Electronic: From Kraftwerk to the Chemical Brothers | 30/08/20

It feels fantastic to say that this week I'm going to talk about something I actually went to. In person, like, I was there... It was a thing. It may not be a gig yet, or a club night, but I finally got round to going to the Design Museum's exhibition on electronic music. I have plenty to say on it all, in terms of what was there to absorb from an educational perspective, what was cool to look and and what really made you feel something. Above all else, it was great to see electronic music being heralded as an intrinsic part of our culture even when many of the settings it is representative of are currently out of bounds. If you are able to, you should definitely go for yourself, and hopefully what I have to say below can help sell it to you.

I can't begin to cover everything there is to offer, but will still go through my highlights in the order they are displayed in to give an over-arching sense of the experience. After a couple of giant prints of raves, the first large focus piece is a timeline detailing critical developments in the culture of electronic music, starting with early instruments such as the Theremin garnering attention, bringing us all the way to the question of how AI may influence composition in the near future. It always feels good to kick off with a run through of history to get you into the mindset, and while the array of antique hardware on display, exciting for musicians, is to be expected, the screens along the way with multimedia really enhance the experience. You stick your headphones in and become totally absorbed in that point on the timeline for just a few minutes, cementing it in your mind. Particularly striking was a clip of Jeff Mills improvising on a TR-909 drum machine; it absolutely blew my mind, I'll link it here. When presenting such a huge chunk of information, it's important to develop it beyond the dates and numbers; seeing a performance like this drives home to you why these moments in music were so influential, how at that time these incredible examples of innovation were the new things captivating everyone's attention.

Next, a couple of minor pieces including a shoutout to the wonderful illustrations from Detroit Techno artwork stuck in my memory, as well as a text piece posing the question, 'can a sound without words say something?', then we enter an area focused on the work of some individual musicians. One wall is covered in Aphex Twin artwork (and his recent video work from Weirdcore), an artist who can't be ignored in his continued status within the scene up to this very day. To the left, a screen plays a rotation of iconic live performances, one of which is Bicep's 2018 show at Printworks. It's the first event mentioned that I actually attended so far, and seeing it back helps me to feel more a part of everything around me. That's one thing I think the exhibition does very well; an important part of celebrating music is capturing the great sense of nostalgia we all have towards certain songs and nights in our lives, and the Design Museum made sure that this would be the case across all generations who have contributed to the culture. The key installation here, however, was a section dedicated entirely to a 3D performance from Kraftwerk. Especially with Florian Schneider's passing recently, the respect paid to the group here is great to see, but I can't help feeling that the experience was somewhat disappointing. The 3D aspect felt entirely pointless and with it just being a few camera angle changes on their regular live setup, it didn't even really work particularly well. As we'll come to see later on, they were more than capable of enhancing the live atmosphere in some way, and so this ended up feeling somewhat forgettable.

After this point, the exhibition begins to feel less linear. We've begun to laud the incredible thing that is live music, and so we're taken through the development of rave and dance, both in and outside the club and across the world. Two little coves are treated like info booths, to New York's club scene and Chicago DJ City respectively. I have to give a special mention to the prior option here, as Tina Paul's collection of photographs capturing the essence of those that made up the scene are sensitive and evocative, a window into just one club culture scene dance music has given the world. 1024 Architecture's 'Walking Cube' also gives its little performance here, although being right in the middle of an open room, the clanging of metal shafts smashing together breaks your focus from other pieces and so the impression the sculpture ended up leaving behind for me was a bit of a negative one.

We then pass along a corridor of graphic design development, live performance and visuals, and a taste of the endless array of imagery we choose to represent music. The more you take in, the more you realise how far beyond audio this art form extends, how everything you see is part of what electronic music is today. Potently, the corridor ends with a text piece on vinyl as a sacred object. 'The Vinyl album's round shape and sometimes legendary covers have an emblematic power that fascinates artists.' This is just one point in how vinyl has survived today despite technological advancements disposing of the 'need' for it. The fundamental truth is that the culture surrounding music is just as intrinsic to what it is as the other way around. The sounds we make are brilliant to us within the context of how we make them. There is a world to present, and the music is but the voice that tells its story. This is why we continue to use those same drum machines and synthesisers that have become symbolic in sound of the decades that have flown by. We've created a language, and old words carry ever more meaning. What's more, this concept is represented through visuals also. Artwork continues to build on what's come before, referencing the past while creating a future. This comes into music video, as with their inclusion of Joe Wilson's fantastic video for Bicep's 'Glue', which with only a handful of landscape shots around the M25 and quotes from 90's rave veterans can make your hair stand on end every time. Incredibly poignant, as Bicep head a mainstream for modern day ravers, never forgetting the roots their sound has come from.

