Electric President

Poignant music is rooted in emotional honesty. The heartrending songs in films have power due to the universal truth within the emotional backbone of the story. Many artists strive to create poignant music, but few succeed. When an artist succeeds in capturing a precious feeling, the music is timeless and universal. Trisomie 21, Slowdive, The Verve, The House Of Love, and Cocteau Twins are just several groups who have mastered this art. Electric President is a group with this talent. Consisting of Ben Cooper and Alex Kane, Electric President injects a subtle wit into their music. They recently released their debut album, '€œS/T'€. Recorded in a shed and a bedroom, '€œS/T'€ sounds as if it could be a soundtrack for a film by John Hughes. Ben Cooper and Alex Kane were originally in a group they called Radical Face Versus Phalex Sledgehammer. Together, Cooper and Kane have utilized their creative energy to create a new and exciting project.

Ben Cooper became a renaissance man after being raised as a boy in Jacksonville, Florida. As a writer, artist, and musician, Cooper uses various mediums to express himself. Recently, Cooper reunited with fellow musician, Alex Kane and created the duo named Electric President. Their goal was to use electronic instruments without creating an overtly electronic sound. Their debut album, '€œS/T'€ is unique collection of poignant yet enigmatic pop tunes. If John Hughes (director of The Breakfast Club, Sixteen Candles, etc.) were making a teen flick today, one of the songs from '€œS/T'€ would probably be on the soundtrack. Released by Morr Music, '€œS/T'€ uses emotional guitar melodies and light rhythms to create music that is noticeable, but not shocking.

Ben Cooper will be one of those artists that you will hear about in the following years. If this article is the first time you heard about him, will you remember it?

T.JONES: '€œWhat goes on?'€
BEN COOPER: '€œNot much. Just finished watching some more of '€˜Lost'€™. Good show.'€

T.JONES: '€œElectric President just released a new album, '€˜S/T'€™, Tell us about the album.'€
BEN COOPER: '€œWell, it'€™s the first record me and Alex have done under an official name. We'€™ve worked together off and on since around 2000, but finally gave the project a title. We recorded it at home, in Alex'€™s bedroom and in my tool shed. It took about 8 months. It was also the first time we'€™ve ever used computers so much in the process. That'€™s the basic overview of the record.'€

T.JONES: '€œWhat is your favorite song on '€˜S/T'€™?'€
BEN COOPER: '€œI don'€™t have one. I'€™m much more into the idea of a complete record, where no one song is necessarily more important, so I don'€™t really pay much attention to any particular song once the record is done.'€

T.JONES: '€œWhy did you choose the name Electric President?'€
BEN COOPER: '€œI was at a Christmas party, a couple years ago, having a conversation with a couple friends who I hadn'€™t seen in a while. One of them said something along the lines of '€˜eclectic resident'€™, but I thought he said electric president. We thought the name was kind of funny. We joked that one of us should use it for a band name. So, I did.'€

T.JONES: '€œWhich song on '€˜S/T'€™ took the longest to complete? Why?'€
BEN COOPER: '€œI think '€˜Some Crap About The Future'€™ took the longest and saw the most changes. It was a pain in the ass to record for a number of reasons. The drums were all pitch shifted. The guitars weren'€™t sitting right at first. The drones kept getting too thick and noisy and then, proved to be the toughest to mix too. And, it originally had more sections, but it was already getting out of hand, so it was cut back to something more manageable.'€

T.JONES: '€œFor '€˜S/T'€™, you wanted to integrate computers into the process without having the LP to be an electronic record. Why? How did you accomplish this?'€
BEN COOPER: '€œWell, after listening to some records from The Books, I was really pumped to try some editing. So, I suggested to Alex that we use a bunch of computers on the record. He was into it too, so we got started. All the songs started like normal ones. I'€™d lay out some chords and get my vocals together. Then, Alex would add some bass guitar to everything. Then we'€™d start using computers to mess everything up. Splice parts out, mute and un-mute entire sections, record sections separately and edit them together, stuff like that. The drums were mostly random sounds we collected and made, knocking on walls, dropping bags, zippers, tools, scraping Styrofoam, cracking our knuckles, dropping rocks in a bucket, et cetera. I sequenced them all in Reason.'€

T.JONES: '€œThe song, '€˜Good Morning Hypocrite'€™ is one of my favorites. What inspired this song?'€
BEN COOPER: '€œIt was the first song we did for the record. I can'€™t say exactly what inspired it, other than that it was the start of the whole project. It was the guinea pig, in a lot of ways, and it provided some idea of what direction the record would go in.'€

T.JONES: '€œThe '€˜S/T'€™ album was recorded in a tool shed and a bedroom?'€
BEN COOPER: '€œYeah. We don'€™t have a recording space or anything. So, we just work wherever. Alex'€™s bedroom is more convenient, so it was used for about 80% of this record. But whenever I record at home, I work in the tool shed. It'€™s the only space I'€™ve got for playing music.'€

T.JONES: '€œHow do you feel you have evolved as an artist?'€
BEN COOPER: '€œI don'€™t know. It'€™s a hard thing to gauge. I mean, it happens slowly. So, sometimes you almost don'€™t even notice until you listen back to what you were making and writing a few years before. I think I'€™m happier with the more recent stuff, and more confident in it, but that could be a state of mind as much as actual improvement. But I'€™ve definitely gotten a lot better at production and recording. We'€™re using the same crappy gear we'€™ve always used. I haven'€™t bought any new recording gear for a couple years, but everything sounds a lot more together now.'€

