Musique Non Stop: November 2017

Thursday, November 30, 2017

Nabihah Iqbal: Weighing of the Heart review – nostalgic, sweet pop and pristine beats

(Ninja Tune)

For the last few years, Nabihah Iqbal has been confecting bright and airy electronica as producer Throwing Shade. For her debut album, she bursts out from between the synths with a warm and fuzzy vocal-led collection of tracks that nod to both New Order-ish post-punk and the intimate dream pop of the early 90s. The record also recalls fellow Londoners Real Lies, whose layering of street-lamp lit synths and gutter/stars portraits of the city echo in tracks like Zone 1 to 6000. The latter is just one of the highlights of an album that weaves sweet pop melodies and strange, scuttling beats together into something that feels both nostalgic and recklessly new. It’s all done with a precision and neatness that betrays Iqbal’s dance music roots, with each moment providing an aesthetic delight, from the medley of drumbeats that opens Eternal Passion to the liquid gold guitars that frequently surface.

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by Rachel Aroesti via Electronic music | The Guardian

Resonators at The Jazz Cafe on 04/05

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Pauset: Canons CD review – cool precision and dense virtuosity

Nicolas Hodges
(Wergo, two CDs )

Canons have been a feature of western music since at least the 13th century, and it seems that composers are still fascinated by their possibilities. Brice Pauset, the French-born, German-resident former pupil of Gérard Grisey has taken that fascination further than most; as well as these cycles of canons for solo piano, he has composed equivalent cycles for chamber ensemble and chamber orchestra.

The 18 pieces in these four collections were composed between 1989, when Pauset was studying at the Paris Conservatoire, and 2010. They range from spare, rather Webern-like contrapuntal pieces lasting barely a minute, to much denser, virtuosic showpieces, in which the canonical techniques generating them are hard, if not impossible to discern. It’s not easy music to get on terms with. The later sets were composed for Nicolas Hodges, who plays them with his typical combination of cool precision and expressive freedom. He’s also the pianist in the single work on the second disc, Perspectivae Sintagma I, for piano and live electronics, also based on canons.

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by Andrew Clements via Electronic music | The Guardian

Readers recommend playlist: your unlikely collaborations

This week’s reader-curated list gives us pairings such as Neneh Cherry and Youssou N’Dour, and the combined powers of Bono, Brian Eno and Pavarotti

Here is this week’s playlist – songs picked by a reader from hundreds of suggestions on last week’s callout. Thanks for taking part. Read more about how our weekly series works at the end of the piece.

The KLF, Bill Drummond and Jimmy Cauty, the world’s biggest-selling singles act of 1991, were never short of ideas. Some were good, some were decadence on a bun. It’s hard to get away from their burning of a million quid and then making a house brick from the ashes. Fortunately, they were rarely short of musical ideas, and their chart success bought them an appointment with Tammy Wynette for the Illuminatus-inspired Justified and Ancient, with which we begin this list.

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by George Boyland via Electronic music | The Guardian

Run the code: is algorave the future of dance music? – video

By building up tracks through the manipulation of programming code – and pairing them with visuals also made on the fly – algorave producers are among the underground's most dextrous and daring work. Iman Amrani heads to Sheffield to meet those at the heart of the scene

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by Iman Amrani Noah Payne-Frank via Electronic music | The Guardian

Run the code: is algorave the future of dance music?

By building up tracks through the manipulation of programming code, algorave producers are among the underground’s most dextrous and daring. We head to Sheffield to meet those at the heart of the scene

As part of the Guardian’s underground music series, we asked readers where they thought we should be looking for weird scenes. We’ll round up the best suggestions next week to close out the series, but one that stuck out to me was algorave, put forward by an anonymous reader from Sheffield: “This is music created using computer code which is written live in front of an audience … Places in Sheffield hold algoraves where this music is created on the fly with accompanying also live-coded visuals.”

