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

Dawn Richard: Second Line review – joy and mess from a musical eccentric

Delivered... Kemi Alemoru | Scene | Fri 23 Apr 2021 8:00 am

(Merge Records)
The former Diddy collaborator brings Black female perspective to the fore in an ambitious collection of electronic sound

Dawn Richard has a buoyant track, Bussifame, on her sixth solo album, Second Line, which explains that the album’s title refers to a New Orleans funeral parade in which passersby are invited to join in and celebrate the dead person’s legacy.

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The month’s best albums

Delivered... Electronic music | The Guardian | Scene | Mon 12 Apr 2021 11:30 am

Discover all our four- and five-star album reviews from the last month, from pop to folk and classical

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Bassnectar: EDM DJ denies allegations of sexual abuse and human trafficking

Delivered... Laura Snapes | Scene | Wed 7 Apr 2021 10:48 am

A lawsuit accuses the US producer of grooming two underage women and manufacturing and possessing child pornography

Two women have accused the EDM DJ Bassnectar of sexual abuse, human trafficking, grooming, and the manufacture and possession of child pornography in a new lawsuit.

On 5 April, Rachel Ramsbottom and Alexis Bowling filed a claim against the US producer, born Lorin Ashton, as well as his label, management, touring and charitable giving organisations.

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

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Steve Davis and Kavus Torabi: ‘Can you spot which of us is the rock star?’

Delivered... Miranda Sawyer | Scene | Sun 4 Apr 2021 9:30 am

As bandmate of musician Torabi, ex-snooker champ Davis is these days more about modular synths than big breaks. Now the odd couple of psychedelia have written a memoir

Steve Davis is waving a modular synthesiser at me. He’s 10 minutes early for our scheduled chat, and his music-and-book-writing compadre, Kavus Torabi, hasn’t logged on to Zoom yet, so Davis is showing me his favourite toy: a synthesiser without a keyboard. There are a lot of knobs and switches, and holes where you slot in sound modules.

“It’s not lost on me that this is a bit of a blokey hobby,” he says cheerfully. “I was checking out online demos about how to use these synths and I ended up watching soldering. A bloke soldering modules. But there was nothing else to do, so I watched it for quite a bit.”

You’re really on the seat of your pants. I have absolutely no knowledge of playing a rehearsed piece of music

When I’m with Steve, I feel like I’m a decent guy. I like myself when I’m with Steve

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Dance duo Justice begin legal action against Justin Bieber over crucifix design

Delivered... Ben Beaumont-Thomas | Scene | Thu 18 Mar 2021 5:04 pm

Cease-and-desist letter sent to pop star, whose new album cover is accused of imitating Justice’s logo

Grammy-winning French electronic music duo Justice have accused Justin Bieber of illegally infringing on a trademark with the cover design of his new album, Justice, released on Friday.

The duo’s logo is their name with the letter T designed as a crucifix, a design trope that Bieber uses for his album cover. Bieber’s new merchandise also features a contested crucifix design.

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Gurrumul, Omar Souleyman, 9Bach and DakhaBrakha: the best global artists the Grammys forgot

Delivered... Ian Brennan | Scene | Thu 11 Mar 2021 5:30 pm

From the Godfathers of Arabic rap to the father of Ethio-jazz, Grammy-winning producer Ian Brennan guides a tour through global music’s greatest

This week I wrote about the glaring lack of international inclusivity in the Grammys’ newly redubbed global music (formerly world music) category.

In the category’s 38-year history, almost 80% of African nations have never had an artist nominated; no Middle Eastern or eastern European musician has ever won; every winner in the past eight years has been a repeat winner; and nearly two-thirds of the nominations have come from just six countries (the US, the UK, Brazil, Mali, South Africa, India). The situation shows little signs of improving.

Related: The Grammys have a major problem with diversity. Lip service isn’t going to solve it | Ian Brennan

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‘I’m isolated’: Joel Corry on bodybuilding, reality TV and his sacrifices to reach No 1

Delivered... Ben Beaumont-Thomas | Scene | Thu 11 Mar 2021 3:00 pm

After years of slogging through DJ sets and obsessional exercise, the London producer had one of 2020’s biggest and best pop hits. But his brutal work ethic is ‘a gift and a curse’

Amid the draining gloom of pandemic life, Joel Corry has been a soothing constant: if you have turned on the radio at any time in the past year, there is a huge chance that one of the British pop-house producer’s three big singles will have been playing. Sorry, Lonely and Head & Heart (the latter a six-week chart topper) have collectively earned more than a billion streams and made Corry into one of the UK’s biggest new pop stars, a Calvin Harris type who has guest vocalists out front while he prods equipment and points gunfingers skyward. Sorry got a boost from being used on Love Island in 2018, and his music is rather like the Love Island of pop: buoyant, cheesy, suffused with romantic drama and sparkling sunlight. But when talking to him in his hotel room, clouds gather.

