When renowned festivals make the ambitious business decision to expand their activities, namely by creating satellite festivals, there are only two ways in which this tapping into new territory plays out -– either the satellite festival is small, shoddy, cheap, and generally serves only to raise awareness about the queen bee event, or it becomes a rogue sensation in its own right, breathing a new life into the entire franchise and providing ace entertainment for audiences thirsty for new events.
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It all started with a mix. Well, more accurately, it started as a remix.
For both Richard Norris and Erol Alkan, these two young Londoners started out, by themselves, as Djs, Alkan focusing more on dance and electronic music, Norris befriend Joe Strummer and playing on some of the Clash maestro’s latter-day creations. It wasn’t until 2006 that, after having rejiggered some tracks under his own name, Alkan began using the Beyond the Wizard’s Sleeve moniker. Norris had joined in, and the group, gaining notoriety for productions of artists of both the underground (Midlake) and the mainstream (Franz Ferdinand, The Chemical Brothers) variety, started making the name for themselves. EPs and singles would trickle out here and there, but outside of 2008 compilation of their earlier recordings, nothing concrete.
What a joy it is, then, that The Soft Bounce is here, and goodness is it a mishmash of so many varied things. From the hippie-friendly go-go bounce of “Creation” to the ‘80s synth homage “Diagram Girl” to the ambient instrumental “Tomorrow, Forever” to the string-driven mod number “Door to Tomorrow”, The Soft Bounce encompasses so much but still originates from the group’s clearly-defined psych-friendly aesthetic.
Thus, to help celebrate the occasion, the two Wizards themselves answered PopMatters 20 Questions, revealing a love of truffle oils, an affinity towards author John Higgs, and some remarkably practical advice for handling life’s problems.
With so many greats in the world of music passing and so much new talent coming from the Internet for their 15 minutes, it’s fair to wonder who will be the ones to adapt to the times and stay around to make a life’s worth of music. With much of the ‘90s crowd broken up, re-branded or withered into obscurity, it may seem like Radiohead is one of the only to continue to put out records whenever they want, using whatever instruments they want and charging whatever they want. But they wouldn’t be alone because Beck has shown that he can go from country, to rock and roll, to funk, and create records that ebb and flow with the emotional current of tears (Morning Phase).
“These were some of the best days of my life”, says Londoner Koray Fuat. “We had three music videos played on TV. We supported Montell Jordan, Lil Bow Wow and performed on the same stage as Kelle Le Roc and Roll Deep. These were interesting times.” Fuat refers to his days as a rapper in one of London’s few, if not only, Turkish-Brit hip-hop crews, Kontagious. The band’s one and only album The Epidemic failed to pave the way for further success, but it did make an admirable notch in the underground hip-hop/garage scene that had championed everyone from the Streets to Kano at the time.
It’s unfortunate Paul McCartney died in 1966, unable to see the impact of the final years of the greatest rock group in music history through classics like Sgt. Pepper’s Lonely Hearts Club Band, Abbey Road, and The Beatles (The White Album). An utter certainty for a career that would have ascended to new heights should he have chosen to form another group or go it alone given his songwriting prowess, he might even have earned a place among the Most Excellent Order of the British Empire. In the future, his record company would have released a compilation devoted to tracks that were culled from a post-Beatles canon that showed he was a unique individual talent who wasn’t just reliant upon a little help from his friends, and we’d be rejoicing upon a heralded career.