Glasgow is a city largely spoiled by its variety and wealth of high-quality club nights, and is home to crowds that are by turns both extremely discerning and fun-loving. It’s rare to find a UK city in which you can have a packed club absolutely enthralled by some of the most experimental electronic music in the world whilst making the dance floor heave and the ceiling drip with sweat. It’s a sensibility that makes Glasgow one of those cities that DJs rave about for their enthusiasm and wealth of knowledge, and the Clash x Palace x Zeroten presentation of Kuedo and Shackleton was no different. It was fitting that the generously sized basement club and its barren concrete was sparsely light and chilly on entry, as tonight was all about building the heat – slowly, intensely, but surely.
First to step up on the night was Glaswegian DJ Mark Maxwell, who set a particularly high standard in the early hours with his seamless technique and selection. Having worked with the late great John Peel on his radio show and filled the role of resident DJ at respected local club night Electric Eliminators, who were the first to bring the dubstep sound to Glasgow in its early youth in the early to mid 2000’s, Mark Maxwell is one of the UK’s best kept secrets. His tastes take a multitude of winding paths through the most sublime recesses of ambient electronica, techno and dubstep with the sensibility of a passionate and sincere curator, and surely deserves a wider UK or international audience for his talents.
Maxwell was followed up by graphic designer turned producer Konx-om-Pax, whose debut LP ‘Regional Surrealism’ was released this summer on Planet Mu to widespread critical acclaim for its ethereal journey through experimental electronica. It’s always best to expect the unexpected with him though and this DJ set was a case in point, as he tore through acid house, disco and techno with playful flair and the occasional well-received slip up, and got the crowd moving on a night designed largely for the serious type. Finishing on the Chic extended remix of Carly Simon’s ‘Why’ was greeted with wide eyed appreciation and a sing-along from the crowd, who probably didn’t anticipate a disco edit of 80s pop getting dropped any time tonight.
As the reverb from Konx-om-Pax’s last selection faded out to warm applause the mood took a dramatic turn with the first of the nights two headline acts Kuedo, the Berlin-based producer whose debut ‘Severant’ promised – and delivered – one of the most intriguing and atmospheric albums of 2011. His productions are so indebted to the science fiction cinematic aesthetic, most widely aligned with Tangerine Dream and Vangelis, that it was more than fitting that his live set be accompanied by a specially-designed live AV show, undertaken by Berlin based audio/visual group MFO and led on the night by Lucy Benson.
Although light on the hardware his live show was utterly enthralling, as Kuedo was subtly enveloped into MFO’s projections of fractured light on the wall behind; waterfalls of shadow and kaleidoscopic blinding light rippling across the stage and synchronised with the synthesiser-led compositions of Severant cuts, which were woven together with a finesse and intensity that few live shows manage to command. The most dramatic movement was the splicing of his latest single ‘Work Live and Sleep In Collapsing Space’ into the more delicate pieces, its rolling bass and eerie, rapid-fire percussion pounding like bursts of thunder across the dance floor to enthusiastic cheers from the crowd.
The mood once again shifted when Shackleton took to the stage and thankfully the gripping atmosphere built by Kuedo remained, as anticipation for Shackleton’s live show was palpable. It had been nearly four years since he’d brought a live show to Glasgow and even though memories of his previous performances had set a high standard amongst the relatively familiar crowd, Shackleton did not disappoint. It was an exquisite hour and a half from the Yorkshireman, who largely avoided his early seminal work on Skull Disco for more recent material from his Woe To The Septic Heart label and ‘Music For The Quiet Hour/The Drawback Organ’ EP releases, which are easily his magnum opus’ of boundary-melting, entrancing productions.
