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

Arthur Russell: Iowa Dream review – lopsided, funky and staggeringly beautiful

Delivered... Ben Beaumont-Thomas | Scene | Fri 15 Nov 2019 11:30 am

This collection of unreleased tracks from the electronic pioneer is a treasure trove of Russell’s guileless, always melodic songs

When he died in 1992 of Aids-related illnesses at the age of 40, Arthur Russell left behind one of the most staggeringly beautiful bodies of songwriting ever – and it is still emerging. This compilation of unreleased tracks from his archive mostly date from the mid-1970s, recalling the country-tinged songwriting collected on 2008’s Love Is Overtaking Me, with a scattering of the lopsided, slightly wacky funk and new wave he scaled up to in the 80s.

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Shanti Celeste: Tangerine review – club music with subtlety and depth

Delivered... Aimee Cliff | Scene | Fri 15 Nov 2019 11:00 am

(Peach Discs)
The Bristolian DJ and producer’s nuanced debut is an enveloping listen, folding softer textures into its 2am beats

The transition from DJ to album artist is a tricky one. While one art is about reading the room, the other is a more isolated and intimate experience. For Bristolian Shanti Celeste, on her debut full-length Tangerine, it’s an opportunity to show subtlety and depths that she doesn’t often have space to explore on the dancefloor.

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No fighting or ego biting! Homoelectric, Manchester’s queer clubbing utopia

Delivered... Gabriel Szatan | Scene | Thu 14 Nov 2019 11:19 am

Founded in 1997, Homoelectric railed against the tacky scene in Manchester’s Gay Village with acid, techno and Italo disco. It has now scaled up to a 10,000-person festival, complete with unicorn drag queens

‘For homos, heteros, lesbos and don’t knows.” Since 1997, these words have guided Manchester’s Homoelectric. Started as a retort to the entrenched etiquette and increasingly tacky music of the bars clustered around Canal Street in the city’s Gay Village, Homoelectric grew to become one of the UK’s best-loved institutions. Prioritising a musical policy of house, techno, space disco, Italo, acid and outsider pop that was uncommonly eclectic for the time, it has survived waves of changes to Manchester’s physical landscape, as well as shifts in the wider social ones. Upscaling an independent and nomadic gay night to a 10,000-capacity festival, though? A high-stakes manoeuvre.

It had been in Homoelectric co-founder Luke Unabomber’s mind for years, but repeated attempts to establish it as a summer knees-up on the outskirts of Manchester kept falling through. Suddenly, a dream spot was available. The cavernous space of The Depot, just a few hundred yards from Homoelectric’s first venue, Follies, and within earshot of Piccadilly station, had broken free from red tape. In 2018, Warehouse Project, the big beast of Manchester clubbing, acquired the rights to host shows there. They were keen to assist in making Homobloc a reality, but aware enough to let it be established on Homoelectric’s terms, so as best to encourage discerning Mancunian clubbers who prize independence and authenticity. From the announcement on 10 July, the hype was deafening.

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HUMAN EXTINCTION PARTY is all the AI-generated gore and death metal you can stream

Delivered... Peter Kirn | Scene | Mon 11 Nov 2019 4:48 pm

If we’ve learned one thing about artificial intelligence, machine learning, and music generation, it’s that AI makes some damned fine death metal.

I mean, sure, part of why machine learning doesn’t really replace humans in its present form is this very phenomenon you’re hearing. If you put audio content of pre-existing music into a blender and then mathematically spew bits of it out, you’re losing all the nuance of form and compositional intent that make a lot of music genres work in the first place.

But back up – what was that bit about spewing things out of a blender?

If that part sounded like a feature, not a bug, then you sound like just the sort of person who will love AI-generated death metal. I am that sort of person, despite being about nuance and form and compositional intent, uh, most of the time. (At least I normally pretend.) And I’ve written about this before.

But now, it’s worth mentioning because HUMAN EXTINCTION PARTY 😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖🔪😵🗡️🤖 is amazing.

It’s a livestream of this stuff, just when the creators, Dadabots, have taken down a lot of their other streams. I realize this came out on the 25th of October, ostensibly for Halloween, which now is of course past. But I would implore Databots to keep this up, and the AI-generated text playing karaoke-style over images of meat, on through Christmas. (Honestly, this makes me feel a lot less murderous than hearing “Last Christmas.” If I seem to be getting stabby and Wham! is on, play this to calm me down and watch the butcher knife slide from my placid fingers.)

