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Musique Non Stop - Jazz, Funk, Soul, Broken Beat, Electro, Electronic, Funk / Nu Disco, NU Jazz, House, Techno, Ambient, Lo-Fi, Downtempo... and Many More!
Tuesday, July 31, 2018
Soothsayers @ The Railway Tavern on 26/08
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The month's best mixes: Gigsta, Susumu Yokota and 25 years of Dutch dynamo Clone
The latest instalment in this series on the best DJ mixes and radio shows features a Japanese pioneer and sets from some of the world’s top parties
After Tayyab Amin’s selection of South American electronica, grime and Welsh seabirds last month, here are July’s mix highlights, spanning high-octane club music, a Japanese experimental pioneer, and sets offering a taste of the world’s best parties and record labels.
Related: Hungama: the UK club night taking queer culture to Bollywood
Continue reading...by Lauren Martin via Electronic music | The Guardian
Monday, July 30, 2018
Mystery images at tube station hint at new Aphex Twin album
Logos appear on the walls of Elephant and Castle station near where British producer was rumoured to have lived in the 1990s
The logo associated with Aphex Twin has appeared on the walls of Elephant and Castle tube station in south London.
The appearance of the imagery has led to speculation that Aphex, AKA Richard D James, is preparing to release his seventh album as Aphex Twin. The pioneering British producer’s record label, Warp, confirmed to the Guardian that the campaign is official. The album would would follow the release of Syro in 2014, the Cornish producer’s first full-length release in 13 years. In 2017 he released a standalone single, 3 Gerald Remix /24 TSIM 2, and launched a bespoke listening platform containing unreleased material.
Aphex Twin is up to something. A cryptic 3D logo has cropped up in Elephant & Castle underground tube station. @NicoDeCeglia pic.twitter.com/xfUaeMo4uK
Continue reading...by Laura Snapes via Electronic music | The Guardian
Friday, July 27, 2018
RL Grime: Nova review – jackhammer EDM/rap bangers for US festivals
(WeDidIt)
Los Angeles native RL Grime came up in US rave circles with the late noughties lo-fi rap deconstructionist crew WeDidIt. Alongside producers and DJs Shlomo and Ryan Hemsworth, he distilled the glittering bombast of the then-burgeoning EDM sound, drawing from creepy percussive trap atmospherics and from Grime’s own love for emo songs and pre-teen horror TV shows. With his 2014 debut album Void, Grime took his edit techniques and crossed over into trap-inspired EDM production, collaborating with vocalists. On his new album, Nova, these collaborations are more high-profile, with melodic rap and R&B refrains from Chief Keef, Jeremih, Tory Lanez, Ty Dolla $ign and Miguel. Meanwhile, the beats are decidedly less concerned with trap, more suited for the US festival circuit than the rap club – rolling drum’n’bass builds with jackhammer drops, Auto-Tuned vocal samples as algorithmic bursts.
Continue reading...by Lauren Martin via Electronic music | The Guardian
Underworld & Iggy Pop: Teatime Dub Encounters review – enormo beats taking the world to task
(Caroline International)
When Rick Smith from 90s Born Slippy techno giants Underworld first met up with the 71-year-old Iggy Pop for tea at the Savoy, he realised he had “one chance to convince this gentleman that we should work together”. Thus, Smith turned up with what the former Stooge called “a whole bloody studio set up in a hotel room” – an offer Pop couldn’t refuse. Thus, 22 years after they both appeared on the Trainspotting film soundtrack, this unlikely four-track collaboration finds Smith’s daughter Esme providing sublime backing vocals and channels Pop’s formidable wordsmith talents into spontaneous, narrative freestyles.
