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


Carter the Unstoppable Sex Machine: how we made Sheriff Fatman

Delivered... Interviews by George Bass | Scene | Tue 19 Mar 2019 7:00 am

‘We used my flat’s rank toilet on the record sleeve with my guitar shoved into it – though I put a plastic bag over it first’

I had read about a dodgy landlord in the South London Press. The drug-dealing, the “phoney prescriptions”, the awful living conditions for his tenants: it was all in the newspaper, even his physical stature. All I had to do was change his name – and I’d turned an awful story into poetry and pop music.

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Music, fashion and town planning: how nightclubs change the world

Delivered... Anna Codrea-Rado | Scene | Mon 18 Mar 2019 1:37 pm

From architecture to drug policy, nightlife quietly incubates ideas that then flourish in the mainstream. But, with brands moving in, club-cultural innovation is under threat

In the popular imagination, nightclubs are sweaty basements providing a soundtrack to drunken fumbles in the dark; an alien world with no connection or relevance to the more wholesome things that happen during the day. But the reality is that anyone with an Instagram account, a fashion magazine subscription or an interest in social activism is ultimately engaging with club culture. Nightlife is like an angel investor in pop culture, silently incubating grassroots movements and social moments, and since the first iterations of the disco, clubs have been a breeding ground for cultural experimentation.

To avoid disappointment get down early if you are buying a ticket or on the guestlist. Ideally before 12! Reminder that there is no pressure to dress up tonight!! Come as you feel

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50 great tracks for March from Tierra Whack, Hayden Thorpe, Squid and more

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Wed 13 Mar 2019 12:30 pm

Punk-funkers Squid step on the gas, Jessie Ware moves left of centre and Tierra Whack breaks the one-minute mark – read about 10 of our favourite songs of the month, and subscribe to the 50-track playlist

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Stars pay tribute to Keith Flint: ‘A powerhouse of energy and attitude’

Delivered... Interviews by Laura Snapes | Scene | Tue 5 Mar 2019 7:00 am

From Kasabian’s Serge Pizzorno to the Chemical Brothers and Azealia Banks, musicians remember the Prodigy frontman

I discovered the Prodigy through Experience, back in 1992. There used to be a rave record store in Leicester called 5HQ – quite a frightening place, a bit like in Human Traffic. We used to hang around in there. I think they were playing Charly: I bought it, took it home and played it on my decks for days. It just didn’t really sound like anything else. There was a tribal quality to the beat. Somehow it was aggressive like punk – it had an edge that other things around the time didn’t. But it also had a pop sensibility. It really felt commercial even though it wasn’t. We were rave kids with the baggies and the T-shirts, but Keith was next level. He was always well dressed, a real one-off – you could see where everything came from but he had his twist on it. They’re the ones that last.

I think the first time we met him was at V festival. It’s always quite nerve-racking when you meet someone you really admire. You think people are gonna be more mad, more like the person they were on stage, but he was gentle, sweet, encouraging. That was the beautiful thing – he was really interested in the music we were making. When we made the second record, he came down to the session and he was so supportive. We could see it was nice for him, maybe, to see through the eyes of someone going through it again. He’d been there and done it, and he saw these young kids doing the same thing. I’d always go and see them live, so I’d see him backstage, fleetingly, but it always felt like he had our backs, which was amazing, considering that it was him that made us wanna do it ourselves. I’m heartbroken, really. It stops you in your tracks.

If it were not for your fear I could not learn to be fearless ... You gave me options when I felt there were none

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Keith Flint: the neon demon who started a fire under British pop

Delivered... Alexis Petridis | Scene | Mon 4 Mar 2019 4:16 pm

By gleefully escalating the moral panic around British dance culture, the Prodigy frontman showed that rave could be the true successor to rock’n’roll

Like virtually every 90s dance act that unexpectedly ascended from releasing underground club tracks to selling a lot of albums, the Prodigy were faced with a problem: their mastermind was a producer, not a pop star.

