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

The month’s best mixes: Lil Mofo, Loka Salviatek and Kenya’s brilliant Slikback

Delivered... Tayyab Amin | Scene | Tue 13 Nov 2018 1:33 pm

A concert for fireworks from Vasco Alves and co, Mama Snake and Solid Blake live at the Dekmantel festival and the latest Errorsmith mix

High-octane junglist stress relievers, anti-colonial war drums and exhilarating new club sounds from central and east Africa all feature among November’s best mixes – plus curios including a composition written for a signal-flare performance.

Related: The month's best mixes: Sarah Davachi, Octo Octa and hippy workouts

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50 great tracks for November from Sheck Wes, Ider, Architects and more

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Mon 5 Nov 2018 1:19 pm

Deerhunter return, Bruce delivers the techno track of the year and Pistol Annies brilliantly sketch a loveless marriage – read about 10 of our favourite songs of the month, and subscribe to the 50-track playlist

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The Prodigy: No Tourists review – music for the jaded generation

Delivered... Dave Simpson | Scene | Fri 2 Nov 2018 10:00 am

Take Me to the Hospital/BMG

Few bands captured the early-1990s zeitgeist as effectively as the Prodigy. Outdoor raves – notably the huge Castlemorton Common festival in 1992 – were seen as a such a threat to public order that John Major’s Conservative government brought in the Criminal Justice and Public Order Act in 1994, to outlaw gatherings of people dancing to “repetitive beats”. Although this could technically mean anything from Orbital to Morris dancers, Prodigy tracks such as Their Law soundtracked the music community’s fightback. As dance music shifted indoors and into the mainstream, 1994’s double platinum Music for the Jilted Generation defined an era.

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Techno workaholic Marie Davidson: ‘I’m a total maniac who is very hard on myself’

Delivered... Whitney Wei | Scene | Wed 17 Oct 2018 12:30 pm

The French-Canadian producer’s new album turns her disenchantment with clubbing into hard-won creative autonomy – with wit and a kick drum

In Marie Davidson’s nightmares, she’s always darting between spaces. The French-Canadian performer spent the better part of last year touring and the staircases, parking lots, corridors and succession of people filtering through her subconscious are telling. “I find myself in a place, not wanting to be there, knowing that I have to be in another,” she says of her dreams. She is a rueful, self-described workaholic, travelling from one club, transport interchange or professional milestone to another. Pursuit, in its various forms, runs through Davidson’s life.

Long before her transformation into a self-trained electronic musician, known for droll spoken vocals and tough hardware, she was playing guitar, violin, and keyboards in Montreal’s experimental DIY scene. She frequented parties as a wide-eyed teenager with an affinity for 90s hip-hop and R&B. By her 20s, her relationship with club culture – now with a taste for techno and Italo disco – matured into the dynamic she critiqued on her 2016 album Adieux au Dancefloor and continues to rebuff on her new album Working Class Woman, where industrial batterie and bleak introspection is lightened by wit and a forthright kick drum.

Related: Marie Davidson: Working Class Woman review – tormented techno subverted by humour

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Warung: the Brazilian paradise that had to fight for the right to party

Delivered... Kevin EG Perry | Scene | Tue 16 Oct 2018 12:16 pm

For its first 10 years, this remote mecca for house music battled nature and its neighbours to keep its doors open. Now it is bringing its distinct sound to Europe

More from the series: Клуб – the St Petersburg rail factory that became a visionary nightclub

No matter who is behind the decks come 7am, Warung Beach Club always has the same headline act. The main room of the 2,500-capacity temple to dance music on the Brazilian coast faces east towards the south Atlantic, which means God herself does the lighting. “When the sun comes up, it’s magical,” says club founder Gustavo Conti, standing on a terrace overlooking the beach. “That’s because nature is magical, and we’re here in it.”

The club, in the southern state of Santa Catarina, emerges from the Atlantic forest where the land meets the sea, enclosed by vegetation on all sides and built from wood, like a particularly ambitious treehouse. Next month, Warung celebrates its 16th anniversary. DJ Lee Burridge has been coming to play here for almost that long. “It’s one of those endlessly wonderful places that you never want to leave,” he says. “Where it is and what it’s built from give the sound a really warm resonance. Inside you can be hit over the head with a shovel musically, and outside you can be cuddled musically. There’s also a lot of beautiful, beautiful people dancing their asses off.”

