OFF THE RECORDS/VIDEOKILLER - Nomi and cognomi...Jessica 6 new album is out and we are into it!

Jessica 6 'Prisoner Of Love' feat. Antony from Jessica 6 on Vimeo.

Talking about Jessica 6 and Nomi Ruiz (see the Post down under), here it is the article of "Interview" about their brand new album "See the light" (out now), the premiere of "Prisoner of Love" video and their astonishing video "White Horse"...It seems Soft Cell's "Non stop erotic cabaret" meets Andy Warhol...Enjoy!

Not everyone will admit to loving disco. But deep inside, everyone loves soul-searing, bass-thumping, sex-appeal-oozing disco à la Summer's "I Feel Love," which is what Jessica 6, and its frontwoman Nomi Ruiz, serve up in heaps. And smartly, the sensuality that pervades the band's debut album See The Light is as present in the band's visuals as it is in sound. Ruiz is simply a bombshell, and J6's gritty, red-drenched videos put her front and center. (Bandmates and production team Andrew Raposo and Morgan Wiley make their presence known in acid-house synths and basslines.) Her seductive performance and voice even caught the attention of the man behind one of the most captivating stage performers in the world: Gaga stylist Nicola Formichetti. For their new video "Prisoner of Love," Formichetti does put Ruiz in a baroque, high-necked, crystallized piece by The Blondes, but for the most part, he lets her captivate in simple outfits, like a black crop-top or a white tank. (Her two-toned nails, however, are pretty eye-catching.) Halfway through the Marco Ovando-directed video, Ruiz's friend and collaborator Antony Hegarty of Antony and the Johnsons appears, adding a warm timbre and throaty roundness to Ruiz's breathiness. But this isn't a repeat of Hercules and Love Affair's 2008 synthy rave tribute hit "You Belong" (in which Hegarty supplies Ruiz's backing vocals); "Prisoner of Love" is a more organic affair, with Hegarty crooning while Ruiz purrs, and the two engaging in a vocal tête-à-tête until crescendo. On top of vocal layers, there are Ruiz layers too, with the singer's silhouette providing a window to her bandmates, Hegarty, and Ruiz herself. Check out the exclusive here, and rest assured that underground dance music divas are just as sexy as their '70s predecessors.

JESSICA 6'S DEBUT, SEE THE LIGHT, IS OUT NOW. THEY'LL PLAY WITH HOLY GHOST! THIS SATURDAY AT BOWERY BALLROOM. FOR MORE ON THE BAND, VISIT THEIR MYSPACE.

NEW GOLD DREAMS/LET'S TOUR - Take off your shoes, better Boots with rain...The coming back of Little Boots (feat. Nomi Ruiz!)

Welcome back Boots! Little Boots has been busy recording her second studio album and we're super excited for it! Aww man! Just now, like less than a half hour ago she dropped this brand new mixtape filled with good, good stuff. Oh Land, Madonna, The Magician and Eli Escobar featuring the astonishing Nomi Ruiz of Jessica 6 (one of the best and peculiar voices of the last decade, believe me)! Also, she's embarking on an international DJ tour in November and early december. If you're in Paris, Berlin, New York, L.A, San Francisco, Tokyo, Beijing or London - check her out! Shake Until Your Hearts Break at the very end must be a new Boots track too. Love this mix edition (listen to this at high standard, please)!
SHAKE UNTIL YOUR HEART BREAKS MIXTAPE by LittleBoots

VIDEOKILLER - Brand new IAMX video "Volatile Times" is out! Good blood&rain...

