For most people, the arrival of a new year often means a time of change, of looking forward; a time to embrace new ideas and new projects. This is especially true for Damo Fawsett, a hard-working guitarist who recently parted ways with his band Slam Cartel. He already has various new projects underway. At the beginning of January 2016, he stopped by at Real Gone to tell us all about them…
***
Råångest: Swedish for raw anxiety.
Quite possibly the most aptly named release since Strapping Young Lad‘s ‘Heavy As A Very Heavy Thing’, this split EP between Swedish bands Cult of Luna and The Old Wind is heavy, raw and intense. Cult of Luna have gained a big cult following over the years and worked incredibly hard on their art, with 2013’s ‘Vertikal, Parts I & II’ being met with critical acclaim. At the time of this release, The Old Wind are just starting on their journey by comparison, but have members associated with The Ocean and Breach. The idea of a split release came about for two reasons: Cult of Luna found themselves in need of a break, but also are fans of The Old Wind. A split release shows support and helps introduce The Old Wind to an already extant audience who would most likely love them.
In 2013 UK singer-songwriter Nick Capaldi released his ‘Golden Summer‘ EP, a frighteningly mature work, worthy of a songwriter twice his age and experience. Not long after release, Nick started to talk of follow up plans involving a trip to Nashville. Those plans became a reality and in Nashville, he hooked up with legendary musician and producer Brendan Benson. The resultant four recordings, collected on 2015’s ‘Lovers Leap’ EP, felt like a long time coming, but were certainly worth the wait.
David Bowie’s 2013 album ‘The Next Day’ broke a ten year silence. It was released with a huge fanfare, but absolutely no build up. That an artist of Bowie’s stature could complete an album in absolute secrecy is surprising. That he managed to do so in a world that’s constantly connected via an internet of rumours and with a media reporting every notable (and often less notable) celebrity’s every cough is astounding. ‘The Next Day’ was a good, but sometimes ordinary album. Its follow up, ‘Blackstar’ – released at the beginning of 2016 – is anything but ordinary. This, Bowie’s twenty-fifth (proper) studio album, is his darkest since 1995’s ‘1.Outside’ (the first chapter of the subsequently aborted Nathan Adler Diaries). It would be easy to say it is also his coldest work since the Eno-drenched second side of ‘Low’, but despite the darkness, ‘Blackstar’ is often touching in its bleakness. It’s low-key songs are riddled with refection and emotion, the final public words of a legend about to say goodbye to the world. But, of course, on the 8th January – the album’s official release date – this was not clear to anyone except David and those very close to him.
Few figures were as influential within popular music as David Bowie. He not only knew how to pen distinctive songs, oft delivered with an even more distinctive vocal style, but he understood more than most that, to survive, constant reinvention was utterly necessary.
Pretty much no-one would have guessed that from David Jones’s first musical steps with R&B and his bands The King Bees and Lower Third, he would soon reinvent himself as a flippant music-hall act on his much overlooked ‘David Bowie’ debut of 1967. There’s even less there to suggest that the glam rock starman Ziggy Stardust’ was lurking around the corner preparing himself for world domination.