Musique Non Stop - Jazz, Funk, Soul, Broken Beat, Electro, Electronic, Funk / Nu Disco, NU Jazz, House, Techno, Ambient, Lo-Fi, Downtempo... and Many More!
Our April selection features springtime sounds by TTB, Rimarimba and Lucinda Chua alongside a thrilling DJ Taye mix
PPGMIX048: GiGi FM
Related: Raves, robots and writhing bodies: how electronic music rewired the world
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Soothsayers – Natural Mystic (Sarthay Korwar Remix)
The Jettsons Present The Jessica Lauren 3 – The Name of Fela Will Always Stand For Freedom (from Allo Love Vol.8)
Damon Locks – The Colors That You Bring
Resonators – Soul Connection (Live at Electric)
J. Lamotta – Shake It
Kutiman – So Long (Gene Dudley Remix)
Paper Tiger – Bioluminescent feat. Olivia Bhattacharjee (EVM128 Remix)
Dus – A Brighter Day (from Allo Love Vol.8)
Ambient Jazz Ensemble – One of the Best Days (from Allo Love Vol.8)
Teotima – Suddenly
Isaac Birituro & The Rail Abandon – I Know (I’m OK)
Greg Foat – Of My Hands
The post Wah Wah Radio – April 2019 appeared first on Wah Wah 45s.
(Severn Songs)
Combining genres from jazz to minimalism with a great city’s musical heritage, without resorting to pastiche, is no mean feat
Ishmael is a saxophonist, DJ, producer and bandleader, known to his friends as Pete Cunningham. Over the past few years, he’s conducted some madly varied DJ sets, created stately remixes of tracks by Detroit techno legend Carl Craig and performed a whole album’s worth of songs by the Yellow Magic Orchestra. He’s also brought his studio-bound inventions to life with the help of a band, the Ishmael Ensemble, making music that’s pitched somewhere between astral jazz, burbling electronica, trippy minimalism, psychedelic dub and 20 years of club culture.
Continue reading...Royal Festival Hall, London
The Mo’Wax founder remains a peerless talent-hunter, but his desire to be in the spotlight gets in the way of his own show
In the 2016 documentary movie The Man From Mo’Wax, the story of James Lavelle is told as tragedy with eventual redemption. From his teens, he was a DJ’s DJ and founded one of the greatest labels of the 1990s. Possessed of golden ears and boundless hustle, he connected the UK underground with everyone from the Beastie Boys to Detroit techno’s prime movers, and Mo’Wax itself became a living artwork. But it wasn’t enough: Lavelle wanted to be a rock star. Chasing ever more intense peak experiences and proximity to big-name collaborators, his UNKLE project became all-consuming, almost destroying him.
In the film, sobriety and renewed focus presented a happy ending: stardom established, creativity rebooted, sprawling three-part concept albums ahoy (the ongoing The Road trilogy has run to 37 tracks since). And Lavelle clearly still has an eye for talent. Tonight’s young support act Skinny Palembe is fantastic, for starters – his band like the xx gone maximalist, with rolling Afrobeat rhythms, Krautrock and hints of dancehall embellishing the nervy indie – and Lavelle’s own band is razor-sharp, too. That musicianship is weirdly deployed, though. The first half of the show features him behind CD decks with cellist Philip Sheppard, drummer Alex Thomas and Steven Weston on about 19 different instruments, all dressed in black, providing backing for existing UNKLE vocal tracks, with films projected behind.
Continue reading...Three decades after their inauspicious start, Tom Rowlands and Ed Simons think the spirit of 90s rave culture, as captured on their new album, can help help Brexit wounds
In a west London pub on a Wednesday lunchtime, the Chemical Brothers are taking a break from preparing for the smallest DJ gig of their recent careers. Twenty-seven years since they began playing records together as students in Manchester, under the unfortunate and short-lived pseudonym the 237 Turbo Nutters, Tom Rowlands and Ed Simons’ forays into DJing usually take place on the grand scale of their spectacular festival headline sets. Such huge gigs have become useful circumstances for road-testing new material: the pair knew they were on to a winner with Eve of Destruction – the bizarrely effective blend of apocalyptic 2019 paranoia, early Chicago house and disco samples that opens their new album, No Geography – after playing an early version to a vast crowd in Europe. “We’re always searching,” as Rowlands puts it, “for that feeling of intensity and … waaaaah!”
