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The Boat Race (Phil Mison Remix) - Various - Chill Out Free (CD)


F r anois Kevorkian is a living, breathing exhibit The Boat Race (Phil Mison Remix) - Various - Chill Out Free (CD) how dance music emerged and where its headed. And the Wave Music owners futuristic, uninching focus on good music is what keeps him ahead of the game. Not bad going considering his rst foray working a danceoor was back in the early s, playing live drums in Manhattan club Galaxy 21 while pal Walter Gibbons was DJing.

The other day, he says, he was in London and went home with a whole suitcase of dubstep records. As far as hes concerned, if you want to really learn about a certain type of music then you need to travel right to its source. And thats just what took him from France to New York in the s. Back home in his New York studio a personal space after winding down Axis years agohes currently working on a track with Juan Atkins while planning the next move for his brand new DJ agency Forward Management.

Despite his long-standing in the upper echelons of the DJ fraternity, Franois K continues to keep his ears open for fresh sounds, a break away from what he calls fast food music.

And for this special A Z of Electronic Pioneers issue were honoured to have his covermount mix attached to our front cover. Like eve- rything else Franois turns out, its put together with integrity and quality precision. In a word special. Have you thought about the kind of set youll play: will it be a dub- step set? Im really looking forward to it, as playing a festival is a completely different vibe to playing in a club, but I wont be playing dubstep. So youll be playing techno, then?

I very much enjoy doing that. Its nice, groovy, soulful techno with a very electronic, trippy edge but with very tough beats. Sometimes it goes more into a Brazilian avour, other times it gets more abstract and very minimal, and other times it gets into a very Detroit kind of vibe. Its got lots of percussion and lots of energy I love it. As this is issue is dedicated to pioneers of dance, who in your mind are real pioneers?

Please tell me you have Derrick May in your list? Hes very much a representation of the spirit of what made techno possible. Im talking about a living embodi- ment of it.

His way of putting records together was and is so unique. Yes, hes denitely on our list. So who else do you consider a pioneer? Larry Levan. Most denitely. And Walter Gibbons and David Mancuso. Those three people really were an embodiment of the vitality, the inventiveness and the spirit of experimenting and trying things out in a very unconventional way, which we had in New York in those days.

The dance music explosion happened in the UK after the whole summer of love, acid house and all that, but we had that at least 10 years earlier than you guys, here in New York, but the difference is that when it happened in the UK it became very global and spread out all over the place. When it happened in NYC it was much more localised here.

Of course, some of the records became very commercial, things like Saturday Night Fever and all that stuff. But that was the overground part. There was another part that was much more underground. And jazz. When you look at the playlists of what it was like before disco exploded youll see a lot more really underground records like Bohannans Lets Start The Dance or Wars Galaxy that are really hardcore, funky dance records.

Then when Saturday Night Fever came out suddenly all these producers like Cerrone and Georgio Moroder took it another step into the more commercial domain. The point is that a lot of clubs in those early days would play all of that and there werent so many bar- riers. A lot of places like The Paradise Garage or The Loft, they were really much more intent on playing whatever t.

Wherever it came from it didnt matter at all, as long as it t in the party and helped with what people were really into.

When did you realise that disco had shifted into something different and more exciting? I went to my friends club and he put on I Feel Love and I nearly fell on my face.

It was so incredibly futuristic, and like nothing else I had ever heard. It had all these crazy synthesisers that I liked so much and it was very danceable, powerful, simple and catchy. It was a thunderous moment. It really took things to another level in terms of dance music.

Up until then we were mostly hearing a lot of sweet strings and very orchestrated produc- tions or very raw funky or jazzy grooves or poppy records, but I Feel Love was like a shock. There was nothing else like it. And we all still play the record today.

I dont remember any other record ever having that effect on me. What keeps you at the head of your game after all these years working with dance music? Its not a formula. Its not like I wake up every day and work out a strategy.

However, on the other side of it, I detect that a lot of people dont listen to their own soul. They listen to what other people tell them is cool. What Im saying is, that as long as I stay open- minded theres always something fresh that comes along. I always nd something thats really stimulat- ing and special.

Its like a lot of people are really slagging electro at the moment, but I think its phenomenal. Theres a lot of crap records too but some of the good ones have really tapped into a certain sort of orgasmic rock intensity. Its the same with dubstep.

