Friday, July 21, 2017

Flying Lotus on his gross-out movie debut, Kuso: 'You’ve never seen black characters like this – ever!’

The LA producer and musician discusses his first feature film, an unholy mashup of stoner comedy, body horror and incest. But will it simply prove too disturbing for audiences?

A woman tries to find her baby down a portal to a hellscape and has her legs conjoined with another woman for a sitcom called Sock, before being consumed by a ravenous turd. A murderous multicoloured yeti with an HD screen for a face, voiced by the American comedian Hannibal Buress, aborts a foetus, which is then used as a marijuana pipe. A crustacean cures a man’s fear of breasts from within George Clinton’s rectum.

These are just some of the scenes in Kuso, the debut feature film by Steven Ellison, who as Flying Lotus has become one of the most popular and psychedelic voices in electronic music, attracting the likes of Thom Yorke, Kendrick Lamar and Erykah Badu to sing over his tracks. But that psychedelia has taken an apocalyptic, scatological turn in Kuso, a series of vignettes set in a Los Angeles ravaged by disease after an earthquake.

Related: Kuso review – Flying Lotus-directed horror stakes claim as grossest movie ever

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Chester Bennington: five of his best Linkin Park performances

From the howls on debut single One Step Closer to the still incendiary vocals of his later years, Linkin Park singer Chester Bennington was one of rock’s most emotionally dextrous frontmen

Linkin Park emerged at the tail end of the late 90s’ landfill-grunge period, their crisp and confident melding of rap and metal a world away from the sloppy fuzz-worship of their peers. It was frontman Chester Bennington’s dynamic range that really pushed them ahead of the pack though, and on debut single One Step Closer they proved themselves immediate alpha dogs. Bennington’s brooding, increasingly maddened take on a fractious relationship built up towards the breaking point: a howl of “shut up when I’m talking to you”. The punchy, emotionally wrought middle-eight refrain would quickly become the consistent ace up Bennington’s sleeve.

Related: Linkin Park singer Chester Bennington soothed the angst of millions

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by Tom Connick via Electronic music | The Guardian

Thursday, July 20, 2017

Damian Marley: Stony Hill review – sweet, lamplit nothings and odes to weed


While others in the Marley family carry on Bob’s name through premium headphones, gourmet coffee and decaffeinated tea, his youngest son continues to push reggae forward. Blockbuster trap production is put to skanking service on Here We Go, but there’s still room for classic roots on Looks Are Deceiving. Lyrically, it’s what you might expect, with odes to the medicinal properties of marijuana (Medication), lamplit sweet nothings (Grown and Sexy), and a string of socially conscious lamentations.

Related: 30 minutes with … Damian Marley

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Dizzee Rascal: Raskit review – the grime kingpin reclaims his crown

(Dirtee Stank/Island)
Returning to a pop world in which the music he pioneered is huge, Dizzee has gone back to basics with a stripped-down album that shows off his lyrical skills

In July 2008, Dizzee Rascal released the single Dance Wiv Me. It was both the biggest hit of his career to date and the sound of a man exasperatedly throwing in the towel, abandoning grime in a craven bid for commercial success. But who could blame him? His records had sold respectably, but not in a way that reflected the level of excitement caused by 2003’s Boy in Da Corner, the debut album that brought London’s grime scene into the mainstream’s consciousness. From now on, Dizzee Rascal would make music for lads’ fortnights in Shagaluf, the kind of records that play in provincial city centre bars while patrons tuck into the two-for-one Jägerbombs.

And so would a lot of his peers. One by one, grime MCs from Tinchy Stryder to Skepta took the same pop-rap route. If they’d all been as successful as him, perhaps they’d still be at it now, but in 2014, while Dizzee Rascal was still promoting an album that featured collaborations with Jessie J and Robbie Williams, Skepta put out his pop-repudiating, back-to-basics track That’s Not Me – one of a handful of singles that marked the unexpected commercial renaissance of the music Dizzee Rascal had pioneered.

Related: Dizzee Rascal: ‘I’m the one person who can say, Grime? Nah, I seen it, sorry!’

