Threads Radio https://wp.threadsradio.com streaming 24 hours from The Cause Wed, 06 Mar 2024 14:10:54 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.3 https://wp.threadsradio.com/wp-content/uploads/2019/01/bg-150x150.png Threads Radio https://wp.threadsradio.com 32 32 207888110 As We Walk Toward Addis: Psychedelia, revolution and research in Ghana and Ethiopia with Afrocat https://wp.threadsradio.com/as-we-walk-toward-addis-psychedelia-revolution-and-research-in-ghana-and-ethiopia-with-afrocat/ Wed, 06 Mar 2024 11:09:52 +0000 https://wp.threadsradio.com/?p=12376 “Ghana was the first country to gain independence from colonisation. We grew up with Kwame Nkrumah’s name in our house. The spirit of revolution is in the music. And we need that spirit now to make changes in the world.” This is the mission statement of Afrocat (@afrocatmusic), a Brighton-based and currently nomadic DJ with […]

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“Ghana was the first country to gain independence from colonisation. We grew up with Kwame Nkrumah’s name in our house. The spirit of revolution is in the music. And we need that spirit now to make changes in the world.”

This is the mission statement of Afrocat (@afrocatmusic), a Brighton-based and currently nomadic DJ with Ghanaian and Trinidadian roots who has been performing and digging for twenty five years.. Multidisciplinary artist Cameron Evans (@zenrei), who writes for independent music magazine Soundsight Mag and London-based creative collective ASHA.FM, recently caught up with her for THREADS Radio to discuss an upcoming odyssey of hers – a compilation album of Ghanaian and Ethiopian music from the 1970s, Afrocat’s Lost Tracks: Accra to Addis, that will be researched and put together on an upcoming journey to the two countries.

CE: What is it that made you feel you had to do this?

“I had the idea and the name of the album in November 2022, the night before a Threads party. A lot of this stuff isn’t credited how it should be and there’s so many hidden gems. There’s a few labels reissuing afro stuff, and there’s a growing appetite for it. But a lot of the people doing it don’t have direct links to the places like I do. I grew up with a lot of that stuff from my dad, who is Ghanaian, and my mum who is Trinidadian. They both loved loads of different kinds of music. And then there’s a lack of female DJs putting together these kinds of compilations – so I felt there’s space for a female to curate a collection like this. I’ve been collecting vinyl for 25 years, but with these compilations, it’s usually a couple white guys going out there to find them.”

CE: What was the atmosphere at the time, and how do you feel it transfers to the music?

That time was a special time because Ghana was the first country to gain independence from colonisation. We grew up with Kwame Nkrumah’s name in our house. The spirit of revolution is in the music. We also need that spirit now to make changes in the world. Music is the great uniter, so I can’t wait to hear what came of that time.

A lot of things in Ghanaian culture are oral histories, so a lot of things are recorded down family and community lines, so speaking to people will really inform the experience. And for Ethiopia, it didn’t get conquered by Italy, so it has always had a feeling of revolution and self-governing. For both of these, If you’re a young band and that happens in front of you, it’s going to be in your music.

CE: So what’s the plan?

I raised 1,000 pounds which got my trip started. On the 1st March, I fly out to Accra, and around the 30th March I’ll head to Ethiopia. There’s a few things…

The first element is that I’m spending a month in Ghana, and it starts with performing on Independence Day at the AsaBaako. I’m going to be looking for old records, to find some special tracks. My specialist area is 70s productions and styles, and that’s what I’m looking for. Not just highlife and afrobeat – there was all kinds of psychedelic stuff going on. Something different, like disco and calypso influenced stuff. 

Because there’s music that was influenced back from the diaspora back to Africa. I’ll be speaking to artists and families, studios that were functioning at the time and so on to find rare tracks. Also, I’m going to be researching women in music in the 60s and 70s who might not have been recognised for their artistry or technical skills in both Ethiopia and Ghana. Lastly, I used to run a small youth charity that started in Brixton and ended up doing some great music and social projects in London and in 13 countries. When I’m in Ghana I’m going to be visiting a youth project to hopefully restart some work there.  So I’ve been looking at artists I already know, looking at where they recorded and what areas they recorded in. I’m already linked up with some vinyl stores there and some music departments from universities. I think I’ll find so much, it’ll be more curating it, and finding the artists to make sure that they get their fair share.

“A lot of stuff might not be researchable online – it’s always different in person, but records (in general) might not be kept in the same ways as they are in Europe. There’s a lot more value in being there in person. A lot younger generations are more interested in the electronic side, so they may see less value in what their parents and grandparents listened to.”

