Posts Tagged ‘Modern Nature’

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Our record/mini-album is out today on Bella Union. ‘Annual’ was written around a journal made over the course of a calendar year. It begins in winter and ends in winter. The track ‘Halo’ represents right now!

Please take the time to order the album from an independent business or via Bandcamp. Bandcamp are waiving their commission today, so any purchases will directly help the group make more records and play shows when the time is right.

Released in August 2019, Modern Nature’s debut album – How to Live – crossed the urban and rural into each other. Plaintive cello strains melted into motorik beats. Pastoral field recordings drifted through looping guitar figures. Rising melodies shone with reflective saxophone accents, placing the record somewhere between the subtle mediations of Talk Talk, the stirring folk of Anne Briggs and the atmospheric waves of Harmonia. The album was met with universal acclaim and featured in a number of publication’s ‘Best Of 2019’ lists. As the group took the album out on the road, Modern Nature became something even more expansive. “It feels like there’s scope and room to grow. I want the group to feel fluid and that whoever’s playing with us can express themselves and interpret what they think this music is” says bandleader Jack Cooper.

Their new mini-album Annual, recorded in December 2019 at Gizzard Studio in London, is another step towards something more liberated and a world away from the sound of Jack Cooper’s previous bands. Will Young sits this one out, concentrating on his work with Beak, but How To Live collaborator Jeff Tobias takes a more central role, alongside percussionist Jim Wallis. Annual acts as a companion piece to the band’s How To Live debut but also a pointer to the paths ahead.

Mustard coloured vinyl. 

Modern Nature share ‘Harvest’

Having last month announced their new 7-track mini-album “Annual”, To be released 5th June via Bella Union, and shared a video for lead track ‘Flourish’, today Modern Nature now share a video for new single “Harvest” which features Kayla Cohen of Itasca on lead vocals. Of the track bandleader Jack Cooper says: “Harvest represents Autumn on the record and centres around rituals and superstitions. A lot of the words and ideas that became the bones of the song were written the days after a vivid experience in Lewes for Bonfire Night.” Of the video he adds: “Lockdown Britain forced us (my wife Tsouni and I) into making our directorial debut and this is the outcome. A moving snapshot of the year through the medium of everyday objects. The record moves from winter through the seasons and back to winter… We end up back where we began… It’s familiar, many of the objects are the same but everything has morphed.”

Released in August 2019, Modern Nature’s debut album – How to Live crossed the urban and rural into each other. Plaintive cello strains melted into motorik beats. Pastoral field recordings drifted through looping guitar figures. Rising melodies shone with reflective saxophone accents, placing the record somewhere between the subtle mediations of Talk Talk, the stirring folk of Anne Briggs and the atmospheric waves of Harmonia.

The album was met with universal acclaim and featured in a number of publication’s ‘Best Of 2019’ lists. As the group took the album out on the road, Modern Nature became something even more expansive. “It feels like there’s scope and room to grow. I want the group to feel fluid and that whoever’s playing with us can express themselves and interpret what they think this music is” says Jack Cooper.

Their new mini-album Annual, recorded in December 2019 at Gizzard Studio in London, is another step towards something more liberated and a world away from the  sound of Jack Cooper’s previous bands. Will Young sits this one out, concentrating on his work with Beak, but How To Live collaborator Jeff Tobias takes a more central role, alongside percussionist Jim Wallis.

Released in August 2019, Modern Nature’s debut album – How to Live – crossed the urban and rural into each other. Plaintive cello strains melted into motorik beats. Pastoral field recordings drifted through looping guitar figures. Rising melodies shone with reflective saxophone accents, placing the record somewhere between the subtle mediations of Talk Talk, the stirring folk of Anne Briggs and the atmospheric waves of Harmonia.

The album was met with universal acclaim and featured in a variety of publication’s ‘Best Of 2019’ lists. As the group took the album out on the road, saxophonist Jeff Tobias’ (Sunwatchers) role informed something even more expansive. “It feels like there’s such scope and room to grow. I want the group to feel fluid and that whoever’s playing with us can express themselves and interpret what they think this music is” says bandleader Jack Cooper.

