Les Loups feat. Cybil

Les Loups are three young producers from Hannover who love good French House, Nu Disco and Electro Funk music. Group them together with Pomo, Moon Boots and FKJ, and you’ve got yourself an amazing playlist. This track is called ‘Colourblind’ and features London’s singer/songwriter Cybil. It’s a beautifully balanced dance/funk/singalong track. Cybil has a great voice, and the Loups boys have just the right amount of bass, jazz chords and beats for a brilliant groove. Harmonies and synths take us into the club, and I could vibe out to this style of music all night. Would love to see them live over here, so let’s hope they take a trip over and show us a good time. Majestic Casual jumped onto this track pretty quickly, as they do so well, and I’ve only just discovered it. Better late than never, though, eh?


Quincy Brooks // The 95 Tape

To all the August babies, this birthday post is for us!

I was looking for some proper tunes for my birthday weekend when I stumbled upon this compilation of laid back old school-themed tracks. Paris-based old school beatmaker, Quincy Brooks put together 15 of his good beats in one playlist. It’s both an escape from the busy streets of the city and a prep for the coming work-filled week.

I was just going to post a single track but the whole thing was too good to not share. And quite unfair to all the other tracks, so here’s all of it!

Go check out his Soundcloud: Quincy Brooks for more of his beats. I swear it’ll feel like taking a dose of chill pill and will take you back in the day! So good!

jp fe

Interview: First Ear meets JP Cooper

It’s not often that First Ear is hit but some acoustic vibes but recently Island Records signee JP Cooper has been regularly taking up residence on the page with his soulful voice and masterful guitar work.

Ahead of locking himself way to start recording on his next EP, we caught up with JP to discuss his musical origins, his ‘Keep The Quiet Out’ EP and what to expect from the future.

You didn’t grow up surrounded by music, what are your first musical memories?

I can remember being in the back of my dads car on the long journeys to my grandparents house, it felt long – it was about 2 hours, but when you’re a kid journeys feel really long. We just used to listen to the radio – the songs that stick out in my head are Sidewinder Sleeves by R.E.M, Tears in Heaven by Eric Clapton and Shiny Happy People by R.E.M – lots of R.E.M stuff on the radio. We never used to listen to loads of music around the house but I remember my dad used to play a tape by The Drifters and bits of Mike Oldfield as well – it was pretty random. It was never a household of music so those are my earliest musical memories before I started hearing the stuff that my sisters were listening to or just what was on the radio at the time.

I feel like it was really rich, listening back I actually really like R.E.M – great songwriters and a great sound. I’m glad it wasn’t S Club 7.

So, when was the first time you picked up a guitar and started to make music?

As far as picking up a guitar goes, that was late – my friend brought a guitar when we were 15 or 16 when we were into music – that was our thing. We were finding new bands and we were a little bit alternative so he bought a guitar and I don’t know why but I’d just sing with him. I used to sing along to the radio in the car and I thought to myself ‘I’m an alright singer, me’ when I was a kid, and I thought I’d have a go at signing. We’d do covers of songs and I’d sing them and that naturally turned into us writing awful songs so I was always around a guitar from then on and other instruments – I can sit at most things and get a sound out of it. I couldn’t really play it amazingly but I can get bits of it.

As far as the guitar went, I only started saying to myself ‘Right, I’m really going to make this work’ about 4 or 5 years ago and that was still with no aspirations to be an amazing amazing guitarist – I just wanted to write songs and accompany myself so anything else is a bonus now.

Do you prefer the writing and recording process or performing live?

I love writing and I love recording and seeing something in front of you. The gigs are amazing and you have the connection with the audience but once it’s done, you can’t sit and listen back – well you can, but it’s not the same. I think having artists as parents you’re used to them sitting back and looking at what you’ve done and it’s one thing that I miss with music is actually having something that you can visually look at and say ‘I’ve just done that’. Listening back to it in the studio is the closest thing you can get to that so I get a real sense of satisfaction from actually being able to sit back and review what you’ve just created, whereas live, from that kind of perspective, you don’t really get the same thing.

Playing live is another kind of payday – you get feedback from the audience, they’re with you and they appreciate what you’re doing. You’ll see certain faces in the crowd and you can tell that they’re in it. Again, at gigs you get off stage and you’re like ‘what just happened?’ and you get these little fragments – I can never remember the whole thing but you get these little fragments and you remember certain peoples faces. Lately, I’ve been having to do some signing CDs afterwards and they’ll be a couple of people who come on up and I’ll recognise them and thank them because they’re the ones you really feed off.

I don’t think there’s one that I prefer more, there’s elements of the two that I really enjoy.

You’ve done a lot of recorded material previously – with 4 EPs already released. What makes your new EP, ‘Keep The Quiet Out’, different?

This is the first EP I’ve done without a band. All of the other ones we’ve gone into the studio and we’ve all been in the together, we’ve hit record and we’ve only added a few things in afterwards. For this one – I didn’t use a band. I used live strings and obviously laid up the guitars but I used a lot more synthetic sounds which was really exciting because I’ve never done that before so I wanted to explore that more and just take the opportunity to experiment.

