'Top 6' Feature // Quavius for Mixmag

I penned some words about Galcher Lustwerk's latest signing Quavius in the August issue of Mixmag, in shops now :) You can also read online here!

Words and image by Yours Truly X

Review // Eton Messy: All Night Long

Went raving in Ardwick and wrote the lead live review in Mixmag recently! You can also read the full, unedited version below!

The follow-the-trail excitement of secret locations are getting the country’s dancefloors buzzing on the regular and as Manchester plays host to a returning Eton Messy, the boxes seem to all be ticked for the herds of house devotees preparing to sweat it out.
 Trekking to an unfamiliar Ardwick, a stretch from the bustling students of Oxford Road with mouths spilling chit-chat, cider and who knows what else, it’s the youth connection across the online social world that propelled Eton Messy to touring artist status, sharing smoked-out house and future garage for this ‘deep’ cohort of new heads via YouTube. It’s this notion that makes me want to believe that Eton Messy can transport their brand into the live game, as with almost 80 million views and a plethora of original artists blossoming on their roster, the facts surely speak for themselves.
The boys are well into the mix when we take to the dancefloor, bringing the bass from label mainstay Bodhi, Ten Ven edits and Waze & Odyssey screamers in what is an undisputedly stern effort - sometimes even anthems can’t resurrect a mood.
 The swarms of ravers may well be gyrating and bouncing to no end but as we flitter through, many are visibly reeling after disappointments casting a gloomy cloud. From a birthday couple met with rude door staff who jack it all in for another club, to the exasperating inclusion of not-enough portaloos that add little to the “secret warehouse” vibe and rather just feel like an inconvenience - paying a couple of quid for a glass of rolla cola blatantly poured out of a corner shop bottle, also adds insult to injury.
 As lazers bleach out the concrete cavern in swathes of red, green and blue with the pairing’s extended live lazer show, corkers booming off the decibel scale, it finally feels akin to the fully immersive experience that clubbing can be. Yet when the chips are down, it doesn’t feel like the Saturday night, on-a-level spectacle we hoped for, thanks to a setting that seems a whole lot better in theory than in practice.

Words & Images by Yours Truly X

Listings & News // The Skinny - November

Completely forgot about blogging because it's been a crazy/ stressful/ amazing/ draining/ whirlwind year, but here are some recent listings I wrote for The Skinny telling you all where to rave and misbehave in Manny and Liverpool. Onwards and upwards with some sick projects in the pipeline for 2016...

Words & Images by Yours Truly X

Review // Chibuku 15th Birthday

I went and danced all day at Chibuku's15th Birthday in Liverpool for this month's Mixmag! It included a stellar line-up with Ben UFO, Four Tet, George Fitzgerald, Jackmaster, Joy Orbison, Annie Mac and more. I'll add the full text at a later date but for now, go out and buy the issue!

Words & Images by Yours Truly X

Feature // Deniro Farrar for Viper Magazine

I'm back! I spoke to the inspirational Deniro Farrar for Viper Magazine's Winter Issue, out now! We talked about his childhood in North Carolina, his children, touring partners, collaborations, commercial hip-hop and a whole lot more. You can read our whole chat in the new issue of Viper, available in person in London, New York and Canada or online! The article may also be made available online when the next issue comes to fruition, although I will be posting some excerpts at a later date :) Pics below!
Deniro Farrar // Viper Magazine

Words & Images by Yours Truly X

Review // Busdriver- 'Perfect Hair'

The mind-bogglingly articulate Busdriver just dropped his latest full-length 'Perfect Hair' on Big Dada yesterday! He's also been writing some lines track-by-track over on his Twitter AND you can stream the whole thing here, whilst you read my review for the 405!

Review // Busdriver- 'Perfect Hair'

Eccentric Los Angeles native Busdriver, has been dispensing his hyper literate, oddball hip-hop for over a decade, reconstructing experimental practices by striking boldly when the iron glows hot. A crossover of label affiliations led to projects with Brainfeeder boss Flying Lotus, and his British protégé Lapalux more recently, then there was his ridiculous take on Drake's 'Worst Behaviour' at the tail end of last year, abundant with tongue-in-cheek, stinging delivery. Returning to one of his earlier homes in the form of Big Dada, Perfect Hair comes out of an escape for the flaws found within self-acceptance.
 'Retirement ODE', an infectious instrumental with stirring hooks that leer "You never would admit how sick I've become," fluctuates between the crazy and the adamant. Lines such as "I'm a frequent flyer/ and a decent liar/ and that's a lie in itself come on", are laughed off in their overcharged ludicrosity, an element distinctively inherent to his music. Melodic takes from the backing singers he quotes costing $3500 per take, prove their worth before the beat breaks down to a frenetic fury, spitting "I used to wake up at noon to punch the moon" to twist the track into a disembodied truth. If fellow Californian Madlib's mental Quasimoto persona, is defined by smoked-out, high-pitched animation, then Regan Farquhar's Busdriver alter-ego is sharp, not to mention full-throttle.
 'Bliss Pilot' is certainly atmospheric and full-bodied, though not vulnerable enough to be emotional, the horns, rippling electronics and arrhythmic delivery, suggesting he wasn't chasing such a label, anyway. Even on the formidable (and brilliant) Jeremiah Jae-produced 'Ego Death', with his raps stabbing over a monster of a beat, the idea of altering your state of consciousness as stated in the title, is met precisely head-on. Double dutching through a hook of "We can make this better/ or not/ yes we will/ we're just looking for something inside us to kill," Farquhar nods back to the song-orientated direction that was present on 2012's Beaus$Eros - boiling hot guest spots from the inimitable Danny Brown and Aesop Rock, planting pop-culture nods to The Prodigy and Marilyn Manson, as if all in this crazy house together.
 'Tooth Lined Horizon Blinks' doesn't come up for air in a slanted, almost chant-led iniation, Open Mike Eagle sweeping in to announce his presence with straight-up, old-school flow; a talent concentrated and able to hold its own, even under 'Drivers unassailable stance. Where Perfect Hair has those ballsy moments, lyrically with pushing past an ostracization and arriving at a truth, there are the flashes such as 'Upsweep'- produced by Mono/Poly- to balance out the often unruly collection. Bringing us back round to the poignant at first, the latter track's instrumentals infuse through Farquhar's centre-stage vocal, similarly to 'Bliss Pilot'. Yet as the release plays on, we've always known the persona of Busdriver was an unconventional one, but to the clear divisions throughout Perfect Hair, he has a release that bifurcates between sparkling, let-it-rip takes, over to a self-antagonistic, ball of constructed chaos.

