The Kaje talks international acclaim to Django Django

Django Django have come a long way in the three years since their formation in 2009 at art school in Edinburgh, with the now London based quartet dominating the musical press worldwide. Having received universal praise for their long-awaited eponymous debut album, the boys (David Maclean, Vincent Neff, Jimmy Dixon and Tommy Grace) are currently loving the festival circuit and feeding off the positive response to their sound. With the boys on football break before their set at Summer Sundae, The Kaje crashed to chat potential global domination to the laid back lads.

It has been quite a manic year for you, would you be able to pin-point a highlight?

Tommy: We went to Japan and Australia a few weeks ago, that was the first time that we had experienced a massive Festival crowd. It just felt really foreign and a lot different to the UK and Europe. That was quite a cool thing.

Then we played New York back in February before SXSW, which was the first time we had been out of Europe. That was quite a momentous experience.You are going places and you don’t know how you will be perceived or received or anything. We got really good reactions, which was totally strange.

How have you found the crowds differ?

David: I think we have got quite a broad fanbase. I think we appeal to really old people as much as we do to toddlers. I think abroad it is much more teens to thirty age group, but in Britain it is really broad. We get a slightly older and slightly younger audience here.

Tommy: Everything seems to be going pretty well in all the regions, so we don’t really worry. We know in other places that we are getting radio play, but it is not until you get there that you realise that there are people wanting to see you play. It is bizarre to get 20,000 people in Japan. We did not know what to expect. It could have been a couple of hundred people and we would have been pretty happy.

David: I like the way we don’t appeal to a specific demographic. It is interesting to be like that.

Your success around the world has bought you the chance to perform on some massive stages. Do you miss the intimate spaces?

Tommy: When it works out, the big festival thing can be amazing. When it doesn’t it can be absolutely terrifying. Sometimes it doesn’t really take off the way you had hoped. That can just happen, whether it is the atmosphere or sound.

David: My favourite shows are sweaty midnight club gigs where everyone is drunk, and there is a really clubby soundsystem. Deep base is harder to recreate when there are big winds. It suits our music a bit better. It is hard to generalise, but those tend to be my favourite gigs.

Tommy: In Australia they have lots of sideshows, so we did our first club night in about 4 months. It was so surreal being that close up again as you get used to there being a barrier. People put cokes over your monitor or spill their drinks over your stuff, but that was the way we came up. It is still good to do that.

This year has seen the release of your album-how does it feel to have finally hit that landmark? Also, what do you prefer-the live or recorded?

Tommy: They are two different types of process. The recorded stuff leads to the live.

David: That is not normally the case, for most the live leads to the the recorded.

Tommy: That was what I was just about to say. That is how it has worked on this one. A lot of the songs were done in a bedroom, with people going in individually. It was only after that that we had to transpose it all to a live setting. The original has not been adhered to closely as we just couldn’t. They are too layered. We had to take the bare essence of what the song was, then do something with that.

David: There are some tracks which came a bit later that we sketched out in the studio then played them live, changing them slightly as to what worked and what didn’t, then took them back to the studio. But on the whole they were all songs already and we had to work out how to reproduce them live.

Were you expecting the immense commercial and critical acclaim you have received?

Tommy: I guess we didn’t really think what we were doing. We personally liked it. It was a personal achievement but we didn’t know where we would fit in. Certainly in London there are lots of other music scenes which were more popular. We live in East London and that sort of area does influence national music, but we don’t necessarily fit in there. For us it was just about doing parties and making them fun. It was about dressing up a bit and not taking it too seriously. It was about not making it super cool.

We went into the charts when the album came out and I didn’t even know that the charts still existed. I thought Simon Cowell was in charge of the charts. I thought he said what went in the charts. I don’t know how. I was almost a wee bit like I don’t even know if the charts are where I want to be.

David: We have just been so totally shocked by the general response to it. Really we are just really introverted and concentrated on getting it out. It wasn’t until we actually had the real physical thing that we stopped and went “Amazing!” Everything that has come after has just been an amazing bonus.

