A rainy British Bank Holiday was brightened by South West Four festival bringing the noise for the fifteenth year.
One hundred minute live mix celebrating bass culture, in the beautiful Art Deco venue The Troxy.
Crazy P brought new tunes never heard before to their live set at East London’s Oval Space, but it was their tried and tested classics that resonated the most with the lively crowd. The five-piece group have plenty of house and disco grooves to get through a full set with no complaints from fans, so it was a brave move to showcase their fresh material before they had been given an airing to the public. Though it didn’t quite pay off with a rousing welcome for their latest offering, the statuesque stage presence of singer Danielle Moore combined with many of their favourite hits, ensured there was plenty to enjoy.
The Roundhouse hosted a night of highly-respected German electronica imported by Eastern Electrics and Black Atlantic headlined by Berlin-based duo Modeselektor. Fellow Berliners Mouse on Mars, Siriusmo and Apparat provided the support acts, and those who arrived early were treated to three hours of inventive beats before Modeselektor cracked out their classics.
Speedy J’s “Electric Deluxe Presents” techno party touched down in London at Electric Brixton at the weekend with a resounding boom. The label boss brought with him the sounds of Berlin’s infamous Berghain club with Marcel Dettmann, Marcel Fengler and a live set from Sandwell District for a night of forward-thinking techno.
House duo Darren ‘Diesel’ House and Darren Rock ‘Rocky’, better known as Xpress2, got behind the decks for the latest A Night With… session at London’s Basing House. Putting them in control of eight hours of music gave them the chance to treat the dancefloor to all of their influences, spanning the acid house of the 1990s to the more collaborative nature of their recent endeavors which has helped them evolve beyond purely house beats into deeper, techy or more disco stylings.
One half of M.A.N.D.Y. took the controls for eight hours of revelry as A Night With… welcomed Patrick Bodmer behind the decks for one of its epic mixing sessions. Relocated to The Loft in Willesden, west London, the journey to the venue was something of a pilgrimage for many M.A.N.D.Y. fans, but they were repaid with a lively atmosphere in an environment befitting of a swanky flat party complete with table football for added entertainment.
Billed as a Clown & Sunset Showcase, the star of the show was undoubtedly the label’s boss Nicolas Jaar. More than 3,000 fans packed into Camden’s Roundhouse for his live performance, and were repaid with an engrossing set of finely-crafted electronica with a splash of live guitar.
The train to Ally Pally and the walk up that big hill were littered with bassheads, most with an air of giddiness punctuating their fast-paced nattering. There was a sense of anticipation about UKF Bass Culture ‘s heavy-hitting line-up. The gargantuan venue sold out weeks in advance and brought together some of the scene’s most well-known crossover acts along with a crafted selection of up-and-coming artists.
These three guys from Los Angeles have been plying their trade for a good while now and they’ve nestled into a distinctive space. Most of the beats are slower, stomping, four-on-the-floor heaviness with electro tones and a patently hip-hop vibe. The style is slick, well-produced, and mid-centric but their best moments come when they break from type and and dirty it up a little bit. They’re very creative and keep moving through highly varying aesthetics. There are nods to most relevant styles of electronic music during the last twenty years in their tracks.
Steven Ellison broke electronic music. His gig at Roundhouse in Camden on Saturday was one of three as part of a collaboration with visual label ANTIVJ. The converted railway shed was sold out and the diversity of the crowd stands testament to FlyLo’s genre-hopping style of hipster-approved hip-hop slathered beat heavy post-everything electronicism.
Released earlier this year, Texan trio True Widow’s As High As The Highest Heavens And From The Center To The Circumference Of The Earth debuted their awesome blend of slow-core, shoegaze and sludge to UK audiences. The songs recalled a fantastic range of late 80s/early 90s alternative rock like Codeine, Low, My Bloody Valentine or Sonic Youth, but all shot through with a stoner-like heaviness
The October edition of Brighton’s “Uncanny Audiovisual Monthly” The Outer Church opened with Huan Vu’s adaptation of the HP Lovecrafts classic “The Colour Out of Space” – Die Farbe, a film which offered more than the required dose of the uncanny with it’s moody black and white photography and eerie sound design presenting the elusive characters and mysterious plot.
Venezuelan Gustavo Dudamel, the twenty-nine year old music director of the Los Angeles Philharmonic, found himself conducting the ten movements of Oliver Messiaen’s post-war Turangalila-Symphonie at the Walt Disney Hall. Providing four performances over the weekend, this review was fortunate to experience Thursday’s opening night, which saw the interior of Frank Gehry’s almost animate design near capacity.