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by Alexis Petridis via Electronic music | The Guardian

Sunday, July 16, 2017

Lovebox review – Solange amazes but Frank Ocean seems in a field of his own

Victoria Park, London
The two US R&B stars took opposing but equally successful approaches to wowing a festival whose bill mixed the navel-gazing and the forward-thinking

Lovebox has always been a festival for the pop omnivore, a glitter-speckled mishmash for weekend hedonists and fancy-dressers. But this year’s edition felt distinctly segregated, and not just because of the VIP loos (accessible with a £15 wristband). Both days were nostalgia-free events, with a focus on new rather than heritage acts, yet the curation led to a drastic front-loading of expectations, with all eyes and ears waiting for one man.

Frank Ocean’s Friday night headline slot was the subject of anxious anticipation, following a spate of festival no-shows from the R&B recluse. For many of his fans – and they are legion and obsessive – tonight marks their first live encounter with Ocean. The hardcore queue for hours to buy one-off screenprinted T-shirts commemorating the occasion. When he finally appears, 25 minutes late, he confines himself to a tiny platform jutting into the crowd, a setup both intimate and isolating. Kicking off with Solo and Chanel from last year’s album Blonde, the singer skulks around his desert island accompanied by a minimal backing band, placing his vocals – quivering, note-perfect – rightly to the fore. He is dwarfed by three video screens behind him, relaying camcorder-style visuals captured by a roving cameraman who turns out to be Spike Jonze (the director is rumoured to be filming a tour documentary).

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by Chal Ravens via Electronic music | The Guardian

Mura Masa: Mura Masa review – a cutting-edge swordsmith

(Anchor Point/Polydor)
Electronic wizard Alex Crossan conjures shivers and warmth on his star-studded debut

It gets harder every second for an artist to nail their own signature sound. With every bedroom bleepist tinkering away on Ableton, and with every track that goes up on SoundCloud – there are around 120m on there, as the platform wobbled financially earlier this week – the fewer niches there are to exploit.

A veteran poster on SoundCloud, Mura Masa – 21-year-old Alex Crossan – entered industry consciousness around 2014-5 with a flurry of liquid digitals and arpeggiating marimbas. Just as, from 2009 onwards, the sound of rippling steel pans became a marker that Jamie xx was producing (or that Jamie xx was being ripped off), Mura Masa’s arsenal of Japanese flutes, African thumb pianos and synthetic quicksilver quickly became unmistakable.

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by Kitty Empire via Electronic music | The Guardian

Cotton Panic! review – a story of solidarity that deserves better

Upper Campfield Market Hall, Manchester
Jane Horrocks stars in a collage of song, history and drama whose most powerful presences are its stage projections

“Can you help me a bit?” A spotlit Jane Horrocks revolves through the space where the audience is standing, hemmed in by three giant screens. She waves her arms. Her white floaty dress floats. It’s a clear case of Kate Bush-itis, but the paramedics are busy reviving audience members who have become faint from standing in the crowded arena of this atmospheric but hot market hall. Horrocks, unhelped, returns to the stage. Here, she is once more spotlit – and backlit, through her flimsy frock – as she sings and dances in front of three male musicians, who appear and disappear, as spotlights determine. The effect is amateurish. It shouldn’t be.

The words deserve better: they echo the pleas of Manchester factory workers suffering appalling hardships in the “cotton panic” of 1861-5, yet still standing in solidarity with the as-yet unfreed slaves of the then disunited states of America. This is the subject of what is billed by Manchester international festival as an “industrial music drama”, but is redefined by a publicist on the eve of press night as “a gig”. It comes across as a collage of songs (folk, pop, blues and hymn) montaged with samples of 1860s texts, presented within a soundtrack of soft-focus industrial synthpop, provided by Wrangler (the trio, including Stephen Mallinder, formerly of Cabaret Voltaire, are credited with co-creation, alongside Horrocks and her partner, writer Nick Vivian; Wils Wilson directs).

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by Clare Brennan via Electronic music | The Guardian

Saturday, July 15, 2017

Music you missed: 10 Australian underground releases from Cable Ties to Au.Ra

Our quarterly music column returns to dig up the best releases you may not have heard in the past three months

Despite my lack of interest in theming this column, a theme has bubbled up. Half the acts listed here are living overseas.

It could be because Australia is a tough country to live in as an artist. That notion has floated about for ages and was finally anchored last year when a survey pointed to serious health and wellbeing problems in an entertainment industry in “severe distress”. Living in cheaper cities with less distance between gigs, and a larger audience for niche scenes, is one way to relieve that distress.

