club music
Joe Muggs
Of all the major acts from the the acid house/rave explosion, Leeds's LFO seem least interested in becoming a “heritage act”. Perhaps it's because Mark Bell (the sole member of LFO since the early departure of Gez Varley) has no need to cash in on the brand, thanks to his lucrative “day job” as producer of choice for the likes of Björk and Depeche Mode.Which isn't to say he's left LFO behind at any point; although it's almost ten years since his last album Sheath, he continues to periodically play live at clubs and festivals and by all accounts prolifically produces new tracks, but enabled by Read more ...
peter.quinn
For the way it combined mercurial, on-the-fly interplay, seismic textural shifts and listening of the highest order, this gig was remarkable. In the space of two continuous sets there wasn't a longueur to be found, such was the incredible union of Black Top #5's boundary-pushing improv and fine-tuned musicianship.Saxophonist Steve Williamson, trumpeter Byron Wallen and vocalist Cleveland Watkiss joined Black Top founders, pianist Pat Thomas and vibist/sampler Orphy Robinson, to explore the intersection of live instruments and the technology of dub, reggae and dance floor.You would search in Read more ...
Joe Muggs
It's a truism in dance music culture that “everyone's a DJ nowadays”. It's generally meant in a flip, pejorative sense – suggesting that cheap technology means every man Jack and his dog can put a sequence of records together and the role is somehow devalued. But it hides a rather more positive truth, which is that dance culture is intrinsically participative, that the line between industry and punters is so blurred as to be non-existent, that those punters truly are easily as important as the hallowed DJs they look up to.Certainly at the Dimensions Festival, the boundaries seem pretty fluid Read more ...
Joe Muggs
This is a techno album. A techno album on a British label best known for the indie-est of indie rock, from a duo whose last album featured rock vocalists Beth Ditto and Alex Turner among others, but a techno album nonetheless. It's all about pulse and texture, immersion and physicality, the power of the hypnotic beat, and it is absolutely bloody lovely.And why shouldn't it be? There's a school of thought that to make music in genres most popular in the early 1990s is “retro”, and that this is by definition a bad thing – but this is clearly idiocy. This is no more beholden to the past than, Read more ...
Joe Muggs
Welcome to our second show, brought to you again from the Red Bull Studio in London where it was recorded by Brendon Harding.This time, Peter and Joe are joined live in the studio by two guests: friend of theartsdesk and musical polymath Mara Carlyle, and Arthur Jeffes of Sundog and Penguin Café. Mara discusses sharing management with J-Lo, and sings Gershwin with a ukulele, while Arthur discusses continuing the legacy of his father, Penguin Café Orchestra founder Simon Jeffes, and exclusively plays us some new material from his Sundog project, hot from the hard drive.Elsewhere you can hear Read more ...
Joe Muggs
Jan St Werner, half of German duo Mouse On Mars, recently held forth on their inspirations, citing the tension between metrical freedom and metronomic funk in the work of Sun Ra and Funkadelic as their key motivator. And while it might seem odd to compare two synth-twiddlers from Cologne and Düsseldorf with the great mavericks of mid-century American Afrofuturism, when you hear their music it makes complete sense.Watch the video for "Polaroyced":St Werner and his partner Andi Toma have been making weird music solidly for two decades now. Often they've seemed like the absolute cliché Read more ...
Joe Muggs
A mea culpa from me: I never gave Sbtrkt's records the attention they deserved. I always thought they were a capitulation, a softening of the radical developments of the post grime and dubstep generation with more traditional musicality and indie affectations to reach out to a more generalist, NME reading audience... and in a way they are – but, I came to realise, that's not a bad thing, and certainly not cynically done.Having listened to last year's self-titled debut album more thoroughly, it became clear that there is a distinct and often deliciously absorbing character to Aaron Jerome's Read more ...
Joe Muggs
Tonight on Channel 4, a new music series begins with a fantastic premise. A group of music obsessives drive around the USA in a London black cab, finding interesting musicians and recording them performing and talking in the back of the cab. Sounds a little bit like the 2008 Stephen Fry in America series, doesn't it? Well maybe, except Black Cab Sessions has been broadcast online since 2007.Watch the Black Cab Sessions trailer:And there's the rub. BCS has now featured hundreds of acts in various cabs, from complete unknowns to top ten-bothering popstars, from gangsta rappers to Brian Read more ...
Joe Muggs
Londoner Yemi Olagbaiye is the model of a new generation musician for whom the dissolution of genre categories means not homogenisation but an opportunity for greater individuality. Olagbaiye grew up playing guitar music, then moved on to drum'n'bass, but really found his voice when he moved into a fusion of electronic and organic instruments, inspired on the one hand by UK garage and its offspring (dubstep, grime, funky), and on the other by the neo-psychedelia of Radiohead, Four Tet and Caribou. Watch Blacksmif's "...And the Sun Rose Out"His productions are lush and immersive, but Read more ...
Joe Muggs
Justice – pronounce it “Joosteece”, for they are as French as they come – deconstruct the opposition between style and substance. Everything about them is preposterous, from the hipster facial hair via the rock-pig antics in their A Cross The Universe tour “documentary” DVD to the way that almost the entirety of their musical palette is cribbed from their countrymen and close associates Daft Punk. They are masters of the big, empty gesture taken to ridiculous extremes, of blustering noise and gut-punching beats made strangely friendly, of the reduction of both rock and rave music to a Read more ...
Joe Muggs
I first heard Zed Bias's Biasonic Hot Sauce – Birth of the Nanocloud last autumn. He may have been one of the key players in the London-centric sound of UK garage, but he was never of that scene. Based in Milton Keynes through the first phase of his career, he releases through a Brighton label and is now resident in Manchester. This is key to understanding the connections in his tracks, which reflect the clubs in those cities that sidestep metropolitan scene micro-delineation and rave parochialism and lock into a wider soulboy set of connections.His sprawling album as Maddslinky earlier in Read more ...