Afrocat tells me a story midway through the interview which I feel encapsulates her own quest:

There’s a band called WITCH [We Intend To Cause Havoc), a psychedelic band from the small psychedelic scene in 1970s Zambia. Things happened in the country and within the band, and they had to disband. A few years ago, an Italian filmmaker was involved in a documentary in Zambia. He looked up the main singer who was alive and working in a mine, and the keyboardist, who was holding a national independence festival at the time. He found loads of footage and old recordings, and has been on a mission to get them back together. There’s a couple of the original members and some new ones. They’ve started performing again. It’s an amazing story. And it shows there are still these things out there, and those people who were involved in those scenes are still around. I got to see them in Brighton and they came on my [December 2023] Blaxploitation Lounge show. It was after I had started this project, but it was signpost of what I’m looking for…”

From the conversation, it seems clear that Afrocat’s conversation with a newly reformed WITCH was the result of a reflection of her own mission – the preservation and celebration of culture and identity through music. 

Follow Afrocat’s journey through Ghana and Ethiopia at @afrocatmusic and @blaxploitationlounge – they also stream on Threads, Slack City and AAJA Radio. 

Cameron Evans is a writer, poet, and Russian to English translator. He also releases hip-hop and spoken word poetry as Zenrei. He can be contacted at zenrei.reizen[at]gmail.com. 

Editor: Alex H Honey

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REVIEW: Come Bye Festival 2023 https://wp.threadsradio.com/review-come-bye-festival-2023/ Wed, 21 Feb 2024 14:27:22 +0000 https://wp.threadsradio.com/?p=12338 This feature is the fourth and final piece of our Grassroots is Greener series – which looked at the health and sustainability of the small, independent, dance music festival scene, and talks to the punters and organisers that make it possible. Come Bye is totally unique, fully without pretension, and relaxed to a T. It’s […]

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This feature is the fourth and final piece of our Grassroots is Greener series – which looked at the health and sustainability of the small, independent, dance music festival scene, and talks to the punters and organisers that make it possible.

Photography: Amy Fearn

Come Bye is totally unique, fully without pretension, and relaxed to a T. It’s diverse, engaging, and hilarious. It is utopia – a utopia that can only be dreamt up by people with a talent for organisation, an over-active imagination, a wide and committed social circle, an experience of festival and event planning, and a convenient plot of dreamy farmland in the Welsh countryside. 

Inspired partly by Burning Man, but thankfully without the startup founders and tech bros, Come Bye founder Max wanted to start a festival with an ethos of gifting. Everyone is invited, but not pressured, to bring something to share for their attendees. This could be a talk, a stand up routine, an art installation, or any other passion someone may have – adding a sense of collaboration and belonging where everyone is an active participant and no one just a spectator. This keeps everyone coming back to a constantly evolving landscape of esoteric experiences.

Photography: Amy Fearn

There are two main barns for music, both sound-proofed and kitted out with incredible lights and sound systems, which come on at night for dance music while one is a stage for bands in the day. The line-up has its usual suspects of underground UK talent – although it was lacking DJs who’d play something less than harder electronic dance music but more than sleepy ambient. This is my one complaint: where’s the Al Green?

The festival orbited around the ‘umbilical cords’ tent, which is a small outdoor stage, covered in bean bags, playing various music in the day and strictly ambient at night. It was far too comfortable, and I spent too much time lying down and chatting in its warm embrace. Saying that, however, it was also one of the few festival contexts I’ve heard ambient music make sense to me in a festival setting.

Photography: Amy Fearn

As per, I had too much fun to properly appreciate the extra-curricular activities this festival had to offer, but the days were packed with unique chances to learn and play.. Debates, poetry recitals, talks about sobriety and conspiracy theories, stand-up comedy, a musical theatre performance, a vegetable growing competition, and even a sheepdog herding display. This definitely beats your standard ‘guided meditation hour’ and a small vintage clothes store.

Come Bye started with a Welsh men’s choir on the Thursday evening (as it does every year) and finished with a huge gong bath on the Sunday to mark both ends of this truly special weekend. These bookends represented the festival – inherently connected to the land and spiritual wellness without any hint or demand of pretension or seriousness.

Photography: Amy Fearn

Last, but not least, may be one of the most amazing things I have ever witnessed: Miss Come Bye. This is impossible to describe and difficult to believe for those who haven’t seen it. Somewhere between a drag show and a talent show, contenders exhibited incredible outfits, routines, characters, and props.. Despite the time and effort taken, this was not a serious affair. Every contender committed to hilarity, and a liberating, inspiring sense of silliness; we were all kids again.

Throughout the main field were small art installations and scientific exhibits. Just to add cherries to cakes, there were some adorable, if shy, farm dogs running around, and if you think it all couldn’t get any cuter, a postal service delivered love letters to peoples’ crushes.

Photography: Amy Fearn

Keeping the Grassroots Green

Come Bye is a lesson and perhaps a warning for anyone organising a micro festival. It is one blessed with the right ingredients – a beautiful plot of land, close contacts throughout the UK’s dance music underground, years of experience in event planning, and a huge circle of friends and family willing to volunteer their artistic and creative talents in the service of something greater.