But, in a few days’ time, they are returning to their roots: the days when, Simons says, “we would be crammed in a tiny booth with people everywhere, no barrier, so people would just wander in and start cheering and screaming at you”. They are DJing for a grand total of 250 people at the Social, the central London bar/venue run by the record label Heavenly. As part of the efforts to save the venue – then under threat from rising rents – they offered to play the same kind of set they played 25 years ago at the Sunday Social, the hugely influential club night also run by Heavenly, in the basement of the Albany pub on nearby Great Portland Street, where the pair were resident DJs. The preparations have brought their own challenges. “I’ve been going through the old record bags that we used at the time, pulling out a 12in, then going to digitise it so we can play it again and finding I can’t because the record’s literally got a boot print across it,” says Rowlands, frowning.
Related: The Chemical Brothers: No Geography review – revitalised back-to-skool anthems
Continue reading...They have a fearsome reputation for excluding eager clubbers – but as a documentary about Berlin’s doormen is released, three of them explain why their policies are ‘all about tolerance’
The door policies for Berlin’s nightclubs are some of the most talked about in the world. Online forums detail appropriate clothing, what to say and how to act in line in order to get in. In the German capital, bouncers don’t just play the role of security, but also curator, sussing out who can handle the extreme depths of hedonism and who might gawk or yuck at what they see.
Today, far removed from the sexual freedom, relentless techno and ample substance use that defines Berlin’s nightlife, I’m sitting in a plain white room with grey carpet and unforgiving lights. Across from me are three men who’ve become infamous for this curation, playing a key part in creating the renowned and secretive door policies. They’re the subject of a new documentary, Berlin Bouncer, by German film-maker David Dietl: a humanising look at people who have reached this bizarre level of celebrity.
Related: 'It's anarchy and hedonism': Janus, the club night that reinvented Berlin
Related: Berlin government pledges €1m to soundproof city's nightclubs
Continue reading...It started with white-coated boffins; now its figureheads wear masks and play Vegas. A new exhibition tells the story of electronic dance music, from old synths to a statue of Brian Eno
In the Philharmonie de Paris on an overcast Tuesday afternoon, Jean-Yves Leloup is pondering why what may be the most comprehensive exhibition ever assembled about the history of electronic music is taking place in France’s capital. “I don’t understand why the Germans or the British didn’t do it before,” he shrugs. “But we have a history of electronic music in France, from musique concrète to Jean-Michel Jarre to Cerrone and cosmic disco, the French touch with Daft Punk, now some EDM pop stars.
“Maybe we gravitate to electronic music because it’s not too rock’n’roll orientated, which is the property of Anglo-Saxons. The French have always been told that they can’t sing in English very well or that French doesn’t sound good with rock’n’roll, so I guess that’s the thing. It’s a bit of a mystery for me – I’m French, so it’s hard to have an outside perspective.”
Daft Punk say that Daft Punk is like a fiction, a movie that they’re directing every day
Electro: From Kraftwerk to Daft Punk is at the Philarmonie de Paris until 11 August.
Continue reading...Barbican, London
Detroit techno maverick Juan Atkins and his reshaped 1980s group turn the concert hall into the dancefloor in their first gig ever
Both of Orbital here, a couple of Rinse FM residents there, Trevor Jackson over there: the Barbican foyer is an absolute scrum of London’s dance music community, all in a state of excitement. For a certain demographic, Juan Atkins’s Cybotron are as fundamental and foundational as any act in music. The 1983 single Techno City gave its name to a genre that would take over the world and define Detroit as its spiritual home. But for all their influence, and for all that Atkins has continued making music in various guises – most notably as Model 500 – they’ve never before done a live show.