Its all about bass. Its about a new aesthetic on how to congure the post reggae dub movement. Then again, the sound is almost like techno with the groove slowed down in a reggae kind of manner with this huge, gigantic bass groove added in. How can I not be excited by things like this?! Two armadillos Nostalgia Tobias Remix Buzzin Fly This one is all about the claps and echoes for me, and a very hypnotic sequence.

Session never fails to deliver, here with that infectious stabby energy he is known for. Tedd patterson Shattered Wave Music Great beefy party track with a wicked bassline from Tedd Patterson that gets peepz amped up and asking to know what this gem is anywhere Ive played it!

This one is going to last me all summer. Deetron feat Ovasoul 7 I Cling Aril Brikha Remix Music Man Mr Brikha takes things in a slighty housier direction, but the synths arpeggios are sexy and along with the catchy vocals it never fails to get danceoors rocking.

Jeromes been on a roll recently and heres one more reason why. Mochi Orion WaveTec Good and steady driving grooves for the techno heads, and also a new artist discovery from Japan. Taken from his four-tracker debut EP on WaveTec.

Ralph Sliwinski Pox Box Sushitec Slick keyboard melody that reminds me of the rst chord from Mr Magic, but with lots more percussive techy attitude written all over it. Kyle Geiger Under Pressure Drum Code This one is squarely aimed at the techno heads with a pounding beat and churning synths that needs to be heard at around 5am with mondo subs blasting. Cirez D kills it with a lethal remix, featuring that mad ever-rising siren sound fx that never fails to drive everyone insane. It hasnt left my box since I started playing this and is likely to become a future classic in my sets.

Celebrating this issues theme of Dance Music Pioneers and offering a mouth-watering taster for things to come at Londons SW4 festival, at Clapham Common, on 23rd August, were delighted to present you with a very special Franois K covermount CD this issue. Here, the master takes us through his selected tracks DJ Our new albums got a pretty good name for a night as well, reckons Andy, so changing the name signifies moving on from the Eargasm phase.

The Eargasm album is four-years-old now so we thought it was time to move on a little bit. The album and night have helped cement The Plumps position at the top of the breakbeat premier league, playing international gigs most house jocks would die for, and Headthrash the new album out now on Finger Lickin and new night will take them to the next level. Lee explains how theyre broadening out the nights ethos to keep it fresh.

Ever since weve done Eargasm weve kept it eclectic. But because Fabric have such a strong Saturday night I dreamt last night that I was doing the most important gig in the world, and when I got in the DJ booth and opened my record box there were no records or CDs in there at all, says Lee Rous, animatedly.

All the crowd were shouting, Come on, play some tunes! And I dreamt that I just slept through the whole thing, adds Andy Gardner, wryly. I guess thats a sign of nervousness, though its good not to be complacent. Theyre grab- bing a snack before heading to the pub over the road where Lee has his basement studio. Tonight is the launch of their new Headthrash night at Fabric, and theyre understandably a bit anxious.

Hence the anxiety dreams Theres always a lot to do on Fridays if youre DJing, even if youre not putting on your own night, outlines Andy, settling down at a table in the pub garden. Theres so much exciting music out there though, we wanted to include people from different genres new exciting acts alongside some mainstay breaks artists. We dont get anything extra financially for doing it, Lee continues.

What we do get is the might of Fabric behind us to produce a top night, flying people over and so on. We put in a wishlist and we get recom- mendations from other people as well. Its nice to be involved in creating a party and we always headline!

Andy has been downloading tunes this morning from his laptop, and Lee has been collecting together some of their recent re-edits for possible inclusion in their set.

Quite a few people are doing re-edits, like the Stantons and Krafty, says Lee. It seems to be a direction generally that DJs are going in.

Weve actu- ally just put a tune forward for a re-edit compilation that Justin Robertsons doing of acid house re-edits weve done Acid Trax by Phuture. Weve gone back to the beginning. Its house, but theres a break in there, says Andy. Are we gonna play it tonight? Oh yes. DJmag is curious whether they decide in advance of a set who will play what track. Its more whoever remembers theyve got it, chuck- les Andy. Theres the odd squabble, but were on the same team so as long as something gets played and the crowd reacts then thats fine.

The guys talk about not playing a big tune too early, and Lee teases Andy about leaving him with nothing to play on occasions. We have a skeleton frame of where we want a set to go and we fit new tunes into that, Andy illustrates. We tend to do three on, three off. So we can relax a little bit thats the joy of playing with two people. Alright Trevor! The Plumps have been together a decade now. Disillusioned with how lates house music had gone impossibly glam, the guys all got into break- beat or big beat, as it more or less was then and rediscovered old hip-hop.

