The Morning Benders have revealed that they are changing their name to POP ETC, due to unexpected reactions to the word ‘bender’ over here in Europe.

This is news that has come as such a shock across the pond in the states, but in the UK, their name was often met with raised eyebrows and mild incredulity. Over here, the word ‘bender’ has derogatory homosexual meanings.

Despite that, we also know full well that to go on a ‘bender’ is to have a heavy partying session. This is an internationally known definition too, which long out-dates the more recent gay connotations. This definition is the one The Morning Benders intended to use and it is clear that they meant no offence.

Many words have many definitions, why should we focus on the negative ones?

What next? Queens of the Stone Age having to remove the ‘Queen’ from their name? Flaming Lips apologising for insulting people for use of the word ‘flaming’?

Band name changes are always met with disappointment in my eyes. The band’s second album Big Echo is one of my all time favourites, and now I can’t help feeling that the name change has tainted that.

But they have made that decision now, and on some levels, it is entirely understandable. It is up to the fans to make this as smooth a transition as possible. We wish them luck as POP ETC, and eagerly await their new album. Take a listen to one from their recently released mix-tape as POP ETC.

After the inclusion of Clock Opera in our recent ‘Bands to Watch’ feature, together with their debut album and first full UK headline tour being both just around the corner, we’re very excited about what 2012 holds for one of our favourite new bands. They’re also about to appear on the new series of Topman CTRL in a show curated by the 2 Bears. We thought now would be a good time to have a chat with them so we grabbed a word with vocalist and songwriter Guy Connelly.

Aright Guy, how you doing?
Guy: Hi – I’m good thanks.

I was introduced to you guys in October 2010 when you played a storming support slot for Everything Everything – you’ve really come on as a band since this point over the last few years, what really stands out for you over this period?
Guy: I remember that gig well, it was at the Cockpit [in Leeds] in the big room. We got that gig as I did a remix for them – a lot of the great shows we’ve played as support acts have come through that. We played a few gigs with Metronomy, one of which was in Paris towards the end of last year which was pretty spectacular. It was one of the biggest gigs we’ve done with about 3000 people which is different really. You feel intimate to the people right in front of you but then you realise, having been at those gigs yourself, how far away people are. It’s a different experience but incredible. It’s amazing playing in different countries as you find it even more difficult to understand why people are there.

You did Melt Festival in Germany last year, how was that?
Guy: Yeah, that was amazing. I didn’t really know much about it before we turned up but it’s on this weird outcrop of land with huge cranes on site which gives it this unique feel. We left just as it was getting dark and they had all these lights and lasers on the cranes. You could tell it was going to turn into some laser fest. Playing this brilliant festival makes us see where we want to go as we come away from these shows thinking, “That was amazing!”, and you want more and to take the next step up.

For this interview I had planned to try to sell you the idea of playing at Beacons Festival in Skipton this summer, as I thought it would be your cup of tea, but you’ve beaten me to it and announced that you will be playing before I could! Good stuff!
Guy: Yeah there’s a lot of bands on that line-up that I want to see. I haven’t got round to seeing Outfit yet.

Your two most recent videos for ‘Once and For All’ and ‘Lesson No.7′ are very emotive and have stirred up really positive responses from people. I’ve seen a screenshot to your latest one, can you tell us anything about this?
Guy: The new video will be similar in that there will be a story involved. There will be a connection in that there are stories within our videos that are really attached and interwoven, if not with a specific meaning of a song, but a feeling that you get from the song. I don’t want to really say, “This is what that’s about”, it’s like a director saying this is what it made me think.
So it’s how your music makes someone feel but put into video format?
Guy: Yes, or where it took their mind. The only thing we asked to be considered about the ‘Lesson No.7′ video is that: it’s our most aggressive track, so make it that!
It was brutal…
Guy: Yeah, my mum didn’t like that one, but I don’t think she liked the other one either.
It was well-directed in that it really did seriously scare the viewer!
Guy: It had the same effect on me, it was just really unsettling which is why I thought it worked so well with ‘Lesson No.7′ as it’s brooding and fired by that ball park of emotion.

In the previous two videos you’ve not got any footage of yourselves playing, is it something you will consider including in the future?
Guy: We’re certainly not against it and if it fitted into the director’s vision then we would do it. If you’re making a video about two old people falling in love, one of whom dies and then you turn a corner and a bands playing, that would be ludicrous. For our tracks the director makes a world, and if us playing in it is part of that then cool, but if not, let’s definitely not shoehorn it in.
Good point. I did however enjoy your cameo in ‘Once And For All’…
Guy: Yes that was a stunning performance I thought.
Your beard was looking good.
Guy: Yeah, I spent hours on that, I trained for weeks to get that nod right.
Well you’ve got to look good, and it’s all about the on-screen look these days…

Anyway moving on, your debut album ‘Ways To Forget’ is coming out on Moshi Moshi next month, I know you do a lot of chopping up samples, tell us a bit about your recording process.
Guy: The first thing that happens in any of our songs is recording a quick melody or a few bars, and then do some chopping to make samples to put back together. Then the rest of the elements of the songs come after that. The idea partly being that I wanted to have something I could do like that which would be quickly interesting for me and power the rest of the process. Generally, the longer you take on things, the more likely you lose interest or you won’t even recognise whether it’s any good anymore and forget why you liked something in the first place.