Words by Yours Truly X

Review // Paul Oakenfold- 'Trance Mission'

I reviewed Paul Oakenfold's 'Trance Mission' release for 365 Mag, ahead of it's release tomorrow! Arguably Paul’s first artist album since 2006, this new release is an album of 10 covers- not remixes- of Paul’s favourite tracks of all time and one which sees him returning to his roots. Click here to read it, or scroll down below!

Review // Paul Oakenfold- 'Trance Mission'

Electronic enigma Paul Oakenfold, has held onto his legendary reputation as the godfather of trance for decades, perfecting and showcasing his craft across institutions including Radio 1 and Cream - but with archetypal anthems such as ‘Ready, Steady, Go’ under his belt, not to mention putting pen-to-paper composing grandiose film scores for Hollywood blockbusters and back, no introduction should really be needed. 

Building up a fresh interpretation of timeless trance classics for the double disc release of ‘Trance Mission’- aptly titled because “it's filled with a selection of my favourite trance records from the last 25 years and it’s been a bloody mission to finish”, as the man himself states - Oakenfold has taken a calculated, concentrated approach to reinvent this twelve-track journey. Utilising “nothing except the original riff” to compose his covers, rather than simply remixing, he delves layers deep into reinventing these iconic listens of yesteryear… but will it leave a bitter taste in the mouths of lovers of the genre, or will he be capable of reigniting the ecstasy felt first time around? 

 From the get-go, it is clear to dissect that Oakenfold’s track selection has been plucked from a notion to appeal to appreciators, of whose stomachs will flutter at the mere sight of titles such as ‘Theme For Great Cities’ and ‘Touch Me’… but this is your official warning that these are certainly not the old favourites, we’re used to. Take the infamous ‘Café Del Mar’, by no means a genteel listen, that spirals progressively harder in 2014 than it ever did back in the early nineties when showcased by Energy 52.

Contorting into a dense, wonky working thanks to chopped vocal whispers of the infamous Ibiza venue that manages to stealthily creep into the listener’s subconscious despite brazen production that cannot be ignored- an applaudable effort of skill and insight is highlighted in its rawest, familiar form here, but of course it’s not as if we expected anything less. 

 As a man passionate about his art that has never censored the euphoria present at the heart of trance - who says Oakenfold should start now? Re-producing Fragma’s ‘Toca Me’ with a crisper undertone that accelerates energy and unforgivingly nudges up the high-octane BPM, further more so than its predecessor, every asset of his personality flows through the very veins of this release. Big-room drops and elongated build-ups that deviate away from traditional trance standpoints, don’t deduct from the ethos felt at the centre come his pummelling edit of Grace’s ‘Not Over Yet’, allowing the instantly-recognisable vocals to be positively isolated, projected into taking centre stage. 

 Marrying a hybrid of cinematic workings and no-nonsense, unadulterated anthems, it’s clear of his aim to infuse the album with individual flair, making his statement accessible as an introductory tool, without tarnishing the genre’s heritage; an epic task he does successfully manage to execute, from beginning to end. 

Undeniably set to instigate interest across younger generations of whom may not have been able to experience the definitive period of trance at it’s peak, but are familiar with the history of these tracks in numerous forms, ‘Trance Mission’ is set to not only reinstate the historical importance of Oakenfold’s character as a heralded DJ, but also the positive, seminal role that this release will impact upon the future resurgence of the genre.

Words by Yours Truly X

Feature // SOHN for Crack Magazine

 I interviewed 4AD's SOHN for the latest issue of Crack Magazine, out all over the country (With Tood Terje on the cover) right now! We talked about his production work for Banks, working solely at night and how the Vienesse air inspired his debut album 'Tremors'. You can also read it digtially here or scroll down below...

SOHN // Crack Magazine

Where many artists utilse an alter-ego to entertain away from their original persona, Vienna-by-way-of-London's SOHN breathes his identity with no conceptual distinctions.

