Dominocast

In this episode: an interview with GALAXIE 500. Plus, new releases from Eugene & The Lizards, Archie Bronson Outfit, Pavement, Four Tet, Wild Beasts, Galaxie 500, She & Him and Arctic Monkeys. All hosted by the incomparable Billy Reeves. Chapter 1: Intro with Billy Reeves (0:00) Chapter 2: Eugene & The Lizards "Bugjuice" (0:38) Chapter 3: Archie Bronson Outfit "Magnetic Warrior" (2:51) Chapter 4: Pavement "Cut Your Hair" (5:44) Chapter 5: Four Tet "Sing" (8:50) Chapter 6: Wild Beasts "We Still Got The Taste Dancing On Our Tongues" (12:50) Chapter 7: Galaxie 500 "Oblivious" (16:33) Chapter 8: Interview with Galaxie 500 (19:13) Chapter 9: Galaxie 500 "Blue Thunder" (24:22) Chapter 10: She & Him "In The Sun" (27:33) Chapter 11: Arctic Monkeys "My Propeller" (30:18)

Chapter 1: Intro with Billy Reeves (0:00) Chapter 2: Archie Bronson Outfit "Shark's Tooth" (0:44) Chapter 3: Four Tet "Angel Echoes" (3:44) Chapter 4: Galaxie 500 "Oblivious" (7:28) Chapter 5: Lightspeed Champion "Marlene" (10:16) Chapter 6: Lightspeed Champion Interview (13:43) Chapter 7: Quasi "Repulsion" (19:23) Chapter 8: Owen Pallett Interview (23:47) Chapter 9: Owen Pallett "Lewis Takes Action" (28:39)

VV & Hotel joined the Domino Records Radio Show on East Village Radio back in December. It was their first stop on a promotional trip for "Midnight Boom", their new album. They were nice enough to answer our questions, share some good stories and play some fun records. For more: www.midnightboom.com www.eastvillageradio.com www.dominorecordco.com

The Last Shadow Puppets are Miles Kane (from The Rascals) and Alex Turner (you may know him from Arctic Monkeys). Firm friends ever since Arctic Monkeys toured with Kane’s previous group, The Little Flames, the pair were so inspired by listening to the likes of Scott Walker, early Bowie and David Axelrod, that they hatched a plan. The result, The Age Of The Understatement, is an album of 12 full-blooded songs, bold and brassy, full of drama, wit and melody, that source the past but avoid falling into pastiche. Both Miles and Alex are 22 and this is a youthful record, full of life and the sheer pleasure of music making. The album was recorded at Black Box Studios near Nantes, France in two weeks during the summer of 2007, James Ford (Simian Mobile Disco) manning both the producer's chair AND the drummer's stool. The band then approached Owen Pallett of Final Fantasy to arrange and conduct the orchestration of the tracks, which were recorded by the 22-piece London Metropolitan Orchestra at British Grove studios in London over Christmas. The Age Of The Understatement is out now in the UK & Europe and in North America on May 6th on Domino. For your listening/blogging pleasure, we've got the following rare golden nugget to offer up to you. Alex and Miles recorded this stripped-down performances during their brief visit to New York earlier this year at Avatar Studios around the same time as their impromptu public live debuts.

Do It! is a summer album, a warped technicolor celebration -- pop music and severe cut-ups going from melody to acid psychosis to acoustic, usually in the same song. Recorded by Clinic in their Liverpool studio and mixed by Jacquire King (Tom Waits, Kings of Leon, Archie Bronson Outfit), Do It! is a skewed pop amalgam of Motown, Exuma, deep lounge and The Balloon Farm (amongst many). Clinic’s magisterial fifth album opens with what sounds like the melodious chimes of a harpsichord before all hell breaks loose. Asking you if you want the good or the bad news, the song lurches between Ade Blackburn’s bittersweet vocal line concerning memory and the band tearing itself inside out. Do It! is a record dripping in a delicious and seductive tension. Clinic have never sounded so relaxed and so uptight.

This duo subtly and organically fuses pop, glam, blues, art-punk, and hip-hop in a manner that flits between light and dark, funny and morbid, experimental and cute. The result is a short, sharp twelve track album of sensual, fresh, and atmospheric songs. A reminder that no one on earth makes rock 'n' roll quite like The Kills. Praise for "Midnight Boom"... Midnight Boom finishes with “Goodnight Bad Morning”, a song so full of early-morning melancholy it rivals even the Velvet Underground’s “Sunday Morning” for sheer crow-black blues. Over a rocking-chair beat and soft-strum of acoustic guitar Mosshart and Hince whisper “....See it in everyone / Like a lost idea under lightbulb sun / Your eyes ready for take-off melt in your head / What a beautiful state we’re in.” It is a song that could have been the highlight on any Mazzy Star or Leonard Cohen album but it closes the Kills most remarkable record to date, staying with you long after it ends, Hince’s slow humming still resonating in your senses, the cold shiver still working it’s way down your spine. - Popmatters.com The Kills sound and feel like no other band – nocturnal, way-out, untouchable – Mojo **** They have evolved a great deal since their lean, mean early days: their sound is less ragged and raw, but their energy just as feral. From the whiplash time signatures of Alphabet Pony to the PJ Harvey - meets-Patti Smith thrashings of Hook and Line to the pensive serenity of Black Balloon. the songs are still driven by an itchy obsessiveness and feverish fits of guitar, but they're more crafted, and more fun. -Nylon http://www.thekills.tv