How do you think your success has changed the expectations of others?

David: I don’t think we care much about what other people want. It is good that we are going to have more time and resources to make something due to the way it was received. At the end of the day we are just trying to make things that interest us. It may sound cheesy, but that is the way it is.

http://www.djangodjango.co.uk

Interview and Photographs by Jeremy Williams

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ALBUM REVIEW: Aiden Grimshaw “Misty Eye”

The X Factor has not really been the biggest launchpad for credible acts in the UK. With a stigma attached to winning, and a loser attached to the other contestants, it makes it difficult for an act to succeed in the follow-up. Where so many have failed, a few have forged ahead. One Direction are currently the most successful boyband in the world, Rebecca Ferguson and Cher Lloyd have followed suit and cracked America, while Olly Murs currently dominates the screen and music scene in the UK. So, what of Series 7 barely ran Aiden Grimshaw, whose shock early elimination shocked TV audiences, but may have bought him a genuine shot at the big time.

Two years have flown by since Grimshaw’s appearance on X Factor and he has bided his time wisely. Rather than rush releasing a feeble cash-in, he has kept his head to the ground, building up a following on the live circuit and ensured his material is worth its salt ahead of release. The result is easily the most credible, entertaining, engaging and intelligent debut release by an X Factor alumnus.

Grimshaw’s vocal is colourful and alarming. It sends shivers down the spine, yet appears effortlessly considered. Though there are some mishaps along the way, notably the messy “Be Myself”, which is strangely the least open and honest of the album’s thirteen song, Grimshaw presents a cohesive and original album.

While lead single “Is This Love” is without hesitation the album standout, Grimshaw should further explore his sensitive side, given that his rendition of Sia’s “Breathe Me” is blissfully tender.

There is little doubt that Aiden Grimshaw deserves to make it big. “Misty Eye” is not the debut album of an X Factor nearly ran, but rather the debut album of one of the UK’s most talented and innovative performers. We just have to hope his association with Simon Cowell’s talent pool does not blind side the British public.

Rating: 5/5
Reviewer: Jeremy Williams

VIDEO: One Direction “Dreaming”

Here at The Kaje we decided to sit and wait a while before posting this touching beauty of a track. Having garnered more than a few headlines following a band-name dispute with Simon Cowell’s X Factor prodigies One Direction, the American quartet clearly take their lead from the soothing laptop pop of Owl City, which is no bad thing. If “Dreaming” is a showcase for what is to follow One Direction deserve to be as massive as their namesakes-after all, what is in a name but a piece of paper? As Shakespeare wrote, “A rose by any other name would smell as sweet” – so we suggest both sides put down the swords and keep making sweet sweet music.

LIVE REVIEW: Il Divo, L.G. Arena (Birmingham), 14.04.2012

Classical man-band Il Divo have exceeded all expectations. Formed by Simon Cowell almost nine years ago to cash in on the popularity of the pop-opera wave, led by Andrea Bocelli, the multi-national quartet are clearly counting their blessings. As they take to the stage accompanied by a 35 piece Orchestra to perform for the sold out Birmingham audience, they launch into a standing ovation worthy rendition of “Come What May (Te Amara)”, which is met by rapturous applause by their hungry audience.
While they initially veer away from chit chat, with somewhat awkward explanations interjected between songs, they build steadily to the opening act highlight-a chillblain inducing rendition of “Don’t Cry For Me Argentina”.
With the audience eating out of the palm of their hands, they draw act one to a close with their first standing ovation of the night.
As they return to the stage for the second act, their general demeanour is far more relaxed and it is clear that they are determined to enjoy the second half as much as their audience. The relaxed presence of the performers prompts raucous screams for a wanting audience, who are thrilled by the new banterful approach.
With the second half acting as a celebration of their finest release to date, 2011’s “Wicked Game”, the evening takes on a very personal feel-with proud new Daddy (for the third time) Sébastien Izambard enchanting the audience with nursery rhymes-and most importantly a birthday cake to celebrate David Miller’s 38th birthday.
With the audience interaction crescendo-ing, the boys evoked the full spectrum of emotions from their attentive audience as they journeyed through “Crying”, “Mama” and “Hallelujah” before concluding proceedings with a clear fan favourite “Somewhere”.
With the audience stomping for an encore, their wish is granted as the quartet  return with a rousing rendition of the Bocelli classic “Time To Say Goodbye (Con Te Partirò)” that induces the first sing along of the evening as the loyal fanbase bid farewell to the musical maestros.

