Fierce Panda: Please Look After This Bear


On 24 February 2017 Fierce Panda records turn 23 years old. To celebrate this mildly momentous occasion they have produced a very special donation compilation called Please Look After This Bear which features the contemporary likes of Desperate Journalist, ALMA, Fake Laugh, Pile, and Surfer Blood. It’s called a donation compilation because you can literally pay-you-want for music-you-may-love; you can find the album here.

Because the artwork theme is cribbed from Paddington Bear, we thought it was high time Fierce Panda listed its favourite bear-themed songs of all time, and here is that list.

The Jesus & Marychain – ‘Just Like Honey’

Classic lowslung indie psychrock balladry ahoy. Famously soundtracked the closing scene of Lost In Translation starring Scarlett Johansson and Bill Murray, who by some mental coincidence played Baloo in ‘The Jungle Book’ reboot in 2016.

Baloo & Friends – ‘Bare Necessities’

Boisterous Disney classic from the Jungle Book circa 1967, so no Bill Murray. Back then, in more innocent Disney times, the creators barely / bearly get a credit. Nowadays the ‘Bare Necessities’ song would be credited to Baloo Ft Mowgli & Shere Khan & Dua Lipa or somesuch.

Zooey Deschanel & M Ward – ‘Winnie The Pooh’

In which filmic indie dreamboats reworked another Disney classic for the 2011 cinematic opus. Only Death Cab For Cutie writing a paean to Paddington himself could come close on the cute-ometer. Best online comment: "Better than the Carly Simon version." Indeed.

Prefab Sprout – ‘Couldn’t Bear To Be Special’

Spectacularly weepy intellectual introspection from the ever-ace Swoon album. Possibly a bit obtuse for this list, but does make lyrical reference to "The shiver of the fur", which is good enough for us.

Guillemots – ‘Little Bear’

Spectacularly weepy opening gambit from Guillemots’ debut in 2006. Rather excellently, Fyfe Dangerfield’s previous combo Senseless Prayer supported some bunch of chancers called Coldplay at their Fierce Panda single launch at the Bull & Gate in April 1999.

Bobby Goldsboro – ‘Honey’

Weeping balladry from country pop stalwart. Worth seeing the video alone for the ‘honey’ tone of Bobby G’s tan. The biggest-selling record in the world in 1968. Allegedly.

Grizzly Bear – ‘Two Weeks’

Sweepingly fragrant pop opus bolstered by The Beach Boys and backed by half of Beach House. Worth remembering for the monumentally creepy church-based video, if nothing else.

Help! It’s The Hair Bear Bunch! (Theme Song)

Hanna-Barbera classic which ran from ’71-’72 before being cancelled, possibly because someone important twigged that the fizzingly hyperactive theme tune was the best thing about the remedial zoo-related show.

Panda Bear – ‘Boys Latin’

Splendidly hypnotic electropop hahaha "panderings" from the boy Noah. Obvious props as well for sterling services in the Animal Collective.

The Crookes – ‘Honey’

Stomping New Pop glory from Sheffield’s finest indie funbags. This is actually the only Fierce Panda release on the list because it appeared as a bee-side of their ‘Afterglow’ single.

Yep, the bee-side.

The Please Look After This Bear compilation is out now, and can be purchased here. For more information on the label, including upcoming release and events, please visit their official website.


Fleet Footed: DiS Meets Neon Dance


Earlier this month FLOAT, a new London-based label for music, events, and lifestyle announced a Piano Day event at the majestic Union Chapel in Islington.

FLOAT’s theme this year is ‘collaboration’ – putting the spotlight on the piano and highlighting the numerous ways it can be used in performance. Headlining the night will be Norwegian Jazz artist Bugge Wesseltoft, playing an improvised set on piano, Rhodes, and synths. London grime MC Trim and pianist Matthew Bourne will be reworking material especially for this event, followed by an exciting debut performance from piano and electronics duo Dead Light. Berlin-based drummer and percussionist Andrea Belfi will be joining artists throughout the evening. Additionally, Neon Dance’s Frankie J will be improvising a mix of contemporary-urban dance sequences to selections of piano music.

