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Monday, May 29, 2017

Leftfield review – stomach-quaking revival of a dance music revolution

Barrowlands, Glasgow
The electronic mavericks prove they can still bring down the house for a performance of their genre-shattering 1995 debut album, Leftism – even if no longer quite so literally

Leftfield performing their epochal and monumentally banging debut album, Leftism, in full at a sold-out show might once have meant a bonanza night’s trade for drug dealers, but it is probably childminders reaping the benefits at Glasgow’s Barrowlands tonight. It is 22 years since this Mercury prize-nominated house and techno album was released, refracting the energy and idealism of the rave era through a wantonly eclectic prism of dub, jungle, reggae and world music sounds. Arguably the first classic British record of electronic dance music, it eased the way for the titans of big beat.

Related: How we made Leftfield's Leftism

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by Malcolm Jack via Electronic music | The Guardian

Wednesday, May 24, 2017

Wah Wah Radio – 2017 #4

Dom brings you plenty of sunshine rhythms this time round. Enjoy!

Nomade Orquestra – Intro / Jardins de Zaire (Far Out)
Loos Leaf – Green Eyed Stare (Loos Leaf)
Bottle Tree – Open Secret (International Anthem)
M’Bamina – Mosi Zole (EVM128 Edit Overdub) (Africa Seven)
Chiwoniso – Gomo (Cumbanacha)
Soothsayers – Roll River Roll (Wah Wah 45s)
Rite Sound Productions – You Have Forsaken Me (Rite Sound)
Compro Oro – Ababa Boogie (W.E.R.F.)
Emanative – Ominous Shanti (Emanative)
Il Est Villaine – Yama Yama (Bahnsteig)
Earthboogie – Mr Mystery (Leng)
Noface – Young Larry (White)
Enzyme Black – Oh My Dayz (Enzyme Black Recordings)

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The post Wah Wah Radio – 2017 #4 appeared first on Wah Wah 45s.


via Wah Wah 45s

Tuesday, May 23, 2017

DJ Shadow: 'Music has never been worth less, and yet sampling has never been more risky'

In Australia for a ‘block party’ curated by the Avalanches at the Sydney Opera House, the pioneering DJ spoke about the evolving challenges of his craft

“Sampling isn’t just about dusty 45s anymore,” says Josh Davis, and he ought to know. As DJ Shadow, Davis has been responsible for some of the seminal, pioneering works in the genre, beginning with the critically acclaimed Endtroducing in 1996. His debut full-length album, it was composed entirely of samples, the first of its kind.

“My agenda back then was like, planting a flag in the soil and saying, ‘This is my art form, sampling is my art form, the sampler is my instrument,’” Davis tells Guardian Australia. “It’s real, it’s authentic, there’s art to it, there is a discipline, it’s a craft. And that’s what I wanted to represent. Now, obviously, 25 years later, we all know that ... The art of sampling in itself is no longer novel.”

Related: DJ Shadow review – a hyper-evolved beat frenzy

Related: Me and the muse: DJ Shadow on his sources of inspiration

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by Stephanie Convery via Electronic music | The Guardian