Here stands a brilliant and unabashedly bucolic singer that’s surprisingly beat-literate as well. Woon is a BRIT School alum so his songwriting chops are impeccable, but it was his low-end electronic education that nurtured his nocturnal aesthetic. Call it dub, r’n’b or soul, the truth about Jamie Woon (and his beguiling debut Mirrorwriting) is that he’s all of the above and yet none of those at the same time. We couldn’t wait to meet the man for a frank coffee table conversation to discuss everything from the BBC to Burial.

We first noticed you through the wonderful “Wayfaring Stranger” in 2007 and then it went quiet for a while. Why was that?
Well honestly, it wasn’t a hiatus so much as it took that long to make my album. (Laughs) In a way, the reason I released only “Wayfaring Stranger” was because I didn’t think I had enough good songs to make a record. I needed to take my time and find my sound, which to be honest, came a lot from Burial’s remix of this song.

You were also handpicked by the BBC Sound of 2011 poll. Some people call being on that list a blessing and a curse. Would you agree with that?
It’s mad because it all happens to you so fast and I guess it’s like a hype competition. I definitely got great attention on the back of it and there were more people looking out for my record… so that’s great! But you also get a sense that some people are on you just because of the hype and then you kind of fall victim to that backlash. Yeah, a blessing and a curse is probably the right way of putting it. But no complaints, I’ve benefitted and it’s definitely an honour.

What do you think of this post-dubstep label that’s been stuck on you and folks like James Blake?
I don’t know many artists who like to be put into a box but I see where they’re coming from. I think it’s a bit of a silly title though. (Laughs) And I definitely feel a kinship with James Blake, which is why it was always annoying to be put up in competition against him in the media. But I think we have similar influences and I enjoy what he does.

The rest of this interview can be read in the December issue of JUICE, now available at these spots.

www.jamiewoon.com

Text: Hidzir Junaini
Interview courtesy of: Heineken

Through the heights of (What’s the Story) Morning Glory? to the lows of a messy split, one thing that will never change is the adoration fans have for Oasis and its founding brothers. Noel Gallagher was, of course, the band’s principal songwriter, but what was he to do once the sun set over Oasis? That kind of genius shouldn’t be left on the shelf, and thus Noel Gallagher’s High Flying Birds took flight. We caught up with a contemplative Noel as he explains why he won’t be looking back in anger.

How different is High Flying Birds from your previous work?
As you would imagine, there used to be five people trying to paint a picture and it’s just me now. So the picture is a lot clearer and it’s exactly how I want it. It’s easier in that respect, but in terms of songwriting, I’ve never changed the fashion in which I write the songs or try to be different. I just let the songs come out and pick the best ones. This album now is quite varied but it wasn’t a conscious decision to be like that, it’s just the way it happened.

Do you have any regrets in terms of your career?
I really wish we had finished the last Oasis tour; we only had two gigs left. Maybe I could’ve handled that a bit differently. But not really, you can’t live your life having regrets because you can’t change anything, so what’s the point in looking back? I’m just always in the moment now; I don’t even look to the future. I’m doing this interview and then I’m going out to eat later. That’s about as far as I can see really. (Laughs)

So how would you describe your creative period as a solo artist?
For now, it’s great! I’m writing a lot and I’ve recorded 38 songs… but I’m no fool, I’ve been through this before and I’ve been in this game long enough to realise that this may not last. So you just enjoy the creative period that you’re in and just ride it for as long as the good will last. And then when it starts getting sh*t, just go on holiday for a bit! (Laughs)

The rest of this interview can be read in the December issue of JUICE, now available at these spots.

www.noelgallagher.com

Text: Hidzir Junaini
Interview courtesy of: Universal Music

There’s lots of stories of how two immensely talented DJ/producers came together to create magic, but one of the most intriguing things about Azari & III is that their story didn’t end there. The men manning the boards, Alphonse Alixander Lanza III and Dinamo Azari, went a step further and included a pair of booming voices in Fritz Helder and Starving Yet Full to add a little lyrical resonance to their subversive sound. The combination of dark house/disco with bacchanal vocals led to the wildfire success of tracks like “Reckless With Your Love” and “Hungry For Your Power”, and their sexually cerebral eponymous debut album. We got a roundtable with fab four to talk about how their brand of underground so astutely hit a nerve with dancefloor denizens everywhere.

