Musique Non Stop: January 2019

Thursday, January 31, 2019

'I hope Kanye samples it': the day centre with its own recording studio

Learning-disabled people at the Daylight centre are exploring their creativity by releasing their own songs

Guardian Jobs: see the latest vacancies in social care

It’s 11am on Friday morning and there are some weird and wonderful psychedelic sounds emanating from a small, makeshift music studio in north London. Inside, Patricia Angol is playing the xylophone, Mui Tang is touching a Kaoss Pad – an audio effects unit – and Fathima Maharali is singing into a microphone. When they finish, their session leader, Jack Daley, fiddles on a computer, overlaying each musical section before playing it back. There are smiles and high-fives all round.

Daley is a music producer who works at the Daylight centre for adults with learning disabilities, which is run by Islington council. He started private and group sessions composing and producing electronic music with service users two years ago. Since then, countless song lyrics have been written, an EP has been released (with another on the way), and there’s an animated music video to go with the title track, Watermelon Fantasy. Everything has been produced by the people who attend the centre with the help of creative professionals.

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by Sarah Johnson via Electronic music | The Guardian

Michael Kiwanuka, Spiritualized and Metronomy to headline End of the Road festival

Courtney Barnett and Jarvis Cocker also join lineup for eclectic West Country summer gathering

End of the Road has announced that Michael Kiwanuka, Metronomy and Spiritualized will be headlining the festival this year, hosted at Larmer Tree Gardens, on the Wiltshire-Dorset border, from 29 August to 1 September.

British soul musician Kiwanuka supported Adele on her world tour in 2011 and won the BBC’s Sound of 2012 poll; more recently won the 2017 Ivor Novello award for best song, for his politically engaged Black Man In a White World. This is his first major festival headline slot, and suggests new material will be released later this year.

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by Kate Nicholson via Electronic music | The Guardian

Tuesday, January 29, 2019

Dele Sosimi at Headrow House on 26/05

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Dele Sosimi at XOYO on 12/04

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Dom Servini & Scrimshire at Bussey Building on 16/02

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Dom Servini at The Jazz Café on 15/02

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Dom Servini at The Jazz Café on 08/02

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Dom Servini – Netil Radio Show #12

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Intro – Chillin’ on the Rooftop

Angel Bat Dawid – What Shall I Tell My Children Who Are Black (Dr. Margaret Burroughs)

Mark de Clive-Lowe – Niten-Ichi

Honeyfeet – Clap Hands

Sampa The Great – Energy (feat. Nadeem Din-Gabisi)

Children Of Zeus x Black Milk – Won’t End Well

Llorca – Wonderwhy (Fred Everything Extended Space Edit)

Cotonete – Super Villain Wants Love

Vibration Black Finger – Sweet Nothing feat. Ebony Rose

Incognito – Fearless

The Amalgamation of Soundz – Enchant Me

Nightmares on Wax – Look Up feat. Andrew Ashong & Sadie

Madicine Jaxx – Blackbird

FOLD – Writer’s Anthem

Anchorsong – Rasgueado

Time Grove – Indopia

Paper Tiger – Lullaby (Vital Remix)

Leon Thomas – Shape Your Mind To Die

Nightmares on Wax – Goodship feat. Steve Spacek

Commy Bassey – We Had Togetherness

Michel Legrand – La Passionara

Jimi Tenor – Vocalise My Luv

Cloud Nine – Javonntte feat. Mark de Clive-Lowe

Yam Who? & Jaegerossa – Delirium Feat Jacqui George (Original Mix)

Javaroo – Breakin’ In (Gerry Rooney & Joel Martin Remix)

Flamingo Pier – Hold It

Benny Sings – Not Enough

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Dom Servini at The Horse & Groom on 26/01

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Monday, January 28, 2019

Oxide & Neutrino: how we made Bound 4 Da Reload (Casualty)

‘There was a rise in gun crime and garage was blamed. We went from being on Top of the Pops to not being able to play anywhere. Then I was shot’

I met Neutrino at the pirate radio station Supreme FM, where we were doing DJ sets. We clicked and joined So Solid Crew, who at that time were 30 strong. When we all piled into a tiny room, it was crazy – but when Neutrino and I signed our own record deal, we became a separate entity.

