bluejuice
Music
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Act Yr Age
3:20
4,347 plays- Play
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Cheap Trix
3:39
576 plays- Play
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Broken Leg
3:17
175,097 plays- Play
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31,395 plays- Play
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Head Of The Hawk
2:44
37,077 plays
General Info
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Genre: Indie / Japanese Classic Music / Showtunes
Location Sydney, Au
Profile Views: 643214
Last Login: 11/2/2011
Member Since 9/8/2005
Website www.bluejuice.info
Record Label Dew Process
Type of Label Major
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Bio
bluejuice – shit name, great band... An aggressive mix of pop, rock, hip hop, electro and disco, Bluejuice are in their element making you dance in a retarded, unselfconscious way. The combination of drums, bass and keys and two harmonizing singers sounds unique, but it's the violence, energy and humour with which the band attack their music that makes them stand out. Latest single 'Broken Leg' sums up the attitude at work - cathartic and silly, emotionally complicated, mental and sweaty. Bluejuice turn entertainment into a contact sport. The single comes from the band's second long player 'Head Of The Hawk' - a mixture of old and new, pop and dance elements delivered with the melody, cheek and psychosis fans expect from the band. Songs like 'Head Of The Hawk' and '(Ain't) Telling The Truth' see the band take on new forms, mixing hip hop backbeat with 80s melody (REO Speedwagon meets Mad Professor) to deliver surprisingly emotional pop, while 'Little Emperor' and 'Miss Johnston' weld ska and pounding disco to Iggy Pop's raucous punk, and 'Broken Leg' makes Van Halen, Thin Lizzy and The Who tear their collective hair out on the dancefloor. "It's a break-up record for people who'd prefer to be drunk and dancing,".. says singer Jake Stone. .."A lot of good things turned bad in the year that led up to making this album. I was losing my mind. I wanted the lyrics and the energy in the record to reflect that, but not at the expense of melody. We still wanted to make an album that sounded really pop and upbeat, you know?" Brooklyn-based producer/engineer Christopher Shaw worked to translate the band's rough demos into a polished production; his discography a clear indicator of his ability to deal with Bluejuice's tangled references. Chris is most recognized for his work engineering the early Public Enemy records, as well as spending the past decade recording Bob Dylan. In between he has been on the desk for a list of artist that includes Weezer, Super Furry Animals, Ween, Chemical Bros and Dashboard Confessional. "I was attracted to Bluejuice,".. says Shaw, "because their high energy on previous tracks like Vitriol and the Reductionist. The new demos were even better. Working with a band that had no guitarist seemed to be an interesting prospect as well. (Plus Jerry kept offering me a Ferrari during the recording process. Especially while playing Grand Theft Auto.) I tried to deliver a more polished/varied sound to the band without dulling any of the things that make them such a great live band. I think we succeeded. There is a great variety of keyboard, bass and drum sounds but yet the record has a very consistent vibe. I pushed everyone in the band to deliver their best performances, almost to the point of exhaustion, and they delivered in spades." On the visual front the band have continued collaborating with their friend and colleague, Sydney director Sam Bennetts. The band's video clips are becoming notorious - from ambushing innocent bystanders as a cult in Pitt St. Mall for 'Vitriol', to miming whilst skydiving for 'The Reductionist', and now skipping their way to disrepute in 'Broken Leg', Bluejuice blur the line between televised entertainment and what people expect of a band. Bluejuice and Bennetts are long term friends but the combination works best because .."Sam shares the same absurd sense of humour as us, and he manages to make our mental problems look charming".. say Bluejuice. Bluejuice formed during a residency at a terrible pub on George St in the Sydney CBD, from which they were soon fired and replaced by a Neil Diamond covers band. Despite the unlikely start, the five friends released two independent EPs and in 2007 their debut LP 'Problems' hit with an unexpected level of success, with the lead single 'Vitriol' becoming the highest played song on Triple J for almost a year, and charting at 11 in the 2007 Hottest 100, an unprecedented level of radio play of an