And yes, you should read their research paper:

Generating Albums with SampleRNN to Imitate Metal, Rock, and Punk Bands

More on SampleRNN:


I still think this will not really turn into a generative model for music, but could turn into a far more interesting way of processing your own samples than only looping them, by generating larger-scale textures out of existing material. If I’m wrong, you can flay my skin and … okay, now I’ve been listening to too much of this stream.

I’m in the midst of our AI Music Lab with MUTEK.jp, so more on this topic – and not just skin deep – soon.

Go go Databots:


And yes, if you really want to have an argument about authorship and this stuff, you should probably go talk to your MPC, too.

Also, Hatebeak forever. (And yeah, CDM has been going for 15 years – and if you got the Hatebeak reference, probably you’ve been reading roughly that long.)

The post HUMAN EXTINCTION PARTY is all the AI-generated gore and death metal you can stream appeared first on CDM Create Digital Music.

Moor Mother: Analog Fluids of Sonic Black Holes review – raging protest poetry

Delivered... Ben Beaumont-Thomas | Scene | Fri 8 Nov 2019 11:30 am

(Don Giovanni Records)
The activist and musician overlays stunning sound collages with furious verses laying bare the lie of post-racial America

Philadelphian poet, activist and musician Moor Mother has gone from the corners of her city’s underground scene to presenting work at high-cultural institutions such as London’s ICA and Barbican, and collaborating with others to make industrial dub as Zonal and wavy club music as 700 Bliss: an intense but sustained flurry of activity that is testament to how keen and lucid her feeling is.

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Domestic disco! How messages from a marriage became a unique double LP

Delivered... Jude Rogers | Scene | Fri 8 Nov 2019 9:00 am

Fed up with texting her husband when he was working abroad, Laima Leyton turned home life into a rapturous electronic pop album – with a twist

When you are a musician and the primary parent at home – with five children between you and your partner – how do you make space to be creative? Especially when you have recently arrived in Britain from Brazil, and your husband, with whom you regularly make music, is often away for his work.

Out of the culture shock and loneliness, Laima Leyton has made an album full of sharp, precise electronic pop: the inventive and thoughtful Home. Pulsing in between the sounds of Jenny Hval, Ladytron and Laurie Anderson, it is about the questions thrown at you by long-term relationships, parenthood and where you belong. “I got to the stage where I wasn’t fussed about being a big techno DJ any more, pleasing the kids,” Leyton says. “I thought: ‘Why can’t I share the other things I think about? Why can’t I turn that into music?’”

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Beverly Glenn-Copeland review – a trance state of love, nature and spirituality

Delivered... Jude Rogers | Scene | Thu 7 Nov 2019 5:56 pm

St George’s, Bristol
Now 75, the ambient composer is on his first world tour, playing spectral music that carries the audience to a higher plane

‘This is from a recent album,” begins Beverly Glenn-Copeland, his hands in the air like a preacher, his gorgeous smile wide. “It’s from, er, 2003. Time goes fast when you’re old.” At 75, the Canadian musician’s spiritual blend of minimalism, new-age electronica, folk and lieder-style singing is having a moment, spurred on by a reissue of his 1986 album Keyboard Fantasies in 2017, and this year’s rerelease of 2004’s cosmic Primal Prayer, alongside a film, and his first ever world tour.

Related: Glenn Copeland: the trans musical visionary finding an audience at 74

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50 great tracks for November from Dua Lipa, Destroyer, Selena Gomez and more

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Mon 4 Nov 2019 11:00 am

From Victoria Monét’s sublime R&B to Lanark Artefax’s squirming electronics, check out 50 new tracks and read about our 10 favourites

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Now is your last chance to register for Ableton Loop, coming to Berlin, April 2020

Delivered... Peter Kirn | Artists,Scene | Sun 3 Nov 2019 3:46 pm

After an edition in LA and a half-year break, the music-making summit hosted by Ableton is coming home to Berlin. Monday is your last chance to register if you want a chance to join.