T.JONES: '€œHow is Electric President different from Radical Face?'€
BEN COOPER: '€œThere'€™s more collaboration in Electric President. I still write the skeletons for the songs and often have an arrangement in mind, but we do more of the writing in the same room. If I bring something from home, I leave everything pretty naked to see what happens when we work together. Sometimes, Alex will do something on bass or a synth that changes the direction of the song, which is fun. As for the Radical Face stuff, I work alone on that project. I sometimes have people play instruments on some songs, and occasionally I'€™ll get input on a section or two, usually from my little brother. But, it'€™s mostly just me holed up in the tool shed.'€

T.JONES: '€œHow did you meet Alex Cane and eventually form both groups?'€
BEN COOPER: '€œI met Alex in 2000 in a band called Helicopter Project. The group lost their lead singer/song writer and asked if I wanted to step in. I hadn'€™t been in a band in a few years. It sounded like fun, so I said sure. We played together for maybe a year. Then, we split up because two members left for college. But, me and Alex stayed in touch after that. Eventually, we started recording together again. We'€™ve worked together, off and on, ever since.'€

T.JONES: '€œWhat is going on with Radical Face?'€
BEN COOPER: '€œI'€™m currently recording a record under that name. I'€™ve been writing the songs for it for about a year and a half. I'€™ve been tracking since October. I hope to be done within the next couple of months. I'€™m looking forward to a break, but I'€™m really proud of it. It'€™s turning out how I hoped it would, which doesn'€™t always happen. And if all goes as planned, it should come out on Morr this August.'€

T.JONES: '€œWhat other music projects are you in?'€
BEN COOPER: '€œI have a project with my brother, who plays piano, called '€˜Iron Orchestra'€™. It consists of instrumental songs in a modern classical vein. We'€™ve been writing for the project for a while now. I hope to have some recordings finished by the end of the year. But, we'€™re still working out how to get the string sections performed and tracked. We are trying to find a good piano to record on. I'€™ve also been working with a bunch of friends in a noisy/trashy project called '€˜Biowulf'€™. We plan on tracking a record and doing some small bursts of touring this summer. It'€™s all talk at this point, but I think it'€™ll happen. Other than that, I'€™ve been doing production for Astronautalis for the past few years, and there'€™s a bunch of one-off projects that only happen every blue moon. Headache and Pearl Harbor, Unkle Stiltskin, et cetera.'€

T.JONES: '€œDo you think success and credibility are mutually exclusive?'€
BEN COOPER: '€œIt all depends on who you ask. A lot of people have a different take on that, and their own idea of what groups should or shouldn'€™t do. A lot of people get pissed when other people suddenly know who their favorite band is. Why? I don'€™t know. Personally, I don'€™t really care. I either like the music or I don'€™t whether it'€™s successful, popular, obscure, cutting-edge, et cetera. It doesn'€™t matter very much. I'€™m not very social about what I like, so that might have something to do with it.'€

T.JONES: '€œWhat do you think of the term trip-hop?'€
BEN COOPER: '€œI'€™ve never known exactly what it applies to, or where it came from. So I don'€™t have much of an opinion on it. I like some musicians that get that tag, though.'€

T.JONES: '€œDescribe the overall recording process.'€
BEN COOPER: '€œDepends on which record we'€™re talking about. It changes each time. For '€˜S/T'€™, we tracked all the basics for each song pretty fast. One or two 10-hour-days were enough to get everything laid down in all but a few cases. But the drum sequencing, synth modeling, editing and rearranging sometimes went on for a month after that. It got kind of meticulous at times, but it was fun to take what was there and destroy it, or chop it into something new.'€

T.JONES: '€œHow did you get involved with Morr Music?'€
BEN COOPER: '€œFriends passing the music along. I gave some CDs to Astronautalis, who gave a copy to Styrofoam, who told Thomas Morr about it. Morr then check out my website and liked some of the material and asked if I wanted to put a record out on his label. I said yes, and then we negotiated everything for a while and came to an agreement we could both accept. And here we are.'€

T.JONES: '€œWhat song are you most proud of?'€
BEN COOPER: '€œNo particular one. I pay a lot of attention to each song during the writing and recording, but now that everything'€™s done, it'€™s just a record. No one song stands out anymore.'€

T.JONES: '€œWhen creating a song, do you have a set theme or pre-written lyrics? Do you write the music first? Or, does everything come together simultaneously?'€
BEN COOPER: '€œAll of the above. Some songs start as words, some start as music, more common. Sometimes there'€™s a theme to all the lyrics, like on '€˜S/T'€™, all the songs except one took place in some kind of made-up future, but sometimes not. It changes each time.'€

T.JONES: '€œFavorite sampler?'€
BEN COOPER: '€œI'€™ve never owned one, so I don'€™t know.'€

T.JONES: '€œFavorite keyboard?'€
BEN COOPER: '€œI will always have a soft spot for the Casio SK-1. But I mostly use a midi-controller and soft synths these days.'€

