Unknown Mortal Orchestra Find 'Trouble' for New Record

Ruban Nielson of the band Unknown Mortal Orchestra performing at the 3rd Annual Filter Magazine Culture Collide 2012 Festival

Ruban Nielson's 2011 went by in a blur. The debut of his psych-leaning outfit Unknown Mortal Orchestra had perked plenty of ears, his solo project had morphed into a full band and non-stop touring ensued. One night (the details are understandably fuzzy), he sat in a hotel room with a few other people. It was late. This girl he'd never met had shown up bearing "party favors" and spent the rest of the night rambling, upset about one thing or another, her mouth and mascara both running.

"And then at one point during the night," Nielson recalls during a recent chat with Rolling Stone, "she said, 'I dunno, man – I think I'm just so good at being in trouble.'"

Unknown Mortal Orchestra Embrace Club Life on 'Swim and Sleep (Like a Shark)' (Little Dragon Remix)

The words hit Nielson like a brick, leaving a dent the shape of an indelible pop hook. Not missing a beat, he sang it back to her, and immediately regretted it. Not because he felt bad about flouting social mores – there were other songwriters in the room, and this nugget was too good to let slip away.

"I knew right then," Nielson says, "that I maybe had the single." A subtle soul number with shrewd chord changes and Nielson's falsetto sidling alongside, "So Good at Being in Trouble" is an undeniable standout from Unknown Mortal Orchestra's follow-up album, II, out February 5th (Jagjaguwar).

The other tracks on II have similar origins. Throughout that exhilarating, exhausting 2011, often late at night at a party or bar, a lyric or melody would come to Nielson and he'd retreat to the band's van or a quiet room to record it into his phone. Last February, the native New Zealander returned to his new home in Portland, Oregon totally wiped out but eager to record. He set up a studio in the basement and went to work making sense of the snippets.

"I put more thought into arrangements. The songs kind of take you on more of a journey," says Nielson of the new album, contrasting it to the immediacy of the first, Unknown Mortal Orchestra, which "was just bombarding you with these hooks. For the second record I wanted it to be more thoughtful, more dynamic, and have the hooks be there when they're there."

Nielson also wanted to emphasize the soul, funk and R&B elements he believes make Unknown Mortal Orchestra unique among his psych- and garage peers like Ty Segall, Tame Impala and Thee Oh Sees. While on the first LP he cribbed breakbeats from hip-hop and R&B tracks, this time he tapped his brother Kody and Greg Rogove (now the band's official drummer) to construct sturdy beats bolstered by the stout bounce of Jack Portrait's bass. The supple low end on cuts like "One at a Time" and "Monki" provided the perfect foundation for Nielson's confident warble and the serpentine contour of his chord progressions and guitar solos, a style initially inspired by secret practice sessions with Ry Cooder and Frank Zappa recordings while he was a member of the punk group the Mint Chicks.

Unsurprisingly, II took the shape of one of those road-weary all-nighters. "In a lot of ways it was the most extreme, fun time I've ever had, but obviously emotionally it was . . . " Nielson trails off, then adds with a laugh: "You know, when you're coming down and the reality hits you that maybe none of this stuff actually matters.

"When I'm writing songs, I start with a feeling that's impossible to explain in words, and then I build a song around that," Nielson says of what he discovered about himself while making the new album. "And then all the other stuff – technical ideas, or what chords you're using, or what the melody is – is totally irrelevant. None of that stuff matters. It's just kind of building whatever you need to make that feeling communicable."

Isolation – the kind cloaked in a toked, boozy haze that overwhelms most while in the company of other people – is a constant theme, and the guitar licks Nielson slings on "Faded in the Morning" sting like sober sunlight. Moments like those are crucial. Nielson didn't want II to be a "tour album," but rather one that tapped into something more universal – the flurry of emotions that exist exclusively between the hours of 11 p.m. and 5 a.m.

"A night album," he calls it.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Amazon MP3 Download Center

Read more »

Unknown Mortal Orchestra Find 'Trouble' for New Record

Ruban Nielson of the band Unknown Mortal Orchestra performing at the 3rd Annual Filter Magazine Culture Collide 2012 Festival

Ruban Nielson's 2011 went by in a blur. The debut of his psych-leaning outfit Unknown Mortal Orchestra had perked plenty of ears, his solo project had morphed into a full band and non-stop touring ensued. One night (the details are understandably fuzzy), he sat in a hotel room with a few other people. It was late. This girl he'd never met had shown up bearing "party favors" and spent the rest of the night rambling, upset about one thing or another, her mouth and mascara both running.

"And then at one point during the night," Nielson recalls during a recent chat with Rolling Stone, "she said, 'I dunno, man – I think I'm just so good at being in trouble.'"

