Review // Sounds Of The Near Future @ WHP

Review // Sounds Of The Near Future @ WHP

Sounds Of The Near Future has had an enlightening, arousing roll-out as the latest collaboration between promotional messiahs Now Wave and the team behind the Warehouse Project, fetching crisp names in bass and house such as Henry Krinkle and Snakehips, to the city earlier this Summer. For their latest collaboration this season, Brainfeeder chief Flying Lotus made his welcome return to Old Trafford, bringing a significantly exciting chunk of his roster along for the ride with recurrent residents, making clear that the most puzzling dilemma of the night would appear in a puerile attempt to try and cram every desirable artist, into an achievable itinerary. With the double J’s of Jon K and Jonny Dub opening up Rooms one and two respectively, the latter jockey seemed the most logical point of call to cement ground, ahead of a prospective dense six hours. Walking into a consolidation of classic 90s Snoop mixed into Alicia Myers disco favourite ‘I Want To Thankyou’, a praise-worthy cocktail was granted to fortify the foundations ahead of Brainfeeder’s only UK signee, Lapalux, stepping up.
Stuart Howard’s live sets under his Lapa identity are always an experimentation to behold, adapting and evolving from performance to performance by incorporating a spectrum of R&B bootlegs and neoteric strategies, yet it was the technicalities on WHP’s part that were noticeably absent. Planting a strikingly impressive producer into a corner with minimal lighting and zero visual pieces, his performance already lost a spark at no fault of his own just a short while in- and where some of the most memorable parties may be discovered round the darkest corners, we must remember that this is Warehouse, where attendees want presence for their pounds and a full experience, with no corners cut. Despite the breach of optic stimuli present, Howard’s rousing extended introduction and a mind-bogglingly tremendous technique of infiltrating 2012’s ‘When You’re Gone’ with a hectic manipulation of Khia’s ‘My Neck, My Back’, not only raised the bar in an unconventional sense but also had a whole lot of eyebrows heading north, too. Bold, adventurous and downright brilliant, Lapalux managed to execute his spell with just the right amount of tongue-in-cheek satire and laudable commendation deserved.

Inbetween all the dancing and debauchery present, there is one obvious exclusion from the line-up that merch-clad hipsters in football jersey tees are close-to-weeping for; Zomby. He may be more well known for his obnoxious Twitter rants involving the lexicon of ‘Givenchy’ and ‘Cult music’, rather than his masterful earlier workings (‘With Love’ was a trap-heavy mess of fade-outs and uncalculated mechanisms), yet the fact that he was removed from the night’s bill without explanation or reason from the organisers, now appears to be another factor that comes part-and-parcel as each year rolls around, disappointingly through struggle.
 With Flying Lotus’s 2012 release ‘Until The Quiet Comes’ branching away from his hip-hop enticed work of the past, the secretive (at first) conception of all-rap alias Captain Murphy, formed within it’s trailing wake of intelligent psychadelia. As an exclusive debut European live show, little is known about the project apart from the occasional Earl Sweatshirt collaboration that fanatics that have been following across the blogsphere from day one, it could be described as a blessing in disguise that this venture has managed to remained enigmatic. Providing a punk-as-fuck aesthetic as one of the most forward-thinking hip-hop assemblages emerging in years, with an addition of bass-master Thundercat on band duties, Steven Ellison spits out dynamic bars with mean flow like we never envisioned, never mind the spoken word sections that collectively, are eagerly ready to hand 2013’s rap game a clear royal flush. Between hosting a terrifying finish of cackling after every turnout, Ellison shows us that he isn’t just an electronic-orientated multitude of excellence, his hip-hop roots stemming further, deeper and more superior than we ever observed before.
Inaugurating his revolutionary 3-D projection screen show on it’s sophomore trip to Manchester, the annexation of sprouting spider webs stretching forty-odd feet and musical manipulations of atmospheric, trippy proportions, further futuristic flair is propelled into his engineering soundscape. Taking a noble step forward to perform sectional vocals up-close-and-personal to his audience, tracks from past releases ‘Los Angeles’ and ‘Cosmogramma’ are mixed into ‘Another One Bites The Dust’, Drake’s ‘Started From The Bottom’ and various TNGHT snippets, moulded with mini-city metropolis illustrations, that add an essence of surprise improvisation. Mobilising a moshpit-inducing climax of his Odd Future acquaintances’ labour, FlyLo’s final run of this particular spectacle is a reflection of how tremendously esteemed for his production, knowledge and ear-to-the-ground philosophies’ he remains, leaving us swaggering out into the wee hours, quite literally, mindblown.

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

Review // Evian Christ's 'Trance Party' @ Corsica Studios

Last weekend I ventured off to London to catch Evian Christ tear up Corsica Studios for his introductory 'Trance Party'. It was sweaty, fun and there were new faces and old- my review is now live over here on Crack, or you can read the unedited version below...

Evian Christ's 'Trance Party' @ Corsica Studios

London, you never fail to stump me with the unexpected. As a Northern soul in the Big Smoke, I am often pooled in with the relentless incursion of tourists when asking for tube directions, not to mention encompassing a Scouse born-and-bread twang that makes any Cockney I come into contact with recoil in uncommunicative horror, just like I do when it comes to forking out a fiver a pint. Still, there is always a dusting of hidden beacons that summon us in exactly why we put up with the ridiculous congestion and annoyingly quaint wine bars on every corner, from time to time- and South East’s Corsica Studios is one of these glimmers of hope. Hot from lacing Mr. West’s ‘Yeezus’ with his ingenious expertise, Ellesmere-Port-boy-done-good Evian Christ enrolled in the likes of Jam City, Wanda Group and Arca to throw the first in his duo of ‘Trance Parties’, promising to detract away from the genre and coiling it all back to what ‘trance’ actually means.