From a bathroom in Singapore, unable to sleep due to some dodgy seafood salad, Domino Recording Company’s John Dyer – the man responsible for the lovingly re-created Triffids reissues – reflecting his own unique charm and humour, as a fan and in his various music industry roles during the formative 80’s and 90’s, describing his personal crusade in ensuring these precious gems can be discovered by future generations to come.

The Dominocast returneth. Gary has got a slew of great new releases for you to check out. Get caught up on the latest from Sons & Daughters, Cass McCombs, Robert Wyatt, plus preview a brand new track from The Kills forthcoming album . There's still more, so slip on the headphones and listen up... Sons & Daughters "Gilt Complex" 1:33 Bonde Do Role "Marina Gasolina (Fake Blood Remix)" 3:17 Lightspeed Champion "Galaxy Of The Lost" 4:33 Cass McCombs "That's That" 6:14 Steve Reid Ensemble "Daxaar" 7:50 Robert Wyatt "Just As You Are" 9:12 Animal Collective "For Reverend Green" 10:57 Young Marble Giants "Searching For Mr. Right" 12:30

Robert Wyatt's career began forty years ago drumming and singing for Soft Machine, a post-psych outfit tied to the "Canterbury Scene" of the late 60s that yielded Pink Floyd and Gong, among others. On this, his ninth album, Wyatt collaborates with Brian Eno, Paul Weller, Phil Manzanera, and a small orchestra of string, woodwind, brass, and percussion players. Divided into three acts, "Comicopera" is an epic genre-bending allegory told through Robert's fragile tenor voice.

The latest wares from Domino brought to you from the factory floor. Step on in and have a look around... Gary serves up a fine selection of new music from Von Sudenfed, Bonde Do Role, The Cinematic Orchestra, Kieran Hebden & Steve Reid, Junior Boys, Arctic Monkeys + words and a preview of the latest from Ulrich Schnauss. Chapters: Intro: Dominocast - Summer 2007 [00:00] Von Sudenfed - "The Rhinohead" [00:20] Bonde Do Role - "Solta O Frango" [01:54] Junior Boys - "FM (Tensnake Remix)" [2:59] Kieran Hebden & Steve Reid - "People Be Happy / Rhythm Dance (Audion's Highlight Mix)" [04:48] Ulrich Schnauss - "Medusa" [05:37] Dominocast Exclusive - Ulrich Schnauss [06:46] The Cinematic Orchestra - "To Build A Home" [08:59] Arctic Monkeys - "Fluorescent Adolescent" [10:57]

A candid conversation between master percussionist, Reid and electronic composer, Hebden. The two discuss their collaboration, "The Exchange Sessions (Vols. I & II)", their inspiration, direction and aspirations. Kieran, you probably know from his more popular moniker of Four Tet or perhaps from his time from the seminal post-rock instrumentalists Fridge. Steve Reid on the other hand, you have most de•nitely heard before and you probably don°òt even know it. Martha & The Vandellas “Dancing In The Streets?” That°òs Steve on the drumstool along with countless other Motown sessions. From there, Steve°òs professional resumé has included stints recording and performing with James Brown, Miles Davis, Fela Kuti and a lengthy tenure in the Sun Ra Arkestra along with his own solo releases (recently re-documented by the hip London-based Soul Jazz label). So, what°òs this meeting of rhythmic minds hold for the listener? Think of it as a duet of electricity and percussion. It‘s a free jazz odyssey sure to melt minds as much as knock down barriers. But never fear, it’s quite a compelling listen with melodic music textures and the steady rhythms of emanating from the traps. Steve and Kieran have just completed a whirlwind seven date tour in the US and for those who were lucky enough to witness it, it was truly something very special seeing the joy of musical communication between these two masters.