Unknown Mortal Orchestra Embrace Club Life on 'Swim and Sleep (Like a Shark)' (Little Dragon Remix)

The words hit Nielson like a brick, leaving a dent the shape of an indelible pop hook. Not missing a beat, he sang it back to her, and immediately regretted it. Not because he felt bad about flouting social mores – there were other songwriters in the room, and this nugget was too good to let slip away.

"I knew right then," Nielson says, "that I maybe had the single." A subtle soul number with shrewd chord changes and Nielson's falsetto sidling alongside, "So Good at Being in Trouble" is an undeniable standout from Unknown Mortal Orchestra's follow-up album, II, out February 5th (Jagjaguwar).

The other tracks on II have similar origins. Throughout that exhilarating, exhausting 2011, often late at night at a party or bar, a lyric or melody would come to Nielson and he'd retreat to the band's van or a quiet room to record it into his phone. Last February, the native New Zealander returned to his new home in Portland, Oregon totally wiped out but eager to record. He set up a studio in the basement and went to work making sense of the snippets.

"I put more thought into arrangements. The songs kind of take you on more of a journey," says Nielson of the new album, contrasting it to the immediacy of the first, Unknown Mortal Orchestra, which "was just bombarding you with these hooks. For the second record I wanted it to be more thoughtful, more dynamic, and have the hooks be there when they're there."

Nielson also wanted to emphasize the soul, funk and R&B elements he believes make Unknown Mortal Orchestra unique among his psych- and garage peers like Ty Segall, Tame Impala and Thee Oh Sees. While on the first LP he cribbed breakbeats from hip-hop and R&B tracks, this time he tapped his brother Kody and Greg Rogove (now the band's official drummer) to construct sturdy beats bolstered by the stout bounce of Jack Portrait's bass. The supple low end on cuts like "One at a Time" and "Monki" provided the perfect foundation for Nielson's confident warble and the serpentine contour of his chord progressions and guitar solos, a style initially inspired by secret practice sessions with Ry Cooder and Frank Zappa recordings while he was a member of the punk group the Mint Chicks.

Unsurprisingly, II took the shape of one of those road-weary all-nighters. "In a lot of ways it was the most extreme, fun time I've ever had, but obviously emotionally it was . . . " Nielson trails off, then adds with a laugh: "You know, when you're coming down and the reality hits you that maybe none of this stuff actually matters.

"When I'm writing songs, I start with a feeling that's impossible to explain in words, and then I build a song around that," Nielson says of what he discovered about himself while making the new album. "And then all the other stuff – technical ideas, or what chords you're using, or what the melody is – is totally irrelevant. None of that stuff matters. It's just kind of building whatever you need to make that feeling communicable."

Isolation – the kind cloaked in a toked, boozy haze that overwhelms most while in the company of other people – is a constant theme, and the guitar licks Nielson slings on "Faded in the Morning" sting like sober sunlight. Moments like those are crucial. Nielson didn't want II to be a "tour album," but rather one that tapped into something more universal – the flurry of emotions that exist exclusively between the hours of 11 p.m. and 5 a.m.

"A night album," he calls it.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Amazon Music and MP3 Center

Read more »

T.I. Embraces Life as 'Trouble Man'

"I've learned that one thing about my life that is certain is trouble," said T.I. with a grin. "Be that as it may, I shall embrace that fact and not evade it. We all have faults. Before I let you stand on your high horse and point a finger back down at me, I'm going to give you a big, stiff 'Fuck you.'"

Following a two-year hiatus, legal wrangling and a slew of underwhelming material, Trouble Man (slated for December 18th release) is that defiant exclamation. The rapper previewed several tracks from the forthcoming release at New York's Germano Studios last night, and though he's still firming up the official track list – Atlantic Records reminded him that he has about one week to submit it – the 12 songs played were said to be strong contenders for the final edit.  

The album contains a good balance of vintage trap fare for T.I. purists (circa I'm Serious through King), especially courtesy of longtime collaborator DJ Toomp ("Trap Back Jumping" and "Who Wants Some"), as well as radio-ready cuts for those who like their T.I. high on melody and charm. It's the latter material that, upon first listen, piques the most interest. "Somebody That I Used to Know" is a heartbreaker featuring Kendrick Lamar and B.o.B., with newcomer Kenoe brilliantly sampling Gotye's monster hit of the same name. The sensitive "Guns & Roses," produced by the ubiquitous T-Minus, is sure to be another crowd-pleaser with resplendent, soulful vocals from Pink.