This is a new permutation of Cybotron. In place of original members Richard “3070” Davis and John Housely, Atkins is joined by his long-time collaborator the German techno aristocrat Moritz von Oswald, and by fellow Detroiter Tameko J Williams, AKA DJ Maaco. As the moody drone of Industrial Lies thrums, the three come on stage one by one, dressed in matching boiler suits and a sci-fi version of welding masks, as lasers trace out geometrical patterns on the vast projection screen behind. It is a nice summation of techno’s roots: inspiration from the production-line aesthetic of Motor City’s car plants, and afrofuturist dreams of motherships and technological emancipation.
Continue reading...Alexandra Palace, London
The Swedish singer commands the 10,000-strong crowd with a perfectly pitched set ranging from club anthems to her latest heartbreaking classics
Pop thrives on the push and pull of delayed gratification, and the release, when it comes, is overwhelming. This intoxicating sensation runs through the 2018 album Honey, Robyn’s first in eight years. She reshaped the pop landscape with tear- and sweat-stained emo-bangers on her 2010 Body Talk series, influencing everyone from Katy Perry to a raft of fellow Swedes. With Honey, Robyn offered something more languid, the pop highs represented by undulating ripples rather than crashing waves.
Tonight, she makes the 10,000-strong heaving mass wait. In fact, for the first 90 seconds of the gently pulsating Send to Robin Immediately [sic], she isn’t even on stage. She appears only as the beat starts to throb, and even then she stands stock-still as gauzy, white fabric billows around a giant statue of caressing hands. The tension doesn’t snap until the third song, Indestructible, initiated by an expertly timed clap. From that moment on, the crowd are in the palm of her hands, as each song bleeds into the next like an immaculately crafted DJ set aimed at puncturing and then suturing the heart. The coiled frustration of Be Mine, during which Robyn yanks down a sheet that had acted as the final barrier between her and her sweaty disciples, rubs shoulders with the upbeat Ever Again, while the disco-tinged Because It’s in the Music (“and it makes me want to cry”) is healed by the groove-lead balm of Between the Lines.
Related: How Robyn transformed pop
Continue reading...Pascal Gabriel’s CV is one impressive document. Starting with Belgian punks the Razors, he moved to London in the late 1970s, became a recording engineer, created chart-toppers with S’Express and Bomb the Bass in the late 80s, and has since written and produced for a legion of pop acts, Kylie Minogue and Ladyhawke among them. Gabriel’s latest project, as Stubbleman, is a step sideways into ambient territory – quite literally, since Mountains and Plains was inspired by a coast-to-coast road trip across the United States.
The album reflects Gabriel’s innovatory skills with electronica, though his principal instrument is a ghostly piano, over which are layered synths, guitars, glockenspiel and the toys of the sound alchemist’s art. It’s a beautifully crafted work that fits Eno’s definition of ambient being “as ignorable as it is interesting”, at times as minimalist as Steve Reich (such as Badlands Train, a slog across the Texas plain), at others unsettling in its evocation of “purposeless highways and terminally closed diners”, or meditative in its portraitof Taos Twilight. A low-key charmer destined, one suspects, for a long life.
Continue reading...(Virgin EMI)
The conceit of this ninth Chemical Brothers album is a tantalising one: dusting down the kit used on their first two acclaimed albums, Exit Planet Dust (1995) and Dig Your Own Hole (1997). Tom Rowlands and Ed Simons have not just endured but prospered since their heyday by redeploying a familiar bag of signifiers – muscular beats, upfront vocals – to reliable effect.
The sequel to 2015’s late-life flowering, Born in the Echoes, does supply a steady stream of knee-jerk fare. Free Yourself is one effective, but super-obvious, paean to dancing, whose video finds AI robots throwing a warehouse rave. But some of No Geography rewinds the 90s more exactingly.
Continue reading...They worked with Hendrix and influenced Stereolab and Portishead. John Lennon was a fan. So why did the kings of the hippy oscillator disappear, in 1969, on the brink of stardom?
At the start of 1969, Silver Apples had the world at their feet. The New York duo of Simeon Coxe and Danny Taylor had released a pioneering debut album, collaborated with Jimi Hendrix and played Central Park to tens of thousands of people. Their second LP was due imminently. Yet weeks later, the album was pulled, they were banned from performing and found themselves ousted and ostracised from the music industry.
“It ruined us,” recalls Coxe, now 80, from his Alabama home. “It was heartbreaking.”
