Jon Hopkins has released the video for “Collider,” taken from his Mercury Prize-nominated album Immunity. Directed by Tom Haines, it comes ahead of an extended edition of Immunity to be released December 9 on iTunes featuring videos and remixes.
Just Music is proud to offer Jon's most release release, How I Live Now, the aclaimed motion picture soundtrack.
Check out the video:
Here is Sam Thomas' video for Internal Ether, the third single from debut album Blind Theatre. The video is very much a DIY effort by Sam made only with an iPhone and some sunglasses.
Laki Mera were recently invited to do a Black Cab Sessions where they performed All I Have from their new album in the back of a London taxi. Check out the results:
We are delighted to announce that original score by Jon Hopkins for the motion picture How I Live Now is out now. Read the Quietus review here:
The album also includes a Jon Hopkins remix of the Daughter track Home and a brooding and sensual collaboration between Hopkins and Natasha Khan aka Bat For Lashes on the track Garden’s Heart. Watch the video (directed by Natasha) here:
How I Live Now is the big screen adaptation of the award-winning young adult novel by Meg Rosoff, directed by acclaimed Academy Award winning director Kevin McDonald (The Last King Of Scotland, Marley) and starring Academy Award nominee Saoirse Ronan (Atonement, The Lovely Bones, Hanna) as Daisy. How I Live Now also stars George MacKay (The Boys Are Back, Sunshine on Leith) as Eddie, Tom Holland (The Impossible) as Isaac, Harley Bird (‘Peppa Pig’) as Piper, Danny McEvoy as Joe and Anna Chancellor as Aunt Penn.
The original soundtrack is scored by Jon Hopkins, composer, producer and longterm collaborator of Brian Eno and Coldplay. Featuring some of his darkest, most nihilistic work to date, the score is built from two contrasting elements – atonal, sub-terrestrial drones with a backbone of pounding rhythms, and sublimely pastoral acoustic piano. These two opposing musical forces guide the viewer through the film, by turns disturbing and beautifully meditative. The centrepiece of the score is the track The Hawk, a timeless and heartbreaking theme that recurs throughout the film.
Listen to excerpts from the score here ( premiered for us by The Quietus) http://thequietus.com/articles/13481-jon-hopkins-how-i-live-now-score
Hopkins has just been nominated for a Barclaycard Mercury Music Prize for a second time for his fourth solo album, the universally acclaimed Immunity, already widely regarded as a landmark moment in British electronic music. He was also nominated for the award two years ago for his collaborative album with King Creosote, Diamond Mine.
Hopkins received an Ivor Novello Award nomination for his beautifully ominous yet ethereal score for the modern sci-fi classic Monsters and he co-wrote the music for The Lovely Boneswith Brian Eno. Recently he also scored the Andrew Douglas / Bryan Singer feature filmUwantme2killhim?
Macdonald directed How I Live Now from a screenplay by Jeremy Brock (The Eagle, The Last King Of Scotland), Penelope Skinner (‘Fresh Meat’) and Tony Grisoni (Fear And Loathing In Las Vegas,‘Red Riding Trilogy’). The film is produced by Charles Steel and Alasdair Flind of Cowboy Films, and John Battsek and Andrew Ruhemann of Passion Pictures, and was co-developed by Film4 and the UK Film Council and co-financed by Film4 and BFI Film Fund.
Praise for Jon Hopkins’ Immunity:
‘Album Of The Week’ The Sunday Times
'A remarkably visceral, sensual, confident electronic record that stays absorbing from beginning to end' 8.4 Pitchfork
‘Bold, brilliant and beautiful’ 9/10 Mixmag
‘An amazing achievement’ 4/5 Time Out
‘A new-found boldness in conception and execution’ 4/5 Mojo
‘The left field album of the year' NME
Check out the video for Breathe This Air, the latest single to be taken from Jon Hopkins' Mercury nominated Immunity album. The single features vocal from Purity Ring's Megan James and the video is directed by Anthony Dickenson.
As the newest members to the Just Music label, and with the release of the debut album Opus One, we wanted to introduce you to the Tim Laverack and Gavin Kirtley who comprise the wonderful Opdot.