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by Iman Amrani, with film directed by Noah Payne-Frank via Electronic music | The Guardian

Tuesday, November 28, 2017

Grammys 2018: Britain's reign comes to an end as diversity flourishes | Ben Beaumont-Thomas

With Ed Sheeran, Calvin Harris and various One Direction members snubbed, it paves the way for one of the most ethnically diverse Grammys ever – though female musicians have been sidelined

Grammy awards 2018: Ed Sheeran snubbed as Jay-Z leads nominations

The iconic moment of the 2017 Grammys was Adele beating Beyoncé for album of the year, and the former acknowledging what a force of nature the latter is. “The way that you make me and my friends feel, the way you make my black friends feel, is empowering,” she said. “And you make them stand up for themselves. And I love you.” She vocalised what everyone else already knew: that Beyoncé, and indeed black American music, had become culturally dominant in the US.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Gorillaz review – Damon Albarn refuses to be pigeonholed in hip-hop jamboree

Brighton Centre
The Blur frontman brings his animated band’s world tour to the UK, and it’s the house vocalists – such as Peven Everett and Jamie Principle – that really shine

The first Gorillaz tour in seven years is an event that arrives in Britain trailing a certain degree of hype. It is apparently the fastest-selling tour that Damon Albarn has been involved in: not even the re-formation of Blur shifted tickets around the world so quickly, testament perhaps to the fact that, initially at least, Gorillaz achieved the kind of multiplatinum success in the US denied to Albarn’s original outfit. There has been much talk of the vast, continually rotating cast involved: in addition to Albarn, a band that features in its ranks two drummers and six backing vocalists, there’s the ever-changing menu of guest stars to contend with. Over the course of its American leg, the Humanz tour variously featured appearances from Carly Simon, Kelela, Hypnotic Brass Ensemble, Yasiin Bey, Del Tha Funky Homosapien, Little Dragon’s Yukimi Nagano and Savages’ Jehnny Beth, while last weekend’s shows in Paris brought Popcaan to the stage for an encore of Saturnz Barz.

Tonight, however, the Jamaican MC is merely on a big screen at the rear of the stage, while Chicago brass bands and indie frontwomen are noticeable by their absence. The supporting cast is stripped down to something approaching a skeleton staff: depending on your taste in hip-hop, the biggest names present are either Long Beach rapper Vince Staples or two-thirds of De La Soul, the latter performing a rapturously received version of Feel Good Inc. The visuals featuring Jamie Hewlett’s familiar animated figures are strong, but not quite as eye-poppingly innovative as the show’s excitable advance billing might have led you to believe – amid the synched videos and interstitial cartoons, there’s nothing quite as visually arresting as the moment during their 2005 shows when the children’s choir who sang on Dirty Harry unexpectedly broke first into synchronised dance moves, then gleeful body-popping.

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by Alexis Petridis via Electronic music | The Guardian

Leather daddies and jazz: a beginner's guide to garage-rock hero John Dwyer

Dwyer has released 21 albums with Thee Oh Sees – and 20 other records that range from German industrial electronics to heavy metal. He gives the backstories about key tracks in his vast back catalogue

‘My motto is: try everything, life is short,” says John Dwyer, the leader of San Francisco garage rockers Thee Oh Sees. “We are growing at every turn. Every day you get a little older, a little closer to the grave – you should taste it all.”

A master of contemporary garage rock, he came into prominence as part of the fruitful San Francisco scene of the early 2000s. Since then Thee Oh Sees have rattled out 21 LPs of bewilderingly consistent quality, under various iterations of their name, and Dwyer has written, recorded and released another 20 albums with other collaborators, encompassing everything from industrial electronics to improvised jazz and death metal.

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by Gareth Main via Electronic music | The Guardian

Monday, November 27, 2017

BBC reveals its Sound of 2018 longlist

Artists on the broadcaster’s annual poll of musicians tipped for success next year include Norwegian singer Sigrid and London rapper Not3s

The BBC have revealed their annual Sound Of … list, which predicts the musicians likely to make waves in 2018.

