The frenetic world of electronic music is full of distractions and diversions, hindering the ability to find transcendent music. Let Oggie James be your guru and lead down the path to musical Enlightenment.
Album, song and event reviews, mixtapes, and radio shows, light the way to Enlightenment, conveyed by Oggie James.
We've made it through another week, and with that comes another edition of Enlightened Listening. Keeping things quick this week, I'll simply say that we've got a glut of great new releases from several of my favourites, including an 18-track album from Dance System that features India Jordan, Hudson Mohawke, UNIIQU3 and ABSOLUTE., and that's just the first four tracks! The playlist opens with awesome EPs from Rhett and Lindstrøm & Prins Thomas and continues with an incredible run of remixes around two collaborations from PAX & Gorgon City and Lee Foss, Detlef & Anabel Englund. Arranged for maximum flow, stream the playlist below and find each individual release at the bottom.
At some point today I decided I'd do a Throwback Thursday post and I tossed around a couple ideas, largely centered around incredible vocal performances. I thought about Gregor Salto and Funkin Matt's remix of Mariah Carey, Syn Cole's remix of Jennifer Lopez, Anabel Englund with Lee Foss and MK (either "Electricity" or "Ghost In The System") or MK's remix of HAIM. However as I listened to the latter on YouTube, my eyes were drawn to the name Julio Bashmore which reminded me of his work with Jessie Ware and in turn I was reminded of her track with Geeneus and Katy B.
Behold 2012's utterly breath-taking "Aaliyah." I'll start by saying that even on today's third listen, this time as the two divas sang live at Wireless Festival 2013 (see here), I was nearly brought to tears by the rush of endorphins as Jessie Ware came out for the second verse. These are two of my all-time favourite vocalists, both delicate and divine while remaining ridiculously powerful despite their restrained delivery. They both spin silky and sublime webs with their bewitching warmth. And it is this incredibly captivating and catchy quality that makes Geeneus' groovy bed such can't miss magic. The bounce is clean, crisp and beautiful. It flows fantastically through each verse and chorus letting its ever expanding luxuriousness lift up each vocal. This is never better noted than in the invigorating second verse in which Ware's whisper quiet vocals clash with the electrifying clicks and bleeps. There's no hope here but to give in to the groovy gorgeousness and bow down at the feet of this trio as they work their witchcraft/wizardry. The aura of "Aaliyah" is truly transfixing. Breath in its brilliance below.FOLLOW KATY B: FACEBOOKSOUNDCLOUDTWITTER FOLLOW GEENEUS: FACEBOOKSOUNDCLOUDTWITTER FOLLOW JESSIE WARE: FACEBOOKSOUNDCLOUDTWITTER
Manchester's Mason Maynard keeps turning heads. He's seen support from Pete Tong, Carl Cox, and Seth Troxler, just to name a few. When it comes to fans, he's hit the ears of many through shows at Hï Ibiza and the Warehouse Project; collaborations with Lee Foss and Green Velvet, originals on Sola and Defected; as well as an exceptional offering of remixes. Following closely on the heels of a beautiful Brian McKnight "Anytime" edit, Maynard has put his Midas touch on Elderbrook and Rudimental's magical "Something About You." Immediately injecting upbeat energy into the original with driving percussion, Maynard moves the vocals into a new sphere giving the track a much brighter feel.
As always I find myself more drawn to the full or extended version, and while the short edit pulls no punches, the six minute version allows Maynard's masterful drum delivery to dazzle. It would be brilliant to see performed live, if not just imagined in your head. The way it grows invites action from the listeners, easing you onto the floor as the waves of warmth wash over you. It is a masterclass in crowd movement and playful progression while never coming across as too demanding or over-wrought.
If you were a fan of the original, you should appreciate Mason Maynard's take too. It thrives through the same magic and allure, ultimately urging you into a double take, thinking "did I hear that right?" Yes, yes you did. This trio of talents come together in a fantastic fit, one you'll want to check out below. FOLLOW ELDERBROOK: FACEBOOKSOUNDCLOUDTWITTER FOLLOW MASON MAYNARD: FACEBOOKSOUNDCLOUDTWITTER FOLLOW RUDIMENTAL: FACEBOOKSOUNDCLOUDTWITTER
Justin Jay has done it yet again. Teaming up with frequent collaborators Josh Taylor and Benny Bridges, "Climbing Trees" is set to be released on Lee Foss' Repopulate Mars label. It seems a forgone conclusion that when this trio enter the studio together, something magical finds its way into our ears. Between the live instrumentation of Bridges on the guitar, Taylor's dreamy vocals and youthful yet philosophically driven lyrics, all combined under the guiding touch of Jay's astronomically awesome and engrossing production, "Climbing Trees" is the kind of song that gives you faith in the electronic music scene, and even humanity at large. Brilliantly beautiful and adventurous, it urges you to shed the stagnation of growing old, view the world through open and un-jaded eyes, and just live.
Take advantage of the beautiful weather, feel the grass between your toes, climb a tree and let your imagination get the better of you, just be sure to have some friends around for increased enjoyment.
My body is worse for wear, but my mind has never been so satisfied. This year's edition of Bestival exceeded even my grandest expectations. From Maddmon's opening set under the Big Top Saturday, to The Cure closing down the Main Stage Sunday, and all of the surprises in between, the ethos of BestivalIncrease The Peace rang true throughout. I've never been to any festival that can rival Bestival's family-friendly inclusiveness, genius curation and undeniably loving atmosphere.
