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

Ben Lee, Georgia Maq, Tame Impala: Australia’s best new music for January

Delivered... Nathan Jolly and Guardian Australia | Scene | Fri 3 Jan 2020 2:01 am

Each month we add 20 of the best new Australian songs to our Spotify playlist. Read about 10 of our favourites below – and subscribe on Spotify, which updates with the full list at the start of each month

Related: Woodford folk festival review – a much-needed moment of positivity and reprieve

Related: How American pop star Halsey responded to the bushfire crisis faster than Australia’s prime minister

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Sugar Sweet: the pilled-up rave that united Belfast during the Troubles

Delivered... Daniel Dylan Wray | Scene | Wed 1 Jan 2020 3:46 pm

Thirty years ago, David Holmes and Iain McCready’s event brought together communities who hated each other but needed to vent their fear: ‘Religion wasn’t a barrier any more’

‘Doing music as a career didn’t even register as something that was possible,” recalls DJ, producer and composer David Holmes. “Growing up in the Troubles, you just never felt things like that happened to people like you.”

Thirty years ago, Holmes was working as a hairdresser in a Belfast salon with fellow music obsessive Iain McCready. Holmes had been booking bands since the age of 15 and McCready was running underground hip-hop nights in the city. “We’re both blessed with a personality of not waiting around for things to happen,” says Holmes. “So we put on our own nights.” On 23 December 1989, the pair launched Sugar Sweet – initially called Base and then briefly The Face – a night that brought acid house and rave culture to Belfast with a mighty thump. Earlier this month, the pair threw a one-off 30th anniversary party to celebrate.

That sense of togetherness, when you’re staring down the barrel of a gun, gives you that extra bit of inspiration

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Beatrice Dillon: the most thrilling new artist in electronic music

Delivered... Chal Ravens | Scene | Fri 27 Dec 2019 7:00 am

The London musician is releasing her debut album after years of odd jobs and collaborations, pitting the highbrow against the homespun in masterfully light yet complex music

‘The computer always wins, that was my phrase.” Beatrice Dillon is explaining the sound of her debut album, Workaround, in which her computers spar with acoustic instruments played by a dozen guests ranging from cellist Lucy Railton to tabla player Kuljit Bhamra (who has an MBE for services to bhangra, Dillon points out proudly).

Related: Bradford bassline and ketamine-charged punk – 50 new artists for 2020

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The best underground dance music of 2019

Delivered... Tayyab Amin and Lauren Martin | Scene | Mon 23 Dec 2019 11:00 am

Whether it was Conducta’s anti-nostalgic UK garage revival or the experimentalism of Shanghai’s SVBKVLT label, 2019 saw dancefloor boundaries staked out in exciting new territory

Gabber Modus Operandi

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Sault: 5 / 7 review – intriguing grooves from a mystery funk machine

Delivered... Alexis Petridis | Scene | Fri 20 Dec 2019 12:00 pm

(Forever Living Originals)
No one seems to know who they are, but one thing is sure: Sault make hooky, dubby, funky music with echoes of ESG and Can

Mystery is a rare commodity in rock and pop these days. The internet has made investigative journalists of us all, and an artist who expends a lot of effort creating an enigmatic aura will almost invariably find themselves revealed online. So hats off to Sault, who managed to release two albums in 2019 – titled 5 and 7 – without anyone managing to conclusively solve the puzzle of who was behind them.

It was not for want of trying. Some people suggested the involvement of a London-based musician called Dean Josiah, whose CV boasts co-writing and production credits for Michael Kiwanuka, the Saturdays and Little Simz – the last of whom raved about Sault on social media. Others have posited that British soul singer Cleo Sol and Chicago-based rapper and sometime Kanye West collaborator Kid Sister – both signed to Sault’s label, Forever Living Originals – are the vocalists. But no one has confirmed or denied anything.

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Guardian albums and tracks of 2019: how our writers voted

Delivered... Electronic music | The Guardian | Scene | Fri 20 Dec 2019 7:00 am

We’ve announced our favourite releases of the year – now the Guardian’s music critics reveal their top picks of 2019

Nick Cave and the Bad Seeds – Ghosteen
Michael Kiwanuka – Kiwanuka
Sturgill Simpson – Sound and Fury
Billie Eilish – When We All Fall Asleep, Where Do We Go?
Slowthai – Nothing Great About Britain
Sharon Van Etten – Remind Me Tomorrow
Fontaines DC – Dogrel
Sault – 5
Tyler, the Creator – Igor
Dave – Psychodrama
Weyes Blood – Titanic Rising
Nilüfer Yanya – Miss Universe
Chemical Brothers – No Geography
Brittany Howard – Jaime
Little Simz – Grey Area
Jamila Woods – Legacy! Legacy!
International Teachers of Pop – International Teachers of Pop
Angel Olsen – All Mirrors
Anderson .Paak – Ventura
These New Puritans – Inside the Rose