Drowned in Sound are proud media partners for this event, and over the course of the coming weeks will be interviewing the artists to learn more about their involvement with Piano Day and what they’ll be bringing to the Union Chapel next month.

First in the series is Adrienne Hart from cross-media dance company Neon Dance.

DiS: For those who don’t know, could you briefly describe what Neon Dance is?

Adrienne Hart: Neon Dance has been going for over ten years now and at the core of the company for me is collaboration, so the idea is that I bring together a group of artists from different disciplines and we produce something that we can’t create alone.

What really excites me about Piano Day is that Sofia (of FLOAT) is from a completely different field and through two seemingly very separate worlds, we’re able to offer something quite different to an audience.

How did you feel initially about being asked to be involved?

Well, I was really sold from the word ‘Go’. Mainly because of FLOAT and Sofia. Up until now Piano Day has had quite small shows but FLOAT’s will be on a larger scale and has an exciting concept, so yeah at first if it was anyone else I would be a bit apprehensive, but because it’s Sofia saying ‘Let’s do this’, I was like ‘Yes of course!’ And I think with FLOAT it’s about looking sideways, in a way.

How has the collaboration for Piano Day developed?

At first, we were thinking contemporary dance – that’s very much what we’re known for. But then it just seemed a bit obvious. We then thought that Frankie J, an artist that I’ve worked with in the past, would be ideal. He’s definitely going to add a different energy, a different element, to the whole evening, and hopefully, offer something that audiences wouldn’t necessarily expect from a music event.

How did you get to know Frankie J?

We’ve known one another for a long time. I’ve done a lot of work at a dance organisation called Swindon Dance and I spotted him as a youth dancer. He was still training, and there was something about him, and his focus and his determination, and he was one of the hardest working dancers that I could see in his cohort.

He was studying urban dance at that time but went on to go to a dance conservatoire for contemporary dance, so he graduated as a contemporary dancer but went back to his roots as an urban dancer. He then went all over the world doing competitions, as a house dancer – that’s what he’s become known for. A while later Neon Dance was invited by Pioneer to do something out in Ibiza, and there I worked with Frankie for the first time in a professional setting. It was a risky and difficult environment, but he still engaged the audience. And since going through that I’ve wanted to work with him again.

Frankie J

What’s your specific involvement with Piano Day?

In a way, I have a certain relationship with Piano Day. Neon Dance commissioned Nils Frahm and Anna Müller to create a score for us a few years back (2012), around that time Nils was developing with others this idea of Piano Day, so I guess I’ve been following that journey with them. At first Sofia and I were talking about making it extremely choreographed and fixed in stone, but you realise that it would be way more interesting to offer something that’s more fluid, so there are these exciting sets from the musicians throughout the night, but then there’s Frankie who is able to produce many different dance styles and react in the moment. It will be improvised but I will be giving some directions on the night.

I guess this format is slightly different to the usual dance show in that they’ll be in between the music performances, so they’ll almost be little snippets or scenes of short dance sequences. Is that quite different to doing longer shows?

Yeah certainly from my world in the theatre, it’s quite unusual, although lighting the whole night will be Stuart Bailes, who’s a long-time collaborator, so I’m confident in his ability to light things in a way where the audience feel if they need to go grab a tea or a beer, or go to the toilet, they can do, while equally there’s enough focus there to really tap into Frankie’s energy and performance.

I think from Frankie’s point of view and why he’s so ideal is that house dance, which came out of New York and Chicago, is something that’s come from the streets as opposed to the club scene for example, so I think he’ll be more attuned to a crowd that might want to chat and have moments of being really engaged, and others where they might be aware of this dancer over there but not fully in there.

So what are your thoughts about this happening in Union Chapel?