Together, this lucky set of circumstances means that a great festival can be created every year with a fair ticket price, and even then, 2023 was the first time they’ve broken even in five years of doing it.

In my opinion, running a successful club night and having dreams of organising a truly special weekend is not enough to cut the mustard. Before you add to and saturate the multitude of boutique festivals we already have, you should perhaps ask yourself what you are bringing to the table.

Everyone likes a garden party. What is difficult, however, is to really add to the UK festival scene in quality, not just quantity, and draw people in who aren’t directly connected to the organisers and DJs. These considerations are both vital for the sustainability of the UK summer festival circuit.

People have too much choice, and most likely, less money and fewer free weekends – so they spend both more wisely; too many festivals to choose from will ultimately lead to fewer surviving.

by Dominic Alston

Photography: Amy Fearn

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INTERVIEW: Lazy Eyes https://wp.threadsradio.com/interview-lazy-eyes/ Fri, 16 Feb 2024 16:21:10 +0000 https://wp.threadsradio.com/?p=12335 In this transcribed interview for his Threads show (My Way With the Guey*CDMX), Isaac Jones speaks with Lazy Eyes a.k.a. Lucy Leyte, a multi-disciplinary artist and DJ hailing from Mexico City. She discusses her musical influences and inspirations that have shaped her as an artist, and opens up about upcoming collaborative projects with the electronic […]

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In this transcribed interview for his Threads show (My Way With the Guey*CDMX), Isaac Jones speaks with Lazy Eyes a.k.a. Lucy Leyte, a multi-disciplinary artist and DJ hailing from Mexico City. She discusses her musical influences and inspirations that have shaped her as an artist, and opens up about upcoming collaborative projects with the electronic music duo Old Astronauts, of which she forms one half.

Isaac: Lazy Eyes (Lucy) is our guest today and a great artist who has many interdisciplinary outputs. For example, she considers herself as a plastic artist, visual artist, painter, DJ, producer and in fact is a very cool gyal, so without further ado… welcome.

Lucy: Hey, Isaac. Thank you for inviting me to your show. We are going to be listening to a little bit of what you just introduced. It’s a mix of what you could call a mix of being an artist—basically a lover of art in some way or another. 

Isaac: Yes, well of course! So you have appeared on radio stations like The Lot Radio in New York, Aire Libre and Threads—like a year ago, no?

Lucy: Yes, about a year ago, Sidney (Abers) invited me. I was fortunate to have shared the space which was cool and it was also near to these special dates, this time of the year.

MWWMG vol. 2 mix with Sidney Abers

Isaac: And like Sidney, who was last month’s guest (which was a great show too—you should check it out on Mixcloud), you’re also not just only a sound gyal, but a multi-disciplinary artist who already produces work through other mediums. You design flyers and curate spaces such as catwalks. If you don’t mind, could you tell us a little bit about these projects that also involve this show’s first guest Primordial Om and a bit about you as an artist in this sense. Am I saying this right—”plastic artist”?

Lucy: Yes, plastic artist, like within the analogue side of being an artist who uses plastic. Through mediums such as painting or sculpturing, I am able to express it. Also, like for the catwalk you mentioned, which happened last year, I made jewellery, which was really cool. I make flyers for Primordial Om and I have a (music) production project with Primordial Om which involves producing, DJ’ing and selecting together.

MWWMG vol. 1 mix with Primordial Om

Isaac: There is now a project called Old Astronauts, which is a collaboration between Primordial Om and Lazy Eyes. Lucy (Lazy Eyes) and Lalo (Primordial Om, our first guest), together form ‘Old Astronauts’ who play tunes of all sizes and feelings. So, could you please tell us a bit about this project, its roots, and how it began and if you have any projects in the future coming up to let our listeners know what they can expect.

Lucy: Well, Old Astronauts began in 2013 at parties for a friend, Ekus, a big DJ in the City. We decided to inspire ourselves with the house scene, which was then the current music in Mexico, this electronic scene of Mexican artists making Mexican electronic music and we played tunes like this, like a bit housey. After that we started experimenting more with Jersey club, then a bit of ambient, then we started to find techno, and then arrived at jungle and a bit of drum ‘n’ bass. Also, we’ve played a bit of everything, in general we are music lovers. People have asked us to play vinyl sets of music selections of all types, which is more like being selectors rather than DJs like that. But we’ve done all of this because we really love music, it’s what moves us. In the future, in all of this and last year we’ve dedicated ourselves to an EP that is coming out soon. So it’s going to be a complete and more informed EP. However, we’re still not completely sure with which record label we’re going to release it with, but really soon we’ll have news on when and how we are going to release it.

Isaac: How cool, how sick! Also, what I’ve noticed as Old Astronauts and Lazy Eyes and Primordial Om but generally more from Lazy Eyes is that you’re really into music from my country such as Jungle and Drum n Bass and these types of tunes. However, of course you have a love for music in general, experimenting with loads of genres. Also, you’ve been involved in a community, I’d call it a supportive community. A community which has a DIY approach. You are part of this project called Animateria Sonora, right? Their styles of music are mainly ambient no? Could you tell us a bit more about this project and the musicians within it that share a love for music.

