Tag Archives: electronica
Real Scenes: Detroit – Documentary
12th Aug 2011
Real Scenes: Detroit from Resident Advisor on Vimeo. There’s no denying that Detroit has played a major role in the world of electronic music. Which is why in the second edition of Real Scenes, RA and Bench went to the city which birthed the genre we now call techno. Detroit has always had a creative
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Also tagged Bench, Detroit, Documentary, electronic, RA, RA and Bench, soulROCKS TV, techno
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The Whip
A dance-rock act from Manchester, England, the Whip spent a few years working the indie electronic underground before making their full-length album debut in 2008 with X Marks Destination, notably produced by Jim Abbiss. At their core, the group is based aroundDanny Saville and Bruce Carter; other bandmembers include Lil Feeand Nathan Sudders. The Whip debuted in 2006 with the
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Sneaky Sound System
Electro-pop group Sneaky Sound System emerged among the premier Australian club acts of its generation with its self-titled 2006 breakthrough LP. Songwriter/producer “Black Angus” McDonald and MC Daimon “Double D” Downey first met at a Sydney costume party in the spring of 2000, soon after hatching plans to co-headline DJ sets at a friend’s nightclub. The following
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Simian Mobile Disco
Producers/remixers James Ford and James Shaw formed Simian Mobile Disco in 2005, following their departure from the experimental electronic rock band Simian. The two had originally formed Simian with singer Simon Lord and Alex MacNaughton in the late ’90s. Not content with their roles in the band and wishing to indulge their longtime interest in electronic dance music, the two latched
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ShitDisco
Glasgow-based Shitdisco was formed in early 2004 by Joel Stone (bass), Joe Reeves (guitar and vocals), Jan Lee (keyboard), andDarren Cullen (drums and cutlery). Very much informed by modern-day dance-punk sounds as well as the post-punk sounds of their forefathers, the group quietly gained a loyal following and their sporadic gigs earned them a reputation for a live
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Royksopp
Norwegian duo Röyksopp compensated for the cold climes of their native Tromsø by making some of the warmest, most inviting downbeat electronica of the new millennium, exemplified by early singles like Eple and Poor Leno. The pair, Torbjørn Brundtland andSvein Berge, both grew up in Tromsø and began recording in the early ’90s. Local-made-good Geir Jenssen (aka Biosphere) provided tutelage
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Muse
Muse’s fusion of progressive rock, glam, electronica, and Radiohead-influenced experimentation is crafted by guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenholme, and drummer Dominic Howard. Bored by the sleepy life provided by their hometown of Teignmouth, Devon, the three British friends began playing music together. They started the first incarnation of their band while only 13 years old, changing the name
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MGMT
Finding an unlikely middle point between Suicide‘s hostile, proto-electro punk art noise and the sardonic, pop-friendly sound of the Flaming Lips, MGMT started as electroclash musical terrorists but quickly grew into an eclectic, brainy pop group with psychedelic overtones. MGMT first formed in 2002, during Ben Goldwasser andAndrew Van Wyngarden‘s freshman year as art students at Wesleyan University
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Ladytron
Buzzy glam rock fashion plates Ladytron came together in a jet-set miracle in mid-1998. Daniel Hunt and Reuben Wu, who lurk in the background playing rhythm boxes and keyboards in the band, settled in Liverpool after a spate of DJ work in Japan and world travel, including a train trip in Bulgaria where they met vocalist Mira Aroyo.Helena
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Ladyhawke
Soon after the New Zealand band Two Lane Blacktop (named after theMonte Hellman movie) broke up in 2003, guitarist/vocalist Pip Brown moved to Sydney, Australia. She worked with several bands in the area, including Teenager and Pnau, before launching her own act in 2006. Adopting the name Ladyhawke (named after the Richard Donner movie), she handled instrumental duties herself and
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Kraftwerk
During the mid-’70s, Germany’s Kraftwerk established the sonic blueprint followed by an extraordinary number of artists in the decades to come. From the British new romantic movement to hip-hop to techno, the group’s self-described “robot pop” — hypnotically minimal, obliquely rhythmic music performed solely via electronic means — resonates in virtually every new development to
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JUSTICE VS SIMIAN
myspace.com/justicevsimian
