Because of COVID-19 travel restrictions and show and festival cancellations,
no new content has been added here since February 2020.
Read more about this here. | April 2019 update
To connect with us, visit us on Facebook and Twitter.
SXSW 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2015 | 2014 | 2013 | 2012 | Great Escape 2018 | 2015 | 2013 | 2012

Album Review: Zero 7 – E.P.3

 
By on Monday, 13th April 2015 at 12:00 pm
 

Good news, electronic fans! There’s a brand new album from pioneers Zero 7 expected to drop this autumn. Further good news? Today marks the release of Henry Binns and Sam Hardaker’s newest stop-gap until the new LP, an EP with the rather non-descript title of ‘E.P.3’. But there’s a method to the madness: the first two releases from the duo, before they ever caught the eye of a major label, were named ‘E.P.1 and ‘E.P.2’, so the name of the new EP is in deference to their humble beginnings.

And humble would be the operative word to describe this collection of five tracks from the famed electronic production duo. While the first two tracks feature names from their ‘Simple Science’ EP released last year (Danny Pratt and Only Girl), their third collaborator was dug up from much further back, a clear sign this is an entirely different animal to the summer 2014 release.

Swedish singer/songwriter Jose Gonzalez, member of Junip and a solo artist in his own right touring North America at the moment, doesn’t strike you as an appropriate musical partner to Zero 7, does he? But he appeared on several songs on the 2006 Zero 7 album ‘The Garden’. On this outing, Gonzalez adds smoky vocals to ‘Last Light’, evoking scenes of nature and security (“keep you safe and sound / ‘til you feel the same”) to the piano and synth-driven soundscape. The synths keep the mood bright, but the overall effect is one of thought and contemplation.

‘Last Light’ isn’t exactly the club banger I was expecting, but Binns and Hardaker explain the premise of this EP: “Late last year we finished a couple of stray songs we’d been working on and have been trying to find a suitable home for them since. As they didn’t really fit with much else we were doing at the time, they were put aside while we thought about what to do with them…. To us, they seemed to share something with the Mark Hollis cover we did a while ago so we’ve buddied them up and thrown in a little instrumental for good measure and come up with the imaginatively entitled it ‘E.P.3’. Hope you enjoy.”

Given the above, the chill nature of the collaborations with Danny Pratt (who guested on ‘Simple Science’) and Only Girl (vocalist on ‘Take Me Away’) on ‘E.P.3’ compared to those on the ‘Simple Science’ EP make much more sense. Pratt’s part on ‘400 Blows’ in staccato form, melodically and as overlaid with vibrating effects, matches the purposely jumpy synth and xylophone notes, which the backing piano reins everything in. To be sure, it’s catchy. The EP ends strangely with John Wizard’s remix of the track, in which the South African producer loses the plot and takes ‘400 Blows’ and turns it into an electronic caricature of the original.

‘The Colour of Spring’ is at perfect timing with the season, starting in with the chirps of birds, and like on ‘Take Me Away’, Only Girl’s vocals are again ethereal, but this time the understated instrumentation allows her voice to come forward, front and centre. It’s equal parts stunning and haunting. ‘Crush Tape’, the only instrumental on the EP, is filled with handclaps and effortless cool. I have to wonder if it was the starting point for ‘400 Blows’, as it seems to be the latter’s purer, more enigmatic cousin.

The biggest question is, what direction are Zero 7 going for this upcoming album? They went pop in the ‘Simple Science’ EP, but it is as if ‘E.P.3’ doesn’t want to acknowledge the 2014 effort. Interesting. In any event, Binns and Hardaker will keep us guessing until the leaves start changing colour.

7/10

Both the 12″ vinyl and the digital download versions of Zero 7’s latest release on Make Records, ‘E.P.3’, are out now. Past writings on TGTF about Zero 7, including a chat with Henry Binns last year, are this way.

 

Interview: Henry Binns of Zero 7

 
By on Wednesday, 3rd September 2014 at 11:00 am
 

Studio-based electronic music duo Zero 7 put out a handful of new tracks over the summer, culminating in the collective release of their new digital only EP ‘Simple Science’ on the 18th of August. We recently featured a review of the EP, but as I discovered last week, the tracks were never really intended as a concentrated work. Rather, they individually represent the creative mindset of musicians who have earned themselves a certain degree of artistic freedom.

