Talk:Making Psyence Fiction
- 1 Additional Information & Errors
- 1.1 Atlantique - First time singing in English
- 1.2 DJ Shadow comments on his contribution to If You Find Earth Boring
- 1.3 Honest Jon's
- 1.4 Size Interview with James Lavelle May 2020
- 1.5 Gwarizm Interview with James Lavelle 2014
- 1.6 DJ Shadow discussing making Psyence Fiction
- 1.7 Stretch Armstrong on DJ Shadow
- 1.8 Psyence Fiction writing credit drama and legacy of that becoming the talking point
- 1.9 Error: Rabbit In Your Headlights release date
- 1.10 DJ Shadow on meeting Radiohead
- 1.11 James Lavelle discusses That's How It Is / Mo' Wax / Hollywood Basic / early DJ Shadow
- 1.12 James Lavelle discusses life on Trailblazers podcast.
Additional Information & Errors
Atlantique - First time singing in English
Atlantique is said to have sang in English for the first time on 1998's Psyence Fiction, but this is incorrect. She sings a song in English on Dimitri From Paris' debut album from 1996. The song Nothing To Lose (where she is introduced as Mademoiselle Atlantique) is a cover of a song by Claudine Longet from the Peter Sellers' film The Party. This is listed as a direct sample on Wikipedia, but Atlantique is credited in the album credits.
It would be more correct to say that Atlantique's collaborations are her first time writing and singing her own songs in English. It may also be worth noting that Atlantique's contribution to Dimitri From Paris' album released in June 1996 and may have been recorded around the same time as her unreleased UNKLE song Dissatisfied which is assumed to have been recorded around 1995, though this has not been made clear yet.--Jimmyjrg (talk) 15:05, 24 April 2020 (AEST)
DJ Shadow comments on his contribution to If You Find Earth Boring
I had an article where Shadow mentioned he didn't know his voicemail recording was included on UNKLE's Time Has Come EP until it was released. I have lost the article though so I cut this from the final book. --Jimmyjrg (talk) 15:05, 24 April 2020 (AEST)
I have found an article from 1996(?) about the Honest Jon's records store which James Lavelle worked for in 1992. This is by Cynthia Rose and was available on the State 51 website. This quote is worth noting for further information about the store at the time, "Within the store's two-floors, there are subdivisions. Betty Carter, for instance, opened the excellent Jazz Basement ("We stock everything from be-bop to acid"). Equally valued is Reggae Revive -- a tiny, smoke-filled backroom piled with rare 7-inches."
James Lavelle was filmed in the store as part of Matt Lipsey's 1992 film 'London Underground', as seen here. John Clare (original Honest Jon owner) commented on the post "Good memories of when we’d get Saturday queues extending out of the shop to dig James’s latest tune. When I opened the shop in 1974, this famous graduate of the shop had not even been born!"--Jimmyjrg (talk) 14:37, 28 April 2020 (AEST)
Size Interview with James Lavelle May 2020
In this interview Lavelle discusses a few points worth adding to future updates:
- Discusses meeting the guys at Slam City Skates which led to working with Will Bankhead and Ben Drury. Also mentions starting Mo' Wax Arts "which was where we started doing this kind of unusual projects with people like photographer Glen E. Friedman and Mark Gonzales."
- Discusses his early love of martial arts and Asian culture a bit more in detail. Mentions learning Chinese, reading manga, and watching Bruce Lee movies.
- Mentions Straight No Chaser Japan tour, "I went to places like Takamatsu, Tokushima, Okayama, and all these really coastal towns."
- Discusses collaborating with Nike, and making the first UNKLE and Mo' Wax toys.
- Mentions he "was also developing a Futura character film with Manga for a few years but that also never happened."
Gwarizm Interview with James Lavelle 2014
James Lavelle discusses early collaborations with Nike, including the toy with Giovanni Estevez, and a film with Manga: "There were so many things I tried to do. You see things in the book like the 3D toy and Vans stuff. Then the LEGO. There was the Glen Friedman poster. There was a lot of stuff that we tried to do — a lot of records and a lot of people that we were going to work with that never happened and to was pre-internet and it was a pretty mad, young hedonistic, lunatics taking over the asylum kind of time, you now? So you’d meet somebody that wanted to do something at a company and maybe by the time you got so far, they would have left, or the company closed down or moved on. There was Manga film — was talking to Manga for a year about making a movie. I was talking to a games company for a while about a game. There was endless stuff that never came out — there was almost more of that than the stuff that came out." --Jimmyjrg (talk) 14:43, 2 May 2020 (AEST)
DJ Shadow discussing making Psyence Fiction
In 2017 the Kansas City Star has (2017, Kansas City Star, The (MO), 9 Jul, p. 67, (online NewsBank). - Also: July 6, 2017 | Kansas City Star, The: Blogs (MO) Author: Timothy Finn | Section: Back to Rockville) the following interview with Shadow:
Q: What are your recollections about the release of "Endtroducing," and what's your perspective on that album 21 years later?
