Whiteboard Project

Fun Journalism

[thewhiteboardproject]

Whiteboard's Best Of 2014

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American Authors - Best Day of My Life

  Bursting full of energy and verve, Best Day of My Life bounced to its peak in the charts this summer. Paramount success came soon after featuring world wide in countless adverts; this forever-optimistic tune captured the daydreaming idealist in all of us. Plucky chords, punchy beats and heartfelt whimsical lyrics can’t help but uplift and transform any mood, an achievement in itself. Euphoric and inspiring, the song is worthy of a place in our best of year list. JP

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  Ben Khan – Youth

  Comprised of euphoric synths, bluesy guitar licks and the odd elephant trumpet - Youth – the intro track to Ben Khan’s debut 1992 EP comprises everything that we’ve come to love about the young Londoner. Following a handful of raw Soundcloud recordings that appeared online in 2013 - garnering an obscene amount of Jai Paul comparisons – Youth became a refreshing breeze of euphoria, providing the perfect start to one of the year’s most memorable debut releases. JH

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    Bipolar Sunshine – Where Did The Love Go

  Securing their place as one of the most exciting up and coming bands that England has to offer, at the moment, Bipolar Sunshine (the side project of Kid British’s Adio Marchant) released their third EP – Where Did The Love Go – in April, and the record’s title track soon became a definitive standout. Fusing Marchant’s distinctly British Hip-Hop inspired vocals with a mesmerising hook and chorus, instantly becoming one of our favourite releases of 2014, while breeding profound excitement for the release of the band’s debut album, due to arrive in the new year. JH

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    Bishop Nehru – You Stressin’

  Albeit having become one of the biggest dance acts on the planet right now: Disclosure teamed up with teenage Hip-Hop sensation Bishop Nehru for a super-track that fuses Nehru’s sleek rhymes presented above the brotherly duo’s outstanding production skills. Standing out from a pack of massively exciting young MCs arising from New York at present, at the tender age of 18, the Rockland County native has already released a collaborative album with MF Doom, as well as a handful of successful mix-tapes, all leading up to the 2015 release of his debut solo album of which Nas is set to take on production duties, following an onslaught of comparisons between the two artist’s musical styles. Thus posing the question: is Bishop Nehru the 21st Century’s answer to Nas? We certainly think so. JH

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  Disclosure – F For You

  Although Disclosure’s incredible sophomore album – Settle – was a thing of 2013, standout single F For You was re-released at the beginning of this year. This time, however, the single was re-worked ever so slightly as a remix, featuring vocals from R&B legend Mary J. Blige, adding a whole new dimension to the already accomplished dance track from the Surrey-based brother duo. JH

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  George Ezra - Budapest

  Ezra’s hit Budapest - from his debut album - Wanted On Voyage - emerged from nowhere, on to an already thriving folk-pop scene earlier this year. At the tender age of 21, his unexpectedly rich, bluesy tones suitably contrast the subtle guitar riffs present throughout the track. Progressing to a catchy and quirky chorus showcasing the full range of Ezra’s distinctive baritone vocals timbre. Fuelled by both intense and sincere lyricism, Budapest gains Ezra a place within our best songs of 2014. JP

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  Jamie T - Zombie

  Jamie T fans were, needless to say, relieved when he triumphantly returned with his first single in five years. His signature frank and blunt lyrics are abundant in Zombie, pleasantly reassuring fans that the Londoner hasn’t lost touch and his unique song writing style, earlier presented through classics Sticks 'n' Stones and If You Got The Money. His slow cockney slur opens this steady paced track, full of heavy drum beats and harsh guitars. His repetitive lyrics are not for the fainthearted, depicting gore in his ‘bloodshot eyes’ and a rather disconcerting eerie laughter that lurks in the background of the chorus. Featuring an appropriately timed October release, which is sure to become an ideal Halloween party tune of the future. JP

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    Jungle – Busy Earnin’

  It was only a little while ago that the West London collective, formed around duo Josh Lloyd-Watson and Tom McFarland, were as shrouded in mystery as a Scooby-Doo plotline. Yet having released their thunderous debut album earlier on in the year, the band’s sauntered into the mainstream with all guns blazing, setting the bar with Busy Earnin’, one of the most infectious singles of the past five years. Sounding as though taken straight from the 1970s with a funk-driven hook that would sound perfect as the main theme for an American cop sit-com, with a career defining level of achievement that will be far from easy to follow. JH

