Get suitably armoured and prepare for battle. Fluorescent Chrysanthemum was originally presented at the ICA gallery in The first presentation of experimental Japanese art, music, film and design in Europe, it showcased a bold and immersive array of art from a selection of Japanese artists never before shown in the UK, highlighting the ICA's place as a historic incubator for radical contemporary arts.
This display looks back through archive material from the exhibition, holding the importance of the immersive, distinctly gleaming show to the light. It was music designed to shock and confuse the politicians and parents who so desperately needed a wake up call.
These days, perhaps more than at any other time in the forty years since, it feels like we need that more than ever.
At least in spirit. Over six tracks the band explore white collar crime, the taboos surrounding male suicide and the hopelessness of being young and socially immobile in modern society. Along with bands like Frame of Mind and The Flex Murder, they are part of a new wave of UK hardcore bands with societal rebellion at their heart. We can expect Murder to become a vital part of this rapidly expanding scene.
By her own admission, her explosive debut single Call Me Danger centres around a night out in Brum. However much her star rises, we get the feeling she'll remain rooted in the Midlands. Every now and then, in amidst the suffocating flood of club tracks released, there emerges a producer who cuts through the noise.
Sophie Wilson arrived on the Workshop label last year with the sultry Feel Me. Home to the dreamy, playful and left of centre house and techno of Lowtec and Kassem Mosse, debuting on the esteemed German imprint was an impressive hustle that stirred up plenty of curiosity in electronic music circles.
Having recently released an EP for the label that maps out soft, dimly lit house, slinking basslines and bluesy vocals while flirting with dubstep , the Manchesterbased producer — who also holds down a residency at Nottingham club night — continues to intrigue. He and his wife had initially gone back for five months. Almost ten years later they are still in Cape Town, and he has cemented a place among the players in one of the most exciting scenes on the planet.
Slow Oceans sits somewhere between the two, all the while retaining the broken beats upon which he builds his sonic structures. After that I just got very into it. That informed Jumping Back Slash: it was my influences and aspirations before I came to SA smashed together with the music I was hearing here. Being from the UK and adopting the flavour of South African music, initially SA house and more recently the darker, sparser sounds of gqom, carries some danger and requires a certain sensitivity.
I've always tried to do something new and attempt to put my own spin on things. I feel very lucky and grateful to be here. His is one way, and it speaks for itself. Having released his seminal debut album Space Is Only Noise at the age of 21, Nicolas Jaar has since scored films, curated his Other People record label and made brooding psychedelia with his duo Darkside.
His new album Sirens completes a trilogy of releases that springs from Greek mythology to real world tragedy. After releasing a string of underground dance tracks on their label in , he wiped the slate clean with his first full-length, Space Is Only Noise in It was an album no year-old has any right to record. As indebted to the skewed house he had been producing up until its release as it was the sonic explorations of composers like Steve Reich, Philip Glass and John Cage, the record introduced an artist pushing the boundaries of where modern electronica can go.
Up until the news of Sirens earlier today, the only glaring omission over the past five years has been a full-length-proper follow up to Space Is Only Noise. So no pressure. To Jaar, these kind of events have become an important part of launching a new record. It just goes up on iTunes. But a part of me is still very afraid. But as the name suggests, Sirens feels the most daring and dangerous of the three. The result, victoriously, is Sirens. The cover art to the album is made of scratch card paper which can be removed with the American quarter that comes with LP, and it reveals a piece of artwork by his father, Alfredo Jaar, entitled A Logo For America.
The statement summates much of what the album is about. A recording steeped in parallels, Sirens is an opaque protest album, as well as a deeply personal love letter to his listeners, all born from concerns over the politics of the modern world. But by looking at the world around me, and the political situation of the past few years, I felt I wanted to tell a story with words; for the listener to be able to read the lyrics as a poem and decipher the meaning. Nicolas Jaar sits in the living room of his apartment in Brooklyn, New York.
Surrounded by modular synths, cables, a piano, countless books and records organised neatly on shelves and a vintage mixing desk, the home studio feel defines the space in which he worked for nine months on Sirens, the album he announced this morning.
