Warm Heart of Africa: the alternative World Cup podcast

To write 'Recently I've been digging music from Mali' feels so pretentious and old... 'Watch out, he's exploring world music.' Dude must be getting deep into his 30s and frustrated with his diet of white-guy indie rock like Wilco, The Hold Steady and TV on the Radio.

But what with everyone else cashing in on the World Cup, why can't I? If a Colombian can make a theme for Africa then I will too. So to get Shakira's kaka cover of a Fozzy Bear tune (get it - 'waka waka') out of your head and stop the swarming hum of the Vuvuzela, listen to my Warm Heart of Africa podcast. Warm heart of africa by colinrdelaney

Track listing
1. The jagged Sahara desert blues of Tinariwen is heady psychedelia. I caught the nomads at the Paradiso last year and it was worth skipping out of a Yo La Tengo show and crossing town for. More recently they appeared at the World Cup opening ceremony. Wikipedia has it that leader Ibrahim Ag Alhabib made his own guitar out of a tin can, a stick and a bicycle brake wire not long after seeing his father killed in the 1963 Mali uprising. This tune is 'Ahimana' from 2007's Aman Iman.

2. From Damon Albarn's 2002 Mali Music project that featured Afel Bocoum, Toumani Diabaté & their mates, 'Le Hogon' is a more chilled affair, a laissez faire jam session in the dusty sunset of numerous towns throughout Mali that Albarn and friends visited.

3. If there were a God and he had a voice it would be Ladysmith Black Mambazo belting out the South African style of a cappella, called Isicathamiya, across the clouds. They're teamed here famously with Paul Simon from his album Graceland. 'Diamonds on the Soles of her Shoes', an African expression similar to 'filthy rich', opens with Ladysmith's mesmerising harmonies, followed by Simon's idiosyncratic lyricism to weave a beautiful two-worlds tale like a global version of Billy Joel's 'Uptown Girl'. And when the horns kick and the bass pops to make you move, man, it's magic.

4. Vampire Weekend seemed like an obvious choice to mix with Simon, having appropriated and modernised from him generously. 'Horchata' has only grown on me since adding this song - the heavy drums coupled with the unflappable glockenspiel (possibly xylophone?) feels like the two sides of Africa, the hard and the playful.

5. On their opening track 'Suprise Hotel' of the self-titled album, Los Angeles' Fool's Gold play a similar jangly indie mixed with twangy guitar and Afrobeat but couple it with gutteral Hebrew lyrics over top - a delicious melting pot of rock. (Followed on their album by 'Nadine' which brings elements of Tinawiren's staccato desert groove - the whole album is great value. They're touring Europe this summer).

6. 'Tonight's Today' hand claps, chants and choir feels like Jack Penate has matured since rambunctious 'Torn on the Platform'. I'm surprised I haven't heard the vibrant live-in-the-moment, party song in the BBC's wrap-up package from Match of the Day, but then maybe they're waiting for England to actually win. ZING!

7. On The Clash's 1980 record Sandanista they tried pretty much every genre, for the most part succeeding. 'Let's Go Crazy' keeps Penate's London party thriving with the Afro-cuban rhythms, kettle drums, the whistles and Joe's dare - 'So you wanna go crazy'. The guy at the beginning I imagine is at the Notting Hill Carnival but could well be speaking about the World Cup Carnival. He gets his chance at the end of the podcast too.

8. Possibly the hardest band name to search for online, The Very Best from London/Sweden/Africa, lend their song to the podcast name 'Warm Heart of Africa'. Ezra of Vampire Weekend collabs here on vocals for what could be the coach's song of the World Cup - 'When the boys move fast, you should take it slow, We all need someone to tell us when to go.' The choir harmonies and infectious rhythm definitely sum up the warm heart of African music, feel good hit of the summer.

9. I first saw Mali's Amaduo and Mariam supporting Blur in Hyde Park last year. They are an amazing married blind couple (in music and life) who blew the crowd away with up tempo Afrobeat syncopation, funk rhythms and shredding surf/garage guitar, shredding since the 80s too. As 'the original east coast/west coast collaboration' they're joined by Senegalese rapper K'naan on 'Africa', a simple love song to the continent.