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by Kate Hennessy via Electronic music | The Guardian

Thursday, July 13, 2017

Shabazz Palaces: Quazars review – finds the sweet spot between weird and direct | Alexis Petridis' album of the week

The Seattle rap duo stay weird without losing their edge, with two concept albums about a visitor from space – Quazars: Born on a Gangster Star and Quazarz vs the Jealous Machines

In years to come, when the career of the Seattle rap duo Shabazz Palaces is viewed through a historical lens, it may well be opined that these third and fourth albums were substantially more straightforward, even more commercial, than their predecessor, 2014’s Lese Majesty. Said opinion would be correct, although it’s worth noting that these two interlinking conceptual works about an alien called Quazarz (“a sentient being from somewhere else, an observer sent here to Amurderca to chronicle and explore as a musical emissary”, explains the accompanying blurb) involve muffled, lo-fi instrumentals; tracks that sound like several entirely unconnected pieces of music spliced together; and at least one song on which the rapping appears to be in a different time signature to the backing track. Among a panoply of obscure special guests is the Shogun Shot, who raps with a pronounced lisp, and a man who calls himself Fly Guy Dai, a name that carries the suggestion, alas unfounded, that he might be from Aberystwyth.

So a judgment on the relative commerciality of these albums tells you rather more about how wilfully abstruse the music on Lese Majesty was, than about the potential of Quazarz: Born On a Gangster Star and Quazarz vs the Jealous Machines to unseat Ed Sheeran from the top of the album charts.

Related: Shabazz Palaces' Ishmael Butler: 'Starry is a way I can kind of describe myself'

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by Alexis Petridis via Electronic music | The Guardian

Tuesday, July 11, 2017

Dom Servini – Unherd Radio Show #3 on Soho Radio

The Diabolical Liberties – East of the Dub Canal feat. General Rubbish (White)
Jordan Rakei – Sorceress (Ninja Tune)
Dexter – Bells of Lorenz (Money$ex)
Osage – Guanguan Riddim (Bastard Jazz)
Michael The Lion – Get it on feat. Amy Douglas (Bosq Remix) (Soul Clap)
Kiki Gyan – 24 Hours in a Disco (Soundway)
Sabrina Malheiros – Clareia (Far Out)
Same Speed – Samba Operator (Same Speed Edits)
Phase 7 – So Good to be in Love (Aloha Got Soul)
Domenico di Vito – Spensieratamente (Fly By Night Music)
Keith Florence & the Associates – Future (Florence)
Michael Gregory Jackson – Risin’ Up (Alex Attias Edit) (Lilly Good Party)
Black Peaches – Tight Squeeze (Free DL)
Biosis Now – Independent Bahamas (Bahamas Nationhood Ltd)
Soulful Dynamics – Jungle People (Lee Douglas Edit) (My Rules)
Merry Clayton – Sparrow Love (Scrimshire Edit) (Dubplate)
Hoffy – Makei Klap (Forgot)
Marcel Lune – Disco Mantra (Local Talk)
Marcel Lune – Mr Strings (Pusic Records)
YGT – UWTB (Jazz Cabbage)
Hector Plimmer – Bossa B (Deoke Remix) (Albert’s Favourites)
Ellen O – Uneven (Babygrande)
Hunrosa – All (Wah Wah 45s)
Ash Walker – Bush Weed (White)
Diggs Duke – Gravity (Bandcamp)
Eamon – Before I Die (Huey Ave Music)
Profusion – Time’s Up (First Word Records)

The post Dom Servini – Unherd Radio Show #3 on Soho Radio appeared first on Wah Wah 45s.

via Wah Wah 45s


  1. The Diabolical Liberties – East of the Dub Canal feat. General Rubbish (DL)
  2. Same Speed – Samba Operator (Same Speed Edits 12)
  3. Michael Gregory Jackson – Risin’ Up (Alex Attias Edit) (Lilly Good Party 12)
  4. Soulful Dynamics – Jungle People (Lee Douglas Edit) (My Rules 12)
  5. Hoffy – Makei Klap (Forgot Promo DL)
  6. Profusion – Time’s Up (First Word Records 12)
  7. Keith Florence & the Associates – Future (Florence 7)
  8. Marcel Lune – Disco Mantra (Local Talk 12)
  9. Phase 7 – So Good to be in Love (Aloha Got Soul 7)
  10. Dexter – Bells of Lorenz (Money$ex 12)