In just a few hours, Jaar hosts a listening party at a warehouse venue in Ridgewood, Brooklyn, where he will air the album to the public for the first time. Personally it allows me to be creative. Despite looking to the outside world, it deals with issues of racial profiling, entrenched conservatism and the parallels between the current political climate — he cites both Donald Trump and Brexit as key to his thought process on Sirens — and the feelings of otherness he experienced in his youth.
So I became super American. But then when I went to college in Providence, I was suddenly seen as a French kid. No is named after the plebiscite campaign that ousted Chilean dictator Augusto Pinochet in , who faced various accusations of fascism before his death in Old values are being reinstated, and these ghosts are coming back on a very scary and deep level.
But five. The biggest songs in the US are house. But it makes releasing dance tracks very complicated. But for all his maturity, Jaar is still hugely confused about what it means to be an artist in the 21st Century. Are we clowns talking in an endless vacuum? Or can we go further. If not, should we just down tools and resort to physical labour? Would that be more helpful? It also lists some questions not to ask — chief among them being anything about watermelons.
I was 14 years old, and the melon theme just stuck. A hellish mess of raw, often brutal electronics, broken DJ equipment and terrible patter, each episode embodies the unfiltered chaos that Powell and his label, Diagonal, have brought to club music over the last five years.
Diagonal recently celebrated its fifth birthday at Berghain with a party featuring Powell, Helena Hauff, and noise terror and long-time friend Russell Haswell going b2b with cult electro veteran DJ Stingray. Berghain was perfect for that. Powell kicked off his music career in after approaching UK producer Regis at a gig with a demo and being encouraged to start his own label, and Sport provides the most complete picture of his music to date. In , Powell emailed alt-rock figurehead Steve Albini to clear a vocal sample for his track Insomniac.
In total, Powell claims he had around conversations with, as he puts it, all kinds of weirdos. But what some perceive as irreverence, suggests Powell, is just his natural way of showing people how much he loves what he does.
You could feel how much he loved what he did. I love dicking around, and I want that to come through on my music.
The track itself is typical of the album — bone-dry drums thunder away beneath stabs of analogue fizz and splintered, deadpan vocals, delivered by Jonnine Standish of the band HTRK.
But particularly noticeable on Jonny, and present throughout on Sport, is the abundance of punkish guitar samples. In previous. If I play with tonnes of little ideas at once, I never need to have four bars that sound the same, because every four bars is an opportunity to say something else and move things forward.
Not only does Sport, even when purely instrumental, exude his cocky and antagonistic humour, it also sees XL Recordings continue to earn credibility among leftfield electronic circles. But what about plans for Diagonal? Notably absent on Sport, and many of the productions that came before it, is any extensive use of reverb. So why not embrace the sound for what it is? Powell performs live at Simple Things, Bristol, 22 October. Case in point: The Frontier, which was released via London imprint Whities in , was inspired by a childhood spent in the desert of Gilbert, Arizona.
Heavy, powerful, straightforward — but that can also be really delicate. You hold a fondness for the place you started out in, even if you.
Instead, she found her escape through music. But it breeds a lot of punk and DIY and noisy stuff, which was super cool to be around. Very early on, the Internet was a massive thing for me. After moving to the German. For Avalon Emerson, making electronic music has become a streamlined process of bringing the songs and stories in her head to life.
Have you ever done a full natal chart or anything like that? I try to pay attention to those vague celestial vibrations and see what needs to change, when to turn those leaves. And some of that comes from the lack of lyrical content. Cakes — real name Rashard Bradshaw — is over in here to play the inaugural Afropunk London festival.
As its name might suggest, Hedonism is the aural equivalent of jumping from the club to the afterparty; packed with trunk-rattling beats, high-octane rapping and laugh-out-loud punch-lines. I wanted to throw a party. New Phone Who Dis opens with some cute bleeps before the melody is suddenly undercut by an bassline that threatens to blow your speakers. But in terms of the performative element, he looks to the likes of Joan Rivers for inspiration. He performed barefoot and it was an amazing show.
Come out naked, CeeLo! So would Cakes Da Killa go shoes off at his own shows? He shakes his head. The Goodie Goodies rapper is someone to whom kids less comfortable with their sexuality can now look.
