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


Triple J’s Hottest 100: Heat Waves by Glass Animals tops annual Australian song poll

Delivered... Katie Cunningham | Scene | Sat 23 Jan 2021 10:31 am

The English group hit No 1 on a predominantly local chart that even features Victorian premier Daniel Andrews

The UK band Glass Animals have taken top spot in the Triple J Hottest 100 with their song Heat Waves.

The pop group edged out a number of hotly tipped local artists to hit No 1 in Australia’s biggest song poll, which was broadcast on Triple J on Saturday. Heat Waves was one of three tracks from the group to place in this year’s countdown.

Related: Billie Eilish becomes first solo female artist to win Triple J Hottest 100

Happy @triplej #hottest100 day to every artist who released music in a year of zero touring and limited social interaction. You’re all winners!

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Madlib: Sound Ancestors review – hip-hop visionary tells wondrous stories in sound

Delivered... Tayyab Amin | Scene | Fri 22 Jan 2021 10:30 am

(Madlib Invasion)
Arranged by Four Tet, the producer’s stunning album is poignant and sincere, combining beats, jazz, reggae toasts and vocal snippets into a kind of folklore

There are more ways to fall in love with Madlib’s myriad music projects than not. For many it’ll be his charismatic beats for the late, great MF Doom, his collaborations with fellow sampling pioneer J Dilla or more recently, his sleek instrumentals for rapper Freddie Gibbs. Then there’s his remixes of the Blue Note Records archive, his one-man-jazz-band Yesterdays New Quintet, and Lord Quas – his satirical, pitched-up alter ego MC. Madlib’s ability to speak a universal language through so many modes is hip-hop in technique but something much broader in essence. On Sound Ancestors, his creations are arranged by producer, DJ and longtime friend Four Tet. It’s through the idiosyncrasies of this collaboration (such as an abnormally clean mix with uncharacteristically prominent drums) that Sound Ancestors achieves its mission to deliver a no-guest vocalists, start-to-finish-listen Madlib album experience.

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Composer Ryuichi Sakamoto diagnosed with bowel cancer

Delivered... Ben Beaumont-Thomas | Scene | Thu 21 Jan 2021 12:44 pm

Oscar-winning Japanese musician says he is undergoing treatment and ‘hoping to make music for a little while longer’

Oscar-winning Japanese composer and pop musician Ryuichi Sakamoto has been diagnosed with bowel cancer.

In a message on his website, the former Yellow Magic Orchestra member said “the news was disheartening, but thanks to the excellent doctors I met, the surgery I underwent was a success. I am now undergoing treatment.”

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Bicep: Isles review | Alexis Petridis’s album of the week

Delivered... Alexis Petridis | Scene | Thu 21 Jan 2021 12:08 pm

(Ninja Tune)
The Northern Irish bloggers-turned-DJs-turned-producers kick over the dinner-party table with an album that matches the scope and ambition of 90s dance artists

The progression from record collector to DJ to artist is a common one in dance music: the difference with Northern Irish duo Bicep is they have done it all in public. They first emerged 12 years ago among a plethora of late-noughties bloggers devoted to digging up musical obscurities of varying hues and presenting them to the public. Their Feel My Bicep blog began as a means of keeping in touch with record-collecting friends from Belfast who’d gone off to university. Within a couple of years, it was attracting 100,000 visitors a month, and begat a DJing career, a Rinse FM radio show, a record label, a succession of remixes and productions and, ultimately, a deal with Ninja Tune, the venerable dance label run by Coldcut, who presumably recognised kindred spirits.

The early posts on their blog are long gone, but you get a flavour of its eclecticism from a mammoth 67-hour-long Bicep playlist on Spotify, where Angie Stone rubs shoulders with Aphex Twin and Odyssey, and the Ohio Players coexist with 90s house, punishing Basic Channel techno, drum’n’bass and the new wave of jazz. It doesn’t feel a million miles removed from the kind of eclectic musical connections Coldcut made on their celebrated 70 Minutes of Madness mix album and Solid Steel radio show in the mid-90s.

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Four Tet: 871/Parallel review – chaotic ambition with bells on

Delivered... Damien Morris | Scene | Sun 17 Jan 2021 4:00 pm

(Bandcamp/Text)
Veering from squalling howls to symphonic loveliness, Keiran Hebden’s two new albums are equally rewarding

In recent weeks, producer Kieran Hebden’s Four Tet has released two new songs with Thom Yorke and Burial, alongside these two new albums. Each track on 871 and Parallel is prosaically numbered in sequence, which hints these are end-of-year data dumps. The horrendous, squalling howls of 871’s opener 0000 871 0001 do little to dissuade this impression. At a time when every cough is a gunshot, you may prefer more felicitous sounds than Hebden scouring his hard drive clean with a metal mop.