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  Kwabs - Wrong or Right

  2014 welcomed newcomer Kwabs to the music scene, releasing his first EP Wrong or Right, produced by SOHN back in February. King of neo-soul pop, his songs are all scrupulously crafted, both lyrically and musically. Wrong or Right showcases the deep rich tones of his baritone voice and - at times - melancholy sound; contrasting beautifully with the effervescent lively electro rhythms. This particular song also exhibits Kwabs’ forte - taking intense and powerful subject matters and skillfully pairing them with spacey, minimal synth backgrounds. Kwabs discovered a niche in the soul pop market and cleverly continues to build upon the foundations found in this articulate track. JP

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  MNEK – Wrote A Song About You

  Having produced and written songs for a variety of successful acts, including Rudimental, Little Mix, The Saturdays, and Kylie Minogue, to name a mere few, MNEK made a huge leap into the foreground with his debut single proper – Wrote A Song About You. Featuring lyrics that explore the process of writing a song, within a song, this is just the tip of the iceberg for the young artist and his expanding list of creative capabilities, not to mention one of the most exciting pop choruses of the past five years. JH

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    Neon Trees – First Things First

  With their third album released this summer, the Utah band swiftly leapt to the top of the chats with various singles from Pop Psychology. However, it is their third single and the final track on the LP that makes it’s way in to our collection of 2014’s finest moments. With it’s anthemic roots, solid pop beats, handclaps and slick guitars, First Things First is a substantially captivating track, providing catharsis for lead singer Tyler Glenn to express personal struggles in the lapse between albums. Flaunting flawless vocals from both Tyler and drummer Elaine Bradley; whilst connecting to their fans through insightful lyrics personal experiences, rounding off the album perfectly. JP

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    Paolo Nutini - Iron Sky

  From These Streets to Sunny Side Up, Paolo’s remarkable talent has evolved to his latest creation, Caustic Love; his first album in five years, released in April. Amongst the funk-fuelled bluesy singles that may suit fans of the aforementioned albums, there is one track in particular that refuses to be ignored - the heartfelt, angst ridden, forever-earnest Iron Sky. Powerful and poignant, Paolo’s compelling lyrics and rough raspy vocals declare the harsh reality in today’s cold society. Featuring an excerpt from Chaplin’s The Dictator, cleverly weaved in to the track, resonating urgency and emotion, the song abruptly morphs in to crashing drums and roaring brass; magnifying the merciless struggle of life. A truly bold statement, Iron Sky is undoubtedly undeniable. JP

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  Sam Smith – Money On My Mind

  Undoubtedly one of the year’s biggest breakthrough acts, Sam Smith released his highly lauded debut album earlier this year. While Stay With Me earned Smith the title as one of the year’s most melancholy balladeers, the album’s first single was a far cry from everything that’s since followed. Withholding a remix-friendly pop sheen that’s filled with danceable hooks and an exceptional vocal delivery. JH

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  Theophilus London – Can’t Stop (Featuring Kanye West)

  Although Kanye West failed to release the promised follow-up to last year’s Yeezus, King Yeezy has, however, managed to demonstrate his incredible production skills, notably playing the role of executive producer for the Brooklyn rapper’s new album – Vibes. And as well as taking a back-seat within the record, Kanye does lend his vocals to Can’t Stop, featuring a pristine verse that harks back to the artist’s early career, while London’s input is, also, better than ever. JH

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  Words & Thoughts of Julia Prigmore & Jonathan Hatchman

[thewhiteboardproject]

Focus On: CryBabyCry

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First off, you've got a new EP coming out, so for anybody that hasn't heard of CryBabyCry, what can we expect from it?

Sweet vocals, heavy riffs and dirty beats. Think Nancy Sinatra meets The Black Keys.

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How did the band come together and when did you decide to start making music together?

We had all performed on each others solo project previously so knew each other well. The band happened purely by accident when an act pulled out of an event, and we were asked to pull something together and perform a 30 minute set. This became CryBabyCry.

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How do you go about writing your music? Is there a set formula that you tend to use?

We all bring our own influences to the pot which works really well as we are all from different musical backgrounds. I think that's what makes or sound so distinctive. Generally the songs are written acoustically and then brought to a rehearsal where it's transformed into a CryBabyCry track.

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You're playing an EP launch show in London, what can any potential new fans expect from your live show?

Our music is a lot more energetic live and has a distinctive sound that you can only get from a power trio. Each song is distinctive with Rosie and Nici bringing the sass and Jonny bringing the grit.

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How does playing in London compare to playing back home?

We've worked hard to build a strong following in our home town so we love playing up North to an audience full of familiar faces. Coming to London gives us a chance to play In front of a new crowd which is always really exciting.

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Go Go is out now.

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Interview By Jonathan Hatchman

[thewhiteboardproject]

Focus On: Cristobal And The Sea

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Hey guys, where are you today?