After Live and Push, Loop has become a kind of third major product from Ableton. It isn’t an event about Live – Ableton’s software and hardware have seemed almost subdued in their role as the event has grown. It has instead become Ableton’s own contribution to bringing together the community of makers around their tools, with a strong emphasis on the diversity of that community – both in the people and how they work. (I’ve been at each edition.)

This year’s edition seems more than any before to promise to bring that full range of diversity back to the Berlin home base. So they’ve added Sylvia Massy, the experienced engineer who worked with the likes of Johnny Cash, REM, and Tool. But there’s also Mexican Sotomayor, continuing Loop’s interest in mixing electronic production with live instrumentation. There’s vocalist Colin Self, percussionist Evelyn Glennie, and the quartet Ex-Easter Island Head.

Very pleased Antenes is on the artist roster for this year – she embodies the spirit of creative production and DIY in her work, so CDM readers, take note.

That’s not to say tech or electronic music is getting short shrift. I’m really looking forward to seeing Antenes and Eric Pitra, who build their own instruments. Antenes, aka Lori Napoleon, is a singular personality who is both able to hold down epic techno sets around the world, and construct wild new experimental DIY instruments from telephone switchboards.

And we’re getting folks like the wondeful Deena Abdelwahed and Georgia Anne Muldrow, as well. It looks like a killer lineup, and clearly the Loop team continue to build on what is resonating with their audiences.

So, now is your chance. Monday the 4th is the deadline. A full pass is 275 EUR (or 375 EUR with one of the valuable workshops and studio sessions), but there are student and youth passes available (for 18-26 year olds), plus crucially subsidized passes for just 50 EUR which still include a studio session and workshop. (Details on who get subsidized are at the site.)

Ableton didn’t put me up to this – this isn’t an advert. I can’t think of anyone else in our industry doing anything like this. And the team at Loop have made an extraordinary commitment to removing boundaries based on gender, genre, age, and cultural background, as well as employing a strict code of conduct to make their spaces safe.

Of course, the one barrier to entry is, you do have to get yourself to Berlin and there are limited passes available.

And time remains a barrier. (Sorry, nothing we can do about that!) So you need submit by tomorrow Monday November 4, and then best of luck – I hope some CDM readers luck out in the drawing (or even with youth passes or subsidies).

You can do that here:



And here are some 2018 highlights, to either inspire you to register or, if you can’t, to let you sit back and make a little virtual Loop for youself in the comfort of your own home. (Now that’s also a nice way to spend a Sunday!)

The post Now is your last chance to register for Ableton Loop, coming to Berlin, April 2020 appeared first on CDM Create Digital Music.

Underworld: Drift Series One: Sampler Edition review – a year’s worth of inspiration

Delivered... Phil Mongredien | Scene | Sun 3 Nov 2019 6:30 am

In the last century, when buying music used to necessitate a physical product, John Peel favourites the Wedding Present once pulled off the seemingly incredible feat of releasing a single a month for a year. The advent of streaming and downloading has rather raised the ante: Underworld have been releasing a song a week for the past year, and these are now collated in a seven-CD box set, with this standalone disc acting as an overview of the project.

The endeavour has clearly proved liberating, and prompted a renewed sense of creativity: after all, if one week’s effort fails to hit the mark, there’s not long to wait for it to be rectified by the next instalment. While considerations of space dictate that the sampler doesn’t include some of the most expansive cuts(the wonderfully sprawling Appleshine Continuum, a 34-minute collaboration with experimental jazz trio the Necks, is particularly ambitious), there is still plenty of boundary-pushing going on, from the propulsive Border Country to the atmospheric ambience of Brilliant Yes That Would Be. The standout is the dazzling STAR (Rebel Tech), in which Karl Hyde reimagines Janet and Allan Ahlberg’s children’s classic Each Peach Pear Plum via a rapid-fire stream of consciousness that replaces Mother Goose, Bo Peep et al with political heroes and popular cultural mainstays including David Beckham, the Dalai Lama and Dr Dre.

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Jeff Lynne’s ELO: From Out of Nowhere review – it’s a pleasure to have him back

Delivered... Michael Hann | Scene | Fri 1 Nov 2019 10:30 am

Lynne has come out of semi-retirement with an album of creamy harmonies and good-natured pop, firmly in the lineage of classic ELO

There’s something rather heartwarming about the return of Jeff Lynne’s ELO. While being a semi-retired rock star, forced out of the fray by the passing tides of fashion, is no one’s idea of a hard life, it’s also not what anyone with a yearning to make music for an audience wants for themselves. It all turned round for Lynne in 2014, when Radio 2’s head of music, Jeff Smith, persuaded him to headline the station’s Hyde Park concert. Five years on, the new-look ELO have had a platinum album, played Wembley Stadium and filled multiple arenas.