Your debut LP just dropped. How’s the reaction been?
Alphonse Alixander Lanza III: It’s been 99% positive actually, which is really shocking. Usually there’s always some kind of stick in the mud…
Fritz Helder: And it’s not only been good, it’s been overwhelming. The timing was just right and everything fell into place.

So we’re guessing you never planned for “Reckless With Your Love” and “Hungry For Your Power” to become such house staples either?
Dinamo Azari: Nope, we were just making music and doing our thing. That’s it. It was a very slow build with those songs. There were maybe two people that liked it and lot of people that ignored it, and slowly it built and it’s still building.
A: Originally, we weren’t really aware of how big those tracks were but just this morning, my friend in London told me that he read somewhere that “Hungry For Your Power” was the most played track in London clubs in 2011.

Do you think it’s also because a lot of your music explores some deep and dark themes as well?
S: Well it’s always better to have music that has meaning. When a song means something, it resonates more with people because it makes you think and wonder.

I hear you guys come from pretty different musical backgrounds too. How do you make it all mesh in the studio?
F: It’s a benefit in that we have lots of experience and tools from completely different areas.
D: But sometimes it’s like a four car pile-up. (Laughs)

Lots of people have different takes, but what does underground dance music mean to you and where do you see it going?
D: It’s just a great place to express yourself with no boundaries. You can just get a cheap little drum machine or whatever or just sing about anything really. Something sad, something funky, something silly, you can do anything you want without worrying like, “Will this sell?”
F: In the end, whatever specific notions you have of what house is or what pop is, people are going to realise that good music is just good music.

Read the rest of this interview in the November issue of JUICE, now out at these spots.

www.azariandiii.com

Text: Hidzir Junaini
Interview courtesy of: Zouk Management

With age and talent on his side, Avicii’s all set to take on your house. This Swedish lad was but 18 when he surfaced with the kickass “Bromance”, which hit the charts in the big way and since then, the world hasn’t looked away. A couple more hits, remixes and global tours later, this rising DJ/producer finally makes his way to ours to debut at ZoukOut, where his high energy set should sit well with your boogie. Before that happens, we get acquainted with the young gunslinger.

What was it that got you into DJ-ing and production in the first place?
I got into producing when a friend of mine showed me the sequencer FL studio (which I still use) and I just kinda got hooked straight away! DJ-ing came two years later when my manager let me out on my first world tour!

And you’ve been around its major clubs and festivals quite a few times! Amazing memories, huh?
Oh, I’ve gotten so many amazing memories these past two years that I wouldn’t even know where to begin. I would say one of my favourite gigs ever has to be EDC in Las Vegas this year. Just the massiveness of it all was overwhelming!

What goes into an original Avicii track?
I always start off with the melody and hook of the track and then build everything else around it when I have an idea of where I want to go with the track. I then send it to my manager for feedback. I would say the main ingredient in an Avicii track is exactly that – melodies!

We’re sure there’ll be a heap of that at your set at ZoukOut later this year! How psyched are you!
I’m super stoked! I’ve never been but I’ve always wanted to go and I love the Asian crowds I’ve played for so far!

So what should we expect from an Avicii set?
A lot of energy, love and great uplifting music!

Read the rest of this interview in the November issue of JUICE, now out at these spots.

Avicii graces the line-up of ZoukOut 2011! More on the festival can be found in JUICE November and at www.zoukout.com.

www.avicii.com

Text: Min Chen
Interview courtesy of: Get In PR

White Shoes and The Couples Company isn’t simply one of Jakarta’s great bands, they’re a great band, period. With a wily concoction of indie pop, Indonesian cinema and retro jazz, the band has earned props from institutions like Rolling Stone magazine and smitten everyone from SEA to the US (they’re distributed by Chicago’s Minty Fresh). We cozied up to the band ahead of their Singaporean showcases for some conversational company.