T.JONES: '€œFavorite guitar?'€
BEN COOPER: '€œIf I had the money, I'€™d get a Gibson J-45. I really like the sound and feel of those. I also like my little yard sale guitars too. So it'€™s hard to say. Electric guitars are a whole new ballgame.'€

T.JONES: '€œWhat do you think about the cover for the album?'€
BEN COOPER: '€œI thought the cover was great. It was not at all what I had intended for it, but that'€™s exactly why I liked it. It was really cool to see someone else'€™s presentation. I like Jan'€™s style. It'€™s very charming.'€

T.JONES: '€œWhat is your opinion on downloading music from the Internet?'€
BEN COOPER: '€œI'€™m not against it. There are always cases where people take it to a ridiculous level, but that happens with anything.'€

T.JONES: '€œWhat inspired the song, '€˜Snow On Dead Neighbors'€™?'€
BEN COOPER: '€œI take a lot of walks late at night. Usually around 3 a.m. or so. Everything looks very different around then. There aren'€™t a lot of lights, few cars, very little movement. I like the way it looks and feels. That'€™s what sparked the lyrics for that one. But to be more specific: the song takes place about a hundred years the in the future. The main characters are a teenage boy and a girl robot. He thinks is his sister. They'€™re on the run from the organization that was holding his sister captive. On the way, they stumble upon this neighborhood encased in snow and ice. It looks much how a lot of neighborhoods do now, only without any people. They'€™re just wandering through it, looking in all the windows. It all sounds pretty silly when written out like that, but that'€™s how much of the record was written. A lot of songs are just stories, not necessarily a personal outlook.'€

T.JONES: '€œFavorite Films?'€
BEN COOPER: '€œI could go on for a while here, so I'€™ll just mention some of them: The Usual Suspects, Shawshank Redemption, Seven Samurai, anything Miyazaki has done, Amelie, The Lord of the Rings movies, Memento, Eternal Sunshine of the Spotless Mind, The Iron Giant, Seven, anything Pixar does, Return to Oz, Braveheart, Fargo, Oh Brother Where Art Thou?, Shadow of the Vampire, Trainspotting, The Adventures of Baron Munchausen, L.A. Confidential, American History X, Billy Elliot, Being John Malkovich. I guess that'€™s good enough. I'€™m definitely leaving a lot out, but that'€™s always the case with lists.'€

T.JONES: '€œWhat is the favorite part of your live show?'€
BEN COOPER: '€œNot sure yet. We haven'€™t played much of the material live at this point. We'€™re still trying to figure just how to do it. Most of the songs will likely be dismantled and played in a very different way.'€

T.JONES: '€œWhere are you from? Where are you living now? What is it like?'€
BEN COOPER: '€œI was born and raised in Jacksonville, Florida, and I live here now. It'€™s not a very busy place, but I like it for that. You mostly just work at your own pace. There isn'€™t much nightlife or anything, but I don'€™t go out very often anyway. I'€™d rather just watch a movie, or read, or whatever.'€

T.JONES: '€œWhat are some songs that made you fall in love?'€
BEN COOPER: '€œI don'€™t know. I mean, plenty of songs have had an affect on me, but I don'€™t know if I'€™ve ever fallen in love on account of one.'€

T.JONES: '€œWho are some artists who you would like to collaborate with in the future?'€
BEN COOPER: '€œLots of them. But it would depend on the kind of music, and when you ask me. Some names at the moment: Joanna Newsom, The Books, Sigur Ros, Max Richter, Tom Waits, Johann Johansson, some groups on Morr.'€

T.JONES: '€œWhat are some songs that you would like to remix? How would you do it?'€
BEN COOPER: '€œI'€™m not sure. I'€™ve never remixed anything before.'€

T.JONES: '€œWhere were you during September 11th terrorist attack? How did you deal with it?'€
BEN COOPER: '€œI was at home. At first, I didn'€™t deal with it. It took a while for it to sink in.'€

T.JONES: '€œDeath penalty '€“ for or against?'€
BEN COOPER: '€œI don'€™t think I could give an adequate answer in the form of an interview. In part, it is because I usually keep my politics separate from my music or art. I don'€™t want to use them as a platform; I can'€™t help but have some views seep into the writing, but I'€™m not very outspoken in that way, but also because I feel politics and views should be discussed. Just putting out opinions in a place that you can'€™t debate them or have a conversation mostly just starts fights, which isn'€™t conducive for making a point. I definitely have a view about these things, but you'€™ll have to corner me in person for a response.'€

T.JONES: '€œAbortion '€“ pro-choice or pro-life?'€
BEN COOPER: '€œSame as above.'€

T.JONES: '€œWhat was your childhood like? What kind of kid were you?'€
BEN COOPER: '€œI grew up in a very big family. I have nine siblings, but I'€™ve always been about the same in that I'€™ve always liked to make things. I got into drawing and painting when I was in the second grade. In middle school I started playing music and making short films with friends after school. Toward the end of high school, I got into reading and writing. But I was into a lot of physical things too. I skated until I was 19 and would probably still be skating everyday had I not hurt my back. I fell on my tailbone a few too many times, so now my back goes out. Even lifting something wrong is enough to leave me bedridden for a while, so skating is out of the question. But I miss it.'€

