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Indian E-music – The right mix of Indian Vibes… » Kate Mossman

Chvrches: ‘It only takes two seconds to say: I don’t agree with white supremacy’

Delivered... Kate Mossman | Scene | Sun 20 May 2018 9:00 am

The Glaswegian synth-pop trio rose to fame on the back of relentless touring, even as frontwoman Lauren Mayberry fended off online abuse. Their new album finds them aiming for the top

Lauren Mayberry has two boiled eggs waiting for her at home. Chvrches are about to go on tour for a year and a half, and she wants the protein. When I first met the band, in a Thistle hotel in east London in 2012, Mayberry was strengthening her diaphragm for the demands of singing live. On the back of their debut album, they played 365 dates in two years and the diaphragm worked out fine.

Chvrches could not have known, sitting in that unremarkable hotel, what direction their rise to fame would take. Mayberry is a frontwoman developing in plain sight, through a well-publicised struggle with particularly vicious internet trolls to where she is now: living in New York and making records with wizard producer Greg Kurstin. There have been some impressive associations along the way: being interviewed by Corin Tucker of Sleater-Kinney; campaigning for girls’ empowerment with Amy Poehler; support slots for Depeche Mode. She is coming to terms with the fact that if you are famous, you will always be someone’s projection. “I definitely fall into one of two categories,” she says brightly, sucking an ice tea. “Diminutive, wet-blanket snowflake or angry feminist bitch.”

I don’t want to sound negative here but I don’t know any lady that was surprised by #MeToo

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New Eyes review Clean Bandit’s classical-dance fusion

Delivered... Kate Mossman | Scene | Sun 1 Jun 2014 11:00 am

We'll probably look back on this as a golden age of British electronic music, like the first days of disco, as unprepossessing producer types coax thunderous hits out of vocalists no one's heard of and live shows are euphoric, with dozens of people on stage.

Clean Bandit, friends of Disclosure and Rudimental, couldn't be more 2014 four Cambridge graduates (two of whom met in a string quartet) operating out of a council-funded studio in Kilburn, they found some of these guest singers on a kind of music tech apprentice scheme. But if that all sounds a bit "austerity", they're marked out by their old-fashioned sense of 1980s pop entitlement as seen in those lavish, pan-global videos (drum kits under waterfalls; Lily Cole as a mermaid) and by their commitment to dead men's music. Mozart's House, which opens with a bit of String Quartet No 21, features words you've not heard since your Associated Board clarinet exam.

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