You guys seem to love that ‘30s and ‘60s jazz sound…
We realised that good songs that became classics were always good to hear. We get influences from the Indonesian movie soundtracks from the ‘70s and also the acoustic spirit of the jazz musicians in the ‘30s. The spirit was genuine back then and the music is fantastic!

Big audience, or smaller, more intimate show? Which do you prefer, and why?
We prefer intimate audiences, because when it’s a limited space with a limited crowd, then the show becomes more special. There’s no boundary between the band and the audience.

What do you feel you can bring to the UpToTheSky Festival?
Of course, we’re happy to participate in the festival and hopefully, we can create a starting point to connect many bands from Indonesia with the region and build a good network. We hope to introduce our music and the Indonesian scene to everyone else.

Read the rest of this interview in the November issue of JUICE, now out at these spots.

White Shoes & The Couples Company will be at the UpToTheSky Festival happens on 3 December at Old School, 11 Mount Sophia. Reserved tickets are $89 and at the door stubs are $95. Email figure8@figure8-agency.com or call 9866 9259 to reserve your tickets.

Before UpToTheSky takes flight, Figure8 Agency will host a unique warm-up show on 8 November at LaSalle’s main theatre featuring three of contemporary indie’s most innovative artists in White Shoes and The Couples Company, SayCet (making their Singaporean debut) and B-Quartet. Tickets cost $25 with reservation and $30 at the door, and are available at www.figure8-agency.com.

www.whiteshoesandthecouplescompany.org

Text: Hidzir Junaini
Image: Indra Ameng
Interview courtesy of: Figure8 Agency

Ten years of Ladytron and the Liverpool quartet’s got a recent Best Of comp, four acclaimed albums, a nod from Brian Eno and its part in today’s synth-pop revival to show for it. Not bad at all! The group’s fifth album, Gravity The Seducer, marks the beginning of a new chapter for the band with its wash of disco pop, and of course, no one’s complaining about it. On the eve of their ZoukOut gig, we got vocalist Helen Marnie talking about Ladytron’s decade in synths.

Do you feel Ladytron’s Best of 00-10 is a milestone of sorts, a celebration of the band’s first decade?
Yes, totally. It’s a celebration, for sure. Back in 1999, we would never have thought we’d still be around over 10 years in. It’s great to kind of draw a line and show people what you’re all about, before releasing a new studio album.

What do you reckon has been the secret to the band’s longevity?
Over the years we’ve toured a lot… an incredible amount. I think that has really built up our fanbase and followers, and they are a pretty loyal bunch. Important, too, is that we’ve taken time out for ourselves. It’s essential we have our own headspace and can return to normality when not touring. Home and family are crucial for our sanity. On the other hand, I also think we’ve created consistently good music which has enabled us to continue as a band.

So let’s dig into your newest music: what was the band’s mindset going into making Gravity The Seducer?
Velocifero had largely been influenced by extensive touring, so with Gravity The Seducer, we wanted to consciously step away from that and create something freer. Thinking of how to tour it never actually came into the equation, meaning that we could make something really special. We’d also had about a year off, which meant we’d all had time to ourselves to write. When we went into the studio, all the songs seemed to instantly come together and gel, and they seemed like they’d always belonged together.

It does sound like a significant point in the evolution of the band…
I do think this album shows a more mature side to Ladytron. I mean, we are definitely not kids anymore. We operate differently. We’re at a different stage. It places us exactly in the now. We weren’t making this record for anyone else but ourselves and we’re totally happy with it.

And before you go, give us a peek into what your set at ZoukOut will be like…
Expect a handful of new tracks from Gravity the Seducer, mixed up with tracks from all our previous albums. We tour with our drummer, Billy Brown, so the live show should pack more of a punch than on CD. It will be loud, very loud!

Read the rest of this interview in the November issue of JUICE, now out at these spots.