Continue reading...by Dave Simpson via Electronic music | The Guardian
Dom Servini – Unherd Radio Show #18 on Soho Radio
Daniel March – Falling For You (Ashley Beedle’s North Street Vocal Remix)
Bacao Rhythm & Steel Band – Xxplosive
Roisin Murphy – Play Thing
Jonny Drop – 32 Degrees feat. Lucid Paradise (Modified Man Remix)
Kool Customer – Blackberry (Somebody Told Me)
Saucy Lady – It’s All Here
Frazelle – Today Is The Day (Linkwood Chop)
Kaidi Tatham – It’s a World Before You (feat. Dego)
Mildlife – The Gloves Don’t Bite (Mount Liberation Unlimited’s Re-edit for The Dancefloor)
Jenny Penkin – Born Last Night
Nitai Hershkovits – Sattelite Dish feat. Georgia Anne Muldrow
Rejoicer – Double Astral Move
Ross From Friends – Pale Blue Dot
Retiree – Magic Eye Ft. Sui Zhen
Infinite Love Experience – Thank You Lord (McBoingBoing B-Boy Breaks Edit)
Linda Evans – You Kontrol Me (Kon Edit)
G. Markus – Eternal
Partner Music – Ay Me Pueblo
Skinny Pelembe – I Just Wanna Be Your Prisoner feat. Hejira
Captain Planet – Bubuj
Insólito UniVerso – Décima
Children of Zeus – Vibrations (Divine Signature)
Space Captain – Loveline (Jesse Fischer Remix)
Jack Wilkins – Red Clay
Emilio Santiago – Brother
79.5 – I Stay You Stay
100% Pure Poison – Windy C
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Thursday, July 26, 2018
Pet Shop Boys review – bring on the dancing balloon people
Royal Opera House, London
Ingenious design helps create an electric atmosphere as the duo celebrate poptimisation at Covent Garden
There’s something of a victory lap atmosphere inside London’s Royal Opera House, for this reprise of the Pet Shop Boys’ Inner Sanctum shows. Just as they did two years ago, the duo – now approaching their fourth decade of applying high-art concepts to pure pop exuberance – have taken up residence for four nights, possibly to facilitate a future DVD release (the final two shows will be filmed by regular collaborator David Barnard). While those 2016 shows marked the start of the Super tour, in support of the high-NRG, house-inflected album of the same name, there’s a feeling of familiarity about tonight.
There’s also sweat, buckets of it. As the deep red curtain, gilded in gold, ascends to reveal the first layer of designer Es Devlin’s eye-popping, multi-faceted set, the heatwave creeps in, temperature raised by dancing bodies, from the moment Chris Lowe triggers opener Inner Sanctum’s buoyant synth riff. “I thought this building was air conditioned!” Neil Tennant huffs later from inside a very unseasonal cropped bomber jacket after a suitably tropical Se A Vida É (That’s The Way Life Is).
Continue reading...by Michael Cragg via Electronic music | The Guardian
Readers recommend playlist: songs about obsolete things
From Paul Simon’s Kodachrome to Nick Lowe’s Switch Board Susan, a journey back in time
Here is this week’s playlist – songs picked by a reader from hundreds of your suggestions last week. Thanks for taking part. Read more about how our weekly series works at the end of the piece.
Once a new product hits the shelf, computer geeks say it’s obsolete and you’d better start thinking what’s next. Happily, that’s never stopped musicians from salting their lyrics with contemporary references that later sound as dated as headbands and glitter. This week’s playlist of obsolete things might be called “music to clean out your garage by”.
Related: Remorseless march of the jukebox - archive, 30 November 1956
Continue reading...by Frank Mastropolo via Electronic music | The Guardian
Safe Mercury shortlist once again raises questions about prize's purpose
After grime won big at last year’s Mercury, the album prize is back to playing it safe, rewarding commercial success rather than creative innovation
The “token jazz album” has been part of the Mercury’s DNA since the prize’s inception in 1992. These brassy outliers – from that year’s Bheki Mseleku to Dinosaur in 2017 – never win, making their nominations seem like that Christmas card to a long-estranged acquaintance that you can’t quite bring yourself to stop sending. Once again, there is a jazz album on this year’s list – Sons of Kemet’s excellent Your Queen Is a Reptile – but for the first time in years, British jazz feels central to culture: vivid, youthful and relevant, intertwined with sweaty dancefloors rather than confined to rarefied enclaves.