Corry could actually be a Love Island contestant: he has the good looks and earnest kindly nature of a 90s boyband heartthrob, as well as the abdominals, which look not so much chiselled as 3D-printed following a successful earlier career as a bodybuilder. In fact, he has reality TV pedigree as a rare southern interloper amid the cast of MTV’s lairy Geordie Shore; he was the boyfriend of the show’s charismatic bad-influencer Sophie Kasaei, with whom he had a six-year relationship until 2017.

I had to be on my own. And I still feel like that now. It’s almost selfish, but I can’t have any distractions, man

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Bicep: Live Global Stream II review – 90 minutes of pure throwback pleasure

Delivered... Kitty Empire | Scene | Sat 6 Mar 2021 3:00 pm

Saatchi Gallery, London; live stream
Marking the release of their acclaimed second album, Isles, the duo transmit a steady stream of rapturous, 21st-century rave nostalgia into living rooms around the world

The laptop screen pulsates with images of hands in lurid colours that distort and repeat ad infinitum. The retro neon graphics of Bicep’s live stream announcement gradually give way to elegant organic visuals; these in turn form stark, generative abstracts. The Bicep logo – think Manx flag – appears inside a rolling circle within another rolling circle, like a psychedelic geometry assignment whose equation is just out of reach.

From time to time these retina-searing visuals ebb away, leaving behind reality: two black-clad men facing each other in an empty white room. Gear is laid out before them symmetrically. We are in London’s Saatchi Gallery, but the walls are bare. Bicep are supplying all the art: a luminous, 21st-century spin on 90s rave music, given go-faster stripes by their long-time graphics team Black Box Echo. (“Gallery temporarily closed”, reads a sign under spooky flickering lights.)

Bicep’s Live Global Stream II will be re-streamed on demand from 12-14 March; free to existing ticket-holders or £14 via dice.fm

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Keep the faith: bangers for Bandcamp Friday, even without the dancefloor

Delivered... Peter Kirn | Labels,Scene | Fri 5 Mar 2021 7:46 pm

For every person cut off from their vocation, their livelihood, their reason to go to work, in any industry - it's been a tough year. But if you need some dancefloor sounds to remind you what those can sound like, today there's a surprising bumper crop of releases.

The post Keep the faith: bangers for Bandcamp Friday, even without the dancefloor appeared first on CDM Create Digital Music.

Guedra Guedra: Vexillology review | Ammar Kalia’s global album of the month

Delivered... Ammar Kalia | Scene | Fri 5 Mar 2021 9:30 am

(On the Corner)
Abdellah M Hassak integrates the rhythms of north African folk music with a bassline-heavy electronic pulse

From the spiritual polyrhythms of gnawa to the looping vocalisations of Sufism and the percussive tessellations of Berber folk, the world of north African cultures meet in the music of Morocco. Producer Abdellah M Hassak, AKA Guedra Guedra, has taken these rhythms as the core of his work. His name comes from the Berber dance music performed on the guedra drum; his debut EP, 2020’s Son of Sun, explored these diffuse roots through a dancefloor filter, with added field recordings and electronic Midi sequencing, a junglist collage that straddles tradition and contemporary dance musics.

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Rian Treanor: the producer hacking a smarter, kinder future for music

Delivered... Chal Ravens | Scene | Wed 3 Mar 2021 11:30 am

The Rotherham electronic musician is using his skills to tackle dementia, teach children and collaborate across the globe – and dreams of a club where the dancers play the drum machines

Living in lockdown while caring for someone with dementia “isn’t just like Groundhog Day”, chuckles Rian Treanor, “it’s like Groundhog Second.” The soft-spoken electronic music producer has spent a year indoors with three generations of his family – including his producer and sound-artist dad, Mark Fell, and his grandmother, Doreen, who is has late-stage Alzheimer’s. It’s certainly a change of scene for the producer of one of 2020’s most audacious and frenzied dance albums, File Under UK Metaplasm.

Instead of the pointillist rave and singeli – a high-speed Tanzanian style – that influenced that record, the Treanor-Fell household playlist is geared towards Doreen’s favourites, particularly dub reggae and Hawaiian-style steel guitar. “When she listens to that she’s completely in the zone, she astrally projects into it,” marvels Treanor. Music has a powerful effect on brains damaged by dementia, unlocking memories and opening up non-verbal channels of communication, so they tried Doreen on a piano next, knowing that she’d grown up with one. When the keys proved too complicated, Fell designed a set of blocks for her to use, described by Treanor as “squares with little notches cut out that create different chord shapes”.

Related: Public house music: Mark Fell on making art in a derelict boozer

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Can Danny L Harle reinvent hard dance for a new generation?

