This week marks the end of the first season of Repercussions, and we return to the theme of the first episode with another selection of touchstone moments in electronic and dance music history. From an opening salvo by New York producer Joey Beltram, through to a closer from Bjork, I select tracks from artists such as The Orb, LFO, Daft Punk, Autechre, Altern-8, Chemical Brothers and Aphex Twin, and revisit an important moment in Australian dance music, from Itch-E & Scratch-E.
In this episode of Repercussions, we rewind back a quarter of a century to 1989, to a time that is known as ‘the second summer of love’. The first summer of love was back in 1967, when thousands of people migrated to San Francisco for a wild psychedelic ride fuelled by sex, drugs, politics and rock and roll. The second summer swapped the rock and roll for rave; and the rise of house and techno reached a tipping point, summoning hedonistic love and public condemnation in equal measures.
In 1996, 24-year old producer Josh Davis delivered an album that would transcend its origins within the hip hop community to become one of the most revered and most referenced records of its era. Endtroducing was the debut full-length release for Davis under the alias DJ Shadow, and it was famed for the fact that not only was it made from almost 100% sampled content, it also hung together beautifully as a cohesive and forward- thinking piece of work. In this episode of Repercussions, I’m joined by creative producer Jain Moralee and writer Kate Hennessy to discuss the impact and legacy of this classic album.
If the 1950s was all about teenage rebellion and rock’n’roll, the 1960s took things to the next level – a decade of wild experimentation, free expression and the birth of counter culture as we know it today. The implications of all these things on music was of course profound – but whilst The Rolling Stones and their ilk were all riffing off old blues records, the 1960s was the decade where electronic music came into its own. In this episode of Repercussions, Stuart Buchanan revisits some of the important electronic records of the era, tracing the journey from musique concrète and tape loop experiments, to sci-fi classics and psychedelic freak-outs, via artists such as Delia Derbyshire, Morton Subotnick, The Beach Boys, John Cage, Steve Reich and more.
Celebrating the 20th anniversary of its release, this episode of Repercussions looks back at the debut album from Underworld Mark 2, Dubnobasswithmyheadman. Often cited as one of the most important dance records of all time, it came after over a decade’s worth of failed attempts by Rick Smith and Karl Hyde to make an impression on the music industry, coupled with mounting debts and doubts about their future. A chance meeting with17-year old DJ Darren Emerson changed all that, pushing the band in a new direction that met with both critical and commercial acclaim worldwide. In this episode, we hear tracks from the freshly minted remaster of the classic album, along with unreleased material from the new deluxe edition box set.
On October 13th 2014, the electronic music world lost one of its pioneers – at the age of only 43, producer Mark Bell, co-founder of Warp Records’ duo LFO, passed away. Bell was also a prolific producer and remixer outside of the LFO camp, most notably contributing production for seven Bjork‘s albums over the last fourteen years. To celebrate Warp Records’ 100th release, the label released the compilation ‘We Are Reasonable People’, featuring a track from Mark Bell titled “A Salute To Those People Who Say Fuck You”. By way of our own salute to Bell, on this week’s Repercussions we feature a selection of artists that operated within Bell’s orbit and who, most importantly, were people who took great delight in saying ‘Fuck You’.
Flaunting a visceral, psychedelic blend of alternative hip hop, Young Fathers pole-vaulted into popular consciousness earlier this year, with their debut album Dead, released on Big Dada and Anticon. In this episode of Repercussions, Alloysious, Kayus and G from Young Fathers join Stuart Buchanan to share some of their musical influences past and present, and talk about the reaction to their debut, their recent Mercury Prize nomination and their plans for the future. From South African electro and Ghanan dancehall, to Lee Scratch Perry mixing Bob Marley and Iggy Pop going Nightclubbing, Young Fathers share an upfront selection of wild vocalists and rawkus beats, exclusively on Repercussions.
Released in 1994, and following a slew of disturbingly warped and frenetic experimental techno releases, ‘Selected Ambient Works Volume II‘ was not the record that everyone expected. In this episode of Repercussions, Stuart Buchanan is joined by Peter Hollo from FBi’s Utility Fog to listen back to classic cuts from the record, and to attempt to unravel why the work was loved and loathed in equal measure, and why it remains such a seminal piece of electronic music history.
Falling out of scenes such as UK garage, hip hop and drum and bass, Grime rose to prominence in the early 2000s, headed by a raft of soon-to-be-famous MCs such as Dizzee Rascal, Tinie Tempah and Tinchy Stryder. Although often dubbed “a London thing”, Grime has spread internationally over the last decade, and its sound has also developed well beyond its roots – coming to a head over the last two years with a new wave of producers creating, what has been broadly dubbed as, ‘instrumental grime’. On this week’s Repercussions, Stuart Buchanan takes a survey of the scene from a number of players including Slackk, Samename, Mssingno, Rabit, Moleskin and Murlo, and investigates Australian connections from producers Strict Face, Arctic and Dellity.
