Union Transfer

1026 SPRING GARDEN STREET, PHILADELPHIA, PA 19123 Ι 215-232-2100

Django Django

WXPN 88.5 Welcomes ...

Django Django

Wild Belle

Fri, November 6, 2015

Doors: 8:00 pm / Show: 8:30 pm

Union Transfer

Philadelphia, PA

$22.00 - $25.00

This event is all ages

Django Django
Django Django
It was when Django Django were playing Edinburgh’s Hogmanay celebrations on the final day of 2013 that producer and drummer Dave Maclean realised how far his band had come since releasing their self-titled debut album almost two years earlier.

“We made what, at the time, I thought would be an obscure bedroom record and ended up playing to 60,000 people on Princes Street,” says Dave. “Every month we kept saying we were going to stop touring but the album kept growing.”

Born Under Saturn is the work of a band fired up by confidence and experience and propelled way beyond their humble DIY roots. It has all of the giddy art-rock imagination of the debut but splashed across a larger canvas. “Once we got into the studio it became obvious it would be a bigger-sounding record,” says bassist Jim Dixon.

“When we were writing the lyrics there were lots of references to rebirth, turning a new page and starting something again,” says Dave. “I guess that’s something we all felt.”

Django Django — Dave, Jim, guitarist Vinnie Neff and keyboardist Tommy Grace — met at art school in Edinburgh and released their first single, after moving to east London, in 2009. They took their time evolving a uniquely open-minded sound in which every influence is welcome but nothing sounds cluttered of forced. “We don’t stop ourselves going in any direction because we’ve all got very individual styles so it always ends up sounding like us,” says Vinnie.

Their debut album came out in January 2012 on Because Music and was lavished with praise. It was “updated psychedelia that beguiles and delights” (The Guardian), “consistently mind-melting and often brilliant” (Q), “bursting with ideas” (Pitchfork) and “gloriously, unpredictably new” (Mojo). By December it had been shortlisted for the Mercury Prize and named one of the albums of the year by Rolling Stone and NME.

Django Django kept meaning to come off the road and get back in the studio but the album’s popularity kept growing. They played around the world, performing memorable shows at such essential festivals as Glastonbury and Fuji Rock. They appeared on TV shows worldwide, including one curious French affair where they were forced to dance with Wicked Game singer Chris Isaak. They had a ball.

“It surprised me how totally varied one audience would be,” says Dave. “Young kids next to 60s heads who were into Pink Floyd. Two generations of a family would come out. I’ve never known such a bizarre cross-section of society.”

They also embraced other creative opportunities. Dave travelled to Mali with Damon Albarn’s Africa Express, part of a 20-strong contingent including Brian Eno, Nick Zinner of the Yeah Yeah Yeahs and actor Idris Elba. The band subsequently appeared at an Africa Express show in Marseille, performing Skies Over Cairo with local rapper Malikah, and worked on the new album’s opening song Giant during a jam with African musicians at Albarn’s London studio.

Dave and Tommy worked on the score for the Royal Shakespeare Company’s production of John Webster’s bloodthirsty Jacobean tragedy The White Devil. “It’s a full-on play,” says Tommy, eyes widening. “There’s only about 10% of the cast standing at the end.” Dave established his own label, Kick and Clap, named after the club night he launched when he first moved to Dalston. “It’s my personal idea of dancefloor music – not just house and techno but weirder stuff as well,” he says. And Vinnie and Jim collaborated with award-winning artist Haroon Mirza at Stromboli arts festival last summer, at the foot of the island’s volcano.

After all this activity they were hungry to make album number two. “We built up momentum more than expectation,” says Dave. “We were keen to get back to making music. Going from a lo-fi bedroom record, sitting in your flat in your pjyamas, to playing to huge crowds, you learn a lot.”

Born Under Saturn was recorded at Netil House in east London and Angelic in Banbury, where the band had an entertaining night involving moonshine, a ouija board and what appeared to be a piano-playing poltergeist.

