



This isn't a band but it should be!



Q: I've been listening to your new album AKA - it's great! I can totally get that you're a TIGA fan. Me too.
A: Thanks, I am glad you like it! Yeah, I love that guy. One of my mates says we are brothers from another mother, and actually some of the labels and producers I have been in touch with have mentioned the similarity between his version of Hot In Here and my version of Work It, which is nice. I like his old school house vibe, but I also love that he has a personality and sings about weird shit! There's so much anonymity and conformity in dance music, which is why I love more out-there artists like him and Peaches and Green Velvet.
Q: An impressive roster of big names are featured on this album, how did that come about?
A: It started with me having a bunch of tracks which were collaborations with guests on them, and some remixes too that were just kind of lying around. As the album progressed and some of those tracks went onto it thought it would be quite a neat idea to try and get a guest on each track. There are some very different artists from different scenes, and the fact that some of these folks were actually up for collaborations was pretty mind blowing. My music is still quite unpolished I feel so to have some of these folk liking it and wanting to work with me was very gratifying. I have also deliberately stayed away from using the word "featuring" because these tracks are just as much the guests' as they are mine. Instead I've used an abbreviation of "with" which is more fair and doesn't need an explanation of "this person is a vocalist, this person is a producer, etc", because I collaborate in different roles myself too. Like I sung on Ben Butler and Mousepad's last album, and then it made sense to ask him to put some synths on my album in return.
Q: As you worked on each track were you conscious of how they'd all hang together as an album?
A: After a point I did yeah, but to be honest when I was planning out this album a few years ago the tracklisting was very different. I wanted to make something that was very eclectic, that incorporated a lot of different genres like rock and techno and disco. But as time went on I was less happy with that, and started to think of putting older tracks like "Like Em Fat" and "If U Want It" on there, and then the album became much more coherent. It also sprang from me wanting to work with openly gay rappers, so the album has a hip-hop feel, but more old school so I could still use my drum machines and stuff on it. Once I stuck to that idea it all just came together, and I was able to use some rap classics like "36 Chambers" by the Wu Tang Clan and "Miss E So Addictive" by Missy Elliot as templates.
Manchester-based music maker Niall O'Conghaile, who goes by the tag of The Niallist, has made what may very well be the party album of the year with AKA, a collection of old-school hip hop and acid house work outs featuring the likes of Beth Ditto, Scream Club and Yo Majesty. Fiercely out 'n' proud, Niall's lived the kind of hip life that would make you green with envy if his music wasn't so irresistibly damn good. From hanging out with Franz Ferdinand in Glasgow to supporting MEN in Manchester, Niall's got some stories to tell but what comes across most is his love of music, his encyclopedic knowledge of its history and his unfailing belief in its power to shift hearts, minds and booties. Soundblab collared him for a chinwag about parties, politics and zombie pride.
As is inevitable with any emerging scene the press were quick to lump in other acts that happened to share similar stylistic tics. Bands who existed long before DFA like !!! and Radio4 started to gain attention for being punk-funky, and sometimes these bands cemented apparent ties within this world with remixes or collaborative efforts. Across the pond the already well-established producer Trevor Jackson's Playgroup project, which had mined very similar territory two year earlier, was re-released in expanded form. Playgroup never quite hit the commercial peaks that were expected of them, but they were a definite critical and journalistic success.
Most important in defining and disseminating the dance-punk aesthetic in the early days was a free mix CD given away with the now defunct Muzik magazine collecting the best of the DFA /remixes and productions with a smattering of the other acts that fell into a similar bracket. The CD was mixed by the venerable Tim Sweeney of the Beats In Space radio show, and DFA would go on to repeat this trick with their own commercially available mixes and compilations.
Yet despite low rumblings and high praise among the cooler kids, like most revivalist scenes, it felt like the impetus for punk-funk was coming from the media and a few key taste makers rather than than the public. It's important to understand the context as to why that would be so. It wasn't just the ebbing tides of fashion that washed punk-funk back up on the beach - along with whole swathes of the press in general, dance music publications were having a hard time in the early part of the Noughties. The aforementioned Muzik magazine and my own personal favourite publication, Jockey Slut, were floundering and would eventually close for good. The superstar dj, Ibiza and day-glo trance bubbles of the late Nineties had burst and the perceived interest of popular culture was shifting away from dance and back towards more traditional indie and guitar music. Taking pills and going to raves just wasn't as exciting as it had been 4 or 5 years before. Clothes had gone from being outrageously baggy to being skinny fit. Day-glo and baby soothers were out and black leather and snakebite was in.