Lucy: Firstly, in terms of the label ‘Animateria Sonora,’ I am not a founding member of the label but they have welcomed me, they are like my musical family and with them we went and performed at Bahidora Festival and they’ve invited us (Old Astronauts) to various Ambient parties. The majority of us are present within the projects in some way. It’s an ambient music project but also mixed with Audio Visual practices. They made a short film recently that they showed in ‘Mutek.’ They are artists and visual musicians, obsessed with music and also put on events all around the city and record mixes. They are great and without doubt, a group you should look out for.

Isaac: Of course, great. Amongst our listeners, well the people who will be listening to these tracks, this track, well more like this show with many tunes. Details and links to do with the label Animateria Sonora I’ll leave on the Threads website so readers can access them. Now, we’re going to begin. For the next 50 minutes, we are both going to choose some tracks of all types. It’s going to be a show including lots of different types of flavours. We’re going to mix and select some tracks and chat some silliness about them. Lucy is kicking us off with the first tune. Why have you chosen this tune? 

Lucy: I have chosen this tune because I feel it really represents my childhood and a base of artists who represent a bit of my family’s musical taste. It’s a really funny tune because it speaks about the Chihuahuan desert. It’s about the town where my Grandmother’s from. It’s about a little lion, the story of Piporo, who’s an artist, who lives in Chihuahua, very regionally Mexican bloke, and he just narrates his experience in the desert and how he comes across a Lion who he leaves blind with an orange fruit peel, after pinging it in his eye with a slingshot. That’s what the tunes called, ‘El Cascarazo’ (a hard hit). Here it is…

Isaac: This tune is an original production by our guest, Lazy Eyes, but not just her but also, ‘Primordial Om, and the Old Astronauts produced this tune together. Can you tell us abit about this tune, it’s Natalia Lafourcade right? 

Lucy: Yes, it’s an iconic tune from the 2000’s that is from the soundtrack ‘Amarte duele,’ (It hurts to love you) which is very representative of us Old Astronauts.

Isaac: And for our listeners who don’t know, where is Natalia Lafourcade from? 

Lucy: She’s mexican. 

Isaac: In which state of Mexico?

Lucy: Veracruz!

Isaac: She’s Veracuzian then?

Lucy: Yes she’s from Veracruz I think. 

Isaac: Ok, right, Natalie, if you’re listening and you’re not from Veracruz, we hope you can forgive us, sorry. 

Lucy: Sorry!

Isaac: Thanks, it’s been a pleasure to have you on Lazy Eyes. Thanks for being My guey this month. Since it’s the last show of the year, Merry Christmas everyone and see you all next year. Stay safe. X

Lucy: Isaac, thanks for having me on, it’s been really fun to mix with you. Byeeee.

You can find Animateria Sonora, Lazy Eyes, and Old Astronauts on Bandcamp.

by Isaac Jones

Editor: Alex H Honey

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INTERVIEW: Lukasz Polowczyk aka Aint About Me 2.0 https://wp.threadsradio.com/interview-lukasz-polowczyk-aka-aint-about-me-2-0/ Wed, 14 Feb 2024 15:07:06 +0000 https://wp.threadsradio.com/?p=12346 If words are devices used to convey meaning, then it follows that writing and speaking are two vehicles that may be used to transport them. It was in a different vehicle that I first heard the spoken words of Łukasz Polowczyk aka Aint About Me. January rain sidled down the windshield as a low-toned voice […]

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If words are devices used to convey meaning, then it follows that writing and speaking are two vehicles that may be used to transport them.

It was in a different vehicle that I first heard the spoken words of Łukasz Polowczyk aka Aint About Me. January rain sidled down the windshield as a low-toned voice hits like a heavy rock placed in your lap. Deep bass tones rumble while harmonising pads hover in the mids and highs; the rock is covered in dry moss that protects you from the roughness, leaving only its weight and the wonderment as to why it was placed in your lap.

The poet recites Watching Kali Sashay With My Arm In Her Locked Jaw, the opening track on his eponymous album.

A thousand miles seem to pass in a minute and when it’s done, the poet is gone, and the rock is lifted. Blood returns to your legs.

Born in Poland, raised in New York City, and now residing in Berlin, Łukasz Polowczyk is a poet whose latest album blends intimate spoken word poetry with subtly shifting musical passages. Available in audible formats – cassettes or digital download – and as a printed volume, this is an album that begs to be read as much as listened to.

I caught up with Łukasz for a deep dive into contemporary spoken word, meaning vs form, and why he chose not to make a poetry mixtape.

Photography by Gene Glover

JH – For a spoken word poet, your Threads mixtape contains far less spoken word than some might expect. Would you give us some insight into why you made that choice?