Liam Howlett was prodigiously gifted, visionary enough to have turned the Prodigy from a joke into rock stars. Their 1991 single Charly might be the ground zero of novelty rave, its sample from a 70s public information film spawning umpteen tacky imitations that sourced their hooks from old kids’ TV shows or adverts. By 1994, they were an original, eclectic musical force that drew on everything from the hardcore scene that had originally spawned them to hip-hop and punk. Their second album, Music for the Jilted Generation, went to No 1 in the UK that year, long after most of their imitators had enjoyed their 15 minutes of fame and been forgotten. But, like most dance producers, he wasn’t a natural frontman, the skills required to make fantastic records being different from the skills required to captivate an audience.

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The Prodigy’s Keith Flint – a life in pictures

Delivered... Electronic music | The Guardian | Scene | Mon 4 Mar 2019 2:22 pm

From his early days with the rave group to still iconic live performances 25 years later, we look back at the life of Keith Flint

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The month’s best mixes: psychedelic sounds, soulful UK garage and sinewy EBM

Delivered... Tayyab Amin | Scene | Wed 27 Feb 2019 6:53 pm

The latest instalment in the series includes a warm-up podcast by Wata Igarashi, optimistic house by Beautiful Swimmers and beautiful bangers from Mixpak’s the Large

Related: The month's best mixes: Nkisi, Aleksi Perälä and silken Berlin memories

Related: Lullabies for air conditioners: the corporate bliss of Japanese ambient

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Fatboy Slim review – cut’n’paste rave larges it to arena proportions

Delivered... Caroline Sullivan | Scene | Fri 22 Feb 2019 1:49 pm

Wembley Arena, London
Battle-hardened ravers and their teenage kids gather as the big-beat ringmaster presses play on an update of the acid house era

Had things gone differently, what a marketing executive Norman Cook would have made. Long before producers-turned-rave-ringmasters Guetta and Harris had laid their hands on a USB stick, he recognised that DJ sets in large venues need to be more than just a bloke playing records. In his hands, the process is akin to a rock gig, with a ladleful of circus on top. The opening date of this in-the-round arena tour takes the properties of a rave and magnifies them.

Cook is a force, bounding around a revolving stage, singing along and happily gurning at this roomful of veteran ravers, some of them accompanied by teenage offspring. Occasionally he prods a laptop, causing oddball snippets to divert the big beat or house energy in a different direction, as with the sudden appearance of the “Oh, Jeremy Corbyn” Seven Nation Army chant from Glastonbury.

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One to watch: Roses Gabor

Delivered... Tara Joshi | Scene | Sat 9 Feb 2019 3:00 pm

After dazzling cameos for Gorillaz and SBTRKT, the Londoner is about to step into the spotlight with her debut album

For those interested in the delicate, immersive end of UK dance and electronica, Roses Gabor may already be familiar. The north-west London vocalist has been around for a while now, her powerful vocals finding a home on tracks with SBTRKT, Machinedrum, Shy FX and Gorillaz.

The child of Grenadian parents, Gabor (born Rosemary Wilson) was always interested in music, growing up on a healthy diet of soca, Stevie Wonder and Capital FM – though her favourites were Mary J Blige and Michael Jackson. It was only after a chance encounter with a member of Gorillaz while working a nine-to-five job at a bank that her first collaboration (Dare) took shape.

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James Blake: how the producer became hip-hop’s favourite Brit

Delivered... Al Horner | Scene | Tue 5 Feb 2019 12:00 pm

Nominated for two Grammy awards this week, his collaborations with Travis Scott follow those with Beyoncé. How did the DJ from Enfield become so well-connected?

For an artist whose sound is steeped in isolation, cutting a forlorn figure on icy electronic laments that shiver with loneliness, James Blake arrives at his latest album Assume Form as one of the best connected people in popular music.

At some point over the last decade, while journeying from the fringes of London’s dubstep scene to the epicentre of American rap and pop, it became easier to list superstars the acclaimed producer-songwriter hasn’t worked with. Beyoncé recruited him for Lemonade. Frank Ocean called on him for Blonde. Drake has sampled him and Kanye West declared him “Kanye’s favourite artist” before a few ultimately ill-fated 2014 writing sessions together. Bon Iver, Chance the Rapper and Jay-Z are other studio sparring partners. Blake is up for two Grammy awards in rap categories this year, alongside rappers Kendrick Lamar, Jay Rock and Future for their track King’s Dead, taken from the Black Panther soundtrack.