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Listen to ambient sound from around the world, recorded with a 4’33” app

Delivered... Peter Kirn | Scene | Thu 31 Oct 2019 6:31 pm

To anyone who says there are too many music makers in the world, maybe you aren’t aware of how much sound is in the world. Crowd-sourced iPhone recordings and the ghost of John Cage are here to set you straight.

First, there’s the app – the 4’33” app is an official, licensed app that makes field recordings to the exact specifications of John Cage’s infamous score as premiered in 1952 by pianist David Tudor. And yes, that means it even comes in the score’s original three movements – a fun fact you should definitely share at parties. (Hey, where did everybody go?)

The app has been out since 2014, courtesy John Cage Trust and publisher C.F. Peters. (Yes, C.F. Peters still owns the rights to a score that contains … nothing.) It’s $0.99 – a small price to pay for… well, for a new way of perceiving all the sounds of the world, maybe?

What’s really astounding about this is not so much the app, though, as the collection of sounds the app has made worldwide. And that has grown in the half decade since the app’s release. You might expect them to all be clustered around New York, San Francisco, and London, but instead six of the seven continents are represented. The iPhone microphone is pretty decent at recording a general monophonic ambience – a fancier stereo recording would do better, sure, but the phone somehow makes a representation of how we perceive and remember those spaces. So you can have a charming journey around the planet and its sounds.

And I think to myself, what a wonderful world…

4’33” App for iPhone [App site and interactive map with sounds]

The post Listen to ambient sound from around the world, recorded with a 4’33” app appeared first on CDM Create Digital Music.

We need to discuss race in electronic music, and we need a new way to communicate

Delivered... Peter Kirn | Scene | Thu 31 Oct 2019 1:08 am

A social media meltdown reveals some deeper issues in the electronic dance music world – and the ways in which online media are amplifying divisions.

Humans and technology melted down this week – but that shouldn’t avail us of an obligation to stand up for people, even when it’s uncomfortable.

Forest fires are raging in California because of trivial sparks, literally. So, without weighing in on every social media tempest, we should still talk about some of the issues beneath. And this matters to music production and music technology because this is fundamentally about who produces music, how that interacts with privilege, and how technology is involved in musical production and communication.

First, here is what happened in paraphrase – one of this week’s microcosms of breakdowns in racial discrimination and online communication. (Resident Advisor has the full sequence since some content was deleted – no, the Internet doesn’t forget, sorry.) The details and even the incident aren’t really important in any large scheme, but see if you can spot the point where compassion goes badly off the rails.

  • Siberian-born Nina Kraviz got a haircut and took some selfies.
  • NYC-based Frankie Decaiza Hutchinson (among others) talked about why that related to deeper feelings about racism, and why it could be hurtful to other people of color.
  • Nina Kraviz told Frankie in effect those feelings were unimportant to her, because her perspective on the meaning of her gesture was different, and went as far as turning the accusation of racism the other way, without evidence. (Direct quotes: “I can wear whatever I want!” and “You think that spreading hate, agression [sic], separation, bullying in our scene and validating reverse racism is OK. “)
  • A whole lot of people of color spoke to their own experience about why that could trigger deeper feelings about racism, and why it could be hurtful to other people of color.

Then, in real-time, there was something we’ve seen regularly in social media: a pile on of short, on-the-spot monologues about the writer’s personal opinions, in a crescendo of polarized sides amplifying their own position. Troublingly, many attacks were directed at people of color and people who speak out about these issues. We’re seeing this cycle over and over again, yet at the same time, we can’t dismiss the problems beneath.

Now, what you saw of all of this is highly variable – not only through the very real filter of all of our own biases and internalized racism, but literally what the technology showed you. And this happens fast: the time window to see the originating tweets was roughly 2-3 hours on Monday evening.

Depending on who you follow on social media and how millions of lines of computer algorithms are personalizing that feed to heuristics about your taste, you may have missed this story altogether, or made a gesture that signaled to those algorithms your disinterest, causing them to vanish.