The Playground brought some of the top names in French electro to Koko and lived up to its name with a spectacularly crazy performance from Sexy Sushi helped fuel a night of party electro. The Krays of Yuksek and Brodinski, Ed Banger star Uffie and Moshi Moshi’s folktronica act James Yuill took to the stage but it was Sexy Sushi who stamped their mark the hardest at London’s Koko.
The Playground’s night at Scala saw an impressive array of electro stars line up to for a night of dancefloor action. Para One, South Central, autoKratz, Teenage Bad Girl and Paul Chambers were among the performers at London’s Scala and there was a sense those who knew their electro were in attendance with a lively mix of DJs and live acts over two rooms.
With their second album Rites of Uncovering Arbouretum gained a host of fans with a fascinating mix of psych rock jams and plaintive country-tinged folk that tapped some elemental, earthy essence in a similar way to Lungfish’s meditative, primal take on post-hardcore. Forward to the present and the group’s fourth album The Gathering, just released on Thrill Jockey, retains less of the nuance that made the 2007 effort great, with most tracks offering a similar bassy, fuzzed-out sound whether in the slower, melodic moments or locked into the bluesy grooves, however this is rife for revelling in live.
Soundcrash have an ear for finding the more forward-thinking music out there and giving artists a London stage to present their creations, with their residency at XOYO attracting electronica fans with a soft spot for hip hop. Wagon Christ, aka Luke Vibert, headlined the night, taking a break from his usual dancefloor acid and amen breaks to revisit his hip hop alter ego to celebrate the launch of new album Toomorrow with guests Ceephax, dÉbruit, Infesticons providing support.
Electro-pop act Metronomy got the Shockwaves NME Awards Shows off to a cracking start with a headline performance at a sold-out show in London. In the dark arches of Heaven beneath Charing Cross station, the four-piece band’s white lights attached to their chest pulsed in time with their music as they emitted enchanting, bittersweet electronic melodies with an eye on the dancefloor.
Leftfield’s time in the spotlight was consigned to a distant memory in 2000 when Neil Barnes and Paul Daley laid their project to rest and went in different directions. In the years since their music has remained as pioneering as ever, and following Orbital’s triumphant return to the live scene after five years of silence, it was with even more excitement that Leftfield revealed they would be bringing original vocalists Djum Djum, Earl 16 and Cheshire Cat, all of whom played key roles on Leftism and Rhythm & Stealth, together for a comeback. Although Neil Barnes couldn’t get Paul back on stage, hearing their much-loved electronica performed live once more has been a highlight at the festivals they’ve played this summer and a return to Brixton Academy was always going to bring a rapturous welcome.
Hilarious music banter between prominent producers, an eager crowd and four bass-heavy soundsystems combined to shake The Roundhouse to its core at Culture Clash Round 2: Battle of the London Soundsystems. Metalheadz, Skream + Benga, Channel One and Soul Jazz Records went head-to-head over five rounds, each giving the system’s group of DJs the chance to mix for fifteen minutes before the crowd had their say over which was the best at the end of each round. With themes such as entertainment and selection, there was a need to appeal to the crowd on every level – resulting in a surprise victory after bouts of witty banter between MCs and plenty of foundation-breaking bass.
Sweden’s husband and wife duo Wildbirds & Peacedrums make a flying visit to the UK. Their third studio album “Rivers” needs launching before the pair could head over to Japan to continue a promotional tour. London’s fashionable The Lexington was chosen as the venue and it suited the pair perfectly. Taking to the small stage, they played to a packed audience and proved their names worth. While Mariam Wallentin goes crazy releasing every emotion humanly possible, husband Andreas Werliin provided a constant and calming drumming presence.
it was no surprise to hear the set open with “Crystalline” and deliver a wealth of material from the new record — full of the group’s trademark polyphonic multi-instrumentation, powering rhythym section, diva affront and general genre mash
Their style, blasted through the tiny Engine Rooms, is built around two distinct sounds, the first being classic shredded, treble-heavy guitars over frantic double-kick and snare work, under vicious screaming vokills. The band tear through these sections with a powerful intensity and the required sense of disquiet.
Much acclaim has been heaped upon headline act Oneohtrix Point Never, the recording name of Brooklyn resident Danuel Lopatin, including that of topping The Wire’s 2009 album chart with Rifts, which brought together the three EPs Lopatin had issued previously. His style, as displayed here in Brighton, builds layers of droning vintage synth lines into soundscapes recalling soothing new age washes and sparkling kosmische swirls — though run through a more modern filter