“Don’t throw it away like a disposable razorblade.” – Slippery People, ‘Resuscitate Our Love’
Today we bring you the first play of ‘Resuscitate Our Love’ by Slippery People, a new project from the Hove-based duo of David Best from Further. favourites Fujiya & Miyagi and Ex-Display Model, and Julian Tardo of Insides.
Named after a seminal Talking Heads track, Slippery People nods firmly in the direction of the skewed, twitchy, awkward funk sound instantly familiar from David’s work in Fujiya & Miyagi, but hitches that to a solid disco beat.
With the addition of euphoric vocals from Siggi Mwasote and intense percussion from Noel Watson, ‘Resuscitate Our Love’ is both reverential to the era my parents still get all misty-eyed about, while also giving it a fresh, ultra-modern edge infused with a distinctively DIY ethos. Full of hi-NRG synths, ridiculously funky bass sounds and some of David Best’s wryest lyrics to date, the track contains an inner rumination on love gone stale and desperate efforts to revive it, all wrapped up in a breezy, infectious groove.
“I’ve known Julian probably since 2004,” explains David of Slippery People’s origins. “He invited Fujiya & Miyagi to record in the much-loved Church Road Studio in Hove, which is where we recorded the Transparent Things album, and most of our other records after that. We both really love electronic disco, and that’s how Slippery People came about.”
The product of three years of sporadic recording around their other groups, ‘Resuscitate Our Love’ and its B-side ‘Swimming In The Shallow End Of Love’ are the first, essential tracks to emerge from the duo, prefacing other singles that will featuring contributions from Ben ‘Faz’ Farestvedt. Expect a sudden resurgence in disco balls and flared trousers.
Listen to ‘Resuscitate Our Love’ and watch Julian’s advert video below.
Slippery People · Resuscitate Our Love
Resuscitate Our Love / Swimming In the Shallow End Of Love by Slippery People is released July 10 2020.
Brighton quartet Fujiya & Miyagi’s latest album, Flashback, was released in May. Containing some of the group’s finest electro- and funk-inflected songs, Flashback covered everything from a political character assassination, self-importance and reflections on our collective (and absurd) paranoia that we might miss out. Further. spoke to the band’s guitarist and vocalist David Best about the tracks on Flashback and the often serious personal concerns and reminiscences that lie behind his deftly humorous lyrics.
Today we’re also premiering the latest two remixes of tracks from Flashback. Following on from Vince Clarke’s mix of ‘Fear Of Missing Out’ and W. H. Lung’s new version of the title track, the new latest mixes come from Shakedown and BUNKR. Shakedown’s robust re-rendering of album highlight ‘For Promotional Use Only’ gives the track an urgent insistency while BUNKR tap into acid house nostalgia on their new version of ‘Personal Space’. Listen to both mixes below.
Part of getting older is spending more time remembering when you were younger. Both myself and Steve Lewis from Fujiya & Miyagi are similar ages so we both grew up in the early 80s where our childhoods were soundtracked by electro. It was all over the top 40. I think subconsciously the music that you hear in your youth becomes important later on in life, although it’s natural to initially turn away from it.
I was jealous of my neighbour’s Nike windcheater. I used offcuts of kitchen linoleum to spin on my back poorly. I briefly spray painted really bad graffiti on portacabins. I pretended I was from somewhere that I wasn’t.
‘Flashback’ is a nostalgic look to a less complicated time with no responsibilities. It’s also about the odd fragments of memories that stay with you. Often these appear inconsequential but are impossible to shift and frequently come back to me in times of stress or anxiety.
This takes the underlying anxiety of ‘Flashback’ and adds a layer of claustrophobia on top. Inspired by James Brown’s 70s one-chord vamps, updated to incorporate aspects of electro and finished off by a middle-aged man struggling with being bombarded with technology and other people sitting too close to him in enclosed spaces in Taiwan.
For Promotional Use Only
‘For Promotional Use Only’ is about trying to do the most with the least possible. This is possibly my favourite song on the album. My friend described it as a song to listen to while rollerskating at a disco, which is a nice image.
