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Friday, November 30, 2018

Clean Bandit: What Is Love? review – underwhelming chart catnip

(Atlantic)

Clean Bandit began with an undeniable aura of nerdiness. They met at Cambridge, where two members of the original lineup led a string quartet; their first hit was called Mozart’s House and merged the composer’s work with a squelchy dance beat. However, the studious trio soon garnered a reputation for being boffins of a different variety: as the Top 10 hits and online streams racked up (to date: nine and 4bn, respectively), it became clear they had masterminded a failsafe formula for churning out chart catnip.

In fact, these pop poindexters are so adept at producing standalone hits that releasing an album feels like a formality. This second album has already spawned five singles, including three No 1s. Still, hearing these songs side by side does helpfully expose some of Clean Bandit’s methods. While their 2014 debut, New Eyes, was built around pop-house and string-section flourishes, What Is Love? draws opportunistically on more recent chart trends, namely Latin pop and diluted dancehall. It also sees the band continue their teamwork-based approach to music-making. Each track sports at least one starry guest, be it Demi Lovato or Craig David – something that happens to be a reliable indicator of chart success (collaborations make up around one-third of hit songs).

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by Rachel Aroesti via Electronic music | The Guardian

Tuesday, November 27, 2018

Wah Wah Radio – November 2018

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Georgia Anne Muldrow – Bobbie’s Dittie
Chip Wickham – (Soul) Rebel 23 (Reginald Omas Mamode IV Remix)

Tenderlonious – Broken TOM
NameBrandSound – Bebop
Paper Tiger – The Cycle
Modified Man – Hear Me Calling
Elsa Hewitt – Invisible Threads
Ambiance – Turnaround
Mental Abstrato – Samambaia Rainha ft. Claudya
Insólito UniVerso – Lloviendo en Guatire

Soothsayers – Watching The Stars (Lagartijeando Remix)

Jonny Drop – Among The Stars

Sade – Kiss of Life (Kaytranada Remix)

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Monday, November 26, 2018

Dom Servini – Netil Radio Show #10

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London Jazz Festival Special!

Randy Masters feat. Solar Plexus – Children of Bahia (EMI)
Creative Arts Ensemble – Flashback of Time (Outernational Sounds)
Medasi – Children (Rise Records)
Belair – Samba for a Cold Warrior (Belby Wetterman)
Billy Bang Sextet – Abuella (Soul Note)
Stan Clarke – Unexpected Days (Polydor)
Ntu with Gary Bartz – Singerella (Prestige)
Mr. Circle – Thi Nam (Stockfisch)
Gustav Brom – Calling Up The Rain (Opus)
Maisha – UK – Eaglehurst / The Palace (Brownswood)
Dick Griffin – Now Is The Time (Trident)
Stone Alliance – Sweetie-Pie (P.M. Records Inc.)
Web Web – Sandia (Compost Records)
Duke Pearson – The Phantom (Blue Note)
Yusef Lateef – Back Home (Atlantic)
The Andrzej Trzaskowski Sextet feat. Ted Curson – Wariacja na Temat “Oj, Tam u Boru” (Muza)
J. J. Johnson – Sometimes I Feel Like a Motherless Child (Columbia)

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Sunday, November 25, 2018

Jónsi: Frakkur 2000-2004 review – playful, engaging solo works

(Krúnk)

Bowed guitar to the fore, Jónsi Birgisson is one of the lodestones of 21st-century art rock. With Sigur Rós becalmed again (their last album was in 2013), and his other projects – Riceboy Sleeps and Jónsi solo – on mute, the Icelandic musician has corralled some previously unreleased electronic solo pieces under the name Frakkur. Some of these are loose on the internet in grainier form; a handful came out in a very short vinyl run last Christmas.

Dating from the early 2000s, these often engaging tracks take the form of amorphous ambient glides and playful digital sketches, each album corresponding to a different set-up of gear, locale, time and theme. The earliest tracks – SFTLB 1-9 – riff hard on innocence, while TB 1-8 find Jónsi sampling junk-shop toys into clubbier fare before a sonorous unease takes hold.