10. From the Australian radio station, Triple J's Unearthed initiative is Jinja Safari out of Sydney. 'Peter Pan', with an Indian zitar up front and a Afro-back-beat is an ethereal trip, like Ravi Shankar and the Beta Band on an African savannah safari. I look forward to hearing more from them.

11. Underneath Jinja Safari, and playing out the podcast is again, Ladysmith Black Mambazo again with the a cappella 'Music Knows No Boundaries'. Haunting and emotive, their collective voice is so affecting.

12. I let our preacher man-come-record & clothes salesman from The Clash's 'Let's Go Crazy' say a few words at the end: 'We don't want no war at the carnival today - all we want is peace, love and happiness.'

It's a shame there are still so many boundaries today. I'm not sure if the World Cup accentuates boundaries and borders or helps to bring them down. Nevertheless it was a thrill to see an unexpected North Korea give Brazil a real run for the football poster-boys' money (let's ignore Portugal and that amazing Ronaldo goal).

Anyway, some analogy about music, sport and the 'level playing field of life'. Enjoy the podcast.

Taylor Hawkins and the Coattail Riders

Failed drummer Colin Delaney spoke to one of the most exciting drummers today, Taylor Hawkins of Foo Fighters, about singing in his new band, playing with Dave and wearing Britney Spears mics.

From: TNT Downunder

The name Taylor Hawkins may not jump at you straight away but if I say the Foo Fighters’ drummer you should be picturing a blonde-haired, wild-limbed drummer that’s always pinching the microphone from Dave Grohl in interviews. Now, he’s grabbed the mic for good with his side project Taylor Hawkins & the Coattail Riders.

You recorded this album quite quickly. Does that make it more fun?

I think a lot of the best music comes quickly. Sometimes if it's been too laboured over it sounds like it’s been laboured over. That’s not always the case. I think there have been a lot of great recordings that took a long time to do, 'cos they were real studio-type things. You know ‘Good Vibrations’ took a real long time to do. Because this is my first album with my own songs I think it’s important to get the quick energy. No point trying to do Sergeant Pepper’s the first time around.

You obviously played drums and sang on the album. I’m a drummer, a poor one, but I am. What is it with drummers wanting all the limelight?

I don’t know if I want the limelight necessarily. I like to write songs to hear what they sound like after they’ve been recorded and played live. I don’t go out front and sing these songs, I’m behind the drum kit whenever we do play live. I’m not looking for more fame, I just like to play and do something creative. I don’t think this album is gunna make me more famous.

You mean we’re not about to see you become the next Tommy Lee and have your ego become bigger than your rock?

No. I think Tommy Lee is a really great rock ‘n’ roll drummer and I think people forget that, because he’s in the media for everything else other than his drumming. There’s no reality shows or sex tapes. I don’t see that in the future.

Did you have to change your aggressive drumming style to accommodate your singing?
Yeah, it changes a bit, otherwise I could never get my head next to a microphone. I tend to flail around a lot. I didn’t know until I saw it when I was a kid. I wasn’t conscious of it, I just love Keith Moon, Tommy Lee and those kind of drummers. Your body does it naturally to get the job done. I enjoy it. I play a little more controlled actually. I think I keep better time when I sing. I don’t know why. You’d know - you’re a drummer.

A drummer who tried to sing and failed.

Give it another shot. I thought I’d have to have one of those awful Britney Spears-type headset mics. I tried a couple but they just felt so stupid and they never worked so I said fuck it and used a mic stand.

Was it intimidating when you first started with the Foo Fighters to have Dave Grohl looking over your shoulder?
He's actually been very much ‘do your thing’, especially live, as long as I’m staying true to the thing. They’re pretty crafted drum-lines, so I always stuck to a programme to a certain degree. I feel like I got more intimidated from what other people would say. Well, he’s really nice, he’s really cool and we’re not that competitive. I think Dave is one of the best drummers ever in rock ‘n’ roll. I can’t be Dave. There’s no way, and I don’t try to be, I just try to be myself. There are definitely elements you pick up from just hanging around, trading licks, maybe he shows me a thing or two here and I show him a thing or two there. Dave was always pretty damn cool and wanted to make sure I felt okay about it. The only pressure was what I put on myself, for the most part. When we get in the studio he pretty much knows what he wants to hear from the get-go. He’s the songwriter and even if you’re not a drummer you’ve got an idea of how it should go. I think John Lennon had an idea in his head when he went to Ringo with ‘Come Together’. You’re a fucken drummer, you know. You’re basically there to support the songwriter.