LP – Before I got down to it, my intention was to make this an eclectic journey through the contemporary spoken word landscape. Unfortunately, I just couldn’t find enough tracks. I’m actually kind of shocked at how underdeveloped the genre is. But to be fair, my expectations are pretty high because I want these tracks to not only showcase high-level pen game but also somebody’s presence on the mic. Their delivery skills should be top-notch, and they should have an original style. The end product should also be an interesting and original musical proposition. That’s a lot to ask for! Add that I also have to feel these tunes deeply – problem!  

But the truth is that the genre didn’t really evolve much since its golden years when hip hop created the space for it – when Saul Williams, Ursula Rucker, and Mike Ladd were doing their thing. Is there even a piece out right now that could contend with ‘Coded Language,’ the Saul Williams collaboration with DJ Krust? In any type of way? Having said that, I love what Moor Mother, Kae Tempest, and Aja Monet are doing, but that’s not enough to cut a mixtape.

JH – Considering that spoken word poetry is part of an ancient oral tradition that predates the written word, and that it contains such luminaries as Gil Scott, Herbert Read, and I’d include Bob Dylan as well, does it surprise you to feel that the contemporary spoken word scene is underdeveloped?

LP – I have to frame this a bit because I’m not some spoken word aficionado or anything like that. I just love the idiom, and I happen to express myself through it. What I’m referring to is this particular sub-genre which combines music and spoken word – I can’t find much of that. As far as poetry is concerned, there is so much great stuff being published daily. And there are so many different styles, and voices, and we are finally privy to what’s going on all over the world, which was certainly not the case in the past, right? BTW, big ups to Hanif Abdurraqib – his poetry destroys me!

It could be that this is also a factor of this continuous deluge. Last year, we reached a hundred thousand uploads of new songs to Spotify daily! I’m sure there are gorgeous diamonds up in there, but I just haven’t found them yet.

JH – Do you feel that this is partly because of the eclectic nature of the spoken word scene, which unlike music, isn’t generally divided into sub-genres, and which has no labels or megastars spearheading the movement, which means the output of it’s proponents all gets lumped under a single banner: spoken word poetry?

LP – I was privileged to grow up at a time when there was an actual TV show dedicated to the art form. It was called Def Poetry Jam, hosted by Yasiin Baye (fka Mos Def), and featured rappers and slam poets reading their work back-to-back. There was also the Nuyorican’s, the nights hosted by Bobbito Garcia, which was also a high-level ‘institution’. I think outlets like this still exist today, but what made that particular moment in time magical was that people who performed there were shaping hip hop culture in real time, at an international level, yet they made space for this more experimental, less-formatted approach. They also pushed the poetry community to keep up with them musically.

I checked some of this year’s Grammy Nominations in the spoken word category, and you have Aja Monet’s record – it’s gorgeous, soulful, timely, and features next-level musicians. But then the next nomination is a compilation of this poet doing pure slam – which I’m sure is great live – but to have a whole album of what are essentially live recordings straight from the board with no musical component… it just doesn’t translate as an album. And it’s certainly light years from Aja’s release – you can’t even compare them. I hope she takes that Grammy home! (Editor’s note: Unfortunately she did not. The grammy went to J. Ivy)

Although most people would classify him as a rapper, Kendrick Lamar is definitely one of my favourite poets at the moment.  He’s a beast, not just as a writer but also as a vocal artist. He was the last one to crack me wide open! The multiple perspectives, shapeshifting, using multiple voices, and ultimately creating these mosaic-like modern novels in terms of structure, but using poetry as the vehicle. And the music! More of that, please!

 JH – As you’ve mentioned, there are some rays of hope out there. To your list I would add Derrick C. Brown, whose delivery sits somewhere between stand-up comedy and the geek rock intimacy of Ben Folds, and Mwende “Freequency” Katwiwa, who is never short of incendiary. Surely the fact that such performers exist on a relatively public plane must mean there are more out there who are yet to reach a larger audience. Is it then a case of there not being enough platforms that share these people with the world, or is it that the world at large simply doesn’t have a taste for spoken word?

LP – Do you remember how, up until Kamasi Washington dropped his debut on Brainfeeder, jazz was confined to this academic, high-brow space? Especially when viewed through the lens of big festivals or niche media. If you were tapped in, there were these pockets of amazing instrumentalists giving the idiom the wildest spins, but for the most part, locally. When he dropped and garnered all those big features, he moved jazz back into the mainstream. Being that his record was on Fly Lo’s label, and he played in Snoop’s band, brought it back down to the people. The effect was that these small pockets of jazz lovers became an interconnected global network, and as a result, jazz is now a part of the greater cultural discussion. It matters again! And, as a consequence, the records are only getting better! Even Andre 3000 is up in this space now doing his thing because the energy is so magnetic, and the creativity is next level. We definitely need somebody like Kamasi but in the spoken word scene, to connect the dots like that!

