After her name was already surfaced of the year in the "Sound of 2011" -Poll the BBC, Nero are still working, the dance world finally unhinge: Your massive widescreen Sound, in the Dubstep, Drum Meet bass and different Styles from the nineties another, has arrived this summer not only the club but also at the top of the charts. Just recently the sensational duo from London with the debut album "Welcome Reality" and conquered in parallel with the track "Promises" the British album and singles charts by storm - but this double-one is only the prelude to the dance sensation of the year!
In the name of Nero hears not only a Roman emperor and a computer software, but it is behind it and one of the hottest producers duo of the year: Daniel Stephens and Joe Ray from London, two DJs and producers who this summer finally started their musical triumph. The UK charts they already have with the single "Promises" and their debut album "Welcome Reality" stormed, both first prizes, and a sonic storm concoct in their ultra punchy tracks where Nero whopping dubstep bass with drum combine bass, flashing house and rave deposits and oversized guitar sounds an epic blend.
FOr Nero would 2011 start no better, in fact, can, because they found themselves equal to the year among the BBC selected top newcomers resist on the "Sound of 2011" list, which is compiled annually by renowned critics and thought leaders in the music industry. Since then, Dan and Joe can before attention swamped: DC in January was her single "Me You "in the UK in the top 15; the successor "Guilt" climbed into the Top 10 (# 8 in April), and in June they were already as headliners at Glastonbury Festival on the WOW-Stage, not to mention its impressive Dubstep Symphony, which they in could make the summer together with the BBC Philharmonic Orchestra on its feet. Not bad for six months, but the two had of course been working for some time on this breakthrough ...
Joe and Dan, both born in 1984, the first ran in 2000. About the way, are in the dance and club scene for some time no strangers; known as fOr their sets at London's Fabric, They initiated several years ago contacts with the biggest Drum Bass and dubstep DJs. Even first publications already existed on relevant labels like Formation Records, not to mention their acclaimed remixes for major artists such as The Streets ( "Blinded By The Lights"), La Roux, deadmau5, N * E * R * D and Daft Punk , The first official release, however, came only in April 2010 - which they then also landed at number # 16 and # 11 of the British dance or indie charts.
How much experience have both collected in the club and dance sector, one hears immediately, and on top of that they come also from musical households: Nick, Dan's father, was formerly bassist in free jazz combo of John Stevens, and so he made his Sohnemann early familiar with the works of jazz greats like Mingus, Monk and Miles. "I grew up with jazz music," Dan recalls, the way a multi-instrumentalist who has for 12 years played cello. "But running with us quite different things, a lot of classical music, for example, and funk and soul." The pronounced tendency to Epic, for rich widescreen sound that keeps coming up in the massive anthems of Nero, is connected with their shared love to film soundtracks together: Joe, the classical guitar has learned is simply too much on penetrating strings and the kind of spooky atmosphere, like a Bernard Herrmann it evokes in his soundtracks - or is echoed in the great compositions of the Baroque. In his opinion, Nero make a compressed, compact and therefore more intensive dance version of this classical approach. "My dad is completely classical crazy," said Joe about his background. "He stood on Berlioz and Beethoven, with my mother's rather gone off to Barry Manilow. Somehow that has probably both rubbed off on me. "
Berlioz, Beethoven, bebop - and then there are two Bs, to the Boys Nero refer repeatedly: first, the Beatles - Dan got his first Beatles cassette with four years - and on the other hand "Boogie", a term which represents the post-disco and electro-funk sound of the early eighties. "If I had to pick an era of music history, I would probably the early eighties called my favorite stage, the time of Boogie and oblique disco experiments, as dance musicians just beginning to experiment more with synthesizers, such as Change, The B.B.Q. Tape or D-Train for example. However, I am also fully on the rock of the eighties, the whole big synth anthems and percussion sounds, as they are known by Prince or Phil Collins "So again:. Stadium rock, electro-funk, jazz and classical music, to film soundtracks, rave, Drum Bass beats and not least the stark subbasses and production methods of dubstep - if you still includes the large Warp artists of the late nineties (ie Aphex Twin, Squarepusher and Co.), and is already the approximate list of ingredients for an album that is has washed: "Welcome Reality", the debut album of Nero.