At home, in London.

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To start off, could you tell us a bit about your song My Love (Ay Ay Ay)?



It’s our first single from our upcoming EP, Peach Bells. It was one of the first songs we wrote, around three years ago. It used to be longer, more mellow and about something completely different. Throughout the years it morphed into this last, shorter and more upbeat version. The first version was written for two of our friends, one of which used to live with us.

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Having originated from different parts of the continent, do you think that each of your cultural backgrounds brings something to the table with your songwriting process and comes across in your music?



Kind of, but not as much as one would expect. We’re all from the European continent at a time when everything is pretty much globalised. Plus, Joao and Ale spent most of their lives living out of their respective countries. We do enjoy getting as many influences into our music, including our cultural backgrounds, of course. We have songs with lyrics in Spanish and in Portuguese, and might have something in French, in the future.

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You've got a new EP coming out, what can the world expect from it?

We recorded the main instrumentation live to translate the right energy. We hope it comes through. We had fun recording it and hope people have fun listening to it.

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How did the recording process go? Did everything run smoothly?



Yes, it was very smooth. It was like hanging out. Rusty (Santos, producer of the EP) made us feel all very comfortable, in the studio. It wasn’t just about recording. We spent hours listening to music and jamming. The live stuff was recorded in one or two takes. Then we spent some more time on overdubs.

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How do you go about writing your songs? Is there a set formula that you seem to abide to?

It has varied a lot throughout the years because of the changes in the line-up. At the very beginning it was just Ale and Joao writing songs on two acoustic guitars, then Leila joined, which changed the dynamic and, later, Josh joined, which changed it even further. Sometimes we will write a song until it is finished and, then, record it at home. Other times we will write while recording. Sometimes melodies come to our minds, other times lyrics, other times rhythms. Mostly melodies, though. Now we can jam with a full drum kit a t home, so we’ve been writing songs all together. It’s the first time we've been able to do that.

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Are there any direct influences that went into writing the songs on the new EP?




We never really know how to answer that question. We all listen to many different things and influences go from that to day-to-day things. I guess the music that was referenced was stuff like Can, Catherine Ribeiro, Neu, Caetano Veloso, 13th Floor Elevators, The Incredible String Band…

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EP aside, what’s next for Cristobal And The Sea?


We’re going to record an album soon, around December/January. Besides that, we’re playing with Sebastien Tellier, on the 4th of November, at the Village Underground. Then, we’re heading to Holland and France.

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Peach Bells is set for release on December 8th through City Slang.

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Interview by Jonathan Hatchman

[thewhiteboardproject]

Track Of The Day: 0289 - Dutch Uncles - In n Out

The proponents of arty pop will be demonstrating some jaunty dancing and lots of new songs when they headline The Ritz in Manchester on 27 March and London’s Koko on 10 April. So, whether you’re in the North or South you can get to a gig to experience a nice bit of In n Out for yourself. Phwoar.

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Words & Thoughts of Amanda Penlington

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[thewhiteboardproject]

Whiteboard Interview: Dan Wilson

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Draw what you can draw best.

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Draw a pie chart of the key elements that go into your songwriting process.

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If you could write a song for anybody, dead or alive, who would you choose?

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Finally, what's next for Dan Wilson?

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Love Without Fear is out now and available to purchase and download here.

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Interview By Julia Prigmore

Photography By Jonathan Hatchman

[thewhiteboardproject]

Focus On: Ensh

So with the release of the single and having recently visited the UK for a handful of shows, we caught up with the man himself for a quick introducing interview. Here's what he had to say.

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Hey Ensh, where are you today?

Hey! I am at my brother’s place in Toronto, Canada. I arrived about a week ago. I’m in town visiting friends and family and playing a couple of shows including Indie Week.

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To start off, could you tell us a bit about how and when you decided to start making music?

I decided to start making music when I was in grade 8. My friends and I decided to sign up for a talent show. Mike Powers learned a basic blues progression on guitar and Dan Honan just played a straight 4/4 beat on the drums while I sang “original” lyrics that mostly consisted of Elvis song titles. I’ve had the music bug ever since.

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Having relocated from Canada to Serbia, do you think that returning to your birthplace and the different surroundings have had an effect on the music that you create?

Absolutely. Ensh actually started when I moved. It was a combination of being open to new possibilities and being surrounded by a thriving arts community that provided the necessary ingredients that eventually led to Ensh. Belgrade is a pretty exciting city to be in right now.

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Does Serbia have a good music scene? Can you recommend any exciting new local acts?