It was all hip-hop, old skool electro, big beat and breaks, and we started making it, recalls Andy. The Plumps try to remember the exact first time they met, and Andy says it was when Lee had a ponytail and gave him and Matt Cantor a lift somewhere.

In my Escort, yeah thats right, chirps Lee. I was from the suburbs at that time and they used to take the piss out of me for being a Trev. Nothing much has changed, really. Plucking their name from a dodgy porn mag called Plumpers We just wanted a name that didnt sound pretentiousLee and Andy settled into their studio partnership and soon signed with embryonic break- beat label Finger Lickin after Freskanova was discon- tinued.

They began making a name for themselves with killer cuts like Electric Disco and The Push and after a couple of years put together A Plump Night Out basically a live DJ set featuring all their own tunes. The reaction to that was incredible, says Lee.

The Plumps took off internationally with both record sales and DJ gigs and when they dropped the Eargasm album at the end of theyd nestled in as pretty much the biggest hitters in breakbeat. Eargasm featured vocal contributions from synth pioneer Gary Numan and sweet chan- teuse Louise Rhodes from Lamb, and led to their coveted Fabric residency and The Boat Race (Phil Mison Remix) - Various - Chill Out Free (CD) strangehold on the Breakspoll awards that theyve barely relinquished since.

It smells of hamsters, Lee observes, explaining that he only really uses it for pre-production stuff mixdowns, etc and for DJ practice. Andys studio in his flat in Soho is where they create all those fiendish Plump breakbeat behemoths. They used to take the piss out of me for being a Trev. Soon were all squeezed into Lees car and heading up to Know How record shop in Camden for a last-minute bit of record shopping.

Do the Plumps still play vinyl, then? We buy records and burn em to CD, says Andy. Stick em in a computer, edit them, chop out the bits we dont like and put them on a CD. Vinyl might be a dying breed but its still important. We were playing both, but found that the levels varied too much, Andy continues.

Obviously vinyls warmer on the bass and stuff, but with some club mixers wed find that the levels would drop with vinyl. Also, with the amount of re-edits and remixes we do, if we were making an acetate every time I mean, I remember spending on acetates for one gig, and we were only getting a few hundred quid more than that. Greeting Know How mainstays Martin and Mark in the shop, the guys start listening to a few platters each.

Nothing is really doing it for them though, and Lee slaps his parking ticket on one particularly iffy cut. After some more photos outside the shop we head to a Camden pub, Lee explaining on The Boat Race (Phil Mison Remix) - Various - Chill Out Free (CD) way that hes taken on the role of dealing with their guestlist for Fabric.

For my sins, he smiles, wryly. Its actually really lovely to get people in for free if theyre friends or whatever and have been support- ive, but that chore always comes on a Friday when youre trying to keep yourself calm. Its a necessary evil. When youre doing your own night its very hard to stay happy sometimes, he continues.

Everyone else is forgetting their job and losing their head in music and the surroundings, and getting high maybe. Whereas were just about to do our job. So you tend to be in a different headspace to everyone else. And on top of that you want to be in the same headspace as everyone else because partying and going out is what got us into it in the first place.

I try not to get too drunk, try to chill out, get to the club as late as I can. Try to be that pebble on the beach and let it wash over you. Everyones asking you what time youre on, guests and friends turn up and you have to spend time with them. Once weve finished the set its bedlam and we can just go crazy, but up until then we keep it together.

Do I get nervous? Yeah, I get really nervous. What do I do to overcome it? Go to the toilet ha ha ha! Its a bit like if youre playing pool or have to do a speech at a wedding two or three drinks can put you in a nice space.

Four, five or six can tip you over the edge. Youve just got to time it right a few drinks early and you start sobering up and feeling horrible. If youre legless, youll fuck it up. And the team at Fabric put so much effort into it so you cant really let the side down. In the pub the guys talk about how they still tailor their DJ sets depending on where theyre playing, spinning housier stuff in a glam club in order to sneak breakbeat in by the back door.

To some people breakbeat is a new music, so you have to put it across in a way that theyre going to like to change their mind about it, believes Lee. Andy admits to looking at the breakbeat forums sometimes, and says he believes breakbeat is coming back round again in a slightly different form. Theres a lot of people who make house who are starting to include cut-up beats, like Switch or who- ever, he relays.

Also the B-More stuff thats coming through, that Baltimore sound that has a big break in every track. Sleeve Notes The Plumps are known for their dancefloor bangers, but on Headthrash theyve experimented with different styles and vocalists.