Continue reading...This month’s roundup of new music includes Lizzo going toe to toe with Missy Elliott, plus Latin pop, morning sex R&B and trance epics
Continue reading...The Mancunian trio combine motorik beats with sparkling synthpop simplicity
While WH Lung’s name might suggest a nod to the likes of WH Auden and similarly austere literary figures, it actually comes from a Chinese supermarket in their native Manchester. This deliberate blurring of high and low culture is part of the appeal of the enigmatic three-piece (Joseph E on vocals/synths, Tom S on guitar and Tom P on bass), their songs juxtaposing simplicity with free-ranging experimentation. But even more key is their ability to seamlessly meld genres – krautrock, post-punk and synthpop, most prominently – to create songs that are fresh and exciting yet familiar-sounding and accessible.
Their recently released debut album, Incidental Music (with a cover painting by Joseph E), finds a sweet midpoint between Hookworms’ 2018 album Microshift (understandably overlooked after abuse allegations), LCD Soundsystem and Giorgio Moroder, with sparkling synth lines atop irresistible motorik beats, and brimming over with ideas. Also citing Thelonious Monk, Prince and Julia Holter as reference points, Tom P says: “Structurally, it’s nice to draw from anywhere. There are definite points at which we tried to be ambitious.” Witness recent single Simpatico People, with chiming guitar lines and Joseph E’s mantra-like vocals layered on an insistent, propulsive rhythm to dazzling effect.
Continue reading...The EDM star’s final album will feature artists including Coldplay’s Chris Martin and Aloe Blacc
The family of Avicii have announced a posthumous album from the late Swedish DJ. At the time of his death from suicide in April 2018, at the age of 28, Tim Bergling was close to completing his third album. His family report he left behind “a collection of nearly finished songs, along with notes, email conversations and text messages about the music”.
Executives from Bergling’s label, Universal Music, asked his regular collaborators rather than invite superstar names to be part of the project, according to the New York Times. The highest-profile musician on the album, Chris Martin of Coldplay, had worked with Bergling and was invited to sing on a song named Heaven.
Related: 'It will kill me' – behind the devastating Avicii documentary
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Fernando – Peace to Sun Ra
Ian Simmonds – Buried Heads
EABS – Przywitanie Sloñca
Salami Rose & Joe Louis – Nostalgic Montage
Kid Fonque – Infinity feat. Daev Martian & Ziyon
Coladera – La Dotu Ladu
Isaac Birituro & The Rail Abandon – Für Svenja
Fazer – Wasi
Alessandro Magnanini – Morning Light feat. Elisa Aramonte
Spirit – The Other Song (Ole Smokey Edit)
Skinny Pelembe – No Blacks, No Dogs, No Irish
Scrimshire – Won’t Get Better feat. Emma-Jean Thackray
Poko Poso – Dynamite Man
Laroye – Colombia 26a
Maryanne Ito – No Solution (Live at the Atherton)
Don Leisure – Kaymak
Paper Tiger – Slow Motion feat. Lando Chill
Tiana Khasi – They Call Me
Rejoicer – Noted
Kutiman – So Long feat. Rioghnach Connolly
Known Shaz – Wait, What
Resonators – All The Paths (Live at Electric)
Bryony Jaraman-Pinto – As I’ve Heard
Mark de Clive-Lowe – Mirai no Rekishi
Mark de Clive-Lowe – The Silk Road
Saronde – Moyo Mama (Jimpster’s Late Night Mix)
Gabriele Poso – Cumbachero (Pamel Remix)
Herbie Hancock – I Thought It Was You (Kaye Edit)
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(Melodic)
You could be forgiven for thinking you’ve heard something very like WH Lung’s debut album before, in the not too distant past. Incidental Music offers insistent, driving, pulsing rhythms across long songs. Marching synthesisers move those songs along, picking up the pace and tying it all together. There are wails of guitar, a high, slightly quavering lead voice and a sense that this is psychedelia reconfigured for modern times: anxious, not beatific. It is, to be frank, not a million miles from what Hookworms were doing before their split.
