Our exclusive new music feature Origins tasks artists with discussing some of the inspirations behind their latest track. Today, Jacob Collier discuss how he got “In My Bones” with Kimbra and Tank & The Bangas.
Calling Jacob Collier a “jazz” musician feels like misnomer. At the same time, his complex rhythms and avant garde melodies could hardly be anything but jazz. Yet the polymath multi-instrumentalist is as much a classical musician as he is an a cappella composer as he is… a mad, mad genius. The guy won a Grammy for an arrangement of the Flintstones theme, for Christ’s sake.
With each album — from 2016’s Grammy-winning In My Room to 2018’s Grammy-winning Djesse Vol. 1 to last year’s Grammy-winning Djesse Vol. 2 (noticing a pattern here?) — the 25-year-old Londoner has explored new sonic territories. That will continue with the penultimate installment of his Djesse series, Vol. 3, when it arrives later this year via Hajanga/Decca/Interscope. For an immediate example, just take a listen to the latest frenetic single, “In My Bones”.
Featuring Kimbra and a speedy verse from Tank & The Bangas’ Tarriona “Tank” Ball, “In My Bones” is a hectic, poppy funk number that sounds like Talking Heads as a jazz band. There’s a clear bebop rhythm going on in the bass and guitars, but what Collier puts into the layers of spastic, off-kilter electronics takes the track into a truly distinct territory. It may seem hard to keep up with its hyperactive energy, but the chase is half the fun.
“In My Bones” comes to us via a cartoonishly jerky video that perfectly matches the song’s frenzied wavelength. Watch it below, followed by Collier’s Origins of the track.
Collier also appears on the new episode of the Consequence Podcast Network series This Must Be the Gig with host Lior Phillips. Meanwhile, the musician’s spring tour has been postponed, but rescheduled dates are expected soon. Check for tickets here.
Everything Everything — “The Wheel (Is Turning Now)”:
The masters of what I call “constant blast lyrics” — whom I have loved for their unending flow of densely packed wacko metaphors and incandescent synthesised bursts for as long as they have been making music. These guys have given me much confidence in my blending of the weird and the universal.
Prince — “Head”:
The king of sexually charged irresistible funk, of shamelessly deep groove pocket and effeminate vocals — Prince almost single-handedly taught me how to create funk on this scale of impoliteness. Where would we be without him?
Kimbra — “Miracle”:
Besides being my friend and collaborator, Kimbra is a massive hero of mine. She’s effortlessly combined musical technology and musical humanity since square one, and I am completely in her debt for the endless inspiration and courage she has given me as an artist. “Miracle” is a delicious, joyous blast — a perfect song.
Rihanna — “We Found Love”:
Whose heart doesn’t lift in moments of pop euphoria??? One of the most iconic songs of its time, and a perfect example of synth-blast joyous infinity.
The Skeletons in My Closet:
We all have them…… I recently wondered what would happen if I opened the doors, took a good look around and gathered some materials to take into the studio. I did so, and unearthed some pretty crazy stuff. It’s outrageous fun, messing around in the darkness of your mind.