This year’s crop include representatives from genres including rap, R&B, indie, dance and pop. The list was voted for by 173 critics, broadcasters, DJs and other music industry figures, with the poll’s winner set to be announced on 12 January on Radio 1.

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by Guardian music via Electronic music | The Guardian

Thurston Moore, Holly Herndon and more on today's musical underground

Thurston Moore, The Black Madonna and other underground musicians discuss how the scene continues to mutate – and why quantum physics is where today’s avant garde truly resides

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by Rachel Aroesti via Electronic music | The Guardian

Honeyfeet at Rich Mix on 31/12

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Dom Servini at The Jazz Cafe on 02/02

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Dom Servini at The Jazz Cafe on 19/01

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Dom Servini at The Jazz Cafe on 19/01

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Dom Servini at The Jazz Cafe on 12/01

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Dom Servini at The Jazz Cafe on 05/01

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Sunday, November 26, 2017

Come together! How rave returned to the cultural mix

Twenty five years on, the spirit of rave is being seen everywhere from catwalk fashion and art to the collective political experience of Acid Corbynism

Before the May bank holiday in 1992, Castlemorton Common in the Malvern Hills was chiefly known only to walkers keen to hike through its 600 acres of unspoilt, unenclosed land. After that bank holiday, however, it became known as the site of Britain’s biggest-ever illegal rave.

Partygoers arrived in such numbers that Castlemorton featured on TV and in the newspapers – which brought more revellers. In the end, an estimated 20,000 people flocked to the site. By the Tuesday, it had induced moral panic in the Daily Mail: “A walk through the hippy encampment was like walking into a scene from the Mad Max movies. Zombie-like youngsters on drugs walked aimlessly through the mobile shanty town or danced to the pounding beat,” it reported. By 1994, the Criminal Justice and Public Order Act was passed, with the now infamous ruling against parties playing music “characterised by the emission of a succession of repetitive beats”.

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by Lauren Cochrane via Electronic music | The Guardian

Björk: Utopia review – a lush, airy fresh start

(One Little Indian)
Björk exudes a lust for life again on her self-styled ‘Tinder album’, a hope-filled set powered by flutes and birdsong

To talk of Björk’s Utopia as a rebirth is no stretch. On the cover of her ninth solo album she emerges as though from an iridescent caul. Her forehead has been modified into a uterine shape; pearls fall from fallopian flowers.

It wouldn’t be a stretch either to note that after the austere, extreme Vulnicura – the 2015 album that marked the pain and fury of Björk’s separation from the father of her daughter – Utopia harkens back to the nature love of older albums such as Biophilia and Vespertine, and the default lust for life Björk has exhibited throughout her long career.

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by Kitty Empire via Electronic music | The Guardian

Kelly Lee Owens: ‘My patients were my career advisers’

The Welsh nurse turned techno-pop shaman is creating waves with her healing, trance-like debut

Music can soothe the soul, but Kelly Lee Owens’s techno pop appears to have an especially balm-like quality. Her eponymous debut album came out in March, and while she didn’t have any specific intentions for it – “I had the Yoko Ono mindset, which is just to put good work out into the world and let it do its thing” – she didn’t anticipate the response it received. Perhaps it was the Tibetan singing bowls sampled on the song CBM. Or the meditative, 10-minute closing track inspired by gong baths. Or Owens’s soothing coo, which ripples trippily throughout the album. Fans would message her on Instagram telling her: “Your music has healed me.”

That revelation could sound pretentious, but Welsh-born Owens, 29, operates on a sweetly spiritual plane.Throughout our interview, there is talk of natal charts and the age of Aquarius, but also of how lazy festival promoters need to step outside their “boys’ club” and book more women. She’s pleased about the response to her record because for a time she felt guilty about leaving her job as an auxiliary nurse in a cancer ward in Manchester to pursue music. It was, however, her patients who encouraged her to quit. “They were kind of like my career advisers,” she says. “They had this unique perspective, of having their lives threatened by something out of their control, so I respected all of their words of advice.”

