urbanspacelab

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Urbanspacelab's jazzy, poppy beat-driven sophistication lies ahead. Get those fingers clicking...
Miles Davis once said it's not what you play; it's what you don't play. Less is more. When everyone plays, the total diminishes. Urbanspacelab understand this. With simply four players (JP Wurlitzer, Michael drums, George bass and Charlie vocals) their use of space gives their sound unusual clarity and definition. This band has reminded me of why I love music: of what music can be. Like all great music, it creates its own space and you are transported somewhere else, to a better place.
Since their first gig at the Sola festival 2002, they have been gigging continuously at venues and club nights around the Midlands. Their high energy danceable style has always made them a favourite at university balls, underground events and festivals, including playing at the Jazz lounge stage at Glastonbury Festival 2004. This appearance led them to be invited back to perform at more events in the south west. Current residencies include The Loft, and Nottingham Malt Cross.
Charlie - Vocals
Charlie has a big, sweet voice and commands the stage with presence - a star in the making; she first began to write music as a child when her father inherited a grand piano. A few years later she began to write lyrics and started to perform with bands when she was 16. Charlie comes from a strong performance arts background, having studied a field of different genres of performance as well as music. Her influences range from old classic singers such as Nina Simone and Aretha Franklin right through to the vocals of Kate Bush, Portishead and Tori Amos. Brought up the sounds of the Undertones, Jam and David Bowie. Charlie is a great storyteller. She sings on a session basis for Ultraviolence and Leon, and is working with different producers on dance projects.
JP - Keyboards
JP was initially drawn to the influences of the The Velvets, The Doors and The Faces. This led on to his interest in the more classic keyboard sounds of the Hammond, Wurlitzer and Clavinet. In his first bands he took on board the more psychedelic influences of early Pink Floyd Can Bowie and The Stranglers. The Wurlitzer has until now been a retro sound: a sound of the sixties. Not anymore. Jp manipulates, twisted, echos and distorts, producing an ethereal, haunting sound. Also being into the production side of music, he started his own studio and has worked through the years with many different bands and artist including Julian Cope, Bent, Hosa Padilla, Terry Hall to name but a few. Alongside Urbanspacelab his main studio project has been The Electric Effect, having recently finished their fourth album. All these influences has lead Jp to a very open and atmospheric style of playing, taking the best of the sounds and instruments from the 60s & 70s, bringing them up to date with state of art effects to create timeless soundscapes.
Michael - Drums
Michael Davis started drumming as a kid; his first commercial release was back in 1991. He has been playing Djembe at Club nights and Raves since 1994, leading to three trips to West Africa to live and study with respected players in the region. He has combined this experience with his earlier influences of Clyde Stubblefield, Stewart Copeland, Max Roach and LTJ Bukem into a unique drumming style, blending the precision of programmed Hip Hop and DrumnBass with the more open and fluid approach of the old Jazzmen. Michael is also part of the Arts Council funded 11 piece funk/samba band Battuta.
George - Bass
Originally George trained for sax, later progressing on to the bass. His young influences are from old jazz and blues records such as Charlie Bird Parker, Thelonious Monk, Blind Lemon Jefferson. George brings an individual and dynamic quality to his instrument, mixing smooth melodic lines with sparse chords and cool grooves. His more recent musical interests are as eclectic as he is short! Ranging from dub, hip hop, funk, dnb, jazz through too many different world artists. Alongside urbanspacelab, George is a busy musician playing in several different projects.
The songs are deceptively simple. There is no irony here, no attempt to be clever, to play with words. Still they draw you in, uncovering layers of complexity below the surface. Perhaps the phase "quiet storm" has lost some meaning through overuse. Go see them and let them define it for you. I've only felt this way once before after seeing a band I knew nothing about, and that was over 20 years ago.
Quote Left Lion Magazine