Rating: 4/5
Reviewer: Anna Brown

The Kaje talks stadium success to Il Divo

Il Divo were the creation of Reality Talent Show Guru Simon Cowell. Having noted the popularity of Andrea Bocelli and the second place ranking of G4 on the X Factor, he decided to mastermind a Three Tenors of the noughties. Little did he realise back in 2004 just how powerful the quartet of French pop singer Sébastien Izambard, Spanish baritone Carlos Marín, American tenor David Miller, and Swiss tenor Urs Bühler would become as a combined unit. Having unleashed their sixth studio album “Wicked Game” last year, the quartet are about to embark on the UK section of the immense global tour. With the rain pouring fast and hard in Belfast, The Kaje checked in with Carlos Marín to see how it was all going…

Are you enjoying the tour so far?

Very much. It has been amazing since we started in January in South Africa. It has been a real journey from South Africa to Japan to Australia to China and South East Asia. It has been absolutely amazing. The reaction from the audience has been fantastic everywhere. This show that we are bringing is a 37 piece Orchestra on stage, which makes it feel a little bit more intimate even if we are playing big venues. We are always trying to be closer to the audience.

How do you create a sense of intimacy even when playing larger venues?

The good thing is that we have cameras in front of us capturing every moment which can be projected on to big screens and fill a big venue. We want to try be as close as possible as it shows our passion in our songs. The people’s reaction is amazing every night. We always get a standing ovation, which is really touching because you see each time younger people coming to fill the audience. We have a meet and greet every night before the show to have photos with us. In big venues with 7000 to 12000 people. In Madrid it will be 16000 people. It is just one of the most amazing tours.

Do you prefer smaller venues? Or do you get a kick out of arena shows?

Sometimes it is much more difficult to play for a smaller audience. Of course we are still talking 2000 people when we say a small venue. I don’t know why it just feels like you are ever closer to them. It is a different experience. I don’t know how to explain it. In a big venue it is a much bigger sound, but it is a totally different experience. Which do I prefer? Obviously I prefer both. Once you have the audience there clapping and giving their support, then we are happy about it.

Is there one venue in the world that you really feel a connection with?

I don’t know really. Obviously the Royal Albert Hall is a fantastic venue to perform, but it was also amazing at the o2. Every single country has something special. Every single night something special happens on stage. The people react differently. Every night there is something new. For example it was really funny in Korea, we were singing “La Vida Sin Amor” and I was talking to the audience asking if anybody wanted to dance with me. Suddenly a girl jumped on stage and started to dance with me. At the beginning it was funny, then she was getting closer and closer. The security eventually helped her go off the stage.

The audience means a lot to you. Do you feel that the intimacy of an Il Divo concert relies on the two-way relationship between audience and performer?

It is a really amazing relationship we have with the audience. You see people crying suddenly, so you really get touched every night. Every night there is a new story. We had a letter from one woman who came to a meet and greet, she told us that she was in a coma for a long time and woke up to our music-that is just so touching.  It is just amazing. It is amazing what we can do with our music. We find it unbelievable.

Before Il Divo you were already very succesful. You have recently returned to projects outside of Il Divo, how do you strike a balance between personal ambitions and group ambitions?

Right now we do not have much time to think about our solo careers. Obviously I have done things solo. I am a workaholic, so if we have one month off, I will rest for a week then I will see what I can do in the other weeks. For example last June we had a month off and I prepared my own show. It was a jazzy Frank Sinatra kind of show. It was an amazing experience with 25 other musicians on the stage. Those are things that I love to do, but being on tour our mind and full being is in Il Divo. We all think Il Divo has a long life ahead of us.