And what would it take to get you to tour Australia?

Not much, we’re working on it man. We’ll sleep on people’s floors and play the bad bars.



Taylor Hawkins & the Coattail Riders is out now through Inertia.
August 16th, 2007

Phosphorescent in Amsterdam

Matthew Houck and friends, better known as Phosphorescent, are an alt-country/indie-folk/whathaveyou outfit originally from Athens Georgia, a town of great rock pedigree, now residing in Brooklyn. Prolific recording under the Phosphorescent moniker, Houck has cut five records since 2003 including the Willie Nelson tribute album, To Willie that brings to light just how dark the country star could be.

In his own right, Houck's latest, Here's To Taking It Easy is far more upbeat than 2007's equally brilliant, yet more melancholy Pride. Opener 'It's Hard To Be Humble' sets the tone with horns and honky tonk while 'I don't care if there's cursing' carries on that copacetic attitude of the album title - Phosphorescent are here for a good time, not a long time so if the beer runs out, well it ain't worth sticking 'round. 'The Mermaid Parade' is a dreamy slow roll 'n' sway named after the Coney Island festival while 'Heaven, Sittin Down' feels cut from the Willie writing book about a tiring but content life on the road.

However, 'Hej, Me I'm Light' shifts gear as a hypnotic, eerie and atmospheric track with a gospel sound and simple chorus that builds in intensity with mesmerising effect. Meanwhile final track 'Los Angeles' sprawls like the city in sluggish heat with slow heavy steps and slide guitar for a full eight minutes and feels like a modern-day western soundtrack.

In Amsterdam on a press day before returning again for show at Bitterzoet on 6 June, a few cowboy boots converged on scuzzy converse as Matthew and band stopped into the Subbacultcha headquarters. With cocktails in hand and a sun who came to the party occasionally, a small and lucky audience, a few which were cameramen, gathered on the building's rooftop, privy to a performance by Houck. While the rest of the band knocked back mojitos and strawberry dacquiris and chimed in occasional harmonies, Matthew played new tracks 'We'll Be Here Soon', 'The Mermaid Parade' and 'Heaven, Sittin Down' to the city - to the church steeples, canal houses and noisy trams. See 'Mermaid Parade' below (you might even spot my ugly mug) and check out the new album and his great back catalogue.

Subbacultcha! Rooftop Session Phosphorescent from Subbacultcha! on Vimeo.

Phoenix Interview

Last night's Phoenix show at Amsterdam's Paradiso was so incredible there is very little reason to review it. If you are a fan just go see them - their upbeat, hook-laden indie is irresistibly cool yet wholly accessible, even your Dad would dig em. So rather than review the show I've posted an interview from the TNT archives.'Versailles is really boring so I wouldn’t advise anyone to live there,’ says Laurent “Branco” Brancowitz, guitarist for French band Phoenix. The band began in the affluent Paris suburb, but while singer Thomas Mars’ partner Sofia Coppola made it look exciting in Marie Antoinette, Branco disagrees: “Maybe it was exciting 300 years ago but not anymore. Paris is cool, I love Paris, my home town,” he says.

So what’s the music scene like in France?
France is a special territory in music where there is a long tradition of very bad musicians. But right now we have a new generation of kids that are doing garage rock. It’s the first time we have had a big crowd of cool kids in Paris.

Who are some of the cool bands we should be checking out? 

One is Naast. They sing in French but they are cool.

You sing in English, was that to reach a wider audience?

Yes. I think the prospect of having only a French life and a French career and not having the excitement of discovering the world would be so boring. We couldn’t imagine something like that.

Were you looked down upon at first for not singing in French?

Yeah actually. That kind of happened. We knew it would be hard for a French band to be taken seriously by the world. That was our concern, we didn’t worry about France. They kind of viewed us as traitors in the beginning but now it’s cool. They don’t care anymore. They are happy we are at the centre of French culture. 