T.JONES: '€œWhat has been in your CD player or in your tape deck recently?'€
BEN COOPER: '€œJoanna Newsom, Max Richter, a mix CD of choral compositions and Chopin piano pieces, and this old Erectus Monotone album I got from a friend.'€

T.JONES: '€œWord association. When I say a name, you tell me the first word that pops in your head. So, if I say '€˜The Beatles'€™, you may say '€˜Revolution'€™ or '€˜Lennon'€™. Ok?'€

T.JONES: '€œMassive Attack.'€
BEN COOPER: '€œDark.'€

T.JONES: '€œTrisomie 21.'€
BEN COOPER: '€œMath.'€

T.JONES: '€œThe Stone Roses.'€
BEN COOPER: '€œEngland.'€

T.JONES: '€œMorrissey.'€
BEN COOPER: '€œSmiths.'€

T.JONES: '€œSlowdive.'€
BEN COOPER: '€œNice.'€

T.JONES: '€œThe Fall.'€
BEN COOPER: '€œLeaves. I know you meant the band, but I'€™m trying to stick to the '€˜first word that pops into my head'€™ guideline.'€

T.JONES: '€œThe Strokes.'€
BEN COOPER: '€œGuitars.'€

T.JONES: '€œMy Bloody Valentine.'€
BEN COOPER: '€œDrones. '€œ

T.JONES: '€œThe House Of Love.'€
BEN COOPER: '€œ80s.'€

T.JONES: '€œMomus.'€
BEN COOPER: '€œUnfamiliar.'€

T.JONES: '€œFelt.'€
BEN COOPER: '€œHands.'€

T.JONES: '€œThe Wolfgang Press.'€
BEN COOPER: '€œMozart.'€

T.JONES: '€œCocteau Twins.'€
BEN COOPER: '€œPretty.'€

T.JONES: '€œThe Dandy Warhols.'€
BEN COOPER: '€œCampbell'€™s.'€

T.JONES: '€œPsychic T.V.'€
BEN COOPER: '€œCleo.'€

T.JONES: '€œColdcut.'€
BEN COOPER: '€œTurntable.'€

T.JONES: '€œNew Order.'€
BEN COOPER: '€œCeremony.'€

T.JONES: '€œBrian Eno.'€
BEN COOPER: '€œApollo.'€

T.JONES: '€œGeorge Bush.'€
BEN COOPER: '€œEars.'€

T.JONES: '€œWhat do you think of the U.S. involvement in the Middle East?'€
BEN COOPER: '€œAgain, this isn'€™t the place I can adequately discuss it. For a general statement, I'€™m not real happy with it, but it'€™s not a black and white topic.'€

T.JONES: '€œWho was the biggest influence in your life?'€
BEN COOPER: '€œMy family, hands down. They'€™ve forever and always helped me stay centered. They'€™re my favorite people.'€

T.JONES: '€œHow has technology hurt music?'€
BEN COOPER: '€œI don'€™t think it has. I think its changed music, but it hasn'€™t hurt it. It could only hurt it if you wanted music to stay the same, which I don'€™t. I'€™m always excited to see what else will happen with music. But I do think that people haven'€™t learned how to adjust to all the technology just yet, both in terms of how to use it to make records, and how to market and sell them as well. Everyone'€™s kind of flailing, convinced that downloading music and consumer-level recording gear will be the death of music. Music isn'€™t going anywhere. In the 80'€™s, people were saying the same thing about Midi and synthesizers, that they'€™re killing music, and that everything worth writing has already been written, etc. Music didn'€™t die, it just changed. I really don'€™t think it'€™s that big a deal now either. People just have to figure out what to do with all the options they have now, and adjust.'€

T.JONES: '€œIn The Consolation of Philosophy, Boethius writes, '€˜It's my belief that history is a wheel'€¦. Rise up on my spokes if you like but don't complain when you're cast back down into the depths. Good time pass away, but then so do the bad. Mutability is our tragedy, but it's also our hope. The worst of time, like the best, are always passing away.'€™ What other works of art, literature, songs, or whatever helped you maintain?"
BEN COOPER: '€œBooks in general are a life-saver for me. Whenever I'€™m down, I can read and it takes my mind off of things. There'€™s not enough space in my head to feel shitty and concentrate on a story.'€

T.JONES: '€œWhat was your last dream you remember?'€
BEN COOPER: '€œMost of my dreams are very tense and unnerving. I'€™m sure there'€™s some psychological reason behind this, but I don'€™t know it. My last dream was no different. I dreamed that I was trying to help someone I know, but couldn'€™t.'€

T.JONES: '€œWhat is music lacking these days?'€
BEN COOPER: '€œIn a personal way, I wish there were more composers working now. I realize there isn'€™t much of an avenue for it outside of film soundtracks and such, but I would like to see more instrumental pieces being written and sold like other records. But overall, I think music is doing fine. I'€™m finding at least 4 or 5 new artists a year that I really like, which isn'€™t bad at all. I'€™ve changed the way I listen to music though. I try my best not to listen to music as what I would like it to be, and just listen to what it is and decide whether I enjoy it. It'€™s really easy to get caught up in a bunch of social crap and listen to music as some sort of identity-defining thing, but I'€™ve found that there'€™s very little attention paid to the music in those cases. It becomes the equivalent of deciding what you'€™re going to wear, and I like music too much to let it become that. I'€™ve never been very social about what I like, but I'€™ve become even less so lately, and I'€™ve found that I'€™m just enjoying more art in general. It'€™s nice.'€

