Category Archives: Dance music

From hardcore to bardcore: Kedr Livanskiy, the Russian producer inspired by Tolkienists

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Livanskiy’s operatic vocals and hazy beats put her at the forefront of Moscow’s underground club scene. Now she’s retreated from the city to the forest to nurture her imagination

Yana Kedrina’s earliest exposure to music came in a wooden dacha in a pine-forested village 2,000 miles from Moscow. Kedrina’s grandmother, who built the summer cottage with her husband, would invite Kedrina and her seven sisters over to sing Russian folk songs and drink cherry leaf tea. The rustic surroundings and feelings of kinship nurtured in Kedrina an infatuation with her culture’s folklore and a devotion to community.

“A large family, gathering to connect to its ancestral heritage, was an experience unique to a time that predated this individualism we live in now,” Kedrina says, speaking in Russian. Her grandmother never lived to see her blossom into an internationally recognised musician under the name Kedr Livanskiy (Russian for the Lebanese cedar tree). But Kedrina, 31, takes solace in the fact that her career has spiritually fulfilled her grandmother’s dream of travelling beyond her village in Russia’s Tomsk region.

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Maria Mendiola, half of Spanish vocal duo Baccara, dies aged 69

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Group’s 1977 disco hit Yes Sir, I Can Boogie has become the unofficial anthem of Scotland football fans

Maria Mendiola, one of the members of Baccara, whose 1977 disco hit Yes Sir, I Can Boogie is the unofficial anthem of Scotland football fans, has died.

Mendiola, who was one half of the Spanish duo, was best known for her rendition of the hit song. She died in Madrid surrounded by her family on Saturday morning at the age of 69. Cristina Sevilla, her partner in a later iteration of the group, expressed her gratitude on social media in a message written in Spanish.

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DJ Carl Cox: ‘When I tell people my story, they don’t believe it’

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The three-deck wizard’s new memoir details a life behind the decks, from the Houses of Parliament to Honolulu – and tragedy in Venezuela. Now, he says, his baking is as popular as his music

In late November 2007, Carl Cox’s DJing career was over – or so he thought. A few days earlier he had played a set at a festival in Caracas, Venezuela, as part of a tour of South America. The vibe was good and the crowd was bouncing. “I heard all these fireworks go: ‘Bang, bang, bang.’ Everyone was going: ‘Woooo! Yeeaaaah!’” Cox mimics dancing behind the decks. “Then there were more bangs and I thought: ‘Yay, more fireworks!’ But then I looked at the crowd and something was wrong. They were dispersing. I realised: ‘Fuck, that’s not fireworks, that’s gunfire.’”

Two rival gang members had met on the dancefloor and begun shooting. Cox got down on the floor and crawled to a backstage locker room where he and his tour manager barricaded themselves in. After an hour, they were escorted out to a car, past scores of police vans and ambulances. Four people had died and nine were injured. “Seeing people shot on the dancefloor and dying in front of me, blood everywhere …” Cox says, rubbing his eyes. “One minute we were having the time of our lives and the next we were cowering for our lives.”

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How we made: Relax by Frankie Goes to Hollywood

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‘The Sex Mix got so many complaints – even some gay clubs found it offensive’

I wanted to be provocative with the way Frankie Goes to Hollywood looked and for the lyrical content to be modern and edgy. We had been living through a politically charged time, the Sex Pistols and Bow Wow Wow had made headlines, and I knew we had to do the same to make an impact. I had a vision of something that merged punk and disco. I was always badgering the drummer to just play a four-on-the-floor bass drum.

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‘Meditation and copulation’: how 90s dance act Enigma propelled a new age revolution

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Led by Romanian-German producer Michael Cretu, Enigma ushered in a mysterious new dance genre, one Gregorian chant at a time

When electronic act Enigma invaded the airwaves in 1990, nobody could explain their music’s appeal. The spiritual and erotic blended with sampling reminiscent of Jean-Michel Jarre, emanating an irresistible scent of sin. “What is this music?” Bob Mack wrote in Spin magazine. “Umberto Eco reading his works on top of a backbeat?”

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DJ-producer Sherelle: ‘I feed off people’s unexplained anger’

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Black artists pioneered dance music, but the scene remains white-dominated. UK rising star Sherelle is dodging the trolls and trying to make change with her platform Beautiful

Wearing a fleece jacket covered in black and white acid smilies, Sherelle is a walking embodiment of dance music when I meet her. The 27-year-old north Londoner and self-professed “bocat” – a Jamaican slang term used in a derogatory manner to describe someone who enjoys giving cunnilingus, now proudly reappropriated by her on her T-shirts – is one of the UK’s most purely enjoyable new DJs. By blending various global forms of dance music, she is a catalyst for unrestrained raving who has stormed her way into the limelight at 160 beats per minute.