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by Kate Hutchinson via Electronic music | The Guardian

Xenoula: Xenoula review – an intricate, experimental debut

(Weird World)

Occasionally this debut album from Xenoula (real name Romy Xeno) feels like relatively run-of-the-mill indietronica – tracks like Luna Man, for example, are somewhat forgettable. But as the album opens out, it’s clear the South Africa-born, Wales-based artist, along with producer LA Priest, offers something more intricate and strange. Dreamy Caramello boasts breathy, sweet vocals ghosting over rich but fragmented electronic textures, pulled together over a warm, organic, psych-infused groove, while standout Tororoi finds lithe percussion dancing and weaving around her voice. At its best this is earthy, experimental pop, but the unusual sounds that pique the interest come too inconsistently.

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by Tara Joshi via Electronic music | The Guardian

Thursday, November 23, 2017

Kim Myhr: You | Me Myhr CD review – blissed-out twangs for big-sky vistas

Myhr
(Hubro)

Here’s an album that feels beautifully out of season. Norwegian composer/experimental guitarist Kim Myhr is a master of slow-morphing rhythms and sun-dappled textures that seem to glow from the inside. His electronics are mellow and inviting; his 12-string acoustic guitar has a loose, blissed-out twang. With just two long tracks (A and B on the vinyl release) that loop and shimmy around a single simple hook, You | Me has a 60s psych-folk vibe and something of the roving thrum of early Steve Reich or Terry Riley’s In C, or indeed Julius Eastman’s joyous Femenine. Three drummers – Ingar Zach, Hans Hulbækmo and The Necks’ Tony Buck – add spangling commentary and tranquil momentum and occasionally drift into sombre eddies. It’s an album to bolster the spirits and ground the nerves: travelling music for big-sky vistas.

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by Kate Molleson via Electronic music | The Guardian

Björk: Utopia review – romance, angst and troublingly thin tunes

The musician’s self-professed ‘Tinder album’ spins from ecstasy to frustration by focusing more on soundscapes than melody

At this stage in her career, no one expects Björk’s latest record to sound much like her last one. And yet it’s hard to avoid heaving a thankful sigh when Arisen My Senses, the opening track of her ninth studio album, Utopia, crashes into life: birdsong giving way to bright splashes of electronics, beatific-sounding harp chords and cascading beats not unlike the oft-sampled rhythm track of Schoolly D’s old rap classic PSK, What Does It Mean? It sounds positively ecstatic, which comes as a relief. Utopia’s predecessor, 2015’s Vulnicura, was a remarkable record, a latterday entry into the canon of legendary break-up albums. It attained its place alongside Marvin Gaye’s Here, My Dear and Dylan’s Blood on the Tracks by setting its fathomless misery to atonal string arrangements and abstract electronics that, during its central track, kept vanishing into a single flatlining beep. It was raw, brave, challenging, unique and all the other adjectives heaped on it in reviews, but with the best will in the world, any album so harrowing that the appearance of gloom-laden vocalist Anohni constitutes a moment of light relief is going to be one that defies you to listen to it repeatedly.

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by Alexis Petridis via Electronic music | The Guardian

Wednesday, November 22, 2017

Stimmung review – Singcircle take us back to Stockhausen's future

Barbican, London
A rare performance of Stockhausen’s legendary Stimmung, replete with terrible erotic poems, recaptured the spirit that inspired a generation

It is 40 years since Singcircle, a group of six young British singers directed by Gregory Rose, devoted six months to rehearsing and performing one of the most extraordinary and groundbreaking vocal works of the 20th century. Premiered by Collegium Vocale Cologne in 1968, Stockhausen’s Stimmung quickly acquired legendary status. The first significant piece of western music to be based entirely on vocal harmonics, it seemed to open up a new musical world – not only for Stockhausen but for a younger generation of composers who realised its implications. Stimmung became one of the starting points for the spectralism movement in European music of the 70s and 80s.