T.JONES: '€œYou also are involved in writing and art. Tell us about your other non-music creativity.'€
BEN COOPER: '€œWell, music is kind of the last thing I got into. I'€™ve always drawn and painted, since elementary school. For the past few years, paintings have been my only source of income. When I was just out of high school, I was determined to become a writer. For a little over a year, I did nothing but write in my spare time. But my computer, which held all of my writing, completely crashed one day and all the work I hadn'€™t backed up was lost, which was pretty disheartening. So while I was working a bunch and saving up for a new computer, I needed something to do. So Alex and I started recording together again, and that'€™s when all this started. I'€™d been playing bands since middle school, and writing songs throughout the years since, but it wasn'€™t until borrowing a 4-track and recording on my days off that music really clicked. Playing live and being in bands has never been my favorite thing. I enjoyed it, but it wasn'€™t enough to make me stick with it. But when the recording thing got rolling, I was suddenly writing all the time, practicing more than I ever had, and trying to understand how to make a record. Writing and recording are by far my favorite parts of music.'€

T.JONES: '€œWhat are some major misconceptions that people have of you?'€
BEN COOPER: '€œI don'€™t know. Locally, I mostly hang around the same people I always have. I'€™ve known a lot of my friends since elementary school, and the rest I met in high school.'€

T.JONES: '€œWhat is next for you?'€
BEN COOPER: '€œOnce I finish this current record and get it mastered, I'€™m gonna change gears and work on a book for a while. I'€™ve been mapping out this story for a long time, and would like to sit down and write it. I also hope to get some of the Iron Orchestra pieces recorded this year, and have been working on some short film scripts with a friend, that we plan on shooting soon. Then there'€™s the Biowulf project for summer and some touring for Electric President during fall. So it'€™s going to be a busy year, and I'€™m pretty sure I won'€™t finish all of that, but I'€™m gonna try.'€

T.JONES: '€œAny final words?'€
BEN COOPER: '€œThanks for this opportunity, Todd. And thanks for asking some different questions. This is definitely the most thorough interview yet.'€


Interview by Todd E. Jones

NOTICE: This interview is property of Todd E. Jones and cannot be duplicated or posted without written permission.

RADICAL FACE: http://www.radicalface.com

MySpace: http://www.myspace.com/radicalface

MORR MUSIC: http://www.morrmusic.com/

'€œGood Morning, Hypocrite'€ '€“ Electric President

'€œLabel My Mind: Blown'€

'€œInvisible Machine'€
Continue Reading...


Music driven by DJ'€™s / producers has evolved beyond our wildest imagination. For decades, listeners usually focused on the singer'€™s voice, the musical genre/style, and the lyrics. Some forms of music, like jazz, were based solely on the music itself. The lead singer was not more important that the other band members. Groups like My Bloody Valentine and Slowdive made music with drowned-out vocals. Other eccentric artists like Brian Eno, Meat Beat Manifesto, and The Orb made solid instrumentals, which took the listener on a journey. The DJ was the true catalyst for this movement. Hip-hop has become more of a producer'€™s market. People are buying albums because they like the producer'€™s beats even though they may dislike the emcee. Respected hip-hop producers like J Dilla, Prince Paul, MF Doom, J. Rawls, Fat Jon (of Five Deez), and DJ Spinna have all released instrumental albums under their own name. As groups, DJ'€™s and producers have used their talents to work with their idols. With different vocalists on almost every song, some these DJ groups create diverse albums that that cross multiple genres. Massive Attack albums have included Tricky, Elizabeth Fraizer (of Cocteau Twins), Sinead O'€™Conner, and more. The Chemical Brothers released albums featuring Tim Burgess (of The Charlatans), Q-Tip (of A Tribe Called Quest), and Ian Gallagher (of Oasis). While hip-hop music is diverse, the sound always fits within the hip-hop genre. Groups like Massive Attack can be categorized as trip-hop, but their music truly defies any categorization. Coldcut is one of these DJ/producer groups who have crossed genres, opened minds, and made people dance.

Jon More and Matt Black are the mad scientists behind the musical experiment known as Coldcut. As a duo, these DJ'€™s / producers have paid their dues and have made an impressive contribution to hip-hop and dance music. Their remix of '€œPaid In Full'€ by Eric B. & Rakim has earned them a place in hip-hop history. For years, Coldcut has been making diverse music with exceptional rhythms. Their list of collaborators ranges from Jello Biafra (Dead Kennedys), Roots Manuva, '€¦. And more

Consistently releasing solid records is just one element of Coldcut'€™s musical contribution. They founded Ninja Tune Records in the U.K. Parent label of Big Dada, Ninja Tune has released music for MF Doom (King Geedorah), Mike Ladd, Roots Manuva, Cloudheaded, The Magesticons, and more. VJAMM is another addition to the list of Coldcut'€™s amazing accomplishments. VJAMM is a musical sequencing software where the user can remix audio and video. Demo versions have been included on their CD releases.

