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


Objekt: the pioneering producer uniting chinstrokers and ravers

Delivered... Kit Macdonald | Scene | Wed 11 Sep 2019 1:45 pm

TJ Hertz grew up without a clue electronic music existed. Now he’s the genre’s most cutting-edge star – but the studio still gives him the jitters

It is 4am on a balmy June night in Barcelona, and on a beachside stage at Primavera Sound festival, one of the finest talents in electronic music is leaping into the unknown. TJ Hertz, AKA Objekt, is one of the most beloved DJs and producers around. His tracks and albums routinely top end-of-year lists in the dance music press; their density and technique pleases the chinstrokers at the back, while their goofiness and fun gets hands in the air down the front.

And yet this is his first ever live set, a show he brings to the UK this week. Hertz stands behind a bank of equipment playing crystalline, deconstructed club music and singing through a vocoder while Ezra Miller, a young American visual artist, stands opposite triggering mesmeric visuals in time with the staccato beats and broken melodies.

Objekt and Ezra Miller play at the Islington Assembly Hall in London on 12 September.

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Octo Octa: Resonant Body review – upbeat, free-spirited electronica

Delivered... Tayyab Amin | Scene | Fri 6 Sep 2019 10:00 am

(T4t Luv Nrg)
Octo Octa’s trans journey is mirrored in her electronic palette, using crunching beats, ambience and supple synths on celebratory tracks

For Octo Octa, music has been a journey of self-discovery that’s mirrored the development of her own identity. The electronic music producer and DJ publicly came out as trans in 2016 and refers to prior albums such as Between Two Selves as a “coded message” for her experiences. Since that pivotal moment, she’s found herself embraced by queer scenes all over, a shift that goes hand-in-hand with her move away from live sets and towards DJing, following a year of heavy touring. Her dance music baptism came in the form of drum’n’bass and breakcore, where percussive chaos channelled the same free-spirited energy she now also finds in house music. All three genres serve as major influences for her latest album, created in her New Hampshire cabin home.

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One to watch: O’Flynn

Delivered... Kate Hutchinson | Scene | Sat 31 Aug 2019 2:00 pm
Flitting effortlessly between Afro disco and acid house, this young London producer is dancefloor dynamite

Nope, it’s not somewhere you’d end up on a wild out in Benidorm: O’Flynn is the alias of electronic music producer Ben Norris, purveyor of nimble, globetrotting house and disco jams. Since 2015, when James Blake played his track Oberyn on Radio 1, O’Flynn has been steadily releasing low-key secret weapons in DJs’ record bags. There’s Tyrion – inspired by the percussion he heard while on holiday in Morocco – which Four Tet dropped in a set on the streaming site Boiler Room. Or TKOTN, included by Bonobo on his mix for London nightclub Fabric’s esteemed compilation series.

O’Flynn’s music flits between contemporary takes on the Afro-disco revival and even, as on his recent Ninja Tune release, acid house. It calls into question the ease with which (largely white, usually male) music producers are using African samples (a children’s chant; a polyrhythmic drum beat) for some quick “exotic” flavour. But O’Flynn does it rather seamlessly, like a boogie-fied Auntie Flo. He has said his passion for African music runs deep and, in 2016, he was involved in recording the mataali drum and vocal troupe Mubashira Mataali Group in Uganda.

Aletheia is released on 6 September on Silver Bear. O’Flynn tours the UK from 16 September

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The month’s best mixes: blood-pumping beats and meditative techno

Delivered... Tayyab Amin | Scene | Wed 28 Aug 2019 11:31 am

UNIIQU3 gives retro sounds a new sheen with her AFROPUNK mix, while MssingNo devastates with his glorious melodrama

Dazed Mix: Anthony Naples

Related: The month's best mixes: cosmic connections and oceanic electronics

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Unleash the sesh gremlins! Sunset Campout, California’s clubbing paradise