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by Kitty Empire via Electronic music | The Guardian

Afro Celt Sound System: Flight review – unflagging spirit and invention

(ECC)

On a visit to Senegal in 1991, the London-born producer-guitarist Simon Emmerson was struck by an odd but compelling notion that the folk traditions of west Africa and western Europe were entwined. Since 1995, his Afro Celt Sound System has been a changeling entity, while cleaving to Emmerson’s utopian concept of a griot-druid fusion. This eighth and arguably most accomplished album pares back the electronica of previous incarnations for a more organic approach that captures the exhilaration of their live shows. Much of it lopes along on Afro-house rhythms, augmented by Johnny Kalsi’s dhol drums, while voices and instruments morph effortlessly, at times startlingly, between African gospel and Celtic ballad, rippling kora and haunting uilleann pipes.

Some of Flight’s best moments are nonetheless its most restrained. Its central theme, migration, finds resolution on the poignant Night Crossing, while the opening Lament for MacLean is a stirring a cappella performance in Gaelic by hip-hop crofter Griogair Labhruidh. There is also a version of Sanctus (the African mass featured in Lindsay Anderson’s If…) by the Amani choir whose stately opening slides into thumping celebration. At 75 minutes, Flight is a long haul, but its spirit and invention are unflagging and uplifting.

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by Neil Spencer via Electronic music | The Guardian

Friday, November 23, 2018

Vessel: Queen of Golden Dogs review – a gloriously weird electro-odyssey

(TriAngle)

The Bristolian musician Sebastian Gainsborough made his name with a strain of dance music that’s not really designed for the dancefloor. His expansive, ambitious post-club compositions have drawn on everything from dubstep to post-punk in pursuit of an intelligent and often slightly contrarian sound. His third album takes the template a step further, combining classical instrumentation with the clanging dissonance and glitchy, unnatural tempos of the internet age. The result is a record that feels pretentious – but in a good way: carefully considered and aiming towards something more philosophical than your average electro-odyssey.

Made in rural Wales over an 18-month period, Gainsborough took inspiration from a romance with a violinist, and strings of varying levels of loveliness litter the album accordingly. But it isn’t only his partner to whom he pays tribute – the majority of songs are dedicated to various muses. Torno-me eles e nau-e (For Remedios) – a mass of dour chanting that evolves into sugary vocal harmonies – is a tribute to the Spanish surrealist painter Remedios Varo; the florid techno epic Argo (For Maggie) is named after novelist Maggie Nelson.

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by Rachel Aroesti via Electronic music | The Guardian

My Brightest Diamond: A Million and One review – chilly art pop that grasps for greatness

(Rhyme & Reason Records)

The turn towards electronic music that Shara Nova took on the 2014 album This Is My Hand continues on her fifth full-length album as My Brightest Diamond. It is not really an album for the clubs, though, despite the title of the opening track, That’s Me on the Dance Floor. (The presence of chicken-scratch guitar does not a Chic record make.) Instead, Nova once again offers art pop that is best when it’s less concerned with the art than the pop. For instance, on the gorgeously sad Another Chance, the claimed influence of Anita Baker comes through in a ballad that combines regret and hope.

But there’s surely a reason why Nova has worked with so many fantastic artists – Laurie Anderson, David Byrne, Sufjan Stevens and the Decemberists among them – without exactly establishing herself at their level.

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by Michael Hann via Electronic music | The Guardian

Wednesday, November 21, 2018

BNE: the Indonesian slum parties fighting for the underground

In Bandung, Indonesia, music is often suppressed by local authorities – but one series of shows is defying the restrictions with breakcore and folk-punk

‘Music in Indonesia cannot be severed from political domination and power,” says Kimung from his understated office in a residential area of Bandung, West Java. The mononymous music historian and stalwart of the underground music scene in Bandung pores through decades of DIY magazines and articles as he explains the tricky relationship between the city, provincial and national government forces in the west of this vast country, and the musicians who play here.

While Jakarta is dominated by skyscrapers, shopping malls and traffic jams, Bandung offers a more humble existence, where music and the arts infuse all facets of life – from the army barracks that have been turned into artist studios through to the violinist playing to drivers at traffic lights.

