It seems very few people utter a breath about 2016 any more. Probably for good reason, it seemed very much like a culling of revered figures and idols of popular culture, let alone a universal gasp of disbelief at what idiocy we may have unleashed on the world. 2017 isn’t really fairing any marginally better in that department, by a hair strand at best. But whisper it: The music is fantastic. If you want to invest in it of course. Admittedly, this list was compiled at the inset of 2017, but as the halfway stage of this year rapidly approaches, it still holds as an all-star ensemble of killer bands you may have overlooked, some yet to release their brand new material and some you may never have heard of. It seems like a solid enough foundation for this article to still exist, while maintaining some resemblance of relevance. That, and you may be reading this, looking for some new music to listen over the summer. Let’s get started, shall we?
Among all of the things that 2016 brought to us, no matter how good, bad or ugly, collectively, it was a very strong year for new music, hence why I have had an incredibly difficult task assembling a list of just ten albums that have lived on repeat and high volume. My only regret is that there are still albums missed I have yet to listen to, by artists I am yet to discover that could’ve been exemplary. If I were to just leave this to albums I’ve heard this year, Lantlos’ Melting Sun or Black Breath’s Slaves Beyond Death probably would have romped away with this one, despite being out in 2014 and 2015 respectively. There are so many honourable mentions too that a cephalopod with hands need be employed to even fathom counting. But, lo and behold, here are the ten albums from one of humanity’s most troubling years, that I personally consider to be certifiable must-listen experiences:
10. The Maras – Wax Beach
Having never met The Maras personally, it would be safe to say that the brothers from Ontario are a little hyperactive. Not purely because they’ve released a demo, an album and a brand new EP in the space of a year, but the speed, urgency and average length of their songs might have something to do with it. Though Wax Beach could be seen as an expansion of their already superb demo, the re-recordings sound a lot denser and deranged, letting their garage punk snarls and smorgasbord of influences flourish, on what is on one hand a damning indictment on mental health services, but on the other a dizzying rush of genre-bending bliss.
9. Cruz – Culto Abismal
From beginning to end, 2016 has seen some magnificent death metal releases, but few have been quite as memorable as Barcelona quartet Cruz’s Culto Abismal. Injecting crust punk deep into the veins of death metal’s old blood, this untameable hellbeast of an album charges fast and ceases to relent once in motion. Deep growls in their native tongue punctuate the onslaught as a cavalcade of riffs over 40 minutes keeps the monster moving, the perfect balance of speed, technical ability and sickeningly heavy tone serving as Culto Abismal’s addictive centrepiece. Spain may not have the most renowned history in death metal, but on the basis of a debut this strong, Cruz sees reason for that to change very suddenly.
8. Maeth – Shrouded Mountain
With every stride that Maeth take musically, it surpasses and obliterates the last, ensuring their status as one of metal’s must-hear bands. Shrouded Mountain is their third gargantuan footprint and maintains their unique, boundary-warping compositions which straddles the planes of psychedelia and sludge like no other band before them. They also play a mean flute too, to boot. So however Maeth choose to construct their stunning, mostly instrumental journeys, whether taking you soaring through the vast reaches of space or crunching hard down into the Earth’s crust, you can bet that it will be with an energy, passion and talent that you can scarcely conceive, and Shrouded Mountain does not disappoint. Not by a long shot.
7. Bossk – Audio Noir
Always a looming presence on the UK’s stoner/doom scene, even during their split, Bossk’s first release outside of their seminal EP trilogy has catapulted their gorgeous ambient passages and pummeling riffs to unprecedented new heights. Though can be listened as an entire conceptual soundscape, the fragmentation certainly aids the quartet’s longest opus to date and makes every change of pace and tone a stellar moment. Even vocals, while used sparingly, are utilised at their most impactful, shifting what already sounds like ripping your throat out intensity, into ushering in a new Armageddon. Bossk undoubtedly stamped their authority through live performances over the decade their name has existed, but Audio Noir distills that very essence into an immensely satisfying anthology, proving that they are here to stay.
6. Vodun – Possession
Lifting its name from the homophone of voodoo, as well as incorporating aspects of its lifestyle and culture into this very music representing it, this trio from London perform an ungodly racket that’s equal parts punchy to pulse-raising. In arguably one of the most original takes on big, fuzz-saturated grooves in years, the literally spirit-fuelled Vodun drags stoner rock by its ankles and imbues it with a staggering amount of soul. Think Aretha Franklin fronting Kyuss and you’re damn near close. The presentation of the album in a semi-documentary form, with a ritualistic thread running throughout, is a neat touch and grants deeper immersion into Vodun’s already enchanting sledgehammer of force and one of the best hard rock debuts of the decade.
