SCENES FROM OUR CLASSIC FUTURE IS THE REALIZATION OF THREE SONGS AND TWO PROJECTS THAT CAME TOGETHER AS ONE. AS YOUNG ASPIRING MUSICIANS SINCE THE EARLY AGE OF 12, GREG PAULUS AND JOHN CAMP PRACTICED PLAYING JAZZ STANDARDS INTO THE WEE SMALL HOURS OF THE MORNING TOGETHER. EVENTUALLY THE TWO WOULD FIND THEMSELVES BOTH IN NEW YORK UNDER NEW AND MORE ELECTRONIC CIRCUMSTANCES. DEEPLY INDEBTED TO THE MASTERY OF HERBIE HANCOCK, PAULUS AND CAMP WOULD RECONNECT, THIS TIME WITH SYNTHESIZERS, AND CONTINUE ON THEIR MUSICAL JOURNEY TOGETHER. ON ONE PARTICULAR DAY, CAMP PLAYED PAULUS A TRACK TITLED "REMO". PAULUS INSTANTLY FELL IN LOVE WITH THE TRACK BUT BOTH FELT IT NEEDED SOMETHING MORE... PAULUS INSISTED ON LAYING DOWN VOCALS AND WITHIN 15 MINUTES HAD THE LYRICS WRITTEN OUT AND SOON AFTER ADDED TRUMPET . AROUND THE SAME TIME PAULUS WAS REVISITING "SURF SONG", A TRACK HE AND BRIAN DERDIARIAN HAD BEEN WORKING ON SPORADICALLY FOR SOME TIME. THE TWO WOULD RECORD LONG ONE-TAKE JAMS ON TRUMPET, JUNO 106, AND GUITAR, FEEDING THEM ALL THRU LOOPING AND DELAY PEDALS. FROM THESE SESSIONS THEY WOULD FIND A STRIDE AND IN ADDITION TO "SURF SONG", RECORD "FIRE IN THE SKY". SIMILAR TO "REMO", "FIRE IN THE SKY" WOULD COME TOGETHER IN A LIGHTNING BOLT SORT OF WAY. WHEN ADDING THE FINAL TOUCHES, CAMP WAS AROUND AND WAS ENLISTED TO ADD PIANO WHICH WOULD BRING THE WHOLE EP TOGETHER. AROUND THIS TIME, PAULUS BEGAN TO SEE THE CORRELATION BETWEEN THESE THREE TRACKS. EACH, IN ONE WAY OR ANOTHER EMBODIED THE FEELING OF WHEN THE BEACH MEETS THE OCEAN. REMO" WAS DISTINCTLY REMINISCENT OF THEIR TIMES SPENT ON ROCKAWAY BEACH: THE TRIPS OUT IN THE CAR OR BUS, DRINKING AND SMOKING ON THE SHORE AND SLOWLY MAKING THEIR WAY BACK INTO THE BROOKLYN NIGHT TO GET CRAZY. "FIRE IN THE SKY" AND "SURF SONG" HAD A DISTINCT WEST COAST VIBE, MOST LIKELY DUE TO THE FACT THAT DERDIARIAN, BEING FROM CALIFORNIA, COULD NOT HELP BUT BRING THAT WEST COAST SWAGGER TO THE MUSIC. AT THE END OF THE DAY, THE IDEA OF HAVING THEIR GOOD FRIEND TANNER ROSS ADD HIS SIGNATURE TOUCH TO THE PROJECT WAS A NE- CESSITY. ROSS WOULD TAKE "REMO" AND MAKE IT HIS OWN HAZY GEM. WITH THAT, PAULUS WOULD END UP WITH FOUR SONGS THAT REMINDED HIM OF THAT SPECIAL PLACE WHERE THE SAND HITS THE OCEAN. AS LUCK WOULD HAVE IT PAULUS WOULD MANAGE TO TAKE TWO PICTURES THAT PERFECTLY ENCAPSU- LATED HIS FEELINGS FOR THESE SONGS. ONE, A BEAUTIFUL DAY ON THE ROCKAWAYS AND THE OTHER, A LUCKY RIDE IN HIS BUDDY'S CORVETTE STINGRAY UP THE PACIFIC COAST HIGHWAY TO MALIBU. SCENES FROM 0 UR CLASSIC FUTURE IS A COLLECTION OF SONGS THAT PAULUS, CAMP, AND DERDIAR- IAN LOVE AND HAVE LABORED OVER FOR A LONG TIME. THEY HOPE YOU ENJOY THEM AS MUCH AS THEY DO.
