Dom Servini – Netil Radio Show #9

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Time Grove – TG Theme

Richie Phoe – Thriller

Portable Patrol – Cop Bop (Serge Gamesbourg Edit)

Match – Boogie Man (Scrimshire Edit)

Jun Kamoda – Nightmare Club

Bobby Boyd – Rock On (Bob Blank Edit)

Little Dragon – Lover Chanting

SunPalace – Somebody’s Watching

Hot Blood – Blackmail (Alkalino Edit)

N’Draman Blintch – Cosmic Sounds

Screamin’ Jay Hawkins – I Put a Spell on You (Jeremy Sole’s Zombie Stomp Remix)

Horseman – Dawn of the Dread

Homeboy Sandman & Edan – Grim Seasons

Connie Kim – Túp Lu Ly Tng

The Mauskovic Dance Band – Things To Do

Murder He Wrote – All I Ever Needed

Paper Tiger – An Ancient Secret

Hazards of Prophecy – Minnie & Marcos

Daniel Crawford – Telepathy Feat. Maimouna Youssef & Kaidi Tatham

Mammal Hands – Becoming

Hot 8 Brass Band – Ghost Town

Grupo Magnético – Vampiras

La Mecanica Popular – Montame En La Tormenta

Time Grove – Sir Blunt

Bobby Hebb – Evil Woman

4th Coming – The Dead Don’t Die Alive

Roland Kirk – Freaks for The Festival

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Wah Wah Radio – October 2018

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Paper Tiger – An Ancient Secret
Lonely C – Make America Dub Again
Victoria Chomeka – Ochieng DJ Komoro
Mauskovic Dance Band – Things to Do
Solomon Gundy Band – Wadada
Boubacar Samaké & Tilébi’s Band – Bamanayake
Time Grove – Roy The King
The Expansions – Mosaic
Mokili Mokambo –  Adundi
Daniel Crawford – Revolution
Darshan Jesrani – Take Me
Hildah Namakhosazana – Ngiyakhumbula
De Gama – Cosmic Safari
Insolito Universo – Transmutada

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Julia Holter: Aviary review – sonic beauty and brains in a 90-minute epic

(Domino)

To say that Julia Holter’s fifth album is dense and difficult is an understatement – in an ideal world, Aviary would come with its own dedicated edition of York Notes. Laden with literary references, Latin text and lyrics that strain under the weight of impressionistic meaning, it’s a record that is difficult to parse but easy to admire. On her previous album, 2015’s Have You In My Wilderness, Holter proved she could squish her avant-garde sensibilities into soaring pop songs. This time, the Los Angeles-based musician has loosened the reins, creating a collection of tracks that are rich, expansive and only occasionally maddeningly obtuse.

Holter has said that it was her intention to use Aviary to meditate on the current chaos of the world, something that’s clear from the off – opener Turn the Light On resembles The Scream in musical form. Over the crash and screech of a malfunctioning orchestra, Holter wails flatly, her voice alternating between a foghorn bellow and a sheep-like vibrato. There is a track called Everyday Is an Emergency, which begins with amusingly dissonant bagpipes that morph into the sound of an alarm, and numerous allusions to war – both ancient and contemporary. Despite its concern with modern malaise, Aviary sonically harks back to the medieval via chants, references to Occitan troubadour songs and brass fanfares – but it’s also in possession of a more romantic kind of nostalgia, thanks to a heavenly string section that cushions the more abrasive sounds.

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by Rachel Aroesti via Electronic music | The Guardian

DOM SERVINI’S ALLO LOVE TEN :: OCTOBER 2018

1. Chaka Khan – I Know You I Live You (Bugz In The Attic Remix) (White 12)
2. Modified Man – Blame’s On You Bruv (Albert’s Favourites Promo DL)
3. Andre Tanker – River Come Down (Jamwax 12)
4. Vadoo Game – Tata Fatiguee (Hot Casa 7)
5. Sidiku Buari – Advice From Father (Be With 12)
6. Swindle – Reach The Stars feat. Andrew Ashong (Brownswood Promo DL)
7. Trio Ternura – A Gira (Melodies International 7)
8. Aeshim – Hot Scissors (Albert’s Favourites Promo DL)
9. Noname – Room 25 (Noname Promo DL)
10. Abstract Orchestra – Madvillain Vol.1 (ATA Promo DL)