Yes. An amazing band called Ti. They’re a psychedelic indie pop duo from Belgrade. I toured with an amazing solo artist called Dunja Dacic otherwise known as Dojo. Her stuff is really dark, brooding, ambient. Just awesome. Great live. Another one is Repetitor. They’re kind of garage-y/post punk-y.

My friends in Technicolor Lies. They’re an alternative/punk/rock outfit. And lastly my friends in Young Husbands. They play post hardcore. 

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You recently played a few shows in the UK, how did they go?

I played an art gallery in London called the 504. It was a little stressful in the beginning because there was a miscommunication about the sound system. Once that was sorted it ended up being a pretty fun evening.

The second show I played was in the East Kent town of Margate. I played this tiny venue called the Tom Thumb Theatre to a very receptive, intimate audience. It was also my first time opening for a film, which was an exciting change of pace. I even got to choose the film (I chose a Danish film called Adam’s Apples). I loved the experience and am looking forward to going back there.

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You have a new single Robin Hood coming out, can you tell us a bit about the background of the track?

The song is a bit of an abstract one. It’s about power dynamics seen through the dominating lens of a heteronormative and capitalist culture. On a more personal note: my Mom has always promoted this perverse obsession with money in me, so for me to figuratively "give it all away" kind of diffuses that.

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Can we expect a new EP or album release to come around anytime soon? If so, when can we expect this?

I’ve just recorded two new songs that I’m planning on releasing as a single (side a/b sort of thing) early 2015. Until then people can download Belgrade for free on my Bandcamp.

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New single aside, what's next for Ensh?

I’ll be doing a European tour in November followed by another Europe/UK run in early 2015. I’ve also begun working on a follow-up EP. So I’m keeping busy!

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Robin Hood is out now and available via Ensh's Bandcamp page, along with a cover of Björk's Enjoy.

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Interview by Jonathan Hatchman  

[thewhiteboardproject]

The Albums Round Up

  Album of the Week

Top marks go to Bass Drum Of Death’s third LP Rip This. Opener ‘Electric’ lives up to its name with an intro that builds with intent via grinding guitars and crashing percussion. Lead single ‘Left for Dead’ has searing veers of guitar and some heavy riffs, which culminate in a gloriously hollered chorus. ‘For Blood’ strips things back a little in the verse but the buzzing attack of the strings soon crashes into earshot with full effect. There’s a great energy to the rhythm section in ‘Everything's the Same’, whilst the opening of ‘Sin Is In 10’ is all squally reverb before the driving chug of the song proper kicks in. The crispness of the cymbals on ‘Black Don’t Glow’ is a tart corrosive that makes the fine resonant guitar work shine bright. ‘Burns My Eye’ is full of verve, and ‘Lose My Mind’ accelerates with menace to become a thrilling adrenalin-fuelled ride. ‘Better Days’ switches up the Bass Drum of Death formula, getting rid of the rhythm section to enable John Barrett’s voice to be more exposed here than it’s ever been. It’s a refreshing twist to allow the guitar work to sit more gently with his vocals, and some sweet backing vocals complement the approach well. ‘Route 69 (Yeah)’ closes the album with a rollicking amount of rock and roll backed with some jaunty piano and insistent percussion which adds a slightly glam touch to the guitars. Rip This is as full of energy as the band’s previous releases and it will surely delight their fans. Highly recommended.   

http://www.youtube.com/watch?v=iK9mt6M-5b4

    Wildcard of the Week

My Wildcard of the Week is Field Report’s Marigolden. ‘Decision Day’ is a gentle opener, with its ambling acoustic guitars and warmly-delivered lyrics. ‘Home (Leave the Lights On)’ takes a more contemporary tack with slightly warped beats and a bubbling underscore of synths that lie behind the strumming and tambourines. ‘Wings’ strips things back to a wistful vocal and subtle synth beats and chords before the track builds into a complex interplay of electronic elements and crisp percussion. The title track is more folksy Americana with its storytelling harmonies and rippling guitar strings. Yet, even here, there’s a hint of an electronic element in the use of smacking beats. ‘Enchantment’ closes the album with delightful vocal harmonies creating a sense of regret and loss amongst its warped vocal samples and searing surges of steel pedal. There’s some sophisticated musicianship at work on Marigolden, which will please fans of folktronica. Recommended.    

http://www.youtube.com/watch?v=-hKOK-xwCYI

    Other albums out this week

Lewis & Clarke release Triumvirate, a thoughtful album that kicks off with the expansive ‘Eve’s Wing’, which layers moody vocals with taut bowed and plucked strings and soft brushed drums. The melancholy mood continues with the shimmering and delicate ‘Black Cloud’ whilst the title track of the collection offers a sense of hope in its gentle guitar patterns and featherlight touches of piano. The gently unfolding ‘Pompeii’s Dream’ uses atmospheric percussive choices and closer ‘Sojourn Sam’ has chiming piano keys that provide the perfect accompaniment to the harmonious vocal pairing. A delicate and pensive record.