JH – You open your Threads mixtape with a track by Chuquimamani-Condori, in which traditional folk instrumentation battles with glitchy electronica, at first buried beneath the rubble of noise, then slowly rising throughout the track. What does the decision to open with this particular track say about you as an artist and your personal origins as an individual? Did you intend this Mixtape to be an aural narrative that runs parallel to your own history?

LP – When I heard that song for the first time, I saw an explosion of colours in my mind’s eye. I was sitting there with my headphones on, laughing out loud because this track is so visceral and audacious; it’s not only prismatic but also original! By the way, it’s rare nowadays that something hits me like that! Unfortunately, a lot of what I’m hearing is derivative—the knock-off 4-stripe Adidas version of what I already know. Or some tendency, presenting itself as a cluster of iterations of the same-same.

I guess the most important ingredient that I look for in a piece is soul—either an emotional truth or presence, or what I call a subtle frequency that taps into energies I recognize from prayer or meditation.

When I started working on this mix, I was still in the process of scanning my mind/body to figure out what this baby 2024 feels like for me, and this track is exactly that! The beginning of last year was spiritually dark for me. My intuition serves as my navigation system, and I can always rely on it. However, last January, I felt like I was sending a sonar pulse out, but it bounced back on me instantly because there was an impenetrable wall three meters away!

 This moment in time feels kaleidoscopic, and effervescent. Going back to your question, the mixtape ended up becoming a meditation on the different themes in my life, things that are on my mind. I only chose tunes that I feel in my bones.

JH – It seems that your criticisms of contemporary spoken word are aligned with your feelings towards modern music. Would you put the issue down to groupthink caused by social media, or is there something else going on?

LP – I go back and forth on it. There are days when I’m literally humbled and super grateful for all these unique voices out there – the multiple axes you can travel down sub-genre-wise as a music lover. And then there are those days where everything sounds the same to me. Clearly, this is not an objective opinion, right? It’s how I feel that particular day and what music I’ve stumbled upon. Certainly, it’s easier to imitate things than it ever was in the past, and streaming service algorithms favour repetition or iterations. So, there is that.

But, as I’ve said before, I have a very particular taste in music. I am sensitive to energy, and I want an album to be more than just a collection of songs; I want it to be a novel, a feature movie. It’s a no-brainer that my expectations have something to do with the disappointments I often face when trawling for new music.

JH – What is poetry?

LP – To me, poetry is a way of seeing the world. It’s about how you frame and organize the world in your consciousness. It’s a commitment to the pursuit of beauty and a commitment to love – a big YES to all orders of life. I don’t see poetry solely as a literary form; I view the literary form as one of the many manifestations of poetry. When I see Storyboard P dancing, that’s poetry to me! Arthur Jafa’s video installations are poetry. The new Andre 3000 record? Poetry! I can hear him explaining where he’s at in life and his relationship to it at this very particular moment in time. You can rhyme all the words you want, you can master the meter, but if you don’t have that frame – it ain’t poetry!

JH – Dambudzo Marechera spoke of poetry as “a reorganisation of the objects around you into a new pattern, like in a kaleidoscope”, but also stated that “poetry becomes an attempt by the individual to become invisible, but with a kind of invisibility that illuminates things from within as well as from without”. These two statements seem to neatly coalesce in “Aint About Me”: its content embodying the former statement, its title embodying the latter.

LP – I love that! Thank you for putting me on to that – I can totally relate. For me though, Aint About Me – the name, the concept, the philosophy – was a natural conclusion to a certain chapter in my life. I was suffocating in this tight prison of artistic self-obsession and solipsism. I was also tired of being around people who were also trapped in the ‘me, myself, and I’ paradigm. This, among some other lifestyle-related situations, led to a burnout. Spiritually and creatively.

I thought that I had failed! That I finally got to the top of this mountain after scaling it for so many years, and it was all for nothing. I was left with an existential puzzle: if I am not a musician, then what am I? I was staring into the same voracious void that those before me had to face. Some of them rose like Phoenixes after seeing themselves reflected in it; others were pulled apart by it. Solving this riddle sent me on this wild investigative journey. Obviously, there were the existential components, but I also wanted to understand music more, from the inside-out, the nature of sound, etc.

I had to decouple the idea that the quality of music is reflected in the market – that was the first adjustment. I decided that it’s healthier to make music for the sake of music, without the pressure to monetize it. That brought the joy back. The last code to crack was how to make music without it turning into a shadowboxing match with my ego. That’s how Aint About Me was born. I am no longer concerned with anything but being of service to the creative process. Interestingly enough, the work comes when you step aside – when it’s not about you. Plus, I very much want to make sure that what I put out there is nourishing to those who are exposed to it. Sometimes, the work itself is just an excuse to have a conversation like this, where I get to sneak in a bit of medicine.

