techno
joe.muggs
They started as a band of hyper-accomplished musicians aiming to play fiddly electronica in a guitar-band format and thereby creating a rather witty new kind of progressive rock. Now, minus key member Tyondai Braxton but plus a few leftfield star guests, Battles are playing a neat line in chugging heavy metal calypso techno dub punk pop. No, the notion of genre in the 21st century doesn't get any easier, does it? But preposterous definitions aside, a lot of this record boogies along with a surprising amount of fun given its makers' conspicuous virtuosity and the hodge-podge of influences Read more ...
joe.muggs
This is, not to put too fine a point on it, a masterpiece – but it could easily have been a bloody mess. The team-up of Mark Pritchard and Steve Spacek is the kind of thing that brings genre purists and scene snobs out in hives: Somerset-born, Australian-resident Pritchard having delved into everything from sensuous ambient jazz to bouncing booty bass, hardcore rave to exotica over his two-decade career, while vocalist and co-producer Steve Spacek formed the highly individualist and criminally under-appreciated techno soul band Spacek at the start of the 2000s. Together they have brought Read more ...
joe.muggs
While rumours of the album's demise may well have been premature, the digital age certainly does present increasing challenges when it comes to getting punters to keep and treasure music. Of course, really it all went wrong with the CD: those irritating plastic cases with hinges and catches guaranteed to snap off and get hoovered up, the booklets you have to squint to read, the discs that slide under car seats or behind radiators. Even “deluxe collectors' editions” were never going to be all that glorious compared to a big slab of vinyl or two and a lavish gatefold record sleeve. MP3s might Read more ...
joe.muggs
There's something about this album that feels as if it's already existed for a long time. Full of post-apocalyptic images of smoke, dust, decay and weakness, and themes of struggling individuals and implacable political forces, it thematically fits with the works of a long line of acts who positioned themselves against the fear of nuclear armageddon and the seemingly immovable Conservative government in the 1980s. Its mix of Caribbean-influenced soundsystem culture and dub poetry with an edgy alternative experimentalism, too, harks back to the post-punk genre collision of Dennis Bovell, On-U Read more ...
joe.muggs
The Detroit electro-techno duo of James Stinson and Gerald Donald aka Drexciya never gave away their secrets easily. Almost completely anonymous and never photographed during their 10-year existence – which ended with Stinson's 2002 death after a long illness – they surrounded their music with a complex mythos and mischievous wit comprehensible only to a small, obsessive cult audience. Only now are they getting wider appreciation, with a new generation of electronic musicians like Rustie hugely influenced by their sparse electronic funk, and the art world being introduced to their Read more ...
joe.muggs
Carl Craig is extraordinarily easygoing. Most dance producers of his seniority and level of achievement would come with at least a publicist in tow, but when we meet him in his London hotel, his only entourage is his nine-year-old son, playing happily with an iPad or chatting to the photographer as we talk, and Craig is very easy and engaging company. One might expect someone more driven-seeming, given that, in the notoriously fickle world of club music, he has managed to keep both fiercely snobbish techno fans and mainstream club audiences on side for over two decades, branching out Read more ...
joe.muggs
It's only after hanging up the Skype connection to Richie Hawtin that I realise how effective a branding exercise he has made the interview. In conversation the English-born, Canadian-raised Berlin resident is charming and smart, but listening back I realise that he has subtly repeated the names of his projects and products over and over, with the slickness of a high-flying salesman. But then you don't sustain a 20-year career making relentlessly odd music - yet still be regularly ranked in the very top flight of global club DJs alongside perma-tanned monstrosities more likely to Read more ...
joe.muggs
Next time BBC2 want to do one of those periodic “what happened to the white working class” documentaries, they could do worse than come to a Pendulum gig. The crowd at Wembley Arena last night were defiantly not “studenty” as many for post-rave music acts can be, and neither were they multicultural; in fact, switch the haircuts and outfits around and you could pretty much transplant the same set of people back 30-odd years to an early Iron Maiden show. This was a 21st century heavy metal crowd through-and-through – not fashionable, not refined, but ready to get involved to the maximum extent Read more ...
joe.muggs
Rave music, in its many ever-mutating forms, is now more than a generation into its existence. Many, possibly most, of the crowd pushing into Heaven, under Charing Cross station, weren't even born when acid house fully hit the UK in 1988, but none of them are here for some retro experience. It's hard, as a superannuated lover of electronic beats, not to feel cultural vertigo at the fact that what once felt like the most impossibly inhuman of sounds has now become so ubiquitous and so established as to be a kind of folk music. But there it is, as established as the blues or punk rock, and as Read more ...
joe.muggs
Some days I feel like I've woken up on the other side of some wormhole in the spacetime continuum, and the world is a subtly but definitely different place to yesterday. So it was last week when I got a slightly drunken email from a music producer in Rotterdam, with some remixes of his work, saying, “There was this dude called DJ Orion and this dude was working in his lab on his freak creation. Mixing moombahton with footwork and guarachero at 140 bpm. He named it: boombahchero.”OK, “footwork” I know. Footwork is a rhythmically warped mutation of house music and hip hop that comes Read more ...
Thomas H. Green
Parallels have occasionally been drawn between techno and modern classical music, most especially dissonant movements such as minimalism, serialism and the broader avant garde. The purest techno has a stark, almost barren simplicity and those involved with it, notably Detroit techno original Jeff Mills, are keen to build bridges with the orchestral community, taking techno into concert halls and hoping to add a certain intellectual kudos. Such ventures are a mixed blessing - often losing the sheer energetic fun of the music along the way - but a new German outfit called Brandt Brauer Frick Read more ...
joe.muggs
If there's one festival in Britain where people are ready for the rain, it's the Green Man. After all, nobody goes to the Brecon Beacons to sunbathe, right? The weekend, which began the spate of boutique and specialist festivals that dominate the summer season now, remains one of the most spirited in the UK, and its crowd seems to be one of the hardiest even when, as this year, the deluge is near-continuous. It helps that the site is both beautiful and sloping, so it wasn't able to turn into a grim waist-deep mudbath; the real saviour of the festival, though, is that attention to detail in Read more ...