https://soundcloud.com/lewis_clarke/black-cloud-single/s-ezWCq

  North Atlantic Oscillation returns with The Third Day, whose first track ‘Great Plains II’ builds in volume as swathes of woozy organ and layers of voices merge over heavy toms, snareand cymbals until a major shift happens and disquieting strings take the focus. Piano and busy ticking beats are at work in ‘Elsewhere’, where the upper register lead vocal is pushed to the foreground. ‘August’ has some fine fuzzy guitars and an insistent percussion section even though the vocals are airy and distant. ‘Wires’ has snazzy cymbals and rimshots accompanying moody piano and hazy vocals, and ‘Dust’ combines multi-tracked vocals into a cohesive melody as the instrumentation moves to include pretty chiming keys in the echoing melee. The Third Day is a dreamy puffball of sounds, sometimes unsettling, sometimes welcoming.

http://www.youtube.com/watch?v=uiQTDsG3MCk

  Plowing into the Field of Love is the latest release from Iceage. ‘On My Fingers’ sets the tone of the collection with its jabs of resonant guitar and urgent, militaristic snare rolls. The vocals are mournful and angry, creating an aura of doom. ‘How Many’ sets a fair gallop on its wiry electric strings and cymbals as the vocals encompass exhalations of despair. ‘Forever’ has jagged jangles of guitar and a rumbling omnipresent threat from the bass. ‘Against the Moon’ brings in blasts of horns as the tempo switches to an off-kilter waltz whilst spiky piano figures are pitted against woozy strings. It’s a distinctly wonky track that dizzies as it teases the ear. The title track brings the album to a close with emphatic acoustic strings and resonant electric riffs. Plowing into the Field of Love is disconcerting but interesting throughout.

http://www.youtube.com/watch?v=EagCKe2Au8E

  Brighter from Jupiter Lion is a busy, bubbling album based on a heady combination of electronica and full kit rhythms. The opening title track fizzes and buzzes behind catchy percussion that combines with a regimented vocal line. Lead single ‘Your God Is A Human’ also has the drums as a core driving strength and its gradual layering of elements creates a busy electro noisescape that veers into psych pop territory. ‘Ashes’ is a mysterious exploration of echoing mellow reeds and closer ‘Lost Cannibal’ plays with vocal samples in exciting staccato bursts. It’s not always an easy listen, but Brighter is inventive and punchy.

https://www.youtube.com/watch?v=6p0pJOZA0UI

  That concludes my recommendations this week. I’ll be back soon with more new releases.

  Words and thoughts of Amanda Penlington

[thewhiteboardproject]

Whiteboard Interview: Sixx:AM

Arming the two prolific musicians with just a whiteboard and marker pen in order to demonstrate their art skills through this short photo-based interview.

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To start off, use the whiteboards to introduce yourselves in picture form.

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Draw what you can draw best.

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What's your favourite thing about being in London?

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Do you have a message for your fans?

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Sixx:AM's new album Modern Vintage will be released in the UK on Monday October 6th through Seven Eleven Music. 

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Interview & Photography by Jonathan Hatchman

[thewhiteboardproject]

Whiteboard Interview: Pearls Negras

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Use the whiteboards to introduce yourselves in picture form.

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Draw a visual representation of your new mixtape - Nossa Gang.

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What's your favourite thing about being in London?

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Finally, do you have a message for your fans?

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"First of all I would like to thank everyone for the support and love that you show us. What we do we do it for you. There's nothing better than leaving the stage hearing your clapping. You are the best reason why we keep going, so thank you so much."

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Nossa Gang is set to drop soon, but in the meantime why not take a look at this Ian Pons Jewell directed music video for Pearls Negras' new single Make It Last.

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Interview & Photography by Jonathan Hatchman

[thewhiteboardproject]

Whiteboard Interview: Pulled Apart By Horses

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To start us off, draw a visual representation of your new single Lizard Baby.

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60 Second Challenge: In just one minute, draw a portrait of one another.

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Draw what you can draw best.

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As Blood is your third album, please sum it up in three words.

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Finally, use the whiteboard to promote the album.

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Blood will be released on September 1st through Best Of The Best/Sony Red.