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Dom Servini – Unherd Radio Show #21 on Soho Radio

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Space Invadas – Now That I Know

Swindle – Reach For The Stars feat. Andrew Ashong

Abstract Orchestra – Fancy Clown

Shadow Republik – Time & Space

Moods – Slow Down feat. Damon Trueitt

Ensemble Etendu – Peel Back

Winston McAnuff & Fixi – One Note feat. Pongo

Pat Kalla & Le Super Mojo – African Disco

Brandon Coleman – Addiction feat. Sheera

Anderson.Paak – Tints feat. Kendrick Lamar

Nubiyan Twist – Tell It Tom Me Softly (Radio Edit) feat. Nick Richards

The Expansions – Mosaic (Radio Edit)

Fatima – Waltz

Troublemakers – All We Love

Leatherette – Oh Lord

The Patchouli Brothers – Can’t Stop Christy

CN Williams – Mr Bump Man (Original Mix)

Kofi Magnetic – I Want You

Modified Man – Blame’s On You Bruv

Leatherette – Bracon

Claude – All Right

Folamour – I Know It Has Been Done Before

Sampology – Ricardo

Auntie Flo – Nobody Said It Would Be Easy

Time Grove – Roy The King

Jerry Paper – Grey Area

Gecko Turner – Pal Peru

Soothsayers – Watching The Stars (Lagartijeando Remix)

BADBADNOTGOOD & Little Dragon – Tried

Daniel Crawford – Telepathy feat. Maimouna Youssef & Kaidi Taitham

Time Grove – Latrun

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Dom Servini guests with Tim Garcia on Jazz FM

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Featuring a very special mix…

Dom Servini – Exclusive Mix for Jazz FM

Officialkankick – Intro

Wilkes – Welcome

Itiberê Orquestra Familia – Muito Natural

Elvis Phng – Loan Mt Nhung

Untitled forthcoming Wah Wah 45s release

Altin Gün – Seker Oglan

Ensemble Entendu – Peel Back

SunPalace – If You Wanna Be A Beggar

Test – Sam Sobie Żeglarzem (Lonesome Sailor)

Jun Makoda – Nightmare Club

Winston Mcanuff and Fixi – One Note feat. Pongo

Aunite Flo – Havana Rhythm Dance feat. Andrew Ashong

Paper Tiger – Time Travels (forthcoming on Wah Wah 45s)

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Do androids dream of electric beats? How AI is changing music for good

Breakthroughs in artificial intelligence make music composition easier than ever – because a machine is doing half the work. Could computers soon go it alone?

The first testing sessions for SampleRNN – an artificially intelligent software developed by computer scientist duo CJ Carr and Zach Zukowski, AKA Dadabots – sounded more like a screamo gig than a machine-learning experiment. Carr and Zukowski hoped their program could generate full-length black metal and math rock albums by feeding it small chunks of sound. The first trial consisted of encoding and entering in a few Nirvana a cappellas. “When it produced its first output,” Carr tells me over email, “I was expecting to hear silence or noise because of an error we made, or else some semblance of singing. But no. The first thing it did was scream about Jesus. We looked at each other like, ‘What the fuck?’” But while the platform could convert Cobain’s grizzled pining into bizarre testimonies to the goodness of the Lord, it couldn’t keep a steady rhythm, much less create a coherent song.

Artificial intelligence is already used in music by streaming services such as Spotify, which scan what we listen to so they can better recommend what we might enjoy next. But AI is increasingly being asked to compose music itself – and this is the problem confronting many more computer scientists besides Dadabots.

If you have a barrier to entry, you hack your way into figuring it out

Related: Are Spotify's 'fake artists' any good?

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by Tirhakah Love via Electronic music | The Guardian

Stanley Glasser obituary

My friend and former colleague, the composer and academic Stanley Glasser, who has died aged 92, was head of music at Goldsmiths College, London, for more than 20 years, and forged one of the most forward-thinking university music departments. Its electronic music studio, which he helped to establish, bears his name. He believed that contemporary music, composition and ethnomusicology all had vital contributions to make to modern university teaching and research.