I live completely unapologetically, and I want everyone else to. Despite the darkness he inhabits musically, Slater is great company. It reveals a playful approach to music making that serves to keep the process fresh and focused.
What do you really need? You find out a lot more that way I think and I enjoy that… the punishment. Later, when listening back to his records, I am reminded of the flash of his fanged smile. To put it simply, Luke Slater has been about: playing as resident at Troll at Soundshaft in ; running Jelly Jam with Alan Sage and Dave Clarke in 89; unveiling a slew of distinct concepts in the early 90s and even flirting with the big-time under his own name; pushing the envelope of ambient techno as the 7th Plain and defining the hard-as-nails as PAS; releasing under the pioneering Mute Records and the monolithic Ostgut Ton.
More recently, Slater has distilled his output down to one or two key aliases, while holding down his longrunning guest residency in Berghain. He is currently getting his set together for upcoming gigs under his Planetary Assault Systems alias, working with Steve Bicknell to translate the new Arc Angel album into a live setting.
As our conversation develops, I get the feeling that it is inherent in much of what makes up Planetary Assault Systems. The moniker was conceived at the tail end of the halcyon days of conservatism. Perhaps Slater suspects a repeat. As it turns out, this too is a product of that time, when it was much more present in the collective consciousness.
In the 80s there were these fantastical ideas about technology and that just sunk in. Here we arrive at the crux of what drives much of his music — a sense of soul and spirituality. Despite the mechanisation, the fixation with technology, there lies a deep humanity in the sparseness.
The writer, the spirit of that person is within that. Whether they knew it was happening or not, you can just feel it. Everything about Arc Angels is considered. The religious title is offset quite deliberately with its postmodernist leanings and the artwork too is a statement.
The splurge of colour on the sleeve and the many-coloured vinyl available on record is a deliberate rejection of the monochrome palette that so often decorates the world of techno. He is animated on the subject, and his thoughts prove to encapsulate the essence of his new music, and his attitude over the years, far better than I could.
To me all senses are intertwined. As Planetary Assault Systems, he has created some of the most visceral techno ever made: muscular and purposeful, built for the black belly of the Berghain. History is cyclical. Rise, decline, fall; grow, reap, sow. As a respected music critic and the author of regularlycited titles such as Retromania and the post-punk analysis Rip It Up and Start Again, Simon Reynolds was well placed to write Shock and Awe — a history of and contemporary parallel text for glam in the twenty-first century — and to explain exactly why glam seems to get such a bum deal in the grand scheme of things.
If the great cultural movements of the twentieth century have been reactionary — taking their cues from and rallying against wider social or cultural issues — glam, by comparison, seems on the face of it to cut a fairly solitary, navel-gazing kind of figure.
But nothing, of course, happens in a vacuum. There was this epoch with an underlying set of ideas and one of them was that rock is or could be a branch of showbiz.
That was such anathema to 60s consciousness. And this is why it seemed so timely to write Shock and Awe — the 21st century in pop music has got very showbiz. Just look at the MTV award ceremonies — they hardly show the videos and instead they have these Las Vegas or Bob Fosse-style routines with 40 dancers on stage and,. And this is where things get particularly interesting: as much as glam seems to have its roots firmly planted in a very certain time and to a lesser extent place , in a vision of David Bowie descending godlike with, and as, Ziggy Stardust, these are fundamental ideas that still echo so loudly as to become overtones of our contemporary musical landscape in Long before these ideas had any kind of currency among the intelligentsia, before they reached pop music in the early 80s, glam had sort of invented post-modernism itself.
Eno was a real ladies man. But, as with so much of glam, so steeped in the ideology of spectacle, the reality is almost irrelevant compared to the effect of its influence.
It does seem that decadence as a concept, from the debauchery of the last days of Rome to the sheer opulence of the Titanic, is always doomed to some extent. If the mid 70s chose punk as their destruction — silently, tacitly, in the same way that Dan Aykroyd nearly condemned 80s New York to a marshmallowy death — what is to be our counterpoint to the escapism of the decadence and superlatives of twenty-first century life?