Their new mini album “Annual”, recorded in December 2019 at Gizzard Studio in London, is another step towards something more liberated and a world away from the sound of Jack Cooper’s previous bands. Will Young sits this one out, concentrating on his work with Beak, but ‘How To Live’ collaborator Jeff Tobias takes a more central role, alongside percussionist Jim Wallis.

Jack explains how ‘Annual‘ came about: “Towards the end of 2018, I began filling a new diary with words, observations from walks, descriptions of events, thoughts…free associative streams of just.. stuff. Reading back, as the year progressed from winter to spring, the tone of the diary seemed to change as well… optimism crept in, brightness and then things began to dip as autumn approached… warmth, isolation again and into winter.”

“I split the diary into four seasons and used them as the template for the four main songs. The shorter instrumental songs on the record are meant to signify specific events and transitions from one season to the next. I figured it wouldn’t be a very long record, but to me it stands up next to ‘How To Live’ in every way.”

Annual opens with Dawn which brings to mind the peace and space of Miles Davis’ ‘In A Silent Way’; it rises from nothing like shoots reaching for the light. “I wanted Dawn to feel like the moment you realise spring is coming, when you notice blossom on the trees or nights getting lighter.”

On lead track Flourish, it’s clear Modern Nature have moved on from the first album; as muted percussion and double-bass stirs behind Cooper’s Slint-like ambling guitar; the chorus soars into a collaged crescendo. “Flourish is my part of the world coming to life. I live on the edge of London between Leytonstone and Epping Forest, so the signs of spring are very apparent round here – flowers, light, people talking in their gardens.”

Mayday started as an outro to Flourish or ‘Spring’ as it was titled originally. The idea was a segueway into the summer section to represent the sort of collective excitement a city gets once it realises summer is here.”

The summer of Jack’s diary inspired ‘Halo’. “The Wanstead Flats where I live, change a lot in the summer; a haze descends on them instead of the spring mist and the city’s proximity is more apparent. Blue bags of empty cans and scorched grass from out of control barbeques.” Arnulf Lindner on double-bass recalls the playing of Danny Thompson’s with Jeff Tobias‘ wonderfully lyrical saxophone referencing Pharoah Sanders. Cooper’s vocals on this record barely rise above a whisper making Halo a perfect addition to the canon of bucolic North London songs of summer, alongside Donovan’s Sunny Goodge Street or Nick Drake’s Hazey Jane II.

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On Harvest Jack takes a backseat with Kayla Cohen of Itasca singing. “All these songs are in the same key but the melody was above my range. I’d been playing the new Itasca record most days and just reached out on a whim. Her phrasing and the economy with which she sings is perfect.”

“The intention with the record was for it to feel like a circle, so Wynter reflects the opening. I guess having to get up and flip the record destroys the illusion so it’s a rare circumstance where listening with the ability to just loop the album into another year is closer to our intention.”

Annual then acts both like a companion piece to the band’s ‘How To Live’ debut but also a pointer to the paths ahead. Cooper has already started work on the next album, his speed of output an indication of the excitement and creativity that surrounds the project. Who will be involved and what the touchstones might be are yet to be firmly established but then who would have it any other way with this most fascinatingly free-flowing and mutable of groups?

releases June 5th, 2020

Modern Nature London, UK

Whenever the end of summer rolls around, no matter how hot it is outside, I develop a fierce hankering for folk rock: the pastoral acoustics and spacious arrangements, the heavenly-sung melodies, and most of all, its omnipresent comfiness. How to Live, the debut album from rising British band Modern Nature—which includes Jack Cooper of Ultimate Painting (RIP), Will Young of Beak>, Aaron Neveu of Woods, and Jeff Tobias of Sunwatchers, among others—not only encapsulates everything I love about the subgenre, but re-invigorates it, with occasional nods to hard rock (“Nature”), experimental electronica (“Peradam”), and even kraut (“Footsteps”).

Saxophone and cello co-mingle with motoriks, field recordings, and stoner fuzz, as limber grooves flutter about the mix, aloft like the pigeons on the cover art. It might be hot as hell outside, but hey — it’s never too early for some sweater-weather listening.

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Modern nature 600x600

The city and the country both have distinct, vibrant energies – but there’s something happening in between, too. As factories give way to fields, and highways drift into gravelly roads, the friction can be palpable, the aura electric.