5. Losers – How To Ruin Other People’s Futures
With an album title that scathing, you wouldn’t be wrong thinking there is intense subject matter here. Suitably riled up trio Losers, well versed in their weaving of expansive, luscious atmospheres, frightening buzzsaw synths, distorted guitar attacks and truly thunderous percussion, unleash one of the most adrenaline-surging bouts of electro-rock charged catharsis you could ever hope to listen to. While How To Ruin Other People’s Futures features several bursts of pounding rhythms and explosive instrumentation, it allows enough breathing space for a whirlwind of ambience to take shape, for every conflagration and slow-burner, all with Paul Mullen’s dynamic vocal delivery giving a touch of humanity where chaos could spiral out of control at any given moment. A simply tremendous listen.
4. Youth Code – Commitment To Complications
Certainly one of the most talked about bands of the year and for excellent reason, the Los Angeles duo’s sophomore offering builds upon the vintage analogue synths and drum machines of industrial’s heyday and cleverly sprinkles the zest of their own hardcore upbringings into the formula. The results are nothing short of spectacular. The growth from their debut is undeniably evident, not just as tempos vary and tones are more exploratory, but their whole sound is gigantic on this album making every notion of rage and every raw nerve amplified tenfold. When beats vibrate your skull and melodies claw into your brain like Youth Code’s do, it instigates that addictive property that all EBM enthusiasts have been raving about all year.
3. Noisia – Outer Edges
After mentions for half a decade, then seemingly nonchalantly announced three months before its release, Dutch drum and bass production maestros Noisia have compiled their second studio album, far more abstract and experimental in approach than the trio’s previous Split The Atom. While you will find the same mind-altering, visceral bass lines associated with the Noisia name, it’s the deeper, darker and noticeably slower beats that become the show stealer here. Often quirky in nature and exquisitely composed to emphasise the very best of every minuscule detail, the heavy gestation period for every track, especially the beats-driven numbers, brings a world class finish to what could filter through as an oddity, but arrives as a masterpiece in sound design and further reason to immortalise Noisia as the one of the best the genre has ever seen.
2. The Qemists – Warrior Sound
In the six years since the Brighton drum and bass rock outfit’s last album, they’ve been honing their skills to create dancefloor anarchy on the live circuit, a tenure that has seen their reputation skyrocket as one of the UK’s best independent live acts. Now that energy has finally metamorphosed into The Qemists’ strongest, most consistent blockbuster yet. Fixing both live vocalists as permanent band members, has only benefited the original lightning strike of a production unit, and makes every word have purpose against the backdrop of all-out mayhem. Unforgettable, unbelievable and unflinching in the pursuit of perfect crossover bombshells, Warrior Sound is a sonic shockwave explicitly targeted to induce pleasure at an intoxicating level.
1. All Hail The Yeti – Screams From A Black Wilderness
Three years on from their scorching debut, the Los Angeles metalcore mob return with a follow-up that is perpetually more terrifying in every imaginable way. Spinning narratives so gripping and ghastly, the lines of fact and fiction dissipate into black mist as imposing, monstrous roars with some mightily impressive clean vocal support coalesce their strength as bloodthirsty wordsmiths. Though horror and the occult is the given flavour, Screams… exhibits a previously unseen versatility in All Hail The Yeti, in that their sound features much broader influences from rock and metal, that fires on all cylinders and mellows in acoustic gloom. A hard-hitting, yet gruesome landmark of metalcore, All Hail The Yeti have once again established that they are one of the most essential bands in modern metal.
