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

Floating Points: Crush review – beauty out of chaos

Delivered... Tara Joshi | Scene | Sun 20 Oct 2019 5:30 am
(Ninja Tune)

The second album from Floating Points – Manchester-born producer Sam Shepherd – is immediately visceral. Shepherd is a neuroscientist, and his sound has often been more cerebral and delicate than that of his UK electronic music peers (he first emerged at the peak of dubstep and breakbeat). His 2015 debut Elaenia was met with much critical acclaim, and this follow-up retains Shepherd’s intricate exploration, while pushing his sonics to a new realm of intensity. The opening track Falaise swims with familiarly warm orchestral sounds, yet Crush as a whole crescendos into moments of bleeps and whirring that invoke a disarming anxiety.

The album’s title, says Shepherd, is not to do with a romantic yearning, but with the helplessness of contemporary inevitabilities: climate change and self-serving politics. His signature cosmic lightness is often married here with weightier sounds: the urgent UK bass on LesAlpx; the slowburning elegance of Karakul juxtaposed with dissonant glitches; Bias pairs lithe garage beats with an eerie melody. Beautifully crafted, Crush unsettles with its quiet, fervent chaos bubbling beneath its surface.

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Vagabon: Vagabon review

Delivered... Laura Snapes | Scene | Fri 18 Oct 2019 9:30 am

Swapping crunching guitars for softer electronics, Laetitia Tamko’s second album is both sharp and tender

When Laetitia Tamko released her 2017 debut as Vagabon, the Cameroon-born artist was described as a saviour of indie rock, a genre largely dominated by white performers. The accolades were as limiting as they were well-intentioned, burdening Tamko as a corrective to a sound that probably didn’t represent the sum of her ambition or ability. Whether it’s a natural evolution or a pointed refusal, her second album swaps crunching guitars for a softer, mostly synthetic setting, a sound as expansive as it is intimate.

Related: Vagabon review – indie's enchanting outcast roars in ear-bleeding triumph

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No Bounds festival review – from bassline to ambient at Sheffield weekender

Delivered... Jemima Skala | Scene | Mon 14 Oct 2019 2:45 pm

Various venues, Sheffield
With spectacular AV sets in a steelworks museum and immersive ambient in a swimming pool, local talent, international DJs and the city share equal billing

The dance music festival calendar is largely defined by two elements: the summer months and European outfits such as Dekmantel and Dimensions. But No Bounds in Sheffield is putting in the work to maintain a thriving electronic music festival scene in the UK even as the seasons turn and the skies get gloomier.

It’s heartening to see that the organisers have invested care to make sure that its lineup isn’t just a copycat of its European cousins, nor concentrated on big names for maximum commercial success. There’s a particular focus on acts from close to home: Sheffield DJs including Tino, Stevie Cox and 96 Back are booked alongside bigger names to ensure the local scene is nourished by the festival.

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Radiohead’s Jonny Greenwood: ‘Instead of cocaine, hook me up with a recorder group!’

Delivered... Andrew Male | Scene | Wed 9 Oct 2019 1:50 pm

He has composed a Prom and scored Paul Thomas Anderson films. As he launches his own classical record label, the guitarist reveals how it all started with the humble recorder

Jonny Greenwood is looking well, all things considered. There’s a thin triangle of stubble on his top lip that the morning razor has missed and a slight bleariness around the eyes, but it’s unlikely anyone spotting Radiohead’s lead guitarist in the corner of this London cafe at 10am would guess that he hasn’t been to bed for 24 hours. “No, not really had any sleep,” he mutters, running a hand through his shiny dark hair. “Hour, maybe?”

He’s here to discuss his new classical music record label, Octatonic, but at midnight he was taking a bow at the Albert Hall following a meticulously curated Prom. It was the culmination of his second life as a composer, a 16-year career that has seen him write for the London Sinfonietta, work as composer-in-residence for BBC Concert Orchestra, collaborate with the Polish composer Krzysztof Penderecki and create remarkable scores for the films of Lynne Ramsay and Paul Thomas Anderson.

Paul Thomas Anderson sent me some film clips and I thought: 'It's going to be nice to be in a band with this person'

Volume 1: Partita No 2 in D minor and Volume 2: Industry, Water are out on Jonny Greenwood’s Octatonic Records.

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‘It’s a new golden age’: Radio 3 launches video game music show

Delivered... Keith Stuart | Scene | Wed 9 Oct 2019 7:00 am

Presenter Jessica Curry says she wants to prove it’s not all about soundtracking battle scenes – there are plenty of beautiful, relaxing sounds, too

Radio 3 is launching a new weekly programme dedicated to video game soundtracks. Running from Saturday 26 October, the hour-long show will be presented by composer Jessica Curry, who won a Bafta for her work with UK studio The Chinese Room and created and presented Classic FM’s video game music programme, High Score.

