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.
My love for The Cure has been pretty well documented on this blog, so it should come as little surprise that when I came across this albeit rough re-edit from Rayko, I just had to share it. A dark and dirty take on the already twisted and irksome 1989 single from Disintegration("The best album ever"), Spaniard Rayko has re-spun "Lullaby" with a miasmatic mixture of baleful bass and septic sound effects.
Running more than twice as long as the original Gothic genius, the extended intro of this mix allows for Rayko's reconstruction to take hold in your head, still primarily led by the guitar grooves. However this is the first time fans of The Cure will likely be critical of the mix, as the new rattling bass and punchy percussion push the unmistakable lead of "Lullaby" deeper into the mixture of sounds. That said its familiarity never entirely evaporates but rather, near the 2:30 mark, the mix (led by web-spinning synth effects) becomes cleaner and clearer, running closer to the original.
Unfortunately, this does not last long as once Robert Smith's eerie vocals come in, the mix is once again muddied. I will say however, that this could be an artistic choice that is meant to mesh with the murkiness of the drug themes and metonymy of addiction and depression in "Lullaby." It's likely Rayko has pushed his "Poison Re-Edit" this way and certainly, from that perspective, it is successful. I cannot be upset with this edit. At worst it is a welcome reminder and cool creative take on one of my favourite Cure tracks; at best, an ingenious effort that builds upon The Cure's killer, cannibalistic "Spiderman." FOLLOW RAYKO: FACEBOOKSOUNDCLOUDTWITTER
For today's Throwback Thursday post I'm going to do something a little different. While this track is over seven years old, I had not heard it until this week and almost mistakenly credited as new in this week's episode of Bump In The Hump. Apparently Main Course had been updating their Bandcamp page and, as a follower, an email arrived in my inbox. Instantly falling for the b-side "Undertow" I gobbled up the download and dropped it into the mix. However upon further inspection I realized this was the debut release from the now prolific Main Course. So instead of spinning it on air I'll gush about it here.
Known for their remixes, The Slow Waves broke through with this beautiful 2012 original that feels more like an 80s track, especially with its undeniable soundtrack quality. And it is this cinematic quality, and the soundscape that it enjoys, that has me so hooked on "Undertow." Throughout the course of the track, and not just because of the guitar riffs, I'm reminded of the opening number of perhaps my favourite album of all-time, The Cure's 1989 classic Disintegration.
Just as "Plainsong" opens with a long intro, "Undertow" washes you clean of expectation and readies you for the baptism of bliss that awaits. Once the track does indeed kick into gear, you are immediately sucked into its stirring strength as the guitars and synths fill you with a sense of ease and serenity. And if I can go further towards The Cure connection, it is this same feeling that rides throughout Disintegration. Their troubled waters suck us into their grasps, however we are alright with this reality, feeling at home in this helplessness. It is our fate and we are more than at peace with it, we are truly in love with it.
It's Sunday but it's also a long weekend in most places, which means you may be tired, but you may also be headed out again tonight. With that in mind I've put together a list of extended dance type tracks, old and new; just some of my favourites these days.
Again I've turned to Spotify as most of these tracks are not on Soundcloud, but unlike my new music playlists I've put these in a 'cohesive' listening order. It starts with more throwback disco/dance grooves, with legends like The Cure, Barry White and a repacked version of The Stooges. Then we get two of the hottest dance tracks of the moment with Peggy Gou and Offaiah, before hitting the finale of Snarky Puppy. That track, "Lingus" is by far and away my most played track in the last few months and I still can't get enough of it. It is the oddball in this list but I just needed to share it, and this felt like the right time to sneak it in. Hope this makes your Sunday and weekend more enjoyable. Cheers!
The last few Fridays I've been compiling playlists of new music for the weekend, so today I've decided to give it a name and make it a routine. I present the first proper edition of Enlightened Listening. The name is a simple tie to the blog itself, which features all dance and electronic genres under the sun, as does this list and the others ahead of its naming today. I should also state that while I use the term enlightened, I'm not suggesting that each of these are the pinnacle of production but rather some creative cultivations on the endless road to musical enlightenment. So once again here we go, find the tracks in no particular order, note the free downloads marked by asterisk and reviews at the bottom.