Tongues is the new record from Kieran Hebden and Steve Reid, and as you’d expect from two musicians so addicted to fresh sounds, it finds them speaking a whole new language after their earlier collaborations. The Exchange Sessions were documents of a specific moment, when Kieran and Steve had barely played together at all. The takes were long, loose and exploratory as the two musicians tested the waters and got to know each other. Tongues is more explosive. A series of shorter tracks, it’s an altogether more focused and even melodic blast. And it’s been influenced by the heavy round of touring the duo have undertaken since those first encounters. “We’ve been playing all kinds of mad different shows, from drum’n’bass nights in Italy to The Green Man Festival in Brecon,” explains Kieran, “so the crowds have been really unpredictable. You get old jazz heads coming out to see Steve and dance kids too.” So one thing that’s come through from all this touring is Tongues’ more concentrated style of improvisation, with explosive riffing from both Steve’s kit and Kieran’s multiple sampler set-up. Another is Steve’s pounding rhythmic pulse. His kick-drum anchors the sound no matter how wild things get, just as Elvin Jones’ hi-hat did for Coltrane’s classic quartet (Jones and Art Blakey are two of Steve’s particular drum heroes). It means that wherever the audiences are coming from, whether from jazz, drum’n’bass or even Detroit techno (Kieran and Steve have been interpreting the Derrick May classic ‘Strings of Life’ in concert this year), they’re going away happy. 2007 promises to be an even busier year for Kieran and Steve. Following an appearance on the Nigel Godrich-curated From The Basement series, the duo are in the midst of a 10-date UK tour, culminating in another show at London’s Koko, following up on the 2005 date played with Steve Reid’s full Ensemble which widely blew minds and burned the rubber off dancing feet. Remixes by Audion and James Holden will see the light of day in the form of two limited 12"s, but you'll get a sneak preview here of the former (see below). Steve Reid made his recording debut in 1964, aged 19, playing on Martha and the Vandellas‘ "Dancing in the Street."  He went on to play with legendary figures in avant garde jazz such as Miles Davis, Archie Shepp, Sam Rivers and David Murray, but also in soul, such as James Brown, Dionne Warwick and Chaka Khan. In the late '60s, he spent three years in west Africa, where he studied African rhythms and played with Fela Kuti. Kieran Hebden developed Four Tet’s sample-based collage of jazz, folk and soul textures in downtime between recording with Fridge, the band he started with schoolfriends Adem Ilhan and Sam Jeffers. After Dialogue was released by Output, Kieran went on to produce Pause, Rounds and Everything Ecstatic for Domino. Tongues is in-stores today in Europe and tomorrow (March 20th) in North America.

Produced by former Talk Talk member Paul Webb alongside the band’s acclaimed engineer  Phil Brown, The Year Of the Leopard is James Yorkston's third album for Domino  Records, and undoubtedly his greatest studio achievement to date. "The Year Of the Leopard specialises in precisely the kind of romantic early-hours confessional its song titles suggest." The Guardian, 4/5 "The Year of The Leopard is Yorkston's most accomplished collection so far" Record Collector , 4/5 "James Yorkston's third album is a beautiful thing." The Telegraph "The Fife man's quivering, faint delivery sounds both primeval and perfectly attuned to the 21st century" UNCUT, 4/5 "More singular and disarming beauty form the unlikely musical hotbed of Fife." Time Out 

Junior Boys are Canadian duo Jeremy Greenspan and Matt Didemus.   A pair of mysterious 12 inch singles of smart, crisp electro hooks heralded their arrival in 1995. After a misspent year in the Midlands of England, where he immersed himself in the burgeoning UK dance culture of the time, Greenspan had retreated to his blue collar hometown of Hamilton, Ontario with a head full of beats, where, with original partner Johnny Dark, he set about writing the debut Junior Boys album, ‘Last Exit’, finished after Dark’s departure with mix engineer Didemus.   Delivering on the promise of those early tracks, ‘Last Exit’ was in the long tradition of sonically rich pop that blends emotionally charged songcraft with experimental form; uniting New Order’s depth of feeling with Timbaland’s stuttering beats and the 2-Step genre’s digital bass, to astonished critical acclaim.   Today, Junior Boys aren’t so much myth as a revelation. Greenspan and Didemus re-emerge in 2006 with a pop statement that is being heralded as one of the albums of the year. ‘So This Is Goodbye’ is a work that exhibits a confident mix of focus, clarity and ambition. Leaving behind the dense beats of ‘Last Exit’ songs such as the upbeat single ‘In the Morning’ and their cover of Frank Sinatra’s ‘When No One Cares’ draw upon their love of the classic pop of artists like David Sylvian and Bryan Ferry, fusing their distinct brand of melancholia with a sonic distillation of the last twenty five years of electronic pop, into one contemporary album.

In our continuing series of releases documenting the best of avant Scottish pop of the early '80s, Domino is privileged to be releasing Entomology, a comprehensive anthology of Josef K, the Edinburgh quartet whose legend has far outlived grown well beyond the band's own brief lifespan. Excerpted from the liner notes for Entomology, penned by the inimitable Paul Morley: There needed to be a gloomy remotely intimate glam pop group named after a character created by Franz Kafka who detuned their pained, pining guitars like the Velvet Underground, who screwed up dance beats with as much nimble knowingness and/or amateurish exuberance as Devo, who faced up to long lasting reality with as much sad, mad grace as Magazine, who got stuck into logic as defiantly as Pere Ubu, who had spent a lot of time watching Television and listening to the first six or seven songs written by Buzzcocks.   They took themselves very seriously whilst circling the idea that fun was a very peculiar notion.   They were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group completely.   A touch more rational. A little less glaring. A splinter less uptight. Lacking, perhaps, the art for art’s sake element that some of us swooned over, and which we see explicitly echoed in they way, say, the popular Franz Ferdinand express themselves.   Their own men. In their own special time.   Who would know when it was time to quit.