If you liked the look of this list and want to hear more, then here is a handy Spotify playlist for you (except Maeth, whom you can find on their Bandcamp page):
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So this is a first for the site, as somebody sworn to never do live concert reviews, a run-down of ten stand out live acts that I’ve seen over the course of 2016. And I’ve seen a lot of them. It’s pretty self-explanatory really, only I’m not exactly reviewing them, just highlighting why they made this list. This isn’t limited to headline acts by the way. The only exception that I have made is to try and limit festival appearances, as there were numerous bands seen in the space of a day at some festivals that could’ve made up lists of their own. And I have had to discount one entry that should be on this list, that of being The Offspring and Bad Religion at Hammersmith Apollo. The reason being counting individual performances, both were absolutely superb on the night, more than satisfying the inner 13 year-old in me and being hard torn to pick a favourite, just makes it easier to disallow it altogether. Sorry, no joint entries for this one. Without any further ado, here’s who played stellar live shows in 2016:
10. Raveyards @ Camden Underworld (supporting Perturbator w/ Dan Terminus) – 08/06/16
Bands like Raveyards perfectly demonstrate why you should always try and check out the support bands for a live show. Knowing nothing of them, walking into Underworld with half of the stage consumed by mesh netting, projection screens and one of the most elaborate live musical setups I’ve ever seen was an eyebrow-raiser. Every component of an electronic music performance was in their control and performed in real time, with their expansive shadowy atmospherics and gigantic beats, matched with a kaleidoscope of visuals made for a spell-binding spectacle. Spectators seemed happy to have the space back afterwards, but Raveyards’ attention to detail alone has to garner recognition.
9. Allusondrugs @ The Black Heart, Camden (w/ Fizzy Blood, This Years Ghost and Snakes) – 03/08/16
Always a band on the cusp of greatness, the Yorkshire grunge revivalists played a packed Black Heart and showed everybody why they are one of the most talked about live acts going in the UK right now. Switching between slower psychedelic pinches and frenzied fuzz slammers, all delivered with their inescapable talent for writing infectious hooks, I went into this show, having had some personal bad news that day and left with joy and an affirmation of life once more afterwards. They near had to be dragged off stage after a storming 45 minute performance, but such is their allure and brilliance of their music.
8. Youth Code @ Electrowerkz, Islington (w/ Shallow Sanction and Evestus) – 14/10/16
If there ever was a band that embodied controlled chaos, then Youth Code is that band. Marking their debut in the capital city with their revisionist approach to industrial and EBM, there is no wasted movement from beginning to end of their set, both Sara and Ryan screaming and launching themselves across the stage in a frenetic display. Despite a breadth of luscious synth arpeggios and skull-rattling drum machines, it’s their sprinkle of hardcore, that makes every word screamed at you personal and elevates Youth Code’s all-out sensory assault to an absorbing war dance you never want to end. Can you say: the next Ministry?
7. Jean-Michel Jarre @ The O2 Arena, London – 07/10/16
It kinda goes without saying, that when you go to see a concert from somebody widely regarded as the Godfather of Electronic Music, as a pioneer whose forays into music and technology span 40 years and a former world record holder for the largest outdoor concert ever, you’re in for a spectacle. And having missed the chance six years previously to see him, he did not disappoint. Ever the showman, touring through his greatest hits and his frankly superb Electronica project, his inspiring ability to flawlessly recreate every nuance of his work, live, to a visual extravaganza that evolves much like his compositions can only cement his legacy as one of the most influential figures in modern music.
6. Petrol Bastard @ Resistanz Festival (Corporation, Sheffield) – 25/03/16
I do wonder how many people have said at a Petrol Bastard show, that the duo played their dream set list. I certainly can. Opening up Resistanz Festival in Sheffield’s Corporation was a 45 minute performance piece about masturbation, drinking and violence set to an unrelenting techno, gabba and drum and bass soundtrack… and it was some of the most fun I’d had all year. Forcing crowd participation with a tide of inflatable penises and unforgettable slogans, and with a little help from Johnny Ultraviolence, this crude, colourful riot was impossible to ignore and left many smiling from ear to ear. Plus how many gigs let your girlfriend try to sexually assault one of the band members with an inflatable penis?
5. Monster Zoku Onsomb @ Boomtown Fair, Winchester – 12/08/16
Out of the inconceivable number of bands and pass times at Boomtown Fair, these guys could’ve been easy to miss on one of the smallest stages around. But once in range, you couldn’t escape from them and those onlookers in attendance never wanted this madness to end. A troupe of Australian musicians specialising in belting rave tunes, spanning a whirlwind of tempos, spliced together with B-movie references galore and occasional 60’s surf guitar, happily run amok in their 45 minutes on stage. Choreographed dance routines, inviting an adult baby on stage and what may have been a declaration about being in Eurovision 2017 only added to their unique brand of electronic dance carnage.
4. Toska @ The Boileroom, Guildford (EP Launch Show w/ Eschar, The Deadlights and Steal Rockets) – 27/02/16
Possibly the only headline band I have ever seen without knowing a single thing about, was also one of the most astounding. Made up of three quarters of melodic hard rock starlets Dorje, Toska sacrifice none of that intensity and churn out wave after wave of instrumental metal bliss, hurled at such force you’d think there was an earthquake. The energy they emitted could’ve powered large city blocks and their respective talents are hypnotizing to observe; simply everything about their performance was immense in stature, given their debut recorded release. They made crafting invigorating, progressive music seem so effortless and it was an absolute pleasure to watch them at work.