A: I think sometimes people imagine it was more of a big boom of a moment than it was. I was living in London when the record came out. It was my first album, and I'd never gone through an album campaign. I kept thinking, "OK. I'll do a few interviews and a few other things," but it kept going and going.
At the time, I remember just wanting to get back to making music. As it turned out, that's exactly what I was doing when I wasn't doing set-up stuff for the album or going to the pressing plant and approving the vinyl cut and all those things I didn't know I'd have to do.
I was working on the Unkle album, which came out a couple years later, but I was working on it in the flat I was staying in while the wheels were in motion getting "Endtroducing" out.
Stretch Armstrong on DJ Shadow
I'd previously heard Shadow discuss how Stretch Armstrong told him to get a sampler, but Stretch has actually written an article on Medium about this from his point of view which is really interesting. Read it here. --Jimmyjrg (talk) 15:04, 19 May 2020 (AEST)
Psyence Fiction writing credit drama and legacy of that becoming the talking point
I had meant to include these quotes in the book but then couldn't find them when it came to finalising references. During this talk with Gilles Peterson (around 1:44:00) Lavelle mentions how he was promised writing credits on Psyence Fiction but then when Shadow said no, that the label partners took Shadow's side. He expands on this and how the press got hold of it and all the interviews became about his lack of writing credits and what had he actually contributed etc. This should be included in an expanded edition.--Jimmyjrg (talk) 19:03, 25 May 2020 (AEST)
Error: Rabbit In Your Headlights release date
On page 191 of the PDF, and page 291 of the printed book, the release date of Rabbit In Your Headlights is listed as August 25 1998. This appears to be an error cited from All Music. The correct date is October 12, as reported by Music Week Aug 8 1998, and on the various posters which appear online. I believe this was intended to be removed as the October date also appears on the following pages, and the correct date is listed within the Rabbit In Your Headlight section. --Jimmyjrg (talk) 02:43, 16 June 2020 (AEST)
DJ Shadow on meeting Radiohead
DJ Shadow spoke to Pitchfork in 2020 and confirmed that he met Radiohead during the Dazed & Confused gig. More information in the quote:
Q: I was living in England part-time and doing all this production and having some notoriety. And I had met Radiohead in late ’96 or early ’97 when we both ended up doing a free gig for this magazine, Dazed & Confused. I didn’t really know much about Radiohead other than hearing a couple of their songs from The Bends in the air, and really liking them. I had seen the video for “Creep” and really liked that, too. When I met them, they told me they were really huge fans of Endtroducing....., and that was surprising to hear, because at that time rock and whatever we were doing didn’t mix all that much.
James [Lavelle] and I were already working on the UNKLE record [1998’s Psyence Fiction], and he really liked Radiohead. I remember us driving from Davis to the Bay Area and listening to this advance cassette of OK Computer, and we both were like, “Oh, this is it. This is what we want to do.”
They started doing interviews and going on record saying they were inspired by Endtroducing..... and then they asked me to open for them in the UK. So when I think of 1997, I just really think of that album and what it meant to James and I. It gave us this aspirational challenge: Can we make music and videos that are this evocative? For a few years there, it felt like a genuine camaraderie between what we were doing and what they were doing.
James Lavelle discusses That's How It Is / Mo' Wax / Hollywood Basic / early DJ Shadow
On James Lavelle's That's How It Is Def Mix episode 1 commentary at around 44minutes in he discusses going to the Hollywood Basic office with Orlando from Delicious Vinyl. He discusses hearing early DJ Shadow remixes and how he was looking for new instrumental hip hop similar to Tranquility Bass 'They Came In Peace', The whole show is about his time with That's How It Is, with commentary regarding the songs he played.--Jimmyjrg (talk) 16:51, 29 July 2020 (AEST) One hour in to the commentary he discusses the first time he heard DJ Krush, and his early influences for building a sound for Mo' Wax and for his club sets. --Jimmyjrg (talk) 22:16, 30 July 2020 (AEST)
James Lavelle discusses life on Trailblazers podcast.
On the July 2020 episode of Trailblazers featuring James Lavelle, Lavelle details his early life, including some family history information about his family, his parents careers, and how he got in to Hip Hop. The episode is available on Deezer here. --Jimmyjrg (talk) 19:21, 31 July 2020 (AEST)