Delivered... Jemayel Khawaja | Scene | Mon 12 Aug 2019 10:00 am

With its mix of hippies, techno heads and hikers, this party deep in California’s gold rush country has resisted creeping commercialisation

The narrow road to Belden Town, California (population: 22), careens through hairpin turns, down a thousand feet of craggy grey stone to the white-tipped rushes of the Feather River. The only other vehicle for miles is a train running parallel, barrelling through tunnels blown into the mountainside. During the gold rush of the 1800s, a few boomtowns sprang up in the area. Now they are lonely outposts. But for one weekend a year, they host one of the west coast’s most durable and cherished party institutions: Sunset Campout. It’s like an early 90s acid rave meets Westworld meets Oregon Trail, and its story goes back 25 years.

In 1994, a teenage Bay Area upstart named Galen Abbott traded in his dreams of Olympic swimming for a set of DJ decks. The son of hippies and a newfound resident of the famed alt-culture haven of Haight Street, he was activated by the still-nascent San Francisco acid house rave scene, the transplanted UK party crew Wicked, and Future Sound of London’s track Papua New Guinea. Despite his enthusiasm, Galen’s homemade mixtapes – still actually tapes back then – couldn’t get him booked at any parties, legal or otherwise. A “psychedelic epiphany” at the nearby Berkeley Marina inspired him to throw his own event at that very spot, and Sunset Sound System – a free, weekly, renegade daytime picnic rave – was born.

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Just Gou it: how Peggy Gou became the world’s hippest DJ

Delivered... Aimee Cliff | Scene | Thu 8 Aug 2019 3:00 pm

She’s got a fashion label, a festival and a million Instagram followers – but the South Korean DJ and producer says she’s had to fight hard for it all

Between the concrete walls of Funkhaus in Berlin, on a muggy July night, a whistling, whooping crowd are clapping sweaty palms together and chanting: “Peg-gy! Peg-gy! Peg-gy!”

Peggy Gou, the 29-year-old South Korean DJ and producer, is bringing her set to a storming close. Wearing a silky Louis Vuitton shirt and blue sunglasses, she has woven in acid house, drum’n’bass and grime, but nothing gets a response like the tantalising kickdrum of her own recent single, Starry Night. The other DJs, Palms Trax and Benji B, hold their own, but the unadulterated love is reserved for Gou. When she’s not behind the decks, she can be found in the crowd, posing for an endless queue of selfies.

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How we made Good Life: Paris Grey and Kevin Saunderson of Inner City

Delivered... Interviews by Dave Simpson | Scene | Tue 6 Aug 2019 6:00 am

‘When the song was a global hit, I flew to London every week, while working at a department store in Chicago. My bosses said: “Take another day off! This is great!”’

I was in Chicago and a DJ friend told me about Kevin Saunderson, who needed a singer. Back then there was no internet or email, so Kevin sent me a tape in the post. I put it on my little cassette recorder and out came Big Fun. The version was very basic, just a keyboard line I think, but I listened to the melody and sang whatever came into my head.

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The month’s best mixes: cosmic connections and oceanic electronics

Delivered... Lauren Martin | Scene | Wed 31 Jul 2019 1:00 pm

ADAB brings Afrofuturism into the psychedelic mix, while Russell EL Butler taps into the African diaspora

Neptunian Influence: ADAB

Related: The month's best mixes: infectious singeli and full-throttle floorfillers

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‘So flawed and problematic’: why the term ‘world music’ is dead

Delivered... Ammar Kalia | Scene | Wed 24 Jul 2019 10:00 am

Artists, record labels and even this month’s Womad festival agree that the term is outdated. Is there a better way to market music from across the globe?

Ask most musicians what genre they play and you’ll likely get a prickly response. As one well-known, and slightly tipsy, jazz musician once told me: “If you all stopped obsessing about me playing ‘jazz’, maybe I would be playing festival stages rather than tiny clubs by now.” But while there have been meandering debates about jazz during its long history, another genre has become far more contentious in recent years: world music.