Last Thursday morning Mountain Standard Time, or Thursday afternoon for those on British Summer Time, I had the pleasure of chatting with Zero 7’s Henry Binns over my first cup of coffee. Our editor and resident electro expert Mary Chang was originally slated to do the interview herself, but due to a last-minute schedule change, she asked me to fill in. Despite my unfamiliarity with electronic music in general and specifically with Zero 7, I was intrigued by the band’s latest single ‘Simple Science’, having heard it on BBC 6music earlier in the week. Armed with Mary’s carefully curated list of questions, I fired up Skype on my laptop and placed the scheduled transatlantic call.

My very superficial introduction to Zero 7 had been through coverage of another English artist, Bo Bruce, who talked about having worked with Binns on her 2013 album ‘Before I Sleep’. (You can read that interview, which was also conducted over an early morning cup of coffee here.) Even just hearing Bruce discuss her work with Binns, I quickly understood that Zero 7 were well-respected and influential studio musicians. What I didn’t know until Binns patiently talked me through an abridged version of the band’s history was that Zero 7 had some important early career influences of their own.

Binns and Sam Hardaker started Zero 7 in the late 1990s, after having met at school and beginning together as sound engineers at London’s famed RAK Studios. They eventually teamed up with another friend and schoolmate, Nigel Godrich, to start their own electro dance studio, Shabang. Godrich had begun doing some engineering work with Radiohead and was tapped to co-produce their 1997 album ‘OK Computer’. In what Binns calls “the mother of all lucky breaks”, he and Hardaker were given the chance to remix a track from that album, ‘Climbing Up the Walls’, which propelled their careers into the public spotlight. Binns would also receive a rhythm sampling credit on Radiohead’s next album ‘Kid A.’

Zero 7 released two EPs on Ultimate Dilemma Records before dropping their debut studio album ‘Simple Things’ in 2001. Featuring vocals by Sia of recent ‘Chandelier’ fame, as well as Mozez and Sophie Barker, the album went gold and was nominated for the Mercury Music Prize. Zero 7 would release another album, 2004’s ‘When It Falls’, before signing to Atlantic Records for 2006 LP ‘The Garden’ and 2009 LP ‘Yeah Ghost’. These last two albums saw Zero 7 begin to experiment with their sound, enlisting new vocalists and taking a more upbeat tack to their normally downtempo sound.

[youtube]https://www.youtube.com/watch?v=2fm7jt1pdX0&list=RD2fm7jt1pdX0#t=34[/youtube]

In 2010, Atlantic issued a Zero 7 compilation album called ‘Record’, which Binns described to me as “a bit weird, given that we’ve never had a hit record, really.” After touring that album, Binns and Hardaker found themselves at a natural pause. “Basically, we’d sort of finished a chapter and I think we sort of needed to stop, having done it solidly for 10, 15 years. We were writing LPs, you know, because that’s what you do, and it’s nice to do that. But it’s lovely right now just be able to not think about it and just go in the studio and say ‘What shall we do today? Ok, cool, we’re going with this, let’s go for it’”.

The pair’s new tracks do pick up where they left off in that experimental, pop-leaning thought process. While he acknowledges Godrich as a important mentor to Zero 7, Binns says that at this point in their careers, he and Hardaker are drawing from a “big cauldron of influences”, including r&b, disco and house. “My history in music is more r&b-based–rhythm and blues, not Chris Brown, know what I mean? Whereas Thom and Nige started listening to The Smiths. Now, you know, we’re all coming back, we all hate where we started and want to be the other guy! That’s the impression I get anyway of our music now.”

One of the most apparent influences on Zero 7’s more upbeat recent music is the pervasively sunny “Los Angeles sound” brought to ‘Simple Science’ by producer and singer/songwriter Tommy Leonard. That warm, bright sound is an interesting contradiction to the lyrical message of ‘Simple Science’, explains Binns. “I think it’s a dark song, ‘Simple Science’, it’s about a relationship that just isn’t working. I think people miss that because it’s very bright and the chorus is all quite happy and up. And I suppose maybe it’s quite a male thing, to think that, you know, this should all be so simple, and we love each other, but it just isn’t working. That’s basically what it’s saying. In a very, very upbeat way, but I think it’s bittersweet, it’s always got to be bittersweet.”

