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Saturday, 30 June 2012

Soundblab "Silverclub" review

"You see, Manchester has a very mixed relationship to its own musical history. While it's a city that has produced countless excellent bands over the years, it's also a place where the celebration and incessant revivalism of these 'classic' acts makes it harder for new talent to break through, causing a backlash against the scenes that made the city so popular. While there's a few key promoters and venue owners in the city who are guilty of this, much of the blame also needs to be laid squarely at the feet of the music press, who can't seem to cover a Manc band without having to mention (at least once if not more) desolate industrial landscapes and trench coat existentialism, or alternately Spike Island, 'avin' it and baggy beats. 
I mean, I GET IT. I understand the frustration of trying to throw off the musical shackles of a previous generation only to have them dumped on your shoulders again by an extremely lazy press. But in the rush to forge ahead and leave the past far, far behind, aren't we in danger of also throwing the baby out with the bath water? Cos, at the end of the day, I LOVED Madchester! I loved (and still love) the Happy Mondays, The (early) Stone Roses, New Order, yeah, all that cliched old Manc shit. 
Now, I'm not saying that Silverclub sound like any of these bands, but they do fit in this lineage of smart, funky, sexy 'indie-dance' (or whatever you want to cal lit this month). Take album opener 'Like Cats Eyes', which starts with a circular guitar part and a barely audible, spaced-out vocal which lulls you into a sense of familiarity, before being interrupted by a funky drum break and an electro bassline which pushes the tune into 5am post-club euphoric bliss. THIS is what I love about Manchester and its music - risk, adventure, a desire to push things forward backed with a true appreciation of how opposing genres work best together."
Read the full review here.

Friday, 29 June 2012

Tuesday, 26 June 2012

Tranarchy LIVE at Bristol Pride's Dressage

Thanks to the good messrs of Bristol's Horseplay shindig, Tranarchy will be performing and DJing at this year's Bristol Pride mega-event! Called "Dressage", it's at the city's O2 Academy, it's got a horsey theme, and we will be sharing the bill with Push The Button, Queen of Hearts and our pals Horse Meat Disco. Aces! Keep Saturday July 14th free in your diaries...

Monday, 25 June 2012

MikeQ "Cunty" mix for FACT

Cross-post from Shallow Rave.

I have posted about "cunt" a couple of times here in the past, but here's a fuller description of exactly what that is. Essentially it's a modern take on old school vogue-house, coming from the American underground "ballroom" scene where fierce drag queens and transexuals (as well as a lot of straight folk) come to hang out and compete in dance offs.

"Cunt" (yeah, it could probably do with a more PC name) is pioneered by acts like Ynfynyt Scroll, B Ames, Vjuan Allure, Divoli Svere and, probably the best known DJ in the whole scene, MikeQ. MikeQ did a special cunt mix for FACT mag back in February, and it's damn essential listening.

Imagine mid-90s drag queen/bitch house remixed by Diplo for a Baltimore audience, with a healthy dose of classic disco samples and a stuttered footwork aesthetic, and you're in the right ballpark. I am getting heavily into this stuff, even producing under the name Cunt Traxxx (my icon/logo gives an explanation to the genre name) as it's the perfect mix of classic house and new skool swing. MikeQ's mix has blown my mind - seriously, I haven't been as excited about a mix like this in a long, looong time. To the point where I am looking up the artists on the tracklist and trying to find the tunes (big shout to Bok Bok who has been repping this scene for a couple of years now!).

Unfortunately FACT have not allowed this mix to be embedded anywhere apart form their site, but it's highly, HIGHLY recommended listening. Go there RIGHT now and press play!

Friday, 22 June 2012

Interview with The Niallist on Dangerous Minds

Niall is part of that future and his musical output is quite phenomenal and brilliant.
But it’s not just music that Niall has made his own, you’ll know him as a star blogger on Dangerous Minds, and perhaps through his work on the blogs Shallow Rave, Weaponizer, Menergy and his site, Niallism.
Niall also DJs / organizes club nights with Menergy and Tranarchy, and is the keyboard player with Joyce D’Ivision. All of which, for my money, makes The Niallist one of the most exciting, talented and outrageous DJ/producers currently working in the UK. Not bad for a boy who started out spinning discs on one turntable at school.
Now, it’s strange how you can spend much of your working day with someone and yet never really know that much about them. Wanting to know more about the extraordinary Niallist, I decided to interview him for (who else?) Dangerous Minds, and this is what he said.