Ladytron is high on the line-up for ZoukOut 2011! Whoop! Find out more about the festival in JUICE November, or click to www.zoukout.com.

www.ladytron.com

Text: Min Chen
Interview courtesy of: Zouk Management

Born and bred in the crazy ‘90s rave scene of Southern France, Jennifer Cardini got to see legends like Electric Indigo and Laurent Garnier firsthand as teenager. Those experiences saw her grow from partygoer to aspiring professional, absorbing knowledge from obscure cassettes while picking up skills from DJ friends. And before you knew it, Cardini herself began occupying the same circles as those legends that inspired her, with the distinction of being Kompakt’s first lady and being exalted as France’s reigning minimal techno queen. Now with a label of her own, Jennifer’s flying into unchartered airspace. But as we chat about her storied career, we have no doubt that this girl’s always meant to soar.

You’re representing Kompakt and much has been made about you being their first female signee. Is that a source of pride for you?
Yes, of course! It was one of the best moments of my life when Michael Mayer first called and asked me to do a mix CD. That was many years ago but till this day, I’m still very proud to be on this agency.

You’re also often named by up-and-coming female DJs as an inspiration. How do you feel about that?
People have told me that, but I find it difficult to believe. (Laughs) Wow! It’s always surprising and I feel very touched. I mean, it also inspires me to know that I’m considered an inspiration to others. It’s something nice to remember when I’m tired. That sort of thing keeps me going and keeps me playing.

Were there many female DJs to look up to when you started out?
There was one in particular, Electric Indigo from female:pressure. She impressed me a lot, and not only with her music but with her attitude as well. She’s really something as a character. She’s now a dear friend and I love her very much. As an artist, I admire how she stands for women in the scene.

How’s your Correspondant label doing?
Well it’s the beginning. Sometimes I think it’s kamikaze to start a label these days, but it’s more fun that way I guess. (Laughs) I’ve wanted to do this for a long time, and we’re starting to develop parties around it, starting tours with friends. It’s not easy, but it’s pretty cool.

Read the rest of this interview in the November issue of JUICE, now out at these spots.

www.jennifercardini.net

Text: Hidzir Junaini
Interview courtesy of: Zouk Management

It’s near impossible to pinpoint when The National became so beloved and perhaps, that’s a good thing. Their expansively rich yet quietly insular sound is what you would call a grower, meaning their popularity wasn’t sprouted overnight on a blog. Starting with their breakout album Boxer in 2005 and culminating with last year’s gorgeously crafted High Violet, these guys have certainly matured with their music and we reckon aren’t even near their peak yet. We pick bassist Scott Devendorf’s noggin to get his take on The National’s rise and evolution.

High Violet is doing mighty well, no?
It’s definitely been our best-selling record by far, which was a nice surprise. We believe it’s a good record but we didn’t think it’d do that well. It’s all been really exciting and encouraging.

Did the mainstream attention catch you guys off-guard? Being nominated for a BRIT award alongside the Glee cast and Justin Beiber and all that seems like a big deal…
(Laughs) Yeah, that was unusual, for sure. A lot of things happened that we didn’t expect. Like we were given a Q award, you know the big British magazine, and a lot of big bands were there and I guess we were comparatively unknown. We were suddenly in the same room with these stars so the past year has been a whole new experience for us. We put a lot of effort into our music though and we’re happy it’s slowly paying off.

What is The National’s sound? We ask because your pre-Alligator albums sound rather different to The National of now…
We were young and still learning how to be a band back then. Somewhere after Sad Songs For Dirty Lovers, it began to click and we found what elements worked and what didn’t. That came from touring too; we were touring a lot more in between Chilly Tree and Alligator, so that experience helped us figure out the nuances of how to play together. I think there are some songs on the early EPs that hinted at what we were going to sound like though; we just hadn’t ironed out the creases yet.