Now comes the absolute highlight. While the Walking Cube was more of a distraction, 1024 Architecture also created a light installation specifically for this exhibition - CORE; a cube of diagonal, luminous stems, reacting with complex responses in live time to a cluster of playlists curated by a pioneer of French House, Laurent Garnier. I honestly could have sat in there for hours, it was the closest the exhibition came to emulating the myriad of euphoric feelings that raving can bring you. A few seconds after I'd settled in, Moderat's 'A New Error' pulled in. The antithesis between the delicate drifting glows during the intro and the stark, harsh movements once the bass kicks in was mesmerising. The question posed earlier - 'Can a sound without words say something?' - is answered here - absolutely. For every song I sat through, a story was painted with neon light just as unique as the last. It gave me a glimpse into the potential innovation in live visuals there could be for electronic music. Light shows can be impressive, but this complex dynamic, conversation almost, between visual and audio, akin to Four Tet's Squidsoup show, pulls you in so much deeper.

Following this was always going to be difficult, but the remainder did have some noteworthy elements. Jeremy Deller's 'A History Of The World' covered one wall, and the association between concealed identity and electronic music, something I think is of particular importance throughout the culture, is represented. The frequent appearance of robots, Daft Punk's helmets, use of masks, and Burial's 'Untrue' were all mentioned, the latter's brilliance being somewhat embedded within the producer's anonymity. The hedonistic freedom of Berlin brought some LGBTQ representation to light, although if anything this made me think it had just been squeezed in at the end for quota. A lack of real emphasis on how Black culture has influenced electronic music from its conception was evident also; other than the occasional mention it was mostly absent. What's more, with The Chemical Brothers celebrated in the final, strobe heavy experience, they join Kraftwerk, Aphex Twin and Laurent Garnier, a list of white men with the major installations dedicated to them. I can't help but be  a little disappointed by that.

So, there's a brief summary! Overall the exhibition was fantastic and worth going for yourself, I'm going to go again at least once before it ends. I think I'll give a link to Laurent Garnier's playlists here instead of doing my own this week, can hardly outdo him! I also made a couple of new tunes in the last couple weeks which I thought it would be nice to share, my SoundCloud is linked here. Have a great week everyone. xx

The Vast Expanse of Sound | 1/4/20

Good evening, hope this post finds you well and that you are keeping safe during these worrying times? That feels like the standard way to open every message right now one of many signs of the times. While the majority of the content I've been seeing produced has been vapid, trying to get a share of the hype with momentary fads and forgettable trends, it's undeniable that the blunt change in lifestyle has bred some authentic, isolated cultural and societal instances. Home video is everywhere, clapping for the NHS was a real heartfelt moment, but actually it's the nuances of things that seem to be happening naturally that I've found interesting. In general, people are friendlier and more polite outside when you do encounter each other on your run or whatever, for London at least, and WhatsApp voice messages, themselves spreading at viral speed. The giant lasagne being cooked underneath Wembley Stadium is like some sort of myth of the quarantine period, generating a myriad off-shoot stories from its sturdy core. The one that has struck me the most exciting, has been a version of Billie Eilish's 'ILOMO', supposedly '8D Music', in reality 3D binaural audio. [I have no good visuals this time, so enjoy some pictures of my dog]

Listen to the track here (with headphones). It's an absolutely incredible example of the technique used in post-production, essentially using a panner and reverb, but it's immaculately mixed so that the sound literally sounds like it's floating around inside your head. Of course, it's just something cool to pass along once you've listened, but I really think there's a larger comment on our current reality. Human beings aren't going to lose their interest in music, and a fundamental part of what makes it so brilliant to us is sharing a sonic experience with the people around you, hence why moments from live music stick so vividly in our minds for years and years. If we're unable to be with each other physically, this desire to share has to take a new form, and listening to a track like this for the first time evokes a unique reaction that can make us feel connected to each other in the novelty of this 'sonic experience'. It's a new connection, outside of the memories from normality, that still feels personal in the word-of-mouth method of passing from one to another on WhatsApp. 