 “I liked the idea of being the son of all my past experiences” he muses, explaining the depths to his German-spoken mononym, a tone of both soft and strong proportions that sets the foundation for his doleful discourse. “It’s not only when I perform either”, he continues through the onyx-black hood that can often be seen cowling his figure. “These are the clothes I wear, full- stop… it’s less about omitting a presence, and more about feeling one.”
 We’re Skyping with SOHN, who is late to our morning interview, but after learning of the nocturnal studio schedule enlisted for the creation of his debut full-length, it’s not without good reason. Residing in London and producing “urgent, sinister” work, he moved to Austria out of a lack of connection to the city, integrating himself within the Viennese culture. “I’m more of a hermit than ever before, so moving to a country for community is kind of ironic” he admits. “I love the sense of calm here, it’s a quiet city when you want it to be.”
 SOHN’s debut album Tremors sets him apart from the post-RnB segregation of male, angel-voiced solo artists such as How To Dress Well and James Blake. It’s a self-appreciating listen that draws you in and won’t let go until you’re entwined deep in its elaborately emotional web. Recording Tremors alone in the dead of night often resulted in not leaving his studio until sunrise. As pitch-black pressure points vividly burn throughout his elegant soundscape, the release undoubtedly belongs to the purity of dusk or dawn.
Tremors is as much about the light as it is about the dark; just as much about the space and silence as it is abundant with multi-instrumentalism. “I died a week ago/ There’s nothing left” SOHN mourns on The Wheel, building a melody of humidified vocals. Tracks such as Tempest produce digitised pools of vocals, leading SOHN’s stunning falsetto on a journey that peaks with chopped, woody beats, before the explicit imagery of Paralysed, a poignant, lump-in-the-throat listen, etching out a downturn of love and loss through locked arms and “twisted intestines”. An intensely beautiful byproduct of pain that resonates to listeners universally, actions and consequences are all well and good, but it’s epitomising an ethereal, textural scene to his audience that SOHN presses further.
“The artwork, photography and videos have always been massively important in terms of presenting the music with the right mood, the right intention. I look long and hard at that side of what I do. I make the music and see the visuals in my head already, which can be as vague as colour, all the way to being so specific that I can see the whole video… the photography has to encapsulate everything I feel the song does, but also set a scene for the song to be listened to.” Take the gorgeous visuals for Bloodflows, where picturesque and weather-beaten landscapes in the Bavarian Alps are inked by a multitude of leaking smoke bombs, his soulfully icy vocals almost bleeding off the screen.
 Stepping away from his own gruelling after-dark agenda, SOHN is nothing short of a musical polymath, also applying his Midas touch to productions and remixes for the sultry sounds of Banks, over to the rich tones of Kwabs. “I loved them both immediately” he gushes. “It was just a very innocent, ‘let’s get in a room and see what happens’ scenario. I work the same way as when I’m writing for myself, the only difference is you have to carve out the right space for the other artist. That’s something all great producers are capable of doing, and something which I love.”
 Turning his ear to the attention-demanding bite of Angel Haze, along with skewing LA duo Rhye’s sensual hues into a haunting listen for his remix of Open, it’s not just a take on the new generation of US up-and-comers that is making SOHN’s European presence felt on the other side of the Atlantic. YouTube any of Tremors’ 11 striking tracks and you’ll soon be met with a “Miguel brought me here!” luminous green thumbs-up comment, ever since the superstar RnB smooth bot dropped “John but with an S” into a radio interview of British inspirations, citing a “super dope” five-song SoundCloud as his introduction.
 From a superstar fan to a European enigma, the bright lights constantly attracted to SOHN’s world don’t add distraction. “I forget even having a debut record out is a big thing” he admits softly. Yet releasing one of the most gut-wrenchingly passionate records to come out of 4AD this year warrants a springtime full of sadness on SOHN’s watch, something worth submersing yourself into and remembering on a wholly devoted level.

Words by Yours Truly X

Feature // Hardwell relaunches djhardwell.com

 I wrote the press release for the relaunch of Hardwell's website this week! You can go to Hardwell's homepage and click on the link as shown in the screenshot below to view it- also directly here- or scroll down as per usual!

Hardwell relaunches djhardwell.com

The world’s #1 DJ and Revealed Recordings head honcho Hardwell, is pleased to announce the relaunch of his website www.djhardwell.com 
 Now featuring an interactive biography including personal family photographs, the chronological timeline maps out Hardwell’s voyage from humble beginnings in his Dutch motherland, over to meteoric superstar, executing sets to packed-out dancefloors worldwide.
 As well as hosting clearly cohesive social media channels, allowing almost nine million fans (and growing) to tap into his substantially consistent output, additional key features also include an integrated media player for ease of listening when browsing, along with a single-page discography overview.
 Rightfully claiming his title as the most socially engaging DJ in electronic music, an interactive world map also provides a comprehensive summary of his approaching live dates, allowing fans to track, stay informed and even purchase tickets in light of his spectacular I AM HARDWELL concept tour, amongst others.
 Joining forces with Beer 'n' Tea and Flashin, two internet companies hailing from Hardwell’s own hometown of Breda, this all new website manages to take his global reaching music and artist presence and turn into in to an overwhelming digital experience. Having always been on the frontline of innovation when it comes down to connecting with his audience, Hardwell fans can now enjoy this experience on a whole new level. Beer 'n' Tea co-owner Berend Buningh: ''We are hugely proud to present this new innovative website to the world, and working with Hardwell has been a truly great experience for us as we’ve managed to realise both our visions of what the ultimate DJ website should look and feel like.”.
With upcoming residencies confirmed alongside the world’s biggest super clubs, including weekly sets at the renowned open-air daytime venue Ushuaïa Ibiza, Hardwell has also invited fans to submit media recorded at his live shows, with the chance to be included in the video for his Prodigy-sampling latest smash, ‘Everybody Is In The Place’.
As 2014 has already proved to be a whirlwind, landmark year for the luminary, it’s only fitting that this modernized, slick new website, mirrors the colossal level of superiority that Hardwell enlists throughout his work.