99 Records was a label run out of New York’s West Village in the early 1980s which, over its brief and troubled lifetime, blended the aftershock of punk with disco, dub, funk and proto hip-hop in a catalogue that includes some of the most influential records of the era – records that would have a lasting and profound impact on artists such as LCD Soundsystem, Carl Craig and Optimo, and was a critical inspiration for DFA Records. In this episode of Repercussions, Stuart Buchanan rewinds through 99 Records release slate, featuring Liquid Liquid, ESG, Bush Tetras, Maximum Joy, Y Pants and more.
20 years ago this month, Portishead released one of the defining records of the 1990s, their debut album ‘Dummy’. Blending hip hop, turntablism and samplology with downbeat jazz drums, electric guitar, dub bass and the unique vocals of Beth Gibbons, the result is an album that, despite its ‘trip hop’ tag, has stood the test of time with remarkable rigour. In this week’s Repercussions, Stuart Buchanan revisits ‘Dummy’ via a selection of album tracks, b-sides, live versions and original sample sources; and we hear Portishead on remix duties for Massive Attack and UNKLE.
In the run up to the release of their third album The Worry, Sydney trio Seekae visit Repercussions to curate a selection of eclectic tracks that have influenced their work to date, including music from Shed, Benge, Flash And The Pan, The Reels, Roxy Music and more. They also discuss the making of the new record, their favourite Seekae remixes and their plans for 2014 and beyond.
This week’s Repercussions takes former FBi Album Of The Week artist FKA Twigs as a jumping off point to explore the expanding world of experimental R&B – an amalgam of commercial R&B, pop and soul, blended with experimental production and off-kilter sounds. We kick back to 2006 with Cassie, before winding forward to recent productions from artists such as Dean Blunt & Inga Copeland, Kid A, Phlo Finister, Kelis, SZA and Jessy Lanza; and uncover Australian contributions from Fatti Frances, Oscar Key Sung, Guerre and Black Vanilla.
Can were without doubt one of the most original and influential bands of the 1960s and 1970s, bridging electronic music, jazz, rock and classical with a wild, experimental approach to emerging electronic production techniques. The resulting sound – dubbed ‘krautrock’ by the British music press at the time – is a body of work that reverberates through the music of Portishead, LCD Soundsystem, Factory Floor, Kanye West and many more. In this episode of Repercussions, Stuart Buchanan takes a dive into their extensive back catalogue, via edits from a rare 2004 FBi interview with Irmin Schmidt, and brings the story up to date with remixes from Carl Craig and UNKLE, plus new work from two Can founders in their Cyclopean guise.
Time-shifting back ten years, on Repercussions this week we survey some pivotal moments from dance and electronic music in 2004. From the ‘Kitsune electro’ of Popular Computer through much-loved Australian acts Cut Copy and Atone, to the first emergence of Hyperdub’s signature style via Kode 9 & The Spaceape, and early cuts from Diplo, Junior Boys and Various Production. We also take in some emerging sounds from the around the world at that time, including the self-styled ‘eurocrunk’ of TTC and Brazilian baile funk from Deise Tigrona.
In this week’s Repercussions, we head out on a journey through the frenetic electronic sound of Shangaan Electro. Originating from South Africa, and largely driven by the producer and promoter Nozinja, the sound gained more wide stream popularity after a string of releases through Damon Albarn’s Honest Jon’s Records. On the show, we’ll be hearing some essential Shangaan Electro cuts, as well as classic tracks from the likes of Penny Penny, and remixes from Actress, DJ Rashad and more. There’s also a preview of the new single from Nozinja, released through Warp Records next month.
First broadcast on FBi Click on 21st July 2014, Repercussions #4 is titled ‘The Future Sound Of Scotland’ and looks back at a selection of electronic touchstones from the electro-darklands of Northern Europe. The artists pictured are Colin Angus and Will Sin aka an early incarnation of The Shamen, whose ‘Hyperreal’ track appears on the show, along with music from Slam, Simple Minds, Thomas Leer, Robert Rental, Secession, The KLF, Fini Tribe, Stakker, Primal Scream and Boards Of Canada.
Originally broadcast on FBi Click on 14th July 2014, Repercussions #3 takes as its starting point one of the most successful electronic music acts in Australia, The Presets. Every great band has to start somewhere, and across the 60-min show, I look back to the band where Julian Hamilton and Kim Moyes first set off on their music career, a band called Prop.