Just as 2017 was the year the Mercury gave grime its dues (this year limited to Novelist, for Novelist Guy), in 2018 we might have seen the token choice taken seriously, with – humour the thought – more than one jazz contender. Kamaal Williams’ The Return is oddly absent, and albums by Tenderlonious (The Shakedown featuring the 22archestra), Zara McFarlane (Arise) and Joe Armon-Jones (Starting Today) were similarly worthy of recognition.
Continue reading...by Laura Snapes via Electronic music | The Guardian
Wednesday, July 25, 2018
Wah Wah Radio – July 2018
Eyal Talmudi & Roy Chen – MoonLight feat. Miss Red
Kerem Akdag – Isolated
Honeyfeet – Meet Me On The Corner (Crazy P Remix)
Tabala Mouv – Tabala Mouv (Truccy Edit)
Jonny Drop – 32 Degrees feat. Lucid Paradise
Septimus – The Funks On You
D’Nell – This Thing (Drumajik Remix)
Calibre & High Contrast – Mr Majestic
Shy FX – Call Me feat. Maverick Sabre
Hunrosa – We Know (Etherwood Remix)
Profane – Seriously Girl
Titeknots – Time Ending Time Again
Stevie Wonder – That Girl
Jenny Penkin – Born Last Night
Yaz Ahmed – The Lost Pearl (Hector Plimmer Remix)
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Tuesday, July 24, 2018
Honeyfeet @ Shambala Festival, Northants 25/08
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Honeyfeet @ Towersey Festival 24/08
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Honeyfeet @ Cambridge Folk Festival on 04/08
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LCO/Ames: Pioneers of Sound review – probing music's outer reaches
Royal Albert Hall, London
A thrilling late-night Prom featured five women who push back the frontiers of electronic composition
It seems almost incidental that all five composers featured in this Prom happen to be women. More relevant is the fact that all of them are radical composers who have not only explored the outer reaches of electronic composition but have also built and programmed their own instruments – each one a Stradivari, a Stockhausen and an Ada Lovelace in their own right.
Related: Now for a lampshade solo: how the Radiophonic Workshop built the future of sound
Continue reading...by John Lewis via Electronic music | The Guardian
Friday, July 20, 2018
Ministry of Sound’s Love Island compilation
As we ponder the difference between a compilation and a playlist, can MoS’s latest offering mug off the threat of streaming?
Have you heard Love Island: The Pool Party yet? You really shouldn’t. The compilation album features Little Mix and Cheat Codes’ Only You, and various other bangers in that modern vernacular where “summer” is a PC plugin, and DJ Khaled is only ever seconds away from shouting his own name. True to the tag, this is an album you’d love if you’d spent your childhood locked in a darkened room with just ITVBe for company, so that you could only communicate in clucking emotional cliches. Regardless of if you were that Kaspar Hauser of electro-schlock or not, you’d still be left with a very big question: “Why am I buying a compilation album in 2018?”
Besides the still surprisingly big Now That’s What I Call ... series, the streaming world has bulldozed the genre. What’s the difference between a compilation and a playlist? About six minutes in the Spotify search bar. It is no coincidence that the next Fabric album, Fabric 100, will be the label’s last. Upmarket comps such as Back to Mine, AnotherLateNight and Under the Influence petered out nearly a decade ago. But what about the behemoth of them all, Ministry of Sound? Well, it’s putting out Love Island: The Pool Party, as it happens.
Continue reading...by Gavin Haynes via Electronic music | The Guardian
Techno star Helena Hauff: 'Every woman who DJs and is visible helps to make a change'
The German musician’s only ambition was to play her local bar, but the noisy, neo-gothic sound of her new album, Qualm, has put her on the cusp of clubland’s big league
‘When I wear a lot of black, it’s probably not a conscious decision: it’s more that you can’t see the tomato sauce stains.” This is a perfect moment of German deadpanning from Helena Hauff, a musician and DJ not inclined to take things seriously, even as she is treated with reverence by the club world.
