A couple of weeks ago I made my first trip to FOLD. It is another club in the city that has been called “London’s answer to Berghain” again and again – basically because it has a 24 hour license and a very stripped down, back to the basics ethos. Aesthetically I would describe it as extremely unassuming, which is kind of cool – in a concrete multi-story car park kind of way. The music is front and centre, so make sure you pick a night with a lineup you like. Since I went, it has been shut down; the council revoked its license due to allegations that “fraudulent funds” were involved in the purchase of “approximately £200,000 worth of high-value DJ equipment”. And then they reinstated the license, pending the trial of two people involved. What fun!
Anyway, I chose to go when Leon Vynehall had an all night set on. As usual, he was pretty great. This was my highlight from the set: it is house meets The Great American Railroad. Atmospheric beyond belief.
Bonus track: Leon himself released a new one last week as well. Here it is:
Laurence Guy’s last release was called Making Music is Bad for Your Self Esteem. Which is kind of sad. It’s also kind of odd. Because I feel like most people that listened to it probably said something along the lines of “Hey, Laurence! Great release!” or something along those lines.
Anyway, he’s back again with a mini EP, playfully titled Why Do Cowboys Never Die In the East? And I think this time maybe he has a point.
Anyway, he delivers 3 beautifully extended ambient tracks – if you have anything inside you that you want to release, this is the EP for you. Characteristically picturesque work that’ll take you on a journey.
More Laurence here.
Floating Points (nee Sam Shepherd) is not your usual music producer. What I mean by this is that he has a PHD in neuroscience. Anyway he has a new album, it’s called Crush, it’s out on Ninja Tune, and he created it over the course of 5 weeks having been inspired by his time supporting the XX on tour. Pretty sick all round really.
Two tracks to pick out. Les Aplx was the first single out. It is a really tasty classic Floating Points bubbling kind of number – think Nuits Sonores. It rolls straight into my top pick, Bias. Now this one is a little bit special. It starts off all chilling and foreboding and then sparks into life with a proper thump. A bit nerdy, but check out that pause-drop on 2:40. OOSH!
By the way, thank you for coming to read my blog. If you fancy a really well written review of the album you are in the wrong place. Head here -> https://www.residentadvisor.net/reviews/24333
In honour of Hallow’en, this track is a funky little bluesy creeper. Spooky.
Props to Dauwd for somehow including this track in his B2B set at Printworks.
I’ve been waiting for this one for a while. I hadn’t come across these guys before – a Glaswegian duo called Manakinz (James ‘Harri’ Harrigan and Max Raskin) – but what they’ve created is an absolute monster. It’s a grotty kind of house track with a spine-tingling, industrial kind of vibe. I’ll say it again, it’s a monster.
Shout out to Ben Gomori for getting this out on his label Monologue Records. Check out the rest of the EP for some freshness from Paxton Fettell and Kristy Harper.
First up, I can’t describe this new 3-track release by Dusky without loving on the name of the first track; Boris Borisson’s Trip To Morissons. I mean, what are they thinking? And why? I love it.
Anyway, to the music – it is another consistent (read, massive) release from the lads from London. It delivers just what you’d expect – some ethereal cords, some tasty nostalgic vocal samples, and some even more tasty breaks. Sharp.
A line paraphrased from the review on RA: Dusky deliver the “general feeling of roofs being raised”. And if you want to do just that, you’re in luck – join in for their 5th in a series of 8 hour sets at Mick’s Garage this Saturday. I can’t recommend them highly enough.
More Dusky loving by me here.
Here we have three quality edits on Sterns; the vocals of immensely talented Malian singer Nahawa Doumbia being given the treatment by Ben Gomori and Tom Jay. Rather good.