Artist biog

Rizzle Kicks

Skip To The Good Bit’s brassed up sampling of EMF’s great Unbelievable deserves to be the anthem of all our summers” Q 4*

“Great one-liners tumble out, tunes swagger ... the whole thing is irresistible” The Guardian 4*

“A rip-roaring set of smart, catchy hip-hop pop with a swaggeringly confident British flavour” Daily Telegraph 4* Album of the week

“The aptly titled Roaring 20s presents the year’s liveliest and sharpest representation of young British pop-culture. A brilliant, sometimes laugh-out-loud survey of modern life and modern loves as faced by teens and twenty-somethings, couched in raps of wry intelligence and sly imagination” The Independent 4*

Platinum selling duo Rizzle Kicks whose new critically-acclaimed album Roaring 20s stormed into the chart at no.3 providing a much needed blast of their signature irresistible pop, have announced a massive tour of the UK, making an eagerly anticipated return to the live circuit in February/March 2014. Their brand new single Skip To The Good Bit released on November 4th through Island Records. Skip To The Good Bit samples Unbelievable, the massive UK and US number 1 hit from EMF, one of the biggest and most instantly recognisable hits from the last 20 years.

Roaring 20s, a record which should see the boys cement their position as one of the most inspiring and refreshing acts to emerge from Britain in recent years, was mostly created in Shepherd's Bush, West London, in the tiny home studio of Stereo Typical producer Ant Whiting (British producer/song-writer/mixer whose career began with ground-breaking work on M.I.A's debut Arular).
The album is a pin-sharp picture of life in your twenties which also reflects the historical Roaring 20s. The album title sprang from Jordan's obsession with the 1920s, a lifelong film buff besotted with Woody Allen's romantic fantasy Midnight In Paris (2011), Stephen Fry's Bright Young Things (2003) and the lives of Earnest Hemingway, Gertrude Stein and F. Scott Fitzgerald.

“I was fascinated by the idea that before the 1920s there were Victorians,” he explains. “The change of a woman from wearing corsets to becoming a flapper girl. It was like the metropolitan cities of the world went from black and white to colour. Gay people started arriving. Black people started performing to white people. White people didn't mind black people so much. There was more of a free spirit. And that directly correlates with human age. If you say 1914 to 1918 was World War I and put that into the context of a human life, 14 to 18 is end of GCSE's, you're just becoming legal, hormones have all kicked it, I'd definitely describe it as a war, trying to get a job, all this shit kicks off. Then you get into the roaring 1920s and that whole mentality is very reflective of what it's like in your 20s, the time to have fun. The punch-line being that after the 20s is the 30s, the great depression, and people always whinge about turning 30! So it's a parallel. Music could be seen as being black and white and we're dipping some colour into it. We're the personification of the 1920s.”

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