How did Opdot form?
Opdot was born of a friendship that had spanned eight years with indie band ‘Little Me’, during which time we had played all over the U.K at venues such as the Garage, The Dublin Castle and The Cavern.
We both got a little set up, initially to record and demo the band but fell in love with the possibilities the technology offered.
(TIM) Around that time I discovered a small Scottish label, which sadly is no more, called Benbecula records. I signed up to receive their mineral series discs and was captivated by the new electronic sounds I was hearing. I then discovered James Holden’s label border community. These were both big influences on our early sound. Travelling down to the border community parties at London club The End I discovered more and more fantastic fresh music. It seemed a natural progression to have a go ourselves.
What was the creative process for writing the album like?
It was a case of getting a collection of ideas together independently, then working on them together and letting the music evolve steadily over a period of time. The great thing about working together is that we both bring different things to the table.
(TIM) I focus more on the melodic and harmonic content and Gav weighs in with the beats and production. However these are not exclusive roles. The great thing about working with musicians that you have built a rapport with over time is that you know how to get the best out of each other.
(GAV) I always had a fondness for the more extreme styles of music so hearing tracks from the likes of Venetian Snares got me thinking 'that's bonkers, how the hell have they done that?' This kind of led me to delve deeper into what the technology was capable of and research all manner of weird and wonderful plugins.
What was the inspiration for Opus One?
There wasn’t a definitive vision behind Opus One. It is more a collection of ideas for music we wanted to hear. We didn’t set out with the sole intention of making an album, the music just grew organically from a couple of demos to the final product. As things developed we found ourselves fusing together left of the dance floor ideals with some of the more traditional composition techniques I (Tim) had acquired through my music training at University. We kept on exploring this concept and arrived at Opus One.
What was it like sending Opus One off to be mastered?
It was a feeling of relief and excitement. When we put pen to paper on the deal we had about half an album that the label heads were pleased with. We then set about creating the rest. It didn’t always go to plan but we got there in the end.
It’s hard to know when to stop with mixing and tweaking tracks because we can do that forever but you have to draw the line somewhere. It's a bit scary when you submit it knowing that that's it.
What do the next 12 months look like for Opdot?
The next 12 months will hopefully be really busy and fruitful. The live set is just about ready and we are looking forward to taking it out on the road. It will be a combo of laptop, live keys and bass guitar.
(TIM) I will be starting my masters in music at Nottingham University part -time, which will hopefully leave me plenty of time for writing new material.
What do Opdot get up to when they are not making music?
(GAV) When I'm not locked away in the studio or working I love board sports. I grew up always on a skateboard and since my mid twenties I have discovered snowboarding and dabbled in a bit of surfing too. I have an obligatory shred in the Alps every year and regular trips to the Snowdome in Tamworth in between. I'm hoping to get out on my skateboard a bit more in future as I have become a bit slack and lazy with it over the last few years.
(TIM) I love going clubbing, to gigs and festivals. My sis landed a sweet job with the German government in Berlin so I try and get over there a fair bit as the electronic music scene over there is awesome. I went over to see Jon Hopkins and Clark at Berghain recently, top night. I also love watching sport, in particular football and cricket both at a local and international level.
Opus One is out now and available to buy here.
Jon Hopkins has released a video for part of the score which he has composed for upcoming film How I Live Now. The track is titled "Garden's Heart" and features Natasha Khan from Bat For Lashes. The video, directed by Khan, features the film's star Saoirse Ronan.
The single will be released via Parlophone on October 7 whilst you can see the film from October 4.
Watch the video:
Congratulations are in order for Jon Hopkins who was nominated once again this week for the Mercury Music Prize. His album Immunity was released in June earlier this year and received rapturous acclaim. Jon joins the likes of David Bowie, Arctic Monkeys, James Blake and Disclosure amongst other great acts to be nominated for the award, which was won last year by Alt-J. In 2011 Jon was also nominated jointly with King Creosote for their wonderful collaborative effort Diamond Mine.
We wish you the best of luck Jon!
Check out Jon’s first single Open Eye Signal from album Immunity: