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Indian E-music – The right mix of Indian Vibes… » 2019 » July » 07


New Music Biennial review – from the novel to the

Delivered... Philip Clark | Scene | Sun 7 Jul 2019 4:16 pm

Southbank Centre, London
From a turntable artist’s orchestral remix to Gazelle Twin’s melodic revelry, composers reimagine classical

However deeply electronic composers and turntablists journey inside their own world of sound, the invitation to map their primary musical concerns on to a symphony orchestra usually proves impossible to resist. At the Southbank Centre’s New Music Biennial, some dealt with that crossover opportunity more resourcefully than others.

Dialogue by the British-Iranian turntable artist Shiva Feshareki failed to deliver on the promise of its premise: the material, which Feshareki composed for BBC Concert Orchestra and conductor André de Ridder, was pre-recorded, giving her the opportunity to transform it electronically before our ears. This throws up, she explained, the alluring prospect of hearing a transformation before the thing itself has been played orchestrally. In reality, though, the orchestral drones felt too broad and loosely argued to instigate a full-on dialogue between turntable and orchestra.

Continue reading...

New Music Biennial review – from the novel to the

Delivered... Philip Clark | Scene | Sun 7 Jul 2019 4:16 pm

Southbank Centre, London
From a turntable artist’s orchestral remix to Gazelle Twin’s melodic revelry, composers reimagine classical

However deeply electronic composers and turntablists journey inside their own world of sound, the invitation to map their primary musical concerns on to a symphony orchestra usually proves impossible to resist. At the Southbank Centre’s New Music Biennial, some dealt with that crossover opportunity more resourcefully than others.

Dialogue by the British-Iranian turntable artist Shiva Feshareki failed to deliver on the promise of its premise: the material, which Feshareki composed for BBC Concert Orchestra and conductor André de Ridder, was pre-recorded, giving her the opportunity to transform it electronically before our ears. This throws up, she explained, the alluring prospect of hearing a transformation before the thing itself has been played orchestrally. In reality, though, the orchestral drones felt too broad and loosely argued to instigate a full-on dialogue between turntable and orchestra.

Continue reading...

K Flay: Solutions review – reasons to be cheerful

Delivered... Emily Mackay | Scene | Sun 7 Jul 2019 8:01 am

(Night Street/Interscope)

Joining the many trying to find hard-won notes of positivity amid climate catastrophe and political car crashes, Illinois native Kristine Flaherty has dedicated her third album to mustering “green lights, brighter views… to pull me through”, as she puts it on Good News, which rubs dirty analogue synths up against a pure pop chorus.

There are both stronger songs and a wider range of styles here than on her previous records: Not in California brings a grungy, fuzzy languor to its environmental end-times singalong chorus, while the irresistible I Like Myself sits somewhere between the lo-fi pop of Cults and the rhythmic attack and playful cheerleading choruses of Sleigh Bells. The latter spring to mind again on the hard-faced and heavy Bad Vibes, in which she dismisses lazy doom-lovers: “You think it’s cooler to have dark thoughts, never eat ice-cream.” Sister is equally adorable, with a jubilant yell of a chorus over a barrage of those synths, while DNA closes with a widescreen hip-hop epic that sends you off heartened.

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