I love that space. One of my first performances was in the Union Chapel, and I have fond memories of it. I’ve also seen a lot of shows there – all very different. I think it’s a beautiful space, and people that go there have a certain respect for the space, partly due to the fact that there’s not a full-on bar in the main room where the performances are, which changes the vibe in that building. There’s also an attentiveness in general from my personal experience as an audience member, so I think it’s a perfect fit and I’m really looking forward to seeing how Stuart works that space.

For more information and tickets for Piano Day, please visit the Float website.


Horace, Leon and Frank


Horace Parlan (1931-2017),
a hard bop pianist who overcame a polio-stricken right hand to become one of the finest trio and solo pianists of his generation, died in Denmark on Feb. 23. He was 86 and had been ill for some time. I recently posted about Parlan here and here. Among Parlan’s finest group recordings are the albums he recorded with Stanley Turrentine and Dexter Gordon. In tribute to Parlan, here’s Gordon’s Society Red, with Dexter Gordon (ts), Freddie Hubbard (tp), Horace Parlan (p), George Tucker (b) and Al Harewood (d). Be sure to dig how Parlan voices his chords behind Gordon and Hubbard and how he builds his gospel-jazz piano solo…


Leon Ware (1940-2017),
a sensual-soul singer-songwriter who was perhaps best known for producing Marvin Gaye’s I Want You (1976) album and co-writing the title song, died on Feb. 23. He was 77. To read my two-part interview with Leon in 2009, go here and here. Here’s Leon singing I Want You in 2001…

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In The Wall Street Journal this week,
I interviewed restaurateur and celebrity chef Tom Colicchio of Top Chef fame (go here). Tom grew up in Elizabeth, N.J., and talked about how he started cooking, the meaning of fresh food in his old neighborhood and about the blueberry pie that got away.


Also in the WSJ,
I interviewed comedian and impressionist Rich Little on Frank Sinatra’s You and Me, from his Trilogy album in 1980 (go here). As Little notes, no matter how close you were to the Chairman, if he did you a favor, you were even and you were never as close again. Here’s the song, by Carole Bayer Sager and Peter Allen…

More Larry Coryell. A special thanks to Jimi Mentis for sending along this clip of the late Larry Coryell at Yoshi’s in Oakland, Calif., in 2013…


And speaking of Larry Coryell,
Chris Cowles, who hosts jazz and R&B shows on radio station WRTC-FM in Hartford, Ct., sent along this link to his fabulous three-hour Coryell tribute show (with some Blue Mitchell mixed in). Here are the tracks in case you want to buy them:

Hour 1

The Great Escape — Larry Coryell

Are You Too Clever — Larry Coryell

Yin — The Eleventh House

The Jam With Albert — Larry Coryell

For Mod’s Only — Chico Hamilton

Gen. Mojo’s Well Laid Plan — Gary Burton

Elementary Guitar Solo No. 5 — Larry Coryell

After Later — Larry Coryell

Hour 2

Gypsy Queen — Larry Coryell

Witchitai-to — Jim Pepper

Stiff Neck — Larry Coryell

Cleo’s Mood — Larry Coryell

Things Go Wrong — John Mayall

Yeah Ya Right — Blue Mitchell

Blue On Blue — Blue Mitchell

Blue Caper — David Newman

Hour 3

The Windjammer — Grant Green

Got To Be This Way — John Mayall

Who Done It — Blue Mitchell

Flat Backing — Blue Mitchell

Driving Till The Break Of Day — John Mayall

Dodge City — Sonny Red

Worried Mind — John Mayall

Everybody Wants My Good Thing — Papa John Creech

Sitting Here Thinking — John Mayall

Low-Lee-Tah — Eleventh House

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Terry Teachout.
In reading Terry’s Facebook page, I saw that he referenced this dance sequence for I Ain’t Hep to That Step But I’ll Dig It, featuring Fred Astaire and Paulette Goddard in Second Chorus (1940), backed by Artie Shaw’s orchestra…

What the heck. Speaking of Shaw, here’s the band backing Dick Haymes singing Count Every Star in 1950…

Here’s the version you’re probably more familiar with, the 1950 B-side version by the Ravens…

And here’s the first recording of the song in 1950 by Ray Anthony, with an Adios riff motif and a Glenn Miller Orchestra reed voicing. Dick Noel is the vocalist…

Oddball album cover of the week.