As I was writing up the points I wanted to cover for this yesterday, Max Cooper released a version of his track 'Synthesis' using the same 3D binaural processing technique, which is available here with great visuals from Kevin McGloughlin as usual. It's not quite as dramatic as the above, but still highlights the sheer amount of space there is within the sound environment that isn't usually utilised. He gives a much more in-depth explanation of the science behind 3D music in the description, and the timing of this release made me wonder if this is something we're going to see more of in the coming months. With live music essentially of the cards and everybody clambering to fill the void of potential exploration in the enjoyment of music, perhaps it is time to truly rethink the listening experience itself? How much beauty can you hide in the corners of the world that's being built between your ears?

As of yet, the effect is only achieved when you wear your earphones to separate the sound waves, but technology never ceases to advance. Should these effects be achievable or even elevated within a home sound system or exhibition space, I can imagine that the journeys you could be taken on artistically could be sensational. Yoga sessions could transcend into all-encompassing ambience. The illusion of VR could be taken further and further. Maybe it's not possible, but the current state of the world has made me realise that culture will constantly evolve and adapt to still bring the most incredible ideas to light, no matter how heavy the restrictions.

In terms of the electronic music industry's attempts to keep 'live' music continuing, there have been plenty of amazing streams going on.  Resident Advisor had a whole virtual club, Club Quarantäne, going on all weekend, although the sets were prerecorded. I really enjoyed Mall Grab's Boiler Room, but DJ EZ definitely took the cake with a 24 hour set. Shoutout to Bandcamp also for a 24 hour period of waiving revenue shares, meaning musicians made $4.3million for their own music.

On that note, there has been plenty of amazing great music to keep us going! Bicep finally released the first track from their upcoming project, 'Atlas', signalling hope that dance floors could be worth the wait when summer comes round. Maribou State released their 'fabric presents' instalment, blending some dance tunes in with soulful classic sounds, a real spread of genres and consistent movement between acoustic and digital, vintage and contemporary. Little Dragon delivered a new wave of mostly chilled vibes, with a couple tracks to get you moving mixed in, but the most exciting release for me has been Nicholas Jaar's 'Cenizas'. It's as off the wall as you'd expect, drawing sounds from a variety of classical areas, from solo piano to the celestial sounds of male choir. With moments of intense, industrial grit to balance the album out, the overall tone never loses the gentle grace of a single, snow-white feather while it floats above an endless, menacing chasm. Check it all out and some more great tracks in the playlist here, and as ever, stay safe during these worrying times. xx

Songs of the Decade | 2010s

Below are some of the best the 2010s have had to offer for me. I've tried to incorporate a variety of what music can mean and not stick too heavily to certain areas of sound, but of course my taste is fundamental to this list, with electronic music taking focus. Have a listen along here if it suits, otherwise you can check out the top 10 I selected from the last year here. Enjoy!

#25 - Marka - Dub Phizix ft. Strategy

Starting it off with something dark and murky. 'Marka' is a half-speed classic for fans of 170bpm and over sets, and the drop in tempo makes it all the more noteworthy of a moment. Everything about it is low, gravelly and ominous. Strategy's Mancunian-Jamaican accent gives a very distinctive flow, and is matched with a heavily angular, almost threatening motif after the drop. Even the way the song opens, with only a hi-hat and the vocals processed to sound distant, before we plunge into the full force of it, makes you feel like you've fallen down into the pits of hell. The booky music video to pair with it adds to the unnerving atmosphere this track gives, but there's no denying how hard it slaps on the dance floor. 

#24 - Genesis - Grimes

There's certainly a few tracks from 'Visions' that could have taken this place, particularly 'Oblivion', but for some reason 'Genesis' really has always stuck in my mind and maintained its capability to be left on repeat. The hypnotic effect of the synth pattern, just three notes with heavy delay, places you in a dream world as soon as it starts, and gels with Boucher's silky vocals to flood your system with one gorgeous sound. The sharp clarity of the beat and piano runs underneath counteract this, and provide the rhythmic excitement needed to keep things moving. Grimes is putting out some great stuff right now, but nothing has topped the work from this album yet for me.