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Interview & Photography by Jonathan Hatchman

[thewhiteboardproject]

Whiteboard Interview: Neon Trees

So with the band ready to get creative, armed with just whiteboards and the ‘winning’ pen, they quickly get stuck into the first question…

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First off, please introduce yourselves in picture form.

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Draw what you can draw best.

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Seeing as Pop Psychology is your third album, can you sum it up in three words?

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Draw a graph or formula of the creative elements that went into making the album.

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What's your craziest music festival experience?

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Time for a 60 second challenge. You have one minute to each draw a portrait of eachother.

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Tyler draws Chris.

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Branden draws Tyler.

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Chris draws Branden.

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Finally, do you have a message for your fans?

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Pop Psychology is out now and available to buy from the band's website.  Don't forget to follow us on Twitter @Whiteboard_ to keep up to date with our unique whiteboard content.

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Interview by Julia Prigmore

Photography by Jonathan Hatchman

[thewhiteboardproject]

Track Of The Day: 0288 - Ultimate Painting - Winter In Your Heart

Formed of Mazes frontman Jack Cooper and Veronica Falls guitarist James Hoare initially as a side project, sharing a love of traditional recording methods and recording the ten-track album straight to tape, intentionally avoiding any digital interference. Having also revealed a brand new track Winter In Your Heart, a jangly noise-pop recording that embraces the duo's influences of a stream of '60s bands and the sound that encapsulated New York through the early 1970s.

Listen to Winter In Your Heart below.

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Words & Thoughts of Jonathan Hatchman

[thewhiteboardproject]

Focus On: Dumb

The West Midlands have spawned a heap of exciting new alternative acts over the past five years, one of which is Dumb, a band set to release their debut EP Chew Me Up, Spit Me Out later this month. So with the release well on its way, we caught up with frontman Dylan Williams for a chat about the band's formation, their live show and, of course, the new EP.

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First off, please tell us a little bit of history behind the band and how you formed Dumb?

Me and Tom (guitarist) have known each other from the age of about three and have grown up together listening to the same music and writing songs together throughout our school years. When we left college we didn't fancy uni so thought maybe we could actually make something of the songs we had written and formed Dumb. We got our Pals Adam (bassist) and Sam (drummer) involved and here we are today.

You've got a new EP coming out, what can the world expect from it?

We are really proud of the collection of singles we have written over the past year. I think the EP shows how the band has evolved throughout it's first year and gives a good insight of whats to come. We are still finding a lot out about the band ourselves so it's really exciting to get our first physical release out there.

How did you become involved with the label Tip Top?

They were into the band and were keen to help us and our label, One Beat get a vinyl collection together. The EP is called Chew Me Up, Spit Me Out and is out on 18th August. It's great to know people in the music industry are into what we are doing.

You've played alongside some great bands, what can anybody that's never experienced a Dumb show expect from your live set?

We try to bring loads of energy to the stage and take people away from their day to day lives for 30 minutes or so and experience something fresh and exciting. Live is a good time to really see a band for what they actually are so we like to mix things up a bit and do slightly different versions of the songs so it's not just a live version of our recordings.

Do you have any exciting tour stories that you can share with us?

When we played The Royal Albert Hall Liam Gallagher told Tom our guitarist, he had a drink problem!

Chew Me Up, Spit Me Out will be available from August 18th on transparent 12" vinyl (limited to 300 copies worldwide) and digital download. Pre-order the vinyl here. 

Interview By Jonathan Hatchman

[thewhiteboardproject]

Whiteboard v. Happyness' Weird Little Birthday

Opener ‘Baby, Jesus (Jelly Boy)’ has a delicacy in the guitar melody, sweet multi-tracked vocal lines and a slight lo fi hum to the recording. Despite its fragile and tender sound, the lyrics indicate pent-up resentment: ‘“I’m the motherfucking birthday boy: don’t steal my thunder baby Jesus”. ‘Naked Patients’ has plenty of verve in its snare and shaker percussion and some fine vocal harmonies picking their way amongst slack bass and resonant guitar lines. ‘Great Minds Think Alike, All Brains Taste The Same’ has singalong “woo-hoo” backing vocals and dry lyrics, “the more I talk to you, the more I like my dog”, within a 90s garage band sound.

 ‘Orange Luz’ and ‘Pumpkin Noir’ change things up with some woozy sounds and ballad tempos, whilst ‘Refrigerate Her’ and ‘Anything I Do Is All Right’ swing the pendulum the opposite way with heavy hit snares, cymbals and relentless slabs of guitar reverb.

