
Annoncering

Annoncering
It’s not just returning veterans like Daft Punk channelling David Mancuso rather than David Guetta these days. On almost every Boiler Room set (bar those from rappers and the mutant techno hardcore crew), you’re bound to hear something at least a little bit disco. The likes of Krystal Klear, Medlar, Floating Points and Disclosure have all been proving that there’s a world beyond pitched vocals and Poundland synth breaks. Even the godfather of suburban fearstep, Skream, has recently been heard playing the kind of stuff that was, until recently, resigned to Monte Carlo roof parties, while his Croydon comrade Loefah’s new Norwood Soul Patrol show on Rinse sound more like Tony Hadley’s shift on Heart FM than a Night Slugs b2b.
Bear in mind that Todd Terje’s camp, stomping “Inspector Norse” currently occupies the nation’s dive clubs with the same omnipresence previously reserved for “Skeng” or “Cockney Thug” and – weirdly – you begin to suspect that our tastes have lightened up a little. It could just be that disco is simply the next island of safety for producers to move on to, a dance music halfway house before the inevitable reintegration with urban dread. But I have the feeling it's down to electronic music needing a bit of flamboyance again after years of dragging its feet through the trenches of sub-bass and supposedly profound moments of silence – sonic tropes usually associated with a kind of "kitchen sink" clubland, the sound of weeping single mums echoing off the walls of piss-stained estate stairwells.
Annoncering

Annoncering