For the first 10 years, we never knew each month whether we’d be able to open the next month

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No Bounds festival – DJs in thrall to sound of subversion

Delivered... Daniel Dylan Wray | Scene | Mon 15 Oct 2018 12:55 pm

Various venues, Sheffield
From ear-bleed techno to wall-wobbling beats, No Bounds’ roster moved electronic music way beyond the dancefloor

Now in its second year, No Bounds has established itself as a powerful new entry in the UK’s electronic music calendar. Set in Sheffield, a city long synonymous with pioneering electronic sounds, No Bounds has created an outlet to carry that tradition forwards. Spread over three days, local promoters Algorave and Off Me Nut take over the opening night to offer up wonky basslines, stomping techno and rapid-fire drum’n’bass. However, it’s the crammed Saturday when the festival truly comes alive. During the day there are DJ workshops, build-your-own-synth sessions, algorithmic drum circles, and South Yorkshire’s own radical artist Mark Fell curates a stage.

The leading troll of experimental electronic music Twitter, Wanda Group, plays an enveloping mid-afternoon set filled with drones, cracks, bleeps, moans and drips. It pulsates like intensified environmental noise and harsh ambiance, resembling the creaking sounds of an abandoned rave house. Similarly disturbing is Theo Burt’s set of distorted pop music videos accompanied by noises that sound like dropping bombs. The room judders with such ferocity that confetti ribbons lodged in the ceiling from long-ago weddings rain down amid the gut-quivering terror.

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The month’s best mixes: Sarah Davachi, Octo Octa and hippy workouts

Delivered... Lauren Martin | Scene | Wed 10 Oct 2018 12:30 pm

Love-drunk disco from Josey Rebelle, sassy funk from Amsterdam, prog rock, lonely pop and even Mariah Carey feature among techno beats and polyrhythms...

September’s selection of the world’s best mixes features artists in dialogue with their younger selves, low-slung dub chuggers, an emerging new Chicago name and gleeful Dutch soul-house.

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Giorgio Moroder announces first ever live tour at 78

Delivered... Ben Beaumont-Thomas | Scene | Wed 10 Oct 2018 9:46 am

The synthpop pioneer behind I Feel Love will play four UK dates in April

After a long career in which he revolutionised the world of pop, Italian producer Giorgio Moroder is, at 78, embarking on his first live tour.

He will play across Europe, including four dates in the UK in Birmingham, London, Glasgow and Manchester from 1-5 April 2019, performing on piano, vocoder and synths alongside a live band and vocalists. Tickets will go on sale on Friday, 12 October at 9am on the website Live Nation.

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Marie Davidson: Working Class Woman review – tormented techno subverted by humour

Delivered... Laura Snapes | Scene | Fri 5 Oct 2018 9:00 am

(Ninja Tune)

As anyone who sat through The Handmaid’s Tale knows, dystopian art can become self-inflicted punishment. There has been plenty of grindingly bleak music released recently, much of it impressively hostile if not exactly the stuff of repeat listens. Two recent albums have demonstrated how to reflect contemporary horror more effectively: Low’s Double Negative tempers terror with empathy, while Québécois producer Marie Davidson’s fourth solo album uses the blackest humour to subvert her nasty, tormented techno with its pointed clubbing critique.

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50 great tracks for October from Noname, Julia Holter, Objekt and more

Delivered... Ben Beaumont-Thomas | Scene | Mon 1 Oct 2018 10:59 am

From Behemoth’s satanic metal to a triumphant return from Lana Del Rey, here are the tracks you need this month – read about our 10 favourites, and subscribe to all 50 in our playlists

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Клуб: the St Petersburg rail factory that became a visionary nightclub

Delivered... Brooke McCord | Scene | Wed 19 Sep 2018 3:24 pm

Set in an industrial area far outside the city – and with industrial tracks to match - the nightclub Клуб is putting community before music to create a truly beloved space

Ask Sasha Tsereteli, founder of St Petersburg’s DIY nightclub Клуб, what the most important aspect of his club is and you might be surprised. Despite great success serving nights that span a melange of techno, acid, noise and industrial, he says that community comes first and music second. “It’s always been about getting people together, and seeing what happens,” he explains. “There are enough music clubs in the world so we never really positioned ourselves as one – I think that’s one of our best accomplishments. Although you can only afford to say that when your music programme is impeccable.”