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by Andrew Clements via Electronic music | The Guardian

'We could build something revolutionary': how tech set underground music free

YouTube, social media and even Bitcoin are allowing musicians to reject major labels and go it alone – but the industry is fighting back. Can artists use technology to stay truly independent?

In the 20th century, the vast majority of music you heard and bought was controlled by a small number of companies: record labels, radio stations and other dominators of the media. Artists needed them to reach the public and the public’s choice was prescribed by what these gatekeepers believed could best turn a profit. You liked it or lumped it. Now, however, a networked world is giving artists and audiences the tools to reject those companies for ever.

Think like an entrepreneur

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by Eamonn Forde via Electronic music | The Guardian

Tuesday, November 21, 2017

Dele Sosimi & Seun Kuti at Electric Brixton on 02/03

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The vinyl frontier: why do we keep sending music to outer space?

Sónar festival is beaming cutting-edge dance music to an exoplanet 12 light years from Earth. But can such experiments ever be more than hubris?

What item would you choose to sum up humanity if you were, like Captain James T Kirk of the Starship Enterprise, seeking out new life and new civilisations? A “five items or less” sign from a supermarket, with a note explaining why it should be “fewer”? Maybe a selection of press cuttings about the Greggs sausage roll Jesus controversy, summing up both humanity’s silliness and its capacity for overreaction?

Of course you wouldn’t. You’d do what the Barcelona electronic music festival Sónar has done to mark its 25th anniversary: send out 33 separate 10-second clips of music by electronic artists such as Autechre, Richie Hawtin and Holly Herndon.

Music 'might not translate to extraterrestrial life – the possible inhabitants of Luytens B might not even have ears'

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by Michael Hann via Electronic music | The Guardian

Monday, November 20, 2017

Doctor Who theme's female co-creator honoured with posthumous PhD

Career of Delia Derbyshire, an under-appreciated electronic music pioneer, recognised by hometown university

The under-appreciated electronic music pioneer behind the Doctor Who theme is to be honoured posthumously with a doctorate from her hometown university as the programme gears up for the debut of its first female lead.

Largely ignored in life and barred from working in studios because she was a woman, Delia Derbyshire, will be awarded an honorary PhD from Coventry University on Monday.

Related: Obituary: Delia Derbyshire

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by Helen Pidd North of England editor via Electronic music | The Guardian

Sunday, November 19, 2017

William Eggleston: ‘The music’s here then it’s gone – like a dream’

His intense colour photographs changed the way we see the world. Now, at 78, he has released his debut album, of synthesiser soundscapes. At home in Memphis, he discusses his extraordinary life and art

Darkness is falling outside the window of William Eggleston’s fifth-floor apartment in midtown Memphis, and the silences that punctuate his conversation have grown even longer. After several hours in his company, I am preparing to take to take my leave, when suddenly he decides he is going to play the piano for me. I help him to his feet and he makes his way unsteadily to the magnificent Bösendorfer grand in the corner of his living room. Once seated, he stares for a few long moments at the keyboard, as if lost in thought.

“I play the piano maybe two or three times a day,” he told me earlier, “but only if she wants to be played. I speak to her and she talks back. Mostly, just to say: ‘What’s in there?’ She is almost always responsive.”