The lines between city and country were on Jack Cooper’s mind when he named his new band Modern Nature. He took the phrase from the diaries of filmmaker Derek Jarman, written on the coast of Kent in his Dungeness cottage. Visiting Jarman’s home, Cooper was struck by what he calls a “weird mix of urban and rural” – such as the way a nuclear power station sits next to open grasslands.

On Modern Nature’s debut album, “How to Live”, urban and rural cross into each other. Plaintive cello strains melt into motorik beats. Pastoral field recordings drift through looping guitar figures. Rising melodies shine with reflective saxophone accents. Throughout this continuous work, where no song ever really seems to end, there’s an indelible feeling of constant forward motion. It’s as if the band is laying down a railway and riding it simultaneously, and you can hear all kinds of landscapes passing by.

The endless feel of c was inspired by Cooper’s experience making his 2017 solo album Sandgrown. It was the first time he made a record with a defined theme – a suite of songs about his hometown of Blackpool – and imposing a narrative framework turned out to be refreshingly liberating. “When I started thinking about a new project,” he recalls, “going back to making an album of unconnected songs seemed as strange as making a movie with completely unconnected scenes.”

As he began writing songs, Cooper was also tuning to the vibes of Earth Loop, an instrumental solo album by BEAK>’s Will Young (under the name Moon Gangs). For a long time, Cooper had hoped to work more with Young, who almost joined his first band, Mazes, and was in the touring version of his next group, Ultimate Painting. So he decided now was finally the time, as he puts it, “to make good on hundreds of late night ‘we should really do music together’ conversations.”

“Over the next few weeks I started sending Will songs, and we began meeting up, working on ideas and formulating the bigger picture as it were,” Cooper recalls. “Approaching the album as a film or play made complete sense, and from that came the idea to have a very defined narrative, reoccurring themes and chord progressions, field recordings and a set palette of instruments and sounds. Each song came with pages and pages of notes, musical references, films, books, places, words and feelings.”

Cooper is hesitant to explain too much about How To Live’s story, preferring to let the listener to find his or her own narrative to fit what they hear. But he can offer some guideposts. “Broadly speaking, the album moves from an urban environment at the beginning to an escape at the end…whether that’s solitude or acceptance or isolation,” he says. “At the beginning the songs reflect a different type of isolation, the sort of isolation or disassociation one can only feel in a very crowded, hectic environment.”

The vibrations of these environments come across immediately on How To Live. The album’s first line is “There’s a hum in the street,” and the rest of the hypnotic “Footsteps” masterfully paints a picture: “the click repeats, repeats, repeats”….”Isolation, repetition, spark burst fission”…”turns loops to the point in which they meet.”

Throughout the remainder of the record, ideas recur and sounds return, often forming new shapes. A careful guitar pattern sprouts into the halting “Seance”, which ends with that same guitar pattern flipped into reverse. The beatific “Peradam” revels in the cycles of nature, as Cooper asks to be led “out of spirit worlds, let it whirl, out and in, swirling like fireflies. The pulsing “Nature” takes a darker view of our current environment, calling it “the great failure” and concluding with the imperative to “lock them up and don’t forgive them.”

The richness of the ideas in these songs is matched by the resonance of the music. Cooper and Young’s organic compositions gain skin and muscle through the thoughtful cello of Rupert Gillett, the insistent drumming of Aaron Nevue (of compatriot outfit Woods), and the expressive saxophone of Jeff Tobias, from Brooklyn jazz/rock juggernaut Sunwatchers. Each track on How to Live evolved as these creative forces joined the group, and it shows. The entirety of How To Live courses with both precision and vitality. The band is closely tuned to the core of each piece, but also unafraid to throw themselves into every moment.

The care that went into How To Live is clear in album notes, which map out impressionistic ideas behind each step – one block describes the song “Nightmare” as “the calm after the storm, nihilism, acceptance!! HOW TO LIVE??” – and include a list of the music and film that inspire Modern Nature. You can hear traces of those influences throughout the album – the subtle mediations of Talk Talk, the stirring folk of Anne Briggs, the searching melodies of Robert Wyatt, the atmospheric waves of Harmonia.

