Sheffield's new sampladelic heroes SLO-MO have just released their cracking debut single "Death Of A Raver," which both cheekily samples ASTRUD GILBERTO and casts an experienced eye back over the whole Acid House period that encapsulated the zeitgeist back in the late 80s and early 90s.TIM PEACOCK talks to their leader DAVID GLEDHILL about raving, Latin Jazz, technology and, er, SOFT CELL...
The quickest snatch of SLO-MO'S debut single, "Death Of A Raver" (Circus Records) is enough to convince you that their singer/ mastermind DAVID GLEDHILL is lined up to become an important commentator in pop.
The record cocks a snook to both "Fools Gold" -era STONE ROSES and also BADLY DRAWN BOY to this writer's diseased lugholes. Was David personally involved in the whole acid house scene at the time. The witty commentary suggests so...
"Yeah, I ended up in Ripon, North Yorkshire during that time," recalls the affable David.
"I was staying in this weird country cottage and I got involved in that I hung around with people into drugs! (laughs)"
"I'd end up sitting in rooms with 30 people in them, listening to these endless bangin' tunes. It amazed me how they'd just keep on in that atmosphere. I was far more of an observer than a participator."
Do you still see that crowd now?
"In some cases, yeah," says David. "Now most of them have lost thousands of brain cells. Actually, most of them are dead respectable now. They work in offices and get pissed on the weekend. Typical."
Now that we're a good decade down the track from the euphoria surrounding that scene, though, how does David feel it will be viewed with hindsight?
"Mmm...it's something that anyone now between the ages of 25 and 35 can relate to," he responds.
"I think it was certainly an important time. For me personally, I was at Spike Island for the THE STONE ROSES mega gig and it was exciting to see dance music joining hands with guitar music, so to speak."
"It's a big question," he continues, after a pause. "Take the first STONE ROSES album...it's hardly touched by dance at all. It's weird. I feel a lot of the stuff from that period was very over-rated, although some of the later 90s stuff like THE PRODIGY was great and it was definitely influenced by the whole "baggy" thing."
"Anyway," he laughs, "I'd be lying if I said it wasn't great to be involved wearing the flares and hooded tops and all that."
THE STONE ROSES and HAPPY MONDAYS and their ilk are only half the story here, though. "Death Of A Raver" very cheekily samples an ASTRUD GILBERTO sample (Incredible Brazilian bossa nova/ Jazz singer - cultural Ed). How the devil did you get clearance, David? I heard (songwriter) CARLOS JOBIM'S widow was really into the record too?
"It's a strange turn of events, really," remembers David. "During that whole Acid House period, I got into Latin Jazz. I have a vivid memory of sitting in the back of someone's car, listening to this stuff and really getting off on it."
"When "Death Of A Raver" was ready, we thought we'd never get the sample cleared. Everyone said she'll (Jobim's widow) never go for it...but she was incredible. Not only did she clear this one, but also the next single, "Girl From Alaska," that's also got an ASTRUD GILBERTO sample."
David's clearly still euphoric about all this...
"Yeah, she was fuckin' brilliant, man, " he enthuses. "I was just over the moon that day, walking around on air. I do love the sample on "Death Of A Raver," too. It's so addictive. It's like slamming a hammer into someone's head for three minutes."
Meanwhile, one of the CD versions of the single has a remix by SOFT CELL'S Dave Ball. You are surrounded by influential people, it seems, David. How did this collaboration come about?
"It's weird, actually, 'cos I'm not a longstanding SOFT CELL fan," replies David.
"But his (Dave Ball's) studio is directly across the road from Circus' (SLO-MO'S label) office. He just heard the single on the hi-fi by chance and thought it was fuckin' great."
"So, it was just good fortune really," says David, with the surprise of someone who still can hardly believe it.
"He did it for nothing, too. He's one of the nicest people I've met in the industry. It's funny, too, 'cos now SOFT CELL are cool again. I've heard an advance copy of their new album...that's a scoop! And it's really great. Maybe it's the whole retro thing...the 80s chic. I love all those fantastic cheesy sounds."
Actually, you can see exactly what David means when you check out "Violent Misdemeanours," the B-side of "Death Of A Raver," with its' louche beat and very 70s Fender Rhodes piano. It's impossibly catchy again and to my mind acts like "Death Of A Raver" part 2...not least that naughty "We got class A's, we got speed" chorus...