When you came onto the music scene there was great stuff coming out of France - yourselves, Cassius, Daft Punk, Air... What was that like at the time?
It was really good because the scene was natural. We knew each other. It was cool to see that every band was having success while doing their own thing. The first ones were Daft Punk. It was really exciting.



Has Thomas ever been pulled up or corrected on his English?

I think it’s okay, but when we started we were afraid to make mistakes. Now we know we make a lot of mistakes. Broken English is more touching for you guys anyway. Now it’s our strength. So we don’t try to correct it anymore.



Were you nervous about changing styles from the synth-pop to the indie-garage sound?

No. From the beginning we would not stick to one particular style and we would try to evolve so we think our fans got it. We weren’t afraid in any way. All the artists I love, they try to lose their fans at some point. We cannot control it so there is no point in being afraid.



What can we expect from the next album?
I would like it to sound like the last one, but I think there will be more harpsichord. I have a harpsichord vibe right now.



We’re a magazine for travellers. You cover long distances. How do you overcome the boredom?

The main thing is to have a good crew - a good friendship is important. Another tip I would give is photography. When you are a photographer there is always something to do. 



Are you a hobby photographer?
I want to be one of the greatest photographers, but I need more time. In 12 months I will hope to be really good.



You’re coming here for the V Festival. Who are you most excited about seeing?

The Pixies, I am a big fan. And Soulwax, they’ll be cool.

December 12th, 2007

Jamie T at Amsterdam's Melkweg

The first time I saw Jamie T was in Sydney's Kings Cross, at Candy's Apartment – a low ceiling basement, jam-packed with up-to-speed Brit backpackers and in-the-know locals not a month after his first album had been released. Jamie took the small stage with only a borrowed acoustic bass guitar. It didn't stop the kids from moshing and crowd surfing - The upstart's urgent, thrashy style transcends instruments, it could have been a ukulele and we'd have still got those scuzzy Pommy pumas in our faces.

The next time was at the Gaelic Club. Word had got round and Jamie had got a band, The Pacemakers. The show this time was a raucous punk show, loose and youthful. T's brash accent spat rhymes like the beer he sprayed on the crowd and everyone was up for it. Panic Prevention was filled with chant-a-longs and a chance for everyone, travellers and locals alike, to become unashamed geezers, from our "screams calling 'London!'" to his cover of Billy Bragg's 'A New England'. He's visited more recent - read these Sydney reviews: Metro & Gaelic Club

For me, three years on and Jamie T and the Pacemakers play Melkweg's Oude Zaal, sold out. Seemingly the support act didn't turn up, giving much time for the packed crowd to get beers under belts before a rowdy night. Jamie, however, starts mellow with 'Emily's Heart' (see the very sweet video below), an acoustic cut from new album 'Kings and Queens' (reviewed here by Bobby Six).

'Atlantic City', a Bruce Springsteen cover follows that may have gone over the heads of kids down the front but hit the balcony of elders (we had a great view). Out to prove his worth and longevity on the second go-round, 'Kings and Queens' brings a more mature side to this Wimbledon youf. Whether he's covering them or just acknowledging them, you can hear the Troubadours before him: Dylan, The Boss, Strummer, Billy Bragg, and Skinner. And when the band kicks you've got the Clash, Beastie Boys and Rancid on up-rocked ska and grinding organs.

Highlights through the set include the 'oh ohs' of 'Chaka Demus', the Balkan ska of 'Dance of the Young Professionals', the back-chat of 'If You Got The Money' and of course 'Shelia'. The Encore, as well as The Clash's '1977', saw Jamie play a double time thrash version of 'Salvador' and cleared the dancefloor for an old school circle pit for the guys. Not to be outdone, two handbag-embracing girls hopped the stage for a skank as Jamie sang 'the ladies dance'. They crowd surfed off without sight of security. Well - that only added fuel to a fire. Closing with the ska-punk of 'Sticks and Stones' turned the circle pit into a frothing mosh until that girl again jumped on stage. Then a girl from the left side. Then a dude in the middle. The three more on the right. Before long the stage was invaded by drunken teenagers as surely Jamie's did in his youth. The star steps aside and lets chaos reign and the kids taste the limelight as more and more clear the pit for momentary fame: front and centre, at the guitarist's mic, on the drum and keyboard risers. Forty people maybe.