In the five years since she started releasing tracks, she has become a figurehead for a noisy, neo-gothic imperative in techno, delivering live and DJ sets of sometimes terrifying strobe-lit intensity that triangulate perfectly between acid house energy and industrial harshness. The almost entirely live jams of her new album, Qualm, are the best attempt yet to bottle that lightning; they are likely to push her into clubland’s big league.
I can’t think of one thing that is new, really new – that isn’t in any way something that's been done before
Continue reading...by Joe Muggs via Electronic music | The Guardian
Ebony Bones: Nephilim review – jittery post-punk seething at racist violence
(1984 Records)
This album of jittery post-punk and sweeping trip-hop is so ambitious, it’s little wonder one-time soap actor Ebony Bones has only made three of them in 10 years. Not only does she write and produce all of the tracks, there is orchestral input from the Beijing Philharmonic and a searing lyric sheet that addresses injustice against black people across the diaspora. It starts ponderously – the four-note theme of the two opening tracks is reminiscent of a Bernard Herrmann or Clint Mansell score, but this basic, undercooked melody is too weak to prop anything up. The true overture is Ghrelin Games, an Army of Me-esque industrial monster; its latent juke energy is teased out further on the even more impressive Kids of Coltan, an interrogation of mineral mining in the DRC.
Continue reading...by Ben Beaumont-Thomas via Electronic music | The Guardian
Thursday, July 19, 2018
Contemporary album of the month: Walton: Black Lotus
The electronic minimalist composer takes apart the sonic signatures of grime music and reassembles them with clockwork precision
The writer Albert Goldman once observed that every dance craze – from ragtime to rumba to rave – tends to go through a similar life cycle. Each starts as slightly scandalous underground scene that is painted as a symptom of decadence and criminality. It then goes overground, reaching out beyond its core demographic. It then fades from the mainstream and starts a gradual process of gentrification, to be curated by ethnomusicologists and rare-groove archivists.
It’s a cycle we’ve seen repeated for more than a century: from tango to techno, from habanera to hip-hop. Weirdly, with grime – a music that’s been a part of the British musical landscape for nearly 20 years – all of these stages are still happening simultaneously. Grime is still scandalous (and parochial) enough to attract massive police attention, mainstream enough to spawn such huge stars as Stormzy and Skepta, yet gentrified enough to attract the attention of highbrow bloggers who’ll archive pirate radio recordings and rhapsodise about grime’s references to gamelan and Steve Reich.
Continue reading...by John Lewis via Electronic music | The Guardian
Tuesday, July 17, 2018
Now for a lampshade solo: how the Radiophonic Workshop built the future of sound
They chased bees, raided junkyards and banged household objects. Now, half a century on, the Radiophonic Workshop are festival material. Meet the sound effect visionaries whose jobs came with a health warning
In 1957, just before the broadcast of a radio show called Private Dreams and Public Nightmares, a warning was sent to BBC engineers. “Don’t attempt to alter anything that sounds strange,” it said. “It’s meant to sound that way.” The BBC was also worried about the public. Donald McWhinnie, the programme’s maker, made an explanatory statement, ending with the cheerful signoff: “One thought does occur – would it not be more illuminating to play the whole thing backwards?”
Radiophonic sound was now in the public domain. A year later, to the bewilderment of many, the BBC dedicated a whole workshop to this avant-garde stuff, even giving it a home in an old ice rink: Maida Vale Studios. Years later, the Queen, shaking hands with the Workshop’s creator, Desmond Briscoe, would confirm its universal success with the words: “Ah yes, Doctor Who.”
A doctor advised that that no one should work there for more than three months – for the sake of their sanity
It was a place where you could bump into Karlheinz Stockhausen and Lulu in the same canteen queue
Continue reading...by Pascal Wyse via Electronic music | The Guardian
Monday, July 16, 2018
How we made: Roni Size on the Mercury-winning album New Forms
‘We just went to the Mercury prize ceremony to scoff all the free food and alcohol. Then Eddie Izzard said: You’ve won!’