"Yeah, it is actually," agrees David. "My European label (PLAY IT AGAIN SAM) said it was terrific and it's just a fuckin B-side."
"I think it's funny. It sounds like THE J.GEILS BAND or something...it's more factual, though. It's what the rave crowd were doing over their weekends."
"Besides," he continues, "It's a rip off not to give people great B-sides. All the best bands always did. Think about THE SMITHS..."Jeanne" - what a great song.
Of course, hailing from Sheffield, SLO-MO reside in a city famed for mavericks ranging from Jarvis Cocker to The Human League to Cabaret Voltaire and Stephen Jones from Baby Bird. Another great pop stand out oughtn't to surprise us really. What's Sheffield like these days, David?
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"Well, it's dead cheap to live there, which is a good thing," he says.
"It's really nice, though. You need a bit of normality when you come home and it's not like Manchester where all the groups get together and start movements. Sheffield's still got very disparate groups of people. I mean, in terms of guitar bands there are HOGGBOY and those kind of poeple or you've got the likes of GRANDAD BOB who are involved in thedance and mixing end. They're really good."
Recently, of course, SLO-MO have been cutting their teeth as a live incarnation with David playing guitar and singing, joined by TRACY WILKINSON (keyboards); drummer LIAM OLIVER and bassist KIM WOODWARD. How has this changed the dynamic in the way David works?
"It's much heavier live," he suggests. "It's this fuckin' huge drivin' force. People love it as it's completely different to the record. SLO-MO will now become a two-pronged attack with rowdy, aggressive live shows. It'll be a shock if you've only heard the record, but all the feedback I've had has been really positive."
But I'm right in thinking there's a SLO-MO album ready to go with you playing everything yourself?
"Yeah, I was very nervous," David admits. "I did it all in my bedroom, recorded it all on a computer in my room. I did play everything, yeah. It's a cool way to record,actually. The band as we now are didn't come together until I was well into the recording process."
David also tells me a remarkable story doing the rounds of another very influential friend...
"Yeah, well, the record company (Circus) loved the end result and they were quietly hawking copies around and one day out of the blue I get a phone call from BUTCH VIG (yes..as in producer of NIRVANA'S "Nevermind" and the guy from GARBAGE -ed) and he's just telling me that he loved the record. I mean, fucking hell...it was surreal, but just...my mind was blown by someone like that calling up!"
To follow on from this point, does David think that guitar-based music will soon embrace computer technology wholesale?
"That's an interesting point," says David, savouring the question.
"I mean, I can't be the first one to do this...but there don't seem to be many others! The thing is...the technology's now there, but I dunno if people will grab it wilfully."
"They should, though. I mean, there's so much you can do with loops etc. It gives you as the artist so much control...there's no poncey producer involved. Anyway, I'm a control freak (laughs), so that's definitely not a bad thing!"
...an also a very open-minded individual, too, if your reputation for liking the Metal scene is to believed. Who do you presently rate from that scene?
"You know, I don't know how I got into metal," suggests David, sounding genuinely puzzled.
"I mean, I hated it growing up. I'm more STONES ROSES meets HUNTER.S.THOMPSON in my tastes, but I suppose NIRVANA got me into SOUNDGARDEN and RAGE AGAINST THE MACHINE. I like SYSTEM OF A DOWN, too."
"Possibly that's why I'm getting into playing live onstage, too," he continues.
"There's nothing like making a racket onstage, nothing more enjoyable. I get a lot out of stuff people don't see as great pop records. THE DEAD KENNEDYS for instance..."Frankenchrist" is such a great pop record. I always relate to people like JELLO BIAFRA...people who go out on a limb."
There again, David's been around the block a few times to absorb such disparate influences. Indeed, I discovered that he's also a published writer, with his book "BUSH" recalling his past youthful experiences in the London-based rock industry. Are there no end to the man's talents...
"Yeah, well I've been involved with a lot of shady characters," says David, laughing again.
"Inadvertently, I've been around people into fraud, dodgy management deals and the like. The book was like therapy for me. I was so fucked up I wrote a book about it all."
"I'm into loads of different aspects, too," he finishes. "I'm trying to get Circus to get me to direct the next video for "Girl From Alaska." I'm into visuals...you can't beat stuff like "Fear And Lothing In Las Vegas" and all the desert-based landscapes.I'm a massive film fan. If we can evoke such amazing images in our music I'll be happy."
This writer, too. Amen to that, David.
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