club music
Joe Muggs
The broken beat movement, centred on West London around the turn of the millennium, wasn’t super press friendly. Its complex rhythms were eclipsed in the populism stakes by its close cousin UK garage, and serious commentators didn’t really know what to do with a broadly working class, multicultural scene that was aspirational and privileged virtuosic production and musicianship. Indeed there was a distinct inverted snobbery in the refusal refusal to treat it with the respect afforded other electronic music which fit into a scholarly vs “street” dichotomy.The movement itself, which could Read more ...
Thomas H. Green
VINYL OF THE MONTHPere Ubu Trouble on Big Beat Street (Cherry Red)Respect to Pere Ubu. Most bands of this tenure (they’ve been around since 1975) with a leader, David Thomas, who’s 70-years-old, might fancy a triumphal tour playing their greatest (non-)hits or celebrating their seminal 1978 album The Modern Dance. Far from it, Trouble on Big Beat Street, is as forward-pushing and faintly unhinged as anything they’ve ever done. Or anyone else this month. Like the late, lamented Fall, age only prods Thomas to revel in possibility. The PR sheet quotes him, stating that the album is based on the Read more ...
Thomas H. Green
The response to this album will depend almost entirely on whether the listener regards Norwegian electronic musician Hans-Peter Lindstrøm’s Seventies-synth-wizard-goes-disco thing as tasty noodle or just noodle.He’s tried on many hats over the years since the righteous hype around Oslo’s “cosmic disco” scene thrust him into the limelight a few years into this century, but Everyone Else is a Stranger sees him return to core territory.One gets the sense that Lindstrøm simply pootles along in his country retreat studio, tinkering, the vagaries of musical fashion an irrelevance, as he indulges in Read more ...
Joe Muggs
There are whole books to be written – indeed, hopefully being written – on how hip hop has interacted with dance music culture in North America over the past decade plus. From the overblown mania of rap megastars jumping on David Guetta tracks in the heat of the EDM explosion at the start of the 2010s, to the far more sophisticated fusions done brilliantly by Beyoncé and slightly less so by Drake on big albums last year, it’s created some of the most ubiquitous sounds globally. And in the thick of the raves and festivals, Black American vernacular forms like trap, drill, New Jersey club and Read more ...
Joe Muggs
In one sense you know what you’re going to bet with Róisín Murphy. Disco beats, a lot of bright colours, costume changes, goofing about, kick-arse vocals, and hats – lots and lots of hats. And yes, all that was present and correct at the Royal Albert Hall. But in another way, any given show is alien territory.Murphy is an artist who has never sat still since her first releases with Moloko in 1994, not just reinventing herself from project to project as is standard for savvy pop acts, but shifting from minute to minute between accents, sounds, attitudes, seriousness and foolishness, futurism Read more ...
Thomas H. Green
Some rock bands base their career around being musically fluid, an ever-changing what-will-they-do-next? conundrum. Others, such as, famously, Motörhead and The Ramones, simply go on doing their thing, honing it, repeating ad infinitum, with an almost zen devotion. The results, at their best, are vigorously on-point.It’s not only rock bands, though. Some of those swept up in the 1990s rave-olution also knuckled down, stuck to the cause, purposefully focused. One such is Steve Mac and his new album combines aspects of old and contemporary production to salute the history and ongoing potency of Read more ...
Joe Muggs
Aaron Jerome has always cut his own path through British music. After a few jazzy, groovy experiments under his own name in the 00s, he came dramatically to prominence at the end of that decade as SBTRKT. He was always associated with the post-dubstep moment where the UK bass subcultures of dubstep and grime folded back into house and techno, launching big names like Hessle Audio and Disclosure – but in fact he didn’t quite fit there.There was always something a bit restless about his music. As a British Asian producer coming to fame working with a Black singer (Sampha) yet making music that Read more ...
Thomas H. Green
Record Store Day is nearly here. At theartsdesk on Vinyl we have a selection of goodies which are appearing exclusively in record shops. See anything you fancy?THEARTSDESK ON VINYL’S VINYL OF RECORD STORE DAY APRIL 2023Suicide A Way of Life Rareties (BMG)With Suicide’s underrated 1988 album A Way of Life heading for reissue, this Record Store Day release amps the anticipation with a four-track 12” of associated odds’n’ends. It opens with a live version of, supposedly, Bruce Springsteen’s “Born in the USA”, but it is, in fact, frontman Alan Vega vamping around songs including Fats Domino’s “ Read more ...
Joe Muggs
We are way, way past the point where it makes any sense to talk of jungle or drum’n’bass “revivals”. Thirty years from the emergence of jungle from the rave scene, its tempo and tropes have remained a staple sound for generation upon generation of clubbers, boy racers and festival goers. It is woven into the fabric of global, and particularly British, culture just as integrally as, say, indie rock guitars are.That said, it has lately had an upsurge in popularity, but it makes more sense to think of what’s happened in the Twenties as a consolidation. What we’ve seen is a young generation of Read more ...
Joe Muggs
Ageing boppers may bristle at the idea of a dance album where the average track length is three minutes. Yet this, Sonny “Skrillex” Moore’s first solo album since his debut nine years ago, is the most groove-based thing he’s done. It’s certainly a long way from its predecessor, 2014’s Recess, which came as the EDM and commercial dubstep waves were really cresting in the States and – while its tracks were actually slightly longer – really pushed the high-spectacle, instant gratification hyperactivity of those styles to the limit, together with noisiness fitting with his previous life as a Read more ...
Jonathan Geddes
Any younger Sugababes fans might have felt a little neglected here. “Who’s a 90s child?” yelled out enthusiastic DJ Shosh as she warmed up the crowd, followed soon after by a cry of “Who’s an 80s child?”, which received an even louder roar in response. This was an audience seeking a nostalgic party all right, albeit a rowdier one than anything by the girl group during their chart-topping days, with even a pint glass sailing through the air during a lively opener of “Push the Button” that felt more like a rave than a pop gig.The good spirits lay not just in the tunes, of which there was a Read more ...
Joe Muggs
There is now a kind of “leftfield mainstream” in electronic music. It’s populated by people a decade or more younger than the original acid house generation, but who take their core inspiration from post-rave experimentation of the early-mid Nineties. Dusky, Bicep and to an extent people like DJ Seinfeld, Four Tet and Jon Hopkins all channel the rich melodies and textures of Future Sound of London, Orbital, early Aphex Twin, Underworld and co to arena-filling effect. And Daniel Avery has been chief among these. Running through his work from the beginning have been tones and Read more ...