#23 - Work - Rihanna

To be honest, this was more of a moment in history than a song. When Rihanna's 'Work' dropped, you would hear it about three times a night in any RnB club, on the radio any time of day and in half the memes on the internet. The world was obsessed, and it managed to push through the winter months and remain totally relevant through the summer. Spearheading what I think to be her most musically complex album, it really did have all the elements a hit needs and more. The simple, understated bassline worked perfectly to drop in as a tease before the song itself, and there's always that inexplicably sick twist that Rihanna's voice brings to everything.

#22 - Cranes in the Sky - Solange

First of all, visuals. The music video that came with 'Cranes in the Sky' was one of the most aesthetically pleasing few minutes of my life. Solange has a poetic ability that delivers incredibly distinct and powerful messages in her music illustrated with matching melodies and arrangement. The drum beat could go on forever, particularly with the double hit to the kick, with the second sharing the space with an open hi-hat. The sound is ever so delicate, as Knowles' vocals rise higher into whistling wisps above the beat. Her recent album, 'When I Get Home', was one of the big ones of this year, but for a single track, 'Cranes in the Sky' takes it home.

#21 - Vyzee - SOPHIE

This choice could be 'Lemonade', 'Bipp' or 'MSMSMSM' and the point would still stand; this is just my personal favourite. The sickly sweet, maniacal and genius material SOPHIE creates entirely through electronically produced sounds are extremely impressive, using industrial beats and pop-on-speed melodies, vocals, and so on, as is standard with the PC music sound. The full album that came later in the decade was brilliantly executed, however these earlier tracks catch the essence of the madness best. They're like the tiny, cute characters in video games that are actually the most powerful that you don't wanna fuck with.


#20 - Daughter - Four Tet

My theory, in no way proven, is that the not-quite-comprehensible singing in this track comes from Kieran's own daughter, hence the title. Through this, one can perceive it as the soul of 'New Energy', its most intimate moment, and its representation of home, family and so on. This reflects well in the music, as the kick and snare rock back and forth like a hobby-horse, mirrored by the two vocal lines doing the same, as soft, warm chords soak into the gaps in between. Just as it reaches a point where your dogs might poke their heads up at the volume, we drop to nothing, followed by a carefully curated selection of final chords, and an extended section of silence. 'Daughter' leaves room for you to contemplate its beauty, like a striking piece of art.

#19 - Therapy - Moderat

The collaboration of Modeselektor and Apparat has continued to bring the world great things after the eponymous album of 2009 featuring 'A New Error'. 'Therapy' employs much of the same technique, with a stoic beat and deep, sustained and emotive chords. This time, there's a strong sense of hope, and rays of light shoot down into the shadowy, electronic depths. A late attack on the chords creates a beautiful bulging sound, and just before the three minute mark a lapse in the texture makes room for low-pitched melody before the industrial drums return again. Tiny vocal samples flit about at the top of the wall of sound as the song strides steadily on, never looking back.

#18 - 212 - Azealia Banks ft. Lazy Jay

Perhaps controversial to include Azealia Banks at all considering the rampant online rages she's been on and generally negative influence she's had on society in recent years, but '212' has to be included on my list as it stands as a fundamental turning point in the merging of dance and rap music. At the time of release, the uncompromising characters of both the house beat and her style of flow weren't heard together in the mainstream, and taking influence from 80's NYC queer and Vogue sounds, the track led to two genres blending culturally in the future. The sample of Lazy Jay's 'Float My Boat' made it an enormous success and a fundamental turning point in this decade.

#17 - Glue - Bicep

There's loads of great memes about this track, and to be honest it really is the baitest seshy white boy tune of our time, but for good reason. It's something about how all the elements are just right to make it come together so successfully, and it creates this air of mystery, ironically with it being their most well known track. Seeing it live, they've done wonders to implant it permanently in everyone's minds as the iridescent lights shoot out from the stage, beaming out as the first 'when I'm in love' is released from the speakers. The harmonisation of the hook towards the end of the track is a subtle development of the idea in a way that sends it off without too much repetition. If anyone hasn't heard this yet, you need to.

#16 - Bad Girls - M.I.A. 

The kind of track you want playing when you're in 1st place in Mario Kart on some desert terrain popping green shells out real casual. It's got the air that you're just killing it in life; the Middle Eastern and Indian melodic and harmonic composition sits well to have repetitive chanting over the top - classic of M.I.A's style and 'Live fast, die young, bad girls do it well' is a strong, effective main line. It's the catchiest track she'd dropped since 'Paper Planes', garnering mainstream attention which she then shifts towards political messages addressed in other tracks such as 'Borders'. M.I.A. is one of the most important artists of this decade, and 'Bad Girls' is an absolute banger.