OFF THE RECORDS - Erasure Up! Esce questa settimana "Tomorrow's World", il nuovo Cd del duo Vince Clarke-Andy Bell

Articolo tratto da Vogue.it
In un periodo dove la retromania per gli anni 80 ha invaso la scena musicale, dalla mainstream a quella indie, Andy Bell e Vince Clarke, gli Erasure, non potevano non tornare a farsi sentire con il nuovo album: Tomorrow’s World (Mute), proprio loro che del synthpop britannico sono i pionieri. Il rientro del duo è avvenuto un mese fa sul palco del Short Circuit presents Mute, alla Roundhouse di Londra. Coincide con il venticinquesimo compleanno della loro carriera, il cui esordio risale al 1986 con l’album Wonderland come nuova reincarnazione di Vince Clarke, che aveva alle spalle progetti come Yazoo, di recente riesumato in coppia con Alison Moyet, e Depeche Mode su tutti.
«Se si vanno a contare le band di musica elettronica in classifica fra gli anni 80 e l'inizio dei 90, non ce n'erano molte in realtà. Oggi sono il 90%. Trovo la nuova scena elettronica emozionante, ma non parlerei di nostalgia solo perché si suonano dei sintetizzatori come allora» afferma Vince Clarke, che in 25 anni con gli Erasure ha centrato 40 hit single e venduto 25 milioni di dischi.

Registrato tra Londra, New York, Los Angeles e il Maine, dove oggi vive Clarke, e anticipato dal singolo When I start to (Break it all down), Tomorrow’s World arriva a quattro anni dal precedente album di studio The light at the end of the world ed è stato prodotto da Frankmusic, nuovo pupillo della scena dance, già al servizio di Ellie Goulding, Lady Gaga e Pet Shop Boys. «Abbiamo scelto lui perché ha un approccio diverso alla musica, lavora ai synth con una sensibilità unica. Produce un suono molto più intenso e pieno del nostro, un vero e proprio wall of sound. Nei passati album tendevamo invece ad avere un atteggiamento più minimal. Credo che Tomorrow’s World sia un buon compromesso fra suoni analogici e synth, si avvicina molto a lavori come Erasure, del 1995, e Loveboat mescolati insieme a Chorus».

Alla tournée attualmente in Usa con Frankmusic, segue il tour che fino a fine novembre porta gli Erasure nei teatri e club europei.

TALK TALK - Blondie forever! Debbie Harry interviewed (part 2 final)

I guess you could say that Blondie have a very street-wise glamour but they're also a band for romantics. Are you a romantic person at heart?

DH: Personally? Hmmmm. I don't know. I probably have a good imagination but I don't know if I'm a true romantic. But I do like romance. I don't know, it's a word that's been so mistreated. I mean, what is romance?

As I've only heard three of the songs off the album I had to make some guesses about the other tracks based on title alone. Does 'D-Day' stand for 'Debbie-Day'?

DH: YES! [punches air] But I really wrote it because I thought, if I play it over here it will be like [blows air through lips] … you know… it'll go down really well.

And there's 'The End, The End'. Now I'm kind of hoping this isn't The Doors song played twice in a row.

DH: That was a collaborative effort with this guy Ben Phillips and he had this idea about finding someone that you wanted to be with until the very end. So I guess that is a very romantic idea. He gave me this idea of what it was about and then we fleshed out the lyrics.

'Wipe Off My Sweat' sounds rather saucy…

DH: That's because it is [laughs]. It's in Spanish: 'Kiss me, kiss me, she has a tattoo on her skin where only he can see it…' And then when they're dancing she says: 'Kiss me, wipe off my sweat, don't stop, don't stop for anything.' It's simple and direct.

I'm also intrigued by the idea of 'China Shoes'.

DH: That's a ballad. Mid-tempo. It starts off, 'Cheap china shoes, tie on my feet, all man-made fabric worn out and beat, from pacing the floor, from walking the street. You fly over Brooklyn, back in a week.' So it's about someone leaving and you want them to come back. And then the chorus is, 'I left a note in the back page of your book, volumes away but it's worth a good look. Remember me, remember that you're mine, remember me when you get to the last line.'

You are a romantic! When I think of Blondie, I think of a pop group who had equals and contemporaries in the worlds of art, writing, photography, etc. I wonder if that's something that's missing from today's pop scene? How important was it for you to know people like William Burroughs and Andy Warhol?