unsigned band. The band were also shortlisted for the 2007 Australian Music Prize, and won The Best Emerging Artist section of that same award. In addition, Bluejuice supported major names like Tricky, We Are Scientists, The Specials, Dizzee Rascal, Souls of Mischief, Diverse, and played big gigs on festival bills such as Big Day Out, Splendour In The Grass, Homebake, Falls Festival, and Southbound. In 2008 the band took that momentum through a sizzling performance at the Splendour festival to sign a record deal with Dew Process (The Panics, The Grates, The Living End). The result of all that is the release of 'Head of the Hawk'; the second record that will thrust their raucous pop derangement into ever-increasing public consciousness. "'Head Of The Hawk' is as close as we've come to a 3D document of the band - the stupidity and jokes and the darkness behind the material, the pop melodies and the aggression in the playing, and the dancing. Ah yes, the dancing." -
Members
Jamie Cibej :: Four Strings, Distortion Box and Synth Weirdness Jerry Craib :: Keys, The Passion Of The Craib James Hauptmann :: Really Good Drums, Binge Drinking Jake Stone :: Screaming, Backing Harmony Screams, Physical Theatre Stav Yiannoukas :: Verse, Hooks and New Jack Swing -
Influences
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bluejuice
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Videos
Bluejuice - "Ain't Telling The Truth"
02:42 | 2878 plays | Feb 1 2010
Music
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8 Songs | Oct 22, 2009
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6 Songs | Sep 21, 2008
Comments
- RT1 year ago
p.s. good luck on the RIDICULOUS number of shows??? The question marks aim to impress upon you HOW RIDICULOUS I THINK THAT IS! Ridiculous, and amazing. And tiring. And ridiculous. And fun. Don't kill yourselves, mmmkay?
- RT1 year ago
Dearest Bluejuice,
I must say, a summer just ISN'T a summer without a good oldfashioned crazy dance to a crazy Bluejuice show.
I do so hope I get to see you soon!
Yours sincerely,
rt
p.s. formality is purely for amusement purposes only. Real life levels of formality may vary. THANK YOU AND GOODNIGHT. - Scorched Dog1 year ago
Hey guys good to catch your show last night...!! See ya
- Spotted Sea Cows1 year ago
Little bit of Vitriol :)
- Marina marinabuzz1 year ago
Love! Love! Love!!! ))))))))))))))
- Juan rojas1 year ago
Saludos desde Mexico
Podcast Indie Newsic Mexico (Febrero 2010) - Justin Morgan1 year ago
just wanted to say i am such a big fan of all that you do.
have a good day! - ☮!THATLANYKiiD™1 year ago
COME BACK TO COFFS HARBOUR!!!!
- SaZZ1 year ago
love u boyzzzz
- ART vs SCIENCE1 year ago
Hey dudes.
Brightside, Splendour and Coaster Festivals.We get to party with you at every one of them.BAM.Bring it on!
Bio
No-one wants to be alone, but company is a complicated idea. Whether you're talking about romantic, social or professional life, sometimes you've got to work together to get things done.
On their third album, BLUEJU!CE were driven to exceed expectations. Working with the best session players and co-writers in Australia, the five piece group expanded the instrument list and put everything on the line in order to produce the energetic, modern pop record they’ve always threatened to make, but never previously delivered. Until now.
New album “Company” sees the band trawl any and every avenue for inspiration, from classic hits radio like Phil Collins, Thin Lizzy, Steely Dan, The Style Council, Eurythmics, Steve Winwood and Billy Joel; to RnB and dance, from Boyz II Men, Mark Morrison and Cameo; ‘90s house acts like E.M.F.; ‘60s Stax and Motown, and inspiring modern pop and rock like Spoon, The Strokes, Phoenix, Litlle Dragon and LCD Soundsystem.
The effect is an album that is steeped in love for the genres and traditions of pop music, utilising studio tricks and techniques to embellish the energy that the band is known for.
Jake Stone and Stavros Yiannoukas trade lead vocals, matching and harmonising their opposing vocal tones. Musical director Jeremy Craib brings his innate multi-instrumental facility to a variety of songs built around a strong foundation of piano and keyboards, while bassist Jamie Cibej and drummer James Hauptmann introduce electronics, drum replacement and other new toys to help motivate the dancefloor and beat back-beat boredom.
Sometime between their ARIA-nominated previous release “Head Of the Hawk” and this one, BLUEJU!CE needed to grow. That doesn't mean dropping the sense of humour that keeps the members together, but learning to record at a higher level was a necessity - BLUEJU!CE had to become a studio band as well as a live proposition.
