In 2014, Jungle had critics’ tongues wagging with the release of their self-titled debut album. It earned the duo a Mercury Prize nomination and a host of favourable reviews describing them as the one of the most exciting things happening in music – not bad for a band that seemingly came out of nowhere.
In fact, Jungle is the product of childhood friends and London natives, Josh Lloyd-Watson (J) and Tom McFarland (T), who were making music together long before forming the band at the start of 2013. After releasing two self-produced, disco-inspired singles online, “The Heat” and “Platoon”, a coveted spot on BBC’s “Sound of 2014” list was quick to follow.
At the time, Jungle remained shielded in anonymity – not even their names were public knowledge. So when their video for “The Heat” went viral, many wondered if the pair of spellbinding, roller-skating dancers seen on screen were actually the men behind the music. As it turned out, they were two guys known as Icky and Silence from the High Rollaz UK skate crew. And so the mystery deepened.
At first glance, it might seem like the initial facelessness of Jungle was intended to build hype around the band – a way to get people talking. But J explains that it was completely unintentional. “I think it stems from a general misunderstanding of our original artistic concept,” he says. “It was a shyness, to some extent,” adds T. “Everybody’s insecure and self-conscious, and I think in the beginning it kind of stemmed from that. We used to play in a band before and we wanted to remove ourselves from that and leave it to the music.”
It wasn’t long before Jungle’s disco-tinged brand of modern soul caught the attention of XL Recordings. Their debut album was recorded between the band’s own home studio and the XL recording studio – a first for the two, who started off as bedroom producers recording on their laptops.
Anyone can stick a track on SoundCloud and have an audience for it – which is where we started. But the difference for us was when we started playing live and were able to see the impact.
J acknowledges the ease with which people can make music in today’s digital era: “Anyone can stick a track on SoundCloud and have an audience for it – which is where we started. But the difference for us was when we started playing live and were able to see the impact.”
Those early live shows are what changed – and finally exposed – the face of Jungle. After forming a collective of several different artists pulled from a range of disciplines, they eventually expanded to a seven-piece band. The intention was to take their music beyond the bedroom to create a very real, very human connection to the audience with a fuller sounding, more experiential performance. As J recalls: “We played a show in Mexico to around fifteen thousand people and the noise and energy from that crowd was just immense. It’s reassuring to know you are creating something that’s touching people.”
Trying to fit Jungle into any one category is no easy task, with a sound that’s influenced by several decades’ worth of funk, electronic, world music and seemingly everything in between. And that’s just fine with T: “I don’t really believe in trying to define music or classifying genres – I just believe in music. You could look at Kasabian and say they were ripping off The Stone Roses, until people started ripping of Kasabian and then nobody mentions the Stone Roses. Music has a cycle of borrowed influences.”
The initial mystery surrounding Jungle may have diminished, but their popularity continues to soar – as does the potential for criticism. Says T, “The more exposed you become, the more people want to bring you down.” But in typical Jungle fashion, they’re less concerned about what others think and more concerned with continuing to create great music that people want to listen to. T explains, “People are going to write negative things about you but you can learn to be stronger and use that criticism to help your process of writing.”
In the end, Jungle isn’t about the mystery or the hype or the image people choose to buy into. As J puts it, “It’s about removing the possibility of our own ego.”
What do you get when you combine the start of a worldwide tour and the release of a highly-anticipated album on the same day? Ask Lord Huron’s founder and frontman, Ben Schneider, and he’ll say a pretty damn exciting journey ahead. The band’s third album, Vide Noir, released April 20, is already receiving accolades for its raw, lyrical storytelling from songs like “Wait by the River” and “When the Night is Over”. To engage fans at a deeper level, the band plans on creating immersive experiences that elevate the album’s narratives. Lord Huron’s tour includes a stop at Toronto’s Sony Centre on July 25, and at Osheaga in Montreal on August 4. Schneider spoke to us about his love of storytelling, Raymond Chandler influences, and what it was like working with Flaming Lips’ producer David Fridmann. G—You grew up in Michigan. Is that where your interest in music began? BS—There was always music on at our house, and I remember imagining the people the songs were about. The storytelling of songs is what’s always captured me most. As time went on, I was able to convince my parents to let me play bass in the orchestra, which led to me
Morgan Saint was born into a creative life. Upon growing up in Mattituck, NY with a family of musicians on her mother’s side and parents who worked in interior design, Saint graduated from Parsons School of Design in Manhattan, where she has lived for the past six years. With a major in illustration and a focus on photography and graphic design, Saint has executed a clear vision of her musical artistry. In 2017, at the age of 23, Saint released her debut EP, 17 Hero, on Epic Records. She is a storyteller at heart, combining all of her talents to reveal her narrative as truthfully as possible, one vignette at a time, as seen in all three of the EP’s videos, “Glass House”, “You”, and “Just Friends”. She co-produced each glossy, beautifully choreographed, and high-definition clip with Nathan Crooker, but the lyrics are all hers. They come from personal places yet are vague enough to be relatable. Her electronic pop is lo-fi, but you’ll most likely find yourself snapping your fingers to it. As Saint prepared for a sold-out show supporting Missio in Austin, Texas, Georgie connected with her to discuss coming into her own as a songwriter and
Listening to any track on EDEN’s debut album, vertigo, is like visiting your favourite city for the fiftieth time except nothing is quite where you remember it. The hotel is on the river, not by the park, and city hall is upside down. The Dublin-raised singer/songwriter/producer who began his career as The Eden Project, melted the best of indie, hip hop, and electronica into 13 deconstructed tracks for vertigo. Following two successful EPs, a shout-out from Lorde, and mid-way through the vertigo world tour, we caught up with EDEN to talk about his new record, and the musical evolution that brought him to it. G—From The Eden Project to the EPs to vertigo, you’ve had some pretty big changes in style. Does it feel that way to you or does it just kind of feel like you’re constantly evolving? E—I definitely see that. There are similarities [between I think you think too much of me and vertigo]—my voice still sounds the same (laughs) and there are various instruments that I just like using—but it’s about progression for me. I could never be someone to make End Credits 2 or something like that. It’s not interesting to me to stay