Musique Non Stop: January 2020

Friday, January 31, 2020

Elon Musk's new EDM single reviewed – 'Bringing erectile dysfunction to the masses!'

The Tesla and SpaceX CEO has dropped Don’t Doubt Ur Vibe on Soundcloud – a wannabe dancefloor banger that somehow manages to doubt its own vibe

Like Charles Foster Kane splashing his millions on promoting his mistress’s disastrous opera career, very rich men have, in recent years, displayed a certain tendency to come to grief when dabbling in the field of music. First, the now-incarcerated pharma bro Martin Shkreli bought the only extant copy of the Wu-Tang Clan’s album Once Upon a Time in Shaolin and, as a result, was first called “a shithead”, “the Michael Jackson nose kid”, “the man with the 12-year-old body” and “a fake super-villain” by the group’s Ghostface Killah, and then became the subject of a Wu-Tang Clan diss track. Not, one suspects, the response he expected when he ponied up $2m for their CD. Now Tesla and SpaceX CEO Elon Musk – net worth $34.4bn – has launched a parallel career as an EDM artist, posting a track called Don’t Doubt Ur Vibe on Soundcloud.

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by Alexis Petridis via Electronic music | The Guardian

Squarepusher: Be Up a Hello review – devilish, danceable return

(Warp)
Tom Jenkinson goes back to his mid-90s moniker and makes use of old electronic hardware in a fun, if bumpy, ride

Emerging in the mid-90s as part of the generation of artists defining Warp Records’ IDM sound, Squarepusher now presides over a discography that positions himself directly opposite the genre’s ideological associations. His dense, frenetic electronica interprets sonic complexity as a million open invitations, rather than as barriers to entry. Pairing machine programming with dazzling live performance and eschewing loftiness in favour of embracing the straight-up silly, his is a sound that presses its abundance of influences into something that can only be processed through movement. Drum’n’bass, acid and Essex rave collide with jazz, organ music and television themes to create something both devilish and danceable. It’s a high-risk, high-reward gamble that’s present once again on new album Be Up a Hello and, as with many Squarepusher releases, you’ll know where things start but nothing about where they’ll end up.

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by Tayyab Amin via Electronic music | The Guardian

Thursday, January 30, 2020

Scrimshire at The Jazz Cafe 05/03/20

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Chris Goss at The Jazz Cafe 05/03/20

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Wah Wah 45s at The Jazz Cafe 05/03/20

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Dele Sosimi at Assembly Nights 29/02/20

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Dele Sosimi x Medlar at Hootananny 21/02/20

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DJ Dom Servini at The Jazz Cafe 21/02/20

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DJ Dom Servini at The Century Club 20/02/20

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Scrimshire at The Bussey Building 15/02/20

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Wah Wah Radio – January 2020

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El Khat – Ya Raiyat

Ricardo Richaid – Lagardo Nu

Jeff Parker – Gnarciss

Prince – Gigolos Get Lonely Too (Jack Tennis Edit)

Benny Sings – Music

Mamas Gun – This Is The Day (Full Band Version)

Alabaster DePlume – Whisky Story Time

Hector Plimmer – Joyfulness (Radio Edit)

Digital Afrika – Babalue Aye (Zepherin Saint Tribe Vocal Mix)

Felipe Gordon – On Birdland

The Milk – Feels So Good

Thundercat – Black Qualls feat. Steve Lacy & Steve Arrington

RK Fusion – Time Flight (The James L’Estraunge Orchestra Remix)

Dae Han – The Flu

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Wednesday, January 29, 2020

'No philosophy, and everybody is welcome': how Closer catalysed Ukrainian electronica

From small beginnings in 2012, the Kyiv club-cum-cultural centre has become an eastern-European scene-leader

You get the feeling you’re in for a big night as soon as you exit the taxi outside Closer. Climbing the graffitied staircase that leads to the Kyiv club evokes a childlike sense of adventure; not least at tonight’s Masquerade, an annual marathon session where everyone hides behind a face mask in celebration of the crew’s eighth birthday.

Many of the mystery figures inside will stay glued to the wooden dancefloor from Saturday night until the final glimmers of the party on Sunday evening. It’s not entirely an endurance test: while the main room is all whistles and whooping, the cushion-filled ambient floor has a similarly meditative vibe to Glastonbury’s Green Fields.

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by Chris Williams via Electronic music | The Guardian

Saturday, January 25, 2020

One to watch: Obongjayar

Mixing Afrobeats and electronics, Nigerian-born Londoner Steven Umoh makes music befitting a self-styled ‘king’

Much of London’s recent music output is indebted to west Africa. Whether it’s the way that contemporary Nigerian pop genre Afrobeats has melded with rap and dancehall to create the breezy Afroswing that has become a chart mainstay, or the burgeoning jazz scene that pulses with the euphoria of Fela Kuti’s Afrobeat and Ghanaian highlife, the cross-pollination has created some of the capital’s most vital sounds.

Enter Obongjayar, AKA Steven Umoh. Since his 2016 EP Home, the south London artist, 26, who lived in Nigeria until he was 17, has been carving out a name for himself with music that oozes vitality and spirit, as his contributions to everything from Richard Russell’s Mercury-nominated Everything Is Recorded to rapper Danny Brown’s most recent album attest.

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by Tara Joshi via Electronic music | The Guardian

Friday, January 24, 2020

Nicolas Godin: Concrete and Glass review

(Because Music)
The former Air member’s second solo album is a paean to various architects the veers between elegant and insipid

It’s hard to credit now how revolutionary Air’s first album, Moon Safari, sounded in 1998 – a soufflé of a record so light and fluffy it was irresistible. Nicolas Godin and Jean-Benoît Dunckel had the same retro-futurist bent as Broadcast, but they also had a sweet tooth for bubblegum to go with their gauzy electronica. The range of musical reference has broadened since then, but Concrete and Glass has a familiar wooziness about it.

Where Godin’s first record, Contrepoint, was inspired by Bach – not that you’d know – this one is the soundtrack to a series of site-specific installations paying tribute to various architects.

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by Michael Hann via Electronic music | The Guardian

Wednesday, January 22, 2020

The month's best mixes: mutating moods and club-ready wreckers

DJ Taj turns on the charm, Stellar OM Source hurtles towards revelation, while Elijah and Skilliam unveil a mix manifesto

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by Tayyab Amin via Electronic music | The Guardian

'No Fiat 500 techno!': why electronic music in Cork is popping off

A crop of hyper-imaginative producers like Lighght, ELLLL and those on the Flood label all emanate from Ireland’s ‘rebel city’ – but can it hold on to them?

“Messy in the best possible way,” says Cork producer Doubt of the epiphanic experience he had in 2015 at a warehouse rave in Manor House, north London. “It was really relaxed vibes. Security – although I didn’t see many – were sound, and there were heavy bangers all night. I’d never really experienced anything like that in Ireland.”

He was in London because of English producer NKC, one of the originators of the club sound known as hard drum, then just a Soundcloud tag. Doubt (real name Ollie McMorrow) and compatriots Tension (Dylan O’Mahony) and Syn (Reneé Griffin) set up their own label, Flood, a year after their hard drum rendezvous in London. After learning, experimenting and dawdling with friends in Cork, all it took was NKC’s raucous parties to dissolve their collective inhibition.

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by Colin Gannon via Electronic music | The Guardian

Sunday, January 19, 2020

070 Shake: Modus Vivendi review – an impressive statement of intent

(GOOD Music/Virgin EMI)

Among the few highlights from Kanye West’s 2018 album, ye, were two features from emerging New Jersey artist Danielle Balbuena – known by the moniker 070 Shake. Most notably, the bilingual singer-rapper’s guest verse on Ghost Town swam with a heady feeling of darkness and freedom – something that carries through to Modus Vivendi, Balbuena’s debut album. It’s a record that blends genres with assurance as 070 Shake interrogates her nihilistic internal monologues. “I don’t know if I’ll be here tomorrow,” she refrains, catchily, on the propulsive Morrow, before the beat dissolves into new age multi-harmony vocals that, surreally, recall Enya.

That tender glimmer of fantasy recurs throughout the album, not least as Balbuena considers drug use in a liberating, matter-of-fact way, playing with the classic associations of drugs with mental health and romance (on Microdosing, she could be singing about any of these). There’s a sheen of yearning throughout as she spins between bright, light and very dark, be that via the synthpop glaze on Guilty Conscience or the beguiling Bollywood sample on Come Around. Though at times songs and sentiments blur a little forgettably, this is an impressive statement of intent.

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by Tara Joshi via Electronic music | The Guardian

Mura Masa: Raw Youth Collage review – confused and bitty

(Polydor)

You can’t accuse the 23-year-old Guernsey producer Mura Masa of false advertising. Raw Youth Collage, his second album, is bitty and a little raw – notably Deal Wiv It, a persuasive 2019 track in which the punkoid exclamations of slowthai set a tone. Another bouncy track, No Hope Generation, manifests as a string of cliches, however; its punk-lite rush fails to engage.

Like many tracks here, it features the producer born Alex Crossan as vocalist. Mura Masa’s stated aim for the album is how aural nostalgia has become a coping mechanism to ward off the complexities of the present day. As mission statements go, it’s promising.

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by Kitty Empire via Electronic music | The Guardian

Saturday, January 18, 2020

One to watch: Hatis Noit

With her ethereal crossover of mystical and modern, this Japanese artist has been moving audiences to tears

The word “spellbinding” has been liberally daubed over everything from reviews of the musical Wicked to every album Bon Iver has ever released (and don’t get us started on “achingly beautiful”). But if you take it to mean the kind of alchemy that stops you in your tracks and leaves you slack-jawed, Hatis Noit may seem magical.

Live, she closes her eyes and loops her voice, like Meredith Monk, Matias Aguayo and Björk, layering drones and trills as if she’s a one-woman choir trying to tap into some primeval, mystical energy (she decided to become a singer after hearing a female Buddhist monk chanting at a temple). Her songs include Inori, a prayer for those who didn’t survive the 2011 tsunami; others pair Gregorian chants with gagaku, imperial court music from ancient Japan. A sell-out performance with the London Contemporary Orchestra in December is said to have moved the audience to tears.

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by Kate Hutchinson via Electronic music | The Guardian

Wednesday, January 15, 2020

DJ Dom Servini at The Jazz Cafe, 31/1

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The Milk at Rough Trade East, 29/1

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Wah Wah 45s at The Horse & Groom, 25/1

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Dele Sosimi Afrobeat Orchestra at The Jazz Cafe, 24/1

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DJ Dom Servini at Century, 23/1

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Scrimshire & Bopperson at SLST, Bussey Building, 18/1

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DJ Dom Servini meets DJ Maseo at The Jazz Cafe 17/1

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Sunday, January 12, 2020

DOM SERVINI’S ALLO LOVE TEN :: JANUARY 2020

1. UKOKOS/JABCO – Keep Rising All Night Long (Sunday Service Mix) (G.A.M.M. 10)

2. Michael Kiwanuka – Money (Delfonic Edit) (Free DL)

3. The Reflex – Good High (Flex 7)

4. Children of Zeus – Get What’s Yours (First Word DL)

5. Andrej Laseech feat. Javonntte – More Than Friends EP (Lumberjacks in Hell Promo DL)

6. The Patchouli Brothers – Pleasure of Edits 6 (Pleasure of Love 12)

7. Jeff Parker – Go Away (International Anthem Promo DL)

8. The Sorcerers – In Search of the Lost City of the Monkey God (ATA Promo DL)

9. Sydney – Paraiso (Black Acre 7)

10. Sweet Mixture – House of Fun and Love (HOFAL Promo DL)

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Dom Servini – Guest mix on Balamii for Charles Vaughan

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Dom Servini – Unherd Radio Show #37 on Soho Radio

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Jazzmeia Horn – Green Eyes

Rosie Turton – The Purge

Nubiyan Twist – Portraits feat. Cherise

Ari Lennox – Chicago Boy

Ryan Porter – Memory Band

Deyampert – Held Him First

Pathless – Forecast

Sweatson Klank – Kiss in the Shadows

Children of Zeus – Get What’s Yours

The Milk – Time Don’t Cost Enough

Greg Foat – This Is Not Necessarily My Answer

Greentea Peng – Mr. Sun (Miss da Sun)

Sefi Zisling – The Sky Sings feat. ft. Layla Moallem, Jasmin Moallem & Kerendun

Shake Stew – Shake The Dust

David Walters – Kryé Mwen

Laseech – Let’s Not Pretend (Marcel Vogel & Tim Jules Remix)

Jeff Parker – Go Away

Calibro 35 – Stan Lee feat. Illa J

FZPZ – Trickster

Nardeydey – Slippin’

Kirk Reed – California (Shawn Lee Remix)

Ambiance – Camouflage

The New Jersey Connection – Love Don’t Come Easy

King Sporty & The Roots Rockers – Fire Keep On Burning (Al Kent Edit)

Michael Kiwanuka – Money (Delfonic Edit)

Tomahawk Bang – H O M E

The Dur-Dur Band – Daraadaa Muxidoo

Muriel Grossmann – Okan Ti Aye

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Poppy: I Disagree review – candyfloss pop with a dark heart

(Sumerian)

Real name Moriah Pereira, Poppy is a YouTube-born character who has been described as both an alien and a cult leader (she has, of course, released a book, The Gospel of Poppy). I Disagree is her third studio album, and it finds the LA-based creator pushing into more eclectic territory than ever – which is saying something, given how her earlier work blended the off-kilter sheen of PC Music with a hyperactive iteration of ska.

Self-described as “post-genre”, Poppy channels early Gwen Stefani (replete with the interest in Japanese kawaii, or cuteness) and whispery, dark, glee-club theatrics – think Billie Eilish gone hair metal.

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by Tara Joshi via Electronic music | The Guardian

Saturday, January 11, 2020

Mura Masa: on why he's swapped sunny pop for moody nostalgia

He’s the in-demand producer who has worked with BTS and Chic, so why has Alex Crossan left it all behind for grungy guitars?

In a cramped south London rehearsal space, producer Mura Masa, AKA Alex Crossan, is quietly losing the plot. Takeaway boxes and empty bottles rest on crates full of wires, while a small rug added for ambience is covered in upended cardboard boxes. Heat, meanwhile, is provided by two whirring laptops, their screens full of chunky colour bars representing something technical Crossan doesn’t even attempt to explain. The 23-year-old only got back from Asia yesterday, marking the end of a tour in support of 2017’s Grammy-nominated, self-titled debut, which saw him collaborate with A$AP Rocky, Damon Albarn and Christine and the Queens. Now he’s got to figure out how to play his forthcoming new album RYC (Raw Youth Collage) with a full band, hence the place looking like an unmanned stockroom.

While that sun-dappled first album poked and prodded at the pop zeitgeist, fusing tropical house and trap while joining the dots between Disclosure and Jamie xx, its grungier follow-up offers a sonic volte face. Out go the uplifting bangers and in come dense guitars – fuelled by his childhood obsessions with bands such as Joy Division, Talking Heads and Blur – and a lyrical heaviness that reflects, well, 2020. “[My debut] was about pop music, essentially, but trying to come at it from an oblique angle,” Crossan says, perched precariously on a cardboard box. “I think in the past five years that grand obelisk of ‘pop music’ has been destroyed, because as the next generation come in they’re really not interested in genres. Anything can become pop.” He also sees the lyrical themes of this new, looser kind of “pop” shifting, too. “I think there’s a real appetite for vulnerability and emotional transparency. We’ve had a good decade of ‘Put your hands in the air like you just don’t care’ and people are like: ‘This isn’t reflective of what’s happening geopolitically any more.’” He smiles knowingly at that last bit. “They want something that connects to the world they’re living in, and I think there’s something about the guitar that’s really expressive.”

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by Michael Cragg via Electronic music | The Guardian

Friday, January 10, 2020

Mura Masa: RYC review – so mediocre, it's not even entertainingly bad

(Polydor)
Clairo, Tirzah and Slowthai and other guests can’t polish the turds on producer Alex Crossan’s profoundly awful second album

It’s never easy being young, and perhaps it is harder than ever, what with social media and the climate crisis sending youth anxiety rates soaring. This second album by the 23-year-old Grammy-winning British producer Alex Crossan – AKA Mura Masa – is about the understandable draw of nostalgia as an escape from today’s stresses, but it fills you with a different kind of flight impulse.