The post DOM SERVINI’S ALLO LOVE CHART :: JULY 2017 appeared first on Wah Wah 45s.

via Wah Wah 45s


  1. Chaka Khan – Sommer Love (Scrimshire Edit) (Dubplate Test 12)
  2. CMon Tigre – Welcome Back Monkeys (Populous Remix) (Original Cultures 12)
  3. Daphni – Face to Face (Self-Released DL)
  4. Osage – Guanguan Riddim (Bstrd Jazz DL)
  5. Amir Bresler – Afro Golden Line (Raw Tapes 7)
  6. Washed Out – Get Lost (Stones Throw DL)
  7. Jun Kamoda – Blind Disco (Black Acre 12)
  8. Werkha – Shakedown Radio feat. Bryony Jarman-Pinto (Tru Thoughts DL)
  9. DJ Ciderman – Summer Groove EP (This is Our Time 12)
  10. Jordan Rakei – Sorceress (Ninja Tune DL)

The post DOM SERVINI’S ALLO LOVE CHART :: JUNE 2017 appeared first on Wah Wah 45s.

via Wah Wah 45s

Sunday, July 9, 2017

Pierre Henry obituary

Composer whose inventive work in the musique concrète genre saw him hailed as the grandfather of techno

Pierre Henry, who has died aged 89, was a key figure in the 1950s glory days of electroacoustic music, a term he may have invented. The tape recorder, newly developed at that time, opened the way to composing with any sound that could be recorded and thereafter transformed. It also changed the way composers could work, no longer creating music for others to perform but testing possibilities as they went and producing a finished composition within their own studios. The result was an art as different from concert music as film is from stage drama, and Henry took to it immediately.

Though he had a full classical training as a musician, he devoted himself wholeheartedly to electroacoustic work through a creative life of six and a half decades. He also realised that this new art needed new means of presentation: radio, albums (he released dozens) and public events.

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by Paul Griffiths via Electronic music | The Guardian

Thursday, July 6, 2017

Public Service Broadcasting: Every Valley review – poignant elegy to coalmining


By their own admission, as “middle-class Londoners”, Public Service Broadcasting aren’t obvious candidates to musically chronicle the rise and destruction of the Welsh coalmining industry. However, they have put a shift in: relocating to Ebbw Vale, conducting painstaking research and recording former miners’ testimonies to set to music along with select historical narratives. Richard Burton powerfully describes “the arrogant strut of the lords of the coalface” and a 1970s television advert cheerily urges viewers: “Come on, be a miner! There’s money and security!” There is no mention of the Aberfan disaster, Margaret Thatcher or Arthur Scargill, meaning that the political context is implied and the focus remains on the job and the communities. The Beaufort male choir are in fine voice on Take Me Home. Elsewhere, vocals from Manic Street Preachers’ James Dean Bradfield and Camera Obscura’s Tracyanne Campbell glide over quivering strings, brass and Mogwai-like guitars, as the music beautifully captures a sense of awesome industrial power and a crushing sense of loss.

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by Dave Simpson via Electronic music | The Guardian

Monday, July 3, 2017

How we made Theme from S-Express

‘We launched UK house with just £500 – and a few cans of hairspray’

I was one of the first DJs in the UK to play house music, and I had this idea for a record made of a load of samples. At the time, the dance label Rhythm King had opened across the road from where I was living in London, so I was always hanging out there. They paired me up with Pascal Gabriel [co-writer of Bomb the Bass’s sample-heavy Beat Dis] and I played him all these bits off various records. We put them on to a cassette – taping 10 seconds of this record, three seconds of that one – and when Rhythm King heard it they said: “We’ll put you in the studio.”

Related: S’Express on ecstasy, acid house and why drag is the new punk

Back then, no one knew what the law about sampling was – it took five years to settle

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by Interviews by Caroline Sullivan via Electronic music | The Guardian

Machines of loving grace: how Artificial Intelligence helped techno grow up

Warp Records’ compilation Artificial Intelligence brought electronic music to the living room, but also unleashed a tidal wave of snobbery around ‘intelligent dance music’. Twenty-five years on, has it endured?