DM: Tell me about how you started in music? Was this something to moved towards in childhood?
The Niallist: ‘Yeah, music is something I remember affecting me deeply as a kid. My sister, who is older than me, was a huge Prince fan and naturally that teenage, female, pop-music enthusiasm rubbed off on me. I would read all her old copies ofSmash Hits and create my own scrap books from the magazines, even though the bands were, by then, either non-existent or pretty naff.
‘My brother was into more serious, “boy” music, which I didn’t like as a child, but which I really appreciated when I hit puberty. He had a big box of tapes that was crucial to me, even though he didn’t like me borrow them, but he had pretty much all Led Zep’s albums in there, Jimi Hendrix, The Doors, Bowie, The Stone Roses, and I particularly remember him getting a copy of Nevermind when it had just come out, which was a key discovery. That box smelt of Dettol and musty cassettes, and to this day the smell of Dettol still takes me back!’
What were your early tastes in music? What were those key moments when a song a record made you realise this was what you wanted to do?
The Niallist: ‘Well, Nevermind was definitely one. I think that record started a lot of people on a musical journey. But also, I really identified with Kurt Cobain, as he was an outsider in the pop music landscape who spoke up for gay and women’s rights, which really struck a chord with me. He was a man, but he also wasn’t scared of being seen as feminine. He was a pop star, he looked scruffy and spoke with intelligence and passion. He was different. As someone else who was different, and a natural outsider, I guess I saw music as maybe a place where I could fit in and still fully express myself.
‘Call me hopelessly naive if you will, but I’m from an old school that believed that music and musicians could change things - maybe not radically and maybe not quickly, but that the seeds for change could definitely be sown with songs and videos and shows and interviews. Looking back on the early 90s now, it seems like an incredibly politically-charged time for music and pop culture. Public Enemy, NWA, Ice Cube, Huggy Bear, Bikini Kill, The Prodigy with “Fuck ‘Em And Their Law”, Pearl Jam telling Ticketmaster to fuck off, Spiral Tribe, massive illegal raves, Back To The Planet, Senser, Rage Against The Machine, the fact that RuPaul was a pop star, even Madonna’s Sex book and Erotica album for God’s sake! If you weren’t politically active or at least aware back then, you were terribly uncool. That spirit seems to have disappeared from music altogether now, which is sad.’ 

Thursday, 21 June 2012


Some pics of a very fun gig we did last week, backing up Kurt Dirt live at the Lass O'Gowrie for Tago Mago:

Wednesday, 20 June 2012


Another new Cunt Track, this time with a very recognisable and cheeky sample:


Tuesday, 19 June 2012

Your romantic notions don't pay my rent

I chipped in to the whole David Lowery / Emily White / music consumerism and distribution debate that has been raging, via Dangerous Minds. You can real this article in full here, but here's an extract: 

This article presents (in a roundabout way) two things I have been brewing over for a long time, in regards to file sharing.
The first one is this: why does the onus always seem to be on the creator of art to accept that their product should be free, rather than on the consumer to analyze the impact of their actions on the quality of art?
It has happened here on DM in the past, especially in heated comments threads under posts about Pirate Bay, where the question that tended to get asked the most was “why should an artist expect to get paid money for what they do?”  (Unfortunately, since we switched over to the Disqus comment system last month, all our old comment threads have been wiped, but readers are more than welcome to keep the discourse going right here.)
Well, as an artist, the most immediate way to refute that question would be to ask “why should you expect to receive art for free?” But to take it further, here is another question that is never, ever asked, and to me taps into the root of the whole problem: “if you are not willing to pay for music, then why exactly do you collect music?”
Seriously, though. Why? Yes, music is lovely (I should know as I have dedicated my life to making, playing and writing about it) but then so is beer, and if I expected to get drunk every day without paying any money for the privilege, I would quickly get the reputation of being an unpopular scrounger. It’s basic economics, but it’s still a concept many fail to grasp, or would rather substitute with the victim-blaming that it’s the artist’s fault for expecting to get paid.
So, to put it more Marxist-friendly terms: “why does a person consume a form of art?”
I should make this clear at this point, I have been a very heavy collector and consumer of music myself in the past, my forte being rare disco and obscure deep house. So I get it! I get the buzz of obtaining new music (not to mention that, being a DJ, I need to have access to new music). But there came a point when I realized that NO, I couldn’t own every single disco record ever made—thank you, Daniel Wang—but also, why in the hell would I want to?!