Dreamed up in a London pub in 1987 by DJs, record producers and music writers, it was conceived as a marketing term for the greater visibility of newly popularised African bands, following the success of Paul Simon’s Johannesburg-recorded Graceland the year before. “It was all geared to record shops. That was the only thing we were thinking about,” DJ Charlie Gillett, one of the pub-goers, told the Guardian in 2004. The group raised £3,500 from 11 independent labels to begin marketing “world music”to record stores. “It was the most cost-effective thing you could imagine,” said record producer Joe Boyd. “£3,500 and you get a whole genre – and a whole section of record stores today.”

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ZVUK: the Kazakhstan club night that dances for truth

Delivered... Kit Macdonald | Scene | Tue 23 Jul 2019 10:10 am

In conservative, authoritarian Almaty, a small techno event aims to create a safe space for activists and the LGBT community

It is a rainy spring night in Almaty, and in a small back-alley club a young DJ is playing dark British techno while wearing a T-shirt that could easily land him in jail. I’m in a crowd of about 200 at ZVUK, which for the past three years has been a remarkable outlier on the limited clubbing scene of Kazakhstan’s deeply conservative commercial capital.

My visit to the city coincided with rare political ructions in a country where little dissent had been tolerated during 30 years of autocratic rule by President Nursultan Nazarbayev. His sudden resignation in March and stage-managed elections in June had led to two protesters being jailed for 15 days for holding up a banner at the Almaty marathon that read: “You cannot run away from the truth.” Days later another man was arrested for holding a banner bearing a line from the constitution: “The only source of state power is the people.” Protests, which reignited after Nazarbayev’s chosen successor was “elected” in June, have been met with more violence and arrests by the security forces.

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Techno lovers, don’t miss James Ruskin’s new EP and updated Blueprint catalog

Delivered... Peter Kirn | Scene | Fri 19 Jul 2019 3:17 pm

It’s the Detroit-Croydon connection. But for innovative electronic dance sounds, you really don’t want to miss James Ruskin – either his new EP or the refreshed Bandcamp page for Blueprint Records.

First, out today, you get a new James Ruskin EP – and it’s brilliant, worth the five year wait from the last one. This time, we’ll get a second solo Ruskin by the fall, plus something new on 12″ from the always-excellent Truncate, all on Ruskin’s stalwart Blueprint Records (founded back in the storied 1990s with (Richard) Poison.

I mean, blah blah, techno is dead, nothing new is happening, I can’t hear you over this track, just for example –

Yes, techno is perhaps overly driven by influencers and Instagram accounts, except I can’t really think of anything intelligent to say other than “go hear it.” Maybe I should work out my wardrobe and just tell you that from Instagram and adapt to the times.

You can have it today on vinyl – still in stock at Decks for a slim 9 bucks:

https://www.decks.de/track/james_ruskin-reality_broadcast_off/cf2-g0

But don’t stop there, as it appears the full Blueprint Bandcamp page has gotten a refresh, chock full of re-released back catalog. Also this week is this lovely collab with Mark Broom:

And then Blueprint just goes on and on from there, from Samuel Kerridge and Surgeon, whose St. Petersburg sets last weekend are part of the reason CDM news has been a bit slow on the road this week, to Lakker and O/V/R. Have at it then. It’s summer (for one hemisphere), and music is still endless joy (for everyone, I hope).

https://blueprintrecords.bandcamp.com/

James Ruskin will release his first solo EP in five years later this month.

Reality Broadcast Off, the influential UK techno artist’s first solo EP since 2014’s Nan Nife, has three tracks that find Ruskin in the sort of deep techno mode of Ostgut Ton peers like Marcel Dettmann, who played “Disaffection” on a recent mix for BBC Radio 1. The EP will come out on Ruskin’s long-running label, Blueprint Records, on July 19th.