I was born Ryan Owen Granville Williams but, because I was lighter-skinned, everyone called me Roni, after the only white character in the film Babylon. I was quite short and if my mates were talking about a girl, they’d say: “Oh, she’s Roni’s size.” So that’s how I came up with the name Roni Size.
Related: Roni Size’s favourite tracks
Continue reading...by Interviews by Dave Simpson via Electronic music | The Guardian
Lovebox review – Childish Gambino leads diverse corrective to Trump visit
Gunnersbury Park, London
While SZA was delayed by the Trump protests, other artists were energised – including Childish Gambino, who scaled up his music to unprecedented size
The Trump visit – and subsequent protests – coinciding with Lovebox affected the festival in more ways than one. Besides SZA’s highly anticipated set being cut after just four songs, reportedly due to a late arrival because of the protests, the political events also inspired an air of resistance. From those donning anti-Trump protest gear to a rhetoric of encouragement among performers, including Childish Gambino who was “proud to see that big balloon”, a resounding optimism permeates Gunnersbury Park. The diversity of talented voices across the weekend, particularly given the festival’s notable US weighting, served as perfect opposition to political uncertainty arising here in the UK and across the Atlantic.
Continue reading...by Natty Kasambala via Electronic music | The Guardian
Sunday, July 15, 2018
Lotic: Power review – gnarly, emotionally powerful electronica
(Tri Angle)
by Kate Hutchinson via Electronic music | The Guardian
Berlin-based electronic artist Lotic is from the school of fractured beat-makers like Arca, Sophie and Elysia Crampton who elude genre and gender boundaries – and whose blunt, mechanistic club creations are not for the faint of heart. According to Lotic, who prefers to use the pronoun “they”, their debut album is less abrasive than previous material, making the unlistenable danceable. Bulletproof’s toppling drums suggest a ninja running across rooftops, while The Warp and the Weft is the gnarliest attack of gabba since DJ Scotch Egg. Hunted, meanwhile, is an intriguing slice of ghostly gospel with sinister whispers of “brown skin, masculine frame/ head’s a target”.
It’s easy to hear why Björk is a fan: Lotic’s baroque shimmer-strings have a similar synthetically sweet quality to Arca’s co-production on her albums Vulnicura and Utopia. And like Vulnicura – as track titles such as Resilience, with its chainsaw-savage groove, and smoky ballad Solace suggest – this is an album about finding inner strength. The result is a fearless and powerful debut.
Continue reading...by Kate Hutchinson via Electronic music | The Guardian
Sophie on Madonna: ‘Her work is so vast – there’s a reference for any situation’
The electronic music producer, DJ and musician on Madonna’s continuing musical influence
• Thurston Moore on Madonna: ‘She had credibility, she was really ahead of the game’
In my mind, Madonna created the blueprint for modern pop stars. Her creativity has gone further, wider and longer than anyone else I can think of; I feel like her songs have been consistently memorable and meaningful. I have loved all of Madonna’s different phases at different points, but I think the Bedtime Stories era [1994] is really intriguing, especially the production – it has a unique feeling. It’s so much more fully formed and sexy than a lot of the trip-hop stuff that was coming out around that time. It’s definitely been an influence on my own music.
Continue reading...by As told to Kathryn Bromwich via Electronic music | The Guardian
Saturday, July 14, 2018
One to Watch: Ross from Friends
Producer Felix Clary Weatherall’s debut album is inspired by his dance music upbringing
by Ammar Kalia via Electronic music | The Guardian
This isn’t a debut music project from David Schwimmer, but the tongue-in-cheek moniker of British record producer Felix Clary Weatherall.
Raised in Colchester, Essex, in a musical household – his father designed electronic and techno sound systems, and met Weatherall’s mother during a tour of Europe in 1990 – Weatherall was drawn to the lo-fi sounds of his father’s analogue tapes and synthesisers, and working in music seemed a natural progression. Having released a number of propulsive dancefloor singles on UK labels Magicwire and Lobster Theremin, he has now graduated to LA beat-maker Flying Lotus’s Brainfeeder labe, and his debut album, Family Portrait, arrives later this month.