Having taken three years to record and make our latest album “Wicked Game”, which I think is our best record, was really good for us. We feel really strong and are having such a great time on this tour. We have always had a really great time, but right now we are having a really great time too.

“Wicked Game” contains perhaps your most diverse material to date, how do you select songs for a record?

It was quite difficult. This album we wanted to not make an obvious Il Divo album. We were trying to choose songs that would not have a typical formula. Take “Wicked Game” for example, Chris Isaak didn’t want us to cover this song because no one had done it before. He just didn’t want us to cover it. But we got lucky. His Mum is a very big fan of Il Divo and is Italian, she suggested that if we sang it in Italian then he should say yes. So we recorded it, sent it over and we had the blessing of both him and his Mum. That is why we called the album “Wicked Game”.

The other songs just took a lot of research. We wanted to give something different to our audience. “Crying” for example was another song that we thought about but did not know how to approach. We listened to Rebekah Del Rio, the American singer, and her haunting voice just touched us. So we approached her and asked her to sing the song as a duet.

What we would do typically is put a list forward and the record company put a list forward,then we go to the studio and record about 40 songs. We then just choose which should be in English, which in Spanish and which in Italian. So it is quite a long process.

There was quite a long break between “The Promise” and “Wicked Game”-are you already planning a follow-up?

We are going to release a new record this year, then we hope to release a new record every year. Obviously I cannot tell you what the new record is going to be as it is a surprise. With each record we will head out on the road. We are live singers, that is what we love.  Recording is an amazing experience but you don’t get the closeness to your audience. That response, that applause is what we all love.

WIN!!!!! If you would like to get your hands on a signed copy of “Wicked Game”, simply tell us who performed “Wicked Game” originally… Answers to jeremy@the-kaje.com by Friday 21st April.

Words: Jeremy Williams

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NEWS: Labrinth Announces Debut UK Tour

The UK’s most exciting artist; singing, song-writing and producing phenomenon, Labrinthtoday announces his debut UK tour for February and March 2012.

A born performer, Labrinth is set to wow crowds as he tours the UK early next year. Attracting rave reviews for his live performances over the summer festival season, where he performed to packed-out crowds at the likes of Glastonbury, Wireless and Global Gathering, this tour is one not to miss.

Since featuring on, and producing, Tinie Tempah’s Pass Out and Frisky, Labrinth has rapidly become one of the most significant emerging artists of the past 18 months.

Already the most sought after producer in the game, working with the likes of Gorillaz, Plan B and Ms Dynamite, Labrinth became the first act in six years to not join Simon Cowell’s SYCO label via a TV platform.  He’s already had two smash hits as a solo artist; Let The Sun Shine which hit the number three spot, and latest single, Earthquake which went straight in at number two, making him THE one to watch in terms of UK talent.

Originally from Hackney, east London, Labrinth is the youngest of nine musically gifted siblings. He discovered his talent for music by going to the local studio whilst still at school. Making beats at the age of 13 and playing guitar and keyboards by 15, Labrinth is completely self-taught.

Tickets for Labrinth’s debut UK tour go on sale Friday 4th November at 9am priced at £15.00 LONDON / £13.00 REGIONAL (subject to booking fees), available fromwww.livenation.co.uk and www.gigsandtours.com.

FEBRUARY 2012

Thursday 23 – Birmingham HMV Institute Library
Friday 24 – O2 Academy Liverpool
Saturday 25 – Manchester Academy 2
Sunday 26 – Glasgow O2 ABC2
Tuesday 28 – Leeds Metropolitan University
Wednesday 29 – O2 Academy Oxford

MARCH 2012

Thursday 1 -O2 Academy Bristol
Friday 2 – Cardiff University Solus
Sunday 4 – Norwich Waterfront
Monday 5 – London Koko
Thursday 8 – Brighton Concorde

FORGOTTEN GEM: Delta Goodrem “Innocent Eyes”

2003 was in many respects one the prime years of the noughties for music. Not only did it see the mainstream launch of The Black Eyes Peas with their first effort containing a contribution from former child star Stacey “Fergie” Ferguson, but it also marked the year that finally saw the eagerly anticipated and much awaited debut album from Destiny’s Child starlet Beyoncé. Meanwhile, Britney was definitely “In The Zone” as she released her fourth album.