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Barcode 5060376931761 Rel Date 17.2.2014
TRACKLISTING:
1. Our Story... 2. We All Have Rhythm 3. Devil's Run 4. Slim's Night Out 5. Lullaby 6. Meet Me in the Dark 7. The Night I Met Luther 8. If I Try 9. Homesick feat. Thugfucker 10. Naïve 11. 4 Walls feat. Jaw, Navid Izadi, Aquarius Heaven & Dina Moursi 12. LA to the Bay 13. DJ Tennis feat. PillowTalk The Outcast (Acoustic Version)
FOR FANS OF: Soul Clap, Seth Troxler, Jamie Jones, Art Department
San Francisco three-piece live band PillowTalk are surprising dance music treasures. Manipulating pop melodies, classic R&B, soul and boogie into the loose rhythms of house music and performing live on stages in nightclub settings across the world, they have bridged an impossible gulf between worlds and created new expectations for electronic producers and live musicians alike. Their success is twofold, for not only are they stand out performers capturing the stage with Sammy D's bold and sultry vocals, multi-instrumentalist Ryan Williams' dextrous guitar and keys and Mikey Tello's fluid synth work (not to mention their matching classic black tie attire) they are also musical chameleons. As comfortable creating the upbeat 80sinspired synthpop heard in lead single 'Lullaby', as the psychedelic funk of 'We All Have Rhythm' and the classic rock and roll of 'Devil's Run', PillowTalk also adeptly deliver slow electronic ballads ('Naive') and house driven anthems ('If I Try') for their eloquent debut LP, 'Je Ne Sais Quoi' on their home label Wolf + Lamb. A soundtrack to long nights, lazy days and the hazy space between sleeping and waking, the record spans everything you want from the band: sunsplashed jams, peaktime party tunes and lowlit moments of intimacy.
BACKGROUND
The broad nature of 'Je Ne Sais Quoi' came about because the record was pulled together from melodies thought up while on long plane journeys, impromptu jam throw downs in Berlin apartments and musical sketches created during epic studio sessions sharing bottles of vodka. For instance, the offkilter R&B ghetto tech of '4 Walls' happened during a late night session with the band throwing ideas around with friends DOP and Navid Izadi. "We wanted to challenge ourselves musically and lyrically, so we made the song at 144 beats per minute but still gave it a soul vibe," says Michael. The song took ninety minutes to write and this organic and spontaneous approach is key to what PillowTalk are all about. The final album session was recorded in Portland, Oregon, during a month in 2012, which allowed the band to work communally, drawing from various ideas and influences including the vast Americana of Bruce Springsteen, the wrought post dubstep of James Blake, the deep soul of Sam Cooke and the incendiary jazz of John Coltrane. The result is music to suit all times, with a subtle and magnetic atmosphere that is warm, lush and dreamy. Though they've only been releasing records since 2011, the three members of PillowTalk have known each other for years. Meeting at social gatherings in their home of San Francisco, they have been neighbors and even roommates. They formed after the three were mucking around on the baby grand piano in Ryan's kitchen. A guitar and a Wurlitzer, some offhand vocals, were thrown into the mix in true Doowop style. The result led to their first release on the Life and Death label, which soon led to further output on Visionquest, Kompakt, Life And Death, Bang The Box and a multitude of singing collaborations. 'Je Ne Sais Quoi' sees them stepping into their own as a band, a statement of intent born from the highs and lows of their loves, laughs and heartbreaks thus far.
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Wolf + Lamb & John Camp are no strange bedfellows. In 2013 John contributed to tracks on Wolf + Lamb records, including his remix of Soul Clap's "Need Your Lovin" and his work on No Regular Play's "Birdfeathers" making him a seminal part of the family. "Make Me Fall" is a timeless tune featuring the haunting volcal work of Patricia Edwards. Driving hi-hats are peppered with jazz saxophone leading the listener through a soaring arpeggios that make it easy to fall in love with this track. On the flip Navid Izadi brings his own sound offering a dynamic spin to the original. More

The EFUNK effect continues to echo across the universe as Soul Clap’s mantra “Everybody’s Freaky Under Natures Kingdom” summons the Egyptian Lover himself, who revisits ‘The Alezby Inn’ to deliver his own spin on the Soul Clap cover of his classic electro-funk jam. The Crew Love is in full effect as Nick Monaco, Night Plane and recent Marcy Hotel regular John Camp deliver the magic on more remixes of ‘The Alezby Inn’, ‘Ecstasy’ and ‘I Need Your Lovin’ feat. 90s pop soul singer Mel Blatt. The 2012 debut album ‘EFUNK’ from Boston duo Soul Clap entered into unchartered territory, blowing apart the "dance" song format with their freaky sleazy surreal antics, ‘EFUNK’ fused the entirety of Soul Clap's past musical influence with super fresh execution. Here Wolf + Lamb Music further explores the debut by delivering a striking collection of remixes for three of the stand out tracks. More