The years since the initial dubstep explosion have been extremely kind to Shackleton. It would be a more than fair observation to make that he is one of the most original, fascinating and talented producers the UK has produced in the past ten years, and the crowd rhythmically dipped and swerved across the dance floor in full knowledge of this, lapping up the unusually up-tempo offerings from the man himself right until the lights went up to rapturous applause. Overall, the well-curated bill allowed the night to be at turns serious and hypnotic whilst allowing the crowd chances to breathe and move amongst the live sets, reflecting on their techniques and styles in the moment whilst also being entertained – a rare treat.
Photo Credit: Dasha Miller
Words by Lauren Martin
Hip-hop is on a constant lion-like quest for fresh feed. Through periods of ‘talent famine’ it will feast indiscriminately on what’s new. But 2012 has been abundant and so it’s had the opportunity to taste the rich man’s acquired meats. Danny Brown’s jaw grinding toughness, the California sun-dried jerky of ScHoolboy Q and the slow baked ‘Mysterious Phonk’ of SpaceGhostPurrp. What’s missing this year is a collaborative Italian anti-pasti platter.
Such is his domination, it’s unbeknownst to some that the A$AP emblem isn’t his personal epithet but indicative of his collective, A$AP Mob. The collaborative mixtape ‘Lord$ Never Worry’ begins with an affirmation to those ignorant of this and maybe even an oblique apology for his solo excess ‘Rocky where you been?’, I been thuggin’ with my team, hoe’. This album is a chance to prove that talent is the collectivising force of the group, not some false sense of strength in numbers.
It is proved but only in a levelling sense. Rocky is ‘here’, but the other’s are seated somewhere in an, albeit comfortable, purgatory. They don’t all possess the same understated flash at the mic as Rocky. A$AP Twelvyy could be an exception though, as he finds a way to rise above this no-where realm and level up to dominating araabMUZIK production on ‘Y.N.R.E’. The freelance addition of the mob’s contemporaries, namely Danny Brown with his Tourette’s like spouting (which is however deceptively thought out) on ‘Coke and White Bitches’, helps lift the album above mediocrity.
But the definitive factor of ASAP Mob, and the best hip-hop collectives, is an all- encompassing in-house strength. A$AP Ty Beats is the mob’s producer, responsible for the SpaceGhostPurrp featuring Rocky track ‘Purple Swag’. On ‘Lord$ Never Worry’, he re-illustrates his mellow sounds, analogous to the group’s drug of choice, codeine, on ‘Bangin’ on Wax’ and ‘Gotham City’.
It’s been a while since the focus was on hard-hitting, unashamed production. The success of ‘Lord$ Never Know’ is testament to these talented producers more so than it’s lyrical terror, whether it’s the aforementioned araabMUZIK’s and Ty Beats additions to Silky Johnson’s cloud-hop influences on ‘Thuggin Noise’. A savoured moment for east-side hip-hop fans will be Clams Casino produced ‘Freeze’, which sees Harlem’s anti-protagonist Jim Jones return with his geographic and now artistic neighbour. Though possessing tired spots, ‘Lord$ Never Worry’ is helping to re-circle this, up ‘til recently, artistically deserted city.
Words by Michelle Kambasha
Bestival is set to be live streamed on the web – the first British festival to do so.
The team behind Bestival have always been open to new ideas – the more outrageous and unwieldy the better. So when a few international festivals began experimenting with live streaming it was only a matter of time before Rob da Bank & co. upped the ante.
Returning next weekend, fans who can’t make it to the Isle of Wight will be able to watch a variety of performances live on the web. Artists confirmed include Florence & The Machine, New Order, The xx, Friendly Fires, Two Door Cinema Club and more.
A quick quote from Rob da Bank:
“I’ve been watching festivals such as Coachella and Tomorrowland on YouTube and loving the futuristic new angle on showing festivals in a different light via a medium that nearly everyone in the music and festival worlds is tuned into. We’re really pleased that Bestival is the first UK festival to go down this route”.
Follow Bestival on YouTube HERE.
Bestival runs between September 7th – 9th.