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by Interviews by Dave Simpson via Electronic music | The Guardian

The month's best mixes: Nkisi, Aleksi Perälä and silken Berlin memories

We select the best of January’s mixes, including recordings from Terraforma, Mutek Mexico and Panorama Bar

Belgian techno, Milanese eccentricity, Finnish ambience and silken Berlin sounds make up January’s best releases – as well as a utopian playlist platform

Related: The best DJ mixes of 2018

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by Lauren Martin via Electronic music | The Guardian

Sunday, January 27, 2019

Triple J Hottest 100: Ocean Alley wins Australia's biggest song poll

The Sydney six-piece came in at No 1 and No 100, in a broadcast which featured a strong turnout for women in the top 10

Sydney’s Ocean Alley have won the 2018 Triple J Hottest 100 with Confidence, one of four songs by the band to make it into this year’s countdown – the largest song poll in Australia.

Confidence is the lead single from Chiaroscuro, the second album from the northern beaches six-piece.

Annual reminder that if you don't like what's on the #Hottest100 and you're over 35, that's kind of the point!

To the middle-aged people who will inevitably whinge about modern music today, it’s worth remembering that Shaggy - Boombastic and Madison Avenue - Dont Call Me Baby made the #hottest100 in the glory days of the 90s @triplej

Overall in the #Hottest100 we saw 62:38 (all male acts) : (acts with at least one woman, incl fts).

AFAIK, only one track with more than one woman: SanCisco's When I Dream at no. 48.

If I'd been counting acts with at least 50% women, the stats would have looked VERY different.

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by Steph Harmon via Electronic music | The Guardian

Rudimental: Toast to Our Differences review – a big grab bag of party tunes

(Atlantic)

Rudimental are the perfect band for people who like music and enjoy dancing but don’t really care about either. They’ve collected another grab bag of party tunes that sound as good on your phone as in an arena, fronted by a dizzying number of featured vocalists. Largely they steer away from the polite, very British drum’n’bass that made them famous, toward Jamaica and America, landing comfortably in the profitable hinterland between Calvin Harris’s cold calculation and Major Lazer’s wild abandon.

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by Damien Morris via Electronic music | The Guardian

Friday, January 25, 2019

Azealia Banks review – firebrand rapper is capable of anything

O2 Ritz, Manchester
Channelling everyone from Nancy Sinatra to Nine Inch Nails, Banks lets her astonishing talent outshine her controversies

After high-profile spats with everyone from Grimes and Elon Musk to Zayn Malik and Sarah Palin, this week Azealia Banks was at it again. An apparently straightforward flight to Ireland saw the hair-trigger New Yorker remove herself from the plane after an argument with an air attendant ended with her referring to “ugly” Irish women. One tearful confessional and a live triumph in Dublin later, she reignited the furore with a social media rant referring to “leprechauns”.

Unseemly as this is, it’s hard to reconcile the headline-grabbing enfant terrible with the grinning, uber-talented 27-year-old who has her Manchester audience roaring in approval. Backed by a drummer and DJ, and occasionally flanked by two dancers, she sings, dances, raps and displays enough charisma and stagecraft to put many a rival to shame. When she slowly takes off her jacket, the roar is so deafening you fear for the building.

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by Dave Simpson via Electronic music | The Guardian

Thursday, January 24, 2019

Dom Servini at The Horse & Groom on 26/01

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Azealia Banks: misunderstood talent or tedious troll?

She’s addicted to controversial, often bigoted outbursts – recently against the population of Ireland. Yet fans continue to root for the rapper – because she’s the opposite of safe

Last week, in the most high-profile celebrity aviation incident since Kate Moss popularised the term “basic bitch” in a row with easyJet staff about sandwiches, the American rapper Azealia Banks removed herself from an Aer Lingus flight after calling a flight attendant an “ugly Irish bitch”.

According to a tearful video she posted on Instagram, Banks said a flight attendant asked her questions she couldn’t answer without checking her passport, which she had stored in the overhead locker. As she looked for her passport, the situation escalated. A fellow passenger told Mail Online they felt the crew were heavy-handed.

