Electronic music is the hydra of the digital age, as one sub-genre appears to die, three more spring up in its place. Drawing from both new technological advancements and the successes of the past, it can never get stale for too long. Danish artist Tobias Pedersen, A.K.A. Beastie Respond, takes this creative recycling up a notch with his unique take on half-time drum’n’bass.
Combining a love for Com Truise style 80’s synths with a background as a reggae drummer, Pedersen has developed a genre-blending repertoire that flicks from soulful soundscape to gritty stepper at the drop of a (hi-)hat; see free track ‘Rose Quartz’ on Soundcloud.
His album Fictitious Nostalgia, released earlier this year on Copenhagen based label Teal Recordings, is an intelligent, funky affair. Given its distinctly autonomic flavour, it is unsurprising that one of Pedersen’s biggest supporters is Exit Records head honcho and electronic pioneer Dbridge, who even commissioned a track from the Dane for his label’s latest compilation Mosaic Vol.2.
With his constant stream of remixes and increasing number of DJ nights, Beastie Respond is certainly one to keep an eye on, so check out his Facebook for all the latest news.
They’re more Scottish than The Proclaimers, and they’ve got more mainstream appeal than Biffy Clyro; The Lafontaines are probably the biggest thing going on in Scotland right now. The LaFontaines are a musical half way point between Rizzle Kicks and Don Broco, with cheery pop-beats and well-placed rap. Don’t let that fool you; they’re not the kind of band to get stuck in a stylistic rut, just producing song after song which are all exactly the same. In fact, The LaFontaines are managing to create songs that make each other stand out, each track out-doing its predecessor.
Lyrically some of their material is actually quite glum, but that’s what makes The LaFontaines real. They don’t hide behind cheesy-pop to sell their work. They get to the heart of things, as much as any rock band out there, it’s just that they’ve masked it in a really lively fun packaging. You could say that they’ve taken the edge off a little.
Their live show is phenomenal, although their tour path rarely gets much out of Scotland; so if you get a chance to see these guys, make sure you take it! With their most recent single ‘All She Knows’ having been out for well over a month, The LaFontaines are really starting to pick up some momentum. They’ll be supporting All Time Low on their visit to Scotland in March next year. We can only advise that you get on-board with these guys before they’re huge.
Walking into The Brook, you know that the gig you’re about to watch won’t be the usual four-piece band. Just taking a look at the stage, you can see that everything is unsubtly hinting that this will be special performance. Two giant old-school TVs are at the back, two sets of four vintage TV frames are on each side of the stage and one wave-tower is in the middle.
Anyone who’s never heard of Public Service Broadcasting is in for a surprise. In fact, saying that Public Service Broadcasting are a UFO in today’s music scene is an understatement. Not only have the London duo brought back the light-show concept, but they’ve taken it to a whole new level. They use footage from old documentaries as visuals and vocals for their performances, and then mix it with electro samples, banjo, guitars and drums to deliver synthetic post-rock tunes.
Their live performances are at the heart of their music and tonight’s gig is no exception. Restricting their concept to a CD is nearly impossible, so it’s when the band play live that they come across the best. Soon it becomes obvious that none of the musicians sing. It all comes from samples.
J.Willgoose Esq. kept pressing the South Coast’s button’s instead of Southampton’s tonight, but you can blame that on his tiredness – it’s their last show of this tour after all. Most of all you see the band in their outfits: tweed jackets, buttoned-up shirts, bow-ties and thick glasses – yes, Public Service Broadcasting push the old BBC documentary style right up to their clothes.
This show is a conceptual performance more than it is a gig. There is no direct interaction between the band and the audience. The band doesn’t talk, but you don’t go to a Public Service Broadcasting gig expecting anything usual. No, Public Service Broadcasting are here to “Inform, Educate, Entertain”; they play and hide behind their instruments and let the videos and samples do the rest.
We chat BBC’s Sound of 2014 Shortlist, MCR’s greatest hits and Louis meeting with Rod Stewart . . .
Hear us discuss the Ian Watkins case as it breaks, as well as all the news and reviews of the weeks.
Announced on the 2nd December, the BBC’s Sound of 2014 long list encompassed a variety of great new artists, but only one rock band. That band is Royal Blood and they’re already kicking off in a big way, as they’ve managed to sign a global deal with Warner Bros.
Chairman of Parlophone and co-chairman of Warner Bros. UK, Miles Leonard said:
“Royal Blood are the most exciting band I have seen in years. No-one comes close. We saw them, we loved them and no matter what, we had to sign them to Warner. We share the same vision. We don’t have a policy of trying to sign everything that moves and because of that, the band could see that they would get the right focus and attention they deserve here.”
Along with the deal, the band will also be supporting Arctic Monkeys at their Finsbury Park shows in London on the 23-24th May next year.