dance music
Joe Muggs
Club culture has always had a tension between democratisation (“come one, come all!”) and exclusivity (the thrill of being in the know about the newest or most underground thing). The best clubs have always been the ones that find ways of short-circuiting this seeming opposition, and a great part of the success of The Boiler Room is the way they have harnessed technology to perform the same trick.Begun barely a year and a half ago, the premise was incredibly simple – to use video streaming to allow viewers online to watch a DJ playing to a group of friends – but the impeccable quality of the 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 ...
Kieron Tyler
Poliça aren’t lacking support. Jay Z posted one of their videos on his blog. Prince turned up to check out their live debut. Bon Iver's Mike Noyce sings on a couple of Give You the Ghost’s tracks. For an outfit whose debut album is only just getting its UK release (it was issued in the States in February), Poliça have got the jump on most contenders. They’ve also got an added leg up by having their origins in hip Minneapolis collective Gayngs. Most importantly, Give You the Ghost is great.Like Gayngs, Poliça – Polish for policy – aren’t a band. Both are projects drawing together producers and Read more ...
theartsdesk
Various: Cumbia Cumbia 1 & 2 Peter CulshawThese totally irresisitible compilations were originally issued as separate albums in 1989 and 1993, and were for many (including me) a first taste of this loping, vivacious sound, which originated originally in the 17th century on the Caribbean Coast of Colombia and has been a badge of identity for Colombians ever since.The music is a mix of African and indigenous rhythmic elements overlaid by brass, accordion, clarinet and electric guitar, pushed along with an addictively rocksteady bassline.Although Cumbia has since spread to Mexico, with more Read more ...
Ismene Brown
The Queen's given everyone an extra bank holiday, so while you rest up over the Easter holidays, start planning your next downtime with theartsdesk's definitive clickable festival guide for the summer. We have headline listings and links for all the UK festivals this year, from rock by the lochs to DJs in London parks, and catching classical and opera on the way. Due to the London Olympics' snatch on Britain's stocks of portable toilets and police, as well as the economic downturn, some festivals have been suspended this year, including Sonisphere Knebworth and Glastonbury (but registration 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
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 ...
Joe Muggs
It's become a fairly common trope for herbally enhanced rappers to hype up their individuality by referring to themselves as an “alien”, but with Wiley you could believe it. In “Can I Get a Taxi”, the odd extended skit that forms the centrepiece of this album, he inhabits various London archetypes – the yardie, the cockney wideboy, the posh bloke – but while his accents are hilarious, it all feels strange, curious, like a child poking at creatures in a rockpool, and his ever-wayward stream of thought keeps veering off course. As with so much in the decade-old career of the father of grime and Read more ...