“[BBC presenter and journalist] Tom Service and his producer Brian Jackson came to interview me for Radio 3 at Chinese Room a couple of years ago, and we all really hit it off,” said Curry. “Tom’s an avid gamer and there was a definite feeling of excitement about the gaming scene and the music that’s being composed for games.

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The month’s best mixes: downbeat digi-dub and intergalactic ambient

Delivered... Lauren Martin | Scene | Wed 2 Oct 2019 9:30 am

Israel Vines spotlights the sci-fi sounds of techno legend Jeff Mills, while Via App is on creepy, confrontational form

Deep Mind Music: Aos

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

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Vorsprung durch techno: the glory days of Berlin clubbing – in pictures

Delivered... Electronic music | The Guardian | Scene | Wed 2 Oct 2019 7:00 am

When the Berlin Wall fell in 1989, empty industrial spaces were soon filled with the sounds of banging techno, from illicit parties that went on for days. Now, a new exhibition and book commemorates the legendary scene. Geh hart oder geh nach hause!

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50 great tracks for October by Alicia Keys, DaBaby, Angel Olsen and more

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Tue 1 Oct 2019 10:00 am

An epic harp workout and an unearthed Japanese ambient gem sit alongside new rap from DaBaby and James Massiah in our playlist of the month’s best new music – read about our 10 favourites below

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‘Western society has little space for ecstasy’: back to Berlin’s 90s club scene

Delivered... Lyndsey Winship | Scene | Mon 30 Sep 2019 6:01 am

Feted for her macabre and freaky stage shows, Gisèle Vienne has created a time-bending piece of ‘physical philosophy’ inspired by her clubbing days

When Gisèle Vienne was growing up in Grenoble, France, her artist mother used to say, “paintings are cheaper than wallpaper”. So that’s exactly what they had, all over their walls. Vienne’s mum is Dorli Vienne-Pollak (a former student of Oskar Kokoschka), who made “pretty crazy, transgressive works” inspired by everything from 80s punks and strip clubs to fantasy battle scenes. It must have been quite an eyeful for a child.

Today, Vienne’s Paris home is completely white. It’s a small rebellion against her upbringing, which, balanced with the influence of her “overeducated French intellectual” father, makes complete sense of the artist Vienne has become. Her works in puppetry, theatre and dance (including Jerk, Kindertotenlieder, The Ventriloquists Convention) make headlines for their macabre obsessions: sex, violence, fantasy, serial killers and freaky dolls. Bubbling under all that is a vibrant intellect. Vienne’s conversation down the phone from France bounces fizzily from early 20th-century sociology to transcendental meditation.

Crowd is at Sadler’s Wells, London, 8-9 October, as part of Dance Umbrella, and at Tramway, Glasgow, on 16 October.

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Dance revolution: Has Boiler Room changed club culture forever?

Delivered... Nosheen Iqbal | Scene | Sat 28 Sep 2019 3:45 pm

After its online parties and DJ sets brought huge commercial success, the company is now preparing to launch its first ever festival next month

Six months ago Sherelle was ready to quit music for good, focus on the day job and give up the idea of being a professional DJ. Then her Boiler Room set happened. Fewer than 100 people were invited to see the 26-year-old play a studio in Hackney, but millions watched online; Sherelle went viral. The jungle and footwork music specialist is now one of the most talked about talents in club culture: two agents, her own record label, and a residency on BBC Radio 1 have followed.

“I amassed thousands of followers overnight,” she told the Observer. “Some of them were DJs and producers who I love and respected for years. My mind was blown.”

Boiler Room has always bridged the gap between championing the underground and making it accessible to see your favourite artists.

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Tegan and Sara: Hey, I’m Just Like You review

Delivered... Rachel Aroesti | Scene | Fri 27 Sep 2019 9:30 am

(Warner Records)
Reworked songs of teenage travails from the Quin twins, who go back to their youth in slick, pulsating pop

As tracklists go, you don’t get much more evocative than the one attached to Tegan and Sara’s ninth album, a series of furiously indignant, laughably melodramatic and stomach-churningly poignant missives from the standard-issue internal monologue of the unhappy teenager. It’s tempting to leave the likes of Hold My Breath Until I Die and Don’t Believe the Things They Tell You (They Lie) as song titles alone, imagining the contents to fit your own heady nostalgia trip. But if you do decide to dive in, you’ll discover plenty more painfully perfect evocations of adolescent angst inside.