On this album plump 30 years dance history, everything from disco to dubstep, each other and are always lined with rock sounds. long 14 tracks or one hour takes this dance sweeping blow that has emerged at the same studio in South London, in the usual Shy FX, Caspa and Chase Status, the bosses of Nero's label, record their tracks. Complete written and produced single-handedly, the album was recorded with new as old equipment, including the good old vintage synthesizers (Roland Jupiter 8 and Yamaha CS80), which is already known by Madonna, Prince and Duran Duran. The texts you have written, together with their Stammvokalistin Alana Watson. Otherwise Nero were only supported by a fellow guitarist named Bush, as well as of some megastar of the eighties called Daryl Hall, which can be heard on the track "Reaching Out" as a guest. "The contact came via a producer into existence," says Joe, who, however, have to admit that Nero blonde half of the most successful US single-Hitschmiede the Eighties, Hall Oates, have never met in person. Nevertheless, as Joe goes on to say were his and especially Dans parents, proud owner of a copy of "Abandoned Luncheonette" -Meilensteins of Hall Oates "been quite delighted," from 1973 About this collaboration - so much so about transatlantic declarations of love in the digital age.
Here the vibe of "Welcome Reality" is overall rather toward bleak vision of the future: not ajar The artwork is no reason at the poster look of dystopian science fiction movie from the early eighties, to the look of films such as "Blade Runner" for example, , This kind of dreary, gloomy, urban-apocalyptic future design runs through the entire mood of "Welcome Reality". "Oh yes, the connotation the plate necessarily even," says Dan. "All this should sound retro-futuristic, so dirty as in 'Alien' so and just not as slick and dazzling as the future, one has still painted in the fifties and sixties."
"In any case, swinging on the LP also what of doomsday with," agrees Joe, "the Cross theme is roughly that of a love affair in the rubble." Opulent prelude is it also fits the track "2808" (the title is from an anime series borrowed), the only massive and dramatic sounds simple, if the strings. The second track is also suitable, "Doomsday" and actually works like a movie soundtrack, with very slight and then oversized passages between them with a lot of air for extremely large suspense. "My Eyes", however, is an atmospheric rock disco banger with Moroder-smack on which the singer Alana comes into action. "We've known her since we are 16," says Dan, "it has always been an integral part of Nero Gear. She has a good hand like a AR, and it has supported us in all our singles. Thus they missed us a bit of this' Band' feeling, almost like Massive Attack. "
Track # 4 is the single "Guilt", had not reckoned with the success of Dan and Joe that. Supposedly it was a "nightmare, take this number", but admit they also that people leave in live performances most violent on "Guilt". "Me You ", still such a massive UK hit, which is on the album - here meets stadium rock to dubstep - was responsible for ensuring that the name Nero finally was on everyone's lips:" We were already for years, since about 2004 preferential, and then we suddenly had this top 15 hit, "Joe recalls. "Until then, we actually thought that we would remain an underground thing forever, the maximum rumspricht at a few insiders. If but then unexpectedly steps your track at Radio 1, abruptly changed everything. "
The track "Fugue State" sounds equally serious as written by Walter Carlos soundtrack to Kubrick's "A Clockwork Orange", more specifically, how the future version of it. "The track has these caked-analog baroque sound," said Joe Description, "and the pace is similar to House." "Innocence" was loud Nero "to sound to trance-moderately without cheesy, at least we hope so!" Live but heard "Innocence" to the most violent tracks that have Nero in the program: "We have seen videos in which Skream and Benga play the track and then plunge into the masses to Crowd surfing; insofar as the piece is a constant in our sets. "
then a new direction announces halftime "In The Way" to a new tempo when open up large areas in dubby mix all of a sudden. "Scorpions", however, started but actually as Scorpions cover song (!), With Nero bow at a location in front of the "Blade Runner" soundtrack by Vangelis and installing crass triplets. "Crush On You" is futuristic pop, or boogie based on a. Disco Sample of The Jets while "Must Be The Feeling" is also based on a sample Eighties; in this case it is the Detroit Disco Teen Diva Carmen, who opened "in the network research ultra rare boogie tracks" Nero - how to present ground so makes. Finally, there are the three pieces "Reaching Out", the already mentioned number with Daryl Hall, the unwiderstehlihchen rave pop sound of # 1 single, "Promises" and finally "Departure" - a official closing point with the album as a movie fades. "We wanted to create a dance album, the one takes you on a journey," said Dan. "So with reconciliations and a flow that runs through from beginning to end."
"It is exactly the kind of album to which we had been as kids," adds Joe, who admits that the bar for "Welcome Reality" damn was high, eventually they would have, among others, "OK Computer" by Radiohead, oriented "Discovery" by Daft Punk and "What's Going on" by Marvin Gaye. "Overall, it should be an album that does not immediately forgets again and still works without time stamp. Finally, there are albums that sound fully meet the zeitgeist, but then simply outdated in it sound, "said Dan. "Our album should stay longer relevant." Mission accomplished: You can now talk to the idea that "Welcome Reality" in the future set the dance floor on fire and stereos will blow - at least up to the year 2808 ,
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