April 14, 2023 |
Break-beat trio Gogo Penguin marry powerful basslines and capacious percussions with minimalist piano melodies to create a distinct amalgamation of acoustic and electronic sounds. Since the formation of the band in 2012 they have toured internationally, performing at Coachella, Fuji Rock and Montreal Jazz Festival as well as selling out at iconic venues such as the Royal Albert Hall and Bowery Ball Room. Now, having just signed on with iconic label XXIM Records, they’re dropping a punchy seven-track album entitled Everything is Going to be OK, and it’s a true testament to the groups ability to bounce back.
Having lost an integral member and gained a new, indelible addition on the drums (GoGo Penguin welcomes Jon Scott), the Manchester-based trio celebrates new beginnings on the new album. With Chris Illingworth banging it out on the piano and Nick Blacka bashing the double bass, a calming sense of comfort emerges, the emotive soundscape speaking of a move towards a more ambient era. Born from a time of grief and loss, the album reflects the sanctuary found in the recording studio and offers a sense of optimism and hope. Here we sat down with the trio to talk all things Jon Scott, memorable club nights and their distinct break-beat style.
1. The new album is entitled Everything Is Going To Be OK. It’s a simple phrase, but one that could be imbued with a lot of meaning. In this case, what does it refer to, and why did you want to send that particular message?
“The title was just a spur of the moment decision for the album track of the same name. When we were composing that piece, we had the beginning of an idea and made a quick demo in our studio so that we could work on it later. We often have some pretty daft working titles for our tracks but this one came about because there’s a sticker on my bass amplifier that says ‘everything is going to be okay’ which was put there about five years ago by one of our crew at the time. I just saw the sticker and we needed to call it something, so we decided to use it as a title for the track, but over time, as the album began to take shape, the title took on another level of meaning for us. After everything we’ve been through in the band, Covid lockdowns, Rob leaving the group and a ton of heavy personal stuff, losing loved ones, it felt poignant to name the album Everything is Going to be OK because it gives a feeling of hope for the future. Sometimes we all need that message because life is hard and things don’t always go the way you would like them to but it’s about keeping going, being stronger together and realising that it’s all just part of life, which I guess is okay.”
2. The album arrives as a revival! What made you want to join forces again with a new drummer and record label behind you?
“When we had the enforced break of Covid it gave us some time to take stock of everything and we realised at that point that things weren’t working anymore with Rob. It was an extremely difficult time for us all but after he left the group, we needed a new drummer. I had played with Jon on a couple of jazz gigs many years ago, and he’d been recommended as a good option. I always liked his playing so decided to invite him for a play. We played three tunes together, had a pizza and some beer and decided that he was the right guy for the job. We’d already made the change of label whilst Rob was still in the group, but the reason for that was because we felt we needed a change. We’re immensely proud of signing to Blue Note Records and we’re proud of the three albums and three EPs we made for them, but we also felt that it was perhaps a bit incongruous to the kind of music we were starting to make and the direction that we were heading in musically. XXIM Records just seemed like a great fit for us, and we’re excited for the future with them.”
3. What can we expect from your return to making break-beat, acoustic-electronica music? Has your sound evolved at all?
“Absolutely. It’s definitely still recognisably GoGo Penguin, the core of our sound is still there but there are plenty of changes. We were bolder and more confident in taking risks than we’ve ever been before. We experimented with new compositional techniques and ideas, added some electronic elements like the Moog Grandmother and Eurorack modular system, basically we went with the flow; if the music felt like it needed a certain element we used it and went with it, we trusted our instincts and as long as we were enjoying the music and direction the ideas were going in then we kept going.”
4. Which people, artists or club nights shaped your sound today?
“So many things have shaped our sound. There’s no doubt that in the beginning that E.S.T. were a huge influence but there has always been a huge range of influences on the sound of the band. We listen to a lot of different things from hip hop, jazz, indie, classical music, rock and of course electronica is a big one for us. I’d say that DJ Shadow and the whole downbeat/trip hop movement of the mid to late 90s really had a huge impact on us and we still listen to a lot of that music today. Aphex Twin, Massive Attack, The Beastie Boys, Four Tet to name but a few. I think as for club nights, when I was a teenager in Manchester there were some amazing club nights that have long since gone but they felt special because there was an emphasis on playing drum and bass and dance music alongside real instruments. Nights like Eardrum and Spellbound had a huge impact on me many years ago in Manchester. That’s where I would first see the double bass being played live on stage in a club setting.”
5. How did enlisting Jon Scott to join the band come about? And what’s the best thing about working with him?
“As I already mentioned, I had done a few jazz gigs with Jon many years ago around Leeds and I always really liked his playing on those gigs. Since then, we’d occasionally bump into each other at jazz festivals in Europe. Jon plays with Mulatu Astatke and Sons of Kemet, so our paths would cross every now and then. When we were thinking about a new drummer, we wanted someone different from Rob, rather than trying to find someone close to Rob’s style. Jon has a great sense of groove; he listens to everyone and reacts well, and he’s got a great sense of knowing what’s right for the drums in terms of sounds. He’s really good at finding a great sound within his kit and capabilities rather than relying on studio production to do it for him. He’s also a really good guy who’s nice to have around. That always helps.”
6. If you had to pick one track to introduce an alien to your sound, what would you choose?
“Possibly ‘Hopopono‘ because it’s full of melodic piano and everybody seems to love that tune, plus we always play it live. Personally, I’d probably pick something a bit less well known. Perhaps ‘Smarra’ from our album Man Made Object. I think that tune really demonstrates the acoustic electronica thing we were driving for at that time and is full of frenetic energy and emotional tension all at once.”
7. Why did you decide to call yourselves GoGo Penguin in the first place?
“It was just a spur of the moment decision. We needed a name for a last-minute gig that came up and we didn’t have one because it was very early days in the band’s history. In the room where we rehearsed, there was a papier-mâché penguin that had been used as a prop in an opera. Someone chose Penguin as a name and then the GoGo somehow got added and now here we are.”
8. What initially attracted you to the beat-break style of music you make, and why do you keep on with it?
“Break-beat is quite a broad term but the difficulty we have with what we do is finding the right words to accurately describe what we do. I guess we’re influenced by dance music that originally found its roots in jazz and funk records. From this source, so many things evolved, hip hop, drum and bass and music that was heavily rooted in sample culture in the 90s, like trip hop. I think it was the freedom of merging traditional instruments and jazz samples together to create something entirely new. We were interested in trying to play these styles of music on acoustic instruments. It’s just an endlessly fascinating and creative place to exist for us.”
9. If Everything Is Going To Be Ok came as a cocktail, what would it be called and how would it taste?
“I think it would be something with a whole load of different booze in it, something like a Long Island Ice Tea. There’s lots going on in the record, different flavours and styles yet you mix it all together and it’s tastes/sounds great. Plus it will get you nice and merry.”
10. What’s one goal [each] from your personal bucket lists that you want to tick off before 2023 comes to an end?
Nick: “Fuji Rock Festival in Japan is definitely one to tick off the list. I’d also love to play Glastonbury at some point, but I don’t think that’s happening this year.”
Jon: “Australia and New Zealand is a big one for me. It’s the only inhabited continent that I haven’t visited yet.”
Chris: “For me it’s unrelated to music. My son will start school this year, feels like a big milestone and even though I’m sure it’ll make me cry, I want to walk him to school for that first day.”
Photography courtesy of GoGo Penguin. ‘Everything is Going to be OK’ is out now, available for streaming on all major platforms.