Words by Yours Truly X

Review // Future Everything Festival

Afternoon! Late last month I was sent down to Manchester's Future Everything Festival for Crack Magazine. Held in various venues of theatres, basments and galleries, Future Everything marries the look at digital innovations across art, music, sport and a whole range of diverse subjects. I caught Evian Christ's curated evening at The RNCM and Darkside at The Ritz, which you can read over here- or below for the full copy, penned in collaboration with Joe Goggins. You can also read it in print by picking up Issue 40 with Pixies on the cover!
Future Everything @ Various Venues

FutureEverything’s premise is one that favours all things forward-thinking. Taking place across Manchester over the course of seven days, their mission to host shows from contemporary music artists at the forefront of innovation as well as art exhibitions, conceptual events and industry conferences is a vision to behold. Crack’s FutureEverything experience kicks off on Thursday night with an appearance from Darkside. Nicholas Jaar and Dave Harrington’s collaborative project brought an eclectic bout of prog-imprinted, tension building electronica to the back end of 2013. With mirror-led visuals that breeze beams of darkness through to a spectrum of colours, the experience feels somewhat transcendental, moody yet sanguine, as melodies and bodies melt into one another, accentuating the deeper levels that cross over live on tracks such as Golden Arrow and Paper Trails.   

 With the city’s Royal Northern College of Music welcoming in an Evian Christ-curated evening, held in its seated theatre, there was uncertainty as to whether or not the formal space would enhance the atmosphere or, alternatively, swallow it whole. TCF, a blackened-out figure before us, projects swirling bass that immerses with his film-score-worthy-weird manipulations. His brave efforts set off abstractly and just a throw too-far leftfield for many in attendance. London’s Visionist immediately follows, marrying his ghostly take on radical, nocturnal grime. A glacial, dubbed-out half hour ensues, forming the most club-worthy set of the night. It’s admirable to watch how this plethora of future-thinking artists adapt with the theatrical environment, especially with the aid of artist Emmanuel Biard, whose lighting spectacular set to the abrasive elements of Evian Christ’s set provides the most amazing part of the evening. 

To say that Julianna Barwick’s set at the RNCM Theatre is more than the sum of its parts would be an enormous understatement; she spends the 40-minute slot stood behind a keyboard, but in truth she barely uses it. It’s the mess of samplers and pedals at her disposal that form the crux of the performance, as she creates a veritable cornucopia of lush soundscapes using little more than her own voice, generously looped. Every time the mass of loops threatens to bubble over into cacophony, she dials them back down in impressively soothing fashion. Tim Hecker’s headline performance, meanwhile, couldn’t be further removed. 

 He’s just barely discernible amongst the shadows as he takes the stage in a pitch-dark theatre, and you spend the first few minutes wondering when the visuals are going to kick in – only to realise, eventually, that there aren’t any. Hecker delivers his entire set in almost total darkness, and it’s a complementary environment; his dark, foreboding sound, often beautiful on record, is utterly punishing live. We spotted a fair few heading for the exits early during a brutal, reverb-laden opening ten minutes. What they missed was a tantalising reinvention of what live electronic music should represent. Enjoyable seems like the wrong word, but exhilarating? Absolutely. 

 And as in previous years, a major part of FutureEverything’s remit was to explore how we interact with sound, and to experiment with it; it wasn’t simply a case of putting on live events. In keeping with that, one of the major installations at the vast ‘pop-up urban experiment’ City Fictions project was BUQS, which saw ninety Ubiquitous Electronic Lifeforms scattered across the city. The devices – produced, as demonstrated at New City Square, using 3D printers – were constructed of plastic casing and contained sensors and motors that allowed them to pick up basic information about their environment and relay them sonically, encouraging direct interaction with the BUQS with user-unique results. Their resemblance to giant insects was intended to conjure up imagery of ‘infestation’, with the suggestion that the units were able to ‘hack’ the landscape, leaving spectators with the resonant reminder that in urban environments, often the most omnipresent technology is near-invisible. 

We entered FutureEverything with a desire to broaden our horizons, and left with shattered preconceptions and with fresh ideas buzzing around in our minds. Looking at the forecasts of digital culture, proving that music is continuing to explore exciting, uncharted new territory and even handing out 130,000 copies of a fictional newspaper issue from 2018, FutureEverything is both inspiring and, at times, somewhat overbearing. If there’s one thing we’ve learnt, it’s that the future is coming, so we might as well embrace it.

Words By Yours Truly & Joe Goggins X

 Images by Gary Brown and Matt Eachus

Feature // Skiddle April Electronic Listings

April's listings have to be some of my favourite of the year. Where Easter used to mean chocolate eggs for breakfast on a Sunday, it now means an extra excuse to dance your legs into a state of numbness all in the resurrection of Jesus Christ. You can read all about my picks for Skiddle over here (Or huuugely unedited below, this month), including a run-down of Stones Throw-er Jon Wayne's hotly anticipated UK dates, as well as Andrew Weatherall playing a 'rave in a cave' for 4/20 (!!!).
Skiddle Electronic listings- April

As April and Easter rear their delectable confectionary-shaped heads around the corner, it seems that the North’s showcases this month are anything but fluffy and plucked from a pastel palette. If you planned a quiet one in pawing over your dissertations or catching up on that paperwork (I did until I composed this very piece…), then the club spaces throwing out the masculine chiefs and underground sizzlers, say otherwise. 