Related: James Blake: Assume Form review – lovestruck producer turns dark into light | Alexis Petridis' album of the week

Related: James Blake: Assume Form review – a big, glitchy, swooning, hyper-modern declaration of love

Related: James Blake speaks out about struggle with depression

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Michael Kiwanuka, Spiritualized and Metronomy to headline End of the Road festival

Delivered... Kate Nicholson | Scene | Thu 31 Jan 2019 9:00 am

Courtney Barnett and Jarvis Cocker also join lineup for eclectic West Country summer gathering

End of the Road has announced that Michael Kiwanuka, Metronomy and Spiritualized will be headlining the festival this year, hosted at Larmer Tree Gardens, on the Wiltshire-Dorset border, from 29 August to 1 September.

British soul musician Kiwanuka supported Adele on her world tour in 2011 and won the BBC’s Sound of 2012 poll; more recently won the 2017 Ivor Novello award for best song, for his politically engaged Black Man In a White World. This is his first major festival headline slot, and suggests new material will be released later this year.

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Oxide & Neutrino: how we made Bound 4 Da Reload (Casualty)

Delivered... Interviews by Dave Simpson | Scene | Tue 29 Jan 2019 7:00 am

‘There was a rise in gun crime and garage was blamed. We went from being on Top of the Pops to not being able to play anywhere. Then I was shot’

I met Neutrino at the pirate radio station Supreme FM, where we were doing DJ sets. We clicked and joined So Solid Crew, who at that time were 30 strong. When we all piled into a tiny room, it was crazy – but when Neutrino and I signed our own record deal, we became a separate entity.

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The month’s best mixes: Nkisi, Aleksi Perälä and silken Berlin memories

Delivered... Lauren Martin | Scene | Mon 28 Jan 2019 3:00 pm

We select the best of January’s mixes, including recordings from Terraforma, Mutek Mexico and Panorama Bar

Belgian techno, Milanese eccentricity, Finnish ambience and silken Berlin sounds make up January’s best releases – as well as a utopian playlist platform

Related: The best DJ mixes of 2018

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Azealia Banks review – firebrand rapper is capable of anything

Delivered... Dave Simpson | Scene | Fri 25 Jan 2019 1:00 pm

O2 Ritz, Manchester
Channelling everyone from Nancy Sinatra to Nine Inch Nails, Banks lets her astonishing talent outshine her controversies

After high-profile spats with everyone from Grimes and Elon Musk to Zayn Malik and Sarah Palin, this week Azealia Banks was at it again. An apparently straightforward flight to Ireland saw the hair-trigger New Yorker remove herself from the plane after an argument with an air attendant ended with her referring to “ugly” Irish women. One tearful confessional and a live triumph in Dublin later, she reignited the furore with a social media rant referring to “leprechauns”.

Unseemly as this is, it’s hard to reconcile the headline-grabbing enfant terrible with the grinning, uber-talented 27-year-old who has her Manchester audience roaring in approval. Backed by a drummer and DJ, and occasionally flanked by two dancers, she sings, dances, raps and displays enough charisma and stagecraft to put many a rival to shame. When she slowly takes off her jacket, the roar is so deafening you fear for the building.

Related: Azealia Banks: fearless truthteller or relentless troll?

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Azealia Banks: misunderstood talent or tedious troll?

Delivered... Sirin Kale | Scene | Thu 24 Jan 2019 5:22 pm

She’s addicted to controversial, often bigoted outbursts – recently against the population of Ireland. Yet fans continue to root for the rapper – because she’s the opposite of safe

Last week, in the most high-profile celebrity aviation incident since Kate Moss popularised the term “basic bitch” in a row with easyJet staff about sandwiches, the American rapper Azealia Banks removed herself from an Aer Lingus flight after calling a flight attendant an “ugly Irish bitch”.

According to a tearful video she posted on Instagram, Banks said a flight attendant asked her questions she couldn’t answer without checking her passport, which she had stored in the overhead locker. As she looked for her passport, the situation escalated. A fellow passenger told Mail Online they felt the crew were heavy-handed.

Being a Banks fan involves a certain amount of cognitive dissonance – she embodies so many contradictory qualities

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