From the Woolford- wonderful metallic riddims of Disco Unusual to the rocking soul of He Got Beef and Victim that recall a soaring alt. Disco, funk, house, electro, techno, indie, hip-hop, minimal wonk, soul all put in a breakbeat blender in an accessible but utterly futuristic way. Explaining that theyre going to remix some of the more downtempo numbers for the floors, the guys are very happy with the finished product and so they should be. As usual with their music, the beats and overall production are totally top-notch.

After a succession of summer festivals the intention is to take the Headthrash night out on the road, with The Plumps working a new decks n FX DJ set-up. But first theres the small matter of tonights launch, which the guys are starting to get a bit twitchy about, so we leave them to go off to pack their disco weapons at their respective HQs. At Fabric that evening, its obvious that The Plumps neednt have worried. The place is rammed and their anxiety dreams havent had a chance to come true.

Bumping into Andy in Room 3, we joke that the Headthrash logo is actually Lee after a pretty heavy night. He laughs heartily, then slides in to check out some of Vandals electro berserkers. Lees buzzing up on the balcony above Room 1, greet- ing people as they come in.

Its evident that the rebranding of the night has worked, and as the two towering Plumps both are well over six foot prepare to take over from DJ Touch of The Black Ghosts in Fabrics hallowed booth, the expectation is immense. Kicking off with the mad guitar refrain of their Torque Of The Devil monster, they soon drop down into the broken rhythms of Bassbin Twins Woppa before powering onwards with the ace Disco Unusual.

Fake Bloods electro hardcore epic Mars and Miles Dysons exceptional Breakin Even ramp up the pressure further, and when The Plumps drop their Acid Trax re-edit the place goes absolutely bananas.

A proper moment. Its an absolutely blinding set from two DJs at the very top of their game verily, the whole is greater than the sum of its parts. When DJmag briefly corners the Plumps after their set, theyre happy but still typically humble.

How do we keep our focus? We try to keep fit and try to give each other a bit of space as well, says Lee. Its quite intense being together all day in a base- ment studio. And we keep listening to a lot of music, adds Andy. If we stop liking the music, I dont want to do it anymore.

Andy DJ For as China has opened up to foreign markets in the past decade so dance music has begun to seep in, and no-one really knows what the results of this musical inux into an indisputably vast but also relatively virgin market will be. China is still pretty much uncharted territory for dance music and, just like European merchants would come back with all sorts of fantastical tales of the Ming Dynasty in the 16 th century, so some slightly strange myths about the Chinese club scene have begun to lter over The Boat Race (Phil Mison Remix) - Various - Chill Out Free (CD) the West.

Sinden told me that the Chinese dont like The Boat Race (Phil Mison Remix) - Various - Chill Out Free (CD) downs, says Seb James. So I was stressing out trying to nd as many vocal tunes as possible, but they absolutely loved everything I played. They tend to call everything techno which worried me a bit because we dont play too much of that but thats actually the banner under which they put everything from breaks to electro to house.

Most of the nights were really eclectic. W hen the Olympic Games open in Beijing this summer, China for most of its history one of the most secretive nations on Earth will come under the international spotlight like never before.

The ruling Communist party are determined to use the Olympics as an opportunity to showcase both a care- fully stage-managed version of Chinas heritage and the countrys future as a global political powerhouse. Yet in the Western media the rush of images and headlines coming out of what is the worlds fastest growing economy seems confusing to say the least.

Looking in from outside, we see scenes of terrible devastation after the recent Sichuan earthquake contrasting with Beijing or Shanghais futuristic neon-soaked skylines. And whilst the global markets might be in awe of Chinas economic miracle, the po- litical shadow of Tibet and other human rights issues still hang over the bright new face China is trying to present to the world.

You always think the UK is ahead when it comes to music so I thought it would be really easy to impress them but it wasnt, he admits.

I even took my own leads because I thought wed have problems with the equipment but the clubs had full Ibiza-quality set-ups in the DJ booth with Funktion One soundsystems, and most of the resident DJs we heard were amazing. Thats certainly a different situation to the one Marc Vedo encountered when he rst DJed in China nearly a decade ago.

A regular visitor to the country ever since, Marc was one of the rst Western house DJs to play there. He recalls that on his rst visit, after hav- ing to smuggle his records over the border from Hong Kong which was still British-governed at the time because Chinese customs had never seen vinyl before, he was greeted by hordes of local press and television crews all asking questions about drugs and what the Western world was like. Marc adds: They were easily as curious of me as I was of them.

