Django Django - Late Night Tales

Like many of Britain’s more successful bands, Django Django met at art school – Edinburgh College Of Art to be precise – before reuniting in London soon to become one of the most highly lauded bands of 2012, with a Mercury nomination and numerous appearances in critics’ end of year lists. The band’s sound offers melting nuances of vast disparity through a prism of psychedelia – not many can fuse the textures of Bo Diddley-esque blues and contemporary electronic ambiance so successfully. The outfit describe their tracks as “Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs” and a great description it is; electronic terrains and mountain speckled desert landscapes encompass the music - a soundtrack to an unnamed film which crosses the worlds of Tron and Django Unchained.

For Late Night Tales, the band explore their sparse influences and exhibit a knack for knitting together tracks, which inhabit polar opposites of each other, under the guise of their own quirkiness. As a band “That have grown up with an obsession about our mum and dad’s record collections”, there’s an obvious love of the 50s ad 60s within the mix that the outfit democratically patched together, as well as a keen ear for some of the finest electronic and urban music of more recent times. The LP features versions of The Beach Boys’ “Surf’s Up”, Canned Heat’s “Poor Moon”, Roy Davis Jr, big band leader James Last’s “Inner City Blues”, Nilsson’s lyrically winsome “Coconut” and other blasts from a newly street light soaked past, as well as tweaked versions of the likes of Primal Scream, Massive Attack, Outkast, Hudson Mohawke and Lunice collaboration TNGHT’s “Bugg’n” and Ramadanman’s “Bass Drums”.

Their Late Night Tales mix is an album with huge variety and a seamless stitching of sounds, melting the old in to the new, but remaining consistently under the idiosyncratic mask of Django Django.