 ‘Weird Little Birthday Girl’ has intricate jangles of guitar and slick shaker percussion, and the first couple of minutes of its nine minute length is taken up with gently repeating pretty figures on the strings before the first verse is sung. The lyrics reflect Happyness’ interest in the oddness of human interaction: “everyday is like your birthday with all the get-ups and the weird smiling”. Airy organ chords and hints of woodwind enrich the second half of the track as the lyrics become self-aware: “it’s a weird little birthday, it’s a weird little song”.

 ‘It's On You’ has a pleasant chug of guitar and bass to drive it forward as the lyrics tumble over themselves, unrestrained by the usual convention of distinct lines. Its energy has a youthful feel. ‘Regan's Lost Weekend (Porno Queen)’ slows things down again with inflections of rippling piano and bright chimes of guitar chords, whilst the vocal is rendered with a little distancing distortion. An ear-catching bass line runs through ‘Leave the Party’, with male and female voices combining in fine harmony throughout.

 ‘Lofts’ opens with feedback on its jangly guitar chords as the lyrics tell of an elevator that was a “padded cell for the socially insane and the chronically unwell”. It’s an unromantic gateway that leads the narrator to the object of his affection. The lack of bass or drums enables the storytelling to come into sharp focus and hook the listener in, until the shift when the vocals switch to falsetto and the rhythm section begins. The shift in arrangement echoes the switch in attitude towards the woman: “the key doesn’t fit the lock no more; oh, you’re such a whore”. The track moves through a variety of lyrical postulations about what makes her special: “there’s something in you” to an admission that “up in the lofts you’re doing no good”.

 ‘Monkey in the City’ closes the album with a sense of threat amidst its easy mid-tempo meandering guitar and steady bass sounds: “I could break your legs, putting words in my head”. The sense of paranoia is based on a misanthropic world view: “you know you hate your kids, you know you love that shit”. And yet the charming progressions of the bright guitar strings give a lightness and a beauty to the darkness.

 Happyness follows in the footsteps of Yo La Tengo, Pixies and Pavement with their slack bass, fuzzy guitars and wry vocals. On Weird Little Birthday the band proves their talent for engaging storytelling and sophisticated arrangements. Highly recommended.

  Words and thoughts of Amanda Penlington

[thewhiteboardproject]

Focus On: Climbing Boys

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Hi Climbing Boys. First off the bat, tell us a little bit about the history of the band, How did you all meet?

Fate...

You're based in London, if you were to take us on a day out, where would we go/what would we do?

Sleep all day and go to Blackadder & Friends at Mascara Bar or Pattern Party in Dalston.

Last month saw the release of your debut single, what is the track about and who is behind the peculiar artwork?

The eerie yet beautiful artwork is by Tom Greatorex of Birthday Records. It's a maori princess. We wanted something ritualistic and abstract to reflect the track. It's a personal song but also left open to interpretation.

We heard you’re just finishing up playing support slots with Howling Bells. Do you have any good stories to share from the experience?

Not so much a funny story as a collection of events: We went paddling in the docks at sunset, got chased by a barely clothed man, dodged whilst eggs were being pelted at beer-garden dwelling hipsters, had a brief brush with the law, lots of booze, lot of hangovers, lots of love. I think we've learnt a lot as a band from this first tour. We've grown closer, more confident and become stronger on stage as a result. We've loved it. We want more.

Let’s pretend you’re going to release a five-track covers EP. What songs would be on there?

Saviour Machine by David Bowie because it's so spaced out and so open to interpretation when it comes to the arrangement. Amazing Song.

Break My Body by the Pixies, because it's just so us, I think, and Emma would own it on the vocals.

Johnny & Mary by Robert Palmer because it's a guilty pleasure of ours. Great tune.

Dum Dum Boys by Iggy Pop because sends chills down our spines. Where are they now...we need their noise...

Brother & Sister by the Gun Club, because we love everything about it.

Imagine you’re hosting a “dead or alive” dinner party. You can invite three famous guests (past or present/dead or alive/not limited to just musicians) Who have you invited to eat at your table and what are you cooking?

David Bowie, Carl Sagan and Rik Mayall. We'd be cooking slugs and snails and puppy dogs tails in a nice stew...

And lastly, can you give us a sneak peek into your summer. Have you got much lined up in terms of live shows/releases?

First of all we want to focus on releasing more music. Another single is in the pipeline with Birthday Records. Got loads of shows coming up, but to name a few we'll be supporting Courtly Love on their single launch at Power Lunches on the 20th of June, we'll be doing a show alongside Black Mekon at the Shacklewell (Arms) with a DJ-set from Brian Jonestown Massacre on July 18th and we're gonna be playing Artrocker's Summer of New Blood Festival at The Garage in Highbury, on August 14th alongside Birthday Records bands Albert Albert and LIFE. We also have a European support tour coming up which we will announce soon enough.