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Thursday, January 9, 2020

Keeley Forsyth: how the Happy Valley actor became the new Scott Walker

She was enjoying a successful if gruelling film and TV career when serious illness struck. But Forsyth has channelled that experience into a bleakly beautiful avant-garde album

Yorkshire is the backdrop to many disquieting works of art, such as David Peace’s Red Riding Quartet, Bram Stoker’s Dracula and the Brontës’ explorations of the soul. The newest is Debris, an album made by a 40-year-old actor with a familiar, pale-eyed, haunting face, whom we have seen in recent years playing a sex worker in Sally Wainwright’s Happy Valley and heroin addicts in The Casual Vacancy and Waterloo Road.

Keeley Forsyth’s debut as a musician is an avant-garde proposition, however: a shivery descendent of Scott Walker’s Tilt, a more unsettling older sister of Aldous Harding’s Designer. Forsyth’s voice marries Peggy Lee’s bluesy vibrato with Nico’s thunderous terror, and delivers lyrics that invert nature, as a way of exploring despair. Large oaks descend and grow roots. Salt hills move. Madness unfurls.

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by Jude Rogers via Electronic music | The Guardian

Georgia: Seeking Thrills review – a bold British hymn to hedonism

(Domino)
The singer and producer has absorbed Chicago house, Robyn-style pop and dub reggae, and refashioned them into an album about being ‘consumed by night’

The photo on the cover of Georgia Barnes’s second album seems telling. At first glance, it looks like one of those classic late 80s/early 90s club shots that get ageing acid house veterans moist-eyed with nostalgia. If you were hopelessly prone to romanticising, you might imagine that the people in it were dancing to a track made by Barnes’s father Neil, one-half of progressive house pioneers Leftfield. But it isn’t anything of the sort. On closer examination, it’s not a vintage photo of a rave but of a kids’ party; a 1988 image by photographer Nancy Honey, titled St Stephen’s School Disco, Bath.

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by Alexis Petridis via Electronic music | The Guardian

Friday, January 3, 2020

Coachella 2020 announced with headliners Rage Against the Machine, Travis Scott and Frank Ocean

Lana Del Rey, Calvin Harris and 21 Savage to also appear at California event that kicks off festival season

Coachella, the most high-profile music festival in the US, has announced its full lineup for 2020.

Political rap-rock band Rage Against the Machine headline the Friday of the two-weekend festival in April (each weekend featuring the same lineup), as part of their first tour since 2011. The band, which formed in 1991, released four albums before splitting in 2000. They re-formed in 2007, with their first concert at Coachella that year. Two years later, following a fan campaign, they scored an unlikely UK Christmas No 1 with their expletive-filled track Killing in the Name.

Weekend 1 is sold out Register for Weekend 2 presale at https://t.co/x8PRTb12Eh. Presale starts Monday 1/6 at 12pm PT pic.twitter.com/QPRYnJVe9P

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by Ben Beaumont-Thomas via Electronic music | The Guardian

Thursday, January 2, 2020

Ben Lee, Georgia Maq, Tame Impala: Australia's best new music for January

Each month we add 20 of the best new Australian songs to our Spotify playlist. Read about 10 of our favourites below – and subscribe on Spotify, which updates with the full list at the start of each month

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by Nathan Jolly and Guardian Australia via Electronic music | The Guardian

Wednesday, January 1, 2020

Sugar Sweet: the pilled-up rave that united Belfast during the Troubles

Thirty years ago, David Holmes and Iain McCready’s event brought together communities who hated each other but needed to vent their fear: ‘Religion wasn’t a barrier any more’

‘Doing music as a career didn’t even register as something that was possible,” recalls DJ, producer and composer David Holmes. “Growing up in the Troubles, you just never felt things like that happened to people like you.”

Thirty years ago, Holmes was working as a hairdresser in a Belfast salon with fellow music obsessive Iain McCready. Holmes had been booking bands since the age of 15 and McCready was running underground hip-hop nights in the city. “We’re both blessed with a personality of not waiting around for things to happen,” says Holmes. “So we put on our own nights.” On 23 December 1989, the pair launched Sugar Sweet – initially called Base and then briefly The Face – a night that brought acid house and rave culture to Belfast with a mighty thump. Earlier this month, the pair threw a one-off 30th anniversary party to celebrate.

That sense of togetherness, when you’re staring down the barrel of a gun, gives you that extra bit of inspiration

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by Daniel Dylan Wray via Electronic music | The Guardian

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Wednesday, January 29, 2020

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Sunday, January 12, 2020

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