Continue reading...by Ammar Kalia via Electronic music | The Guardian
Friday, July 13, 2018
Lotic: Power review – outsider electronics on the dancefloor
Tri-Angle
Houston-born, Berlin-dwelling electronic experimentalist Lotic describes this debut album, which was made sporadically over a period of two years, following a host of mixtapes and EPs since 2011, as “an expansive exploration of the many ways in which power can be expressed and experienced”. And you can feel that power trickle and swell throughout.
You can sense the power of physical movement, most vigorously in the title track, which splices drum beats with something halfway between a video game glitch and a thrash metal sample, plus zings of sound zipping past your head. You also feel it in the power struggle on the playful, creeping Fragility, which teases with warm, disparate chord progressions, cut off before you can find a beat. The sparse, aptly named Love and Light gently sets the listener up to receive the more obviously power-rich tracks such as Hunted, a bass-driven R&B-style track that pairs whispers about “brown skin” with looped wails.
Continue reading...by Kieran Yates via Electronic music | The Guardian
Thursday, July 12, 2018
Techno titan Nina Kraviz: 'People were suspicious of a pretty woman making music'
The Russian producer became techno’s most divisive figure after filming an interview in the bath. Here, she discusses sexism, her ‘emotional’ DJ sets and raving on the Great Wall of China
Musicians are often said to be on top of the world, but rarely are they actually perched on one of its wonders. Way up in the misty hills of Mutianyu, north-east of Beijing, the Siberian DJ and producer Nina Kraviz is soundtracking sunrise at the Great Wall of China. Forty ravers have gathered on an ancient watchtower to dance as dawn breaks, while two replicas of terracotta army soldiers preside over the decks beside her.
A few hours earlier, the authorities had cut short Kraviz’s headline show at a nearby festival, claiming – incorrectly – that it was overrunning. So, this otherworldly afterparty feels subversive. It is being livestreamed on Facebook, which is banned in China, along with most western social media. Wine is passed around as though it is the prohibition era. Kraviz’s metallic sound feels thunderous enough to bring the terracotta warriors to life.
They couldn’t handle me. It was like: ‘It cannot be true that you can have lipstick on and make music’
Continue reading...by Kate Hutchinson via Electronic music | The Guardian
New Signing: Time Grove, spine tingling, underground jazz
We’re very excited to announce a brand new signing to Wah Wah 45s – the forward thinking, melodic jazz meets electronic wizardry of Time Grove.
Guided by acclaimed pianist Nitai Hershkovits alongside one third of Buttering Trio, and newly signed Stones Throw recording artist, Rejoicer, this ensemble of musicians have produced a sound which is both delicate yet powerful; sonorous yet uplifting. The full line-up also features reed player Eyal Talmudi, drummers Roy Chen, Amir Bresler and Sol Monk, keyboard master Bemet, trumpeter Sefi Zisling, and guitarist Yonatan Albalak who have together created some of the most exciting instrumental music we’ve heard for quite a while.
Collaborative Album Series
The project first came to life as a series of releases on the Time Grove Selections imprint, a sub-label of Tel Aviv’s deeply loved, home of alternative-soul Raw Tapes. What began in 2014 when drummer Sol Monk collaborated with Rejoicer on the Beats Not Words album, went on to birth four more “Time Grove” albums. Each one a meeting of a leading jazz musician and the tirelessly creative Stones Throw producer.
The bonding of freestyle jazz with electronic sound and groove was the basis for a new, unique creation. So when Rejoicer approached Wah Wah 45s in mid 2017 with the idea of an ensemble project, bringing all of the artists from the series together for a collaborative album, we jumped at the opportunity.