I listened to your ‘Under the Floorboards’ version of ‘Once And For All’. It’s a beautiful track, would you consider doing more or even a full album of tracks in this style?
Guy: We’re doing another one at the moment. Whether we would do a full album, I’m not sure, I’m quite looking forward to moving on to new things.

You played Electrowerks in London for your last headline show which is an interesting venue. In terms of your upcoming tour, are you looking forward to anywhere in particular?
Guy: Yeah it’s half-paintball, half-factory and a bit of weird kind of body clamps and dance podiums!
They do a big goth night in there..
Guy: Yeah that makes sense. That was our last London show and this time we’re playing Scala, which is one of my favorite venues in London. Aside from that it’s just the excitement of people coming to see us rather than anyone else like in previous [support] shows.

You’ve got your release and then the tour, what’s the plan after that? A big festival season?
Guy: Yes we’re hoping so. We’ve obviously confirmed Beacons and a few others and it’s all being put together at the moment. Once the record is out, it depends how much people like it, you know? I’d love to just play it to everyone in the world..

Away from Clock Opera, what have you been listening to recently?
Guy: I’m really liking a release from a label called The Blue Rider. It’s their first release by a band called Jagwar Ma.

Awesome. I’ve got one more question and it is the biggest question of the day: you’ve pushed on over the last few years and gained a lot of recognition, but do you ever worry about your beards going off and doing a side project without you?
Guy: Yeah, I dunno how we would split up, I mean we need to be there at the same time…
It’s been there a while you don’t know what its capable of…
Guy: Yeah I mean, we don’t talk very much, it’s true. It’s more of a physical relationship we have. I don’t really know what it’s thinking, I suppose you could say if anything is happening it’s right under my nose.

Thanks very much to Guy for chatting to me. Also thanks to Ben and Lawrence for helping arrange it all.

Clock Opera’s debut album Ways To Forget will be released on 23 April on Moshi Moshi. If you’re in the UK, you can preorder it here.

Santigold has been building up steam in recent months, after too long spent below the radar. In recent weeks, that steam has boiled over into news that her follow up to her self-titled debut is scheduled for release in May.

Following that, Santi unleashed ‘Disparate Youth’ onto Soundcloud and Youtube, and has reminded everyone why she was so hyped back in 2008. The song is an absolute BARN STORMER. Let us run through the song’s check list for what we loved from Santigold’s first album:

• Killer bassline – Check
• Chorus you don’ t know the words to, but cannot stop humming – Check
• Melody plucked from a very tightly strung guitar – Check
• Outro featuring a change in pitch – Check

The track is co-produced by Santi and Ricky Blaze, and will feature on the album which is titled Master of my Make-Believe, due out on May 1st.

If the four years of wait for new Santigold material had made you go cold on her, this should get you hot again.

It’s always a good day when something from Joe Goddard pops up. The man seems to be able to do no wrong; whether it’s last year’s dancefloor stormer ‘Gabriel’, his production on the DELS album, his work as The 2 Bears (or even Hot Chip if we go further back). This time around he’s remixed Nigerian-German singer Nneka who you may remember popped up with a Coki remix for her last single. The ‘Shining Star’ remix, complete with those trademark Goddard soft beats and bass notes, runs to 9 minutes long but is broken up by having a distinct beginning, middle and end and is a big improvement on the straight pop of the original.

Nneka’s Soul is Heavy will be released on 19 March via Decon Records.

Always an exciting event, Hotcakes favourite Seams has uploaded a new track to his Soundcloud. An excellent producer and the owner of a powerful fringe, Seams aka Jami Welch has provided some of our favourite electronic tracks in recent years (listen to ‘Focus Energy’ and ‘Hung Markets’ if this is all new to you) and his 2012 return with ‘Ebb’ is very welcome indeed.

It’s a turn in part towards the ambient and away from the dancefloor that ‘Focus Energy’ was leading us to. This is perhaps explained by the fact that the track is part of the Disquiet Junto series, which challenges artists to use three provided samples and nothing else in order to make their tune.

Do you need more tote bags in your life? You can get a limited edition Seams one in a music / tote bundle of joy via his Bandcamp.

We love Bonobo. We love DELS. Here they are in holy matrimony on the rework of ‘Eyesdown’ for the new album Black Sounds Remixed

Not to be constrained by self-imposed institutional guidelines, February’s Baker’s Dozen features just ten tracks as opposed to the usual thirteen. These ten are those tracks I’ve either been listening to a lot over the past few weeks or those that I’ve fallen instantly in love with. Either way, I hope you enjoy them.