 With the intrusion of the significant LA hip-hop label Stones Throw Records, quite literally submerging the North this month, the opportunity to catch label boss Peanut Butter Wolf in the intimate setting of Leed’s Hi-Fi Club on April 4th, rings as a set that you’d literally kick yourself for being stupid enough to miss. Also making one of it’s UK premiers is the ‘Our Vinyl Weighs A Ton: This Is Stones Throw Records’ feature documentary, as Gorilla’s spacious club area in Manchester is converted into an independent, mini-cinema for the eve come the 3rd. Expect popcorn, hotdogs if you’re lucky, and definitely never-before-seen interviews with the likes of Snoop, Common and Tyler The Creator, talking about the surrounding birth of the influential imprint, over to the growth of hosting one of the most well-respected artist rosters and releases in hip hop. Don’t be thinking it’s all over though, as Jon Wayne plays his debut Manchunian show later on April 30th, bringing the illest beats, soulful undertones and fiercely intelligent flow to Soup Kitchen’s basement. With a little helping hand from local bad boys Metrodome and Sparkz paving the way with their take on classics the only way they know how, it’s set to be a hazed-out, impeccable month. 

 Fancy your bass a whole lot more beefy and home-grown? Then Butterz aficionado Royal-T heading up BPM at The Roadhouse should add a slick of oil to your motor, before Slew Dem veteran JT The Goon orchestrates his instrumental take on nu-grime over at Joshua Brooks. It’s not even close to over yet though, as Youngsta then takes on a rubble-shaking, 90-minute set at the under-renovation Antwerp Mansion thanks to Hit & Run. It looks like you better get your Monday morning sick voice practice in now, whilst I take a look what’s accumulating for the house heads and techno terrors. 

 Moving things along to our old favourites Chibuku and to slow things down after their insane Andy C-headed session in March, Good Friday will bring Columbia’s Shift K3y and Radio 1’s late night chameleon B Traits together, for one of the city’s top holiday bashes. Heading further afield and with Chester’s The Live Rooms turning up the dial with the mid-tempo, deep sounds of Black Butters duo Gorgon City, Ibiza-head Josh butler steps-toe-to-toe in an outer-city clash this month, flaring up behind the decks at Frodsham’s Mersey View. Feel like you need to breathe into a paper bag should you step out of anywhere remotely central, never mind a place where the Tesco Extra’s don’t even stay open till 11pm? Don’t worry, me too but luckily Leeds have our backs should we ever be so silly again. Glasgow’s Optimo nights have gained momentum for over a decade now, spinning out Sunday fun-days’ into a hedonistic powwow of diversity in Scotland, so their three-hour set at Wire should tide you over to Theo Parrish’s Easter Thursday doubled, six hour extension at Nest. 

Golden Ticket 

 Cream-affiliate 303 are making the necessarily bold leap away from traditional venues that hanker most regular evenings in Liverpool, bringing their ‘rave in a cave’ treat of accommodating eclectic master Andrew Weatherall, in the unique Williamson Tunnels heritage site. It’s an wonderfully varied venture that puts-to-shame the saturated Warehouse-venue market the North over, whilst certainly not standing dubious from providing attendees with the rousing, scintillating evening they deserve; Plus it’s all held on 4/20 and if you need your arm twisting any more, then hey, even Lauren agrees…

Words by Yours Truly X

Feature // Alizzz MIXED BY for Thump

I asked Spanish producer Alizzz to contribute to Thump's MIXED BY series and he provided a party selection, fit for brightening up any Monday. I've included the little-under-an-hour mix below, along with some words I wrote to coincide for Thump- oh and the full tracklist if you just keep scrolling!

Alizzz MIXED BY for Thump

Barcelona’s Alizzz has been drenching us all in his elastic works of high-contrast digitalism and hip-hop influenced soundscapes, with releases on labels including MofoHifi and Arkestra since 2012. Fast forward two bonkers years, and Alizzz’s latest ‘Sunshine’ EP offering on Mad Decent’s Jeffrees imprint brings shimmering synths, befuddling tempo changes, and a gurgling dose of bass to the frisky label - with his exclusive MIXED BY offering following suit. Laden with booty clap-inducing Big Sean remixes, Jersey Club big-name re-fits, as well as a slew of unreleased edits and of-the-minute pop gems, Alizzz presents an hour-long ride that cements his audacious persona as a European-centric, US-influenced platter of brilliance.

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{Tracklist: 100s - Ten Freaky Hoes Alizzz feat. Santell - I C U Promnite - She Know it Iggy Azalea feat. Charli XCX - Fancy Falcons - Be quiet Marian Hill - One Time (Imanos Remix) [Unreleased] Siroj - The heat [Unreleased] Seiho - Gold Moon Boots - CYS ARME - Foxxy [Unreleased] LIZ - All them boys Demon's - You are my high (Picard Bros edit) ranko feat. ELOQ & TT the Artist - Dirty Works [Unreleased] Ciara - Sorry (Playground Mob) [Unreleased] Big Sean - Marvin & Chardonnay (Trippy Turtle and Dj Hoodboi remix) Partynextdoor – Persian Rugs (salute Edit) Wave Racer - Bliss Streamers (Patrick Baker vocal edit) [Unreleased] Alizzz - What if Justin Timberlake - TKO (Lido remix) 813 - Lil bear [Unreleased] Brokenhaze - I believe [Unreleased] Flume x Hermitude - Hyperparadise (Ganz remix) Kelly Rowland - Kisses down low (Alizzz remix) Alizzz - That gurl Trey Songz - Neighbors Know My Name (Tk Kayembe RMX) Beyonce - Say my name (Cosmo midnight remix) [Unreleased] Alizzz - Sunshine}