Stevie Wonder / Florence + The Machine / New Order / Sigur Rós / The Xx / Friendly Fires / Nero / 2manydjs – Live / Soulwax / Justice Live / Two Door Cinema Club / Hot Chip / Miike Snow / Bat For Lashes / Emeli Sandé / Orbital / SBTRKT / Warpaint / De La Soul / Roots Manuva / Major Lazer / Sister Sledge / Gary Numan / The Horrors / Spiritualized / Death In Vegas / Doom / Ben Howard / Michael Kiwanuka / Sub Focus / Azealia Banks / Alabama Shakes / Dan Le Sac / Scroobius Pip / Saunderson Feat. Inner City Live / Gallows / Kate Nash / Rizzle Kicks / Totally Enormous Extinct Dinosaurs / Earth Wind & Fire Experience Feat Al Mckay / Buraka Som Sistema / Sage Francis / Grimes / Bellowhead / Django Django / Little Dragon / Gold Panda / Adam Ant & The Good, The Mad And The Lovely Posse / The Cuban Brothers / Top Cat Featuring Sir Coxsone Outernational / Chairlift / Disclosure / John Foxx And The Maths / Summer Camp / Iceage / Ren Harvieu / John Talabot / Lianne La Havas / Delilah / Alunageorge / First Aid Kit / Gesaffelstein / The Correspondents / Daughter / Zulu Winter / Ane Brun / Friends / King Khan And The Shrines / The Japanese Popstars / Chas & Dave / Dub Pistols / Kindness / Factory Floor / Charli XCX / Errors / Lucy Rose / Skepta / Sunless 97 / Sleepy Sun / Congo Natty / King Krule / Toy / Dirty Beaches / Drums Of Death /Jessie Ware / Jeffrey Lewis & The Junkyard / General Levy / Lucky Elephant / Slagsmålsklubben/ Jaipur Kawa Brass Band / Field Music / Jinja Safari / Kawa Circus / B.Dolan’s Church Of Love & Ruin / James Mccartney / The Coronas / 02:54 Porcelain Raft / Milagres / Three Bonzos And A Piano / Prince Fatty / Liz Green / Forest Swords / Willis Earl Beal / Murkage / Alt-J / The Staves / Jake Bugg / Skinny Lister / Josh Kumra / Ryan Keen / Stay+ / Jamie N Commons / Nina Nesbitt / Bigkids / Gabrielle Aplin / Kwes / Gush / Diagrams / Fiction / Turbowolf /Mary Epworth / Wet Nuns / The Other Tribe / Beans On Toast / Misty’s Big Adventure / This Is The Kit / Stealing Sheep / Clock Opera / Young British Artists / Patterns / Ghost Outfit / L.A. Salami / To Kill A King / Dingus Khan / Crowns / Killaflaw / Barker & The Red Clay Halo / Parma Violets / Gorgeous George / Subgiant /Heath:Ward /Laurel Collective / Ahab /Gecko /Model Society / Tom Williams And The Boat / Daytona Lights / Two Jackals / Biederbeck / Valentine Gray / Charley Macaulay / Sky Sphere / Blackhouse Crow / The Lovely Eggs / St Spirit / Charming / Alonestar / Shepherds / Cherishport / Seán Mcgowan / A Way Of Life / This Way Up / The Widowmaker/
Rob da Bank and Friends: Annie Mac Presents / Four Tet B2B Caribou / The 2 Bears / David Rodigan MBE Presents Ram Jam / Jamie xx / Skream And Benga Feat Sgt Pokes And Youngman / Dirtybird Showcase Feat. Claude Vonstroke, Justin Martin & Eats Everything / François K / Brodinski / Moodymann / Gilles Peterson / Redlight / DJ Yoda / DJ Derek / Bassnectar / Maya Jane Coles / Scuba / Kavinsky / Julio Bashmore / LTJ Bukem / / Shy FX And Stamina Mc / Plastician / Matador / Greg Wilson / Doctor P / The Nextmen / Hip Hop Karaoke / MC Wrec / Pearson Sound / Adamski / Borgore / Flux Pavilion / Max Cooper / Gemini / Krystal Klear / Pangaea / Reggae Roast / Billy Daniel Bunter / Pariah / Trolley Snatcha / Krafty Kuts / Warm & Electric Minds / Scratch Perverts / Koan Sound / Camo & Krooked / Giles Smith & James Priestley (Secretsundaze) / Mosca / Numbers Showcase: Oneman B2B Jackmaster, Deadboy, Spencer, Redinho / B Traits / Ben Ufo / PBR Streetgang / Jaguar Skills & His Amazing Friends / Drums Of Death / Blawan / Frank Tope / Leo Zero / Dismantle / Gutterslut / Melé / Girl Unit / Zomboy / The Good Guys / Luv*Jam / Dr Alex Paterson / Chris Coco / Pete Gooding / Phil Mison / Mark Jones / Duff Disco / Sonnyji Presents Bang Bhang / Danny Whitehead / Mixmaster Morris / Police Rave Unit / Sombrero Sound System / Rev Milo Speedwagon / Graeme Fisher (Balearic) / DJ Cable / Foamo / Shepdog / The Shellac Collective /Flying White Dots / DJ Charge / Pathaan / Mojo Filter / Fear Of Theydon / Tythe / Sink The Pink / George B / Kaf-Tan / Soft Rocks / Michael Cook / Chris Tofu / Ben Hoo / [email protected] / Low-Fro
Brainfeeder Presents Thundercat, The Gaslamp Killer, Teebs, Lapalux, Jeremiah Jae, DJ Kutmah
Channel One Sound System
Creamfields organisers have posted the full information for ticket holders seeking a refund.
Ending in a sea of mud and dirty water, Creamfields organisers opted to call off this year’s event close to the half way mark due to mounting fears over safety.
More than two weeks of rain fell in one night, rendering some spaces of the site impassable. Taking time to gather all relevant information, Creamfields decided to delay any decision on ticket refunds until all parties had been contacted.
This afternoon, Creamfields organisers took the decision to post all relevant refund information. A statement from the festival reads:
“Firstly we’d like to apologise for the delay in getting these details to you, we do understand your frustration however, there are several parties involved and it’s taken a little longer than anticipated to pull all this information together, rest assured this has been a top priority for us. As promised a refund will be issued on all Sunday Day Tickets and part refund issued on all camping tickets scanned on entry for all those who have purchased through one of our official ticket agents (either online or by telephone)”.
Here is the full breakdown of refunds:
Ticket Type Original price paid Refund Amount
Earlybird 2 day Camping 100.00 50.00
Earlybird 3 day Camping 120.00 50.00
Standard 2 Day Camping 115.00 57.50
Standard 3 Day Camping 135.00 57.50
Standard 2 Day Camping 125.00 62.50
Standard 3 Day Camping 145.00 62.50
Standard 2 Day Camping 135.00 67.50
Hospitality 2 day Camping 220.00 110.00
Hospitality 3 day Camping 250.00 110.00
2 day non Camping 115.00 57.50
2 day non Camping 125.00 62.50
Sunday Standard 60.00 60.00
Sunday Standard 65.00 65.00
Sunday Hospitality 110.00 110.00
Further enquiries should be addressed to: [email protected]
If one of the defining aspects of postmodern art is the integration of various media forms to create a multi-media spectacle , then iamamiwhoami is the definition of the postmodern artist. In late 2009, short video clips began to appear on the internet referenced only by strings of numbers corresponding to letters of the alphabet. They were art pieces, to say the least – the ambient electro and fragmented vocals providing a sonic backdrop to surreal landscapes and images of seemingly random animals. In each one, the identity of the female performer was concealed with macabre and highly theatrical make-up, costumes and camera work.