Kavinsky – Road Game

Last year Kavinsky reminded us with his soundtrack for Drive that he is still the master of French Touch. ‘Road Game’ is the first track to see light from his forthcoming album and it is exactly what we wanted from the man: retro 80s-inspired house, dramatic strings and huge, rising synths which render the track a four minute long crescendo.

Boddika & Joy Orbison – Swims

Walk for me, walk for me, walk for me, serve.

A massive dancefloor smash, ‘Swims’ has only been heard there until it finally found a release on Night Slugs last month. Limited edition heavyweight vinyl only.

iNDEED – Black Tears

When researching (Googling) a little about this track I came across a post on the Professor blog which explains the track’s origins: a Wu-Tang sample. There’s nothing wrong with that and iNDEED have struck gold with ‘Black Tears’.

John Talabot – Destiny (ft. Pional)

The debut full length from John Talabot is already a strong contender for my album of the year. I posted the final track ‘So Will Be Now’ last month which, like ‘Destiny’ below, also featured the vocal talents of Pional. It’s the perfect antidote to anyone that holds house music to be dull and repetitive.

J£ZUS MILLION – Benefits

I first heard J£ZUS MILLION on the New Noise podcast by way of the excellent Lost Lost Lost blog and since then he’s been making appearances across the web. ‘Benefits’ is his latest Soundcloud upload (re-upload actually as the track first surfaced in November last year) and is four and a half minutes of sample-heavy instrumental hip-hop in a style that will be familiar to fans of the bygone Avalanches.

Bonobo – Prelude (Lupalux’s finger on the tape mix)

Bonobo’s last studio album Black Sands was the most beautiful record I bought in 2010. A full remix album has now been released featuring a strong cast of remixers including Machinedrum, Cosmin TRG, FaltyDL and Floating Points. This is the Lapalux rework of the opening track, just a clip unfortunately, but it gives you enough of a sense of where it’s going.

Kid Kin – Katrina and The Wave

Part of a three track EP which includes the hilarious titled ‘Say Hi To Your Mother For Me’, this track is post-rock by way of Explosions in the Sky and maybe a little early M83 too. It’s not a genre I listen to particularly often but this stood out for me as being a cut above; strong melodies, deeply woven textures (especially in the latter stages) and a talented producer with a clear idea for his sound.

Lapalux – Gutter Glitter

Brainfeeder’s new signing has a new EP coming later this month and ‘Gutter Glitter’ is our first taste of what’s in store but you can hear a sampler of the rest of the When You’re Gone EP if you want more.

Forever Overhead – Beta Leads

A five piece based out of the ever-cool city of Austin, Texas, Forever Overhead have just presented their debut EP to the internet. Lead track ‘Beta Leads’ is a five minute slice of synth-led joy – an early female fronted Cut Copy if they’d listened to less Kraftwerk and more Ladyhawke.

Colo – Never Again (George FitzGerald remix)

‘George FitzGerald can do no wrong’ is fast becoming a personal motto. The Hotflush man has put on his remixing shoes for the below, a rework of Colo’s ‘Never Again’. It’s signature FitzGerald; bass-led overlayed with layers of melodies that pull you back in time and time again.

This is a bit of out of left field from Becoming Real and a definite change in style from his previous works like last years ‘Closer / Atlantic City’ 12″. ‘Paramnesia’ takes things altogether more upbeat and optimistic – an offbeat snare propping up a whirlwind of bubbling synths and bells. It’s not just a change in style, it’s a step up too.

‘Paramnesia’ will appear on a split 12″ with Dam Mantle on 27 May via the new Get Me! label. Props to Jami for the heads up on this one.

Sleigh Bells exploded onto the scene in 2010, and in a typically bold move, have wasted no time in following up their first album with the announcement of their second.

On February 21st, the hyped Brooklyn Duo will unleash Reign of Terror, and in doing so will release one of the most no-nonsense follow-ups in recent history of much-anticipated albums. Take a look at the build up of the sophomore efforts of the likes of Fleet Foxes, Vampire Weekend and Bon Iver. They were long winded and steeped in uncertainty at times.

But Sleigh Bells announced Reign Of Terror in late 2011, have now given us two album tasters in ‘Born To Lose’ and ‘Comeback Kid’, and have pushed back their initial release date by a mere week. Refreshing.

Have a listen of the newly released ‘Comeback Kid’ which knocks the socks off ‘Born To Lose’, then rode out of this town on the same horse it rode in on. Best way to describe it: A duet between The Prodigy and The Milky Bar Kid.

With his debut album, entitled ƒin, due on 27th January on Permanent Vacation, John Talabot has given us a taste of what to expect in the form of the album’s closing track ‘So Will Be Now’. It’s a collaboration with Pional that the two produced together in Madrid and it is seven minutes of the most beautiful music I’ve heard so far this year. Engrossing doesn’t do it justice – ‘So Will Be Now’ is warm, hypnotic house at its best and it’s exactly the sort of track that reminds me why I fell in love with electronic music in the first place.