3. Lionize @ Desertfest London (Camden Underworld) – 29/04/16
In what is somewhat a recurring theme on this list, I went to watch Lionize, only knowing that they were Clutch’s in-house band and left absolutely speechless. Imagine if James Brown had fronted a balls-to-the-wall rock band and invited Bob Marley along as a touring member and that merely scratches the surface of what these gentlemen can do on stage. Ferociously charismatic and passionate beyond all belief, Lionize toured a myriad of genres and had tremendous fun doing it, all with every attendee transfixed at this true powerhouse of a performance. I’m surprised the Underworld didn’t burst having to contend with holding these guys back, one of the most impressive modern rock bands alive today.
2. Kowloon Walled City @ Camden Underworld (co-headliners w/ Minsk, also w/ Bossk and Wren) – 03/09/16
Credit where credit is due, Bossk were also spectacular on this night, but for a band that had never stepped foot in the UK before and had come to the end of a near two-month tour of Europe, emotions were always going to be high for these guys. Kowloon Walled City’s use of conveying so much intensity and feeling into their tone, while being pulverising in the same capacity, makes every note gripping to behold and very, very few bands can even touch them in making sludge sound so breathtaking. Spanning seven songs across 45 minutes, this set made a titanic statement as why Kowloon Walled City could be considered one of the best bands on the planet.
1. Placebo @ Wembley Arena, London (w/ Minor Victories) – 15/12/16
What more can be said about Placebo? Never has a band resonated with me emotionally and spiritually as Placebo has and likely I wouldn’t be where I am today without them. Hell, I wouldn’t have a degree for starters. But there could be no more fitting show for them to play in their hometown on the 20th year of their inception. The atmosphere was electric and applause rapturous as the band strode through a terrific career-spanning set, that touched many through melancholy but lifted everyone through liveliness. Lyrically they have few peers and musically, their grunge-embezzled attack sounds as fresh as it did in June of 1996. Arguably, one of the UK’s greatest cultural phenomenons.
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While this is the very first of the end of year posts for this site and officially the first time anything like this has been on the site before, it gives me great pleasure and happiness to write a piece, giving a greater emphasis on an artist that has been a constant for me this year. Limitations bore me and if locking a piece like this solely to any artist’s accomplishments in one year, it doesn’t grant the necessary freedom to write something engaging enough. For me anyway. So take this as a love letter to the one artist or group of artists whose music I have cherished through thick and thin this year, and I would like to dedicate this year’s piece to self-proclaimed ‘suicidal synth-pop’ artist Forrest Avery LeMaire a.k.a. Mr.Kitty.
If you want to talk about 2016 for Mr.Kitty, then it hasn’t been as active as past years. Despite playing numerous shows over in the States, we were expecting what was to be Mr.Kitty’s sixth album in as many years to be released in October, making him certifiably in the conversation as one of synth-pop’s hardest working artists around. Sadly but understandably, the album was put on hold until next year as health concerns became a priority into the latter half of the year. But that does not speak for the quality of the music that Mr.Kitty has produced over his six-year plus lifespan as a recording artist. Far from it.
Channeling the mechanical heart of classic 80’s electronica and the drum machines of the great original goth movement, into chilling dreamscapes and darkened dancefloors, narrated by the oft distorted and reverb-drenched lullabies and shrieks of Forrest; the output of Mr.Kitty is an emotional outpouring of a vulnerable soul against an array of unforgettable analogue synth dialects. His first four albums form part of a quadrilogy of works known as the Dark Youth collection, spanning both light and darkness which broadcasts and touches upon many subject matters in that time frame, moving and macabre. It also serves as the perfect window or measuring post to show how much Mr.Kitty has grown and matured as an artist. But every release is its own separate universe, with its own atmosphere and a complete anthology of melodic masterpieces.
Arguably the greatest of his works is Dark Youth’s final installment Time, which although is one of the darker albums of that collection, is uncompromising in its vision, truly emanating the rawest feelings of every song, no matter how black its subject matter. How so many of these songs contain the musings of a mind much darker than you can imagine, but are entangled in some of the most memorable synth-pop written this decade is a true wonder and testament to Mr.Kitty’s abilities as a songwriter, let alone a fascinating juxtaposition. Although we have had snippets of a new album this year, how Forrest has tirelessly spun such outstanding retro-contemporary electronic webs together year after year is commendable. Each one is more enchanting and enrapturing than the next, and I have absolutely no hesitation in saying that everything that Mr.Kitty has created is consistently among the best music I have heard all year.