As a long-time grime producer, DJ, radio host and remixer for over a decade, Sir Spyro has never lost the hunger to succeed. Mala got wind of it through them playing it and that was it. The Grime Show, which airs every Sunday night on Rinse FM, is generally MC focused and over the past few years in particular, has given next-gen lyricists a much-needed platform to perform.
I agreed, started to write the beat and we ended up in there another six or seven hours until it was finished. And Winona, obviously. She should have definitely had more screen time. I was petrified. I just stared at that for four days. The video. Where does that come from? It is like magic. He is fascinated by exploring ways to distribute it; of handing over editorial control in order to produce a musical experience befitting the creative democracy of the internet.
The show is the latest. Brought together by their shared attraction to minimal aesthetics, Del Naja and Clark have worked on the evolution of the show for several years. It has become an indispensable component of the Massive Attack experience. In essence, it involves the projection of data and headlines lifted from local and international media. Most of these statements are stark human. These are occasionally juxtaposed against headlines taken from celebrity gossip rags, speaking to our culture of distraction.
As Del Naja explains, the show harvests information from the news cycle of a local destination at any given moment, but the technical components are months in the making.
The Heligoland artwork is an apt comparison. Comprised of paintings by Del Naja himself, the series of works associated with the album were heavily influenced by his origins as a graffiti artist in early s Bristol.
Both are transient. Back in the day when we were painting you were lucky if a piece stayed on a wall for more than a few days before it was painted over. It just comes and goes. His inspiration to work with LED came initially from a fascination with the work of Japanese artist Tatsuo Miyajima, but since its inception the show has taken on a life of its own. But when we started with this show the internet was relatively new, whereas now with everyone so absorbed and interconnected, the nature of it has changed.
The danger is that it appears to the crowd as just another newsfeed or another blog. So we continually challenge the show's relevance and update ourselves. Clark concurs. The distribution of information in the digital age and its consequence has evolved in ways that no one could have imagined since we started working with them.
Our work has really been an observational commentary of this phenomenon. Translators for various regions feed in the issues which most concern them and the show is re-built for each local context. Eventually Del Naja would like to take this tailor-made approach further still. It became a negative space.
We were using the idea of redacting information all the way back on Heligoland with the graphics on the sleeve, blocking out images and words and asking what would happen if you started to delete statements, say the opposite of statements, remove parts of statements.
What would you then be left with that you understood? Focusing on modes of communication may feel like something of a step back from an artist world renowned for his activism, who has recently scored documentaries raising awareness about tax evasion, vocally raised awareness about the plight of refugees and stateless individuals, and gained copious attention for his vocal championing of the Occupy movement during its heyday in When we turn to the subject, a world-weary frustration is just about perceptible in his voice.
The Occupy Movement was the answer to that, it was about staying in one place, to keep applying that pressure to affect change. But Occupy's noble idea of a leaderless movement proved to be its downfall, as it became confused by its own lack of identity and lost its central cause. It became a stereotypical, incoherent lefty protest group and lost all power and support, playing into the hands of the conservatives and the banks.
When it comes to presenting messaging for the show, Del Naja seems genuinely concerned by the idea of his own voice dominating the message, of becoming another editor in that process contributing yet another storyline. Escaping this singularity forms a part of everything Del Naja does.
These things are all connected. And yet still the humility comes out. He wants their platform to be used to amplify the voice of the crowd as much as their own, and more than that he wants it to have a purpose. For more information, visit uva. That will now continue digitally, but that could be a positive thing because the democratisation of the internet gives everybody the ability to edit. You read about Oculus Rift founder Palmer Lucky's Pro-Trump 'shitposting' campaign and you recoil and fear for the information age.
Ultimately, our aim is to question information, the sharing of information and our role in it. Like when the seat finally falls out of the chair, nail the frame to a tree to make a basketball hoop. It seems that Drewchin is always looking for ways to expand and grow as an artist. This not only manifests itself in the clothing she wears, but the way she uses her body.
