house music
joe.muggs
We Out Here Festival, now in its fifth year (and fourth edition, as 2020 was of course cancelled for Covid), has become an institution. Curated by jazz-centric veteran DJ Gilles Peterson and actualised by Noah Ball – best known for his role in creating Outlook Festival in Croatia which has served as UK bass music’s metting point in the sun since 2008 – it joins the dots culturally through generations of music both strange and hedonistic and attracts a faithful crowd that reflects that.The diversity of the crowd is the first thing you’ll notice about the festival. Though it has grown a lot Read more ...
joe.muggs
The broken beat movement, centred on West London around the turn of the millennium, wasn’t super press friendly. Its complex rhythms were eclipsed in the populism stakes by its close cousin UK garage, and serious commentators didn’t really know what to do with a broadly working class, multicultural scene that was aspirational and privileged virtuosic production and musicianship. Indeed there was a distinct inverted snobbery in the refusal refusal to treat it with the respect afforded other electronic music which fit into a scholarly vs “street” dichotomy.The movement itself, which could Read more ...
Thomas H. Green
Some rock bands base their career around being musically fluid, an ever-changing what-will-they-do-next? conundrum. Others, such as, famously, Motörhead and The Ramones, simply go on doing their thing, honing it, repeating ad infinitum, with an almost zen devotion. The results, at their best, are vigorously on-point.It’s not only rock bands, though. Some of those swept up in the 1990s rave-olution also knuckled down, stuck to the cause, purposefully focused. One such is Steve Mac and his new album combines aspects of old and contemporary production to salute the history and ongoing potency of Read more ...
joe.muggs
“If you’re going to do it, do it well” goes a chanted refrain in the opening title track here. And it’s words Jessie Ware clearly lives by – she is not someone who has time to do anything rubbish. From featuring on the cream of post-dubstep electronic dance production circa 2010 (SBTRKT, Joker, Disclosure), through creating a gorgeously brooding Eighties flavoured hinterland on her Mercury Prize nominated debut album Devotion, all the way to creating one of the brightest rays of sunshine during the Covid weirdness of 2020 with a magical video for her Rotary Connection indebted single “ Read more ...
joe.muggs
It’s been a shit year. Global horrors from Kiev to Karachi and Tehran to Texas all somehow feeling too close for comfort, and even closer to home heatstroke, frostbite, floods, strikes, impoverishment, the grinding realisation that pestilence is a long term way of life now…I’ve never been so glad of the extreme privilege of just being able to keep my head above water, but even given that there’s been misery, grief, regret and a whole heap of grinding tedium. Which in turn means I’ve never – and I mean this most vividly: NEVER – been so glad to have music and the rich culture and subculture Read more ...
Guy Oddy
This Is What We Do is only Leftfield’s fourth album in a career that has lasted almost 35 years (on and off). But if there is a dance outfit that can demonstrate the worth of quality over quantity, it’s the duo of Neil Barnes and Adam Wren (Barnes’ original partner, Paul Daley jumped ship 20 years ago).By flatly refusing to chase fashion and by maintaining their Progressive House magpie vision, Leftfield have consistently put out tunes, like “Not Forgotten”, “Open Up” and “Afrika Shox” that still pack a punch years after their release and This Is What We Do sees absolutely no drop in the Read more ...
Guy Oddy
Ten minutes before The Orb got on stage at the Hare & Hounds, Alex Paterson was standing in the building’s courtyard with a big old spliff in his hand “clearing his head” and getting ready for action. So, it was good to know that some things don’t change.The audience of this sold-out 30th anniversary celebration of the ambient house trailblazers’ second album, UF Orb, similarly largely looked like they could quite easily have been there the first time round too. A room full of mainly 40- and 50-something blokes, with a surprisingly small smattering of female counterparts, were packed in, Read more ...
joe.muggs
There’s polarising discourse and there’s polarising discourse, and then there’s Beyoncé discourse. On the one hand, there’s “the Bey Hive”: the very model of a furious modern fandom who will boost her and monster her critics at a microsecond’s notice. There are the commentators for whom everything she does is by definition profound, moral and important, regardless of any hypercapitalist excesses and hanging out with dicators’ offspring. And they're all buoyed up by a press so desperate for “access” that every profile is done with HELLO! magazine levels of management-vetted swooning. Read more ...
Barney Harsent
After four years, three releases and a slew of remixes, the identity of spotlight-shunning producer Vyvyan ended up the subject of intense speculation.There were no obvious clues from the records themselves. Channelling open-armed enthusiasm and rampant eclecticism, the releases were wild rides full of thrilling energy, nodding to the past as they ran full-pelt into the future. Could it be some Berlin-based wunderkind? Maybe the work of an established veteran? Was it Henry, the mild-mannered janitor?Tired of the anonymity (“mystery is for Daft Punk and the Catholic Church”), composer, DJ and Read more ...
Barney Harsent
In 1990, teenage prodigy Ron Trent released a single on Armando’s Warehouse imprint. Recorded on cheap equipment it was, nevertheless, a staggering piece of music. Urgent, insistent and unrelenting its piercing strings, metallic cymbals and juddering, robotic bass created a spiralling sense of joy that has remained undiminished for more than 30 years.While the low-level lighting and smooth-as-silk production on Trent’s latest outing, under his WARM moniker, has more in common with the lush and expansive deep house he pioneered alongside Chez Damier on the Prescription label, there is Read more ...
joe.muggs
A gothic aesthetic is very common in the left field of electronic/club music these days – but it tends to go with fairly extreme sounds: either industrial pummelling, or glitched-out “deconstructed club” as in artists like Ziúr.But Andy Butler and his Hercules & Love Affair project have gone for something altogether different on the fifth H&LA album. Just as, in his early records, Butler went back to the source building blocks of house and disco music, here he's gone right to the roots of goth. So this album is rife with influences. Woven throughout, you can clearly hear Read more ...
Thomas H. Green
Despite a five-year career and no breakout hits, Australian outfit Confidence Man has grabbed the attention of some heavyweights.Signed to Heavenly Records, a label which knows their Roscoff onions from the common-or-garden variety, their 2017 single “Bubblegum” was remixed to bouncing brilliance by the late, great Andrew Weatherall, and there they are, squeezed between Clairo and Courtney Barnett on Glastonbury 2022’s banner poster. Their second album fulfils such faith. It’s a primary-coloured, sexy, cheeky dancefloor explosion.It's pop, but with a 1990s feel, as in doused in beat-bustin’ Read more ...