With R. Kelly, Cee Lo, Lil Wayne, Akon and A$AP Rocky all on board, there's no shortage of star wattage on Trouble Man, but it is Andre 3000 who really steals the show. After hounding OutKast's reticent lyricist for some six years, T.I. finally snagged a feature for "Sorry," produced by Jazze Pha. In the song, the two grapple with the ills of fame. Andre's buttery flow comfortably meanders along his verse, to the point where you completely forget what existed before his bars. Dre pokes fun at haters (and even bloggers) with his signature wit and zing.

"He shit on me on my own record," T.I. openly admitted, without a trace of animosity. There's no shame in getting beaten by the best.

Trouble Man is as much for T.I.'s detractors as it is for the man to prove to himself that he hasn't lost his platinum touch. With this album he finally hits that sweet spot, a sonic and thematic balance between past and present. "To expect for me to be one-way every time you see me is to expect me to be a one-dimensional man, which I've never been," he said at the close. "I've always applauded my efforts to be diverse and multi-faceted."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Amazon MP3 Download Center

Read more »

T.I. Embraces Life as 'Trouble Man'

"I've learned that one thing about my life that is certain is trouble," said T.I. with a grin. "Be that as it may, I shall embrace that fact and not evade it. We all have faults. Before I let you stand on your high horse and point a finger back down at me, I'm going to give you a big, stiff 'Fuck you.'"

Following a two-year hiatus, legal wrangling and a slew of underwhelming material, Trouble Man (slated for December 18th release) is that defiant exclamation. The rapper previewed several tracks from the forthcoming release at New York's Germano Studios last night, and though he's still firming up the official track list – Atlantic Records reminded him that he has about one week to submit it – the 12 songs played were said to be strong contenders for the final edit.  

The album contains a good balance of vintage trap fare for T.I. purists (circa I'm Serious through King), especially courtesy of longtime collaborator DJ Toomp ("Trap Back Jumping" and "Who Wants Some"), as well as radio-ready cuts for those who like their T.I. high on melody and charm. It's the latter material that, upon first listen, piques the most interest. "Somebody That I Used to Know" is a heartbreaker featuring Kendrick Lamar and B.o.B., with newcomer Kenoe brilliantly sampling Gotye's monster hit of the same name. The sensitive "Guns & Roses," produced by the ubiquitous T-Minus, is sure to be another crowd-pleaser with resplendent, soulful vocals from Pink.

With R. Kelly, Cee Lo, Lil Wayne, Akon and A$AP Rocky all on board, there's no shortage of star wattage on Trouble Man, but it is Andre 3000 who really steals the show. After hounding OutKast's reticent lyricist for some six years, T.I. finally snagged a feature for "Sorry," produced by Jazze Pha. In the song, the two grapple with the ills of fame. Andre's buttery flow comfortably meanders along his verse, to the point where you completely forget what existed before his bars. Dre pokes fun at haters (and even bloggers) with his signature wit and zing.

"He shit on me on my own record," T.I. openly admitted, without a trace of animosity. There's no shame in getting beaten by the best.

Trouble Man is as much for T.I.'s detractors as it is for the man to prove to himself that he hasn't lost his platinum touch. With this album he finally hits that sweet spot, a sonic and thematic balance between past and present. "To expect for me to be one-way every time you see me is to expect me to be a one-dimensional man, which I've never been," he said at the close. "I've always applauded my efforts to be diverse and multi-faceted."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Amazon Music and MP3 Center

Read more »

Drake's Party Gives Oklahoma City Nightclub Trouble

Drake's Party Gives Oklahoma City Nightclub Trouble

An Oklahoma City nightclub owner wants Drake to pay for damages from a party resulting in at least one arrest and heavy marijuana use, shutting down the club, TMZ reports.

The owner of the Dollhouse Lounge and Burlesque says the Young Money rapper arrived at the club with an entourage for a private party March 1st. Employees noticed marijuana smoke from his VIP area, the owner says.

Police shut down the party and arrested the club manager after finding a partially burnt marijuana cigarette in the VIP section. The Dollhouse's owner is asking for compensation totaling several thousand dollars. Drake's representatives were unavailable for comment.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Amazon Music and MP3 Center

Read more »

Drake's Party Gives Oklahoma City Nightclub Trouble

Drake's Party Gives Oklahoma City Nightclub Trouble

An Oklahoma City nightclub owner wants Drake to pay for damages from a party resulting in at least one arrest and heavy marijuana use, shutting down the club, TMZ reports.

The owner of the Dollhouse Lounge and Burlesque says the Young Money rapper arrived at the club with an entourage for a private party March 1st. Employees noticed marijuana smoke from his VIP area, the owner says.

Police shut down the party and arrested the club manager after finding a partially burnt marijuana cigarette in the VIP section. The Dollhouse's owner is asking for compensation totaling several thousand dollars. Drake's representatives were unavailable for comment.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Amazon MP3 Download Center

Read more »