 JH – Your book, Aint About Me begins by inviting the reader to read the words aloud. Would you explain the thought process behind that

LP – Well, the book was created to accompany the record—not only to help the listener in decoding the individual pieces but also to give them a bit of context. The introduction to the book is crucial in setting the tone for this chapter of my journey, and I wanted to share that. Additionally, I aimed to give the record a physical presence, creating something tangible to stand in for the sound that mostly lives in the digital realm.

The reason I asked people to try on my words, to speak them out loud, is to give them a more embodied, connected experience. I wanted them to feel the weight of the words, the rhythm, the flow. Though I’ve only recently articulated this for myself, I believe I intuited it back then: with my work, if you accept that a particular “song” is a poem, then the sound of the words and the music are also components of this poem. It’s the interplay between these elements that creates the meaning. But, if you read the words out loud, you will feel what they felt like on my tongue, in my body. You will get a glimpse into what it felt like for me to utter those words.

JH – I did follow your advice and read the entire book aloud. I particularly enjoyed saying the lines, “plus the paint is still fresh and you can still smell the fumes, and the footprints are mine, and the kicks are splattered black”. From a phonaesthetic perspective, this sentence has everything; alliteration, a subtly shifting poetic meter, a wide range of vocal shapes… all rounded off with that three-punch combo of plosives – kicks, splattered, black.

Speaking these words aloud allows the sound of each word to envelope the meaning, the two then merging to become something more. It reminds me of Jon Anderson’s approach to writing lyrics for Yes because he actually paid more attention to how the words sound in relation to the music, as opposed to dwelling on the meaning first and foremost.

You see that a lot in hip-hop, a genre whose language you use quite frequently.

For all poets, there is a tug of war between meaning and form; do we choose to follow the meaning, or do we set that to one side in favour of a sonically pleasing series of words, then hope to thrash our way back through the jungle to the pathway of meaning we momentarily abandoned? Where do you see that balance within your own craft?

LP – Great question! I write in a stream of consciousness, I edit on the spot, and generally record the piece instantly after I catch the download. Most of the time, I don’t really know what the piece is about; at that point, it’s as much a revelation to me as it will be for someone hearing it for the first time. It blows my mind to this day that this is possible – that meaning can arise spontaneously, and something that you didn’t consciously manipulate or control – I’m referring to the fabric of language – is full of insight into where you are in life at that particular moment.

So, for me, it’s very much about the frequency of the moment, its inherent truth, and how that dictates both the musicality of the words you are writing, but also their content. And it really is a feeling, an energy, and when it’s not there, neither is the magic – the channel is closed. At this point, I live for these moments. I am extremely thankful for when they transpire, and I just do the work to be ready for the moment when the heavens split, and that torrential rain comes down to drench me.

JH – In the 4th century AD, St Augustine wrote his Confessions, in which he describes how remarkable it was that his mentor, St Ambrose would read silently, which today is considered by most people to be standard practice. By the 4th century, writing was roughly 5000 years old, whereas language itself could potentially predate homo sapiens (roughly 200,000 years old). With this in mind, to what extent do you feel the act of reading aloud allows a person to absorb the written word at a deeper level?

LP – Thank you for that! That’s gorgeous. I had no idea. Well, I always read what I’m writing out loud. I have to feel the words—their individual character as sound objects—but I also need to feel the rhythm of the piece. When you read your writing out loud, you will hear if it works. You will immediately hear if it’s too dense or if the words are clashing rhythmically. Personally, I can’t do it any other way.

JH – When you write poetry that you intend to perform vocally, how much is the act of writing the words affected by the knowledge that you’ll someday be performing those words?

LP – If we’re talking about this poetically inflected writing, then it’s always written to be performed. But I don’t really write for an audience in the sense that I don’t navigate using external points of reference; my intention is solely to create something that I love. The only thing I’m trying to accomplish every single time is to make something that I feel and that has a truth about it—a soul. I don’t even care so much about the technical side; I don’t want to be flashy anymore. I’ve arrived at a place where I know that whatever I write will be imbued with textures of my consciousness; it will be derived from my experiences, aesthetic loves, and obsessions. The end result can be as simple or complex as long as it is capable of transporting this truth.

We are living in a time where making well-produced images, video, and sound is easy. The outcome is that the world is flooded with a lot of beautiful containers that are empty inside. You know what I mean?

JH – Does this come from our human tendency to gravitate towards something we find aesthetically or sonically pleasing, or is it an urge to hide from things we find uncomfortable?

LP – I don’t know – I’m not wired like that. I’ve always gravitated to truth/soul/that type of frequency in art, hence this life-long journey through all sorts of sub-cultures. I move on that energy, naturally gravitate to where it’s at. So, I don’t know what people who love that type of music are experiencing when they hear it – what attracts them to it. Maybe they also feel it deeply, but I just happen to respond to a different frequency?

