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Sunday, January 21, 2018

Porches: The House review – jaded, romantic, intricate synthpop

(Domino)

Porches started out making bedroom-rock in 2010, but frontman Aaron Maine has since steered his project into sheeny synth territory. Their third album, The House, retains the polished introspection and cleansing water imagery of previous record Pool, but goes deeper into Maine’s exploration of tender emotions. This is while getting more stripped back and minimalist than ever, with an aimless, delicate immersiveness.

There’s a vulnerable lightness that pervades the record, in spite of fleeting moments of jarring dissonance and numerous spiky dance tracks. Simple lyrics such as “I have no idea who I see in the mirror” (on By My Side) sound isolated in the mix, displaying a rawness perhaps explained by Maine writing lyrics from his journal entries, and recording most songs the day they were conceived. The result is an immediacy that revels in its shortcomings and errors.

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by Tara Joshi via Electronic music | The Guardian

Thursday, January 18, 2018

Dom Servini at Bussey Building on 17/03

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Dom Servini at Bussey Building on 03/03

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Dom Servini Private Event on 03/03

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Dom Servini at The Jazz Cafe on 01/03

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Dom Servini at Giant Robot on 22/03

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Wah Wah Radio – January 2018

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Khruangbin – Friday Morning

Calibro 54 – Psycheground

Mildlife – The Magnificent Moon
Julia Biel – Always
Jono McCleery – Halo
Moton 42 – Jaque’s Theme
Baba Commandant & the Mandingo Band – Wasso (Mr. Boom Broken Mix)
Mizz Beats – The Day Before Tomorrow
K15 – Sunbeams
Hector Plimmer – Bossa B (Glenn Astro Remix)
Penya – Search It Out (Reboot)
Mr. Bird – Carnival Beat
RANGer – Nomalizo feat. Korus
Soothsayers – Dis & Dat (Steve Cobby Remix)
AJ – Selfish

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Readers recommend playlist: songs about industry and manufacturing

Iggy Pop, OMD, Spandau Ballet and the Commodores have their say on a hard working and eclectic reader-curated list

Here is this week’s playlist – songs picked by a reader from your 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 rhythmic sound of machinery and the subject of work and industry seem to lend themselves to musical expression almost as a matter of course. Before we begin, an observation: for some reason, this week’s list is heavy on the 1980s – perhaps that decade, when industry was rapidly declining in many Western countries, was one where such topics were in the forefront of musical minds?

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by Pairubu via Electronic music | The Guardian

Tuesday, January 16, 2018

'A relic of long-gone possibility': how Gotye fell in love with a rare, forgotten synth

When Wally de Backer first heard the ondioline, an obsession began that took over years of his life

In 1941, a curious electronic instrument was invented that combined the possibility for depth of a horn section and the silliness of a children’s novelty toy. The key was how it was played and cared for – and what you composed for it.

The ondioline was invented by the French poet and musician Georges Jenny. Broadly speaking it’s a synthesiser built on a circuit board that looks like a child’s keyboard. It produces a sort of a blurry, vibrating sound, like music playing in another room.

Related: Onesies for everyone: Mona's summer festival makes Launceston debut

I just want to share this thing as widely as possible.

Related: Jean-Jacques Perrey, electronic musical pioneer, dies at 87

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by Brigid Delaney via Electronic music | The Guardian

Dom Servini at Giant Robot on 22/03

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Dom Servini at The Jazz Cafe on 16/03

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Dom Servini at Giant Robot on 08/03

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Monday, January 15, 2018

Where to party in 2018: a clubbing, nightlife and festival guide

Fill your ears and your year with the sweetest beats at the best music and clubbing events – from Berlin and Reykjavik to New Orleans and Cape Town

The start of the year sees the return of CTM Berlin (26 Jan-4 Feb), the “festival for adventurous music and art”. This year the event, across venues in the city – from Berghain to the Kraftwerk building – features artists from the sincere German techno producer Recondite to Peruvian electronic-pysch band Dengue Dengue Dengue - is on the theme of Turmoil – expect artistic responses to a growing sense of global instability. Berlin will be absolutely freezing this month, so those seeking a vitamin D-fuelled party (and can afford the short notice flights) should head to Goat (26-28 Jan), a boutique festival in Goa, India, with a lineup including Horse Meat Disco and Moxie. January also means the start of Laneway Festival (27 Jan-11 Feb), which starts in Singapore, before touring cities across Australia with a lineup including Bonobo, The Internet and Wolf Alice.