But now its all changed. Theres such a huge infrastructure of foreign companies working there and more Chinese kids have been to school in Britain or America so Western culture has crossed over quite a bit. When I rst played in China everyone stood around looking at me like I was an alien, but now its like go- ing out anywhere in the world, he says.

People dress cool, love cool music and Ive met some real party animals out there, which wouldnt have been the case not so long ago. Its great to see how much the scene has evolved into something healthy and thriving, the clubs are better run and they understand the concept of DJs and dance music. Accelerated Clubbing Of course in a country as large as China, with one fth of the worlds population and widening class divides, its impossible to make any sweeping generalisations about the impact of dance music on the country as a whole.

Especially as, even though its expanding exponentially, club culture still only really exists in one narrow strata of society there. Although nightclubs have lost the negative gang- ster connotations they might historically once have had, they are still almost exclusively the playground of moneyed urban elites, educated students and Western ex-pats.

Its as if, much as capitalism has seemingly put the countrys cities into overdrive, so dance music has also been accelerated by sponsorship from global conglomerates seeking to work their way into the wallets of the younger upper class.

China almost seems to have jumped straight to the superclub stage in other words, without the longer and more organic gestation it had in Britain, as money is pumped into it.

Indeed, thats one reason why many believe the authorities, whilst not exactly turning a blind eye, havent cracked down on clubs in a manner you might expect from a non-democratic regime, recognising as they do the amount of foreign investment dance music is bringing in.

Which is something reected in most of Chinas clubs, often ostentatious places to splash the cash. Whilst many of the older venues still feature distinctly Chinese quirks like karaoke booths, tables on the danceoor and often extravagantly tacky traditional dcor, newer clubs are easily the equal of the more opulent end of their international contemporaries.

The chic stylings of the ever-expanding Babyface chain, which boasts operations in Shanghai, Beijing and Tianjin, seems especially popular with the more fashion-conscious, whilst the danceoors, lighting technology and soundsystems in clubs like Attica, in Shanghai, or GT Banana, in Beijing, make most Brit- ish superclubs look like a string of fairylights above a transistor radio in a garden shed.

Playing Catch Up Of course, money isnt the only reason why dance mu- sic is spreading. China has the second largest number of internet users after the USA and although the world wide web is heavily policed by the authorities, access to dance music sites and downloads remains relatively unrestricted, opening the ears of the young users who make up the vast majority of the countrys online community to new sounds from abroad. Beanfield feat. Alxndr London, MainArtist.

Alif Tree, MainArtist - L. Marks, Lyricist - Alif Tree, L. Copyright Control, MusicPublisher - Zwicker feat. Lady Parul, MainArtist. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. With the release of his new album Exile, a reflection on exile with the Baltic Sea Orchestra, the iconoclast and prolific pioneer of the neo-classical movement confirms his status as one of the most ideologically committed artists out there.

Melding classical and electronic music, physical and emotional worlds, he produces instrumental works of rare evocative power. Here we take a look back at the history of a truly British institution. Twenty years ago, the French Touch invaded the clubs and radio stations all over the world, putting France high on the map of electronic music. Qobuz tells you the story of 10 records which have left their mark on this golden era of French producers. Categories: All Back. Cart 0 Your cart is empty.

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The nd Boat Race took place on 6 April Held annually, the Boat Race is a side-by-side rowing race between crews from the Universities of Oxford and Cambridge along the River Thames. The Boat Race is a side-by-side rowing competition between the University of Oxford sometimes referred to as the "Dark Blues" [1] and the University of Cambridge sometimes referred to as the "Light Blues" [1]. First held inthe race takes place on the 4. The first Women's Boat Race took place inbut did not become an annual fixture until the s.

Up untilthe contest was conducted as part of the Henley Boat Racesbut as of the raceit is held on the River Thames, on the same day as the men's main and reserve races. It usually takes place on the Tideway, prior to the main Boat Race. The previous year's race was watched by seven million viewers in the United Kingdom alone. Oxford coach Dan Topolski suggested that part of the appeal was that the contest was "absolutely amateur" but still "represents quality".

I think we're again the better crew The officers from Wandsworth Police lining the embankments were able to replace their traditional helmets for peaked caps for the first time, in order to discourage members of the crowd from removing them and throwing them into the river. Maybe it's a tribute to that original Ibizan template of togetherness that a Belgian label has served up a cracking tribute to Balearic Beats with contributions form the UK, US, Belgium, Germany and Italy.

