Having discovered General Ludd’s ‘Woo Ha’ through Jamie XX’s DJ set at FWD’s night last month at The Dance Tunnel, I’ve been intrigued by the General’s label, Mister Saturday Night. I bagged myself a copy of their newly released collaborative album of all their signed artists, ‘Brothers and Sisters’ from Phonica Records this week.
The first disc (yes I buy CDs) brings together a range of industrial and experimental soundscapes, some that I’m sure would be fitting to the likes of Dinos Chapman’s washing machinesque taste buds. I’ve found disc two to be more relaxed and jazzy.
For me, Dark Sky are what make this album and lo and behold, they are from London (I promise I’ve only just found that out). Whether it’s introducing the the album with ‘In Brackets’ or when they reappear later on with ‘Rare Bloom’, incorporating a mix of industrial beats with robotic and warpy synths whilst consistently creating such a polished feel. When we’re reintroduced to them again on disc two, I can’t help but think that ‘Clear’ has been somewhat inspired by Kanye’s ‘New Slaves’ and replaced with dreamy vocals. To bid us farewell we hear the last of Dark Sky with ‘IYP’ with its housey shakers and retro melody, this track for me, is the club hit.
Other favourite’s of mine on the album include Anthony Naples’ ‘Moscato B’ with his upbeat tempo, Boya’s ‘Dawn Corner’ or ‘The Idler’ that has similar sounding vocals to some of Burial’s old stuff and Alex Burkat’s ‘Shower Scene’ – just because I think it would make a great film soundtrack.
It’s fair to say that the owners of Mister Saturday Night, Justin Carter and Eamon Harkin have an impeccable ear for new electronic music and with Jamie XX leading the way, I’m sure we’ll be hearing a lot more of this album in’a de cluub.
Having bagged myself a ticket to this eclectic night I was very unsure of my expectations – the line-up was simply mind blowing, but I did get the feeling that not everyone would have thought so. With a mix of jazzy soul and r & b it was hard to know exactly what to expect…
I arrived mid set during the fabulous F A T I M A’s performance and was instantly absorbed. You could tell that she is a genuinely confident woman with the right balance of attitude and modesty. She played with such passion and enthusiasm with a shadow of coolness that followed her wherever she moved – it was obvious that her band were in awe of her too. Through her fascinating lyrics and melodies, she has created an array of undoubtedly beautiful music that places her above the other r & b singers out there. I’d only heard a couple of her tracks on soundcloud before this night and it just goes to show that if you place a mind-blowing singer with a marketing team that just about have their heads screwed on, you can definitely persuade people that music is worth paying for. Just look at her recent success!
Here’s a snippet of her famous ‘La Neta’
Then came Coby Sey and Mo Kolours. I’d never heard of Coby before and wasn’t blown away. That said, for a filler, he wasn’t bad at all. Mo Kolours, on the other hand, really got the crowd ready but unfortunately by this point my mate and I were pretty wavey and between us, haven’t been able to remember any of the tracks he played.
Eventually Lil Silva arrived and I managed to place myself right at the front and loved the fact that I had enough space to get a proper skank on. Though I was also right next to the speakers which really hasn’t done any good for my ears, I’m sure… Whoops. The set in general wasn’t a touch on the last time I’d seen him back in March at the Evian Christ album launch night – nowhere near as much hype, but it was decent. To be fair though, he did have the likes of Travi$ Scott to compete with, which might have had an effect on the tracks he played then. Here’s ‘Gobble That’
We know that Lil Silva is doing big things at the moment but I can’t help but think that he’s ended up in a bit of a trap of producing the clean and crisp music that’s earning him the dollar. I’d really like to see him being a bit more honest with his music in his next releases. I was completely taken aback mid Lil Silva’s set when, Swindle, the cocky little thing he is, began to mess around with the decks – attempting to set up his set – uh… mate, have a little respect?
I first came across Swindle at the Giles Peterson Worldwide Awards - he came with a band of two horns and a drummer and I’d definitely recommend listening to tracks such as ‘Do The Jazz’ and ‘Ignition’ for a proper introduction to the array of talent that can potentially come out of Swindle (the band).
To be fair to him, he was the most enthusiastic of all the DJs at Fresh Out The Box, it just would have been nice to see the jazzy flare he’s famous for shine through, especially considering the fact that FATIMA opened the door at the beginning of the night proving that modern jazz is undeniably cool.
I have my South-African family in London at the moment and have been forever picking their brains about what Afrobeat to listen to. Funnily enough, whenever I’ve mentioned the more traditional Afrobeat artists such as Fela etc, I’ve been shunned and told ‘That’s too old! Modern Afrobeat is much better!’ So I asked for some recommendations and out came P-Square, Lynxxx, and Ibibio Sound Machine. Well obviously, there are some obvious distinctions between these three artists. P-Square and Lynxxx sound very westernised – like Fuse ODG - and wow is it hard to refrain from dancing or even smiling along to Lynxxx’s ‘Fine Lady’ on the bus – try it, I dare you. Ibibio Sound Machine’s ‘The Talking Fish’ is more like what you’d expect from the more traditional Highlife genre, with their eight-piece band you can instantly hear the deep bass guitar and 80’s style synths thrown in with some disco. Interestingly enough, they are now situated in London and will be playing at Village Underground on the 27th November.
I can see why this might be a great way to get into house and techno, but I can’t help but think that this track in particular is incredibly simple and boring. It lacks depth and that incredibly cheesy synth hook we hear before the track goes into full swing, I mean seriously? We’ve all heard it before and when we do, it’s embarrassing and and reminds us that we’re cooler than the club we’re in or that the drugs have completely worn off. Each to their own though.
Having released his second EP on his own label Hadal only two days ago, Pangaea really has given us all a treat. These tracks are near to unexplainable but by no means should they be undervalued. I’d say that Ivy and Pob are my favourites. Ivy, with it’s experimental soundscape and Pob with its deep, dubby, industrial beats. I’d prefer for listeners to make their own minds up on these though, as I think Pangea does – considering the fact that he has disabled comments and the ability to view how many people have liked, re-posted or listened to the tracks on Soundcloud. Big up Pangaea for encouraging individual opinions.
Having just released his first album ‘Earth. Home. Destroyed.’, Dream Koala seems to be the talk of the town. Having already released his first EP ‘Blur’ in 2012, this Berlin-based producer, sure enough knows what he’s doing. Experimenting with dreamy vocals along with heavy, bassy, beats he has managed to create a track that, if I had it my way, would be topping the charts. It’s accessible enough and clearly illustrates his talent for making and producing incredible music.