rave
Thomas H. Green
By midway, things are cooking. “Can U Dig It?”, a post-modern list-song from another age (Ok, 1989), boasts a whopping guitar riff. Keys-player Adam Mole, his ushanka cap’s ear-covers flapping, leaps onto his seat, waves his synth aloft. Frontmen Graham Crabb and Mary Byker fly up’n’down the stage-front, launching airwards for chest-bumps, staccato-firing rapped lyrics about the Furry Freak Brothers, Renegade Soundwave, Bruce Lee, DJ Spinderella and, of course, how writer-magician Alan Moore “knows the score”. At the end Crabb segues briefly into an obscure sliver of Boys Own Bocca Read more ...
Thomas H. Green
Justice are a couple of super-suave rock star analogues. Leathers and aviators, yes, but with a very Parisian insouciance. Their music is the same. It has a rocker-friendly je-ne-sais-quoi, but air-brushed with the glitzy sci-fi futurism one might expect from a couple of guys whose origins lie in design. Their new album, their fourth and first in a leisurely eight years, retains their usual slightly-gnarly-but-smartly-turned-out vibe, but reaches towards new and entertaining musical directions.Justice blew up with Noughties monster remix “We Are Your Friends”, then rode the proto-EDM wave, Read more ...
joe.muggs
At 24, Bradfordian Nia Archives has already clearly marked out her musical territory.While many of her Gen Z contemporaries have embraced the rave, jungle and drum’n’bass sounds of the early-mid 1990s, she’s done it more wholeheartedly than most: particularly rebuilding the rolling breakbeats and deep bass of jungle as a kind of British urban folk music, collaborating with older generations (original junglists DJ Die and Randall of Watch The Ride), and demonstrating how her natural Caribbean-influenced Yorkshire vocal articulation fits perfectly into that. Crucially, though, having shown Read more ...
joe.muggs
Tom “Squarepusher” Jenkinson has covered a lot of ground over three decades, from dank cellar ambience to refined baroque composition, and from chirpy funk to monstrous noise. But his default mode is instantly recognisable: 170+ beats per minute jungle / drum’n’bass-adjacent breakbeats, squelching acid techno synths, high drama rave chords, all with him playing jazz fusion bass guitar over the top like a maniac.And that’s what he does here. OK there are “Arkteon” parts one to three – solo bass pieces which form intro, mid point interlude and outro to the album, that are very much in that Read more ...
Thomas H. Green
Shaun Ryder is now known mostly for being Shaun Ryder, via any random TV programme that will pay him a couple of quid. In this light, his musical achievements have lost some of their shine over the decades. But, if given the chance, a couple of those Happy Mondays albums and the first Black Grape album still own the room. It’s 30 years since that first Black Grape album, It’s Great When You’re Straight… Yeah (they weren’t!), but the band's two albums since have both been, well, pretty good, actually. And the same can be said for their fourth.The band now consists of just Ryder and his old Read more ...
joe.muggs
There are musicians on the UK dance underground who doggedly identify with particular scenes and evolve with them. There are those who adapt stylistically in order to move from scene, or manage to be part of several at the same time. And then there is Londoner Danny Native aka Altered Natives. He is truly the outsider’s outsider.He’s made tracks over the years that have been played by mainstays in scenes like house, broken beat, UK funky, post-dubstep and elsewhere, but by a combination of accident and design is part of none of these things. With a distinctively cantankerous and mordant wit, Read more ...
Thomas H. Green
The KLF are endlessly fascinating. There’s never been a “pop group” like them. From the late Eighties into the early Nineties, they treated music, especially electronic dance music, as a laboratory for lunatic experiment. Unlike most avant-garde thinkers in pop, though, they made a glorious and highly unlikely commercial success of it, via a series of globally successful singles (and, to some degree, the album, The White Room).From their beginnings to demise, filmmaker Bill Butt was an accomplice, creating films and videos as asked. The BFI's 23 Seconds to Eternity gathers these together Read more ...
Thomas H. Green
Bradford unit Bad Boy Chiller Crew blew up from a regional scene which combined jokey lo-fi videos, a bangin’ fusion of UK garage and hard house (“bassline house” as they termed it), and grime-style rapping in local accents.Boasting parochial slang, tongue-in-cheek self-awareness, and a defiantly working class attitude, they were a breath of fresh air. Their vibe was redolent of acts such as Kurupt FM, Die Antwoord and Goldie Looking Chain. They were a blast. Live, they likely still are, but their new album sees them jump the shark.For one thing, it’s 21 tracks long where, as every artist Read more ...
Guy Oddy
Since first coming together in 1989, The Chemical Brothers have done more than enough to earn their place in the Pantheon of Rave Legends. They may not have been there at the birth of Acid House, but six number one albums, 13 top 20 singles and six Grammy awards is nothing to be sniffed at – especially for a couple of nerdy blokes who basically push buttons on boxes of electronic gadgets.Rave, Techno, Big Beat, Electronic Dance Music, whatever you want to call it, however, is essentially a medium best experienced in the live arena. The soundtrack to a communal experience, where audiences can Read more ...
Jonathan Geddes
Early on in this arena gig by New Order, a youthful, enthusiastic voice could be heard to say gleefully, “They’re just so 80s!”. That statement was both accurate and yet also misleading, for as this near two-hour performance showcased New Order’s music is both of that decade and yet above it. Take the throbbing “Vanishing Point”, which swirled majestically for several minutes with a driving groove, lights shooting over the crowd. It was a hypnotic, rich tune to lose yourself in, and going by the number of flailing limbs that is exactly what the all ages crowd, from 80s clubbers to Read more ...
Thomas H. Green
The Chemical Brothers are unstoppable. Their live shows are a guaranteed monster good time, redolent of proper old-school rave-ups, but with visual tech from some freaky eye-boggling future. Their last album, 2019’s No Geography, was a total belter. Their latest, their tenth, is also a total belter. They do what they do. But they do it so bloody well.For That Beautiful Feeling sees them finding new detail, new depth, new ways to make what they do fresh again. It’s riveting, full of verve. Dismissed by those that don’t know as a retro turn, the truth is that The Chemical Brothers, despite Read more ...
caspar.gomez
“This wasn’t the day to wear white suede boots,” says Django Django’s singer Vincent Neff, midway through the band’s Friday evening set.He’s not kidding.Mud can be worse (Glastonbury ’97, ’98, ‘07 & ’16). Wet weather can wreck the vibe (Nova ’12, Bestival ’08). Or even close festivals down (Camp Bestival ’18). But, in 33 years of partying in fields, Bluedot ’23 takes first prize for Most Rain-Sodden.Never mind. We held the line. And consistently saw some of the most characterful and accomplished live performances of the summer.THURSDAY 20th JULYAfter a six-hour journey from the south Read more ...