In the days of ever-changing playlists and unlimited Soundcloud mixes it might seem strange that something as simple as a compilation album could change the course of music. And yet that was what happened 25 years ago this month, in July 1992, with the release of Warp Records’ first Artificial Intelligence compilation. It was a record that helped to launch the careers of Autechre, Aphex Twin and Richie Hawtin, birthed the genre that would later become known as intelligent dance music (or IDM), and changed the idea of electronic music as merely a tool for dancing.

Artificial Intelligence wore its heart on its sleeve: the front cover features an android slumped in an armchair in front of a stereo, with albums from Kraftwerk and Pink Floyd scattered around. Below this, the tagline “electronic listening music from Warp” spelled out the compilation’s modus operandi: this was electronic music for the home, not the rave – a notion that was largely foreign 25 years ago.

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by Ben Cardew via Electronic music | The Guardian

Sunday, July 2, 2017

New Order + Liam Gillick: So It Goes review – a suitably theatrical Manchester return

Old Granada Studios, Manchester
There are intensely emotional scenes as New Order revisit their back catalogue on a grand scale with synth orchestra, airing songs not heard for 30 years plus rapturously received tributes to the band’s fated predecessor, Joy Division

The old Granada studios building has enormous significance in the story of Joy Division and New Order. In 1978, the former made their television debut here on Tony Wilson’s So It Goes programme after singer Ian Curtis berated the presenter in Manchester’s Rafters nightclub. “You bastard!” he began. “You put the Sex Pistols and Buzzcocks and Magazine and all those others on the telly, what about us?” Three years later, when the bandmates had regrouped as New Order after Curtis’s suicide, a Granada studio again broadcast their musical baby steps, this time on the short-lived Celebration.

On those occasions, both bands were at the start of something. Today’s New Order have it all behind them in the form of one of the most illustrious back catalogues in pop and a trademark sound that has become hugely influential, although they are still looking for ways to explore and reinvent it.

Related: New Order: eschewing heritage rock for a conceptual synth orchestra

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by Dave Simpson via Electronic music | The Guardian

Calvin Harris: Funk Wav Bounces Vol 1 review – trying to sound sun-kissed


Calvin Harris’s metamorphosis from ungainly dance producer from Dumfries to EDM overlord to Serious Musician with an LA tan is now complete. Funk Wav Bounces Vol 1 (blimey) completely eschews the jackhammer dance-pop of recent years in favour of sun-kissed funk, laid-back R&B and a constant search for the perfect groove. Singles Slide and Feels are both immaculately produced barbecue jams, the Kehlani-assisted Faking It offers up some grit, while Heatstroke’s low-slung bounce is roughed up by Young Thug rapping about baboon bottoms. But while Funk Wav Bounces hits all the right notes, Harris strains to maintain the relaxed vibe.

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by Michael Cragg via Electronic music | The Guardian

Washed Out: Mister Mellow review – familiar yet steeped in mystery

(Stones Throw)

Once among chillwave’s leading lights, Ernest Greene, AKA Washed Out, has edged away from the sound in recent years, growing less sleepy with each release. His third LP, and his first for Stones Throw, combines psychedelia, punch-drunk disco, bizarre voiceovers and Shadow-style cut-ups, and comes with an accompanying visual DVD, though Mister Mellow doesn’t need gimmicks to succeed. These tunes, particularly the winsome Burn Out Blues, are spry and familiar yet steeped in mystery, as befits an album that steals from everywhere. And while Get Lost indicates he’s still fond of chillwave, Greene is a man with too many ideas to ever align himself with one scene again.

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by Paul Mardles via Electronic music | The Guardian

Floating Points: Reflections Mojave Desert review – windswept space rock


As the name suggests, Floating Points are hard to pin down. One iteration of Sam Shepherd’s outfit consists of banging DJ sets with Four Tet and Caribou; the first album, Elaenia (2015), by contrast, consisted of an immersive tableau of drones, jazz and analogue burbles. Its equally involving successor relocates from London to the Mojave desert with a live band; a short film accompanies the release. Big skies and windswept topographies inform this record, which is as much about its process (swinging surround-sound microphones) as it is about the finished product. It’s less jazz and neoclassical than its predecessor, and more space rock – tracks such as Kelso Dunes introduce motorik beats into Shepherd’s modus operandi to no ill effect.

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by Kitty Empire via Electronic music | The Guardian