Thankfully, most of 871 is rewarding, if occasionally derivative. Its music mostly dates back to 1996, and you can hear the teenaged Hebden essaying plangent shoegaze, ambient techno and trip-hop with varying success and an awful lot of bells. Twenty-five years on, its chaotic ambition sounds comfortingly nostalgic. Parallel is leaner, more purely melodic, and has the advantage of Parallel 1, a glorious 27-minute indulgence which begins unexceptionally then gently wears you down with its symphonic loveliness.

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Yvette Janine Jackson: Freedom review | John Lewis’s contemporary album of the month

Delivered... John Lewis | Scene | Fri 15 Jan 2021 10:00 am

(Fridman Gallery)
The composer’s two new works, exploring slavery and homophobia, are like immersive non-visual films

On paper, the latest album by electro-acoustic composer and installation artist Yvette Janine Jackson isn’t the most inviting of propositions for these miserable days. It features two lengthy soundscapes: the 23-minute Destination Freedom is a sonic representation of a slave ship crossing the Atlantic; the 20-minute Invisible People is an aural collage that confronts homophobia within African American communities.

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Farhot: Kabul Fire Volume 2 review – gut-shaking sonic collage | Ammar Kalia’s global album of the month

Delivered... Ammar Kalia | Scene | Fri 8 Jan 2021 9:00 am

(Kabul Fire Records)
The Afghan-born producer skilfully explores his heritage with an unruly collage of vocal samples blended with diasporic sounds

For producer Farhot, the cut-and-paste method of sampling in hip-hop serves as an apt symbol for the assembly of his immigrant identity – he sought asylum in Germany from his native Afghanistan in the 1980s and has not returned since. He first made his name with productions for the likes of Talib Kweli, Isaiah Rashad and Nneka that echoed the melodically driven US rap of the early 2000s and particularly the work of DJ Premier and Pete Rock. His first solo release, Kabul Fire Vol 1 (2013), was a scattershot mixtape homage to his childhood home, weaving in dub influences, rattling drum machine loops, Afghani folk samples and features from Kano, Ms Dynamite and Talbi Kweli.

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The KLF reissue music for first time since 1992

Delivered... Ben Beaumont-Thomas | Scene | Fri 1 Jan 2021 4:12 pm

Singles compilation Solid State Logik 1 appears on streaming services and YouTube years after being deleted, with further reissues anticipated soon

Rave-pop iconoclasts the KLF have released their greatest hits on to streaming services and YouTube for the first time, and have hinted at further music to follow later this year.

An eight-track collection entitled Solid State Logik 1 has been released today, including 1988 No 1 novelty single Doctorin’ the Tardis, 1991 UK No 1 dance anthem 3am Eternal, and the Top 5 hits Last Train to Trancentral and America: What Time is Love? also released that year.

Related: Return of the KLF: ‘They were agents of chaos. Now the world they anticipated is here’

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For Those I Love: Ireland’s potent new poet of grief

Delivered... Aniefiok Ekpoudom | Scene | Fri 1 Jan 2021 7:00 am

Recalling the delivery of the Streets and the music of James Blake, David Balfe’s project is a cathartic document in the wake his best friend’s death

When the Irish recession of 2008 shattered the country’s economy, communities from Dublin’s inner city neighbourhoods of Coolock and Donaghmede were struck hard. The frank lyrics of David Balfe, under the pseudonym For Those I Love, illuminate a generation who emerged from the wreckage.

“I’ve been with people whose families had lost their livelihoods because of the recession,” says the 29-year-old. “At that younger age you don’t have the vocabulary, but you see that displacement, and you think: ‘Why are we suffering? Why has this happened to us?’”

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For Those I Love: Ireland’s potent new poet of grief

Delivered... Aniefiok Ekpoudom | Scene | Fri 1 Jan 2021 7:00 am

Recalling the delivery of the Streets and the music of James Blake, David Balfe’s project is a cathartic document in the wake his best friend’s death

When the Irish recession of 2008 shattered the country’s economy, communities from Dublin’s inner city neighbourhoods of Coolock and Donaghmede were struck hard. The frank lyrics of David Balfe, under the pseudonym For Those I Love, illuminate a generation who emerged from the wreckage.

“I’ve been with people whose families had lost their livelihoods because of the recession,” says the 29-year-old. “At that younger age you don’t have the vocabulary, but you see that displacement, and you think: ‘Why are we suffering? Why has this happened to us?’”