Coldcut have reached the pinnacle of their career. In 2006, Coldcut released their best album to date, '€œSound Mirrors'€. Released on Ninja Tune, '€œSound Mirrors'€ includes songs filled with passion, diverse musical styles, and a myriad of excellent vocal performances from varied guests. The opening track, '€œMan In The Garage'€ is a classic song with a heartfelt performance by John Matthias over an unusual musical backdrop. Roots Manuva contributes one of the best performances of his career on '€œTrue Skool'€. Delivering a powerful message, Robert Owens gives dance music substance with '€œWalk A Mile'€. Mpho Skeef dazzles the listener on '€œThis Island Earth'€. Political issues are explored on Whistle And A Prayer" featuring Andrew Broder aka Fog. '€œMr. Nichols'€ is an exceptional track where Saul Williams uses his poetry to talk a suicide jumper off the ledge. Other powerful tracks include '€œColors The Soul'€, '€œJust For The Kick'€, and the title track, '€œSound Mirrors'€.

As DJ culture evolves, the infinite possibilities of musical revolution will continue to entice music lovers. Coldcut has not only survived for decades, but they have become an element of the culture'€™ foundation. Their musically creative contributions are just as important as their technological innovations. Their label (Ninja Tune) has also opened the doors for a myriad of unique artists. When Jon More and Matt Black are in front of their '€œSound Mirrors'€, they should be proud for what they hear and see.

T.JONES: '€œWhat goes on?'€
MATT BLACK: '€œCheers.'€

T.JONES: '€œTell us about Coldcut'€™s new album, '€˜Sound Mirrors'€™.'€
MATT BLACK: '€œWe wanted to make a more complete album. Everyone tells us we'€™ve succeeded, and that does feel good. Dance music is about tracks. It'€™s about 12'€ singles. The number of albums by dance artists that can be seen as successful are pretty limited. You can almost count them on the fingers of one hand. '€˜Journeys By DJ'€™ was a good album, but then that was put together as a montage of loads of other people'€™s stuff, so that didn'€™t quite count. We did want to make something complete and coherent that you could put on from start to end. I don'€™t know if we'€™ve succeeded in that, but I think we have at least partly succeeded. It'€™s a balance between coherency and diversity. We are pleased with it, Jon and me are getting better at what we do. The novelty of just doing phat beats and funky noises has worn off a bit. We thought, '€˜What are we going to do with all this tech now?'€™ The answer? Write some songs. We'€™re not Lennon and McCartney yet! But, we'€™re still sharpening our edge, not loosing it.'€

T.JONES: '€œWhat is your favorite song on '€˜Sound Mirrors'€™?'€
MATT BLACK: '€œ'€˜Colours The Soul'€™ is my favorite track. It came about in a really strange way. I was having my VW van repaired in a local garage where I met a man who Jon had taught 20 years ago. He was a singer and guitarist, so I invited him round to my gaff to sing on '€˜Everything'€™s Under Control'€™. In the end, he only did backing vocals for that, but we were chucking some things around. Out of that, came '€˜Colours The Soul'€™.'€

T.JONES: '€œWhy did you choose '€˜Sound Mirrors'€™ to be the title?'€
MATT BLACK: '€œIn 2004, we produced a play for BBC Radio 3 called '€˜Sound Mirrors'€™. Sound Mirrors are giant concrete ears on the English South coast, military installations that didn'€™t work and are now art installations. The play itself was about an obsessive record collector and sound collagist who went mad. I guess this struck a chord with us which we played on in the album.'€

T.JONES: '€œYou released your last album 8 years ago. What took so long? Did that lengthy break affect this album?'€
MATT BLACK: '€œI'€™ve been away on the beach researching my new film, '€˜Beaches and Massages of the World'€™. A guy called David Rockerfeller gave me $50 Million to produce it with, but, we got through that and now we'€™re seeking further funds. If any readers fancy contributing, just get in contact with us via Ninja Tune. I don'€™t think it'€™s affected the album in a negative way.'€

T.JONES: '€œHow did you hook up with Saul Williams for '€˜Mr. Nichols'€™? What was this collaboration like?'€
MATT BLACK: '€œThere was a DJ Spooky project by Saul called, '€˜Not In Our Name'€™. It is an anti-Iraq poem, which Ninja put out a few years ago. And even though it wasn'€™t a big earner, we thought it was an important record to put out. So, Saul was open to doing something with us because we'€™d taken a risk on that. In terms of the theme of the song, it was about something I have been finding out about recently, the crisis of men in today'€™s society. I really relate to the story of a man throwing himself off a building. I'€™ve thought about that sometimes, but I don'€™t think I'€™m the kind of person to do that, so maybe thinking about it is a waste of time. But getting yourself out of the downers is hard sometimes.'€

T.JONES: '€œHow did you meet Jon More and eventually form Coldcut?'€
MATT BLACK: '€œJon and I met in classic DJ style, in a secondhand record shop where he was working. Reckless Records. He sold me a bootleg copy of '€˜Cross the Tracks'€™. We were both fascinated by records coming from New York, go-go, funk, and particular the records of Double Dee and Steinski. I had already done a record like the '€˜Lessons'€™ trilogy. It was called, '€˜Say Kids What Time Is It?'€™ Jon liked it and we decided to form Coldcut and put it out.'€