#15 - Maajo - Maajo

From Tempere, Finland comes a relaxing synthesis of sounds from around the world. The song was originally released as a 12'' under a one-off label 'Seagull' and uses a variety of percussion, simple guitar and bass motifs and of course, those unforgettable African vocals. I've spoken about this song before, and how effective the simple slicing of the sample is to repeat the end of the phrase and bring out the rhythm of the chant. It embodies the sun, the sky, the natural world around us basking in its own glory; it's that moment in the universe where, just for now, everything is well. 'Maajo' is important to me for being a reflection of the peace I've felt within the last ten years, and despite all the unrest there's been, calm still exists.

#14 - Nights - Frank Ocean

Both 'Channel Orange' and 'Blonde' landed in the same decade; looking back, what a blessing. Frank Ocean's discography is so consistently fantastic, from 'Pyramids' to 'Pink + White', 'Lost' to 'Chanel', and 'Nights' is him at his best. His falsetto is so smooth you could spread it on toast, and he explores word and language in a way no one else does. Reinventing RnB again and again, the use of distorted vocals at the end of this track as if it's a totally different voice is representative of the progression in the second album. The guitar riff that just precedes it, the single bar before he starts singing, the variation in drums, so many factors contribute towards this being brilliant.

#13 - Gosh - Jamie XX

As soon as that crescendoing vibration hits your ears, you're in for the ride. 'Gosh' utilises many of Jamie's classic tactics; the beat isn't too invasive and references are made to UK rave, but there's something that makes it special to this day. From about halfway through, it features one of the longest single melody lines I know of in electronic music that maintains interest throughout. It is pure euphoria, as it rises higher and higher, taking you into the vaults of heaven. Any track that can sustain one idea for so long is worthy of praise, and the rest of the production compliments it to take part in one of the sounds of the decade.

#12 - Marilyn - Mount Kimbie ft. Micachu

The opening instrumentation to this track is like ripples on the surface of a lake. The sun gazes down as you lie back on an old picnic blanket. Your friend chucks you another beer, and as you crisply snap open the can, the ash crackles in its tray and the fish dart around at the scraps of food you've scattered above them. This is the picture painted to me through the music, oddly specific, but it comes to me every time. 'Marilyn' represents a shift in sound seen in 'Love What Survives' and continued greatness from Mount Kimbie, but will always be everything that's great about relaxing in summer with friends to me. Their lazy, drifting vocals float over leisurely guitar melodies, letting you slip in and out of a happy haze.

#11 - Nuits Sonores - Floating Points

While 'Crush' has certainly been a landmark of this year, many of Floating Points' releases of the past rival its magic. In particular, 'Nuits Sonores' is a twelve-minute masterpiece that still sounds fresh today. I can't quite believe that Sam Shepherd claims to have produced it during a single plane journey to the Lyon festival itself, and dropped it in his set that same night. The antithesis of this seemingly slapdash approach against the length of the song and the level of refinement makes it all the more remarkable. Several different synth melodies interplay as tension builds up gradually to climactic points such as around 3:40, with note lengths varying from staccatos punctuating the texture to heavily delayed, sustained notes creating sonic clouds. One worth its length in gold.

#10 - Let Me Go - Branko (feat. Nonku Phiri & Mr. Carmack)

Featuring potentially my favourite vocals of the decade from Nonku Phiri, this track combines the Portuguese vibes of Branko with Mr. Carmack's to make something particularly unique. Its slow beat is like a deep flame, and the little, high-pitched synth motifs are like raindrops landing one by one on a smooth, stone surface. It's wonderfully seductive, and while very much human, some of the sounds used give it an outer space edge. At 0:43, the guitar is surrounded by silence for a moment, breaking up the pace and sliding smoothly into the next section. Passing back and forth between English and other languages can often seem tacky or cheesy, and often results in a decrease of quality in the lyrics of both languages, however here it's been done seamlessly, making the two tongues seem as one, as it should.

#9 - Can't Do Without You (Extended Mix) - Caribou

A recent return from Caribou reminds me of the importance of this anthem from the middle of the decade. This is how to make a song about love with just one line, expressing everything in how your loved ones make life worth living; your friends, your family, your partners. This extended version refines the build up to perfection, four continuous chords leading to a mini-drop at 2:45, progressing steadily through the alternation of two vocal lines. The icing on the cake is the three note melody centered around the tonic note, carrying so much emotion in its simplicity. The track doesn't have one huge drop, but builds momentum with each one, like waves, growing larger each time, collapsing onto the shores.