Being a Banks fan involves a certain amount of cognitive dissonance – she embodies so many contradictory qualities

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by Sirin Kale via Electronic music | The Guardian

Wah Wah Radio – January 2019

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Duke Pearson – Upa Neguinho

Sir Shina Peters & his International Stars – Yabis

Sampa The Great – Energy feat. Nadeem Din Gabisi

Cotonete – Guarani Kaiowa

Nabihah Iqbal – Wonderful Sushi

KOKOROKO – Uman

Time Grove – A.L.P.

Village Cuts – Chomekaaa!

Jimi Tenor – Ki’igba

Kassa Overall – Do You feat. Theo Crocker

Lee Fields – It Rains Love

OK:KO – Piik

Cumbia Cosmonauts – Demolition Man

Khalab – Dense (Blood, Wine or Honey Remix)

Paper Tiger – Time Travels

Mark de Clive-Lowe – The Offering

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Saturday, January 19, 2019

Ones to watch: International Teachers of Pop

This Sheffield trio make invigorating synthpop for difficult times

When times are hard for Britain, Sheffield produces brilliant electronic pop groups. The Human League in the 80s, Moloko in the early 90s… and now International Teachers o f Pop, arriving ready for Brexit with a dazzling debut album and tour.

They first appeared last summer with minor-key synthpop epic Age of the Train, which they described as “Northern Rail-baiting nerd disco”. A sample of an automated station announcement (about a delay to the 13.21 to Manchester airport) graced the middle-eight, and other songs tackle modern life’s absurdities through similarly witty means. On Repeat is about the monotony of going to work in May’s Britain set to a Giorgio Moroder-style soundtrack. A Kraftwerk-like cover of Pink Floyd’s Another Brick in the Wall is, fittingly, called The Re-moaner Mix.

ITOP’s self-titled debut is released on Desolate Spools on 8 February on Desperate Spools; their tour begins on 16 February in Glasgow

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by Jude Rogers via Electronic music | The Guardian

James Blake: Assume Form review – a big, glitchy, swooning, hyper-modern declaration of love

A love letter to his partner brimming with guest spots and west-coast vibes, James Blake’s fourth LP is a long way from his ‘blubstep’ roots

It’s not hard to see why someone might fall in love with Jameela Jamil – the star around which James Blake’s fourth album, Assume Form, orbits. The character Jamil plays on NBC’s The Good Place gets called things like “sexy skyscraper” (and “sexy giraffe”, and “a hot rich fraud with legs for days”).

Jamil’s penthouse suite is well furnished too. The British radio DJ turned screenwriter turned actor recently made a documentary for Radio 4 about sexual consent. Her Instagram campaign #iweigh encourages women to consider their true substance: their strengths and achievements, rather than their vital statistics. Last year she called the Kardashians “unwitting double-agents for the patriarchy”.

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by Kitty Empire via Electronic music | The Guardian

Friday, January 18, 2019

Toro Y Moi: Outer Peace review – chillwave maven finds focused future funk

(Carpark Records)

It’s 10 years since the dawn of chillwave, the music scene that looked at synthpop, soft rock, reggae and more through a rose-tinted kaleidoscope while contemplating the day’s first craft IPA. Was its supremely unbothered demeanour the product of a time of relative harmony, or the only reasonable reaction to a banking crisis and recession: a music that turned from a future on fire to the softer warmth of the past? Anyway, the Brooklyn hipster culture that birthed it became the mainstream, most of the scene’s players presumably got bored and started cold-brew coffee startups, and the world got steadily worse.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Thursday, January 17, 2019

James Blake: Assume Form review – lovestruck producer turns dark into light | Alexis Petridis' album of the week

Blake is clearly in a good place, unexpectedly embedded at the centre of pop culture, and his new album adds bright colours to his sound

It feels strange now to recall a time when James Blake’s elevation from underground post-dubstep auteur to hotly-tipped mainstream artist seemed like the result of a clerical error. It was hard not to be impressed by his eponymous 2011 debut album, but it was equally hard not to wonder whether this really was the stuff of which silver medals in the BBC Sound of … poll and spots on the Radio 1 A-list were made. If you listened to its sparse, abstract, deeply uncommercial assemblages of treated vocals, electronics and piano, there was something very odd indeed about his name being mentioned in the same breath as Jessie J.