Like before, Django Django are blessedly oblivious to genre rules. You’ll find Beach Boys harmonies and Link Wray riffs crisscrossing with house music pianos, classical keyboard flourishes with Jamaican and African rhythms, and all of it flows. It’s the same dot-joining intelligence that made Dave’s instalment of the Late Night Tales compilation series, mixing Canned Heat and The Millennium with Outkast and TNGHT, so enjoyable.

“A lot of it has to do with growing up being more into mixtapes than albums,” he says. “I think that sensibility comes through. Since I was a kid I’ve always tried to see the connections and threads through music.”

Unlike the debut, which was largely written by Dave and Vinnie, the songwriting was split four ways. Songs evolved from fragments of ideas recorded on mobile phones, or flashes of brilliance during informal jams. Over time, the most promising seeds sprouted into full-blown songs, which would be teased apart and rebuilt by Dave in his producer role. “Growing up, I was into the Beatles and the Beach Boys,” he says. “This idea of 60s psych that was also really approachable pop music. That balance has always interested me. I love it when weird records become pop.”

Lyrics often emerged naturally from the sound of the music. Giant, for example, was so titled because its sound suggested a goliath’s pounding footsteps and Shake and Tremble’s rockabilly rumble suggested earthquakes. There are dark dramas like Found You, which draws on the myth of Faust’s deal with the devil, and Shot Down, a bloody tale of crime and betrayal. Jim wrote the sighingly beautiful Beginning to Fade while contemplating writer’s block. The atmospheric, synth-driven High Moon, says Dave, is about people who “come alive at night”. In Django Django’s songs the real is always merging with the fantastical and everyday emotions take strange and exciting forms.

Born Under Saturn expands on the slippery, undefinable brilliance of the debut, finding magic in the unexplored spaces between different kinds of music, and never doing the same thing twice.

“We thought we’d sell to little pockets of people and set up our own live shows in art spaces,” says Dave. “We never thought it would end up the way it did. Once that happens, you have to keep pushing. You can’t sit still.”
Wild Belle
Wild Belle
Elliot Bergman and his younger sister, Natalie (Belle) Bergman, have recently put the finishing touches on Isles, the first full-length album of music written and performed by the siblings under their collective band name Wild Belle. Recorded with fellow electronics wizard Bill Skibbe at Keyclub Recordings in Benton Harbor, Michigan, Isles premieres, across ten spellbinding new songs, Wild Belle's fully-realized dream-pop-dance music, the combination, says Elliot, "of elemental things and electricity."

When making Isles, Elliot felt a "push for a blend of organic and electronic elements and everything had to be sort of both. We wanted real instruments, things made of wood and metal, and then the modern sensibility of drum machines and synthesizers, balancing those two worlds. Rhythm comes first on all of these songs. Things get written to a rhythmic backing. Natalie writes catchy memorable pop hooks. My job is to find sounds that twist people's ears a little bit."

In early 2012, Elliot and Natalie began a little bit of ear-twisting with "Keep You" (b/w "Take Me Away"), the 12" single which introduced Wild Belle to the world. Released on the group's own Sandhill Sound label, "Keep You" projected a steamy seductive sound, full of heartbreaking mystery both tropical and noir. "Our plan was to put out a series of singles. We liked the idea of being a singles band," Elliot recalls before revealing another inspiration. "Sandhill Sound is named after the sandhill cranes that fly over our house every fall. They make this crazy kind of sound and they fly really high, they fly these exhausting circles upward until they catch thermal winds and coast for miles as they migrate from Northern Canada to Mexico."

Musical tastemakers, on both sides of the Atlantic, heard that mysterious high-flying crazy kind of sound in "Keep You." BBC radio 1 latched on to the sound and the song became a surprise favorite on their playlists. Vogue gave the band its vaunted "Band of the Week" props on their site, and The Chicago Tribune claimed "Wild Belle rules at SXSW" with Greg Kot featuring the band before a hometown show at the Hideout Block party.