Monday, 18 June 2012

CHERYL / Off With Their Heads pics

More pics from the CHERYL / Off With Their Heads diamond jubilee party at the Islington Mill:

And a great time was had by all! There's even a video to prove it: 

Saturday, 16 June 2012

V/A Acid Reign comp

A brand spanking new House Machine track is featured on this acid-themed compilation on the new label Oh That's Good Music. It's available to buy now, on Beatport. Here's a mini-mega-mix of the album's tracks:

01 House Machine - Acid Orange
02 James Edwards - Minibeasts
03 Nautic Jets - Uproar
04 Tokyo Acid Cru - Acid Ride (Mark Archer Remix)
05 Trolling For Love Doves - Kaneda
06 Oscar TG - Sidewinder
07 fingertrouble - lookout
08 Ban This Sick Filth - Make Way For The Juggernaut
09 Nautic Jets - Sex Warrior Of The Future
10 Dunproofin' - Kill (Remix)
11 Celebrity Murder Party - Dominatrix

VARIOUS ARTISTS - Acid Reign (Megamix) [OTG LP 001] by Oh That's Good Music!

Thursday, 14 June 2012

Cunt Traxxx & Latrice Royale "Make Them Eat It"

New Cunt Traxxx! This time featuring a sample from the legendary queen Latrice Royale, as featured on RuPaul's Drag Race Season 4 finale.


Well, it turns out Latrice LOVES this track, and re-shared it, resulting in 7000+ plays! And it turns out she wants to work with C Traxxx in the very near future to produce some new music - WEEEERK!!!

Tuesday, 12 June 2012

Pussy Faggot v Mother's Ruin pics

By Tranarchy's very own Nickie McGowan! She's a a brilliant photographer, go and like her Facebook page THIS INSTANT. Here's some pics from a few weeks back, featuring Shane Shane, Lady Miss Kier, Gio Black Peter and of course Joyce D'Vision:


Monday, 11 June 2012

Tranarchy live at Guilty Pleasures

On Saturday June 9th Tranarchy LIVE performed two numbers at the club night GUilty Pleasures - a bit of a different crowd for us, but it was great fun and the audience enjoyed it. Our brief was to help bring a "summer holiday" party atmosphere, so we duly performed "Holiday Rap" and "Hot Hot Hot" by Buster Poindexter, while shooting people with water pistols and doing the limbo:

Here's a video of us in action, doing "Holiday Rap" mashed up with Madonna's "Holiday" and Will Smith's "Miami". The sound quality is a bit rough mind: 

Monday, 4 June 2012

This is England, 2012

I can't think of a more fitting state-of-the-nation address for the UK in 2012 than this. 

Here, one of the biggest icons of the 60s, and all the forward-thinking, anti-authoritarian social progress that decade brought with it, performs badly for the benefit of an unelected monarch and a swathe of braying idiots draped in their national flag and false bonhomie, in a costly and overlong charade paid for (but not asked for) by the public. Meanwhile, thanks to the "work force" initiatives of an "old-boy" governments, people with no jobs are bussed in to act as stewards at this event, on threat of losing their unemployment benefit, and without even the most basic needs of food, shelter and sanitation looked after. 

The name of the song? LIVE AND LET DIE. 

This makes me feel fucking sick.