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by Gareth Main via Electronic music | The Guardian

Tuesday, November 20, 2018

Dom Servini – Unherd Radio Show #22 on Soho Radio

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Maisha – Osiris
The Midnight Hour – Possibilities feat. Eryn Allen Kane
Georgia Anne Muldrow – Vital Transformation
Apollo Brown & Joell Ortiz – Come Back Home
Lost Twin – Butterfly Lake
O.Love – I Gotta Know
The Diabolical Liberties – Grief is a Thing with Feathers
Yoruba Singers – Frustration
Mental Abstrato – Suco de Acerola (Tribute to J Dilla)
2fox – Lonzania
Blood Wine or Honey – Brilliant Pebbles
EABS & Tenderlonious – Kraska
Thundercat – King of the Hill feat. BADBADNOTGOOD
Laneous – Modern Romance
Sonnymoon – Ideas
Jonny Drop – Flash Light feat. Grace Walker (Aeshim Remix)
Neue Grafik – I Miss Something (NameBrandSound Remix)
Paper Tiger – The Cycle feat. Steve Spacek (Shy One Remix)
Blair French – Standing Still is an Illusion (Aroop Roy Remix)
Waajeed – I Ain’t Safe feat. Ideeyah
Mutenoise – Midnight (Ashley Beedle North Street Remix)
Jackson Almond – As I Look at You (Original Mix)
DJ Center & Sly5thAve – Paradise feat. Thalma de Freitas
Chip Wickham – Snake Eyes (Ishmael Ensemble Remix)
Soothsayers – Watching The Stars (Lagartijeando Remix)
Swindle – Coming Home feat. Kojey Radical

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Monday, November 19, 2018

Groove Armada: how we made At the River

It was the chill-out classic that beguiled the 90s – and it all started in a 50p bargain bin in Ambleside

A schoolfriend suggested Andy and I meet, so he came up to my attic in my parents’ house. I was lying on a beanbag and a bit stoned when he walked in, all 6ft 8 of him. The ceiling was low anyway, so I thought I was hallucinating, but we clicked. After we left university we DJ-ed together for a little club night in London, called Captain Sensual at the Helm of the Groove Armada.

While we were recording, news of Princess Diana’s death came on the radio. Maybe that added to the melancholy feel

Groove Armada’s 21st anniversary tour starts at the Marble Factory, Bristol, on 29 November, and continues until 2 December.

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by Interviews by Dave Simpson via Electronic music | The Guardian

Saturday, November 17, 2018

One to watch: Farai

This rising London duo will be warmly received by the ranks of the disaffected

“Theresa May, do you know how it feels to count days and hours till payday?” So goes London duo Farai’s single This Is England, a foreboding, state-of-the-nation address that berates the “toffs” over a minimal drum kick and scathing static – skeletal post-punk with the confrontational freeform intoning of a beat poet. It probably isn’t the kind of stuff that’ll get to No 1, but their bleak punctuation of Brexit Britain updates post-punk for millennial malaise.

Farai are Farai Bukowski-Bouquet and Tony “Tone” Harewood, whose origin story couldn’t be any more east London if you served it open on a brioche bun. She was a jazz singer and part of Shop Floor Sessions, a collective of musicians and poets who squatted a shop where they hosted jam nights. He was a musician in various indie-pop bands, until they met up at Dalston’s Gillett Square and spent the night recording at Harewood’s home studio.

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by Kate Hutchinson via Electronic music | The Guardian

Tuesday, November 13, 2018

Dom Servini & Scrimshire at Bussey Building on 19/01

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Dom Servini & Scrimshire at Bussey Building on 19/01

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Dom Servini at The Jazz Cafe on 11/01

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Dom Servini at Bussey Building on 05/01

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Dom Servini at The Jazz Café on 14/12

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Dom Servini at The Jazz Café on 07/12

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Dom Servini at Giant Robot on 15/11

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Honeyfeet at The Royal Exchange Theatre on 17/02

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The month's best mixes: Lil Mofo, Loka Salviatek and Kenya's brilliant Slikback

A concert for fireworks from Vasco Alves and co, Mama Snake and Solid Blake live at the Dekmantel festival and the latest Errorsmith mix

High-octane junglist stress relievers, anti-colonial war drums and exhilarating new club sounds from central and east Africa all feature among November’s best mixes – plus curios including a composition written for a signal-flare performance.