T.JONES: '€œDo you think success and credibility are mutually exclusive?'€
MATT BLACK: '€œNo, but they'€™re rarely combined. It is a personal goal for me to reach both of those. Success is an interesting word. To do what you want to do and to make a living from it is success in my definition. We'€™ve managed that as Coldcut.'€

T.JONES: '€œWhat do you think of the term trip-hop?'€
MATT BLACK: '€œAs a keyword, I like it. But as a label, it can be a straightjacket, like most labels. Keywords and adjectives are better than labels because they'€™re not exclusive. Something can be jazz, electro, and afro-beat if you think in terms of labels.'€

T.JONES: '€œDescribe the overall recording process.'€
MATT BLACK: '€œEach track is different. Some of the recording sessions started 4 years ago and have weaved their own little way. Others only came together at the last minute, like the Roots Manuva track. Some of them are mainly Jon'€™s work. Some, mainly mine and some, we collaborated on.'€

T.JONES: '€œHow do you decide which artists will be the guests on the album?'€
MATT BLACK: '€œIt was different with each collaboration. Some came about because we wanted to collaborate with the artist before we'€™d written anything. Others we had written something and it struck as that a particular artist would suit it. That'€™s what happened with '€˜Walk A Mile'€™. Originally, Jon had done it with a white rock / soul vocalist. It sat around for ages and no one really liked it, but he was playing with it one day. Me and Ross said, '€˜You know, this is alright. It'€™s a bit trancey. The vocals are not right, but the idea is really good.'€™ Jon wasn'€™t convinced and neither were the rest of Ninja Tune, but Ross and I hung in there because we reckoned it could be good with a new vocalist. Someone suggested Robert Owens, who we thought would be very difficult to get hold of, because he'€™s a legend. But I happened to have a friend in London who knew him, so he was very easy to get hold of, in the end. One of the good things about being Coldcut is that we have a fairly good rep because we'€™ve been round for a long time. We haven'€™t blotted our copybook too often. We'€™ve hung in there. If we approach someone like Annette Peacock or Robert Owens, and even if they don'€™t know who we are, their mates or their kids say, '€˜Yeah, Coldcut, they'€™re pretty cool. They'€™ve done a lot of good stuff. You might as well give it a go.'€™ So, we haven'€™t been turned down by anyone asked to do a vocal for us. Obviously, Roots Manuva is on the label, but you can'€™t force Rodney to do anything. He'€™s his own master. He wanted to do a track and we jumped at the chance to do it.'€

T.JONES: '€œHow did Ninja Tune start? How has running the label changed things musically?'€
MATT BLACK: '€œNinja Tune was formed as a Technicolor escape pod to get out of the music industry contractual swamp we found ourselves in when we signed to a major label. We saw that a lot of house producers used to release things under different names, so we started DJ Food and that was Ninja Tune. Ninja Tune is about small, sustainable, organic growth. We always thought that if we built it well, people would come. And here we are.'€

T.JONES: '€œWhen creating a song, do you have a set theme or pre-written lyrics? Do you write the music first? Or, does everything come together simultaneously?
MATT BLACK: '€œThe music is always first. All the songs have come from music we wrote first. Either we'€™ve got a vocalist in and worked with them, or we'€™ve sent the track to a vocalist.'€

T.JONES: '€œFavorite sampler?'€
MATT BLACK: '€œAbelton Live 5.'€

T.JONES: '€œFavorite keyboard?'€

T.JONES: '€œWhat is your opinion on downloading music from the Internet?'€
MATT BLACK: '€œIt depends whether you mean for free or not. I have downloaded things illegally, but have given it up. It'€™s bad karma for a musician to do that. If people think that all music can be free on the Internet, than there won'€™t be any new music made. I do buy stuff on iTunes. Downloading is a cool way to get music. Systems like iTunes enable artists to bypass the monopoly of big companies and that'€™s good.'€

T.JONES: '€œOn the song, '€˜Money, Power & Influence'€™ from Guru'€™s '€˜The Street Scriptures'€™ album, Talib Kweli mentions that Protools made producers lazy. Do you agree?'€
MATT BLACK: '€œI can appreciate the sentiment, but like everything, there'€™s a duality. The expertise that producers needed in the past, when studio time was expensive and resources limited, is no longer necessary to an extent. Protools offers a shortcut. However, extra power often just gets used up. Today'€™s R&B groups expect to record 96 tracks of vocals rather than 3, which just results in many long hours spent staring at a computer screen, rather than significant musical developments.'€

T.JONES: '€œWhat do you think of film '€™24 hour Party People'€™?'€
MATT BLACK: '€œPass.'€

T.JONES: '€œWhat is the favorite part of your live show?'€
MATT BLACK: '€œMy favorite part is my video break beat solo using VJAMM. It'€™s pure freestyle beat juggling improvisation using a new instrument we'€™ve developed.'€

T.JONES: '€œWho are some artists you would like to collaborate with in the future?'€
MATT BLACK: '€œI'€™d quite like to do a track with M.I.A. She'€™s wicked. I'€™d like to do a track with George Clinton whilst he'€™s still around.'€

T.JONES: '€œWhere were you during September 11th terrorist attack? How did you deal with it?'€
MATT BLACK: '€œWe were on tour in the Balkans. In fact, we'€™d just left Mostar having done a show there, with 20 people and a 40Kw sound system. If there was going to be an outbreak of war, we felt we were well placed to survive having already adopted a nomadic lifestyle.'€