Fear Of Missing Out
This has a 70s West African feel to it, hinting at William Onyeabor. It then morphs into a paranoid disco outro. Lyrically it has parallels to the end section of ‘Personal Space’. By always wanting your life to be better it’s easy to forget what you have that’s worth having. I was unsure whether to use such a relatively new and ubiquitous phrase but I wanted to cement the album in the present while being informed by the past.
This is a reworking of our song ‘Subliminal Cuts’. It was inspired by a Columbo episode ‘Double Exposure’ from 1973. We reversed our old song ‘In One Ear’, cut it up, and wrote a new one on top. It’s an idea stolen from David Bowie’s Lodger album.
Dying Swan Act
‘Dying Swan Act’ refers to a phrase my parents would say whenever myself or my sister were being a bit pathetic. This song was initially inspired by the origins of disco rap, hence its simplicity both lyrically and musically. It has a dissonant guitar line that also links it too ‘Fear Of Missing Out’.
It’s hard to ignore the split in opinion in the UK so I thought we should address it. I know nobody would listen to Fujiya & Miyagi for our political insight but morally I felt I wanted it to be known where I stood. It’s easy to oversimplify the reasons why people want to leave the EU. Being a racist is definitely one of them, though. I also wanted to poke fun at the other side of the argument. It’s easy to take the moral high ground without seeing the reasons for why we got to this point.
Interview: Mat Smith
Flashback by Fujiya & Miyagi is out now on Impossible Objects Of Desire. Read the Further. review here.
At the end of March, reviewing Further.’s first three months of operation, I made the commitment to try harder during the second quarter to significantly increase the delivery of content to the site. I’m pleased to report to readers that this commitment was fully delivered during the period under review, with a total of 23 albums reviewed.
During the second quarter I also consciously increased the site’s diversification and eclecticism, covering graphic score improvisations, just intonation microtonal works, modern classical, glitchy electronica, ambient soundscapes, electronic psychedelia and electronic pop with an even-handed and balanced review policy. I covered releases by some of the most niche cassette labels to the largest independents. I also welcomed two new guest writers to the Further. team in the form of Reed Hays (from Reed & Caroline) and Bryan Michael (from Alka).
I added a new micro-feature to the site in the form of 3 Questions, intended to provide a small window into what an artist values and what motivates them. This was added in an effort to provide bite-sized interviews that were both easily digestible and yet which provided significant depth of insight despite only consisting of the three open questions posed to each artist, sitting alongside traditional feature writing and longer In Conversation Q&A interviews.
I’m pleased that I was able to feature more female electronic artists during the second quarter, and this will continue to be a growing focus in successive quarters.
I look forward to reviewing Further.’s ongoing progress in three month’s time. Thank you for supporting my small music blog.
When I interviewed Brighton quartet Fujiya & Miyagi two years ago around the time of the reissue of their second album, 2006’s Transparent Things, singer and guitarist David Best expressed his admiration for Talking Heads and what he called their “awkward funk” sound. Perhaps more so than on any other Fujiya & Miyagi album, that reverence for that slightly off-kilter groove can be heard right across Flashback, containing seven of the band’s most precisely-executed cuts to date.
In the last couple of years, both Best and fellow F&M founder Steve Lewis have busied themselves with side projects – Lewis’s crystalline torch songs with Johanna Bramli as Fröst and Best with Fujiya & Miyagi bandmate Ed Chivers as the Terry Riley-inspired art-rock of Ex-Display Model. Surprisingly, none of that time out from their main group seems to have had any sort of influence on these new songs. You won’t find any fuzzy introspection here – just solid drumming from Chivers, elastic basslines from Ben Adamo and an effortless interplay between Best’s signature guitar styles and Lewis’s sinewy and infectious electronic patterns.
That tightness provides the backdrop to some of Best’s most oblique and deceptively humorous lyrics – a semi-political character assassination rant on the closing track ‘Gammon’, a bitter tirade against self-importance on ‘Personal Space’ and a brilliantly ironic (and astute) rumination on our modern obsessions on ‘Fear Of Missing Out’. The highlight among highlights is ‘For Promotional Use Only’, a low-slung, many-layered slow-builder that plays on one of the most mundane of piracy risk warnings and turns it into a hypnotic, restless epic, Best’s vocal taking on a distinctly paranoid hue as it progresses.
Flashback by Fujiya & Miyagi is released by Impossible Objects Of Desire on May 31 2019.