After several hiccups involving group members falling off the wagon and step-in heroes missioning from the eternity-away zone four, no unforeseen obstacles could cast a cloud once inside the remarkably well-equipped venue.  With a roaring sound system that makes your bones shake as if you’re rolling down a hill implanted within the acoustics, the night’s curator bounced from his earlier status-cementing, hip-hop modified electronica, over to the snarling expletives of ‘I’m In It’ and teases of what we’re to expect for 2014. As hot-off-the-press ‘Salt Carousel’ was released into the web sphere only a day prior, it’s mind-boggling to contemplate the heights he actually has the ability to rocket to. The brutal bass, hyper-speed recitals and unforgiving rave synth slashes that echo as melodically accessible and ballsy, are not only insightful of where Christ is heading but also of the leap he’s made from indie-label bedroom experimentalist to, deservedly, globally-appreciated producer.

As the night plummeted further into the wee hours, developments from alternative guests only crept to more bizarre and delightful ranks. Take Brooklyn’s Alejandro Ghersi, or Arca as his haunting but crazily danceable mononym plays out, of as we enter through various curtains and almost sacrifice shoes to catch a glimpse of, thrives off the dance-floor frenzy he’s fashioned, spinning and gyrating behind the decks just as the hundreds of youngsters surveilling are. Then steps-up Night Slugs eccentric Jam City, following the fabulous care-free ethos that a guilty pleasure shouldn’t be guilty. Streamlining antagonistically throbbing techno with tropical edits of Drake’s ‘Started From The Bottom’ and Ne-Yo’s ‘Sexy Love’, the too-cool-for-school-boys find themselves slinking for the nearest lady that catches their eye and the gaggling drunk girls can’t help but swoon like it’s 2006 all over again. Oh, and any artist that manages to admirably insert ‘How Soon Is Now’ into what is dubbed a trance event causing admirable uproar, is an honourable revelation in our book.

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

Review // Indy Man Beer Con @ Victoria Baths

On a very rainy sunday, Georgia and I headed down to the Independent Manchester Beer Convention over at the phenomenal Victoria Baths to sample some ales. My piece will be live soon on Quays News but until then, you can read it below! Special thankyou to the lovely Jamie Hargreaves for hooking a Sister up!

Independent Manchester Beer Convention @ Victoria Baths

As a first-time attendee of the Independent Manchester Beer Convention this year, one could be easily reprimanded for their naivety in assuming that these events were awash with stodgy ales, poor pub nibbles and a population of middle-aged males' nursing their beer guts. Yet here in Manchester, the teams behind Common, Port Street Beer House and The Beagle have joined forces to present a four-day extravaganza of unique high-quality beverages, live music and an apex of local street food traders, to help soak up all that liquid indulgence. Held in the striking setting of the grade II listed Victoria Baths, the IMBC team managed to bring an element of alternative class, turning the Edwardian-era converted swimming pool into a bustling maze of interest.

With periodic features flowing rife alongside flags and bunting streaming wall from wall, we were nothing short of being blown away by the kitsch presentation, excellent organisation and brilliant value for money offered. With over ten tastings of your choice available for a mere ten pounds, we joined in with the noticeably unconventional crowd of attendees’ for the Sunday leg of the occasion, after a run of preceding sold-out developments. Being welcomed inside with a ‘grab-a-glass-and-jump-right-in’ attitude, as a multitude of locally and nationally-praised breweries presented their goods, specialists’ were also on hand to offer tasting sessions and an ear of advice for those of us who were uneducated in knowing the difference between the Kvasss’ and Weisses’ on offer. 

With mouth-watering offerings permeating their way through room two, the likes of smoky barbeque brisket, creamy mac’n’cheese and venison parcels for those with taste buds tingling for a more upmarket culinary delight, showcased that this event ran deeper than most in order to support resident companies, within the business. Take for example the stalls from Manchester native award-winners’ such as North Tea Power (roasting the perfect coffee to shake off those hangovers on the event’s final day) and winners of ‘Second Best New Brewery In The World 2012’, Magic Rock Brewing, hosting within the treasure trove of Turkish Baths; the variety available was mind-bogglingly impressive- and the entertainment didn’t terminate there. One of the country’s most burgeoning free publications, The Skinny, curated the weekend’s music portion, over in room three.

With DJ’s such as Andy Carroll and Rob Bright spinning the likes of Nouvelle Vague, alongside other continental delights, in order to get feet shuffling way into the evening, students of the Royal Northern College of Music also staged impromptu performances, injecting a sense of anticipation into the affair.
 What the Independent Manchester Beer Convention managed to exceptionally pull-off, was the forward-thinking approach and demeanour of something much grander than being presented on this scale, whilst also remaining loyal to it’s niche and breaking down the commerce to customer barrier. Sourcing every minute detail down to a tee, whether the full-of-character merchandise from artist Steve Hockett over to the intricate programmes provided free of charge, IMBC effectively bestowed elements of this ever-growing industry in a fresh and approachable light, overflowing with charm.

Words and Images by Yours Truly X