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Irish drill, jazz violin and supermarket musicals: 30 new artists for 2021

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Fri 1 Jan 2021 7:00 am

From the ferocious hardcore punk of Nicolas Cage Fighter to the ultra-meditative ambient of KMRU, discover new music from right across the pop spectrum

Which new artists are you excited for in 2021? Leave your recommendations in the comments below.

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Irish drill, jazz violin and supermarket musicals: 30 new artists for 2021

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Fri 1 Jan 2021 7:00 am

From the ferocious hardcore punk of Nicolas Cage Fighter to the ultra-meditative ambient of KMRU, discover new music from right across the pop spectrum

Which new artists are you excited for in 2021? Leave your recommendations in the comments below.

Continue reading...

‘All that mattered was survival’: the songs that got us through 2020

Delivered... Guardian music | Scene | Thu 31 Dec 2020 11:00 am

Butterflies with Mariah, Bronski Beat in the Peak District, Snoop Dogg on a food delivery ad … our writers reveal the tracks that made 2020 bearable

When it came to lockdown comfort listening, there was something particularly appealing about lush symphonic soul made by artists such as Teddy Pendergrass and the Delfonics. But there was one record I reached for repeatedly: Black Moses by Isaac Hayes, and particularly the tracks arranged by Dale Warren. Their version of Burt Bacharach’s (They Long to Be) Close to You is an epic, spinning the original classic into a nine-minute dose of saccharine soul. But their cover of Going in Circles, another Warren exercise in expansion, is their masterpiece, reimagining the Friends of Distinction original as a seven-minute arrangement with stirring strings and beatific backing vocals that builds into a story about lost love that transcends the genre’s usual parameters. A perfect, if slightly meta, balm for the repetitive lockdown blues. Lanre Bakare

Related: AG Cook: the nutty producer behind the decade's most divisive music

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‘All that mattered was survival’: the songs that got us through 2020

Delivered... Guardian music | Scene | Thu 31 Dec 2020 11:00 am

Butterflies with Mariah, Bronski Beat in the Peak District, Snoop Dogg on a food delivery ad … our writers reveal the tracks that made 2020 bearable

When it came to lockdown comfort listening, there was something particularly appealing about lush symphonic soul made by artists such as Teddy Pendergrass and the Delfonics. But there was one record I reached for repeatedly: Black Moses by Isaac Hayes, and particularly the tracks arranged by Dale Warren. Their version of Burt Bacharach’s (They Long to Be) Close to You is an epic, spinning the original classic into a nine-minute dose of saccharine soul. But their cover of Going in Circles, another Warren exercise in expansion, is their masterpiece, reimagining the Friends of Distinction original as a seven-minute arrangement with stirring strings and beatific backing vocals that builds into a story about lost love that transcends the genre’s usual parameters. A perfect, if slightly meta, balm for the repetitive lockdown blues. Lanre Bakare

Related: AG Cook: the nutty producer behind the decade's most divisive music

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Musician, heal thyself: how ambient music brought solace in 2020

Delivered... Kate Hutchinson | Scene | Tue 29 Dec 2020 3:00 pm

With no clubs or gigs to go to and pandemic anxiety to quell, ambient music chimed more strongly in a year when artists reconsidered their sense of purpose

“A balm to your soul” – so went the Observer review of Julianna Barwick’s album this July, which was inspired by the musician’s move from New York City to the wellbeing mecca of Los Angeles. Her one-woman choir of celestial vocals is as calming as the bit at the end of a yoga class where you get to shut your eyes and lie under a blanket, and the album, along with its title Healing Is a Miracle, had extra resonance in 2020. Music is so often a communal experience, but with those possibilities snatched away this year, many of us have looked to sounds like this to soothe us where human connection couldn’t. Another reviewer agreed, writing that Barwick’s new music was “a salve for the collective wound”.

Barwick wasn’t the only one. Earlier this year, I interviewed a collection of musicians, including the pop performer Robyn, about the music of Beverly Glenn-Copeland, a cult Canadian musician whose spirited, otherworldly incantations are only just reaching new audiences, decades after they were first released. A retrospective of Glenn-Copeland’s music, Transmissions, came out last month, and Robyn noted the particular reassuring quality of his songs, especially on his New Age lost treasure Keyboard Fantasies: “It’s the purpose of his music,” she had said. “We all need to release, feel and heal, and Glenn helps us to do that through his own experiences.”

Soundscapes spoke to the claustrophobia and drift of isolation … ethereal singing suggested possibility in some untethered parallel universe

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