Alternatively, the algorithms’ complex mathematical rules may have bombarded you with an explosion of impassioned comments and chosen which would get priority. This weighting is constructed, as extensive research has shown, primarily to increase engagement and profit, with a questionable weighting on either your well-being or the accuracy and balance of what you’re shown. Even before these reached your brain, they were filtered by statistical machine learning rules intended to maximize your engagement.

And whether by algorithmic weighting or most-recent chronological ordering, the longer these discussions go, the more likely you are to see copy-of-a-copy punditry and waves of frustration than the original discussion, as if you walked in on the end of a barroom brawl.

This also leads inevitably, in any case, to the same claim: “why aren’t xx people talking about yy.” Very often, these mirror a non-online, real ignorance. But rather than helping resolve that issue, social media can present an unmanageable torrent of disorganized information and even actively amplify ignorance, all while distorting timescale (again, realizing that some people are joining a conversation hours or days later than others).

To the extent it seems like discussions on Twitter have gotten more heated since, oh, about 2016, they absolutely have, due to algorithmic changes. Facebook has similar heuristics. Both are intended to keep you focused on these products.

Putting all that aside, whatever did reach your brain was filtered again through years of learned experience about race, which will have been very different based on who you are, what your skin color is, and where you grew up with that skin color. This changes your behavior, which then … feeds back into the algorithms.

We’re dealing with both human and machine heuristics that can be toxic and divisive, and worst of all, they’re locked in a feedback loop. Machines are learning from some of our worst impulses even as we fail to learn to be better. It also needs to be said, this same system is open to outside manipulation – and with or without that manipulation, it skews our perception of one another and of issues.

The technology shouldn’t excuse bad behavior or learned racism and bias. On the contrary – it means that racism and bias have more urgency than ever. If ever there was a doubt, time’s now up to listen to who is marginalized and needs to be heard.

While social media rages away, this also means it’s worth reading long-form content and taking time to consider.

So let’s read:

Ash Lauryn: Keeping It Real… [Underground & Black]

The author, a Detroit-based DJ / writer / radio host, was one of the first to react and one of the first to bear the brunt of a full-on pile on, often from white people (which is a serious sign that something is seriously wrong here, having nothing to do with hair or Russian DJs). Full credit – Axmed of Dutch Dance with Pride posted this; you can find this and other links to their organization on Linktree.

It’s possibly even useful reading the article – and other posts – more than once, to be really aware of the message and unpack our own reactions as well as to process what she says. Sometimes, a re-read can help remove some of our own filters; empathy doesn’t require agreement, but empathy takes practice.

Over and over again, I heard this – while many people focused on Nina’s original hair selfies, they ignored the concerns that it was the response from Nina that was so offensive. Highlighting that bit:

Rather than listen and attempt to have a constructive conversation about her use of the term “ghetto” and cultural appropriation, she jumped right into defense mode. The straw that broke the camel’s back for me was her having the audacity to call one of the most dedicated people to diversity in the scene right now, whom also happens to be a black woman, a racist. That’s the point when I lost all respect.

Also, something I heard many people echo, she talks about why this is so personal (excerpt) – that this is a particular badge of pride in particular because it represents what had been denied:

As a black woman who wears cornrows on a regular basis, I find pride and strength in rocking the style, and it often feels like a form of resistance against the white society that tells me I need to wear my hair straight to be accepted. Perhaps this is what makes the topic a sensitive one, because to me, the style is not simply a fad or a costume for the night- it’s my heritage.

This issue of cultural appropriation clearly isn’t a simple one, because the core of it is dealing with people’s emotions. And much as the right-wing pundits in my native country loves to mock that aspect of it, caring about people’s feelings and how you impact them is the essence of compassion.

And yet, for all the apparent trendiness of the issue, it’s clear the questions of racism don’t get talked about enough or with enough depth. That was the overwhelming message of the frustration with Nina Kraviz I was able to dig through – that this didn’t come out of the blue, but sparked a long-standing, quiet frustration with ignorance and appropriation.