When I contort, tremble, chatter or crawl on the floor like a wild dog, I experience something else just as altering. But primarily she is Eartheater. Abstraction and symbolism seem to be driving forces behind the Eartheater music. Drawing on pastoral influences and new age spirituality, her sound is both wildly experimental and completely compelling — a vivid excursion into the gentler side of noise. Fueled by such contradictions, the Brooklyn-based musician describes. Her record RIP Chrysalis, an expansive and freeform collision of synthetic sounds and psychedelic experimentation, takes this notion to its post-modern, postinternet extremes.
Themes of reality, subjectivity and perfection concern Drewchin in this futurist conception of existence. It suggests that Eartheater — the warrior — is forever striving for the perfection that is poetry, but is held back by her humanity.
The lead-up to the inaugural festival saw M. A discarded as a headliner due to controversial comments she made regarding the Black Lives Matter movement in an Evening Standard interview. I found myself poring over prints from Kay Davis, who draws colourful, dreamlike images of black women, and buying a hair tie from African-inspired brand, Sapelle. Although the. The first act I caught was Jorja Smith, an artist on the cusp of blowing up. Her dad, a neo-soul singer, has encouraged her from a young age and her voice was strong and expertly pitched at Afropunk.
Her best known track, Blue Lights, is played last and blows up the room after she announces an EP will be released in November. How could you not love him? Later on, Scottish trio Young Fathers, flanked by the Leith Congregational Choir, ripped, danced and tore through a set of their most upbeat songs.
Finally, Grace Jones. Her set, underpinned by deep vocals still strong and luscious, tracked her musical life and saw a host of outfit changes. During Pull up to the Bumper, a perky male pole dancer spent much of the performance being spanked. In Williams Blood she. The audience were onside as she made us call and return, and people almost cried as she ran to the front of the stage, grabbing hands. And, for a year-old woman, she sure can move her body. The hulahoop may have dropped during Slave to the Rhythm she usually hulas throughout the whole performance , but the moves were still there.
Upon leaving, there was no doubt left in my mind: Afropunk, London has been waiting for you. Eleven years on, and we have the first ever Afropunk London — which is also a homecoming for Hackney-born Afropunk co-founder Matthew Morgan.
It was perhaps one of the most successful celebrations of diversity and blackness the UK has seen in recent years, definitely needed at a time when racial tensions are brewing post-Brexit. The Source Music Resort is a hotel-cum-concert venue located a couple of miles outside of Marrakech in between the airport and the walled old city.
The new venue for Oasis festival, now in its second year, the surrounding landscape is largely comprised of vacant lots earmarked for development and skeletal half-constructed hotel complexes. A picturesque network of paths were flanked on either side by towering cacti and delicately manicured exotic fauna, dotted with shady enclaves where the assembled early-doors crew lounged away from the sun.
While the line-up was weighted towards European and American DJs and the majority of dancers hailed from either the UK, US or France, there was a pleasingly international feel to the festival. According to the organisers, people had travelled from over 30 different countries to attend. Perhaps more importantly, there was also a solid local contingent from Marrakech, and those we chatted to spoke positively about Oasis and the rapid proliferation of festivals in Morocco.
Musically, highlights included The Black Madonna, who played one of the stand-out sets of the weekend. Seemingly reluctant to linger on one track for more than a few minutes, she deftly cut through a broad selection of classics, even appearing to throw a couple of spinbacks in for good measure.
Ben Horton N Lahcen Mellal. Expanding each year from that first show, there are now five stages, a gallery, a virtual reality experience room and a mini cinema. Here, psychedelia is forcefully cast into the future. Many things make this festival feel modern, no less the beautifully imagined visuals that adorn each fashionably distressed gig space.
One act that needs no additional imagery to make jaws drop is experimental electronic artist Eartheater — her set is a performance art piece in itself. Her performance sums up the festival thus far: exciting, adventurous, and thought-provoking. There are risks in performing particularly tender or minimal music to thousands of people on a Saturday night.
Attention spans waver, drunken bar orders are overheard and the sight of so many iPhone screens can be disenchanting. Opening with Stonemilker, the order of the first six songs of the setlist is nearly identical to the Vulnicura tracklisting.
Following an anxiety-ridden rendition of Notget, a half hour interval is called. Like many things with the Icelandic artist, it sounds like a whisper, but the reaction to it is very, very loud.