The vocals on ‘Simple Science’ were provided by vibe singer Danny Pratt, who also worked with Zero 7 on 2013 track ‘On My Own’ (audio below). Like many of Zero 7’s vocalists, Pratt was introduced to the pair through mutual friends. Binns says that he connected instantly with an intangible but “profoundly moving” emotional quality in Pratt’s demo. Those vocals, along with the arpeggiated synth theme described as “Frankie Knuckles-esque” in the ‘Simple Science’ press release, comprise the large scale brushstrokes of the song. “That was just an interesting twist for us to put that sort of thing against this very happy song. We’re always looking for something to twist it. That seems to be the pain that me and Sam go through in order to get stuff that we’re happy with.”

[youtube]https://www.youtube.com/watch?v=JLR_RgF6izQ[/youtube]

Binns explains the process of finding just the right sounds as quite painstaking, right down to the fine details. “I want to be able to say that no, we wrote ‘Moondance’ on the fag packet before the session and cut it in three days, but no, it is very difficult.” In that context, he talks about cutting the radio version of ‘Simple Science’, which truncates the song from around 8 minutes down nearer to 4. “We’ve spent so much time talking about why do we have to do this. We like the 12-inch, the journey, the whole (process) of going through it. ‘Simple Science’ potentially is quite a normal pop song, you know, and I think it sort of needs that to sort of give it some metal. Once you truncate it down, as you say, into a palatable FM radio format, suddenly you’re like, ‘Oh…bummer’. But listen, you know what, I quite like that radio edit, if I’m honest. And hopefully people like it and they are sort of slightly salivating over it, and they’ll be happy to get the full, blissful journey.”

‘Simple Science’ was released in July on 12″ vinyl with a track called ‘Red, Blue and Green’ as its B-side. ‘Red, Blue and Green’ is a dub version of an as-yet unreleased song with vocals by Resa, another vocalist Zero 7 has been working with, “who’s a fantastic singer and you will get to hear more of her voice, I promise.” Binns describes the evolution of ‘Red, Blue and Green’ as quite spontaneous. “We didn’t really have a sort of visual trajectory, you know, that doesn’t seem to ever be our driving force. It’s just, getting the thing to work, you know. We put a beat on it. It never had a beat. And then we put a bass line on it, and we were just building it up, this whole song got ripped down to just that little vocal thing that you can hear. We just went off on a journey and followed that journey. And I love it. It took probably the longest to mix that one, from a sonic point of view, we spent a long time trying to get it just right.”

Only 2 weeks after the ‘Simple Science’ vinyl release, Zero 7 dropped another 12″, this one featuring ‘Take Me Away’, which Binns thinks of as “a straight-up disco” track with vocals by Only Girl. Despite its placement as the A-side track on the disc, Binns talks about its hidden treasure quality. “You know, I love disco music, and I promise you I wasn’t jumping on the bandwagon, we have always been into it. But I like that one, people haven’t picked up on it in the same way, and I think it’s a shame. It’s almost got that sort of B-side thing about it, which I absolutely love.”

[youtube]https://www.youtube.com/watch?v=9CBeCy3AC28[/youtube]

The actual B-side to that disc is a techno-dance track called ‘U Know’. Initially conceived after a night at Block9, the after-hours portion of the Glastonbury Festival, the music reflects its anxious energy and constantly shifting focus of attention. Binns relates that experience from 2013: “I think Julio Bashmore was playing that particular night, and we just really got into the spirit of it and had a brilliant night. One of those nights to remember, and it was inspiring to us. I think it was the memory that kind of kept on coming back to me and Sam.”

Even while discussing the inspiration behind ‘U Know’, Binns is careful not to ascribe too much context to the new songs. He points out here that while the tracks have been released as a digital set, they weren’t necessarily conceived as part of a larger release. “It’s important to note with this whole EP thing, Sam and I, at the moment, are very, very happy doing some songs, finishing them, not really knowing exactly where they’re going and enjoying just putting music out to people who listen. We were feeling quite summery, and that kind of music seemed to suit this summer. And I think we’ve now got an EP that is much more autumnal. I won’t put too many more words on it than that. Is there an LP at the end of it, can we marry up ‘Simple Science’ with a more sort of, for want of a better word, introspective sound? Possibly, yes. I mean looking at our history we probably will, but I don’t know. The fact of the matter is we’re just getting on with it.”

The discussion of context naturally leads to the question of Zero 7’s music being used in film and television. Probably the most well-known example of that is the drug scene in the Zach Braff film ‘Garden State’, which uses Zero 7 track ‘In the Waiting Line’ as its background music. Binns talks about ‘Garden State’ as a “game changer, particularly in the US, because I think that album soundtrack was pretty big. I guess you could call it a cult classic, right? I mean, it actually ended up being that.”