NuKid - Hustlin'*
The more I hear from NuKid the more convinced I am that he sits atop the crowded crossroads of deep, g-, and bass house. The combination of grit, drive, and bounce of this track is mindblowing.
AOTA - D Sides*
Five classics (or soon to be classics) twisted to fit AOTA's particular brand of deep house. Likely your eyes are drawn to "Satisfaction" or "Bodak Yellow" and while they all deliver a good groove get your feet going, I'm most struck by the Borgore remix, which like the original goes ridiculously hard.
Robotaki - Limbo (ft. SHOR)
Seems like every new production from Robotaki raises the bar further and further. It's the perfect mix of T.E.E.D., SBKTRKT, Chet Faker and future bass when it was fresh coming out of Australia. Beyond beautiful, fantastically funky, smooth and sublime. Oh my days, might just have a little cry.
Max Olsen - Sub Zero (ft. JC)*
Expect to be moved by this one. Deep bass bonks and sweeping grooves. And how about those lyrics? SAKIMA - Death Is In The Air
Maybe it's just the album art but I can't get The Cure out of my head. There may be nothing I enjoy more than dark lyrics with bright uplifting grooves. This is gives new meaning to scary good.
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.
Bestival's Canadian cousin returns for a second Toronto edition with it's new Woodbine Park location, June 11th-12th. Friday they announced The Cure and Tame Impala as headliners, while the additional 33+ were named today. Once again Bestival can boast one of the most forward thinking, cohesive combination of progressive, boundary pushing artists, spanning a number of genres, while managing to cultivate an exquisite overall aesthetic. Last years engrossing aura tied everything together in it's omnipresence and is the only thing I think may suffer from this mainland edition. Crossing to the island last year was a rite of passage, inevitably invoking an unconscious suspension of disbelief as one stepped off their boat onto the island. The lineup however remains a draw for many different musical subcultures, yet again rivaling any other festival in Canada.
After TRC made their predictions Thursday, I was determined to buy tickets if The Cure were announced. Despite being woefully unaware of The Cure, apart from what local radio and Hollywood had pushed, (Friday, I'm In Love and of course Robert Smith's Not In Love with Crystal Castles) I found I couldn't get enough of "Halo" after hearing it in a car one fateful afternoon. "Halo" seemed to strike a chord with me and quickly became one of my favourite songs, but for some reason I didn't venture any further into The Cure's massive library, at least until South Park suggested it.
Taking Stan's word I listened to Disintegration one night on the bus ride from St Catharines to Toronto, and despite being between waking and sleeping it instantly became familiar and spoke to me through its incredible arc. It's become my go-to, after-the-club, come-down music, as I ride the red vomit comet home. So obviously I'm dead excited to see The Cure live in person; fingers crossed they play some amount of Disintegration.
Despite not going to Digital Dreams, one of my favourite sets from last year was Porter Robinson at the Monstercat showcase at Tattoo. I was moments away from going to bed and shutting down my computer when the my final twitter check discovered a live stream from inside of Tattoo. I ended up raving to the light of my computer screen for the next hour and a half, assaulting my keyboard, punching in the endless tracklist of awesomeness Porter dropped deep into the night. And although Bestival says he's doing a live set this time (see here), you can relive last year's rainy-day respite below.
Then of course are those that I've already seen but know play amazing sets, Madeon, Tchami, Anna Lunoe, Shaun Frank, Thugli, Pusher and HRMXNY. Much like last year I'm sure I'll have to make tough choices as to who I see when, and bounce between stages. If the comparison to last year holds true, I can only hope the weather is more like the second day, not the first. That being said, as long it's not cancelled in some way, it will have beat both Veld and Digital Dreams. I sense there will be more names added to the list and since the price of tickets never go down, the earlier you act, the less of a financial commitment you'll have to make. I'd be surprised if word hasn't got out about how good last year was, and if the biggest headache (the ferrying) is out of the way, tickets will likely be moving quickly.