It's this energy, frustrated and angsty, rough and tumble, raw and rebel-rousing that Jamie brings to an indie scene too often filled with acts polished and packaged before the ink has even dried on a contract.

An Interview with Jamie T

Jamie T Interview from the archives

From TNT Magazine
Jamie T is one of the UK’s most exciting musicians of the last year. He talks moshing at acoustic shows, blowing £5000 and sucking at the didgeridoo. It’s 9am in Sydney and around midnight in London, and Jamie T, the affable lad, feels bad that I’ve only just woken up and he’s in full swing.

Full swing?
Well maybe a bit past full swing, but still okay. I just got home an hour ago. I went and saw a friend play an acoustic show. So I’ve had a good night.

Anyone we’d know? 

Nah, but he’s acoustic, folk kinda stuff.



I was on your myspace yesterday. 

Well he’s in my top eight friends. His name is The Turncoat.



I was listening to him last night.

He’s got a great tune called “Port Arthur” about Tasmania. I don’t know exactly what Australian Folk is but he’s right into it. It’s kinda upbeat folk.



Well I was listening to a song of his with didgeridoo on it.

That’s on my new mixed tape. It’s called “Messerschmitt”. He has a mate called Grant who plays didgeridoo really well so he got him in to do that.

Is Grant able to get up with him and play live? 

Yeah, they played with us at the Hammersmith Palais, which is this really cool venue and we played a gig there and he got up and played it. Someone gave me one while I was in Australia but I don’t know how to play it, it’s crazy man.

I was at your Sydney show and you mentioned your didgeridoo. How’s it going? 

There’s no point man. I can play anything that is like a keyboard, guitar, bass – I can’t play anything properly but anything that is wind, I can’t get a thing out of them.

Your small shows were great... 

It was great. I had a really good time and met so many cool people. We ate some great food which helps when you’ve had a party the night before. This time I’m bringing my friends with me and it should be great.



How do the two shows differ – your solo shows and an evening with the Pacemakers? 

Oh man, immensely. When you play acoustically the best possible outcome for the audience is quite quiet and listening to you, whereas playing in a band the best thing is to get people screaming. We’ve always tried to have a party and fuck shit up.



Well your acoustic set down here wasn’t too quiet.
That’s the thing that’s weird. When I started if I could shut a crowd up it was good ‘cos it meant they were listening to me. But it’s strange ‘cos I’m playing acoustically and people were dancing about. That’s almost better than people shutting up. I had a good laugh.

You were nominated for the Mercury Music Prize, but Klaxons eventually won. As a result you had to postpone your Australian shows until October. Does the Mercury Prize mean a lot to you? 

These things are complicated. It was lovely to be running against the bands that are involved cos they are all fucking wicked bands but as awards go, you speak to those bands and they don’t give a fuck – music isn’t a competition. Getting nominated was a fucking nightmare though ‘cos it meant cancelling shows in Australia. I had a dilemma cos I didn’t wanna fuck these people off. So we came up with a compromise, move it back so I could get this thing over and done with and get to Australia. I’d rather be playing shows than going to some fucking awards show. No disrespect, all my friends are saying that’s quite an accolade but it’s a nightmare when you’re trying to play shows to people and someone is telling you you have to go and do this whole malarky.



Although the £20,000 would have been nice.

I was thinking about it the other day, chatting to a friend of mine and when we were about 15 she got five grand of inheritance and we literally spent it all. She was like you wanna spend my money with me and I was like “Cool let’s do it” and we fucking rinsed it. And I said I tell ya what, if I do win 20 grand we’ll go out with five grand and blow it. It’ll be a right laugh.



Are you the type of musician that needs to be always recording, always creating?

I think so. It’s one of the things I enjoy doing. When you record something you enjoy listening to it back and I find it frustrating to be away from it for too long.



Is it a type of venting?

It’s everything – from writing lyrics that you believe in, and writing music behind it. It’s on many different levels.

Musically who’s influenced you? 