One of the advantages of being here is that all the neighbours are deaf. I can play the piano loudly all night

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by Sean O'Hagan via Electronic music | The Guardian

Friday, November 17, 2017

Dom Servini – Unherd Radio Show #9 on Soho Radio

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Officialkankick – Drone The Clones
Veronique Sanson – Bernard’s Song (Young Pulse Rework)
The Expansions – Breakthrough
Zara McFarlane – Peace Begins Within
The Amranim – Shedemati
The Spencer Jackson Family – Walk Up Moses
Onyx Collective – Mambo Pancakes
Grupo Magnetico – Vampiras
Ephemerals – In & Out (Titeknots Remix)
Komon & Appleblim – Know Yourself
Beat Spacek – Ring Di Alarm
Jonny Faith – Backbeat
Jitwam – yesiknw
Washed Out – Floating By (Mndsgn Remix)
Jonti – Island Rose feat. Sampa The Great
Laraaji – All of a Sudden
Zbigniew Wodecki – Panny Mego Dziadka (Piekny Chlopiec Edit)
Khruangbin – Maria Tambien
Sean Innit – She Knows
Effie Duke & Love Family – The Time Is Come
Cy Gorman – Hipgnosis (Ennio Styles Edit)
Joanne Wilson – Got to Have You (Whiskey Barons Remix)
Dayme Arocena – Eleggua (Ossie Remix)
Gabriel Garzon Montano – Bombo (Fabrika Remix) feat. Little Simz
Ghasper – Forgive Me
NxWorries – Best One (Remix)
Hunrosa – All (Bad Milk Remix)
Escapism Refuge – Mistakes
Hello Skinny – Watermelon Sun

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Wednesday, November 15, 2017

The Gaslamp Killer sues over rape claims

The US producer is taking legal action following allegations that he drugged and raped two women

Music producer the Gaslamp Killer is suing two women who have accused him of sexual assault.

In October, the musician, born William Benjamin Bensussen, was accused of drugging and assaulting the women via a Twitter post. Bensussen denied the claims, issuing a statement in which he said: “I would never drug a woman, and I would never put anyone in a situation where they were not in control, or take anything that they weren’t offering.” The alleged assault took place in Los Angeles in 2013.

i've been silently suffering over this for many years. the gaslamp killer drugged and raped my best friend and myself 4 years ago http://pic.twitter.com/yvJM5HEJay

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by Guardian music via Electronic music | The Guardian

Sunday, November 12, 2017

Pnau: Changa review – the perfect winter tonic

(Import)

Australian trio Pnau, led by Nick Littlemore, one half of ludicrous space-pop outfit Empire of the Sun, clearly have no concept of timing. Changa, their fifth album, is a DayGlo riot of fizzing pop, squelchy disco and festival-ready anthems that practically reeks of sun cream and has for some reason been released in November. Still, the majority of the songs try their hardest to warm the soul, particularly last year’s outrageously infectious single Chameleon, the swirling psych-pop of Into the Sky and Please Forgive Me, which marries sparkly falsetto with a rave piano riff. It’s big, it’s not always clever, but Changa might actually be the perfect winter tonic.

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by Michael Cragg via Electronic music | The Guardian

Saturday, November 11, 2017

DOM SERVINI’S OLD SKOOL ALLO LOVE CHART :: NOVEMBER 2017

Harry Case – In a Mood (Ichiban LP)
Milt Matthews Inc – Milt Matthews Inc (Commonwealth United Records LP)
Alex Sambat – Bel Gwadaloup (Ivinido LP)
Bourbon & Maxx – Mystery Man (Esscore 12)
Maurice Moore & the Family Affair Band – Everything That Shines Aint Gold (Melodies International 12)
Pharoah Sanders feat. Leon Thomas – Shukuru (Theresa LP)
Jan Hammer Group – Melodies (Nemperor LP)
Sheree Brown – It’s a Pleasure (Capitol 12)
Tony Esposito – La Banda Del Sole (Philips LP)
Bobby Humphrey – Blacks and Blues (Blue Note LP)

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DOM SERVINI’S ALLO LOVE CHART :: OCTOBER 2017