Despite its growing reputation, Field Maneuvers is a particularly intimate festival, making it easy to catch a lot of music and make plenty of friends in the process. Mark Archer and Jerome Hill plunged the Dome into raptures, and their liberal splashes of acid hiss and breakbeat made for a definite highlight. The Barnhus guys had the tent bouncing and The Black Madonna was as infectiously fun as she always is, closing the party with the kind of enthusiasm that spreads goonish grins across the crowd.
Ryan Elliot was the pick of the bunch though, hitting the last-chance-to-party vibe dead on with wall-to-wall hands-up euphoria. This kind of festival keeps gaining traction as dancers want to feel more connected. Mega-parties have their place, but the likes of Field Maneuvers have tapped into a need for a sense of community.
By Monday morning it felt like all of the or so in attendance had partied together. It seemed like almost everyone at Field Maneuvers this year had been previously and, in the warm glow of the aftermath, I was already planning my own return.
Theo Kotz N Alex Kurunis. Arriving for a debut sold out London show which counted Skepta and Frank Ocean as attendees while Broccoli, a chart-climbing single with D. M still reverberates around America, the air of anticipation is palpable.
Immediately, his voice is lost amidst the uncontrollable crowd. But the sound is unmistakably Yachty — a cacophony of ice-cream truck sounds and starry-eyed melodies housing lyrics about young affluence and the perks of being the hottest rapper in the world.
Having fully exited the stage, Yachty creeps back on and introduces Skepta, who performs a couple of seconds of Shutdown before announcing the date of his sold out, gargantuan Ally Pally show and dropping the mic. Skepta has long been a London ambassador of new waves of US hip-hop, and new waves rarely arrive with as much momentum as this.
Agitator, luminary, chancer, blagger. Duncan Harrison N Courtney Francis. What it might lack in grit and, this year, sunshine, End Of The Road made up for in its commitment to addressing the persistent gender imbalance in festival line-ups. On Saturday, Cat Power won the crowd, as ever, with a voice that brims with fragility, soul and courage and a huge back catalogue. End Of The Road is a festival that pays close attention to detail.
Set in the beautiful — and this year sadly soggy — surroundings of Larmer Tree Gardens, the festival is made up of several custom built areas, each hosting an extensive musical schedule alongside one off collaborations and guest speakers. On Sunday, we nurse our heads in the calmness of James Canty's lyrically smart tales of heartbreak and gender confusion.
Later on, Thee Oh Sees play a relentlessly high-energy and infectious set in the beautiful surroundings of the Garden Stage. Her mother Priscilla, reportedly also left the church soon after. After Elvis Presley's death at Graceland on August 16, , his will appointed his father, Vernon Presley, executor and trustee. In February , Presley opened a new exhibit, "Elvis Through His Daughter's Eyes". The personal exhibit looks at Presley's experience of growing up with a famous father.
Home movies, toys and rarely seen family mementos are among the items on display. In November , her father named one of his private aircraft, a converted Convair jet original passenger capacity: , after her. The buyer would have an option to purchase land adjacent to Graceland to exhibit them independently from Graceland. In the end, EPE bought them back and they continue to be on exhibit. From Wikipedia, the free encyclopedia. American singer-song-writer and daughter of Elvis Presley.
Presley at the Daytona International Speedway in July Memphis, Tennessee , U. Danny Keough. Michael Jackson. Nicolas Cage. Michael Lockwood. Elvis Presley Priscilla Presley.
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I can only relate to people who LP) going through insanity, or there's something wrong with them. Mr Black, now known as Corbin. Retrieved June 2, That informed Jumping Back Slash: it was my influences and aspirations before I came to SA smashed together with the music I Luck Is Down - Navel (3) - S.O.B. And Other Stories (Vinyl hearing here. Upon Vernon's death in and Minnie Mae's inshe became the sole heir and inherited Graceland. Here we arrive at the crux of what drives much of his music — a sense of soul and spirituality. Worldwide 50 Gold Award Hits Vol. It once was an innovative concept, capturing enough imagination to almost make the Blair Witch an urban myth.
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