With the second series – similarly intriguing, disturbing videos whose one-letter titles spelled B O U N T Y – there was a progression into full-length songs. The mystery artist was not just preoccupied with the ambient and avant-garde, but could write structured, highly listenable songs, too. This structure did not detract from the fluid nature of the work, and the revelation that iamamiwhoami was the project of Jonna Lee and producer Claes Björklund did nothing to dispel the aura of mystery surrounding them.
With first full-length, multi-media album, kin, to be officially released on September 3rd (videos for each track are already available on YouTube), Clash was determined to discover a little more about the elusive Jonna Lee, and ended up with more questions than answers.
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You’ve said in interviews that you initially concealed your identity because you weren’t sure what you wanted iamamiwhoami to be. How did you feel when you finally revealed who you where?
I wanted to create undisturbed away from the noise together with my collaborators. It was necessary to work in the quiet for iamamiwhoami to be able to continue to have a life. My identity was not hidden but neither articulated by me because what is relevant is the work we have done and the audience reflection of my identity.
Why is it important to retain an element of mystery?
There is no need for over articulation. Our audience is clever and I know their capacity. Their interpretations of what we do shape the course of the story.
Do you regard yourself as a performance artist, musical artist, video artist or artist?
I’m leaving that up to others to articulate.
You seem to be fascinated by the ephemeral and the fluid – in structures, identities and also sonically. Is this how you interpret the world?
Challenging the conventional shape is necessary. The fluid brings new life.
In your videos you explore the grotesque, carnivalesque and the uncanny – where do these images and ideas come from?
The instinctive human behaviour is fascinating to me as well as to my collaborators. So is raw emotion as well as no emotion. The contradictions in our nature are many.
In the Bounty series there’s a dramatic juxtaposition between the natural and the manmade.
Was this a conscious decision?
Yes. They represent two different realities.
Is the visual aspect as important to you as the musical element? Are the two separable?
The music is our foundation. The visualization of the music is an extension of it. Blending them together they create a new way of communicating for me. ‘kin’ can be experienced either sonically, visually or merged depending on what is preferred.
Can you tell us about the dancing yeti in ‘Sever’? Is it an exploration of self and other, or something completely different?
It represents a part of me and most others. Life with it is very much a delight. I have experienced the consequence of living without it. Which has the greater cost?
Do you ever throw in motifs, themes and images for the sheer hell of it, or does everything have significance?
Everything has its purpose. Sometimes the simplest setting can have the greatest meaning. What meaning my purpose has to you will differentiate in proportion I suppose.
What are stranger, your dreams or your video art?
It’s often difficult telling dream from reality I find.
What inspires you?
The world we have built around iamamiwhoami is solid. I feed off of that. Working without creative boundaries is a prerequisite for iamamiwhoami. That takes me places.
There seems to be a lot great experimental electronica and avant-garde-inspired music coming out of Scandinavia at the moment – Fever Ray, Jenny Hval, Hanne Hukkelberg… Why do you think this is?
The northerners are breaking out of their shells I think. So likeminded people that have similar references share their good work.
You’ve described ‘kin’ as your child, the result of 9 months hard labour. Will you love your next child in the same way?
All my creations are all equal to me. The question is – who is its next of kin?
Words by Theresa Heath
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‘kin’ is set to be released on September 3rd.
Lambchop have posted a wonderful, intimate live clip of Kurt Wagner performing ‘Buttons’.
Lambchop are true artisans. Each record seems to emerge from years of hard graft and inspiration, with Kurt Wagner leading the collective through multiple shifts in artistic direction.
Recent album ‘Mr M’ was a case in point. Emerging from a period of seclusion, Kurt Wagner took inspiration from the visual arts, while some material was almost painfully autobiographical.
This afternoon, long time home Merge posted a rather beautiful video. Shot almost three years ago at the label’s 20th birthday celebrations, it finds Kurt Wagner performing alone in a barbershop.