Words by Yours Truly X

Feature // Skiddle February Electronic Listings

I've been in dissertation hibernation (Along with a month full of suprise visits and big birthdays...), so completely forgot to post my Skiddle picks for February when they first went live earlier this month, whoops! You can read all about my championing of high-denier hosiery and bowing down to Valentines Day over here, with picks including Moderat, Hudson Mohawke and Gilles Peterson. Hold tight, more (Frequent, I promise) posts coming soon!

Words by Yours Truly X

Review // Curated by Julio Bashmore @ WHP

Last weekend I had a Factory reunion of sorts when Artrocker sent me off to review Julio Bashmore's curated night at Warehouse. Cassius were ludicrously good, Tiraquon bought the 80s vibes and Bashmore, well, read it over here or below to see for yourselves...

Curated by Julio Bashmore @ WHP

As a reoccurring invitation to the individuals and groups that ignite movers and shakers, the coordinators behind Warehouse Project invite a range of music makers to take the reins in curating line-ups themselves, annually. Spanning rockers such as Bloc Party and The Kills, over to new generation blood such as Disclosure or Teed and- on this occasion- Broardwalk boss Julio Bashmore, WHP aren't afraid to shake it up, nor go with the flow when necessary. With a combination of internationally respected and cemented UK producers, along with a gargantuan headline set from Julio himself, these curated nights are undoubtedly where you’ll find the most diverse melting pots. 

One of our favourite galactic-funksters, Space Dimension Controller, was first on the horizon to fill up the dance floor in room two. Despite the fact that we couldn't help but constantly wonder why SDC had been booked to DJ rather than partake in a live set of his own intergalactic workings, he still managed to bring the care-free attitude and evocativeness of past decades to the ever-accumulating, if slightly bedazzled, ravers. Batting out 80s classics including Midnight Star’s ‘Midas Touch’ beside Colonel Abrams offbeat release ‘Trapped’, anthem after anthem whether instantly recognisable or not, ensured that everybody in sight fell victim to the groove… and it hadn't even struck ten o’clock yet. 

 As we weaved through each room eager to catch a deluge of sets, it was indisputable that each person booked behind the decks here tonight was restless in not just playing out what would simply be probable within a conventional club night, as experimentation is welcomed and applauded in a location that branches out from conformity. 

Take Motor City Drum Ensemble on initiating a wave of house for the night, thanks to Norma Jean Bell’s sassy ‘I’m The Baddest Bitch ’, whereas Breach dipped his toe into modern waters, manipulating Midland’s ‘Trace’ into a deep and stabbing vibration to fast forward the momentum. As our expectations were already now ever ascending thanks to a marvelous introduction, the crown and glory for the night unquestionably belonged to French originators Cassius. Blending in a fusion of their unconditional prototypes including the infectious ‘Feeling For You’, together with an amazing input of Green Velvet’s ‘Bigger Than Prince’, it is apparent that a superior act is that for a reason- it’s just a shame that what goes up must come down.

 In light of Bashmore’s earlier Boiler Room session remaining outrageously over-crowded throughout, we opted for the main man under the spotlight’s early morning set, to really see if there was more to the media than just a ‘Summer hit turned football chant’. As far as his personal productions go, the only noticeably enthusiastic reception was evident for- you guessed it- ‘Au Seve’ and it was easily blatant that, despite his observable production talents, as a live artist Julio is dissatisfying on a number of levels. Over-running tracks long after their surges peak and the audience has lost interest, as well as noticeably poor mixing, even Joy O’s ‘BRTHDTT’ panned across the room as if it fell on deaf ears and Lil Louis Chicago classic ‘I’m hot for you’, echoed overhead an array of confused faces. With all the factors for triumph at hand without prosperous execution, tonight Bashmore delivers to be tarred as incapable of executing his work, at a rank of which many of his peers surpass at leaving nothing but a bitter taste in our mouths…

Words by Yours Truly / Images by WHP (via here) X

Feature // Skiddle November Electronic Listings

My listings for all things electronic in the North this month is now live over here for Skiddle! My pickings include the likes of Wet Play, Mount Kimbie & friends, Baths, Jam City, James Holden, Rene LaVice, Zed Bias and my golden ticket which goes to Evian Christ's trance party over at 2022NQ. Purchase yourselves some tickets and I'll see you on the dancefloor!