So if Mr.Kitty does get to read this, thank you for your music, and a Happy New Year, with love and kind regards,
The Soundshark xox
Five Essential Mr.Kitty tracks:
The vast majority of everything Mr.Kitty has ever produced can be found on his Bandcamp page, and if it can’t be found there, then it can be found on his Soundcloud page instead. Though unconfirmed, a 2017 release window is pencilled in for A.I., to be Mr.Kitty’s next album of which this site will take great interest in. You can shop here if you are in need of any t-shirts or the likes in the near future.
And finally, you can find all news and the means to give him a virtual hug right here:
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In our darkest hours, when we feel we have little left to turn to, music has become a light in which we can take our solace in, and a source of hope when our knees bear heavy the burden of what humanity has in store for us. Without diverting too far from the subject in question, these are troubled times we live in, no matter what walk of life you’re from. The world feels on the brink of a new political and economic Ice Age, and whatever transpires in the months to come, global census on the matter seems right to be worried that the timer to doomsday is quickly counting down. The Mayans would be only five years out with their prediction, should it come down to that. The Middle East, with Iran (or the Islamic Republic of Iran) fixed in the centre, has never really been known for its musical endeavours, at least sparsely in the Western world and if you were to speak of rock music, a positive response may need to be heard behind closed doors. And one such positive response can be heard behind closed doors, of a certain rusted variety. Despite being near the epicentre of turmoil troubling the region, Tehran’s Rusted Doors (formerly Rusted Doors of Heaven) base their music not on the surrounding conflict claiming so many lives, but on a different, more human conflict that can be just as fatal. The conflict inside the body. Physically and emotionally. This conceptual basis lends itself to some of the most incredibly evocative and stirring instrumental compositions post rock has spawned in recent years.
Their album Tale of a Departure scores the story of a character simply known as ‘Nobody’ and chronicles his struggle with depression and illness before succumbing to death, leaving his spirit to observe the suffering and sorrow of his loved ones left behind, unable to protect them. There’s no two ways about it; this is a bleak, haunting depiction of a scarily real scenario that happens every single day, which makes what music accompanies it that much more absorbing and affecting. Something else that makes Rusted Doors’ music that much more fascinating a listen, is their cultural interpretation of a widely renowned genre of rock and its most notable instance, is in their most recent single Huntington. Named after the titular disease that degrades the brain’s cells, it is an unraveling of nine and a half minutes of melancholy, simmering to a boil through the means of funk-driven bass, soft reverb-kissed strums and skins bashed in such a manner that pace and tone matches neither celebration nor ceremony. Around two minutes in, an aggressive fuzz swamps the guitar tone and the drums begin to make headway, bass kicks leading the charge to where you feel the journey will take flight. But quick as speed picks up and volume skyrockets, it’s silenced just as fast. A wave of ambience hushes the beat to a simpler meter, while what previous warmth the music was building is subjected to a sudden chill and into more ethereal territory. The guitar slowly starts to bring abrasion back to the forefront and the drums creep back to tribal levels of complexity in this new found realm of frost. But as duration stretches to seven minutes, fragile tension is finally broken and a flood of emotion explodes forth, sorrowful in its timbre but startling in its execution. All phases of this song illustrate what a roller coaster fighting illness can be to your very last breath and the effect on those closest to you, right up until the final note. It gives perspective to how others cope with this situation. Rusted Doors chose to write a song about it. You may go for a walk or a quiet drive to help you reflect or distance yourself. But whatever life’s challenges throw your way, music will be always be a tool to give people reassurance, comfort and hope in those moments where there seems to be none, and Rusted Doors are a prime example in both a world similar and dissimilar from our own.
The album Tales From A Departure and Huntington can be found on Rusted Doors’ Bandcamp page on a very kind pay-what-you-want basis, although please give generously if you feel this is tremendous music as much as I do. The band is hoping to play live more into the New Year and looking into potential festival appearances if possible, but your best source to find out for certain is on their social media.
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They say that you never forget your first time, and while that phrase applies to a lot of situations, this instance may surprise you a little. You see, I have never interviewed a band before in my life. So starting your resume out with a renowned Brighton drum ‘n’ bass crossover outfit, riding the wave of success high in 2016, is setting your standards pretty lofty. No pressure then.