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Burial: Tunes 2011 to 2019 review – a bleak, beautiful, brave compilation

Delivered... Damien Morris | Scene | Sun 15 Dec 2019 4:00 pm


It’s strange to remember how much of the excitement around Burial’s emergence focused on the act’s anonymity. Like any serious underground scene, dubstep was hardly about fame-chasing faces in 2005. But Burial became its Banksy, a feted street artist who told poetic truths about the prosaic to the public. Evocative yet blunt song titles (In McDonalds, Night Bus, Homeless) introduced music that was easy to digest yet restless and difficult to define. Burial was the city after dark, sometimes comforting, often unsettling, studded with scraps of songs from passing cars or phones, industrial static mixed into ghostly, gorgeous melodies.

Then, after a Mercury prize nomination in 2008 for Untrue and the unmasking of Will Bevan as Burial, there were no more Burial albums, just some remixes and singles, the latter collected here over a languorous two-and-a-half hours. Bevan has jettisoned the sleep paralysis pop of his early work for something even more dissociated and peripatetic. You might head for the vicious rave of Rival Dealer or Nightmarket’s sumptuous, pealing melody first, to swerve some long, austere, beatless passages, but this is a compilation of rare bravery and beauty.

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Alabama 3 review – raucous ravers soak up mashup outlaws’ sin and soul

Delivered... Graeme Virtue | Scene | Sun 15 Dec 2019 3:27 pm

Barrowland Ballroom, Glasgow
This was a rambunctious wake for founding member Jake Black – with their Sopranos’ theme a high point among club and country meldings

Jake Black, one of the founding members of Alabama 3, died in May this year. The southern-fried, dance-infused country irregulars formed in Brixton in the mid-1990s, yet Black was from Glasgow: this would have been a hometown gig.

Usually, you might say he was here in spirit. But Black, who performed as addled preacher the Very Reverend D Wayne Love, is also here in a more corporeal form, commemorated as an alabaster-white idol in a black suit, gazing out over a raucous, sold-out flock of ravers of all ages.

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St Vincent/Nina Kraviz: Masseduction Rewired review

Delivered... Aimee Cliff | Scene | Fri 13 Dec 2019 11:30 am

(Loma Vista)
Russian producer Kraviz moves St Vincent’s 2017 album through a variety of gloomy musical lenses, from footwork to dub

Throughout the 2010s, the album has become somewhat amorphous. Today’s artists are more prone to releasing multiple versions of their records, and many of the old rules about the format have gone out of the window.

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Daniel Lopatin: Uncut Gems Original Soundtrack review

Delivered... Ben Beaumont-Thomas | Scene | Fri 13 Dec 2019 10:30 am

Lopatin, AKA Oneohtrix Point Never, has created a soundtrack for the Safdie brothers’ latest that brings its whole roiling humanity brilliantly to life

Uncut Gems is one of the films of the year, cementing its directors, the Safdie brothers, as the masters of stressing you out by watching flawed people make even more flawed life decisions – here, Adam Sandler plays Howard Ratner, a gambling-addicted jeweller who is in love not so much with the winning as the survivors’ adrenalin of not losing. After scoring their previous film, Robert Pattinson heist movie Good Time, Daniel Lopatin – AKA electronic producer Oneohtrix Point Never, now composing under his own name – once again writes the music.

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Sheffield’s post-punk explosion: synths, steel and skinheads

Delivered... Daniel Dylan Wray | Scene | Thu 12 Dec 2019 6:00 pm

In the late 70s, the city’s bands set out to create the sound of the future – while trying to avoid getting beaten up. Jarvis Cocker and other leading lights recall a revolutionary scene

Sheffield in 1977 had a slight feeling of being the city of the future,” recalls Jarvis Cocker. “I didn’t realise that it was all going to go to shit. It was Sheffield before the fall.”

That pre-fall year is the starting point for a new box set: Dreams to Fill the Vacuum: The Sound of Sheffield 1977-1988. Familiar names appear – Pulp, Heaven 17, the Human League, ABC – but they are joined by a wealth of other acts, such as I’m So Hollow, Stunt Kites, They Must Be Russians and Surface Mutants, spanning punk, post-punk, indie and electronic with that droll outsider energy particular to South Yorkshire.