Wild Belle's aesthetic roots and aspirations may be found in the Bergman family household, a musical place where Elliot, Natalie and their two other siblings (one now a fashion designer, the other a writer) would sit and "play old-timey songs, hymns and Dylan tunes." Both Natalie and Elliot remember hearing their mother play Joni Mitchell songs during family sing-a-longs. "That was how I became attracted to the guitar. She showed us open tunings and it made me excited to play," says Natalie while Elliot recalls growing up "playing jazz standards with our mom."

Eight years older than Natalie, Elliot was the family trailblazer when it came to Bergmans in bands, first playing in high school outfits with names like The Creepers before heading off to Ann Arbor, where, while attending the University of Michigan, he founded and fronted NOMO, an Afro-beat-inspired funky instrumental party band that's built a ten-year touring history, a four album catalog and its own loyal fanbase.
From the time she was 16, Natalie, who'd been writing her own songs for years, would travel with NOMO, playing percussion, twirling a tambourine, singing backup, selling merch. One of the instrumental tracks, a kalimba loop Elliot had created for NOMO, was so appealing to Natalie that she ran the sounds through Garageband, added lyrics and a vocal of her own and made the audio bed for the first Wild Belle recording.

"Natalie is a very strong presence and she kept coming in, churning out these lyrics," Elliot recalls. "It tilted the band's focus." Natalie was taking spotlight turns at NOMO shows with her solo material, which proved popular with audiences, but it soon became apparent that the songs she was writing needed a band all their own. "The songs that I write are not for NOMO," she says simply.

Natalie's songs are candid expressions of her character and experiences. "I started writing songs in high school," she says, "and, in college, I realized I had a knack for that kind of thing. Sometimes, I release emotions onto the paper that I didn't express directly to a person's face. Thankfully songwriting is good therapy. It alleviates so much tension and anything that's not feeling good within yourself. It's a good way to get over somebody."

According to Natalie, some of the songs on Isles were written "three or four years ago" while others were written during the album's recording and production process. When writing, she simmers in the myriad of musical influences of her upbringing--"Bill Withers, Sam Cooke, James Brown, Paul Simon's Graceland, a wide array of musician that were played in the house and in the car on trips to church... I got turned on to reggae at a young age by Bob Marley, his pre-Rock Steady stuff, doo-wop from Jamaica was on a different level."

When Elliot went off to college, he passed along his musical tastes and collection to seventh grade Natalie, who got an early taste for jazz, Pharaoh Sanders, Miles Davis and John Coltrane before tapping into the African music--Fela Kuti, Ebenezer Obey, Green Arrow Band and Hallelujah Chicken Run--that the siblings found so inspiring. "I had access to a lot of music growing up between my parents and Elliot and then myself exploring," says Natalie. "I am heavily influenced by many different types of music."

Natalie admits that "when we started recording the record, that's when we really started trying to write the music together." "Love Like This," the last track written for the album features an organ part written in the studio while the group was mixing "Keep You." "I took a break and recorded that on my phone," Elliot says. "We wrote down some lyrics and recorded that in a night, basically."

Elliot is an obsessive keyboard enthusiast and "huge Harry Partch fan" who builds his own instruments, among them the "metal tongues," all-electric variants on the African thumb-piano constructed from "reclaimed industrial materials." Elliot's kalimbas may be heard across Isles, making subtle appearances in "It's Too Late," "Twisted," "Happy Home," and "Take Me Away," intimating chimes or ethereal loops. "There's a collection of half-broken Casios that lives in our van," Elliot admits, but finds support this preoccupation, "Natalie is always tucking another one in before each tour."

According to Natalie, "Elliot is the master of bringing IT to life. Beyond his phenomenal musicianship skills, his role in the studio is being a great producer."

"Natalie and I have an interesting collaborative," Elliot observes. "We are so close and we grew up together working on music in all these different ways. It's funny we are on the same page about almost everything, from sounds to phrasing to instruments we're drawn to. We don't even really have to talk about most things. We know how each other would like something."

"I'm just so excited to release the record," Natalie, inviting everyone to visit Isles, an irresistible destination album. "It's a fun record. We're proud of it."
Venue Information:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123