After creeping in through an unguarded back door, wondering if at any moment I was going to get thrown out on my ass for trespassing, The Qemists were slap bang in the middle of their soundcheck. MC and all-round nice guy Bruno greets me like an old friend and apologises that they are still soundchecking, and asks if it it’ll be alright to do the interview when they’re finished. I’m working on their time, so I happily agree and perch upon a ladder nearby, while a happy medium is deliberated upon with the soundsystem. A balance is struck eventually, and Bruno, Olly, Dan, Leon, Liam and myself step inside the venue’s dressing room, which I’m sure doubles as the cleaning facilities on weekdays and sit around the coffee table. I’m straight up with them and say this is my first time interviewing, to which the response was that if my nerves got the better of me and the questions were sub-par, they would derail the interview to question me instead. We laughed about it, yet part of me thinks that would’ve made for more entertaining reading. But after a deep breath, I press play on the voice recorder, place it down on the table and we talk the past, the present and the future, of The Qemists:
So prior to March, you guys hadn’t had an album out for about six years (the last being Spirit In The System), how did it feel to finally release Warrior Sound?
Leon: Yeah, it was quite an achievement.
Bruno: A relief?
Leon: Yeah, it was a relief. I mean, we do take a long time over albums, that one took about three years to write, Join The Q took about three years to write. When you’re programming everything from scratch and then writing as well, and with performing in mind… We take our sweet time over it. So after all the work in the studio, the time that was spent on it and the polishing of the mixes, then checking the mixes and the mastering, checking them in clubs, it was a pretty good achievement and feeling. We’re quite proud of it.
Dan: We spent a lot of time gigging leading up to it, which mean that for the first time we could really test those tracks leading up to release, rather than just finishing a record and taking it out live, actually playing tracks out live and changing them etc. But yeah, it was really, really good to get that third album out of the way, I feel like three is a much nicer number than two.
Bruno: Three’s the magic number!
So because you’ve had so long to road test the new material before and after Warrior Sound’s release, what would you say are your favourite songs to play live and which songs do you get the biggest reactions from?
Leon: The response to Run You has been amazing.
Bruno: Run You definitely stands head and shoulders above the rest because it’s something that people have identified with from the lyrics and it’s something they’re singing lyrics back in any country we’ve been in the last… well, since the release of the album. Obviously it’s grown show after show.
Dan: The video has been pretty successful too.
Bruno: Some of them fluctuate between shows, like Anger was something we were unsure of for the first couple of shows and suddenly it shot up and started to get more popular.
Dan: When we were touring with Enter Shikari and Crossfaith, we had quite short sets and we kept asking, ‘Should we play Anger or We Are The Problem or Let It Burn?’ Different places and different countries really go for different tracks…
Leon: In Tokyo, we played Anger with Ken [Koie] from Crossfaith doing the vocals, and they have a huge Japanese following, and that got the best reaction we’ve seen to that track.
Bruno: But yeah, different songs, different gigs, different countries all lend themselves to different crowds, but as far as which songs are enjoyable to play, all of them really!
Leon: We do change the set every night pretty much, write it on the back of a napkin before we go on.
Olly, you were formerly in another Brighton crossover band Collisions, how did you come to join the Qemists family?
Bruno: We killed the rest of them.
Olly: Everything exploded, everything was on fire… No, well, I’d been doing a fair bit of consultation work with 7pm Management, who’d taken on The Qemists unbeknownst to me actually, and I’d been doing some work with [The Qemists’ manager] and he’d been helping me out, putting me in touch with some people for the furtherment of Collisions. One of the things he suggested to me was working with the boys on a couple of tracks, which at the time would’ve obviously been fantastic promotion for Collisions. We went and worked on Run You and New Design, and I had such a great time working with these guys, it seemed to transpire afterwards that they ended up looking for a new vocalist and I jumped at the chance to get involved, especially after putting these two tracks together, seeing how they operate and wanting a piece of it.
Leon: I think it was a result of how well those two tracks came together, that made us realise that we needed another singer, a full-time permament member. We always used to have featured vocals here and there, but it got to the point that there were so many tracks that Olly was working on on the new album, that it was like, ‘Well this is the sound of the album now, this is the sound of the Qemists.’ We needed a rock singer, it happened pretty organically in the studio and we haven’t looked back.
A lot has changed in six years, not just in the Qemists camp, but on a global scale too. From a critical perspective on your albums, Join The Q is you guys putting your stamp on the musical landscape and Spirit In The System is more experimental in its output. Warrior Sound really represents the first album with a consistent sound and having an overall message, what was the reason for this?