Brushing through ‘Buttons’ long after the party had quietened down, it’s a genuinely gorgeous rendition.
Watch it below.
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Lambchop have confirmed a full European tour. Alas, there are no British dates but if you fancy travelling to the continent then the entire list of dates can be found here.
Two Door Cinema Club have posted the first two clips from a new documentary about the band.
It’s a big year for Two Door Cinema Club. The band’s success has been gradual, with debut album ‘Tourist History’ takes its time to scale the charts.
Follow up album ‘Beacon’ has now time to waste. Out on Monday (September 3rd) the full length will be supported by a quickfire tour, which now includes a one off acoustic set at HMV’s Oxford Street shop.
Two Door Cinema Club will perform at the London venue on September 3rd, playing a stripped back set. Spaces will be limited, but the band are planning to hang around after for a signing session as a bonus for fans.
Meanwhile, the trio have also confirmed plans for a new documentary. Shot by Gregg Houston of Babysweet Productions, ‘What We See’ follows the band around Europe as they play headline shows and festivals.
Watch the first two instalments below.
Gossip have unveiled plans for a new remix competition, in which you could win $1000.
At its best, the internet can be used to demolish any barrier between performer and fan. So when Gossip decided to launch a video remix competition, the band opted to involve the people who know them best.
Uploading the video for ‘Move in The Right Direction’ the band are inviting people to interpret as they see fit. All you need to do is download the original clip, and then use the green screen footage in the download link to create your own video.
Finally, upload the video to YouTube and keep those fingers crossed – at stake is the hefty sum of $1000.
Not sure how to use Green Screen? Gossip have pointed out a handy, free to stream tutorial HERE.
Watch the video for ‘Move In The Right Direction’ below.
The past decade has born witness to a silent revolution.
Once upon a time, any artist outside the Trans-Atlantic drift was shunted down into the ‘world music’ section – a dark, dank, dusty corner of your local record emporium. Now, though, the most influential blogs are re-discovering African music while audio globe-trotters such as Vampire Weekend invite a generation of guitar groups to search beyond The Beatles ‘n’ The Stones.
In its own small yet influential way, Africa Express has played a major part in this. A decade long series of concerts and live events, the organisation has encouraged Western and African musicians to collaborate, swapping influences and tapping each other up for new ideas. Organising a full length tour – on a train, no less – Africa Express is set to steam across the country this Autumn, a physical example of a much under-stated shift in musical influece.
Invited to hop on board, rising songwriter Kyla La Grange is both excited and surprised at the prospect of the train-bound tour. “It sounds like a really brilliant idea!” she says, before breaking down into laughter. “I can’t even begin to imagine how it will work but I’m sure it will come together”.
“My dad’s Zimbawean and my mum’s South African, so whenever we’ve gone over there – it sounds like a cliché – music is a much more visible thing in Africa than it is in England” the young songwriter continues. “People just sing all the time, whereas over here you only sing when you’re on your own in the shower. It’s a nice thing to kind of get people more familiar with it over here”.
Not that Kyla La Grange is despondent about the fate of music within British life. “I think that there is kind of an element of that in Britain – or rather there used to be – in the folk tradition” she muses. “When I was little my parents used to take me to folk festivals in England, just little ones, and you did get that there. People just sitting on the grass singing songs to each other. I think – especially in somewhere like London or any of the big cities – you’d just be completely laughed at for doing something like that. It’s a shame, really”.
Not that her passion for music as a communal phenomenon can placate her nerves, though, as Kyla La Grange readily admits. “I think I’m very nervous.. I’m not very good with big groups of people because I tend to get a bit shy so I’ll probably have to get over that quite quickly!”
One of the year’s most hyped newcomers, Charli XCX has also been invited on board Africa Express. Part of an ever broadening circle of musicians taking part – the latest announcement included Gilles Peterson, Gruff Rhys and Maximo Park doncha know – the young English artist is eagerly awaiting the opportunity to step outside of her comfort zone. “I think it’ll be really interesting for me, because I’ve never worked massively outside my genre before” she explains.