Blueprint also has two more releases in the works. A second solo Ruskin EP is scheduled for this autumn, followed by a new Truncate 12-inch. More details will follow soon.

The post Techno lovers, don’t miss James Ruskin’s new EP and updated Blueprint catalog appeared first on CDM Create Digital Music.

The month’s best mixes: infectious singeli and full-throttle floorfillers

Delivered... Tayyab Amin | Scene | Wed 3 Jul 2019 12:34 pm

DJ Duke and MCZO take flight for 48 minutes of east African dance music, while Gabber Eleganza goes back to the early 90s

Related: The month's best mixes: steely funk, Lisbon tarraxo and hardcore psychedelia

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‘Michael Eavis didn’t know what dance music is’: a history of rave at Glastonbury

Delivered... Joe Muggs | Scene | Sat 29 Jun 2019 9:00 am

At some point in the late 80s – though no one remembers exactly when – Glastonbury festival became a nexus of the traveller, free party and acid-house scenes, and the festival was never the same again

Giant rubber duckies; tunnels of flowers; bassbins disguised with gingham tablecloths; sitting in upturned burning cars as entertainment. As if it weren’t enough of a struggle trying to get people to untangle their first Glastonbury raving memories from three decades ago, the things they do remember feel pretty hallucinatory on their own.

Nobody can be quite sure when raving first started in Glastonbury. Obviously all-night dancing predates acid house, but through the 80s that meant dub reggae: Youth of Killing Joke and the Orb remembers Saxon and Jah Shaka soundsystems as “the only music you could go dance to all night long that wasn’t acoustic around a bonfire”. The Mutoid Waste Company’s dystopian wreckage sculptures hosted pagan-industrial metal-banging dances throughout the night. Dance music as such wasn’t unknown, though. Mark Darby of Exeter’s Mighty Force collective says: “The first traveller soundsystem playing dance music I personally heard was Crazy Dave’s Record Bus – an old green coach with huge speakers – going through a disco phase, one afternoon at Stonehenge 83!”

Glastonbury is banning single use plastics. The world’s largest greenfield festival wants to avoid scenes of the area in front of its legendary stages being strewn with plastic after the shows have ended. In 2017, visitors to the festival got through 1.3m plastic bottles. 

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Hidden gems on the 2019 Glastonbury lineup

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Wed 26 Jun 2019 2:47 pm

Bewildered by the hundreds of acts at Glastonbury? The Guardian’s music editors pick the best names from lower down the bill

The must-see musical experience of the weekend is this brand-new stage from the Block9 crew, whose club spaces routinely provide the festival’s best after-hours moments. IICON will have artists playing from a giant sculpture of a head, and they’re a who’s who of cutting-edge electronics: galaxy-cartographer Larry Heard, dub geniuses Raime, thunderously angry poet Moor Mother, junglist poet Lee Gamble, South African pairing Okzharp and Manthe Ribane, and tons of forward-thinking techno: Bruce, Zenker Brothers, Karenn and more. Sleep all day, bring a carrier bag of falafels, and you could happily spend your entire weekend here.

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Euphoria here we come! Fatboy Slim on his ‘silent’ Ibiza film with Julien Temple

Delivered... Sam Wollaston | Scene | Tue 25 Jun 2019 12:53 pm

Norman Cook has spent three decades blowing the Ibiza party crowd away. The DJ reveals why he teamed up with the director to capture 2,000 years of the island’s wild, strange history

Superstar DJ Fatboy Slim was recently thinking about – and questioning – what it is he does. “I’m just a middle-aged man playing a lot of loud squelching noises to young people, waving his arms around in the air. What really is that?” he asked himself.

But then it does make them dance and smile, and he, Norman Cook, still enjoys doing it. “It’s not what I would have chosen to be doing at this age” – 55 – “but I’m loving it so much. It’s the best job in the world because I love music, and my love of music involves sharing it with people.”

Ibiza: The Silent Movie is out 5 July and screens at Glastonbury on 26 June.

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