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by Alexis Petridis via Electronic music | The Guardian

Monday, January 14, 2019

Dom Servini – Unherd Radio Show #24 on Soho Radio

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Angel Bat Dawid – We Are Stars

Gabriels – Loyalty

Zimpel/Ziolek – Wrens

Resavoir – Escalator (Demo Version)

Sampology – Blooming in the Streets feat. Seven Davis Jr

Sam Irl & Dusty – Broken Spell

Bosq & Laflamme – Brand New Day

Yaaba Funk – Oman Foa (Danvers Edit)

Kokoroko – Uman

Ivan Conti – Bacarau

Flamingo Pier – Find Your Way (Earthboogie Remix)

14KT presents IAMABEENIE – The Power of Same feat. Muhsinah

Nubiyan Twist – Jungle Run feat. Nubiya Brandon

The Ju Ju Exchange – A Day in the Life

Paper Tiger – Time Travels

Time Grove – Piano Bubbles

Ciro Mont – BlvntBossa

Black Sugar – Too Late

The Mist – Life Walked Out

Peoples Pleasure with Alive and Well – World Full of People

Chrome Sparks – In2 Your Love

Swindle – Talk A Lot feat. Eva Lazarus

Liquid Saloon – Polaroid Banana

Majestika – Majestika

Mark de Clive-Lowe – Memories of Nanzenji

Abase – Align feat. Wayne Snow

Ego Ella May – Table For One

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Delia Tesileanu – Counterpoint Radio Show with guest Dom Servini on Soho Radio

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Paper Tiger – Weight in Space feat. Shafiq Husayn

Alison Crockett – Like Rain

Kutiman – So Long (Gene Dudley Remix) feat. Rioghnach Connolly

Honeyfeet – Whatever You Do

Henri-Pierre Noel – Merci Bon Dieu (Vocal)

Frank Foster – Thingaroo

Soothsayers – Dis & Dat

Dele Sosimi – You No Fit Touch Am (Medlar Remix)

Diana Ross – Remember Me

Al Johnson – Back For More

Young Disciples – Talkin’ What I Feel

Steve Parks – Movin’ in the Right Direction

Freestyle Fellowship – Park Bench People

Frank Sinatra – Drinking Water

Time Grove – Jungle Bourjois

The Jessica Lauren 3 – The Name of Fela Will Always Stand For Freedom

Hunrosa – Fractures

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Friday, January 11, 2019

Dom Servini & Scrimshire at Bussey Building on 11/01

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Dom Servini at Soho House Istanbul on 17/01

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Dele Sosimi at The Jazz Café on 22/02

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Dele Sosimi at The Jazz Café on 22/02

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Dom Servini at The Jazz Café on 01/02

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Dom Servini at The Jazz Café on 11/01

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Richard Youngs: Memory Ain't No Decay review – into the edgelands with a musical gem

(Wayside & Woodland)

As many musicians fret, vacillate and self-medicate their way out of actually writing their next record, Richard Youngs just gets on with it. The Scotland-based singer-songwriter, operating since the early 90s, has released 17 albums in the last two years alone (not including collaborations such as the brilliant Scottish disco supergroup Amor) and has three more out this month, with Memory Ain’t No Decay joined soon by Onder/Stroom, a collaboration with Dutch electronic producers Frans de Waard and Peter Johan Nÿland, and another solo album, Dissident. His quavering yet strident voice is a bright silver thread through British music; his singing style, somewhere between conversation and benediction, recalls everything from sea shanties to Gaelic psalm singing, Mark E Smith to the Blue Nile’s Paul Buchanan. The neatest description of him probably comes in the title of his 2005 album The Naive Shaman.