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by Will Coldwell via Electronic music | The Guardian

Saturday, January 13, 2018

Dom Servini – Unherd Radio Show #11 on Soho Radio

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Rewind of the Best of 2017

1. The Diabolical Liberties – East of the Dub Canal
2. Prequel – Freedom
3. Sam Irl & Dusty – Pick up the Pieces
4. Tee Mango – Tryin’ Times
5. Daev Martian – Whaturrrp
6. O’Flynn – Tru Dancing
7. Same Speed Edits – Samba Operator
8. Daniel Casimir – Really for Always
9. Charlotte dos Santos – Watching You
10. Hector Plimmer – Bossa B
11. Keope – Uno
12. Sudan Archives – Come Meh Way
13. Soothsayers – Blinded Souls (Titeknots Remix)
14. Luke Solomon – Light You Up feat. Queen Rose & Amy Douglas
15. Dego & Kaidi – Treasure Beach
16. Forest Swords – Raw Language
17. Sampa The Great – Rhymes to the East
18. Darkhouse Family – Modaji Suite
19. Ezra Collective – Space is the Place
20. Blood Wine or Honey – Loosefoot
21. Jordan Rakei – Sorceress (Photay Remix)
22. DJ Khalab – Mostra
23. Run Child Run – Can’t Catch Me
24. Radio Citizen – Opium
25. Yazz Ahmed – Bloom
26. Hello Skinny – Watermelon Sun
27. Mr Jukes – Angels / Your Love
28. Son of Sam – Put it on Ya feat. Soundsci & Mr Thing
29. Phenomenal Handclap Band – Traveler’s Prayer
30. Children of Zeus – Tonight
31. Honeyfeet – Sinner (Envee Remix)
32. Kosmik 3 – I’m Gonna Pack (Jeremy Spellacey Edit)

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Brit awards nominations 2018: Dua Lipa beats Ed Sheeran with five

The New Rules singer caps her breakthrough year with the most nominations at British music’s biggest awards ceremony

Dua Lipa, the breakthrough pop star who scored a huge summer hit with New Rules, has earned the most nominations at the 2018 Brit awards – even beating Ed Sheeran, despite his spectacular year-long assault on the charts on both sides of the Atlantic.

She was nominated in the British female solo artist, breakthrough act, single and video categories, along with the night’s biggest award, British album of the year. Without being able to be nominated in the breakthrough category, Ed Sheeran is the runner-up with four nominations, for British male solo artist, video and single (each for Shape of You), and the album award for ÷, the biggest-selling album of 2017 in the UK. East London rapper J Hus and platinum-selling songwriter Rag’n’Bone Man each received three nominations.

Related: How Dua Lipa became the most streamed woman of 2017

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Thursday, January 11, 2018

Moor Mother review – howl of apocalyptic fury is kept to a whisper

The Islington, London
A weedy sound system prevents the Philadelphian poet, musician and activist from tapping into true dread

Police brutality, domestic violence, race riots and western imperialism – the raw material for Camae Ayewa’s noise-infested “DIY time travel” performances as Moor Mother could hardly be more bleak. But the Philadelphia poet, activist and self-taught musician possesses a free-form energy and a knack for piercing visual imagery that can bring her subject matter to vivid life – usually while it’s still bleeding. “A husband beats a body raw,” she raps with a snarl, her dreadlocks falling like a veil over her face, “police drag a dead body on the floor.”

On her reputation-making 2016 album Fetish Bones, Ayewa used spoken word, free jazz, raw noise and sampled voices – including those of women such as Natasha McKenna, who died after being Tasered in prison – to create a homebrew twist on the Afrofuturism of fellow Philly artist-philosopher Sun Ra. Tonight’s show, however, finds her sharing a stage with soprano saxophonist Steve Montenegro, also known as Mental Jewelry, her collaborator on last year’s dub and dancehall-influenced Crime Waves EP. While Ayewa coaxes mangled, strangled noises from her array of glowing boxes, Montenegro channels the wild, squawking energy of Albert Ayler in an unbroken improvisation.

Related: Moor Mother: 'We have yet to truly understand what enslavement means'

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by Chal Ravens via Electronic music | The Guardian

Wednesday, January 10, 2018

Scrimshire at The Jazz Cafe on 09/02

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Dom Servini at Giant Robot on 22/02

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Dom Servini at The Jazz Cafe on 09/02

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Dom Servini at Giant Robot on 08/02

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Tuesday, January 9, 2018

Dele Sosimi at The Jazz Cafe on 01/03

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Hunrosa at The Jazz Cafe on 01/03

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********, ∆, †‡† ... the most unpronounceable band names ever

Whether it’s a marketing gimmick or a way to stop anyone ever talking about your band, musicians are rejecting random nouns in favour of punctuation and ancient languages

Of all the stock ways to name a band (lame puns, random nouns, Something Something and the Somethings), one of the most enduring is choosing something totally unpronounceable. Take ********, whose “first and final” album The Drink is out at the end of the month. They’re probably pronounced Guinness, given this self-penned guide to their name: “Generally Underwhelmed. Incognito. Niceties. Not Even Slightly Suggestive.”