It’s been slightly delayed but we’re overjoyed that The National is finally coming! What can expect from the show?
I can’t begin to describe how disappointed we were about not making it in March, but luckily, we were able to reschedule. In some ways, it’s much better that we’re playing for you guys now because I honestly think that we’re so much better now. After touring the whole year, we feel so much more comfortable now and we’re definitely the tightest we’ve ever been as a band, so we’re psyched!

Read the rest of this interview in the November issue of JUICE, now out at these spots.

The National plays the Esplanade Theatre on Sunday, 6 November. Tickets are available at all SISTIC agents or via www.sistic.com.sg.

www.americanmary.com

Text: Hidzir Junaini
Interview courtesy of: Esplanade

We’ve literally caught Zebra & Snake on the cusp of great things – Tapio and Matti having just got inked by 100% Records, and with a new release in the pipeline. And just as well, for the Finnish duo’s ambient-electronic pop, a haunting and hypnotic (and in their words, “healing”) concoction of beats and analog keys, sure deserves a place to call home. But just for us, these power animals will also be coming out to play, alighting on ours with their reverb pedals and making sure a boring soundscape never passes us by.

What’s new in the world of Zebra & Snake?
Well, we got signed and so it’s a lot of hassle getting the record out, but we’re feeling really happy about it all!

But take us back to your beginnings…
We’re both from a small town in Finland, so we’ve kinda always known each other. But this one time, we’re just hanging out and had some synths and drum machines plugged in, so we just started to play. First it was kind of a therapeutic project, just writing silly songs without any limit or censor, but nowadays it’s more of a world of healing music.

What makes up that healing music?
Analog synths and Tapio’s deep voice are the major things, but there’s this secret weapon we have, a 30€ reverb pedal, that just sounds like nothing else.

And does Helsinki influence your songwriting in any way?
Because come from a small town in Finland, I think we get more inspired about the stuff happening there, than from what’s happening in Helsinki. We both live in Helsinki though, so there must be something from there too!

You excited to be making that long flight from Helsinki to Singapore?
SUPER EXCITED!

Zebra & Snake will be playing Singapore’s inaugural UpToTheSky Festival on 3 December at Old School, 11 Mount Sophia. Tickets cost $89 with reservation and $95 at the door. Email figure8@figure8-agency.com or call 9866 9259 to reserve your tickets. More information is at www.figure8-agency.com. Or find out more about the festival in the October issue of JUICE, now out at these spots.

www.myspace.com/zebraandsnake

Text: Min Chen
Image & interview courtesy of: Figure8

As suggested, Indonesian trio The Trees & The Wild own up to a pastoral and bucolic kind of folk, lined with ear-catching melodies and an acoustic strum. It was this delightful sound that chalked up thousands of listens on the group’s MySpace in 2001 and raked in the accolades (from Time Magazine, no less), before its debut, Rasuk, plastered the band across the map. So while it may have been a quiet hobby that started it and a gentle sway that guides it, these guys make nothing short of a deep impact.

Since you started making music as a hobby, how does it feel to be a working band now?
Well, everything hasn’t really changed. I think we are still the band that we were four years ago.

What’s been one of your biggest highlights as a band?
I think playing shows abroad is one the highlights! So pumped to play again in Singapore! Can’t wait to see you guys!

How have your surroundings influenced your music?
We live in an area that has two totally different environments. One part is the industrial part and the other one is the typical green suburbs part. I guess somehow those opposing environments inspired the music We also wanted to make a sound that was more relevant to us.

Since it’s been two years since your debut Rasuk, can we expect a follow-up soon?
Yes, we are currently working on our second album. The process has been so exciting, because our additional members are also involved in the arrangement. It’ll be a bit different from the first one.

The Trees & The Wild will be playing Singapore’s inaugural UpToTheSky Festival on 3 December at Old School, 11 Mount Sophia. Tickets cost $89 with reservation and $95 at the door. Email figure8@figure8-agency.com or call 9866 9259 to reserve your tickets. More information is at www.figure8-agency.com. Or find out more about the festival in the October issue of JUICE, now out at these spots.

www.myspace.com/thetreesandthewild

Text: Min Chen
Image & interview courtesy of: Figure8