Pre-order Time Grove RootsJazz Meets Innovative Electronic Production
We could bang on about it for hours, but lets let the two main men explain it for themselves:
‘Writing and compiling together the melodies, lines and harmonies for this album had a pure, natural symbiotic progress. We couldn’t ask for a better variety of people to play with. Being influenced by each other, yet coming from a very different musical background, we managed to find a strong mutual idea of a new sound, in only three days in the studio. This music is a pure reflection of all of us at once. It felt effortless to sit around a piano together and unfolding the next tune, spearheaded with drums and horns to set the exact right scenery we were looking for.’
To get you more familiar with these incredible musicians and the genesis of this project, we have compiled an album featuring some of our favourite pieces from the first five, solo albums.
Time Grove Roots will drop on Wah Wah 45s on Friday 20th July, but you can pre-order it now and instantly receive Nitai Hershkovits’s beautful track, Robin, as a taster. As a little exclusive we’ve also made the opening track by BEMET available for you to hear below.
A Time Grove 7-inch single and the album itself will be unleashed in the autumn, but until then get pre-ordering your copy of Time Grove Roots to get yourselves in the mood for some of this year’s most spine tingling underground music. And if that works for you, let us also recommend you diving deeper into the original five albums over here.
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Readers recommend playlist: your songs about deserts
Tinariwen, Robert Plant, Brand New Heavies and Big Country are among the artists making this week’s reader-curated list
Here is this week’s playlist – songs picked by a reader from hundreds of your suggestions last week. Thanks for taking part. Read more about how our weekly series works at the end of the piece.
Taking a spin in the RR chair is always an educational experience, but last week proved particularly enlightening. As ever, it expanded my musical horizons, but the topic of deserts also highlighted my lifelong ineptitude when it comes to basic global geography.
Related: Tinariwen review – desert blues with soul and prowess
Continue reading...by Scott Blair via Electronic music | The Guardian
Tuesday, July 10, 2018
Dele Sosimi at Campo Sancho Festival on 29/07
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Scrimshire at The White Horse on 20/07
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Scrimshire at The Jazz Café on 13/07
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50 great tracks for July from Drake, Ebony Bones, Low and more
From Nicki Minaj’s sex chat to Blawan’s masterful minimal techno, here are 50 great new tracks from across the musical spectrum. Read about our favourite 10 and subscribe to the playlist
Continue reading...by Ben Beaumont-Thomas and Laura Snapes via Electronic music | The Guardian
Monday, July 9, 2018
Dom Servini – Unherd Radio Show #17 on Soho Radio
Kadhja Bonet – Procession
Natureboy Flako – From The Shadows
Retiree – Pumice Stone
Tropics – Velvet
Keyon Harrold – Wayfaring Traveler feat. Georgia Anne Muldrow, Jermain Holmes & Robert Glasper
Children of Zeus – All On You feat. [KSR] & DRS
Georgia Anne Muldrow – Overload
Geliks – Ultimate Ocean
Thabang Tabane – Nyanda Yeni
Christy Essien – Take Life Easy
Te’Amir – All That You Need feat. Dustin Warren
Tierra de King Coya – Te Digo Wayno
Dorian Concept – Promises
Jonny Drop – The Looking Glass feat. Sarah Williams White (Julien Dyne Remix)
Dauwd – Macadem Therapy (Vakula Remix)
Kanye West – Lift Yourself (G. Markus G-Edit)
S3A – QuickSheitan
Fred Everything – By Day feat. Sio
Moods – Get To Know You feat. Pip Millett
Hagan & Gafacci – Yenko feat. Gafacci
Ntombi Ndaba – Heart Attack
Detroit Swindle – Call Of The Wild feat. Jungle By Night
Madison Washington – Djedet
Bluestaeb – Alright
Chancha Via Circuito – Baru
¡Subelo, Cuba! – Traketeo feat. Luz de Cuba
Blood, Wine or Honey – Orwellian Woman (Medlar Remix)
Barnacles – Hot Night
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Oneohtrix Point Never review – journey to a jaw-dropping sonic dystopia
Barbican, London
Backed by a talented band, electronic visionary Daniel Lopatin creates a surrealist vision of machine vying with man
The big picture, by its nature, is tricky to grasp. In an age of melting ice caps and deadly heatwaves, surprisingly few musicians have tackled the calamity awaiting us. But through his increasingly unclassifiable albums, American electronic musician Daniel Lopatin – AKA Oneohtrix Point Never – has been edging towards the precipice for a closer look. His latest, Age Of, is a dizzying synthesis of the concepts he has been toying with since his 2013 album R Plus Seven: high-definition computer music, abstract in shape yet piercingly emotional. Age Of, according to Lopatin, is imagined as the sentimental musings of some advanced artificial intelligence looking back on the follies of humanity. The album evolved from a “concertscape” called Myriad, which Lopatin brings to London on a sticky summer night.