Their aggressively out of tune Bontempi jams, like Dean Blunt tinkering in a haunted bingo hall, aren’t likely to bother the mainstream, so they might as well stop people even being able to talk about them. Or is it the opposite – that they’re making their very unpronounceability a talking point? Well, whether obfuscation or marketing device, they’re far from the only ones to choose a name that requires a record company briefing before you can insert it into dinner party conversation.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Hunrosa at Band On The Wall on 18/01

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Soothsayers at The Jazz Cafe on 09/02

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Dele Sosimi at Mirth, Marvel & Maud on 10/05

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Resonators at Komedia on 01/05

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Dom Servini at The Jazz Cafe on 09/03

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Dom Servini at The Jazz Cafe on 02/03

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Dom Servini at The Jazz Cafe on 23/02

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Friday, January 5, 2018

From Chinese communes to Durban taxis: how dance music went global

While western dancefloors are often full of jocks craving Instagram moments, the internet is helping techno, psytrance and more reach uncharted territory

• ‘I’ll be going through a slum to a rich club’: India’s upside-down rave scene

After darkness falls, there are strange phantasmagorical rumblings deep in the guts of cities around the world: a disused slaughterhouse near the Danube in Belgrade, an old air-raid shelter beneath the streets of Shanghai, a vast concrete swimming pool under a football stadium in Tbilisi, an unsignposted apartment building in the cobbled back alleys of Istanbul.

Over the past three decades, electronic dance music has spread to places such as this on the way to becoming a worldwide culture, establishing a home in some of the most unlikely places, mainly because of the relentless enthusiasm of the iconoclasts, misfits, fanatics and hustlers who have embraced the music and sought to build communities around it.

Vegas clubs can feel like showpiece sports tournaments with lines of fans facing the stage, holding up phones

Related: 'I'll be going through a slum to a rich club': India's upside-down rave scene

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by Matthew Collin via Electronic music | The Guardian

'I'll be going through a slum to a rich club': India's upside-down rave scene

Magnetic Fields, a three-day festival in the Rajasthan desert, saw the country’s burgeoning dance scene go overground. But there are concerns that clubbing is a corporatised ‘rich person’s game’

‘Before this, there was Bollywood, and everything else was deep underground.” These are the words of producer Karsh Kale, describing India’s music scene as recently as 10 years ago. It is telling of just how much has changed that Kale is saying this by a fireplace in the middle of a desert in Rajasthan, where an electronic music festival is taking place.

Now in its fifth year, with a capacity of more than 3,000 (having started at less than 500), Magnetic Fields is one of many events catering to a burgeoning underground music scene in India. Sets from Four Tet and Ben UFO that go on until 8am in the grounds of a magical 17th-century palace are remarkable in themselves (as are surreal moments such as a local hip-hop DJ dropping Big Shaq’s Man’s Not Hot under the stars), but what is especially noteworthy is the number of Indian acts and attendees.

Related: The Ska Vengers: 'The worst that could happen? We could get lynched'

The ability to build a cultural community through music is severely hindered by the fact these events are corporatised

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by Tara Joshi via Electronic music | The Guardian

Thursday, January 4, 2018

Brona McVittie: We Are the Wildlife review – beautifully embroidered folk

(Company of Corkbots)

Electronic music, used judiciously, can serve the folk song well, particularly when it’s teasing out subtler textures in the tradition, noticing the smaller stitches in its seams. This is certainly true of the work of Brona McVittie, an Irish singer and harpist who cites Tunng and French experimental artist Colleen among her inspirations.

She has recently returned to her native County Down after years living in London, and this album features her own promising originals alongside Irish folk songs that she embroiders beautifully. The Flower of Magherally’s harmonising flutes recall Virginia Astley’s pure pastoral instrumentals, while The Jug of Punch feeds an AL Lloyd drinking song through an ambient drama that summons up the spirits of both Talk Talk and the Unthanks (amazingly, this works). Every note of sweetness to McVittie’s voice has a bite behind it too, showing you the stuff under the skin. A stimulating debut.

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by Jude Rogers via Electronic music | The Guardian

Wednesday, January 3, 2018

Coachella 2018 lineup announced, headlined by Beyoncé and Eminem

The Californian music festival will also feature the Weeknd, David Byrne, Cardi B and dozens more pop and rap stars

Coachella, the two-weekend Californian event that traditionally kicks off the summer’s festival season, has announced the lineup for its 2018 edition.

Beyoncé will headline on April 14 and 21, in her first live shows since her Formation world tour in 2016. The R&B star took 2017 off from live performance after giving birth to her twins Rumi and Sir, and the Coachella announcement will further fuel rumours she is gearing up to release new material.

http://pic.twitter.com/ivjHgj9uae

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by Ben Beaumont-Thomas via Electronic music | The Guardian
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