“We realised that we’ve never made a great album, from start to finish,” says Stav. “Increasingly we're a pop band and wanted to make ‘Company’ as big as possible; it was all about serving the songs, whether it needed horns, session musicians or girls‘ voices – we didn’t want to limit ourselves, so we built a community up around it.”
Jake spent a wonderful couple of days writing with Alex Burnett from Sparkadia. 'Act Yr Age' and 'Shock' came out of that period.
“Alex Burnett is a great friend, and a songwriting/production weapon. We had a great couple of days hanging out at his parents' house playing the piano and just talking music. I was increasingly feeling old, so ‘Act Yr Age’ seemed a logical joke, while ‘Shock’ happened while I was having a cold shower and thinking of Phil Collins,” says Stone of the collaboration.
Stone also fulfilled a personal dream by wri,,ng a song with The Presets' singer/songwriter Julian Hamilton; the Steve Winwood-inspired ‘On My Own’.
“It was a really intimidating initially, but Julian made the whole thing easy. We talked about Joe Jackson and Steve Winwood, and how big, sentimental synth-ballads could be awesomely cheesy and incredibly sincere at the same time. We wanted to write a classic radio song; a ballad that didn't shy away from expansive emotions.”
Alex Burnett and Julian Hamilton helped the band shape the songwriting before instrumentalists like Thomas Rawle (Papa Vs Pretty), jazz guitarists Ben Hauptmann and Aaron Flower, and vocalists Elana Stone, Zoe Hauptmann and Yael Stone fleshed out “Company's” orchestral feel.
On ‘Shock’ and ‘Act Yr Age’ UK producer Blue May worked with Alex Burnett to give the songs a big, European pop sensibility, while producer-in-chief Eric J. Dubowsky (Weezer, Art Vs Science) took the controls with assistant JP Fung (Last Dinosaurs, Little Red). Company was mixed in the UK by Grammy winning engineer Adrian Bushby (Foo Fighters, New Order, My Bloody Valentine).
“Company” depicts the struggles and humanity of everyday life, the shock of break-ups, the way personality resists change, and gap between reality and our romantic, social and professional aspirations. In short, the highs and lows of human interaction.
While BLUEJU!CE are often portrayed as pranksters, there’s a depth to their intelligence, drive and musicianship that doesn’t always shine in the light of, say, the skipping team video of previous gold single ‘Broken Leg’, or the man pash that shocked Mel and Koshie on Sunrise. To say BLUEJU!CE are a dichotomy would be an understatement.
Take opener ‘Can’t Keep Up’, a green eyed monster of a song about Jake's jealousy of contemporaries and previous tour mates The Jezabels.
“Jake always has a band muse in one form or other,” says Stav, “a band he’s jealous of. [Usually] bands that he loves and talks positively about – there’s also a side where he’s jealous of their ability to be easily successful.”
In fact, jealousy powers “Company”. You can hear the motif repeated in ‘Dressed For Success’ and ‘Aspen, New York’, where friends go on to do great things while our protagonist ponders his existence alongside the schoolgirls and yummy mummies of that most un-rock’n’roll of Sydney suburbs, Balmain. Then there’s ‘You Haven’t Changed’, a song about “a girl I was obsessed with for five years,” according to Jake.
“When we stopped being friends I kept writing about her anyway. She’d broken up with someone and I wanted to say, ‘Ha ha, you’re not that great’ – really sour grapes – and then I realised the song was about me.'
A BLUEJU!CE record wouldn’t be complete without some wincingly appraising relationship talk. Whether it be ‘I’ll Put You On’, about a palm reader in New York, and Jake's fascination with sex magick; ‘Kinda Evil’, which relates Stav’s jealousy as he was DJ-ing one day and watching his girl play up on the dance floor; or ‘Cheap Trix’, the Cameo-meets-Scissor Sisters burn-up in which female protagonists assess the liars in their lives.
Stav’s diet of “daggy” ’90s R&B and Jake’s cheesy pop ethic makes this an album designed for dancing, from brass-infused number ‘The Recession’ (“our disco ode to the global financial crisis”) to more thoughtful and expansive closer ‘On My Own’.
These sonic mood swings are what make BLUEJU!CE so compelling; a fundamental lack of control that defines one of Australia’s most energetic and emotionally unpredictable bands. After ten years of music, BLUEJU!CE are a dysfunctional family to whom music is basically group therapy.
It's no wonder that they chose to call their third album “Company”.