In Germany, where this 1960s album is from, Hammond consoles apparently doubled as phones.

Frank Ocean’s Radio Hits Are Not Like Other Radio Hits

“It’s not essential for me to have big radio records,” Frank Ocean told The New York Times last fall. But that doesn’t mean he’s necessarily against the idea, or incapable of pulling it off; remember, this a guy who came up writing songs for Justin Bieber. He just wants to do it his way, to employ what he’s called “the luxury of choice.” So it goes on “Slide,” produced by Billboard fave Calvin Harris and featuring two thirds of the most popular rap group in America right now. If this isn’t a big radio record, the radio as it currently exists should probably cease to be.

Things start off breezy enough, with Harris dialing down his jackhammer house throb for sleek California funk. At first blush, it could be a Daft Punk song, or a Katy Perry song. But then Frank Ocean starts singing, and “Slide” becomes nothing but a Frank Ocean song. His deadpan instantly adds shade and nuance to the dayglo surroundings, suggesting a weariness big pop rarely allows. The effect is magnetic and a little startling, like Jeff Tweedy rasping over a Dr. Dre beat. Frank’s infatuation with all things blurred and melancholy remains, with clarity only coming when it’s too late. Migos’ Quavo and Offset, known for twisting tongues over dank trap, come off like a winning insurance plan as they adapt to this more traditional pop showcase with ease. They can’t match Frank’s subtle radicalism, though. At this point, nobody can.

9 Songs Showcasing Leon Ware’s Incomparable Soul Touch

9 Songs Showcasing Leon Ware’s Incomparable Soul Touch

“Incantations delivered in weightless, improvisatory vocals above undulating grooves; they’re entreaties of yearning and devotion… a preacher of sensuality in his pulpit.” So esteemed a New York Times concert review of Leon Ware from back in 2008, some 40 years into his career. With the news of Ware’s passing yesterday, you’d be forgiven for thinking that you have never heard Ware’s music. Despite 12 solo albums released over the course of his career, Ware never quite landed the R&B hit that he so graciously bestowed upon others. Only the rustling silk sheets of 1979’s Inside Is Love reached the lower echelons of the R&B charts—which is a shame, since songs like “Rockin’ You Eternally” and “Why I Came to California” and the 1976 album Musical Massage are exquisite in their own right.

Ware’s subject matter often centered around boudoir whispers, so it made sense that he moved at his smoothest when in the shadow darkness. Or as he put it a few years ago on the occasion of having his 1982 self-titled LP reissued by Be With Records: “I wear the bed. I’m one of the Soldiers of Love.” His moves manifested in the likes of Quincy Jones, Maxwell, Isaac Hayes, Donny Hathaway, Nancy Wilson, Ike and Tina Turner, Bobby Womack, Marcus Valle, and most famously, Marvin Gaye. His way with expressing the communion of love transcended language, with his songs perhaps even more popular and revered in Brazil and Italy.

Born and reared in Detroit, Ware’s career started as a songwriter at the local hit factory, Motown Records. By 1967, he had credits on songs from the Isley Brothers, Martha & the Vandellas, the Jackson 5 and soon after, Michael Jackson on his debut. But it was when Motown’s Berry Gordy was trying to convince his biggest star, Marvin Gaye, to come out of a recording sabbatical that Ware finally had his moment. As Ware told Jason King on the anniversary of Marvin Gaye’s sensual classic I Want You, Gaye loved a song that Ware had penned for Jackson (“I Wanna Be Where You Are”) and during a session at his home, Ware put on a demo of his unreleased duets with Minnie Ripperton. “Marvin walked towards his bedroom, turned around, looked at me, and said, ‘If you give me that album, I’ll do the whole thing,’” Ware remembered.