As a composer, Stanley was prolific in many fields, and pioneering in some of them. He was, it is said, the first South African to compose electronic music. His deep love of African music vaulted the colour barrier that was in place in his home country for more than 40 years. His output included concert music, incidental, commercial and educational music, and even a comic opera.

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by Keith Potter via Electronic music | The Guardian

Techno workaholic Marie Davidson: 'I'm a total maniac who is very hard on myself'

The French-Canadian producer’s new album turns her disenchantment with clubbing into hard-won creative autonomy – with wit and a kick drum

In Marie Davidson’s nightmares, she’s always darting between spaces. The French-Canadian performer spent the better part of last year touring and the staircases, parking lots, corridors and succession of people filtering through her subconscious are telling. “I find myself in a place, not wanting to be there, knowing that I have to be in another,” she says of her dreams. She is a rueful, self-described workaholic, travelling from one club, transport interchange or professional milestone to another. Pursuit, in its various forms, runs through Davidson’s life.

Long before her transformation into a self-trained electronic musician, known for droll spoken vocals and tough hardware, she was playing guitar, violin, and keyboards in Montreal’s experimental DIY scene. She frequented parties as a wide-eyed teenager with an affinity for 90s hip-hop and R&B. By her 20s, her relationship with club culture – now with a taste for techno and Italo disco – matured into the dynamic she critiqued on her 2016 album Adieux au Dancefloor and continues to rebuff on her new album Working Class Woman, where industrial batterie and bleak introspection is lightened by wit and a forthright kick drum.

Related: Marie Davidson: Working Class Woman review – tormented techno subverted by humour

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by Whitney Wei via Electronic music | The Guardian

Warung: the Brazilian paradise that had to fight for the right to party

For its first 10 years, this remote mecca for house music battled nature and its neighbours to keep its doors open. Now it is bringing its distinct sound to Europe

• More from the series: Клуб – the St Petersburg rail factory that became a visionary nightclub

No matter who is behind the decks come 7am, Warung Beach Club always has the same headline act. The main room of the 2,500-capacity temple to dance music on the Brazilian coast faces east towards the south Atlantic, which means God herself does the lighting. “When the sun comes up, it’s magical,” says club founder Gustavo Conti, standing on a terrace overlooking the beach. “That’s because nature is magical, and we’re here in it.”

The club, in the southern state of Santa Catarina, emerges from the Atlantic forest where the land meets the sea, enclosed by vegetation on all sides and built from wood, like a particularly ambitious treehouse. Next month, Warung celebrates its 16th anniversary. DJ Lee Burridge has been coming to play here for almost that long. “It’s one of those endlessly wonderful places that you never want to leave,” he says. “Where it is and what it’s built from give the sound a really warm resonance. Inside you can be hit over the head with a shovel musically, and outside you can be cuddled musically. There’s also a lot of beautiful, beautiful people dancing their asses off.”

For the first 10 years, we never knew each month whether we’d be able to open the next month

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by Kevin EG Perry via Electronic music | The Guardian

Jean-Michel Jarre: how we made Oxygène

‘Hi-fi shops played it as an example of state-of-the-art music. I didn’t tell them I made it with Sellotape in my kitchen’

I played in rock bands as a teenager and would use a tape machine my grandfather gave me to get processed sounds out of my guitar. During the French student uprisings of 1968, this felt like a way of being rebellious. I loved it when people said: “What is this crap?” But by the mid-70s, I wanted to bridge the gap between experimental music and pop.

The Planet Jarre: 50 Years of Music box set is out now on Sony. Jean-Michel Jarre’s new album, Equinoxe Infinity, is released on 16 November.

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by Interviews by Dave Simpson via Electronic music | The Guardian

No Bounds festival – DJs in thrall to sound of subversion

Various venues, Sheffield
From ear-bleed techno to wall-wobbling beats, No Bounds’ roster moved electronic music way beyond the dancefloor

Now in its second year, No Bounds has established itself as a powerful new entry in the UK’s electronic music calendar. Set in Sheffield, a city long synonymous with pioneering electronic sounds, No Bounds has created an outlet to carry that tradition forwards. Spread over three days, local promoters Algorave and Off Me Nut take over the opening night to offer up wonky basslines, stomping techno and rapid-fire drum’n’bass. However, it’s the crammed Saturday when the festival truly comes alive. During the day there are DJ workshops, build-your-own-synth sessions, algorithmic drum circles, and South Yorkshire’s own radical artist Mark Fell curates a stage.