“It’s going to be really interesting for me to collaborate with so many people in such a short space of time. To get a taste of music from a completely different part of the world – I’ve never really done that before, so that’ll be really exciting!” she exclaims. “Bringing that music to people like myself who never get exposed to it anyway. I definitely think it’s a brilliant project”.
The open-ended nature of the project seems to be what excites the musicians taking part, even if it causes a fair amount of trepidation. “To be honest, I’m going in with the most open mind that I can. I just want to make sure that I can get some energy across and that we all manage to write some amazing music” Charli XCX explains. “I’m completely free doing that whole experience. I want it to be an amazing learning experience for myself, rather than trying to pin down any collaborations or anything like that. I’m just thinking of it as an awesome opportunity. I just don’t know, I’m going to go into it and let loose, see what happens. It could be absolutely terrible for me, it could be amazing – I really don’t know”.
Ghanaian rapper M.anifest is a long time support of African Express, having taken part in a series of Parisian shows back in 2010. Musing on the project’s impact, the MC points to a more general trend – the opening up of Western ears towards the new sounds of Africa. “There’s a big appreciation, there always has been” he explains. “But I think what has changed most significantly in my mind is nowadays, people do not look to hear the sound of 1920 or 1960. We are more open to hearing the contemporary sound of Africa. There’s a new wave of African music, it’s not static. So I think people have been exposed more to that in the last decade or so…from the hip-hop influences, to the indie rock influences to Afrobeat influences. People are beginning to see, going from D’banj, to Nneka to hip-hop artists from Ghana. There’s a new wave of African music that’s still connected to the past but still very forward-looking”.
Part of the African contingent on the new project, M.anifest knows the impact that these collaborations can have on the artists involved. “Being able to perform with Femi Kuti, then have Damon as well… it was just one hell of an experience. And from these experiences, I ended up working with Damon and Tony Allen and that was an excellent, excellent experience” he says. “I spent the week in London and it was basically just experiencing a situation with people who are very inspiring and have been doing this for years and finding new ways of doing exciting music and also music that I’m familiar with, having African grooves”.
Finishing, M.anifest emphasises the impact these concerts will have on both the audience and the musicians. “It’s an opportunity to get introduced to very inspiring musicians, that is one of the most valuable things” he states. “Because even though people get to see the shows are going to be excited in seeing these unexpected collaborations, they do not realise that for most musicians on tour is that it’s surprising and exciting to have these unexpected, unlikely collaborations happen. So that’s part of the excitement, in being introduced to new music and forming a synergy, an instant synergy and creating this musical feat that everyone’s enjoying onstage and offstage”.
Africa Express dates:
3 Middlesbrough Town Hall
4 Glasgow The Arches
5 Manchester The Ritz
6 Cardiff Solus
7 Bristol The Big Top (Creative Common)
8 London Graniary Square (King’s Cross)
Martha Wainwright has filmed an intimate performance of ‘Proserpina’ – the final song written by her late mother, Kate McGarrigle.
The Wainwrights are a musical family. Like any family, they’ve had their troubles – most of them thereafter turned into celebrated songs – but they do tend to stick together.
The loss of Kate McGarrigle has brought about numerous tributes, with the Wainwright matriarch being celebrated by several special events. Now a new video has emerged, featuring Martha Wainwright performing her mother’s final song.
‘Proserpina’ re-counts an ancient tale about the creation of the seasons, and Martha Wainwright adds a palpable emotional edge to the song. “It’s the last song my mother wrote, and of course I also think that she wrote it for me, and for Rufus” she said recently.
“We wrote songs together, ever since we were children. As we sing her songs, I think her voice can be heard in ours, literally through our pipes.”
Shot by film maker Matthu Placek, you can watch the deeply personal clip below. (via NowNess)
Hankies at the ready…