techno
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 ...
Thomas H. Green
Anyone remember gabber? It was a moment in the mid-Nineties when Dutch and New York dance music went as fast and loud as it could. In retrospect it was a bizarre anomaly but achieved brief cult popularity combining puerile juvenility, punk, avant-garde experimentalism and techno in a way that’s never been repeated. It was a bloody racket but the best of it had a real venomous sting and eventually appealed to the heavy rock community as much as ravers. The same can be said of Huoratron, AKA Finnish producer Aku Raski.Raski was discovered by Last Gang Records, the label that homed fellow Read more ...
Thomas H. Green
In 2009 Orbital returned too soon. Dance music icons Paul and Phil Hartnoll only called it a day a little over four years previously so it was hardly a magnificent comeback. The resulting live shows smelt more of tax bills than art. Fair enough, we all have to live, but it was a shame to see such a great creative pairing fizzle rather than shine.Orbital ruled dance music throughout the Nineties. Their self-titled “brown” album remains an all-time great and the decade’s other four albums were also astonishing, even beautiful - lush listening music that turned into a driven foot-moving sonic Read more ...
Thomas H. Green
Everyone wants their own Madonna. Some want the mischievous, tinny, Eighties, New York club chick; some want the sexadelic, Shep Pettibone-produced art-nudie; some want the gently euphoric Ray of Light trance angel; some want the house-tinted fashionista “Vogue” queen, and so on, and so on – but what does Madonna want?I’d hazard a guess she stopped knowing shortly after her last great single, the ABBA-sampling Stuart Price-produced floor-slayer “Hung Up”. Since then she’s been flailing about more than usual, and misfired into R&B with 2008’s Hard Candy album. Finding new producers is 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
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 ...
Thomas H. Green
The Roundhouse is a melee of moneyed cosmopolitan twentysomething trendies. The beautiful people are out in force. My God, there are some delicious women and men here, expensively dressed, uptown couture to the hilt, a hefty smattering of languages from around the globe. Unexpectedly, for me at least, 22-year-old Chilean-American electronica prodigy Nicolas Jaar has the most chi-chi gig in London tonight. This is not a plus – the queues at the bar are half-an-hour long, dilettante party people buying rounds of exotic shots and bottles of bubbly, waving wodges of tenners about. And while Jaar’ Read more ...
Thomas H. Green
Of all the unlikely and incompatible collisions of genre imaginable, thrash metal with clubland trance must be pretty near the top of the tree. One is beefy, roaring, angry and punctuated by vocals akin to a dyspeptic troll burping, the other is electronic, poppy, air-headedly euphoric and can contain divas wailing banalities. This combination, however, was the horse a young St Albans band chose to ride for their 2006 debut single “Sorry You’re Not a Winner”. It summed Enter Shikari up and – although they’ve moved on musically since – it still does; the gutsy earnestness of metal but with Read more ...
joe.muggs
Against all the odds, I find myself going into 2012 with a strong sense of optimism. And the reason? I am a born-again rave zealot. I saw it at Outlook Festival in Croatia, I saw it at Sónar in Barcelona, and I saw it at the Big Chill where I was running a stage; participatory, constructive, creative partying, where the crowds go not just to be entertained but to plug into something bigger, to be part of something.Now, I love Kanye West's music with all my heart, but the sight of his latest whining pseudo-breakdown on stage at the Big Chill just seemed like the latest peeling away of the Read more ...
joe.muggs
I almost feel duty bound to make a declaration of interest here. I have done several pieces of paid writing for the Red Bull Music Academy, including a piece of course material for this year's Academy, and a few days ago I went to Madrid to see the Academy for the first time on their tab. But here's the thing: music writers rarely, if ever, feel the need to say that they have written sleeve notes or other material for a major record label when writing about an artist on that label, let alone that the label is paying their expenses for a story (which they generally do, as magazine and Read more ...