The leading troll of experimental electronic music Twitter, Wanda Group, plays an enveloping mid-afternoon set filled with drones, cracks, bleeps, moans and drips. It pulsates like intensified environmental noise and harsh ambiance, resembling the creaking sounds of an abandoned rave house. Similarly disturbing is Theo Burt’s set of distorted pop music videos accompanied by noises that sound like dropping bombs. The room judders with such ferocity that confetti ribbons lodged in the ceiling from long-ago weddings rain down amid the gut-quivering terror.

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by Daniel Dylan Wray via Electronic music | The Guardian

Matthew Dear: Bunny review – eclectic post-punk via heavy electronics

(Ghostly International)

Matthew Dear doesn’t call himself King Chameleon lightly. The Texan-born producer, DJ, sometime University of Michigan lecturer and leftfield electronic artist has spent almost 20 years operating under a range of pseudonyms – Audion, Jabberjaw and False – and rifling through genres like a sock drawer. The fifth album under his own name is no different, but mostly he channels an eclectic range of loosely post-punk-era styles into heavy electronics. Cranium-shattering dub, Nitzer Ebb’s electronic body music, Wire’s angular tunefulness and the Pop Group’s depth-charges of dub and punk are hurled into the mix. The driving Electricity has a hint of the bassline from Elvis Costello’s Pump It Up, while superb opener Bunny’s Dream recalls prime Durutti Column’s fragile beauty, the haunting riff and fizzing drum patterns conjuring up a mesmeric atmosphere that is obliterated by the sub-bass.

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by Dave Simpson via Electronic music | The Guardian

The month's best mixes: Sarah Davachi, Octo Octa and hippy workouts

Love-drunk disco from Josey Rebelle, sassy funk from Amsterdam, prog rock, lonely pop and even Mariah Carey feature among techno beats and polyrhythms...

September’s selection of the world’s best mixes features artists in dialogue with their younger selves, low-slung dub chuggers, an emerging new Chicago name and gleeful Dutch soul-house.

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by Lauren Martin via Electronic music | The Guardian

Giorgio Moroder announces first ever live tour at 78

The synthpop pioneer behind I Feel Love will play four UK dates in April

After a long career in which he revolutionised the world of pop, Italian producer Giorgio Moroder is, at 78, embarking on his first live tour.

He will play across Europe, including four dates in the UK in Birmingham, London, Glasgow and Manchester from 1-5 April 2019, performing on piano, vocoder and synths alongside a live band and vocalists. Tickets will go on sale on Friday, 12 October at 9am on the website Live Nation.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Marie Davidson: Working Class Woman review – tormented techno subverted by humour

(Ninja Tune)

As anyone who sat through The Handmaid’s Tale knows, dystopian art can become self-inflicted punishment. There has been plenty of grindingly bleak music released recently, much of it impressively hostile if not exactly the stuff of repeat listens. Two recent albums have demonstrated how to reflect contemporary horror more effectively: Low’s Double Negative tempers terror with empathy, while Québécois producer Marie Davidson’s fourth solo album uses the blackest humour to subvert her nasty, tormented techno with a pointed clubbing critique.

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by Laura Snapes via Electronic music | The Guardian

Ryoji Ikeda review – techno data storm assaults the senses

Barbican, London
The Japanese composer and visual artist’s polyrhythmic techno confronts our digital dystopia

Ryoji Ikeda has waited patiently for the future to catch up with him. Since his 2005 album Dataplex, the Japanese composer and visual artist has explored the dazzlement and darkness of our digital age in electronic works that are partly generated by algorithms and blur the border between music and maths.

Performing behind a wall of intense 3D light patterns, his hour-long composition Datamatics [ver 2.0] – reworked from a piece that debuted shortly after Dataplex – packs an even heavier punch in 2018 than on its first unveiling in 2008.

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by Al Horner via Electronic music | The Guardian

50 great tracks for October from Noname, Julia Holter, Objekt and more

From Behemoth’s satanic metal to a triumphant return from Lana Del Rey, here are the tracks you need this month – read about our 10 favourites, and subscribe to all 50 in our playlists

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by Ben Beaumont-Thomas via Electronic music | The Guardian