She grew up on dancehall booming out of her mum’s hi-fi system, and hip-hop and R&B music videos on cable TV. “In my house we had cable illegally, because we couldn’t afford to pay for it,” says Sherelle, whose younger self would cringe at her mother and older sister. “Whatever they were watching, they would dance to. I have a graphic image of Beenie Man’s Who Am I, around the time the tune came out, and my mum and sister having the greatest time. I was mortified.”

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My summer of love: ‘Under the spell of ecstasy, strangers went straight to limitless intimacy’

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We danced in water features, stupefied with drugs. And while my big crush was unrequited, the whole season was irresistible fun

A summer of love is predicted when – if – we emerge from the Babylonian captivity of lockdown in a frenzy of courting. It will be the third summer of love in recent years. The first occurred, in a cloud of hashish and patchouli, around San Francisco in 1967. I was five and living on the outskirts of Kettering, untouched by those events, although I have heard it said the Skew Bridge Ski Club could get quite racy.

The second summer of love I can talk about because I was in it. It was 1990, I was 28, and recently retired from pop music. It arrived on the back of a new party drug, ecstasy. I had come across E – more properly MDMA – in the United States, in the clubs of the east and west coasts, where enterprising leisure professionals realised that its effect on the neurotransmitters responsible for the experience of pleasure could make every venue a Xanadu of irresistible fun.

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The greatest ever songs of the summer – ranked!

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From Don Henley to Drake, we rate the hottest sounds of the season

For a fleeting moment Brooklyn’s the Drums were the skinny jean-sporting indie band du jour. This is their crowning moment, all pogoing bass, petal-soft whistle riffs and a lyric about waking up on a sunny morning and running to the beach. “Oh mama I don’t care about nothing” feels like a very summer 2021 mantra, too.

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‘If not hope, then what?’: the musicians finding optimism in dark times

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Against a backdrop of Covid, a striking number of musicians, from hard rock to jazz, made music rich with positivity. In the first of a two-part series, they tell their stories

I had really given up on music after my mom passed away [in 2014], and then of course the record that I saw as my death rattle [2017’s Soft Sounds from Another Planet] got picked up in a big way. It was a very bittersweet moment where all these great things were happening in the wake of loss. I didn’t allow myself to feel that for a long time. Now I feel ready to embrace feeling.

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Why bands are disappearing: ‘Young people aren’t excited by them’

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Maroon 5’s Adam Levine was scoffed at for suggesting there ‘aren’t any bands any more’ – but if you look at the numbers, he’s right. Wolf Alice, Maximo Park and industry insiders ask why

“The moment that we started a band was the best thing that ever happened,” sings Matty Healy on the 1975’s recent single Guys. The song is an ardent love letter to the band, and to the romance of bands in general: the camaraderie, the solidarity, the joyous fusion of creativity and friendship. It’s an old sentiment but an increasingly rare one.

“It’s funny, when the first Maroon 5 album came out [in 2002] there were still other bands,” the band’s frontman Adam Levine told Apple Music’s Zane Lowe this month. “I feel like there aren’t any bands any more … I feel like they’re a dying breed.” Levine was quick to clarify that he meant bands “in the pop limelight” but the internet doesn’t really do clarification, so his remarks sparked bemusement and outrage among the literal-minded, from aggrieved veterans such as Garbage (“What are we Adam Levine? CATS?!?!?”) to fans of newcomers such as Fontaines DC and Big Thief.

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Gurrumul, Omar Souleyman, 9Bach and DakhaBrakha: the best global artists the Grammys forgot

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From the Godfathers of Arabic rap to the father of Ethio-jazz, Grammy-winning producer Ian Brennan guides a tour through global music’s greatest

This week I wrote about the glaring lack of international inclusivity in the Grammys’ newly redubbed global music (formerly world music) category.

In the category’s 38-year history, almost 80% of African nations have never had an artist nominated; no Middle Eastern or eastern European musician has ever won; every winner in the past eight years has been a repeat winner; and nearly two-thirds of the nominations have come from just six countries (the US, the UK, Brazil, Mali, South Africa, India). The situation shows little signs of improving.

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When Daft Punk went to Wee Waa: the strangest album launch of all time

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The tiny Australian town was surprised but got into the spirit, selling daft pork sausages and random access rissoles while celebrating a dusty agricultural show it will never forget

In April 2013 word got out that Daft Punk planned to launch their album Random Access Memories from a regional Australian town barely anyone had heard of.

Dubbed the “cotton capital” of Australia, the small town (population 2,000) with the evocative name of Wee Waa in the Narrabri shire of New South Wales was not much known as a dance music hub. The news, which began with murmurs about Sony label reps scoping the area for locations, seemed just bizarre enough to be true. Daft Punk, after all, were never great adherents of the traditional album rollout – and, with the revered French duo announcing their split this week, it’s worth taking ourselves back to their strangest one.

