techno
joe.muggs
The past year or two have seen a staggering return to popularity of house and techno music in the UK. For the first time since the mid-1990s, records which have grown steadily through club play over many months are breaking through into the charts on a regular basis – but just as exciting and significant are those records that remain resolutely underground. Because it's there that you start to see the real reason for the longevity of these sounds – both well over a quarter of a century old.Take Livity Sound, for example, a trio of young Bristol-based producers – Pev, Kowton and Asusu – with Read more ...
joe.muggs
Richie Hawtin (b 1970) is no stranger to the art world, nor to working on a monumental scale. The British-born Canadian techno producer/DJ did, after all, collaborate with Jeff Koons, Jean-Luc Godard, LaMonte Young and Anish Kapoor for the French millenium celebrations. But his Dior-sponsored show at the Guggenheim Museum in New York this week may carry an even greater weight of expectations than that; techno and electronic dance music (“EDM” as its commercial form has come to be known in America) have never been bigger, and rather than a collaboration, this will be all his (well, and his Read more ...
joe.muggs
The thought of attending a dance music conference in Amsterdam frankly gave me the creeping horrors. I'd never been to Amsterdam Dance Event before, and the combination of DJ egos, business hustling and relentless partying through hundreds of club venues in a renownedly liberal city presented so many opportunities for both boredom and complete catastrophe, it just seemed like a fool's errand. But this, of course, wasn't fair. The dance music business is far more interesting than rumour and memories of the ego-bloated nineties superclub era would have it, and Amsterdam is a delightful place to Read more ...
joe.muggs
The part-Japanese Brit Maya Jane Coles displays elaborate asymmetric hair, interesting piercings and enormous tattoos in her moody photoshoots, makes sounds that are uniformly smooth and high-gloss, and has a sonic palette that takes in populist trance, chillout and straight-up pop music as well as more nerd-cred underground sounds. And in an era of techno that's been dominated by Berlin-centric cosmopolitanisms – by sophisticated internationalist crowds with creative haircuts and intricately-knotted scarves as well as sometimes tediously tasteful musical minimalism – it'd be very easy to Read more ...
joe.muggs
Alison Moyet is not just one of the great voices in pop, she's one of the most likeable figures. A brilliantly no-nonsense character, she consistently skewers music industry pomposity, laughs in the face of the expectations the world has of female artists, and generally does precisely what she wants while retaining an abnormally acute sense of the absurdness of it all.All of which seems to have fed into the minutes, which is a fabulously immature album – in the sense that this is clearly a singer-songwriter having nothing but fun in the studio, like a kid in a candy shop. With production Read more ...
joe.muggs
I have to admit I was That Hipster with Underworld: loved them circa 1991, stopped being intensely interested around the first album, diverged almost completely after “Born Slippy” went supernova circa 1995. It was wonderful the way that Karl Hyde bodged together torn up fragments of overheard conversations into his rave-dada lyrics to express the delirium of the rave era, but as the band's instrumental film soundtracks started to become the most interesting thing about them, perhaps foolishly I wrote him off as a one-trick pony, never again to repeat the inspiration of “Mmm Skyscraper I Love Read more ...
joe.muggs
Some 20 years ago, a series of albums called Artificial Intelligence on WARP Records aimed to promote techno as home-listening music. They made up a frequently sublime collection, but unfortunately the word “intelligence” in their title was picked up by a movement through the 1990s that became known, horrendously, as “intelligent dance music” (IDM) and tended to the belief that intricacy and awkwardness made music somehow superior to that made with more sensuous or hedonistic aims in mind.Thankfully, in the wake of dubstep in the 2000s, the experimental and the danceable began to overlap Read more ...
theartsdesk
We're pleased to announce The Arts Desk is a media partner of the Denovali Swingfest London on 20 and 21 April at London's The Scala. It's a good match, as Swingfest and the Denovali label, like The Arts Desk refuse to acknowledge artificial boundaries between “high” culture, the avant-garde and grassroots electronic and club music.Denovali Swingfest has taken place annually since 2007 in Essen, Germany but 2013 sees it expanding to take in weekends in Berlin and London. The Scala event is headlined by Andy Stott, the Mancunian techno powerhouse who in recent years has tended Read more ...
Kieron Tyler
The last proper Ulrich Schnauss album – there have been collaborations and pseudonymous outings since – was going to be hard to top. Goodbye, released in 2007, breathtakingly took shoegazing further out than ever before: although gossamer, its sonic depth inexorably pulled you in. Now, with A Long Way to Fall, the Berlin producer and remixer has finally returned, solo, under his own name. He’s moved on, but is as assured as before.Some of the collaborations between then and now took Schnauss into techno and drum & bass, elements of which cross over into A Long Way to Fall. Initially, the Read more ...
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 ...
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 ...
Thomas H. Green
There is a shouty lady outside the Theatre Royal in Brighton who takes strong objection to us attending tonight’s Brighton Festival performance of Matthew Herbert’s One Pig. The show is based around the life and death of a pig, from birth to plate, and includes pork being cooked. We are, she tells us as we enter, “hypocritical vegetarians with the blood of farm animals” on our hands. Matthew Herbert is not a vegetarian but she has hit on a crux contradiction about the evening (albeit in the unfortunate manner of Crazy Cat Lady off The Simpsons). Yet Herbert’s work is surely about Read more ...