As a key player in the Manchester scene of the early 80s, and a current champion of the re-edit, disco sound, there isn’t a dancefloor Greg Wilson can’t get moving. That was until last year, however, when he took his live show up a notch and introduced a visual aspect, a stream of archive footage from decades past that he had personally collected. Now, the dancefloor was throbbing slightly slower as they stood transfixed by clips and snippets of bygone eras.
Like many in the UK, I was definitely not pleased to hear about the King Blues splitting up. Unsurprisingly, part of the reason was attributed to the band’s reluctance “to go through the motions like so many other artists do.”
Osunlade is a musician who has managed to combine his spiritual beliefs and his music in a way that is instantly accessible. His house music productions have a very organic feel to them with plenty of tribal and ancestral echoes that resonate with the soul, but will still have you dancing all night long.
In sad news for fans of ridiculous band names, The Morning Benders have this week revealed they will be doing away with their distracting moniker. A press release explained the band were distressed their name was demeaning to the gay community – a problem that conflicted with their wholesome mantra of “making music to reach and unite as many different kinds of people as possible.”
Droog have been pushing the underground sound in LA for quite some time – with legendary parties at the amazing Standard Hotel rooftop, along with consistently strong releases on their much-respected label Culprit. A quarter of the way into 2012, they’re playing gigs all over the globe and have a stack of new releases lined up for the label. I spoke to one of Droog’s members, Andrei Osyka, ahead of his appearance at Data Transmission’s Easter Party in Manchester this week.
More so than perhaps any other music strain, dance music is cyclical. Declared dead with alarming frequency, only to rise from the ashes to popular prominence, the merry-go-round of internal sub-genres is forever regurgitating styles and sounds that were previously pushed out.
I knew nothing of the Mexican house scene until discovering their BPM Festival, which takes place between late December and early January every year. Still, finding out about the festival did little to enlighten me about the music and it wasn’t until interviewing Richy Ahmed and he told me about a duo named Climbers that I really began to learn more about the thriving house scene. There seems to be a whole host of talented producers and DJs coming out of Mexico.
Scratcha DVA has never been one to follow suit. Whether it be the flamboyance and off-kilter movements of his grime tunes of yesteryear or his rampant ramblings as Rinse FM’s grimy breakfast show host. Since, he’s turned his attention to the production of his debut longplayer for Hyperdub, calling on such diverse talents as Vikter Duplaix and Muhsinah.
The voice of Asaf Borger echoes across a sparse room above a studio space in Battersea, telling the tragic tale of a man who died after getting raped by a horse.
New York singer/songwriter Andrea Martin is a real legend within urban music, responsible for penning some of the most memorable R&B classics of the 90s and beyond. From monster smashes like En Vogue’s “Don’t Let Go (Love)” and Leona Lewis’ “Better In Time”, to fan favourites such as “Wish I Didn’t Miss You” by Angie Stone, the hit maker is now signed to Roc Nation and recently collaborated with UK-based DJ Switch. Here she reminisces about her career, revealing how she’s written 30,000 songs and why En Vogue almost never released their iconic global hit.
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