Words By Yours Truly X

Review // Arctic Monkeys @ Phones 4 U Arena

The lovely people at Domino sent me to watch Arctic Monkeys on their AM tour last week, I'm obviously biased and almost cried three times but in all seriousness, my boys have still got it. My review is now live on Artrocker here or you can cop a sense of the amazing show below!
Arctic Monkeys @ Phones 4 U Arena

The re-branding of Manchester arena’s usually canary-yellow exterior, transitioning over to project immense logos’ of a certain mobile phone company famous for it’s hand-signalling jingle, was always going to be a strange sight to get used to- yet, this is corporate branding and advertising at it’s peak and what else did you expect? Look around, simple cotton t-shirts hitting the twenty-five pounds mark (And that’s from just tonight’s opening act The Strypes…) and if you’re after a pint during one of the gig’s intervals, you better be prepared to que for half an hour, hand over that crisp fiver and not expect a shrapnel of change back. If only the old Sheffield boys could see themselves now…
Entering the venue though the city’s Victoria Railway station, as thousands upon thousands of individuals pool in and enlist themselves into the nearest snaking que, there isn’t just the usual sleek femme fatales and bowl-cut boys polishing off their mac coats for the occasion, as we spy. Amongst the plethoral swarm lies families with children in attendance that look as if they were actually born post- ‘Whatever People Say I Am…’, along with the expected congregation of leather-clad fashionistas and the odd Dad on hand to chaperone, hopefully leaving their unappreciated dancing at the door. Even before we’ve taken to our seats, there is no denying precisely how much Arctic Monkeys have blossomed and adapted, in a formative seven years since their debut release.
With three-quarters of the quartet gracing the stage suited and booted (It’s ok Matt, we imagine it’s quite the challenge drumming in a double-breasted number…), quad screen set-ups with individual portraits of each member horizontally span, accompanying a swaggering, brooding and bold introduction of ‘Do I Wanna Know?’. Before the astronomical audience, phones in the air bouncing to every beat get straight into ‘AM’ mode, renditions of ‘Brianstorm’ and ‘Dancing Shoes’ really do deliver as electric and strikingly rolling, as they did upon their first listens of yesteryear. ‘Don’t Sit Down Cos I’ve Moved Your Chair’ urges the audience to coo a range of ‘Oooh’s and ‘Yeah’s, whilst Alex Turner cheekily sculpts his greased-up quiff initiating the Macarena, whilst Helder’s lightening beats blister out from behind his 0114 duct-taped kick-drum. See that’s the thing about these ‘Monkeys’, they may have been arena-worthy for what feels like a lifetime now, yet they never have yet forgotten to bring their personality to the forefront, with Turner’s light cockiness sometimes being construed for arrogance, but does it really matter when they write, perform and interact better than ever before?
Latest single ‘One For The Road’ is elevated with a whole new stronghold of elegance and croon-ready slickness, even if that is a noticeable American twang we can hear sneaking on through- and as one spectator in front of us exclaimed “This is better than seeing John Lennon on ice!”, we really couldn’t agree any more. As ear-splitting encore roars present themselves, the bulb-dotted sky-scraper initials that tower over illuminate, to welcome in a shoo-wopping rendition of ‘Snap Out Of It’ and a semi-acoustic interpretation of ‘Cornerstone’, cheekily altered by ‘Don’t Look Back In Anger’ come its execution. As metallic ticker tape rains all over the mammoth venue, our favourite Yorkshire boys we realise, have really only just hit their peak. Listeners’ of the Arctic’s music cannot simply request their indie classics over and over again and by managing to expand, flourish and experiment whilst never straying too far from their formula that works, it is an exciting sight to behold as they strike record number five off their lists with pride.

Words by Yours Truly X

Feature // 55DSL - 'Once Upon A Time In Italy'

55DSL- 'Once Upon A Time In Italy'

One of the most prominent fashion visionaries in the world, Diesel, have recently released the third installment from their ‘Kids In Italia’ flagship series, in association with Vice and Forever Pictures. Directed by rising duo Charlie & Joe, who can also reel-off clients such as Toddla T, SBTRKT and Topshop, ‘Once Upon A Time In Italy’ tells the story of artistic adolescence alive at the heart of Italy but of individuals whom feel lost and almost defeated, when it comes to mapping out their futures. Amidst all their challenges, our Italiano's conjure up the character of Carlo as their projected anti-hero, finding success despite the obstacles that twenty-somethings’ face in a true ‘Eureka!’ moment, inspiring watchers to take control- both metaphorically through their created character and by the excitement amplified from casted roles.

 “55DSL's film series, 'Kids In Italia' has always been about giving brilliant, talented young creatives a global platform to share their vision.”, founder Andrea Rosse told us. “When I talk to young people who live in Italy, they are disillusioned about the lack of opportunities here, especially for creative types -and I felt the same way when I was their age. It is important to me to communicate that it is up to the next generation of creative talents to think outside the box and to establish their own opportunities here, instead of moving abroad” he continued on, passionate in promoting a brand that is urban and free-thinking, for the active DIY youth of today.

For more information and to watch the other previous installments in the series (and to get your hands on 55DSL's new A/W collection, of course), head over to their website here.

Words by Yours Truly / Image c/o 55DSL, Vice and Forever Pictures X

Feature // Skiddle October Electronic Listings

Hi! I'm now very pleased to say I'll be writing monthly columns for Skiddle on what (I believe) are the best electronic events going on here in the North-West, in the hope of tempting you all to buy tickets and come party. You can read my first installment for the month of October here featuring picks including Murlo, DJ Q, Floating Points and my golden ticket here in Manchester, from Clouds. Enjoy!