But ultimately, the music on How to Live speaks for itself. It’s a work of surprising layers and limitless depths, impressing more strongly with each listen. Modern Nature may have been inspired by the line between urban and rural, but with How To Live they’ve gone a step further, and created their own complete world.

the debut album by Modern Nature‘How To Live’

The city and the country both have distinct, vibrant energies – but there’s something happening in between, too. As factories give way to fields, and highways drift into gravelly roads, the friction can be palpable, the aura electric.

The lines between city and country were on Jack Cooper’s mind when he named his new band Modern Nature. He took the phrase from the diaries of filmmaker Derek Jarman, written on the coast of Kent in his Dungeness cottage. Visiting Jarman’s home, Cooper was struck by what he calls a “weird mix of urban and rural” – such as the way a nuclear power station sits next to open grasslands.

On Modern Nature’s debut album, How to Live, urban and rural cross into each other. Plaintive cello strains melt into motorik beats. Pastoral field recordings drift through looping guitar figures. Rising melodies shine with reflective saxophone accents. Throughout this continuous work, where no song ever really seems to end, there’s an indelible feeling of constant forward motion. It’s as if the band is laying down a railway and riding it simultaneously, and you can hear all kinds of landscapes passing by.

The endless feel of How to Live was inspired by Cooper’s experience making his 2017 solo album Sandgrown. It was the first time he made a record with a defined theme – a suite of songs about his hometown of Blackpool – and imposing a narrative framework turned out to be refreshingly liberating. “When I started thinking about a new project,” he recalls, “going back to making an album of unconnected songs seemed as strange as making a movie with completely unconnected scenes.”

As he began writing songs, Cooper was also tuning to the vibes of Earth Loop, an instrumental solo album by BEAK>’s Will Young (under the name Moon Gangs). For a long time, Cooper had hoped to work more with Young, who almost joined his first band, Mazes, and was in the touring version of his next group, Ultimate Painting. So he decided now was finally the time, as he puts it, “to make good on hundreds of late night ‘we should really do music together’ conversations.”

“Over the next few weeks I started sending Will songs, and we began meeting up, working on ideas and formulating the bigger picture as it were,” Cooper recalls. “Approaching the album as a film or play made complete sense, and from that came the idea to have a very defined narrative, reoccurring themes and chord progressions, field recordings and a set palette of instruments and sounds. Each song came with pages and pages of notes, musical references, films, books, places, words and feelings.”

Cooper is hesitant to explain too much about How To Live’s story, preferring to let the listener to find his or her own narrative to fit what they hear. But he can offer some guideposts. “Broadly speaking, the album moves from an urban environment at the beginning to an escape at the end…whether that’s solitude or acceptance or isolation,” he says. “At the beginning the songs reflect a different type of isolation, the sort of isolation or disassociation one can only feel in a very crowded, hectic environment.”

The vibrations of these environments come across immediately on How To Live. The album’s first line is “There’s a hum in the street,” and the rest of the hypnotic “Footsteps” masterfully paints a picture: “the click repeats, repeats, repeats”….”Isolation, repetition, spark burst fission”…”turns loops to the point in which they meet.”

Throughout the remainder of the record, ideas recur and sounds return, often forming new shapes. A careful guitar pattern sprouts into the halting “Seance”, which ends with that same guitar pattern flipped into reverse. The beatific “Peradam” revels in the cycles of nature, as Cooper asks to be led “out of spirit worlds, let it whirl, out and in, swirling like fireflies. The pulsing “Nature” takes a darker view of our current environment, calling it “the great failure” and concluding with the imperative to “lock them up and don’t forgive them.”

The richness of the ideas in these songs is matched by the resonance of the music. Cooper and Young’s organic compositions gain skin and muscle through the thoughtful cello of Rupert Gillett, the insistent drumming of Aaron Nevue (of compatriot outfit Woods), and the expressive saxophone of Jeff Tobias, from Brooklyn jazz/rock juggernaut Sunwatchers. Each track on How to Live evolved as these creative forces joined the group, and it shows. The entirety of How To Live courses with both precision and vitality. The band is closely tuned to the core of each piece, but also unafraid to throw themselves into every moment.

http://

The care that went into How To Live is clear in album notes, which map out impressionistic ideas behind each step – one block describes the song “Nightmare” as “the calm after the storm, nihilism, acceptance!! HOW TO LIVE??” – and include a list of the music and film that inspire Modern Nature. You can hear traces of those influences throughout the album – the subtle mediations of Talk Talk, the stirring folk of Anne Briggs, the searching melodies of Robert Wyatt, the atmospheric waves of Harmonia.