Wasn't that what Amnesia was supposed to be all about? After listening to nowt but nu-cosmo-balearia-space-disco for the last three centuries, Red Snapper's organic blend of afro-dub-funk-electronica comes as a bit of a refreshing change. There are even cosmic-rockabilly cockabilly??

Good to have the whippersnappers back after too long an absence. Lovingly packaged with extensive sleevenotes, this is the kind of compliation that makes me weep when I see all those tacky Ibiza Bliss abortions stocked up in row after row of funky house Fierce Angel futility.

In his freezing wooden shack, Bon kills and eats a deer to keep him going and with only the merest hint of production and 'additional recording' the songs write themselves. It's a good story and I even think some of it may be true. There's no doubting Bon's despair, each song being more or less an ode to his ex, the Emma of the title no doubt. I should hate it but there's no two ways about it, this is a beautiful record with Vernon's achingly morose voice and the spartan arrangements highlighting the minimalist 'one man and his songs' philosophy of the 'concept.

At times the lyrics are at once self-indulgent 'and if all your love was wasted then who the hell was I? I'd advise Justin 'to get over it' but if he did, then he wouldn't have produced such a gorgeous record as this. Labels: cosmic balearic beatshatchbackred snapper.

Sunday, 6 July No Notion Disco. Are You Really Balearic? Is Balearic a musical genre or an attitude? How do you say Balearic? Is it Bal-ear-ic, Bal-yerrick, Bally-eric or Can-aries? What do Balearic people look like? Loads of hair and a Radion logo t-shirt? No hair at all and a Telecom de Garcons sackcloth shirt? Pull the other one! Call him Tony! Call him Anthony! Call him Mr Wilson! Call him wanker! A man of many guises, this supremely self-confident — arrogant if you like — man plays different roles depending on his audience.

Tony makes grand claims on behalf of his company but are they really worthy of the appreciative slap on the back that he so evidently feels they deserve? But who had most to gain from this new freaky youth phenomenon? Wilson of course.

Madchester needed US exposure and Tony Wilson, the arch media manipulator, was determined to get it. He got it alright but the gap between his wayward champions of urban UK rock, the Mondays and suburban US rock was too great a gap to span and the kids of Kasey Kasem stuck with bands who had curly perms and wore leather pants. At home meanwhile, Madchester was fast becoming an embarrassment.

National tabloids were publishing their own cut out and keep guides to the scene, getting the parlance, fashion and music all hilariously wrong. Like Swinging London before it, Madchester had become a mythical creature, unrecognisable to those who had created it. Many regulars had become disillusioned by the Draconian door policy adopted by the club during its battle with the Greater Manchester Constabulary to keep its licence.

Enforced closure meant certain martyrdom whereas voluntary closure could prove an opportunity to make headlines and re-think strategy. And so, after fighting off James Anderton and his Puritan Yeomanry, Tony Wilson closed the Hacienda of his own accord in a blaze of publicity. There was no denying the fact that Manchester did have a serious gang problem and that they already controlled the doors of other city nightclubs.

The skilfully handled press conference given by Wilson made it clear that we were witnessing the end of an era; the Cavern of the 80s was shutting up shop…but not for long. The Hacienda dramatically reopened several months after closing. This left a gap in the market and, whether it was coincidental or not, the all-new-metal-detector-no-drugs Hacienda filled a void.

Big deal! Thanks a bunch! Self-importance however, breeds a smug sense of superiority, which eventually leads to complacency and decline. With the publication of Mark E. Yet, we can judge him and his band on their music and whilst there are moments of brilliance on Imperial Wax Solvent see what I mean? De-cypher that fools!

Which is like complaining about bread for tasting like bread I suppose. Er, fuck all mate. All in all 50YOM lasts for over 11 minutes. Taurig sounds like Raven era Stranglers meets Stephan Bodzin, a whispered vocal barely audible beneath the synth waves.

It is fantastic. Who cares? I have fell into the trap of attempting to decypher the words of a poet. And Smith IS above all a poet. Along with fellow Salfordians, Shaun Ryder and John Cooper Clarke, MES manages to project humour and menace in equal measure; there's definately something dark and deformed lurking in the Irwell, ready to bite anyone foolhardy enough to attempt safe passage across its slimey, sarcastic and scum encrusted waters.

It becomes MESmerising after a few minutes but then so did the test card. Is This New answers its own question. Instead of attempting to justify himself maybe Mark would be better just releasing a book of lyrics and have done with it. Take Senior Twilight Stock Replacer for example.

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