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Climbing Boys' Conjoining Rite is out now via Birthday Records.

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Interview by Karla Harris.

[thewhiteboardproject]

Whiteboard v. The Antlers' Familiars

 Opening track ‘Palace’ gradually comes into earshot via pretty jangles of keys, snappy hits of crisp cymbal, and layered washes of mellow trumpet. Peter Silberman’s voice is as angelic as ever, with its heartfelt tone and ringing clarity. The song builds impressively with a great sense of momentum before stripping back to voice, brass and only a hint of synth at its close.

 ‘Doppelganger’ unnerves the listener, with a ghostly muted trumpet fading in and out amidst subterranean washes of sound and a lazy jazzy tempo. The effect is woozy, with light tickles of cymbal and snare helping to ground its haziness whilst Silberman’s vocal interjections switch to wordless flurries of glimmering falsetto. Amidst the rich jam of instrumentation subtle flecks of sonic colour pop into focus, such as hypnotic brushstrokes of electric guitar.

 ‘Hotel’ is crisper: the percussive mix leads the way, bringing piano and synth chords along for a pleasant ride with multi-tracked trumpets. Late in the song a gleaming guitar solo emerges with some offbeat stabs of rhythm guitar. It’s the kind of technique you’d expect to hear on a reggae track; here it is unexpectedly and expertly blended with The Antlers’ signature sound.    

 ‘Intruders’ is an emotive track that centres around a spectrum of guitar sounds; with heavier hit snares, a sweet keyboard line, and flurries of trumpet weaving their spell respectfully around Silberman’s soaring vocals and haunting strings.

 ‘Director’ also places a mournful guitar figure as its prominent hook. As the song progresses chiming synth patterns dance around like wisps of happy memories caught on the wind. The Antlers give a masterclass in arrangement and production towards the end of ‘Director’: Silberman’s final vocals are given power with full-breathed exhortations but they are captured slightly at a distance, just as the rest of the instrumentation surges forth with a renewed vigour. It’s as if waves of crashing circumstances can no longer be held at bay. The effect is breathtaking.

 The arrangement of ‘Revisited’ takes us back to dreamy territory: sliding lines of glassy guitar peep through a blanket of brushed snares, jazzy trumpets, resonant bowed strings and mellow piano lines. It is one of the wordiest songs on Familiars, with a narrative thread telling the tale of possessions sold or stolen: the ruins of a past relationship. A guitar solo repeats a motif as if treading over the same territory again and again, whilst a carousel synth closes the track on an uneasy note.

 ‘Parade’ is similarly wordy but more melodically restful. Its resonating guitar and soothing backing vocals usher in arcs of pleasing brass. The sonic landscape is rich and calming but the lyrics tell of the suffering and waste that surrounds self-congratulatory victory parades. The juxtaposition of music and lyrical content proves the sophisticated songwriting and musicianship of The Antlers. Similarly, ‘Surrender’ has slippy brushed percussion and a vacillating organ that prepare the ground for overlapping lines of jazzy trumpet, and reverberating guitar, but a smooth vocal performance warns of a “fatal race for all contenders”. Bass notes on the piano and the shimmer of Christmas bells give the story an epic scale.     

 ‘Refuge’ brings closure to Familiars with a sense of restoration as Silberman considers what happens when “everyone’s gone and we leave the lights on anyway”. His voice moves from intimate whisper to forcefully expressive at various points and the arrangement knits a resonating electric guitar, trumpets that ascend the scale triumphantly, punchy kit percussion and a dizzying ripple of synths.

  Familiars considers how humans deal with change, running the gamut of loss, regret, bitterness and the need for restoration. It’s a sophisticated, rich record with all of the emotional resonance that you’d expect from the composers of Hospice and Burst Apart. Its sound is closer to the EP Undersea, with its flickers of jazzy brass and hypnotic revolving sonic motifs. Individual tracks shine for their subtle melodic and rhythmic shifts, but Familiars is also, undoubtedly, an album: a collective of work that has a cohesive momentum from start to finish. Another great record from The Antlers: its delicate beauty makes it a serious contender for Album of the Year. Highly recommended.   

  Words and thoughts of Amanda Penlington

[thewhiteboardproject]

Track Of The Day: 0287 - Ultimate Painting - Ultimate Painting

Having recently unveiled their debut, self-titled recording, together, Ultimate Painting delivers elements of each of the musicians' respective bands, understandably, while letting strong influences from acts such as The Velvet Underground and Stereolab to seep into the mix.

Listen to Ultimate Painting below.

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Words & Thoughts of Jonathan Hatchman

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