Liam: It was a conscious decision to be honest, to have a thread of continuity running through the album. I think we felt that although there was some good material on the first and second albums, there wasn’t that continuity and we wanted it, and that was another reason for having permament members vocally. That continuity was a result of having those permament members and working together on tracks. Bruno has been part of the live band for the first two albums, but he hadn’t had a lot of studio time with us, and it was high time that that happened. So it was a conscious decision, but a byproduct of us bringing these guys in.
There are some great collaborations on the album with Hacktivist, Charlie Rhymes, Ghetts and obviously you’ve mentioned Kenta Koie from Crossfaith, but there’s also the least amount of collaborations on a Qemists album so far, again was this a conscious decision or the result of writing over a period of six years?
Liam: Yeah, it was kinda conscious again, we were building tracks with Bruno and Olly and they were writing vocals that worked and fit, and there wasn’t necessarily a need to go out and seek different people. Also, if you go too diverse with it, you start deleting that continuity again.
Leon: When we have a featuring on this album, it’s somebody featuring the five of us. Bruno and Olly almost feature on every track that has a featured vocal as well, so it was about bringing a featured artist in not to replace the members of the band, but to work with them and be what a featuring artist should be, to enhance the sound of your act.
So focusing on changes once more, you guys separated from long time label Ninja Tune some years ago and you signed with the amazing folks at the aptly named Amazing Record Co. but around the same time, you signed with FiXT, one of the biggest independent electronic labels in the world. What’s it like working with Celldweller and the FiXT team?
Leon: They’ve been great.
Liam: Admittedly we haven’t had a lot of one-to-one time with them, when we joined we had a really cool Skype call with everyone and that says a lot about the label because they went out of their way to make that happen, so the new artists they’d signed could meet everybody, talk to everybody, know who everybody was…
Bruno: It was very warm and welcoming.
Liam: Yeah, very family orientated, which is not dissimilar to some extent the experiences we had with Ninja Tune, and we’re still on good terms with them.
Leon: But the difference is with Ninja Tune, we were different to everything else on their label and that was probably the reason that we went our separate ways after our contract was up. Whereas with FiXT, it makes total sense to be there with Celldweller and Blue Stahli and the other acts on that label. We just got a remix of Jungle by SeamlessR as well, these guys all just have great sounds that really appeal to us.
One of the things that FiXT are quite big on is their licensing, they have a lot of their music on TV, commercials and films. I personally discovered you first from Motorstorm: Pacific Rift, that had Stompbox and the On The Run VIP on it. Would you say that licensing has played as big a part as your live performances in your exposure and success?
Dan: Oh definitely, if not more really.
Liam: Without it, we wouldn’t be able to do what we have done.
Leon: And if you look at the YouTube comments on any of our videos, you’ll see comments saying, ‘This game brought me here or this movie brought me here.’ We’ve done cinema trailers for Thor, did one of the Star Trek movies, Terminator: Genisys recently and things like that. We just love doing that. We are studio musicians as well as live musicians, and those projects just give us such a scope and again, another reason why we identify with Celldweller because he’s a master at it.
Another thing that FiXT are quite big on is their artist synergy, they have everyone collaborate with each other and remix each other’s material, as you’ve said with SeamlessR’s remixes of Jungle and Warrior Sound as well. But at the same time
you were snapped up by FiXT, The Algorithm were snapped up, who you’ve toured with in the past and are also one of the hottest crossover acts on the planet right now, is there any chance that we could see an Algorithm and Qemists collaboration?
Liam: Ooooooh, we did talk about that, studio time to collide, but he’s pretty busy…
Leon: Yeah he’s always busy touring, but we’re up for it! Over to you Remi, if you’re reading this, we’d love to!
Do you guys have a bucket list of who you’d like to collaborate with or if you could have a dream collobaration, who would it be with?
Leon: Zack de la Rocha’s just put out a solo album and he didn’t come to us to produce it. He went to his mates in Run The Jewels instead, but I love the records they produce together.
Dan: I’d say Twenty One Pilots.
Leon: We’ve been listening to Twenty One Pilots a lot recently.
Liam: I’d like to sit down and make some disgusting noises with Noisia for an afternoon.
Leon: I had a fun experience sat on a sofa with Nik from Noisia and Jonathan Davis from KoRn, I was sitting in the middle and they were playing their new collaborations, what they’d been working on in the studio, you know like one of those YouTube gatherings except there’s people playing demos and stuff… but yeah, there’s some pretty fantastic people to collaborate with right there.