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

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by Tayyab Amin via Electronic music | The Guardian

Monday, November 5, 2018

50 great tracks for November from Sheck Wes, Ider, Architects and more

Deerhunter return, Bruce delivers the techno track of the year and Pistol Annies brilliantly sketch a loveless marriage – read about 10 of our favourite songs of the month, and subscribe to the 50-track playlist

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by Ben Beaumont-Thomas and Laura Snapes via Electronic music | The Guardian

Molly Nilsson: the synthpop star embracing hope and loneliness

With her utopian outlook and determination to find magic in the everyday, the fiercely independent Swede swims against the tide

When synthpop singer Molly Nilsson plays live, she takes a CD of her instrumentals, hits play, then sings along with them in a glorious kind of self-karaoke. There’s no band, no instruments, just a woman singing about love, ennui and Milton Friedman. “If people are provoked by seeing a person on stage singing, that’s good,” she audibly shrugs down the line from her home in Berlin. “I think it’s punk. It’s not about skill, it’s the fact that you are human, on a stage where everything is focused on you and your expression. And that has all the value in the world.”

Her stark, mesmerising stage show is a neat visual representation of Nilsson Industries: she is a completely one-woman outfit, producing and performing all her music solo, booking her own tours, and releasing her own albums (this last task admittedly in tandem with indie Glasgow label Night School Records). Her debut came in 2008, and a decade later – following her masterpiece Imaginations, one of the best records of last year – she’s just released her eighth, the similarly excellent Twenty Twenty. Is 10 years a long time to spend by oneself? “I know that a lot of people are afraid of loneliness, and I don’t understand, because it’s nothing,” she says. “When you genuinely feel lonely, you can look at the situation and say: What if I just turn this around, and this is nice? And what if I’m just there for myself instead?”

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Friday, November 2, 2018

20 best Australian tracks for November, featuring Middle Kids, Parcels, Hatchie and others

In our new monthly spot, we feature 20 new and unmissable songs. Read about 10 of our favourites below – and subscribe to our Spotify playlists

Related: Cash Savage casts an all-man choir: ‘I hoped it would drive home the words’

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by by Nathan Jolly; playlist by Guardian Australia via Electronic music | The Guardian

Glenn Copeland: the trans musical visionary finding an audience at 74

He worked for years on kids’ TV shows like Sesame Street while making ambient masterpieces in obscurity. Now Copeland is finally getting his dues – and finding comfort in his identity

“I was told when I was young that I would not be successful until I was very old,” Glenn Copeland says over Skype from his home studio in New Brunswick, Canada. Now 74, he released seven albums over the course of his career, mostly unknown at the time of release. But as was apparently predicted by the seers and prophets Copeland sought out as a young man, the audience he was searching for has finally found him.

To work ceaselessly without seeing your creativity appreciated, is a feeling that has driven many artists to the brink of madness. Copeland sees his time out of the limelight differently. “I was busy creating, that was the fundamental thing for me. Now the universe is saying: ‘This music we’ve been sending you, now is the time for it to be heard.’” His speech is measured and perfectly enunciated, every sentence delivered with a beaming smile.

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by Maya-Roisin Slater via Electronic music | The Guardian

The Prodigy: No Tourists review – music for the jaded generation

Take Me to the Hospital/BMG

Few bands captured the early-1990s zeitgeist as effectively as the Prodigy. Outdoor raves – notably the huge Castlemorton Common festival in 1992 – were seen as a such a threat to public order that John Major’s Conservative government brought in the Criminal Justice and Public Order Act in 1994, to outlaw gatherings of people dancing to “repetitive beats”. Although this could technically mean anything from Orbital to Morris dancers, Prodigy tracks such as Their Law soundtracked the music community’s fightback. As dance music shifted indoors and into the mainstream, 1994’s double platinum Music for the Jilted Generation defined an era.

Some 24 years on, producer Liam Howlett and dancers-turned-MCs Maxim Reality and Keith Flint don’t greatly deviate from a formula that has served them (albeit with slightly diminishing returns) ever since. Synths stab all over the place. Sub-bass rumbles like an earthquake, and Light Up the Sky’s electronic riffs rock like AC/DC. The two vocalists yell over the racket – but not often enough, bar an occasional “Shut your motherfuckin’ face” or the title track’s “No tourists, nothing to see”.

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by Dave Simpson via Electronic music | The Guardian
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