Scrimshire – Spooktober Edits (Wah Dubplate 7)
Lee Morgan– Afreaka (Blue Note LP)
Honeyfeet – Sinner (Envee Remix) (Wah Wah 45s 7)
Empire – Freakman (RFC Records)
Kenny Barron – Lucifer (Muse)
Phenomenal Handclap Band – Traveler’s Prayer (Magnifreeq 7)
Blood, Wine or Honey – Loosefoot (BWH Promo DL)
Radio Citizen – Opium (Sonar Kollektiv Promo DL)
Les Ecoliers Reveurs – La Grenouille Qui Veut Se Faire Aussi Grosse Que Le Boeuf (Disques Barrara LP)
DJ Khalab – Mostra (Beating Heart Promo DL)

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Friday, November 10, 2017

Dom Servini at Zelman Drinks on 23/12

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Dom Servini at South London Soul Train on 31/12

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Dom Servini at The Jazz Cafe on 29/12

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Wah Wah 45s at Independent Label Market on 25/11

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Dom Servini at Old St. Records on 14/11

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Thursday, November 9, 2017

Call Super: Arpo review – outstanding after-hours techno

(Houndstooth)

Behind the decks, Joe Seaton, AKA Call Super, mixes up a cosmopolitan blend of techno and house, but his own productions are pitched at those dissonant, poignant moments after the night has ended, when you’re wandering home past people off to Parkrun and Sainsbury’s. There are pulses, but they shift on their foundations; No Wonder We Go Under has a Larry Heard-style house bassline, but the lack of a heavy onbeat sends it drifting into the beyond. Frequent appearances of a quavering clarinet, hardly rave culture’s go-to instrument, further enhance the very particular beauty of his vision, which, a little like Laurel Halo or his recent collaborator Beatrice Dillon, comes at dub techno with a jazz arranger’s mindset. And while “chillout” music is often abominably unthreatening, Seaton’s has a tinge of anxiety, particularly on standout Out to Rust, where held clarinet notes clamour and fret through the funk.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Honeyfeet at St. Michael’s Church on 16/12

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Honeyfeet at St. Michael’s Church on 16/12

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Honeyfeet at St. Michael’s Church on 16/12

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Tuesday, November 7, 2017

Dom Servini – Unherd Soul #2 on MiSoul Connoisseurs

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Pt1

Intro
Sly 5th Ave – let Me Ride feat. Jimetta Rose
Lee Fields & the Expressions – Time
John Keek – If & When
Album of the Month: Moses Sumney – Aromanticism
Moses Sumney – Don’t Bother
Fatima – Somebody Else
Moonchild – The List
Vintage Babies – Run Away
Reginald Omas Mamode IV – Put Your Hearts Together

Pt2

Intro
Pure Essence – Third Rock
Courtney Pine – In Another time feat. Omar
Moods – Truth feat. Beau Nox
Annabel (lee) – Autumn (Requiem)
Jan Hammer – Don’t You Know
Flamingosis – Guilty Pleasure
Yazmin Lacey – Marie
Outro

PT3

Intro
The Cactus Channel – Storefront
Album of the Month: Moses Sumney – Aromanticism
Moses Sumney -Stoicism / Lonely World
Bobbi Humphrey – Chicago, Damn
Rasa – When Will the Day Come (Alkalino Edit)
Leon Ware – Inside Your Love
Maurice Moore & Family Affair Band – Everything That Shines ‘Aint Gold (Floating Points Edit)

PT4

Intro
The James L’Estraunge Orchestra – See You Tonight
Hunrosa – All (Jonny Drop Remix) *Exclusive
Album of the Month: Moses Sumney – Aromanticism
Moses Sumney -Doomed
Dwight Sykes – That’s the Way Love is
Hodges, James & Smith – You Can’t Hide Love
Water & Power – Mr Weatherman
Yvonne Gray – Keep the Music Alive

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Monday, November 6, 2017

The month's best music: Fever Ray, Giggs, Linda Perhacs and more

From Errorsmith’s hyperactive take on Jamaican rhythm to Rina Sawayama’s shiny power balladry, here are 50 of the month’s best tracks

Our monthly roundup of the best music continues, with a 50-song playlist hosted on Spotify, Apple Music and Amazon Music, and 10 highlights picked out below. Subscribe and listen via the widget, and suggest your own faves from this month in the comments.

