballades plus sensibles menées au piano avec « Always Dreaming », « Somebody’s Island » mais encore la magnifique « Sea of Wine » qui vaut son pesant d’or.

S’achevant sur un « Starlight » résolument audacieux et immersif, Teleman va donc à l’encontre des autres groupes britanniques qui pallient leur manque d’inspiration avec des gimmicks synthétiques quelconques sur Family of Aliens. Leur transition vers une pop beaucoup plus synthétique est pleinement assumée et totalement naturelle tant les Londoniens continuent à perfectionner leur style comme bon leur semble.

LES OREILLES CURIEUSES

MORE INFOS : https://www.facebook.com/Telemanmusic

BENIN CITY

Benin City are the London-based three-piece comprised of vocalist and poet Joshua Idehen, vocalist Shanaz Dorsett with multi-instrumentalist Tom Leaper.

Clubbing is a source of euphoria: a weekly, often daily escape, a respite from the grind. That culture and its landmarks – some of London’s best venues and many countless pubs – are slowly disappearing for good. On Last Night, which was recorded in all four corners of London with Marc Pell (Micachu and the Shapes), LV, Rob Marfarlane and James Anderson, Benin City take an album-long look at the dual nature of London’s nightlife. With a sound and mood that locates itself in a small sweet spot between Faithless, Metronomy and early Stromae, the album’s narrators draw on the last decade of their collective experiences as ravers, bar workers and observers. These reflections are primed for the dancefloor: a hook-laden blend of Afro-dance pop, hip-hop, spoken word and electronica that is both infectious and poignant.

Speaking of the record, Joshua said:

“London nightlife has been our way out, our release, our daily escape. We’ve been clubbers, ravers, barmen, part / full-time drinkers. We’ve served cocktails and downed shots. We’ve found ourselves on dancefloors and lost our dinners on nightbusses. We’ve laughed, we’ve cried, we’ve engaged in dumb drunken squabbles and we’ve found ourselves in strangers’ houses. We’ve danced to songs we didn’t know the name of. We made landmarks out of hidden corners of London: Passing Clouds, Ghetto, Trash Palace, Plastic People, Vibe Bar, Cable, Crucifix Lane. Those places, and the stories they held are gone for good as London becomes pricier and ever more grey. On this album are some of those stories: this is an ode to London’s nightlife.” 

MORE INFOS : https://www.facebook.com/BeninCity/

CHARLES WATSON

Charles Watson – the London based songwriter/producer and member of indie duo Slow Club and garage-rock super group The Surfing Magazines – announces the release of his debut solo record Now That I’m A River on 18th May via Moshi Moshi Records.

Not only is this Watson’s solo debut but it also marks his first foray into production. Exploring his relationship with traditional harmony singing, Watson worked with sampled versions of his own voice to create unusual vocal textures.

A former writing student of Central St Martins and The Faber Academy, Watson uses his own fiction writing as a spring board for his lyrics, a method he has also used for his previous records. The new album takes inspiration from the reoccurring themes and language of the JG Ballard novel ‘Hello America’. Now That I’m A River was co-produced by Watson with longtime collaborator David Glover at Tesla Studios in Sheffield and features a hand-picked band, including Guillemot’s Fyfe Dangerfield and Hot Club De Paris’ Paul Rafferty. Rozi Plain and members of The Deep Throat Choir and Trashkit also make an appearance on the album title track ‘Now That I’m A River’.

MORE INFOS : https://charleswatson.bandcamp.com/


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