I’m disappointed in Nina Kraviz, though I hope she will find a way to undo this damage. I respect her as an artist, for her label, for what she’s had to put up with because of sexism and jealousy directed at her. But when she finishes her discussion with “I am not a racist. And I hope you know and feel that” – she misses the point. If you rephrase this discussion with “this hurts people, and connects to a history of hurting people,” and the response “no, it doesn’t, I can do whatever I want,” you get at the core of the issue. The question isn’t who is “a racist” or not, like asking if someone is a Methodist or a plumber. We say things, they have consequences, they impact other people.

So the question is whether we listen and respond when that impact is hurtful. This isn’t political correctness; it’s basic human compassion and decency.

Some messages are simple – there is absolutely no reason to argue that Frankie was in the wrong; she defends herself on that:

Some issues this episode has raised are much harder, in that they might not only be uncomfortable to talk about but might require real reflection and disagreement and even radically different viewpoints. I do hope we tackle them, and I appreciate that they’ll take time. I also know plenty of writers have already written extensively about this issue, researched this issue, and they deserve more of a platform and more awareness.

I went back and re-read Frankie’s answers to this site, as she talked about self-care and how she handles social media. It’s also important to note the ways she said at the time social media can be important and productive – and I think we have to listen to those, too. (It’s absurd not to be able to use a medium and to criticize it – I would flip it around and say it’s necessary to do both those things.)

Yes, to Ash Lauryn’s plea that the press and artists need to respond to these kinds of incidents, we damned well better find a way to do it. Yes, folks like me have an added responsibility to educate ourselves on our privilege because otherwise we’re part of the problem.

No, this can’t always happen in real-time, and it can’t always fit on social media, because of the limitations of human health and the fact that social media platforms are moderated by machines, not humans, and the machines’ priorities are set by corporations.

The best I can do is suggest we respond as thoughtfully as we can on social media, and make some space outside social media to have conversations, too. And since the press in the past hasn’t always done a job of opening up space, I hope that independent, open Web media can try to do better. That should mean giving up some space to other voices.

This is not labor to do this in music; it’s a privilege to have the opportunity to share with others access to a medium that lets us channel how we feel. When race, class, accessibility, gender, geography, sexual orientation, and other variables become barriers to music, we’re lucky to have any chance to make any change. So we need to listen to what we can do.

I can’t personally say more beyond that, so let’s just finish on Ash Lauryn’s mix for RA. If anyone says “make it about the music,” don’t worry – the people I quoted here are on that, too:

If people do want to share experience, and if there are other articles to add, please get in touch. You can actually reach me on Twitter, even. (Ahem.)

The post We need to discuss race in electronic music, and we need a new way to communicate appeared first on CDM Create Digital Music.

Thunderdome: the Dutch rave with the world’s fastest, hardest music

Delivered... Holly Dicker | Scene | Wed 30 Oct 2019 3:30 pm

Thunderdome launched with a giant octopus on an ice rink – and created the Netherlands’ biggest youth culture movement. Three decades on, it’s stronger and tougher than ever

Last weekend, Thunderdome made history: 50,000 ravers massed at a convention centre in Utrecht for the biggest indoor hardcore dance event ever staged, breaking its own record set two years ago when it pulled off the mother of all comebacks, and reclaimed its crown as the world’s greatest living hardcore rave.

The site is mapped out like a theme park, with six areas of music ranging from the slower early rave sound of the “Thundergods” to the 200+ beats per minute blasting from the Tunnel of Terror. Tonight we’re paying homage to the most significant youth culture movement in the Netherlands, gabber, which is why there’s also a gabber museum, displaying limited-edition Nikes and multicoloured Australian-brand jackets – the gabber uniform – plus a tattoo station inking diehards with Thunderdome’s iconic Wizard logo, and a gabber barber serving up undercuts.

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Tricky review – a bizarre but brilliant enigma

Delivered... Ian Gittins | Scene | Sun 27 Oct 2019 1:07 pm

Queen Elizabeth Hall, London
After a year of tragedy, the spotlight-shy producer stays in the shadows during this erratic yet utterly mesmerising set

Tricky has always been allergic to celebrity. When his 1995 debut album, Maxinquaye, went No 3 and made him a media darling, his horrified reaction was to dismiss the “coffee-table” record and the trip-hop movement it birthed, and to move his music firmly left field to evade unwanted critical hyperbole.

Related: Tricky: ‘I’ve lost people before and bounced back. This is different’

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