One of the world’s most credible indie labels presents an intimate gig showcasing some of their newest artists: Fimber Bravo, Sweet Baboo & James Spankie. Having signed the likes of Hot Chip, Bloc Party and Slow Club, you may just catch the next big thing.
Hailing from Trinidad, award winning steel pan maestro “Fimber Bravo”:http://www.youtube.com/watch?v=CGjbOJ3y9os is a phenomenon. A collaborator with Hot Chip, Fimber Bravo is one of the most influential exponents of the steel drum in contemporary music. For his new album Con-Fusion, Fimber has called upon a stellar cast of production collaborators; Hot Chip, Tom Hopkins, Jonnie Wilkes & James Savage from Optimo/Naum Gabo, Zongamin and Mickey Moonlight. The lead single Life After Doomsday – co-written and co-produced by Zongamin – is typical of the album’s fusion of contemporary production and Fimber’s life affirming music.
Sweet Baboo is Stephen Black, a native of the north Wales countryside and a single-minded, idiosyncratic singer. Black possesses an ear for a sparkling melody, a restless soul, and a gift for a deft lyrical turn – from darkly funny to piercingly tender, twinklingly boastful to deliciously self-deprecating. In between world tours, Black found time to record his fourth full-length album, a concept album about the sea which is titled Ships which sees Black indulge in his love of super brass-heavy pop and is due for release in 2013.
James Spankie is a multi-instrumentalist singer, writer and producer who plays everything on record himself. His large cinematic arrangements and heavy driving rhythms makes him resemble something like a one-man Arcade Fire. As well as producing his own music, James has produced for DELS and composed soundtracks, most notably the spoken word piece ‘_Electricity_’ with The Kills’ Alison Mosshart. A 3rd EP from James is due in the first half of 2013.
“Moshi Moshi Records”:http://www.moshimoshimusic.com/news/ started off as a hobby in 1998. Set up by three friends who had jobs working for major record labels, it was intended as a way of working with the bands that they loved but which didn’t fit in with the agenda of the day-job taskmasters. Early single releases from Zan Lyons, Kathryn Williams & Pedro and J Xaverre earned the label some plaudits. And sold a few records. Over the next five years Moshi Moshi slowly started to build a reputation for interesting, slightly leftfield, low-key releases.
Then in 2004, things changed. For a start Moshi stopped being a hobby and became a fulltime job. Very soon after, Hot Chip and Bloc Party arrived and Moshi Moshi quickly became a name known to more than a few. Chart success followed with Yeti and The Rakes and higher-profile album releases from Architecture In Helsinki and Au Revoir Simone helped lift the label onto a new level. Then from 2006 onwards came artists such as Hot Club De Paris, Tilly And The Wall, The Wave Pictures, Slow Club, James Yuill, The Drums, Summer Camp, the list goes on.
Looking back on the Moshi Moshi roster (particularly since the label ‘went fulltime’ in 2004) it’s a collection that bears comparison with any of its peers. For a label run by two people with no financial backing, it’s nothing short of an inspiration.