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by Ben Beaumont-Thomas and Rachel Aroesti via Electronic music | The Guardian

Sunday, November 5, 2017

James Holden and the Animal Spirits: The Animal Spirits review – a dizzying fusion

(Border Community)

Inspired by Don Cherry and Pharoah Sanders’s jazz-world fusion experiments with Moroccan gnawa music, former trance DJ Holden attempted his own crossover with Floating Points and former Sanders collaborator Mahmoud Guinia on the 2015 12-inch Marhaba. Forging those connections left him longing to play with a band of fellow explorers: hence new crew the Animal Spirits. The gnawa influence is strong in the dizzying build of Pass Through the Fire, but it’s just one element in a giddy maelstrom of cosmic prog, krautrock, techno and psych-folk. Occasionally, as on, er, Thunder Moon Gathering, things get a little pastichey, but it’s worth it for sublime moments like the title track, where lines between worlds and times blur.

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by Emily Mackay via Electronic music | The Guardian

Friday, November 3, 2017

Wah Wah 45s at The South London Soul Train on 16/12

The post Wah Wah 45s at The South London Soul Train on 16/12 appeared first on Wah Wah 45s.

via Wah Wah 45s

Thursday, November 2, 2017

Rabit: Les Fleurs Du Mal review – dancefloor deconstructed too far

(Halcyon Veil)

In underground clubbing there has been a recent vogue for “deconstructed” tracks; agglomerations of barely rhythmic noise that can prove brutally funky. Rabit, a producer who previously created icy grime-like tracks and blasts of apocalyptic techno, has now deconstructed to the point of collapse, and subsequent tedium. With its whirrs of brooding machinery and foreboding, far-off storms, Les Fleurs Du Mal is more sound design than music, and while second-to-second it is impressively three-dimensional, its sheer abstraction means that genuine terror, sorrow or poignancy never build up. Only the prettily flickering Bleached World and psychosexual drama of Dogsblood Redemption prove diverting. The absolutely devastated humanity is probably the point – is this a dystopia to walk back from? – and hardcore experimentalists may find it immersive, but for everyone else it’s an inadvertent reminder of how rhythm can invest sound with meaning.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

James Holden & the Animal Spirits: The Animal Spirits review – shimmering astral jazz

(Border Community)

James Holden is an Oxford University maths graduate turned DJ, producer and synth wizard who made his name with a suitably cerebral variety of Aphex Twin-inspired rave music. In the last decade, he’s forsaken DJing to front a live band that mixes minimalism, astral jazz and the rhythmic textures of north African gnawa music. The results are often joyous. Spinning Dance overlays Alice Coltrane’s rattling percussion with shamanic drones and ecstatic, burbling flute improvisations, while The Beginning and End of the Earth takes us through a shimmering, space-age, never-ending chord cycle, as if ascending into heaven. Other tracks evoke the buzzsaw organs and fractally mutating time signatures of Steve Reich. If there’s a slight problem here, it’s with the rather lame tenor saxophonist. These soundscapes require a Pharoah Sanders-style voyager who can fly us into stratospheric realms, but unfortunately, Etienne Jaumet’s solos just splutter along the runway without ever achieving lift-off.

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by John Lewis via Electronic music | The Guardian

Wednesday, November 1, 2017

Unsound and Semibreve: the festivals that dream a better world in sound

Two festivals in Poland and Portugal suggest utopian futures by exploring the boundaries of music and noise – even as they freak out small children

Spend long enough at avant-garde electronic music festivals and, like the raver character in Spaced who dances to the beep of a pedestrian crossing, you start hearing music in everything. Brakes on a train, wind through a doorway … after Unsound in Krakow, Poland, and Semibreve in Braga, Portugal, you can even convince yourself that your local shopping centre is actually an elaborate sound collage lampooning the cacophony of commerce.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

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