VIDEOSIdjut Boys Interview - AllSaints Basement Sessions
KIM ANN FOXMAN & IDJUT BOYS in the Mixmag Lab
The Mixmag Lab series brings artists into their studio to play records of their choice for an online audience. Last month the Idjut Boys were joined by Kim Ann Foxman. Mixmag writes, “We also welcomed Dan Tyler and Conrad McDonell aka Idjut Boys into The Lab. This duo has been at the forefront of deep disco edits and remixes for over two decades, legendary their sets at Manchester’s Electric Chair club.” You can watch the nearly two hour long video here.
Lux Curated by Todd Terje at Lux Fragil
Date / Friday, 19 April 2013
Time / 00:00 – 00:00
Venue / Lux Fragil/ Av. Infante D. Henrique, Armazem A, Cais da Pedra a Sta Apolonia
Cost / 15€
Mungolian Jet Set (live + dj set)
Tevo Howard (live)
Additional event information via RA.
Live acts so far are Crazy P, Auntie Flo, Outboxx, Paqua, Land Of Light and Face and Heel with more to be announced• First wave of DJs includes Floating Points, Eats Everything, Thugfucker, Krystal Klear, Theo Parish, Soul Clap, Idjut Boys and Wolf and Lamb• Psychemagik, Young Marco, Maurice Fulton, Bicep, Crazy P, Greg Wilson, Huxley, Eric Duncan, DJ Nature, Tim Sweeney, Maxxi Soundsystem, Toby Tobias, Deep Space Orchestra, PBR Streetgang and many more feature too• Argonaughty and Barbarellas shows are curated by Just Jack, Beats in Space, Resident Advisor, Futureboogie Recordings, Tief, Leftfoot and more.
Via The Garden Festival.com
“Cellar Door” (Idjut Boys)
Their moniker notwithstanding, when it comes to music making, the duo of Daniel Tyler and Conrad McConnell are whip smart. Their new album, Cellar Door,” is a surprising collection of eight songs that transcend the mundane playlists that other DJs get away with. Firmly rooted in dance music but with a deep echo chamber and delay, their songs vacillate between garage band realness and glorious, soaring soundscapes that are, simply put, bad ass. The two admit that, “What we’ve tried to do is make an LP, four tracks a side on vinyl,” said Conrad. “You stick it on your stereo, have a cup of coffee and read the paper. When it’s finished you stick the other side on. So we’ve make an LP in the traditional way.” Bugge Wesseltoft plays the Steinway and Grace Jones bassist Malcolm Joseph jump in for the banging instrumental track, “One for Kenny,” in honor of the late Kenny Hawkes. In cuts like this, the tradition they have seized on seems to be dramatic action-adventure movie soundtracks. It would best be described as the personal soundtrack that plays in Samuel L. Jackson’s head whenever he walks onto the set of a new blockbuster film. From the intro salvo, “Rabass,” which draws you into the listening experience with its catchy acoustic guitar, to “Shine,” with the soaring voice of Sally Rodgers from A Man Called Adam, the album is pure cool. She returns to great effect in “Going Down,” a song that evokes Erasure remixes, with its sweeping electronic riffs studded with guitar. Rodgers shines again in “The Way I Like It,” another lush, electronic soundscape recorded in Cornwall, with Rodgers singing, “Trust in me and I won’t let you down.” Tyler notes that this is a great song to, “take your partner by the hand and caress each other via this piece of musicality.” They admit they named their quirky track “Love Hunter” after a Japanese cowboy shoe, pointy with buckles, which seems apropos as the song is a messy of disco and progressive rock, with George Double on the drums. They bring a reggae feel to the forefront in “Le Wasuk,” a trancey, sometimes frenetic instrumental track with Wesseltoft again on piano and Hammond, and Andy Hopkins on guitar. “It’s an ode to [Jamaican jazz pianist] Monty Alexander if we were dreaming hard,” said Taylor, noting that they also recorded a vocal version with a musician called Dollar from the Dominican Republican. With a flourish of electric guitar, they launch into “Jazz Axe,” a sad, short tune that only leaves the listener wanting more. You’d have to be an idjut not to pick this CD up.
Idjut Boys ”Cellar Door” was released July ’12 on Smalltown Supersound
The recent resurgence in Balearic pop music is a contender for the most innocuous trend redux of 2012. Forthcoming efforts from mainstays like Mungolian Jetset, Woolfy vs. Projections, and Windsurf exhibit an enthusiasm for the sound even though the spotlight has turned elsewhere. Newcomers Poolside prove that outsiders haven’t lost interest, even if their debut album mostly just remind us of the halcyon days of 2007-08 when both Air France and Studio were going concerns. The Idjut Boys were content to let that last wave of attention pass them by, popping up mostly on remixes and some EPs, but they’re the OGs of this very particular game, clocking 12″s as far back as 1993.
The duo– Londoners Daniel Tyler and Conrad McDonnell– would rightly bristle at being lumped in with any kind of movement, because when you’ve been making music for 18 or 19 years, you’re likely to have made enough of it differently, even if just to you, that such label tags will seem extra silly. They’ve crafted a career of dance music that has steadfastly avoided the prevailing dance paradigms– house, techno– of their day. For the last half-decade or so they’ve hovered around the Smalltown Supersound galaxy in an uncle-shaped saucer, steering artists like Lindstrøm, Prins Thomas, and Mungolian via remixes and collaborations. They specialize in lightweight bodyrock, not explicitly beachy but breezy enough to serve as a proxy.
Cellar Door is, shockingly, their first artist album, a 38-minute tart that wisely avoids the temptation to sum or define their career. (Though might I humbly request a collection of 12″s/remixes, friends?) Instead, it’s a idly stitched collection of funk, disco, and pop so unassuming that its lack of coherence feels like a virtue. Eight-song records feel like they should have a center, something to talk and build around, but Cellar Door’s keeps shifting, like light moving on the floor as the day progresses. The first single, “One for Kenny”, is the album’s most danceable track, candy disco that moves at the same pace as a comforting lava lamp. Halfway through it eases (there are no sharp movements on Cellar Door) into a gorgeous, jazzy piano line. It feels like someone draped a warm blanket over the track.
Two long vocal ballads– “Shine” and the “The Way I Like It”, both featuring Sally Rodgers– are well-formed and tender. The latter, in particular, details an appreciative lust, thankful and tense until its beautiful, windswept second half. “Going Down” and “Love Hunter” employ ringing acoustic guitars, harmonic complexity coloring standard rhythms. “Le Wasuk”‘s proggy, diffuse raggae is the only true misstep, and the Idjut Boys redeem themselves with sunset-beautiful “Jazz Axe”, two minutes of honeyed electric guitar to close the album.
Churls will indict Cellar Door for a lack of coherence, but the Idjut Boys have built a career on a lack of coherence. Dance versions of these tracks are reportedly forthcoming, and they’ll probably be great. Cellar Door, though, is a frozen moment, a triumph and an oddity. Instead of justifying or summarizing two decades of work, Tyler and McDonnell set them aside and come up with a concise, lovely album that, like a gentle tourist, takes only pictures, leaves only footprints.