Related: Tegan and Sara: ‘People never talk about women and drug use positively’

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Death, data and digital doppelgangers: Sui Zhen’s uncanny valley

Delivered... Nick Buckley | Scene | Fri 27 Sep 2019 2:16 am

As she began work on her new album, Becky Freeman’s mother was diagnosed with cancer. Her interest in the digital lives we leave behind took on a new form

There’s a recording studio in Melbourne, Australia that’s been filling up with Lindas. On the computer screen, when the Guardian visits, is an early digital Linda prototype, bathed in computer-generated grey waves. A white plaster Linda is serenely meditating in its plastic storage box. And then there’s the final form (for now at least): a silicone mask, with vacant white polystyrene voids in place of eyes.

The doppelganger has been created by avant-pop musician and visual artist Becky Freeman, aka Sui Zhen, for her new album Losing, Linda.

Related: L-FRESH the LION, Tones and I, Tkay Maidza: the best Australian music for September

Related: Adrian Eagle on surviving self-hate: 'My anxiety was extreme. I didn't want to see anybody'

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Sturgill Simpson: Sound & Fury review – country’s outlaw catches fire

Delivered... Alexis Petridis | Scene | Thu 26 Sep 2019 12:00 pm

(Elektra Records)
Another big shift in direction for Simpson, with anime visuals, glam rock, disco and grunge ornamenting never-more-country lyrics: it’s extraordinary

It seems almost beside the point to note that Sturgill Simpson’s fourth album sounds nothing like its predecessors, as his previous three albums didn’t sound much like each other either. His self-funded 2013 debut, High Top Mountain, suggested the arrival of an arch-traditionalist, a former serviceman and railroad worker, whose vision of country music was rooted in that of artists who balked at Nashville’s tendency to slather everything in a coat of gloss: a defiantly retro reanimation of the late 70s “outlaw country” of Waylon Jennings or Hank Williams Jr. But its successor, Metamodern Sounds in Country Music, was a kind of psychedelic opus, sprinkled with paeans to LSD and DMT – “woke up this morning and decided to kill my ego … gonna break on through and blast off to the Bardo,” opened Just Let Go – frequently set to music that matched: Mellotron and wah-wah guitars, vocals drenched in spaced-out echo.

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Mark Radcliffe, electronica god: ‘I’m not just some radio bloke having a dabble’

Delivered... Dave Simpson | Scene | Wed 25 Sep 2019 6:00 am

The DJ has made an album inspired by untranslatable words, recorded with a bloke he met in the pub called Paul Langley. So what does ‘boketto’ mean?

Mark Radcliffe and Paul Langley are sipping tea in central Manchester. The former is the much-loved radio star; the latter is something of a mystery. “Good, the less said the better,” Langley says from behind his spectacles and pot of Earl Grey. However, I do know he once made an EP in an outfit called Rack-It! “That was with Martyn Walsh from Inspiral Carpets,” he laughs. “He said, ‘You wanna do a track called Sex on Acid – that’ll annoy people.’ And it did.”

Radcliffe and Langley are, they tell me, “soon to be legendary”. This will be in the guise of UNE, the name they have given themselves. The pair have made Lost, an album of lovely, plaintive electronica over which Radcliffe sings. They met five years ago in the Builder’s Arms in Knutsford, Cheshire. Radcliffe, new to the area, asked locals which pub was dog-friendly. This led to dog-walk encounters with Langley, and the pair were soon bantering over pints, about music and Manchester City.

When I heard Paul's music, I thought: 'This is surprisingly good'

Related: Mark Radcliffe ‘surprised’ to lose BBC show during cancer

Lost is out on 18 October. UNE play the Old Courts, Wigan, 3 October, and more dates before Christmas. Mark Radcliffe’s book, Crossroads, is published by Canongate.

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Gary Numan review – terrace chants for thrashing synthpop star

Delivered... Alexis Petridis | Scene | Tue 24 Sep 2019 1:23 pm

De La Warr Pavilion, Bexhill-on-Sea
The Numanoids are out in force for their idol, who throws in guitar and beefy rhythms for this 40th anniversary tour

Gary Numan’s latest UK tour comes under the banner of a 40th anniversary, although it doesn’t say of what. Perhaps it doesn’t need to. Everyone with even a passing interest knows 1979 was Numan’s annus mirabilis: two No 1 singles and two No 1 albums, and a sense that the future was here. Few things said “the 80s are coming” like Numan performing Cars on the telly, every musician prodding at a synthesiser, not a guitar in sight; his star briefly burned so bright that his idol, David Bowie, felt threatened enough to write a song slagging him off.

You definitely wouldn’t need to remind tonight’s audience, heavy on Numanoids, the diehards who sustained him through his subsequent lean years before he was hailed as an influence by everyone from Detroit’s techno pioneers to Marilyn Manson and Trent Renzor. Less inclined to dress up like their hero than they once were, they nevertheless have their own terrace chant, deployed before, after and occasionally during songs: “Nuuuuu-muh-un! Nuuuuu-muh-un!”

Related: Gary Numan: ‘Eye contact is something I find incredibly difficult’ | This much I know

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