Renowned as the duo who first brought international acts to St Petersburg, Sasha Tsereteli and his partner Julia Si had been running parties for a decade before co-founding Клуб (meaning “klub”) in November 2017. Housed within brutalist infrastructure – a former national railway factory – Клуб is not the kind of club you stumble upon by chance. Much like Berlin’s Berghain, it’s set far from civilisation, in an industrial area just outside the city. “Nobody comes here by accident,” says Tsereteli. “It’s nearly impossible, so we never know how many people will attend an event.”

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‘We did it!’ – behind the decks at Paul Oakenfold’s Stonehenge rave

Delivered... Alexis Petridis | Scene | Mon 17 Sep 2018 5:15 pm

He’s played Everest and the Great Wall of China. So what happened when Oakenfold set out to become the first person ever to DJ at Stonehenge? Our writer grabs his glow stick and heads for the A303

A Holiday Inn by the A303 is not really the kind of place you would expect to meet Paul Oakenfold. He is, after all, the person who almost singlehandedly invented the latter-day notion of the superstar DJ, and whose 30-year career has warranted not only a mention in the Guinness Book of Records (as “the world’s most successful DJ”) but also a a graphic novel. “This book,” reads the blurb, “charts the windy road taken to fame, fortune and musical nirvana.”

Yet here he is, in a business park just off the windy road taken to Basingstoke, dressed in tracksuit bottoms and exuding a surprising degree of nervousness about his next gig. Later today, he will become the first-ever DJ to play at Stonehenge, as the advance publicity has it. In fact, he almost certainly isn’t – someone must have played records between performances by Hawkwind and Gong at the infamous Stonehenge free festivals in the 1970s and 80s. But, technically, those events took place in fields adjacent to the stones, while Oakenfold is doing his stuff right in front of them.

I’ve been in Ibiza practising, timing music to sunsets. How do I build up into it? How can I touch you emotionally?

The event must look simultaneously spectacular and baffling

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The month’s best mixes: Discwoman, Gian Manik, LSDXOXO and more

Delivered... Tayyab Amin | Scene | Wed 12 Sep 2018 9:00 am

The best DJ mixes and radio shows this month feature everything from exhilarating hardstyle to a cappella Farsi – plus a bit of My Humps by the Black Eyed Peas

August’s assortment of the world’s best mixes features musicians delivering distinctly erotic sets in summer heat, while folk-club hybrids, minimal polyrhythms and breathtaking hardstyle are also present.

Related: The month's best mixes: Gigsta, Susumu Yokota and 25 years of Dutch dynamo Clone

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50 great tracks for September from BTS, Marie Davidson, Boygenius and more

Delivered... Ben Beaumont-Thomas | Scene | Mon 3 Sep 2018 10:00 am

From Empress Of’s modern classic to the magnificent angst of Boygenius, here are 50 new tracks you shouldn’t miss – read about our 10 favourites below, and subscribe to the playlists

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Wysing Polyphonic review – explosions in the sonic inventing shed

Delivered... Ben Beaumont-Thomas | Scene | Sun 2 Sep 2018 12:50 pm

Wysing Arts Centre, Cambridgeshire
Moor Mother and Paul Purgas curate an inspirational gathering where electronic artists, dancers and poets freely test the boundaries of expression

‘Noises of spoons!” I’m in an octagonal wooden structure that’s half Grand Designs man-shed, half denouement to a slasher movie, in a field in the Cambridgeshire countryside. Elaine Mitchener is kicking things off at Wysing Polyphonic, delivering scat poetry that’s as light, intricate and unmappable as rain falling on a roof. Alongside her is Neil Charles, tapping his double bass’s body like a faith healer, a tambourine tucked in its neck. Mitchener’s spoon mantra dissolves into stutters. She clicks shells and stones in her hands, as the bass fumbles and shuffles – the pair are trying to put something or other back in one piece.

This is one of the most valuable music festivals in the country – one that refuses, inspirationally, to put anything neatly together. Curated this year by avant-gardists Camae Ayewa (AKA Moor Mother) and Paul Purgas, it’s a loose study of corporeality and groove.

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