But hidden amidst the American chart domination stood an honest and discreet Australian talent. Having come to public attention in 2002 as the coy and aspiring singer Nina Tucker in “Neighbours”, by 2003 Delta Goodrem had escaped her fictional alter ego and became a singer in her own right.

“Broke the mould musically, in a period of production, Goodrem’s
simplistic songcraft stood out.”

Her debut album “Innocent Eyes” was released in late March 2003 and although it only peaked at number 3 in the UK, I feel this album is one that deserved a lot more recognition. There are several factors that may have caused the lack of interest in Goodrem as a credible singer/songwriter. However, the most obvious is the fact that she was just the latest in a long line of soap stars to turn pop star. If this were to be the sole reason that deterred many people from giving her album a chance, then I believe it is these people who truly missed out on a selection of sublime music.

The album opens with “Born To Try” which was the song used by her alter ego to launch a parallel career in the soap (which saw Nina leaving Ramsay Street to pursue her fledgling success) and as this song entered the real world, the lyrics rang true for a generation seeking success. “Born To Try” also broke the mould musically, in a period of production, Goodrem’s simplistic songcraft stood out.

“Born To Try” was not alone in its pop perfection. As “Innocent Eyes” moves effortlessly from one song to the next, Goodrem is consistent in her catchy and sometimes haunting melodies which contrast with her soft and elegant voice, best demonstrated on the album’s title track “Innocent Eyes”. Goodrem’s composition shows how a pop ballad should be written. But it is her distinct vocal adding an extra depth which makes this the real stand out track on the album.

“Catchy and sometimes haunting melodies which contrast with
her soft and elegant voice”

As well as proving her vocal ability, “Innocent Eyes” is a showcase of her more than impressive writing abilities. Though the album as a whole in a stunning selection, some real gems are there to be uncovered; “In My Own Time” and “Will You Fall For Me” really show an honest and vulnerable side of Goodrem, a quality that is rarely seen in an artist’s debut album.

Goodrem did not work alone and “Innocent Eyes” boasts some impressive collaborations, With Gary Barlow and Kara DioGuardi both on board, it is no surprise that this mid tempo album is full of not only catchy hooks and beats, but has the lyrics to compliment them too.

“An honest and vulnerable side of Goodrem, a quality that is
rarely seen in an artist’s debut album.”

“Innocent Eyes” definitely takes us on a journey from its subtle and understated opening ballads, which sweep and gradually increase to mid tempo pop songs.. And that’s exactly what this album is, a real pop album. When listening to the album, I never question its integrity. It is presented in such a firm and honest way that what you see is what you get. It is rare to find a solid pop album that creates this security. Pop music always feels the need to be new, modern and at the risk of sounding like Simon Cowell, current. As a result, the pop scene is constantly changing, leaving the listener little time to capture a moment before moving on to the next. “Innocent Eyes” is a treat that is not afraid of staying still. I do not mean that its boring and stagnant but it really has taken the time to breathe and grow. I really feel it explores the aural setting it belongs to. Out of this bravery comes a sincere work from Goodrem.

Not only do we enjoy the integrity of the lyrics and cleverly composed songs, but for me the real star of the album is Goodrem’s vocal quality. At the time she was one of the few pop singers brave enough to sing live on television, which just proved that she wasn’t just a studio artist but a live artist too. Never shying away, Goodrem’s vocal range is constantly explored throughout the album, starting with a low and almost spoken start to the album and ending in high melodical bliss with “Will You Fall For Me”, making “Innocent Eyes” an album that really should not be forgotten.

Words: Christopher Hall

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