#8 - BTSTU (Edit) - Jai Paul

First appearing on MySpace before being officially released by XL, this is everything that is great about Jai Paul. Countless genres are in the cauldron here, and the track constantly tricks your expectations. With celestial solo vocals opening, a well-paced kick enters, followed by a sharp snare, before we are wrenched elsewhere by the gravelly vibrations of a bassy synth. Paul uses a counterpoint of his falsetto and a lower, slightly distorted voice for further contrast. The track has been massively influential on both the underground and the mainstream, on electronic producers to RnB vocalists, and is a prime example of what can be achieved in musical exploration.

#7 - SeeSaw (Club Version) - Jamie XX + Four Tet ft. Romy

'In Colour' was a colossal moment in music, which I've held off mentioning on 'Gosh' as I couldn't help adding in another track.  It was particularly seminal for me, being probably the first work that piqued my curiosity specifically for being electronic, and changed the course of everything I listen to now. Each song has an argument to be featured here one way or another, but for me, 'SeeSaw' is timelessly perfect. Particularly in this version, with Four Tet finalising the details to make it ready for the floor, both production and vocals are mesmerising. Romy's voice echoes around like a whisper in the dark, and on the word 'SeeSaw', the note length is extended, reflecting the movement of the object, and it's these intricacies that make it so magical for me. The breakdown in the middle of the track makes space to hear each part, before building back up the composition impeccably. Every time the drums come back in, I get goosebumps. God-tier music.

#6 - Just - Bicep

Okay, I've definitely broken the artist repeat rule by this point, but I don't really care. 'Just' is the title track of what I consider to be their greatest release, despite the brilliance of the full-length album. As the punchy synth melody pans from ear to ear and passes through a variety of automation, the listener rides along it like a wave. Underneath, the chords grow louder, denser, and the melody is slowly filtered until the drop comes. Everything bursts out into pure clarity, which gives an enormous sense of satisfaction. Using just one short sample of speech, the rest of the track is completely electronic, and in its cyclical nature you feel as if you are orbiting a planet. Oh, and that strict little snare roll never gets old.

#5 - On My Mind - Jorja Smith X Preditah

Oi oiiiiiiiiii let's av itttttt. This was my most listened to track of last year, and fourth this year lol. Preditah brought garage back into the mainstream at just the right moment to bring somethign nostalgic and fresh feeling all in one. The broken up sample that opens it up is so catchy despite making no sense whatever, and the belter of the chorus bangs for singalongs. In fact, when I saw Preditah at XOYO and Jorja Smith at Bestival, I was overwhelmed by the crowd response both times. The latter was particularly special, as she starts with the slower, acoustic version before dropping the beat after the first chorus. Everyone goes mental, and honestly I don't think I've ever been part of a crowd singing louder. It was such a fantastic collaboration and a nice, real UK sound.

#4 - Get Free - Major Lazer ft. Amber Koffman

Gonna take this moment to say I miss real Major Lazer. It's easy to forget how authentic and exciting of a sound they once brought to the table given the continued churning out of pure commerciality at this point. The first two albums, even the third, are filled with a diverse range of brilliant tracks that really tell stories, set moods, get the party going. 'Get Free' was the most unexpected - no drops or cliches, just emotion. The lyrics are powerful, speaking to your soul as the kick vibrates through your body. Countermelodies rise in between the breaks of Amber Coffman's singing in a delicate call and response. Andy C even released a DnB remix to prep this for raves, but nothing beats the original. Iconic, and one of my favourite pieces of music of all time.

#3 - Morning Side - Four Tet

Twenty minutes, twenty four seconds. Lata Mangeshkar's voice. Kieran Hebden's genius. 'Morning Side' takes its time to set the mood wherever it might be played, gradually building up the beat underneath the sample's cycle. The further in we get, the more electronic patterns are added to the mix, infusing the classical Indian tone with fresh hybridity. At 8:20, the vocals fade and we enter a section of sonic experimentation; sounds become more industrial, tensions rise, and chaos begins to unfold. Within a minute or so, the panic subsides and the serenity returns, like the morning sun dawning across the world. An extended outro winds us down and prepares for 'Evening Side' to enter, an equally enchanting twenty minutes. On top of this, Oneohtrix Point Never made a great remix in just three minutes, which you can hear here. 