DH: Really important. They were such great influences. It might be a little bit different in New York, because of the area — because everything is located so closely together and it's very easy to jump into the art world, to jump into the music scene, into the photography scene. It's all compacted together. Maybe that's why it happens. It seems kind of natural.

Do you think this concentration of people and ideas causes a continuum? When I think of The Velvet Underground I can see that there are clear lines through to Television, Suicide, Blondie, Sonic Youth…

DH: Yeah. Oh yeah. Well, I hope so…

Were The Velvet Underground still playing when you moved to New York?

DH: They were. Actually, the first time I saw them was one of the best shows I have ever seen. I didn't have a clue who they were. I used to go to this place — a big room called The Balloon Farm… [laughs] Well, it was the psychedelic period, right? So we went in this place, which was like a former Ukrainian nursing home, and it was The Velvet Underground playing live with Nico. The stage set and colours were designed by Andy Warhol who was also doing the lights. It was beautiful. And you know, Moe Tucker on drums was fucking great. And you could just wander in and watch them.

In a way you got the whole drug thing out of your system before you started Blondie. I was wondering how you got into heroin — was it just that there was a lot of it about?

DH: It was the time. It was all over the place. At first we felt that it might have been political [to take heroin]. Yeah, I know… [giggles and shakes head] It was everywhere and it really had a lot to do with the end of Vietnam and the fallout from that. What's that airline they talk about bringing everything in on? Air America. That's how the junk came in. It was very noticeable; it was everywhere.

A hundred and fifty years before Blondie, the popular perception of anyone female singing for their supper would have been that she was a prostitute. Do you think the music industry has ever got past seeing its female talent in terms different to commodities that could be sold or traded with?

DH: We are all commodities and I don't think it's necessarily just women. That was the game, you know? It outlived itself, didn't it?

Do you feel more in control now that the music industry is shrinking rapidly and is pretty much crippled in comparison to the monolithic thing that it used to be?

DH: No. No. Not necessarily. I mean, commerce and art have always had difficulties co-existing from the very beginning. I'm sure there were problems back when they were building the pyramids. I feel, perhaps, under the same amount of pressure to write another 'Heart Of Glass'. We're more in control of the creative end, yes, but it's not really fair for us because we've been around for a while and I think we have our thing figured out. And if we make a Blondie album we make a Blondie album. You know what that is. We've done our experimentation, basically. We've set up a framework that has a broad field of reference musically and we play with that. That is what our format is. The industry makes it hard to get a record out. It's like that for everyone. I mean, how many big artists are there? There are 10 or 20 major artists out there now and those are the ones who have big record deals.

You've said that the Plastic Letters album was about death. I was wondering how you dealing with Chris's illness in 1983 affected your view of your own mortality?

DH: I think that, up until that time, I had a lot of what you would call 'childish ways' and then the idea of taking complete responsibility for my life and not seeing it as just sheer fate or luck really hit home. Then, BAM! I knew death. I knew it right then. And I think everyone should know it. Everyone should know it, because we aren't really taught that, are we? We're not taught it and it's the total truth. I don't really want to talk about Chris getting ill today, but there are a few pictures of the last tour we did [in 1982] that I saw recently. I hadn't really seen them for a long, long time and I was so shocked. He must have gone down to 120lbs. It was just… horrible.

I guess you must get asked this quite a lot, but I'm interested in knowing what you put the bond between you and Chris down to. Because it is a very strong bond that transcends physical relationships. It goes beyond that.

DH: Yeah, it does. I think we just had a meeting of the minds…. Maybe it's because we've both got such accepting natures and we have a lot of room for a lot of different kinds of people and different dispositions and things like that. We both have a temper, though.

What do you think would have happened if you had changed the band's name to Adolf Hitler's Dog?

DH: The label would have dropped us. I loved that name, though. It's really funny, isn't it? Do you want to help me finish this salad?

This article originally appeared in The Stool Pigeon. For all things Pigeon, go here