I was disappointed to leave the island venue, in spite of the frustrating ferry service, but Woodbine Park actually ended up being as good, if not better than last year. The stages were significantly closer than last year, with a little bit of sound bleeding from the Big Top to the Main Stage; enough to cause Robert Smith to have his headphones at maximum volume, so he could stay on beat. The Bollywood stage was a brilliant reprieve, removed from the hustle and bustle of the rest of the venue. Even further removed, in a quiet, wooded corner of Woodbine Park, the Sunday Best Balearic Beach Bar was the ultimate chill zone for people to relax, lie under the shade of the trees and refresh your soul with therapeutic, ecstasy inducing vibes. Rounding out the Bestival atmosphere were a Dr. Suess-esque bicycle with dozens of drums and noise makers for people to play, the infamous Inflatable Church and Cosmic Commune, which hosted plays and other intimate performances. Standing on the hill that held the I<3BESTIVAL sign, you could take in all three stages with Toronto's skyline in the distance.
The sound system under the Big Top was quite simply bonkers, and although there were less 'bass acts' and less room under the tent (than the previous year), the lineup utilized it to the fullest with standout sets from locals Maddmon, Thugli, Shaun Frank, HRMXNY, and Pusher, legendary live performances from Porter Robinson and Madeon, banging bass from Smalltown DJs, 4B, Malaa, Unlike Pluto and Tchami, welcome changes of pace from Giraffage, Skylar Spence, Classixx and Thomas Jack. But the standout performance from the Big Top came from Reeps One, who absolutely blew me away with his unfathomably awesome beat-boxing skills.
The Bollywood Stage's visual marvel was only surpassed by its monstrous musical magnitude. Throughout the weekend I found myself going back to Bollywood more often than I had planned; its open air allure was led by an anything goes, never-ending dance-off. On my first journey around, exploring the festival grounds, I caught the end of Jonathan Rosa's set and the beginning of Rob Da Bank's which, apart from Lee Foss dropping MK's "Reverse Skydiving" remix, was my Bollywood highlight. Welcoming the early crowd, the Bestival founder led off with Prince's "I Wanna Be Your Lover," in perhaps the most fitting set starter possible.
What sets Bestival apart from other festivals, is its unwavering commitment to fostering rising and local talents, and showcasing acts that otherwise would not play Toronto festivals, especially alongside electronic acts. The Main Stage saw alternative, rock, new-wave and cross over acts from Tame Impala, Odesza, Jamie XX, Grimes and The Cure. It would be nearly impossible to put together a lineup that so perfectly bridges the gap between the sounds of the Bollywood and Big Top stages, while maintaining a slightly more rock focus. I don't know that the real EDM heads would venture from their bubble, but I can say that those five acts mentioned above strike me as the perfect stepping stones, to a wider appreciation for music and art as a whole. For in the end that is what Bestival does best, showcasing the infinite possibilities of art in all its forms, and expanding your mind.
I went to Bestival to see The Cure, among a number of electronic acts, but came away having rekindled friendships, met dozens of like-minded music lovers, and sharing in the experiences of a lifetime. I cannot wait for next year's edition of Bestival; if there were such a thing, I'd buy a lifetime membership.
My most anticipated weekend of the summer has finally arrived. Ever since Bestival announced their day splits, the buzz has been all about the Saturday lineup, and I plan on taking advantage of every second of it. I'm hoping I can manage to get up and arrive at Woodbine Park for the opening set, as I've been wanting to see Maddmon for some time, and his forthcoming BADLQQK track "Diagnose That" has cemented his status as a must see. Obviously I'll be spending a lot of my Saturday under the Big Top, only leaving for Joris Voorn and a touch of Bestival founder Rob Da Bank's set. Following Maddmon, one of my favourite duos Smalltown DJs have been on fire as of late, and I wouldn't dare miss them. My love for Thugli is also well established and I'm tremendously excited to see how they handle the festival atmosphere. Following a brief respite with Rob Da Bank, I'll be taking in Giraffage in hopes he'll be this years surprise act, energizing us with a second wind. Having already seen Shaun Frank, I've made the tough decision to take in Joris Voorn in his stead, in part because of latest remix of Florian Kruse & Hendrik Burkhard's "The Ground." I'll be back under the Big Top for the three-headed monster of Malaa, Madeon and Porter Robinson. I've also got my fingers crossed that I'll be able to catch one of those three at The Hoxton's after-party, specifically Porter as I hope to relive last year's Monstercat Showcase DJ set (the last track in the playlist below).
Of course the Sunday can also boast a number of big names, Dubfire, Tchami and The Cure headlining their respective stages, but after the most jam-packed day of likely the whole summer, it's going to be interesting to see how early I can get back to Woodbine Park. I hope to start my day once again under the Big Top, with either HRMXNY or Pusher, two great Toronto talents that are poised to explode. After that I'll be looking to the Bollywood stage for some Catz 'N Dogz and Lee Foss. But if you've read my post when the lineup was first announced, it is The Cure, ahead of all electronic acts that I'm most excited for this weekend. Once again I leave you with a playlist, and The Cure's full set from Bestival on the Isle of Wight back in 2011.