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The 50 best albums of 2019, No 7: FKA twigs – Magdalene

Delivered... Ben Beaumont-Thomas | Scene | Thu 12 Dec 2019 7:00 am

Sex, sensuality and inner strength formed the core of a breakup album that mixed moments of fragility with rousing uplift

Despite a total lack of scriptural evidence, Mary Magdalene is commonly remembered as a penitent former sex worker, a once-sensual disciple of Jesus who straightened out to follow him to his death and beyond. On this album named after her, FKA twigs seems to say: get somebody who can do both. On the title track, she sings “I do it like Mary Magdalene” in the context of sex – carnal, but devotional. “Mary Magdalene would never let her loved ones down,” she sings on Home With You, and neither, she intimates, would she.

She’s written about this kind of emotional labour and nurturing sensuality before on her breakthrough single Two Weeks: “Suck me up, I’m healing / For the shit you’re dealing,” promising sex that satisfies the soul as well as the body. On stage, twigs has added pole-dancing to her routines, movements that are loaded with sexuality but, as she performs them, also transcend it to become a celebration of sheer corporeal movement and self-discipline.

Related: The 20 best songs of 2019

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‘The vibe was sex, sex, sex’: Cocktail D’Amore, Berlin’s free-love club night

Delivered... Liam Cagney | Scene | Tue 10 Dec 2019 11:50 am

Now celebrating 10 years of hedonism, this staple of Berlin nightlife has become a place for people to escape the drudgery of 9-to-5 existence

The room is dark and teeming when, four hours into his set, Boris drops Patrick Cowley’s remix of I Feel Love. Sweat-scented and balmy with body heat, the room lifts off. As Cowley’s synthesiser solo gets ever more ludicrous, hands throw silhouettes on the rainbow lights; two men make love; a hand-standing Italian woman tries not to topple over.

This is Sunday night at Cocktail d’Amore in Berlin, a friendly, gay, delirious party that is celebrating its 10th birthday this year with, among other things, a compilation and coffee table book. Berlin has a new generation of queer club nights – among them Herrensauna, Lecken and Buttons – but Cocktail d’Amore was the initiator of this wave.

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The 50 best albums of 2019, No 10: Weyes Blood – Titanic Rising

Delivered... Kitty Empire | Scene | Mon 9 Dec 2019 7:00 am

The LA singer-songwriter’s switch to stately orchestral pop earned Karen Carpenter comparisons, but her all-American concerns were firmly of our times

Going from playing bass in an avant-garde noise band called Jackie-O Motherfucker to garnering comparisons to Karen Carpenter is no mean feat. And yet that has been the winding trajectory of Natalie Mering, an auteur based in LA whose solo career reached an almighty crescendo this year with her fourth outing, Titanic Rising.

As slow and stately as a tanker turning, and as waterlogged as its title implies, Titanic Rising was a curio in 2019. Unburdened by modish musical trends – no guests, no genre crossovers – it was a feat of immersive beauty, the kind of record you might put on an old-fashioned stereo, dim the lights and sit through in one indulgent sitting, the better to appreciate its three-dimensional production washing over your skin like a gong bath.

Related: The 20 best songs of 2019

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Grimes review – a suitably surreal invasion of the Miami Art Basel

Delivered... Kevin EG Perry | Scene | Fri 6 Dec 2019 6:30 pm

The artist appeared among Florida’s monied art fiends with a pristine alternate-reality trip – and a gloriously flawed DJ set

The art world has descended on Miami for Art Basel, the annual fair dedicated to proving that old idiom about a fool and his money. The most talked-about piece so far is by the Italian artist Maurizio Cattelan, who has found at least two buyers for a work consisting of a banana duct-taped to a wall. Arrested Development’s Lucille Bluth once blithely asked: “I mean, it’s one banana, Michael. How much could it cost?” The answer, it turns out, is $120,000.

Grimes fans could be forgiven for wondering if she might pull similar art pranks at her mysterious one-off show Bio-Haqué, held at an abandoned RC Cola plant that’s now transmogrified into a graffiti-blitzed 7,000-capacity outdoor venue in the city’s trendy Wynwood district. Details were scant when she first announced the show, writing cryptically on Instagram that she’d be joined by fellow provocateurs Sophie and Nina Kraviz and that it would be “a place where the well-proven anti-aging properties of raving have been distilled into the most potent experience available on the market today”.

Related: Sign up for the Sleeve Notes email: music news, bold reviews and unexpected extras

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