#2 - Orissa - Wayward

Similar in sampling to the above, this time it's been taken from a traditional wedding song that the bride and groom sing to one another, very romantic and that. This track has taken that love and wrapped it in tender melancholy, with heavy reverb letting it call out into the night. The line cries out again and again, until eventually it is extended just a few bars longer. As this happens, we build up to my favourite drop of all time. It's so banging, yet feels totally sincere within the sombre tone, and as the heavy bass kicks in, the vocals echo away into the fog, as if all hope has vanished. I'd do anything to have it on vinyl, and highly recommend you take the time to really listen to it.

#1 - Pick Up - DJ Koze

And we're at number one. Choosing a definitive top of this list felt impossible, so I went with what I think I will look back on this period of my life as the perfect representation, and this is it. Through the hundreds of nights out and parties I've had with different friends, 'Pick Up' has the ability to remind me of every single one of them. It's my youth, and it felt nostalgic straight away. A fine example of DJ Koze's disco edit abilities, he's taken the often sampled 'Neither One of Us' by Gladys Knight & The Pips, blended in 'Pick Me Up, I'll Dance' by Melba Moore and constructed something brand new as a thumbnail on the front page of the last ten years. Some of my greatest memories are set to this tune, to the iconic guitar ostinato, to Gladys Knight's wistful notes, to DJ Koze. 

That just about does it, then. If you want to see the top ten songs I chose from this year, click here. If you want to listen to all of the above, the appropriate playlist can be found here. Otherwise, have a wonderful Christmas and a mad, mad new year. Here's to 2020! Love you all xxx

Day Festivals | Lovebox | Junction 2 | 15/7/19

Hey, how is everyone? It's been a hot few weeks and summer is definitely in full swing, weekends have been busy and the sky is still light till about 10pm. I was walking through a park in Elephant and Castle the other day and about 5 different groups of people were having barbecues, everyone was smiling at each other and it makes me soooo happy. It really does seem to go quickly though, I can't believe we're already halfway through July! I've been to a couple day festivals so far, with Lovebox being this weekend just gone and Junction 2 happening at the beginning of June. I've enjoyed both, but also found it interesting how different the experiences were.

First of all, Junction 2 is a newer instalment, and it stills feels relatively young. While the size probably works out being pretty similar, it didn't have the internal world feel of a festival but rather a handful stages/tents dotted around. It's not really an issue, but maybe takes away from the encapsulated excitement you get most of the time. That being said, the setting is incredible, and very much unique. The most obvious fixture is the fact that the second stage is situated underneath a motorway, and with rain forecast all day it was a relief to know there would be some shelter. On the way, there, you pass over a babbling stream, and the open space of the main stage sits right next to a small wooded area. It breaks it up nicely, and manages to cover a lot of different scenery in a relatively small space. The token system is pretty crap though; the drink prices are set up to be just over the minimum amount of tokens you can get, and then as they multiply the problem continues, so you essentially end up wasting money unless you spend a lot in there. Not cool.

Musically, I mean it was phenomenal. Everything I heard in there was quality, and while the focus centered around house and techno for sure, disco and so on provided variety and kept it light. Daphni was pure, undulterated fun, main stage bangers. It was around the time 'Sizzling' had just come out and so the crowd was hyped when that came on, but my favourite moment was him dropping a song called 'Baiana'. Based off a folk song from Bahia, the arrangement by the Brazilian producers Barbuteques is sick, and Daphni used the silence under the chant, followed by the beat slowly building up as a real crowdpleaser. DJ Koze was my personal favourite for all the same reasons I saw him at Printworks. 'Pick Up' followed by 'Operator' just doesn't get old, and this time he closed it off with 'It'll All Be Over'. So, so good, and I got quite emotional at how nostalgic the tracks already feel. You can't not have a good time at his sets, and I enjoyed dancing to one in the light of day this time. If you're looking for the intense stuff, Daniel Avery was definitely providing it, and I've got to say Bicep were probably the best choice to finish everything off. They're accesible, everyone is going to enjoy it, and 'Opal' followed by 'Glue' to finish off as night has fallen, gave a great light show. It was wonderfully emotive, and definitely ended on a high note. Getting out of the festival was easy enough, it didn't seem to be too crowded. 