Delivered... John Twells | Scene | Tue 2 Mar 2021 1:30 pm

The British producer’s debut album is a perfect simulacrum of gabber, hardstyle, trance and more – but it lacks the overdriven ferocity of the genres it imitates

The easiest way to sell a new cultural product is through familiarity, whether it’s a gender-flipped version of Ghostbusters or an upsampled Star Wars: all the swashbuckling elements enhanced with new effects and younger, smoother-skinned leads. Remake, remix, reboot – we are living in an era where culture turns like a mirrorball in a hall of mirrors, reflecting infinitesimally.

Related: Danny L Harle: Harlecore review – big, dumb escapist fun

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‘They left an indelible mark on my psyche’: how Daft Punk pushed pop forward

Delivered... Gabriel Szatan | Scene | Fri 26 Feb 2021 2:30 pm

Skrillex, Erol Alkan and those close to the French duo chart how they went from being industry outsiders to defining the trajectory of dance music

Following their split this week after 28 years, Daft Punk have ascended to pop Valhalla. Perhaps they’re sitting next to Prince, whose pirouetting falsetto funk and emotional vulnerability inspired the duo’s 2001 masterpiece Discovery, and Led Zeppelin, from whom they cribbed double-necked guitars and 10-tonne drums on 2005’s Human After All. Yet those albums were met with a mixed reception – audiences and critics alike had to learn to trust Daft Punk’s vision of the future.

For British producer-DJ Erol Alkan, whose fan forums were an essential incubator of the blog house movement that swept through club culture in the 2000s, the Parisians had a “deeply profound impact” on a generation, including Alkan. “They were a gateway into so much music that I love, and a big part of that admiration comes down to their position as outsiders,” he says. Daft Punk’s magpie approach to songwriting and visual art was a dominant story of early 21st-century music, similarly colouring the work of MIA, 2ManyDJs, the Avalanches and other sample-stitchers. Although some commentators queried how much inspiration could actually be bound up in recycling, Alkan thinks that in Daft Punk’s case, “the references are strong and familiar, and there is enough of themselves in there for it to always remain theirs”.

In the late 90s, you could already feel they were geniuses with real vision

Related: Daft Punk were the most influential pop musicians of the 21st century

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Daft Punk were the most influential pop musicians of the 21st century

Delivered... Alexis Petridis | Scene | Tue 23 Feb 2021 11:35 am

By resurrecting disco, soft rock and 80s R&B, and bringing spectacle to the world of dance music, the French duo changed the course of pop music again and again

It’s hard to think of an act who had a greater impact on the way 21st-century pop music sounds than Daft Punk. The style Thomas Bangalter and Guy-Manuel de Homem-Christo minted on their 1997 debut album Homework – house music heavy on the filter effect, which involved the bass or treble on the track gradually fading in and out, mimicking a DJ playing with the equalisation on a mixer; drums treated with sidechain compression, so that the beats appeared to punch through the sound, causing everything else on the track to momentarily recede – is now part of pop’s lingua franca.

In fact, no sooner had Homework come out than other artists started to copy it. Within a couple of years, Madonna had hooked up with another French dance producer, Mirwais, employed to add a distinctly Daft Punk-ish sheen to her 2000 album Music, and the charts were playing host to a succession of soundalike house tracks – 2 People by Jean Jacques Smoothie, who turned out to be a bloke from Gloucester called Steve; Phats and Small’s ubiquitous Turn Around; and No 1 singles, Modjo’s Lady and Eric Prydz’s Call on Me among them.

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Save and rave! How a compilation of pirate radio adverts captures a lost Britain

Delivered... Simon Reynolds | Scene | Tue 16 Feb 2021 10:48 am

Fashion boutiques, shop-fitters and others advertised alongside raves on early 1990s pirate radio. Now, a new compilation is rediscovering a slice of the underground

“Have you got that record that goes ah-woo-ooo-ooh-yeah-yeah?” It’s a scene familiar to anyone who spent time in a hardcore rave record shop in the 1990s – a punter asking for a tune they’ve heard on pirate radio or at a rave but they don’t know the title of, so they mimic the riff or sample hook hoping someone behind the counter recognises it.

A relic of pre-Shazam life, the ritual is preserved in an advert for Music Power Records aired on the pirate station Pulse FM in 1992. Nick Power, owner of the north London shop, recalls that no matter how mangled the customer’s rendition, “nearly always, you’d be able to identify the exact record they were looking for”. In the advert, Power plays the roles of both sales assistant and punter, pinching his nose to alter his voice. Almost 40 years later, the comic skit commercial has been resurrected alongside others on two volumes of London Pirate Radio Adverts 1984-1993, by audio archivist Luke Owen. Power is pleasantly bemused by this turn of events: “I can’t see there’d be a demand for radio ads, but there’s got to be someone out there who’s interested enough to buy it. I don’t see it being a platinum release, though!”

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