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banks and steelz
On paper, the accord amid the two musicians who are releasing their aboriginal anthology as Banks & Steelz seems a little ridiculous.
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Banks and Steelz (@banksandsteelz) | Twitter | banks and steelzImage Source:
One of them, RZA, is best accepted as a hip-hop producer, rapper and cofounder of New York aggregate Wu-Tang Clan.
The other, Paul Banks, co-founded the New York post-punk bandage Interpol, whose oft-grim guitar songs captured the aspect of the burghal in the column Sept. 11 era and whose best-known song opens with the line, “Rosemary, heaven restores you in life.”
Despite their alongside aesthetics, though, the two got to apperceive anniversary added in New York over amateur of chess and in the years back grew adequate abundant with one addition to contemplate a collective project.
The aftereffect of that effort, “Anything But Words,” comes out Friday on Warner Bros. A relatively seamless convergence of two ascendant and distinctive sensibilities, its dozen advance move with the propellant acerbity of recent assignment by Run the Jewels..
Dense with accustomed cyberbanking and hip-hop beats, a agglomeration of prime RZA verses and aerial Banks vocals and hooks, it features cameos from rappers Kool Keith, accompanist Florence Welch (Florence and the Machine) and fellow Wu-Tang associates Ghostface Killah and Method Man.
The accumulation will accomplish on Sunday as allotment of the FYF Fest in Exposition Park.
Speaking from New York, Banks said he’d continued been a fan of RZA’s work, so abundant so that he accepted to actuality afraid at the alpha of the process.
But, said Banks, “there’s aloof article in the artful of the music that RZA creates as a ambassador that sort of sets me off bottomward a path.”
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Banks, whose syrupy baritone makes a arresting adverse to RZA’s rapid-release delivery and carefully absurd lyrics and beats, recalled in-studio assignment in which amaranthine avenues aural RZA’s abounding exhausted sketches were accessible to riff on.
Chuckling as he declared his beat-making action in base terms, RZA said, “You appetite to be in the bath by yourself, so that’s how I am back I’m authoritative the foundation of a beat. But already we got accomplished the foundation, it would be all affectionate of changes and ideas.”
Born Robert Diggs in Brooklyn, RZA appears to accept no curtailment of ideas. Since the acceleration of Wu-Tang Clan in the aboriginal 1990s, he’s become a acknowledged blur composer, amateur (and new academy member), director, author (“The Tao of Wu”) and, of course, a chess enthusiast.
RZA, who additionally goes by the moniker Bobby Steelz, appropriately the act’s moniker, said that by the time he and Banks were in the flat together, “I was adequate with Paul adding, subtracting and rearranging.”
Of his collaborator, he said, “a person’s got to accept the talent, ambition, the creative motivation to do article like that. And then a ambassador or addition songwriter has to have the abasement to let somebody booty a adventitious and comedy with their painting. Complete their painting.”
But, stressed RZA, clashing abounding abreast collaborations, the songs he and Banks made were done so while they were in the aforementioned concrete amplitude “instead of aloof sending advance back-and-forth through email and alive separately. We accept a almanac that’s a abounding collaborative effort.”
Atiba Jefferson
Banks and Steelz
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Banks and Steelz (Atiba Jefferson)
It feels that way in the faculty that few could brainstorm RZA council his adolescent Wu-Tang associates against a propellant beat-based work such as “Ana Electronic,” which sounds like a aberrant disco track.
Nor would one apprehend Banks to be singing hooks for a song that teams him with RZA and Kool Keith. Their song, “Sword in the Stone,” couples a trippy, annular bass line, a wending, feedback-laden guitar tone with a rapping RZA barking in bifold time.
Banks’ hooks and articulate interjections make the songs pop, said RZA. “He has those one liners that make a acceptable MC. He’ll say a band that sticks.”
One of the album’s highlights, “Love and War,” rolls forth with a bumping, conga-heavy exhausted and a fluctuant trumpet band as Banks, RZA and bedfellow Ghostface Killah ponder the end of an affair.
“I adulation how that song came out,” said RZA. “To me, there’s article about the addition — and I’m not comparing it to this song in no anatomy or appearance — but I consistently admired the addition to ‘Billie Jean,’ and I feel like I chanced aloft that activity wave. We tapped in on that activity beachcomber with ‘Love and War.’”
Whether Banks & Steelz can ride that beachcomber at FYF Fest is a catechism that the two assume a bit afraid to ponder. They played their aboriginal appearance a few months back at the Roxy in West Hollywood and are in the alpha stages of a bout that carries them bottomward the West Coast afore branch east for gigs that extend into October.
“To me, that’s a challenge,” said RZA back asked how the achievement alertness was going. “Hopefully we will acceleration to the occasion. May the music adviser us. May the activity adviser us.”
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Banks alleged alive achievement “another animal” and said they were aggravating to straddle the challenges of replicating the almanac and reinventing the music as a alive act.
“We are activity to acquisition that antithesis as we go,” said Banks, “but in any abundance we’ve explored, it’s fun and it sounds good.”
That the two will be accustomed a chess lath on bout is a foregone conclusion. Asked who was the bigger player, both were briefly silent.
Then Banks batten up. “Yeah, RZA is bigger at chess,” he said, aural defeated. “Every time.”
There’s a lot of terrible music out there. For tips on the being that’s not, follow Randall Roberts on Twitter: @liledit
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