Memory Ain’t No Decay’s three songs begin with the 15-minute stunner Edge of Everywhere. A blues guitar scratches rhythmically under a softer, echo-treated electric line, a combination that would be almost Balearic if it didn’t keep tripping up and going out of time – a technique that keeps the song constantly alive and alert. Youngs gives it one of his more spiritual vocal lines, even slightly reminiscent of devotional Punjabi singing. Still Learning is powered by a strummed guitar line that scans as generic on first listen, but extended over 11 minutes, its campfire familiarity becomes lulling, even meditative, topped with a kindly song from Youngs. The shorter Not My Eyes has an uncertain mass of bass tones and fingerpicking held together by steady plucking. Charged by Wayside & Woodland’s label head to consider the voguish psychogeographical concept of “edgelands” – spaces between the urban and rural – it would have been easy for Youngs to lapse into bland wonderment, but he ends up affirming that nature is both beautiful and impulsive.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Sharon Van Etten: Remind Me Tomorrow review – assured, gorgeous electro-tinged progression

(Jagjaguwar)

Like all of Sharon Van Etten’s previous albums, 2014’s Are We There was preoccupied by a prior toxic relationship – co-dependency couched in a sour combination of abuse and affection. Its follow-up opens with a track that references that period of disquieting soul-baring in the form of a meta-confessional: I Told You Everything has Van Etten divulging the details of her traumatic past to a sympathetic new partner, but not the listener. It’s a move that acknowledges the musician’s suffering but also inches the story forward, hinting that the New Jersey native has a different life now (a suggestion confirmed by her hectic-sounding recent biography: over the past four years she has had a child, taken up acting and started studying for a degree in counselling). Change is something echoed in the sound of Remind Me Tomorrow too, a collection that sees Van Etten edge away from her trademark guitar and towards drones, piano and vintage synths.

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by Rachel Aroesti via Electronic music | The Guardian

The birth of Asian underground: ‘This music was for us and by us, and that was very powerful’

Twenty years ago a new movement blending eastern sounds with electro and drum’n’bass arrived to give a generation of young British Asians a vibrant new voice. Why did it fade away so quickly?

When most Brits think of Asian music – if they do at all – they might conjure a twanging sitar and the high-pitched vocals of a Bollywood dance sequence blaring in an Indian restaurant, or the meditative chimes and chanting of a yoga session. In reality, of course, Asian music is a vast and diverse series of musical disciplines, and one that had been reduced, in the UK, to the reserve of anoraks and first-generation immigrants. But in the 90s, a scene came along to change all of that.

Twenty years ago, the Asian underground was born. A product of the first wave of Asian immigration into the UK in the early 60s and their children growing up in a newly diversifying society – one imbued with the racism of the National Front, as well as with a burgeoning multiculturalism from the Caribbean and west Africa – the music these first-generation British Asians made was full of internal tension. It was a mix of Indian classical instrumentals, Bollywood singing, jazz and the 90s club sounds of dub, drum’n’bass and jungle.

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by Ammar Kalia via Electronic music | The Guardian

Tuesday, January 8, 2019

'If it moves me to tears, I've achieved what I wanted': nature's songwriter Erland Cooper

With geese as backing singers and a thousand children singing like starlings, the musician is sending his emotive ‘sonic postcards’ from Orkney to London

The rain lashes down, the wind whistles and a skein of pink-footed geese fly overhead, honking in the twilight, as Erland Cooper’s concert begins. Cley Marshes nature reserve on the Norfolk coast is an unusual place for a gig, but the perfect stage for an evening of music inspired by the birds of Orkney.

Cooper, known for the folk-rock of Erland and the Carnival and the more experimental soundscapes of the Magnetic North, migrated to new terrain for his debut solo album Solan Goose, released last year. With its combination of contemporary classical, ambient and electronica, it drew comparisons to Sigur Rós, Ólafur Arnalds and other music of northerly latitudes, as well as radio play and winning admirers in unexpected places, from literary figures including John Burnside and Robert Macfarlane.

I’m always trying to write the simplest thing, trying to do more with fewer notes

Nest, a light and sound installation, is in the grounds of the William Morris Gallery, London, 11-13 January. Erland Cooper is at Trades Club, Hebden Bridge, on 30 March. Solan Goose is out now on Rough Trade.

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by Patrick Barkham via Electronic music | The Guardian

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Thursday, January 31, 2019

Tuesday, January 29, 2019

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Monday, January 28, 2019

Sunday, January 27, 2019

Friday, January 25, 2019

Thursday, January 24, 2019

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Saturday, January 19, 2019

Friday, January 18, 2019

Thursday, January 17, 2019

Monday, January 14, 2019

Friday, January 11, 2019

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Tuesday, January 8, 2019