Words by Yours Truly X

Review // My Nu Leng @ Mint Lounge

My Nu Leng finally came to Manchester on Thursday and played a blinder of a set in conjunction with Sick Chirpse and Hit & Run- Pros: Dancing to Livin' Joy, Cons: Thinking it was an acceptable move attending in some form of bastardized ghetto headscarf and regretting it instantly in the heat. I attended with mediocre expectations and was completely proven wrong; hello blast-from-the-past track selections, on-point mixing and a whole plethora of shape cutting (Seriously, my neck hasn't been the same since- but that could just be down to also seeing Loefah and Funkineven in the space of twenty-four hours...). Click here to read or for an unedited version just scroll below!
My Nu Leng @ Mint Lounge

If you’re not based up here in the grey city, you’re an inauspicious creature for missing out on the countless nights of mischievism that the hilarious writers behind Sick Chirpse have been bringing to Manchester venues, intended for those with their ears to the ground. Pretty good for two guys who “…got really wasted and decided to start a blog”, isn’t it? For this month’s outing, those crazy cats joined forces with tattlers of bookings fresh, danceable and even legendary in the city, Hit & Run, to cinch a night of screwfacing and (in)appropriate grinding with Bristol begetters, My Nu Leng.
That’s the thing about these Manchunians, they like to keep it in the family, as noted by Jonny Dub gracing the decks from the moment we walk through the maze-like corridors of Mint Lounge. With his laudably skilled set- not only technically speaking- and the addition of an unbeatably eclectic yet engaging track list, reconfirm that this crate-digger isn’t just another opening DJ, with an unparalleled audience rapport. The boisterous arm jerking during Daphni’s ‘Ye Ye’, the eyes closed foot stomping in old school recognition of Wookie’s ‘Battle Garage’ and beefy Danny Brown cuts are hardly obscure choices, yet it is the tangle of bodies writhing down the front fused with the freedom and attitude of a true pro, that really makes this feel more like a party than a ticketed event. Besides, where else would you be able to shimmy to Tag Team’s ‘Whoomp! There it is’, before trying impress the nearest babe that you heard Blue Daisy’s ‘Used To Give A Fuck’ six months ago, as it blasts out overhead so early on a Thursday night?
 After a comedic performance from host Chimpo involving a confectionery necklace and some seriously poor aiming skills, proceedings only get even more peculiar when the monochrome uniformed Duo’s set - Tommy sported a Patta t-shirt, whilst Jammo represented Black Butter- was spun out of consummated mayhem. You can thank Daniel Bedingfield's 'Gotta Get Thru This' for assisting us in retracting our originally naive perceptions that this would be a firm set of chunky booming tech-house, as early noughties guilty pleasures are cited as nothing to be ashamed of. Shimmering edits of Modjo’s ‘Lady’ cause even the most stationary hips to swing in unison and speeding up Crystal Water’s ‘Gypsy Woman’ into a repetitive oblivion is nothing short of brilliance, in educating the night’s student clientele on classics’ that are older than most of the teeth in their head.
No mistake made, there are plenty of hefty 4/4’s thanks to Maya Jane Cole and Mosca releases that the audience go crazy for, as the familiar surfaces and merging some of the UK’s most loved classics from the likes of Dizzee Rascal and The Streets contribute in bringing back the rudeboys’ present to throw up the gun fingers with MC T-Man on stage. Bursting out with their influx of heavy duty bass and striking a chord that as a unit, these producers’ have an undeniable flair for their practice with daring selection, ensures that My Nu Leng were welcomed back with open arms to the city.

Words by Yours Truly X

Review // Jon Hopkins @ Gorilla

I went and caught Jon Hopkins's 'Immunity' audiovisual show with Lone on a quiet and extremely sweaty Tuesday evening over at Gorilla, whilst avoiding all the Oxford Road influx of freshers'! My review is now live which you can read here or below!
Jon Hopkins @ Gorilla

After one of the most deserving Mercury Music Prize nominations in years – and his second in three after 2011’s Diamond Mine King Creosote collaboration – Jon Hopkins revved back into his forerunning role with Immunity, a true masterpiece and an impressive, cinematic statement of potency. The record manages to retain the essence of being reassuringly wonky, while Hopkins’s key training and lush production see him reiterate his skills as an electronic artist, like no other.
For tonight’s show, Manchester promoter marvels Now Wave are celebrating their fifth birthday, roping in Lone to play a punchy set of deep and exuberant techno – housed in a floating booth within the stage rigging, may we add – to open up the night’s proceedings. After an hour of hands-in-the-air grooving from front to back, Gorilla’s roof becomes a saturated sweat den as punters shuffle expectantly for tonight’s headliner, cramming into any discernible inch of floor space they can. From the instant Hopkins sets his Kaoss pad hubs alight, constructing his signature fuzz and loops of analogue hardware circulations, you can sense a warmth, a glowing energy being transitioned to a thrilled and valued audience.
As Open Eye Signal radiates forth over the throbbing system, Hopkins comes across as a tremendously modest and bashful individual, open and exposed to his audience rather than being shrouded away. When technical difficulties come into play and his system cuts out for a short amount of time, every hand in the room takes the opportunity to finally show their gratitude as rapturously as they can, Hopkins responding with a timid grin. He needn't be embarrassed: this crowd aren’t here off the back of a Coldplay affiliation or a Brian Eno collaboration. Make no mistake, they’re the vinyl purchasers and the connoisseurs who are aiding Hopkins in receiving the recognition and appreciation he deserves.
 Visuals are a prominent focal point, with enlisted artist Dan Tombs projecting viscous, lava-like, saffron liquids and rapidly multiplying bubble pools to inspire the mindset and conduction of Immunity; tones are harpooned by kaleidoscopic, vivid needles of colour, bleeding through the likes of Collider. While this attempt at cross-platform art isn’t fully integrated into the overall set-up, it provides an appropriate accompaniment, and when everyone is reading from the same askew page, it really doesn't matter. Here’s to Immunity and beyond.

Words by Yours Truly X