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BEN CHRISTOPHERS
 
 
 
 
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BEN CHRISTOPHERS

New single “Good Day For The Hopeless”
(Cooking Vinyl) released 27th August
New album “The Spaces In Between” (Cooking Vinyl) released10th September 2004

 
 
Supporting THE DEVLINS in Whelans Thursday August 12th
 
 

With two critically acclaimed albums under his belt – “My Beautiful Demon” and “Spoonface”, Ben Christophers is back and set to woo the critics and fans once again with his third offering – the beautiful and seductive new album, “The Spaces In Between”, which is due for release on 13th September 2004. The album will be preceded by a single, “Good Day For The Hopeless” on 30th August.

From the sweetly sinister “Flowers Drink Upon The Ground,” and the shimmering simplicity of “Devil To Kill”, to the laid back, happy-go-lucky feel of “Good Day For the Hopeless”, and the mesmerizing “Riversong” the album resonates with life, passion and emotional genius. “This is the most upbeat and optimistic record I’ve written,” explains Ben. “The biggest difference between this one and my two previous albums is that I had so much material written, I had a really clear feeling for the sound a lot sooner because of it”

Written and recorded between the Summer of 2003 and early 2004, it also marks the first time that Ben hasn’t worked with producer/artist David Kosten of Faultline. Instead, he enlisted the help of friend and engineer/co-producer Cenzo Townshend (Graham Coxon, Blur, Datsuns, Cranberrys, Echo & The Bunnymen).

Ben played and arranged just about everything on the album, recording the guitar and vocals at the same time, adding the other instruments afterwards to make the sound more rugged and loose. “I didn’t want to over step where I’ve come from, I just wanted to keep moving and to try new things,” he says. “I wanted to see how it felt to keep as much fluidity in the sound as possible without adding too much instrumentation. Like on ’Everybody Stood To see us’ is mainly drums, piano and vocals with the odd flickering synth.”

Ben emerged on to the music scene in 1999, with a series of low-key solo shows underneath a pizza parlour in the West End of London. Each night, the shows were rammed, the audience riveted by his performances of irresistible fragility and passion. Shortly afterwards he signed to V2 releasing two albums, which was followed by extensive touring in the UK, Europe and Australia.

 
 
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Ben Christophers has come along way since his humble beginnings in Wolverhampton. With two critically acclaimed albums under his belt – “My Beautiful Demon” and “Spoonface”, he is back and set to woo the critics and fans once again with his third offering – the beautiful and seductive new album, “The Spaces In Between”, which is due for release on 13th September 2004.

Featuring his most innovative work to date “The Spaces In Between” shows Ben in a totally different light. “This is the most upbeat and optimistic record I’ve written,” explains Ben. “The biggest difference between this one and my two previous albums is that I had so much material written, I had a really clear feeling for the sound a lot sooner because of it”

Written and recorded between the Summer of 2003 and early 2004, it also marks the first time that Ben hasn’t worked with producer/artist David Kosten of Faultline. Instead, he enlisted the help of friend and engineer/co-producer Cenzo Townshend (Graham Coxon, Blur, Datsuns, Cranberrys, Echo & The Bunnymen).

Drawing influences from David Bowie (“I love the way he moved between moods from album to album”), Kate Bush (“the way she used strings on ‘hounds of Love’, they just bounced on the beat, it was genius.”) Prince, Edith Piaf and Nina Simone. Ben played and arranged just about everything on the album, recording the guitar and vocals at the same time, adding the other instruments afterwards to make the sound more rugged and loose.

“I didn’t want to over step where I’ve come from, I just wanted to keep moving and to try new things,” he says. “I wanted to see how it felt to keep as much fluidity in the sound as possible without adding too much instrumentation. Like on ’Everybody Stood To see us’ is mainly drums, piano and vocals with the odd flickering synth.”

Ben has also been writing with the French chanteuse Francoise Hardy. Although the track doesn’t feature on this album, Francoise has recorded one track they have written together, and they plan to write more in the future. “I wrote her a letter because I loved her voice and I wanted to do something different.” says Ben “It took me ages to get the wording right and not sound like a stalker! As it turned out she was familiar with my first album, so I was quite relieved. I had almost finished recording before we had written anything, which was a shame, but we have a few plans for possible things in the future.”

Ben began writing songs at the tender age of five when his father bought him his first guitar. ”I think I saw songwriting as an escape as a kid, a bit of a fantasy,” he says. “My first song was in E-minor and lasted for about 30 seconds. It was an awesome feeling recording it on to this old reel to reel tape I had, I was completely fascinated by it and used it until it stopped working.”

He graduated on to the piano when his grandmother installed one in the family home. Much to his parents horror, Ben managed to detune it within days, falling in love with the way it rattled and choked. "I blame Tom Waits, he's the master of weirdness and fantasy. I thought I'd found the Devil”.

Ben's first and only job after leaving school, was working in a factory that distributed pornography. "I met some of the most inspiring people ever, it was so bleak and so depressing it was fascinating,” he explains. “I worked with people who were on the run, just out of prison. I was kind of taken under their wing, because I was obviously completely out of my depth and so young. I think they thought I was a bit posh. I stuck it out for about a year but I had to leave, I was too afraid to stay there.”

Ben emerged on to the music scene in 1999, with a series of low-key solo shows underneath a pizza parlour in the West End of London. Each night, the shows were rammed, the audience riveted by his performances of irresistible fragility and passion. Shortly afterwards he signed to V2 releasing two albums, which was followed by extensive touring in the UK, Europe and Australia.

Ben signed to Cooking Vinyl for the world in early 2004. Which brings us neatly back to where we started. “The Spaces In Between” is compulsive listening. From the sweetly sinister “Flowers Drink Upon The Ground,” and the shimmering simplicity of “Devil To Kill”, to the laid back, happy-go-lucky feel of “Good Day For the Hopeless”, and the mesmerizing “Riversong” the album resonates with life, passion and emotional genius. More details to follow …


 
 
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