The result was Gaye’s lover-man comeback, I Want You, as libidinous an R&B album as has ever been laid to tape. The dynamic between Ware and Gaye carried over to the unspoken language that lovers use at their most intimate. “Being two men sincerely dedicated to sensuality, that was all we ever discussed,” Ware said. “All that happened on that project was so innate, so natural. It deserves to be timeless. The aroma that anybody gets from it is real, and you should be feeling it.”

Here are nine other stunning works in which Ware made his mark in service of his collaborators.

“Got to Have You Back,” Isley Brothers (1967)

One of Ware’s earliest co-writing credits was on this primitive Isley Brothers cut, when they were still masters of shouted soul. This song, powered by Funk Brothers drums and a blast of fuzz guitar, finds the Isleys freshly wounded in their hearts, pleading for a lost love.

“I Wanna Be Where You Are,” Michael Jackson (1972)

Ware’s breakthrough song gave then-13-year-old Michael Jackson his third straight solo Top 40 hit and reached No. 2 on the R&B charts. An elegant bit of baroque pop that somehow folds in harpsichord, orchestra, flutes, and wah-wah guitar, the song has been covered by the likes of Beyoncé, Zulema (who had a disco hit with it), Marvin Gaye, Dusty Springfield, Jose Feliciano, the Fugees, and SWV with Missy Elliott.

“Body Heat,” Quincy Jones (1974)

After hearing his work for Donny Hathaway and the Miracles, Quincy Jones tapped Ware as vocalist and songwriter for his slinking 1974 album, Body Heat. On the steamy title track, Ware and an array of vocalists (including Al Jarreau and Minnie Riperton) raise the temperature with their harmonies, against a backdrop of heartbeat drums, softcore wah-wah guitar, and the arcing cry of an ARP from Billy Preston and Herbie Hancock.

“The Junkies,” Coleridge-Taylor Perkinson (1974)

In a rare soundtrack appearance by Ware, his voice appears on five tracks from renowned African-American composer Coleridge-Taylor Perkinson’s score for The Education of Sonny Carson, a doc about the civil rights activist and community organizer. On this two-minute track, Ware lends his delicate high register, where it mingles with the string section and flute to sublime effect. One can hear how that intermingling of falsetto, synthesizer whinny, and supple strings would inform Ware’s work on I Want You a few years later.

“Inside My Love,” Minnie Riperton (1975)

In an alternate universe, the duo of Ware and Riperton would be as revered as that of Gaye with Tami Terrell. The two met while working on Jones’s album and the next year, Ware wrote this R&B hit for Riperton. On the surface the song scans as a lascivious paean to sex, with a chorus asking in an ever-escalating register: “Will you come inside me? Do you want to ride inside my love?” Tellingly, Ware attests that the lines were actually inspired by a preacher from his childhood bellowing the phrase, “Let us come into the house of the Lord.” The sacred and profane were one to Ware, though; “I’m a sensual minster, here to remind you all to make sex your principal religion,” he once quipped.

“The Voodoo Lady,” Lara Saint Paul (1977)

Italian-Eritrean singer Lara Saint Paul has had a long and storied career; her Wikipedia page alone features photos of her alongside Hillary Clinton, Luciano Pavarotti, and Quincy Jones. Starting in the early ’70s, she recorded with Jones and performed with the likes of Ray Charles, Louis Armstrong, and Stevie Wonder. In 1977, Saint Paul came out to Los Angeles, where Ware produced this Afrobeat-flavored album with help from the Pointer Sisters, Ray Parker Jr., and James Gadson. This epic track features trills from Saint Paul and flutes that trek into spacey disco territory, to sweaty success.

“Mystery Dancer,” Shadow (1980)

Featuring three members of Ohio Players, Shadow never attained the successes of their former group. For their second album, they brought on Ware to write, arrange, and produce. With sweet three-part harmonies, this disco-kissed soul-jazz track might not have become a hit, but it showed off Ware’s ability to blend elegant orchestrations with body-moving grooves.