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Daft Punk were the most influential pop musicians of the 21st century

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By resurrecting disco, soft rock and 80s R&B, and bringing spectacle to the world of dance music, the French duo changed the course of pop music again and again

It’s hard to think of an act who had a greater impact on the way 21st-century pop music sounds than Daft Punk. The style Thomas Bangalter and Guy-Manuel de Homem-Christo minted on their 1997 debut album Homework – house music heavy on the filter effect, which involved the bass or treble on the track gradually fading in and out, mimicking a DJ playing with the equalisation on a mixer; drums treated with sidechain compression, so that the beats appeared to punch through the sound, causing everything else on the track to momentarily recede – is now part of pop’s lingua franca.

In fact, no sooner had Homework come out than other artists started to copy it. Within a couple of years, Madonna had hooked up with another French dance producer, Mirwais, employed to add a distinctly Daft Punk-ish sheen to her 2000 album Music, and the charts were playing host to a succession of soundalike house tracks – 2 People by Jean Jacques Smoothie, who turned out to be a bloke from Gloucester called Steve; Phats and Small’s ubiquitous Turn Around; and No 1 singles, Modjo’s Lady and Eric Prydz’s Call on Me among them.

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‘You can smell the sweat and hair gel’: the best nightclub scenes from culture

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Writers and artists including Róisín Murphy, Tiffany Calver and Sigala on the art that transports them to the dancefloor during lockdown

There have been many notable nightclubs in film history. The Blue Angel in the Marlene Dietrich movie; the Copacabana in Goodfellas, accessible to privileged wiseguys via the kitchen; the Slow Club in Blue Velvet, with the emotionally damaged star turn Isabella Rossellini singing the song of the same name.

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Steps on how they made 5,6,7,8 – ‘We spent years trying not to perform it!’

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‘We had giant models made of our heads and got dancers to do it looking like us’

When I auditioned for Steps, we had to dance to a demo of 5,6,7,8. I remember thinking: “Thank God it’s a line dance.” I wasn’t a trained dancer and learning a proper routine would have probably scuppered my chances. But, after the management told me I’d made it, they said: “That’s going to be the first single.” I was like: “Oh no!” Line-dancing was something your mum did. I was 19 and wanted to go clubbing.

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How we made: All Together Now by the Farm

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‘Pills were just starting to flow in Britain. We thought: “What will this sound like in a club with people off their heads?”’

The origins of All Together Now go back to 1981. Michael Foot had been the centre of tabloid outrage after wearing what the papers called a “donkey jacket” at the Cenotaph on Remembrance Sunday. He later revealed that it was an £800 coat from Harrods which the Queen Mother had actually complimented him on, but the outrage made me angry. I thought the soldiers in the trenches would be more annoyed with the top brass that sent them to the front than, decades later, a Labour party leader’s attire. I’d trained as a history teacher and this incident inspired me to read more about the first world war. I chanced upon an article about the unofficial truce in 1914, when British and German troops came out of the trenches to play football with each other for Christmas. I wrote a song called No Man’s Land and we recorded it for a John Peel session. A couple of years later Paul McCartney released Pipes of Peace, with the same theme. I thought: “Bastard!”

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‘It speaks to an ancient history’: why South Africa has the world’s most exciting dance music

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Styles like afrohouse, gqom and amapiano are thriving – but with ‘half-baked white kids getting a lot more airplay’, South Africa’s inequalities still hold the dance scene back

Many people got their first taste of South African dance music this year via six Angolans dancing in their backyard, dinner plates in hand. Their viral video, with casual but masterful moves set to Jerusalema by South African producer Master KG, created a global dance craze; the track ended up all over Radio 1 this autumn and topped streaming charts across Europe.

Jerusalema is just one track amid what has now become arguably the most vibrant and innovative dance music culture on the planet. In South Africa, dance music is pop music, from townships like Soweto and KwaDabeka to cities like Durban and Cape Town. The country has 11 official languages, each with their own cultural practices, and even the national anthem of the so-called Rainbow Nation is comprised of the country’s five most commonly spoken: Xhosa, Zulu, Sesotho, Afrikaans and English. Out of this rich cultural heritage, and in a country that has long had distinct dance styles like jaiva, marabi, kwela and mbaqanga, has come wave after wave of astonishing work.

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After no club dancefloors for almost a year, last night was cathartic, joyous and sweaty | Ben Neutze

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Sydney and Melbourne nightclubs are finally open (with a few Covidsafe caveats) – and for LGBTQI people, an essential space has returned

The perfect lockdown anthem came pretty early in 2020: Charli XCX’s frantic, party-thirsty Anthems, from her album released in mid-May. She starts by declaring “I’m so bored” before recounting days in lockdown and everything she desperately craves about partying: anthems, late nights, her friends, “the heat from all the bodies”. Charli also misses New York – although the city that never sleeps is still very deep in its Covid-induced nap.

It’s a different story in Australia where, after seven months, Sydney and Melbourne finally got the green light to return to nightclubs on Monday. There was one sticking point: no more than 50 people on the dancefloor at once, with enough space for one person per four square metres.

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