T.JONES: '€œDeath penalty '€“ for or against?'€
MATT BLACK: '€œI'€™m against. But I don'€™t think that murderers should be released after a few years for good behavior. Life, in some cases, should mean that convicts are not released.'€

T.JONES: '€œAbortion '€“ pro-choice or pro-life?'€
MATT BLACK: '€œI can'€™t see such a crucial question identified by these two polarities. It'€™s more complex than that. Each case is individual.'€

T.JONES: '€œWhat has been in your CD player or on your tape deck recently?'€
MATT BLACK: '€œI'€™m getting into the Temperance Seven at the moment, who were a bunch of art school students in the 60'€™s. My parents used to play them and I'€™ve recently rediscovered them. They'€™re absolutely stinging! They'€™re like us, man, four white guys who fell in love with Black music. In their case, 20'€™s and 30'€™s New Orleans jazz. It'€™s so witty. The musicianship is excellent. I'€™ve been learning the Charleston, with my girlfriend, over Christmas.'€

T.JONES: '€œWord association. I am going to say an emcee or name of a group and you tell me the first word that pops in your head. So, if I say '€˜The Beatles'€™, you may say '€˜Revolution'€™ or '€˜Lennon'€™. Ok?'€

T.JONES: '€œMassive Attack.'€
MATT BLACK: '€œHeavy.'€

T.JONES: '€œTrisomie 21.'€
MATT BLACK: '€œUnknown.'€

T.JONES: '€œThe Stone Roses.'€
MATT BLACK: '€œFlowers.'€

T.JONES: '€œMorrissey.'€
MATT BLACK: '€œShoes.'€

T.JONES: '€œSlowdive.'€
MATT BLACK: '€œCarpet.'€

T.JONES: '€œThe Fall.'€
MATT BLACK: '€œTrue Grime (laughing).'€

T.JONES: '€œThe New Fast Automatic Daffodils.'€
MATT BLACK: '€œOld.'€

T.JONES: '€œMy Bloody Valentine.'€
MATT BLACK: '€œPark.'€

T.JONES: '€œThe House Of Love.'€
MATT BLACK: '€œNonsense.'€

T.JONES: '€œMomus.'€
MATT BLACK: '€œOne brown dried leaf.'€

T.JONES: '€œFelt.'€
MATT BLACK: '€œSvelte.'€

T.JONES: '€œThe Wolfgang Press.'€
MATT BLACK: '€œI am not a computer.'€

T.JONES: '€œCocteau Twins.'€
MATT BLACK: '€œLush.'€

T.JONES: '€œThe Dandy Warhols.'€
MATT BLACK: '€œA copy.'€

T.JONES: '€œPsychic T.V.'€
MATT BLACK: '€œSoftwarmgood.'€

T.JONES: '€œRenegade Soundwave.'€
MATT BLACK: '€œBass.'€

T.JONES: '€œNew Order.'€
MATT BLACK: '€œNew York circa 1979.'€

T.JONES: '€œMeat Beat Manifesto.'€
MATT BLACK: '€œDangerous Tones.'€

T.JONES: '€œGeorge Bush.'€
MATT BLACK: '€œPlaying the role that has been prepared for him by his handlers.'€

T.JONES: '€œMargaret Thatcher.'€
MATT BLACK: '€œPeople should be numbers in a state computer.'€

T.JONES: '€œWhat do you think of the U.S. involvement in the Middle East?'€
MATT BLACK: '€œUS involvement in the Middle East has many unfortunate, clumsy aspects, but I wouldn'€™t know how to fix it. I admire aspects of American culture immensely, but the way it is painting itself as the 4th Reich is pretty upsetting.'€

T.JONES: '€œWho came up with the name Coldcut? Is there a deeper meaning?'€
MATT BLACK: '€œI came up with the name. Hip-hop DJ-ing is about cutting records, hence the term '€˜cut'€™. '€˜Cold'€™ is cool. So, '€˜Coldcut'€™.'€

T.JONES: '€œWhat is music lacking these days?'€
MATT BLACK: '€œCowbell.'€

T.JONES: '€œWhat is next for Coldcut?'€
MATT BLACK: '€œGigs, Gigs, Gigs! Party, party, party! We'€™ve got about 30 or 40 gigs in the tour. That'€™s going to be a hard grind, but we love it. We'€™re going to do Europe, Japan, the States, and even Chile this time, I think.'€

T.JONES: '€œFinal words?'€
MATT BLACK: '€œThanks!'€

Thank you MATT BLACK!!!

Interview by Todd E. Jones aka New Jeru Poet

NOTICE: This interview is property of Todd E. Jones and cannot be duplicated or posted without written permission.

Coldcut: http://www.coldcut.net/coldcut/
Coldcut Myspace page: http://www.myspace.com/coldcut
Ninja Tune: http://www.ninjatune.net

'€œEverything Is Under Control'€ eFlyer

Listen to streamed tracks of the whole album:

'€œMan In The Garage'€ '€“ COLDCUT (f/ John Matthias)
Continue Reading...

Thanks to:

Blogger, Google and of course Jermy Leeuwis.

Flickr Photostream