“Estrelar,” Marcos Valle (1983)

In the late ’70s, Brazilian MPB star Marcus Valle wearied of life under the military dictatorship of his country and briefly relocated to L.A. He soon found himself working with Ware on the two albums he made for Elektra in the early ’80s. And while Ware didn’t land a hit from their collaboration, upon Valle’s return to Brazil, he had his biggest hit with “Estrelar.” Co-written with Ware, it’s a dazzling boogie number dedicated to the joys of working out.

“Sumthin’ Sumthin’,” Maxwell (1995)

On Maxwell’s debut, Urban Hang Suite, the neo-soul star conceived of a concept album detailing a single love affair, from first contact through conclusion. If that overarching narrative brings to mind Gaye and Ware’s I Want You, it’s no coincidence, as Ware was a close collaborator with Maxwell on the album and garnered a songwriting credit on this hit.

News Round-Up: 24/02/17

The secrets of Aphex Twin’s visual identity revealed. Ableton release new Beat Tools. Huge new club set to open in Birmingham.
Aphex art. Ever wondered about how the visual identity of this cult producer came to be? Well Paul Nicholson, the man who created his logos and fonts, has revealed some inner workings over on his Instagram.
Welcome Scru Club. March will see a former 19th-century screw factory in Birmingham be converted into a 1000, then 1500, then 4000-capacity club in three stages over spring and summer. Void Acoustics are providing the sound system, the club promises a huge outdoor terrace and bass, dubstep, D&B then house and techno will be represented on Friday and Saturdays respectively. Read here for more.
New toolkit from Ableton. Push and Live 9 Suite now comes with Beat Tools, which features drum kits, loops, effects and instruments to help with hands-on music creation. For info on how existing customers can get it, and to see the kit in action, check here.
Blocs and Launchpad link up. The new Blocs Export feature allows Blocs Wave creations to be sent straight to Launchpad so you can create and remix music anywhere, on any of your devices. It’s a free update, and is demonstrated in this video.
Intro pricing ending soon on UVI’s Korg PS-3200 tribute. UVS-3200 is priced at €49 until March 1st, at which point the price ramps up to €79. Find out more here.

News Round-Up: 24/02/17

The secrets of Aphex Twin’s visual identity revealed. Ableton release new Beat Tools. Huge new club set to open in Birmingham.
Aphex art. Ever wondered about how the visual identity of this cult producer came to be? Well Paul Nicholson, the man who created his logos and fonts, has revealed some inner workings over on his Instagram.
Welcome Scru Club. March will see a former 19th-century screw factory in Birmingham be converted into a 1000, then 1500, then 4000-capacity club in three stages over spring and summer. Void Acoustics are providing the sound system, the club promises a huge outdoor terrace and bass, dubstep, D&B then house and techno will be represented on Friday and Saturdays respectively. Read here for more.
New toolkit from Ableton. Push and Live 9 Suite now comes with Beat Tools, which features drum kits, loops, effects and instruments to help with hands-on music creation. For info on how existing customers can get it, and to see the kit in action, check here.
Blocs and Launchpad link up. The new Blocs Export feature allows Blocs Wave creations to be sent straight to Launchpad so you can create and remix music anywhere, on any of your devices. It’s a free update, and is demonstrated in this video.
Intro pricing ending soon on UVI’s Korg PS-3200 tribute. UVS-3200 is priced at €49 until March 1st, at which point the price ramps up to €79. Find out more here.

Song of the Day: Lita-Ruta (Shugo Tokumaru)


Shugo Tokumaru has done it again. While he is certainly no novice at mixing and cutting unrelated pieces of sound into a cohesive whole, this one takes the cake up to Everest. Each second that you waste on predicting its direction is one second less spent appreciating its wonderful, irregular tempo and tonality. Multiple streams of variations staggers amongst unexpected accompaniment and support vocal. For all his whimsy, Tokumaru has always managed to sound triumphal. Here, the main vocal is suitably joyous but there’s just a hint of insouciance. Yes, he probably doesn’t give a damn whether we understand his vision of the musical cubist equivalent. It might as well have been in Japanese – it wouldn’t dampen the spirits anyways.