Let me look at my computer ‘cos I got loads of music on here. Finlay Quay, you got Finlay Quay over there? Beastie Boys, Massive Attack, Paul Weller. Joey Thunder and the Heartbreakers – a massive band. And you better stick Tom Waits in there. There’s a band called DFL that were on Grand Royal, and another called Bran Van 3000 that I really like.



I love Bran Van 3000.

Yeah man. Both albums are sick. No one gives a shit about them but I love ‘em.



And they just disappeared.

Yeah, but I know someone that knows someone that knows someone and they are trying to get it back on track. 



Who passed these bands down to you? Do you have an older brother?

I have an older brother but he was a musical thicko until a few years ago. I think he introduced me to Guns N Roses and the Beastie Boys but I had friends that were down with good shit. So I think it was my friends. When they find a band they’re like, “You’ve gotta listen to this, you’ll shit yourself when you hear this.”



How have you been received in the US? 

We’ve only played five or so shows there to be honest. I treat everywhere the same way. It doesn’t matter about the country, it matters about the gig you’re paying. The people inside the venue. Whether a country is getting you, is just too big-scheme-of-things to worry about. I had one guy tell me America didn’t need me ‘cos they already had the Beastie Boys. I was like, ‘Yeah that’s cool, dickhead.’ I’m a big fan of the Beastie Boys. I can’t complain.



Will you get to see much of Australia? 

We’re only there for a week and I’ve seen the schedule, it’s like gig, promotion, gig, promotion. But I’ve always thought to get to know a city you’ve got to drink in the bars and clubs and fortunately that’s where I play, so we get to see enough.

Live review from Amsterdam's Melkweg (15/02/10).

Midlake at Amsterdam's Paradiso

Last night Texan classic rock revivalists Midlake (interview below) rolled into town. With the band running late, a few of us lucky early ones snuck in and caught their sound-check just before the doors actually opened. It was interesting to watch with the lights on - kinda like sex, there's definitely something missing - and I'm pretty sure they hadn't applied their onstage-beards yet.

A sold out show at the Paradiso promised an enthusiastic crowd while an album just released, The Courage of Others suggested there'd be a mix of new and old songs, for better or for worse.

Midlake came to prominence with 2006's The Trials of Van Occupanther (was he Dutch?) an instant indie classic for both you and yer old man, conjuring the spirits of Crosby Stills & Nash, Neil Young's Harvest-era, Fleetwood Mac and a touch, dare I say, of the Eagles - 'forrest rock' as my girlfriend, Liz calls it.

Last night, the shows' standouts came from said first album, the likes of 'Young Bride', 'Head Home' and the gem 'Roscoe' were all crowd favourites with a rocking end to 'Head Home' courtesy of drummer McKenzie Smith. Likewise, their encore 'Branches' was from Van Occupanther, and a mellow closure to the evening.
At the end of the show the band were openly blown away when the house lights went on to reveal three tiers of fans in rapturous applause.

Maybe that's because the band knew what I knew; where the old songs rocked, the new songs felt awash in sameness. Since Van Occupanther we've seen a swag of fellow vintage rockers lathered with smooth folk vocals and harmonies, check shirts and beards. None derivative, all bring something new to the table (or take away) - the likes of Fleet Foxes, Bon Ivor and Local Natives.
Understandably, in an attempt to distance themselves from the sound, or more appropriately, three more years of touring the same style of songs, Midlake have moved from forrest rock to druid-folk, especially if we're going off their album covers; American woodland the former, robes and celtic symbolism the latter.

The move to British folk territory on The Courage of Others seems to have payed off as well as Michael Jordan's to baseball. Instead of my Dad's Neil Young records I hear my mum's Steeleye Span records. Fair play, they give it ago and have mastered the sound but at what point might one think 'maybe four guitars are too many?' There's also more flute than you can chuck an Enya at. Plus, on the night, Tim's voice was too low in the mix, his mellow tones too easily washed away.

With the best seats in the house (for those in the know, front and centre on the balcony, that almost box-seat part) we were hoping to be blown away, and for the songs from the first album we were by their weaving tapestry and texture. Songs from the second instead blanketed us in druid drone with not enough melodies or rich harmonies. Shame really.