[youtube]https://www.youtube.com/watch?v=AuR8FAxsW98[/youtube]

When I ask Binns about their songs being taken out of context in that way, he is decisive in his response. “I mean, look, by definition they have, but I think where they’ve worked it’s been really good. I mean, there’s been a lot of crap, but I can’t sniff at that because that is really my main source of income. We’ve been very, very lucky, and it’s not something you brag about, but it does bring in the money to let you do what you want to do. And you know, it’s not that easy in the music business these days. But the really successful examples of where we’ve been synced in movies have been really good. It’s helped the music, you know. It’s given it a whole new audience.”

Zero 7’s digital EP ‘Simple Science’ is out now on Make Records. The limited edition 12″ vinyl singles for ‘Simple Science’ and ‘Take Me Away’ are available at Zero 7’s official merchandise Web site.

Many thanks to Henry for taking the time to talk with me, and to Jeff for arranging the interview.

 

Album Review: Zero 7 – Simple Science EP

 
By on Thursday, 14th August 2014 at 12:00 pm
 

While it may not be true in other musical genres, or even frowned upon as if it indicates lack of talent, collaboration in the genre of electronic music quite often leads to incredible results. Henry Binns and Sam Hardaker, who began their careers in music as studio engineers doing support work for the likes of Pet Shop Boys and Robert Plant in the ’90s, have been doing their own music under the name Zero 7 for over a decade and a half. While it’s been over 13 years since their critically acclaimed debut album ‘Simple Things’, the duo have returned with help from a bevy of musical colleagues, including Los Angeles singer/songwriter Tommy Leonard, to create the ‘Simple Science’ EP, released next week.

Electronic music done beautifully is perfectly demonstrated in the title track, which features the vocal talents of Danny Pratt and backing vocals from Leonard. The press sheet describes it well as having a “Frankie Knuckles-esque arpeggio synth motif”, which shimmers like a jewel in the single/EP version that nears 8 minutes in length. That’s another thing that people who don’t favour electronic music seem to have a problem with: to understand this genre, you have to come to terms with a kind of music that begs to be savoured, where every percussive element stands out like a star on its own, yet is an important player in the whole.

Numbers like ‘Simple Science’ that are drawn out to a duration far beyond radio single play are drawn out for a reason, to prolong the bliss. The refrain of “should be simple science, but / you know I love you too much / we’re splitting atoms that are meant to join” compares the emotion of love to a scientific endeavour, a chemical reaction that makes sense (or should) and is a no-brainer. Well, until you realise that the act of loving someone is “not for the faint of heart” and leads to second guessing choices (“kiss the night goodbye / I fall into you every time”).

Just missing the 7-minute mark, ‘Red Blue & Green’ is, except for a few snatches of heavenly voices, an instrumental. It’s the kind of tune that you would expect soundtracking an upbeat yet chill segment at your local planetarium, while the stars dance and play with each other above your head. “Cosmically aware” would be the hippy dippy way of describing it. ‘Take Me Away’ is ultra funky from the start with an ace bass line, but as the vocals of South East London’s Only Girl begin, the song’s tone morphs into something more ethereal. It’s actually more satisfying when the main vocal line cuts back out around the halfway point of the track, allowing the bass line to command your attention as it frolics unfettered with the synths.

The EP is rounded out with handclap punctuated ‘U Know’, explained by the duo as “we knocked up after a long hang out at Block 9 at Glastonbury last year”. No matter where they came up with it or how you slice it, the synth chords the duo lays down and beats a-thudding will keep your pulse running at a feverish pace. It’s been 5 years since Zero 7’s fourth studio album; if this EP’s radiance is indicative of their game right now, it’s high time they thought about conceiving and recording album #5.

8/10

Zero 7’s new EP ‘Simple Science’ will be available in digital download format next Monday (the 18th of August) on Make Records. Available now are 12″ vinyl singles of ‘Simple Science’ (backed by ‘Red Blue & Green’) and ‘Take Me Away’ (backed by ‘U Know’).

 
 
 

About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

All MP3s are posted with the permission of the artists or their representatives and are for sampling only. Like the music? Buy it.

RSS Feed   RSS Feed  

Learn More About Us

Privacy Policy

Keep TGTF online for years to come!
Donate here.