The post Song of the Day: Lita-Ruta (Shugo Tokumaru) appeared first on The Panic Manual.

Blursome Shares the Stories Behind Her Hotflush Debut, Rendition of You

When Lara Wehbie (a.k.a. Blursome) shared a stack of influences in a Hyponik feature earlier this week, she might as well have been hitting random on our hard drive. From Burial to Blawan, Andy Stott to Colin Stetson, the story features 11 shades of mood-stabilizing music.

Or as Wehbie put it, “The artists that I’ve included below have influenced my sound because I would listen to them when I had my darkest times, and they brought me out of my depression—a therapy…. Inspiring me to form my sound and release me from being trapped in my mind.”

Bask in Rendition of You’s black-lit beats and sharp avant-pop angles below, along with a complete track-by-track breakdown by the Brooklyn-based producer….

In the recent year, I’ve found myself able to open up about my demons and not feel self-conscious of my internal struggles with bipolar disorder and depression. This track embodies how I’ve come to love and open up comfortably. I’ve found a person who doesn’t feel judged; I can finally be my true self and not the entity I swallowed.

About four years ago, I found myself in a dark place with the end of a close friendship. This song’s about how the end of a friendship is harder than the end of a romantic one. It’s basically ending ties with a family member—someone you never pictured out of your life. Yet it’s natural for people to grow apart. None of us are the same individual we once were; we evolve. Sometimes even into something we hate. It’s difficult to watch a bond deteriorate right in front of you. We all live in different realities regardless of how we measure our similarities.

This track is about letting go and understanding that external factors play a role in love. Sometimes you have to let go in order for the possibility of love to grow and strengthen. Pressure is the worst thing one could do in order to form love; patience will take you far.

I was living in Los Angeles about a year ago. I moved out there to experience a whole new reality. This track wasn’t created until the end of my time in Los Angeles. During that time I became a recluse and did not go out that often. I found myself creating more music—a different style—and finding out more about myself. This track is about loving yourself and how important self-worth encompasses your wellbeing.

One of my favorite books—Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami—has a quote I believe perfectly describes how one’s desires come true: “The human heart is like a night bird. Silently waiting for something, and when the time comes, it flies straight towards it.”

When an opportunity arises that you never believe could have been touched…. It would be self-deprecating to watch it disappear before your eyes .

I created this track after a nightmare I had one night. To this day I can’t even repeat what happened, but it has stuck with me ever since then. The nightmare recurred for months until recently and I believe that it is a testament to how I’ve separated myself from my demons.

The post Blursome Shares the Stories Behind Her Hotflush Debut, Rendition of You appeared first on self-titled.

New Music: Alice Jemima – No Diggity (Video)

When Alice Jemima first started actively uploading music to the internet, alongside the plethora of original material, she would regularly record cover versions in her own style. Most (possibly all) of them featured on Breaking More Waves at some point. From Alt-J to Lana Del Rey to Raleigh Ritchie to lesser known bands like Strangers, Alice put her own unique stamp on them all. The biggest success both commercially and creatively of those covers was her take on No Diggity, which I believe she almost took down from the internet after its initial release because she had second thoughts about its quality.

Millions of streams later, it’s clear that in this particular case Alice was wrong, and the song will be featuring on her debut album, through Sunday Best, which is just around the corner. To remind us all that it’s coming there’s now an official video for the tune.

Watch some roller skating dudes do their thing to Alice’s sensual chilled recording – with a brief appearance by the lady herself at the end.

Alice Jemima hits the road for a short tour to promote her forthcoming album, starting at Glasgow’s Hug & Pint on the 3rd March and finishing at London’s Lexington on the 6th before she heads out to play some shows at SXSW in Austin Texas.

Alice Jemima – No Diggity (Video)