Lovebox has been going for over 15 years and is certainly much more well known. With that, of course, comes certain downsides, and the whole day felt a lot more commercial for sure. the payment system was much more straightforward with card machines for most things, but it seemed like the focus was constantly on trying to get you to spend money rather than just the music. There were plenty of gimmicks, massages and fairground rides, and all of that really isn't my thing. That being said, there was so much variety in food on offer, and while the queues were very long at times, the bar staff seemed pretty great. The crowd was a mixed batch, but leaned more towards not great if I'm honest. I feel like I can't be surprised, and didn't expect it to be any better. Oh, and it was hot. Being there the whole day I had to make sure I took some time for shade breaks, I can't even imagine how intense the Saturday of Glastonbury must have been. 

Now while I'll say straight away that I was blown away much more by the music at Junction 2, it was all still enjoyable this time, and the diversity of sound was clear throughout. We were aiming to arrive for Amber Mark around lunch, but as you'd expect we were a bit late and only really caught the last song, 'Way Back'. It was still worth it, and it's a shame her amazing voice was only shown to the small early hours crowd. It wasn't my first time seeing it, but Rodigan's Outlook Orchestra is always fun during the day, and breaks up your expectations from a standard set, taking you through the development of Caribbean music through the 20th century. Shifting away from anything remotely acoustic for a while, Krystal Klear's set was jokes, quirky, upbeat, and got me properly dancing for the day. I missed a bit in the middle so not sure if they played it, but was quite sad not to hear 'Neutron Dance' live, cause that would have been one to remember. Jayda G always knows how to create a proper party atmosphere, and coming on straight after her set complimented the last one well, bringing it back to earth from outer space but maintaining the funky vibe. 

Back into live music, Brockhampton made their UK exclusive performance, and it was definitely gas. I can't say I was part of the real fan crowd, but I enjoyed their performance loads, and everyone was going mental lol. Lots of stagecraft kept the eyes busy, and heavy bass and consistent bars kept it gritty and exhilarating. Back into electronic for a bit of Ross From Friends, who I've seen before but honestly this was great. The mosh was less aggressive than I'd been in before so maybe that was why, but 'Talk To Me You'll Understand' and 'Bootman' back to backed, getting you dancing to those filtered hi-hats for a solid ten minutes. Four Tet was amazing, but no need to reiterate things yet again. The only thing I'll say is his inclusion of 'Skeng' was unexpected and a showstealer. It fit with the overall atmosphere of the day, and felt like a solid throwback. I only caught the first fifteen minutes of Chance The Rapper as stuff was going on in my group at this point, but his opening was so exciting and you could tell it was the highlight of the festival. He commanded the stage pretty much immediately, and as everyone collected to watch, unity was coming out for the big finish. Wish I could say more on him, but as you can see the variation in styles of performance was constant and really noticeable. I have to give Lovebox credit for that, as it's hard to pull off while still having a clear theme musically. 

Both had their strong points, but in terms of the technicalities of the festival itself, I'd say Junction 2 won out quite substantially, especially as ticket prices were a lot cheaper, although Lovebox is more accessible. If anything, they made me yearn for a proper camping festival already, to really get the sense of being at home and the authentic microcosm experience.

On an unrelated note, I've decided I want to occasionally mention 'throwback albums' that I notice give me a real impact unexpectedly when relistening. This time, it's M.I.A.'s 'Kala', a real classic. She's one of my favourite pop stars of all time and I really respect the interesting stuff she does with her music. I've felt for a while that her first album 'Arular' is my favourite, with the consonance of the drum machine bringing the whole work together, the simplicity of the production and the clear determination to produce something to get notice. I might be changing my mind, though. With a lot more financial and label backing, M.I.A. travelled the world to record the instrumentation and vocals in the tracks, and the combination of sounds and cultures is incredibly unique, with different ends of the earth meeting and clashing and blending in ways that just work. 'Mango Down Pickle River' features indigenous Australians, The Wilcannia Mob, and Afrikan Boy on 'Hussel' is brilliant. Solid stand alone tracks 'Bamboo Banga', 'Boyz', 'Jimmy', 'XR2' and of course 'Paper Planes' provide a backbone for the album, but it's all great. Listen to it all together, it's well worth the hour.
Anyway, that's it for this post, hope you enjoyed, and I believe there's some exciting music coming out soon, so hopefully I can do a proper new album review at some point. kind regards xxx