In the position that I’m in, I’ve not made an album so it’s nice to show a little bit of growth and also to show people what’s possibly to come in the future. I don’t want people to say ‘JP only does the acoustic thing with a band and the live sound’ so this one’s really different and I was interested to see what the reaction was. There were be a few people who might’ve been a bit worried but I think a lot of them have come round to it. There’s enough of the old stuff to keep them interested but it just shows growth; it’s sonically very different but the spirit of it and the vocals are the same.

You’re not currently based in London, what is it about Manchester that keeps you there?

Housings cheap! I love Manchester, it’s home for me. I’ve recently moved back to the area I grew up in and it’s just really nice to wonder around the streets that I used to play on when I was a kid. I don’t know if I’ll always be there but for now it’s just nice to be back there and to feel like I’m having a new beginning in music and it’s nice to relate that to my beginning and to be around things that will conjure up memories of when I was a kid. I think there’s so much up in Manchester as well – I’d really like to get more involved with people who are in the industry up there because I think there’s still a lot of offer up there – it just so happens that there’s a lot more people in London.

You also just announced a co-headline gig with George The Poet – what can we expect from that?

I’ll be definitely be playing a lot of my new songs from my new EP which I’m really excited about so that will be great to share. That will be the last stretch towards the album so we’ll be edging much much closer to it and I won’t be doing many gigs at all after that – this year at least. It’ll be great to perform alongside George and we’ll both have our own fans there so even though our music is different, I think the crowds will appreciate what each other does.

We haven’t seen any music videos from you yet, are there any plans to make one?

I’m actually started to make one very soon – I’ll only have a cameo in it. We’ve been discussing the ideas but I’m really interested to get more involved in it in the future so there’s some stuff coming!

You sound like you’ve got lots of plans; where do you want to be in a years time?

I just really want the album to do well. Not only that but to challenge what I do and where male singers are in UK music right now. I don’t want to be the same as the next guy and I want to see what I can do. Not in the terms of ‘I want to have Number 1s’ – if they come, that’s great but just as far as a person and as a writer I really want to make an impact and challenge the UK music scene. Unexpectedly as well – I’m not one of these kids who’s got all this hype around me and I really like that.

I don’t think I’m a naturally playlisted artist but I’d like to get it to a point where they have no choice! The main thing is raising the awareness of me as an artist and making sure enough people know about me – that’s obviously where the label come in and I just have to keep doing what I’m doing. I’d like think the album does well and that’s all that’s on my mind – just make the album amazing and really cause some problems!

Sounds like there’s some big thing to come from Cooper. Be sure to cop his latest EP ‘Keep The Quiet Out’ here, so you don’t get left behind.


Romeo Testa (Christian Rich re-work)

I heard this song on Sohn’s BBC Radio 1 Residency show this evening, amongst many other absolutely beautiful atmospheric pieces of music that Sohn obviously draws influence from. The man has good taste. But we all knew that. Romeo Testa is just 18, signed to Columbia records, and released his first EP a few months back. He has a fun rock/pop sound, but with enough soul and depth to his voice that makes us think he has been singing for years. The track I’m writing about here from the EP is called ‘I’m So Down’, and the version that caught my ear is a remix by Christian Rich. Christian Rich are a couple of cool dudes called Ken and Tai Hassan that have been kicking around in LA in recent years, producing for none other than Earl Sweatshirt, J Cole and Childish Gambino. They are no strangers to the R&B and Hip-Hop scene, and their work goes back a long way to the Lil’ Kim and Young Gunz days. They are twin brothers with an incredible ear for music, and working behind the scenes has taken to them to amazing heights so far. This particular re-work is only days old. Two great artists to follow; check it out.


Stream Première: CAPSUN – Bubble Pipe

If you haven’t purchased You Tell Me London vol 1 yet then here is another entry in the long list of reasons why you should.  You Tell Me are one of the most exciting labels in the scene so it is a pleasure to première the live stream of CAPSUN – Bubble Pipe. For those who arent familiar with him, CAPSUN is a DJ & Producer based in Brighton, originally from London, UK. Having spent time producing and working with a wealth of artists. CAPSUN is finally bringing his own productions to the forefront, with this beautiful track he has set the bar very high.

You can follow CAPSUN via soundcloud, twitter, facebook and check his official site here.


Years and Years – Take Shelter Unplugged

This track is capable of warming even the most cynic of hearts. Its and Acoustic piano version of london group Years and Years with the vocal of frontman Olly taking the center stage of the track . There are other versions of this track floating around such as the original on itunes or the Joe Hertz remix on soundcloud that we definitely recommend a listen but we choose this track for its simplicity, raw nature and the beautuful lyrics that are here shown here in their true potential.


Add the Bassline – Jordan Rakei (Nehzuil Remix)

Producer Nehzuil is back with another soul infused remix from Australian all around musician Jordan Rakei.

Here Nehzuil mixed perfectly synths, bass and that old school soul groove that he turned in a Lo-fi soul perfection perfectly blended with Rakei’s voice letting us now that “She told me add the bassline and everything will be fine…”  and homage to the idea that music can cure any evil.

Nehzuil again Killing it on the table.