Continue reading...Each month, we feature 20 new and unmissable Australian songs. Read about 10 of our favourites – and subscribe to our Spotify playlist, which updates at the start of each month
Related: Hottest 100: AB Original and Dan Sultan praise date change at Arias
Continue reading...Attracting the bohemian set of Burning Man alongside hardcore techno fans, Damian Lazarus’s Get Lost has become one of the most psychedelic all-nighters in the US
Miami’s behemoth Ultra festival has long been the climax to Miami Music Week – think SXSW for ravers – but this year it devolved beyond the point of no return. A daytime set purchased by KFC featured brand mascot Colonel Sanders DJing EDM bangers to a bemused and listless audience; some attendees branded it “Fyre 2.0” after they were stranded for hours waiting for shuttle buses. Miami Music Week clearly needs a new cornerstone.
There may be a contender in Get Lost, which enjoyed its 14th consecutive year as an underground countercurrent to Miami’s more mainstream club scene. It has grown from a 200-person after-hours party for relentless, beach-fried weirdos into the most lauded club night of the whole week, and then further still: it is now a 5,000-person, 70-artist, 24-hour ritual of house and techno with a whole orbit of its own.
Continue reading...SWG3, Glasgow
Returning with new material ahead of their sixth album, the electronic eccentrics remain as colourful as their patchwork jackets
During the insistent shimmy of their 2012 track Flutes, four members of Hot Chip have assembled in a line behind their keyboard stacks for a dance routine, rotating in time to the skipping-song beat. Meanwhile, a beaming man hugs me and plants a smacker on top of my head. It is hands-on proof that the veteran pop eccentrics can create an infectious atmosphere of dancefloor camaraderie even in a chilly warehouse on a rainy Scottish night.
Ahead of a summer bulging with festival dates in the UK and beyond comes this brief jaunt round relatively small venues, featuring some Hot Chip material fresh from the fryer. The London five-piece (who bulk up to seven on the road) play three new songs tonight, presumably from the follow-up to their sixth album Why Make Sense? They are experimenting with new team branding, too, sporting patchwork jackets daubed in spray-can green and pink, an eye-catching colour scheme that extends to singer Alexis Taylor’s hair.
Continue reading...Symphony Hall, Birmingham
Kicking off his first ever solo tour at the age of 78, the sheer disparity of Moroder’s hits makes for an uneven show
The audience for Giorgio Moroder’s first live tour presents an intriguing study in contrasts. Those clearly drawn by Moroder’s reputation as an infallible 80s hit-making machine – the man Hollywood called when it needed a smash single for its latest blockbuster – rub shoulders with earnest gentlemen in Kraftwerk T-shirts, drawn for the same reason that Daft Punk asked Moroder to appear on their 2013 album Random Access Memories, thus reactivating his career: the 78-year-old is the pioneer behind arguably the most influential piece of electronic music ever recorded, Donna Summer’s 1977 single I Feel Love.
Moroder manages to baffle both parties by opening with Looky Looky, a 1969 French No 1 from an era when he was a purveyor of an unlovely Mitteleuropean variant on US bubblegum pop. The rest of the show seems inspired by another Random Access Memories alumnus, Nile Rodgers, who has been wowing festivals for a decade with party-starting, hit-packed Chic performances. But watching Moroder and band – complete with string quartet – you’re struck by the sense that Chic’s back catalogue works live because it’s less disparate than this. All their hits are linked by Rodgers’ distinctive guitar, but almost nothing sonically binds the thrilling electronic pulse of 1977’s From Here to Eternity and the featherweight 80s movie theme The Never Ending Story, the latter not much helped by a live arrangement that leans towards the cruise ship.
Continue reading...Various venues, London
This new festival brought together artists on the periphery of club culture, from Lee Gamble’s impressionistic rave to Alva Noto’s exquisite sound design
When it comes to music festivals where you drink cans of cider in the pouring rain, the UK shows the world how it’s done. But a certain kind of event, popular in continental Europe, has been lacking here: the experimental club-cultural festival like Berlin’s CTM or Krakow’s Unsound where beats pound arrhythmically, the phrase “modular synthesis” is spoken confidently, and anyone not wearing black is presumably kept outside in a holding pen to be given a change of clothes.
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