Bruno: KoRn would be a good one.
Leon: We’ve just done a cover of Blind by KoRn and James [‘Munky’ Shaffer] emailed us and said he loved it and he was gonna play it to the band, so that’s absolutely awesome, that’s what you want to hear when you do a cover, for the person who wrote it to say it’s worthy.
You guys have done some eclectic remixes and covers in your time, of Coldcut, The Damned, In Flames, Roots Manuva… Are your remixes ever planned or does one person come in and say something like ‘I had a dream that we covered Careless Whisper,’ and you take it from there?
Leon: No, they’re requested.
Liam: The artist normally gets in touch and says, ‘Can we have a remix?’ and we go, ‘Yes,’ and then we work out how we’re gonna do it. They’re pretty diverse those artists, and doing an In Flames remix versus a Roots Manuva remix takes a different approach each time.
Dan: We’ve kinda cut down on the amount of remixes we’ve done recently because they take a lot of time.
Leon: Yeah, you’ve got to be an act known for their remixes, like Noisia or someone you know whom a remix could be a huge track for them. Whereas with us, with the live performance and we release full albums, not every dance artist who does remixes releases full albums, and it started getting a little bit too much for us and we’ve refused a lot of remixes, but it’s always great when you get a good opportunity.
For the amount of remixes and covers that you guys have produced, have you ever considered making another Soundsystem- style CD where you stick a compilation of all those tracks together?
Liam: Yeah, as that body of work builds, which it has relatively recently, when you have that body of work sitting there, it would be a miss to not do something cool with it like that. So I think when that opportunity presents itself, and the material is there, absolutely it’s something we’ll do.
So, the end of the year is coming up, what are the plans in these last few months and into 2017 for The Qemists?
Dan: First up, is the shiny new Jungle video.
Leon: It’s about time to get a new video out. We’ve actually just finished a new EP, as kind of a follow-up to Warrior Sound, and we’re gonna put that out and stick a couple of new tunes on YouTube.
Dan: We’ve worked on a collaboration with some Russian guys called Teddy Killerz, who were signed to Ram Records, so we’ve got a track coming out on Ram Records which is really cool.
Leon: We’ve made a lot of music recently with not necessarily a purpose in mind since Warrior Sound, but we should keep this up, we should get back in the studio and keep writing. So we’ll do something with it all, it’s sounding really, really nice I think! We want people to hear it.
My last question then, though it is a little way off, say two-three years time, but it seems crazy to think that Join The Q is nearly ten years old, do you have anything pencilled in or on paper for a potential anniversary tour?
Liam: You know what? I hadn’t thought about that, but since you kinda mentioned it, it is gonna be that soon.
Leon: We signed our deal in 2006, didn’t we?
Dan: When was Join The Q? 2009?
Leon: It was in 2009. Early 2009.
Dan: February 2009.
Leon: Yeah, we’ll totally do that, good plan.
Olly: You could be our manager!
I won’t take all the credit for it, honest!
Bruno: Well, you can have you plus another on the guestlist!
Thanks very much gents, an absolute pleasure.
A big shout out to Libby from The Noise Cartel, Jenny from Amazing Record Co., and of course The Qemists for making this all possible.
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So folks, it has been six months since I last endeavoured in radio, but at long last, I bring you the next instalment of the Secret Tsunami Club and the first podcast as an independently produced project. Quality may not be the best right now, but it can and will only improve over time. Hopefully it is of a standard you can enjoy.
Black Vulpine – Twisted Knife
The Vibraphonic Orkestra – A Vibraphonic Introduction
The Impalers – Metro Azul
Geistfight – True Warriors
Release The Bats – Hornets In A Matchbox
Death Valley Sleepers – Your Face In The Skies
Seasloth – Marshmallon
Ten Tombs – Honestly
Ketch Hatbour Wolves – Queen City Believes You
In Case Of Fire – Do What I Say
Vektrill – I’ll Never Die
Elephantis – Stronghold
Octopede – The Gush
The Gentle Art Of Cooking People – King Tukan II
Cavern – Ithican
Atomis – Maelstrom
Bullet Height – Hold Together
Kurt Dirt – Pleasure Machine
Iltoro – High Fly
sØØ† – ÐΔRKES† HØUR
Glass Cobra – Up
Furious Freaks – No Indeed
Youth Code – Doghead
Dirk Geiger – 24 Hours Without Interruption
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