But ultimately, the music on How to Live speaks for itself. It’s a work of surprising layers and limitless depths, impressing more strongly with each listen. Modern Nature may have been inspired by the line between urban and rural, but with How To Live they’ve gone a step further, and created their own complete world.

releases July 23rd, 2019

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Modern Nature, the new band from Jack Cooper (Ultimate Painting, Mazes) and Will Young (Beak>, Moon Gangs), will release their debut album later hits later this month, and they’ve just shared the video for the gently motoroik new single “Footsteps.” Directed by Jake McGowan, the video follows Jack as the camera flips over and over, changing scenes along the way. “One of the threads through the album is a journey from the chaos of the city to the sanctuary of the country, so we wanted to condense that idea down over the course of ‘Footsteps’ with the final scene being a baptism… washing everything away,” says Jack. “There were a few films that felt very present when writing the album, so there’s some references to Mike Leigh’s Naked, Withnail And I, Tales From A Hard City, Emily Lloyd in Wish You Were Here and The Rise And Fall Of Reginald Perrin.”

Taken from the new album ‘How To Live’ released on 23rd August via Bella Union Records

Modern Nature – the name taken from the title of Derek Jarman’s garden diaries – is the new project of Jack Cooper, ex of Ultimate Painting / Mazes and Will Young of Beak featuring Aaron Neveu of Woods and Sunwatchers’ Jeff Tobias on saxophone. Their debut EP, titled “Nature”, will be released 22nd March 2019.

As Jack Cooper explains: “The EP is based around a song called ‘Nature’ so ‘Supernature’ is a different perspective on the EP’s title track, but taken to another conclusion. It’s our most recent recording and there seems to be some sense in people hearing that first. ‘Nature’ is our take on that propulsive rhythm of A Sailor’s Life-era Fairport Convention but ‘Supernature’ is something else entirely. The band is so new, it’s hard to say who’s in and who isn’t. At the moment it’s myself and Will Young (Beak) with Aaron Neveu on drums (Woods/Herbcraft) Rupert Gillett on cello and then Jeff Tobias on saxophone (Sunwatchers). 

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The band started as a vehicle for a wider project that Will and I spent the year putting together so it feels very exciting to be an actual band now. Every song we record or musician we gain, another door seems to open on a route that’s worth pursuing.”

The debut EP by Modern Nature is available now

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”We hadn’t made an album in five years, though we all wanted to, but with Jon‘s illness it was difficult to start. He wanted to, but everyone else thought it wasn’t a good idea for him as he was in no shape. He really wanted to be involved, so we did some jams and stuff like that to keep him as busy as we could but there was never gonna be an album made in that situation. It was just too dark. After all, Jon had brain cancer. After he died, there was a real kind of lightness. In some ways everyone felt that he was in a better place. He was suffering, not having any real medication during chemotherapy and radiation for three years, then the cancer was in remission before coming back twice as much. After his funeral in August we did a concert in October and felt we’d been through it all and went back to the studio to see what could happen. There, we all sat down on sofas, pretty much put a microphone in the middle and started singing and it just came out. It was beautiful and positive and even though it was in the middle of winter it sounded like summer. Like it was recorded in the Caribbean with rays of sunshine, and it was amazing.

‘Come Home Baby’ was an instrumental that Tony brought in, it sounded like a traditional Charlatans song to me and I didn’t take notice at it too much until I was in the car driving from Manchester to Northwitch to go and see my family. I sat there listening to it and suddenly just thought ‘there’s something really good about this’, something that just transcends the traditional us, something a bit more spiritual and I just got the lyrics trying to write about my little boy. As with most of my lyrics they could mean more than one thing, quite dreamy I suppose, and I think a lot of people thought it was about Jon. It’s kind of bizarre. There’s only one song on the album that makes me think about Jon and that’s ‘Trouble Understanding’, but that’s just a song about nature, really. But it’s good with double meanings, isn’t it? Half the time I don’t know what the songs are about, I’m the kind of writer that lets things unfold and if I let it be like that naturally it seems to give more. If you try to rush it or crump its style it’s like nurturing something, really.”