The multimedia performance is set against a backdrop of Nate Boyce’s grotesque CGI visuals and hanging sculptures, which loom like aborted HR Giger monsters. Lopatin is flanked by pianist Kelly Moran, drummer and percussionist Eli Keszler, and Aaron David Ross, who plays an array of cinematic synths and special effects They pull off a jaw-dropping performance: a faithful yet fluid rendition of an album that, on record, seems laden with computer-assisted compositional quirks no human could master.
Related: Oneohtrix Point Never: Age Of review – a subversion of expectations
Continue reading...by Chal Ravens via Electronic music | The Guardian
Sunday, July 8, 2018
RP Boo: I’ll Tell You What! review – packs a triple-speed punch
(Planet Mu)
RP Boo is dubbed “the unsung godfather” of footwork, the hyperfast ghetto-house mutation and dance style that’s been quickening Chicago’s step since the early 90s. But though the scene came to wider attention a decade ago, Boo is only now making his debut studio album. As he ad libs on opener No Body: “I’ll get the turntables, you get the floor”. His battle tracks are still written with dancers in mind, combining frenetic polyrhythms, spartan, skittering drums, shadowy paranoia and dense tapestries of samples.
It’s an album designed to destroy pacemakers, but the most interesting tracks tend to slow down the tempo. Earth’s Battle Dance has a beat that feels ritualistic, like it’s trying to conjure spirits, before dropping into laidback soul. Back from the Future sounds like a bleak sex jam; and U-Don’t No provides a contemplative moment of melancholy. I’ll Tell You What! doesn’t have quite the same crossover potential as Jlin, whose Black Origami album on Planet Mu topped almost every best electronic album list last year. But it’s a definitive statement of a sound that has staying power – and packs a triple-speed punch.
Continue reading...by Kate Hutchinson via Electronic music | The Guardian
Friday, July 6, 2018
RP Boo: I'll Tell You What! review – footwork original steps it up
Planet Mu
Chicago footwork pioneer RP Boo bought his first Roland R70 drum machine in the late-90s from the window of a budget equipment store. With no instruction manual, he didn’t know how to stretch out the bars, so worked exclusively in a one-bar pattern – formulating his frantic, multi-layered sound, crushing hyped-up dance floor commands into percussive rhythms and rumbling low end. Years later, after playing on a different R70, he didn’t recognise the sounds and had a revelation – the presets on his own had been mangled by everyone who tested out the model in-store. Imbued with the trials and errors of fellow Chicago drum machine enthusiasts, his sound was unique from the off.
RP Boo’s third album for the Planet Mu label, I’ll Tell You What!, sees this originality in full force: teasing out soulful vocal melodies (executed brilliantly on closing track Deep Sole, reminiscent of the late, great DJ Rashad) into skeletal, high-impact beats; skittering between paranoia and euphoria with rapid flicks of the wrist, and directing footwork dance battles on At War: “We are at war in the street, watch and witness!” RP Boo’s skill extends to feeding genuine personality into his tracks. U-Don’t No, a highlight, was made in the days following the death of his mother. If there’s one word to describe RP Boo’s revolutionary sound, it’s “legit”.
Continue reading...by Lauren Martin via Electronic music | The Guardian
Thursday, July 5, 2018
Dom Servini at The Jazz Café on 17/08
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Dom Servini at The Jazz Café on 10/08
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Dom Servini at The Jazz Cafe on 20/07
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