But what I can say is that we are living in a cultural landscape, of which music unfortunately became a component, that is very much about trapping people – holding their attention as long as possible. The way music streaming works is that once you press play on something, the algorithm will keep on feeding you more music. Sometimes this can be convenient because you’re busy doing other things and don’t have to worry about cuing up the next record. However, the problem is that you are never given the space to contemplate anything – you are forced to binge listen. But, arguably, music, and most art for that matter, is there to reframe your engagement with life and release you back into it. Without this pause, you can’t integrate new modalities of living, and you’re certainly not being released. You are, by the virtue of how this media works, being formatted into a passive consumer. And that’s hella sad!

JH – Do you think then that perhaps there’s a need to separate the word “music” from the word “industry”, to dial back the commodification of an artform so intrinsically woven into the human soul?

LP – I think what you can and should do as an artist/a creator, if you want to make something soul-infused, is to forget about the industry, the market, marketing, and all that other stuff when you are in the process of creating. The creative act needs to be kept pure. It’s sacred! It should be an intimate dialogue with the deepest parts of yourself: your needs, your obsessions, your emotional body, your wildest dreams. Ideally, you should cut all strings that tether you to your daily reality and deep-dive into your unconscious mind or the spirit world – whatever you want to call that space.

I don’t have a problem with the industry, per se, when it’s doing its job, which is to deliver art to art lovers, to create the conditions for certain projects to be possible. You can’t bring the best possible musicians with the best sound engineers and record at Rick Rubin’s Shangri-La Studio with him guiding you if you don’t have the budget to feed all these people. Making mind-blowing music videos is also hella expensive, as is producing a Kendrick Lamar live show. Everything in context. But when you are creating, channelling, if you may, that should be the only thing that consumes you.

 

JH – You end your mixtape with your own track, “We Survived”, which (much like the track you opened with) begins in a dense space – all muffled low end – then rises throughout the track before ending with a hopeful statement of intent. Having survived the darkness you experience during the early part of last year, what are your intentions for this baby, 2024?

LP – Dropping that tune there really felt like a deep exhalation for me – and it felt like was I hearing it for the first time. I could feel the emotional payload that’s encrypted within it. The fact that we are here, that I get to break bread with my loved ones and pour my time into the things that make my heart rattle, like a footwork banger – this is not to be taken for granted! I am grateful! I feel blessed! 

As for what this baby two-four means to me… I definitely need to get my financial matters in order because last year dragged me around and stomped me out in that regard – it felt like I caught a proper beatdown. I don’t need much, so I’m not talking about rapper-level ambitions. I just want to make sure that I can give my kids the experiences that will help them flourish. Travelling, if done right, is the biggest teacher – EVER! So, I want them to meet some of my extended fam scattered around the globe. Besides that, like every year, I’ll just unpack what life gives me, accept it all as it comes, distil the lessons, and do it with the joy of a kid opening his birthday presents. And I definitely want to indulge in more face-to-face collaborations – mix that energy, experiences, and colours with other creative folk out there.

by Josefus Haze

CREDIT – Photography by Gene Glover

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INTERVIEW: Paulah https://wp.threadsradio.com/interview-paulah/ Thu, 09 Nov 2023 15:47:31 +0000 https://wp.threadsradio.com/?p=12317 An interview between Paulah and Sidney, host of the antro(pologia) show on Threads*Mexico City. Q: How did you get involved with the electronic music scene, and what have been your most important influences along that journey?  A: The first thing I remember is the eurodance that my sister listened to and danced to in her […]

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An interview between Paulah and Sidney, host of the antro(pologia) show on Threads*Mexico City.

Q: How did you get involved with the electronic music scene, and what have been your most important influences along that journey? 

A: The first thing I remember is the eurodance that my sister listened to and danced to in her room and played all over my house when I was little, that was the first electronic music that came through my ears I would say. Reggaeton has always accompanied me, that was the first thing I downloaded from torrent and emule and I had folders and folders of reggaeton, and it was what we put on to dance and dance and dance and dance. Later when I started partying (very young lol), we went out on Thursdays to a drum&bass party called ‘twist’ and we went straight to school omg, so for a long time I was listening to dnb, dubstep, and techno in a club called danzoo every Friday in Chamartin that no longer exists and only more techno at festivals in summer… dreambeach, monegros, electrobeach, etc… When I entered the world of soundcloud around 2008, I had a dark fondness for commercial deephouse that the soundcloud algorithm threw me and I feel like that was a strong northwestern European movement… but anyway, I managed to overcome that phase and I guess my next one I moved from Madrid to Berlin. Already a little fed up with the only offer: techno, I returned to my beginnings because of the simple need to dance and perrear a little hahahah. I also started some cumbia and salsa parties with my friend Lionza from Venezuela. Purely for the dance, and well, the Spanish-speaking community, we get together a lot through that music — it’s what unites us the most. Now a lot has changed… I’ve managed to move what I like into the club, electronic music with latin influence (or by latinx producers), latin club, and to try a little of everything jajaj.

Q: Can you tell us a little bit about your project, NOFUTURE, and the other projects you have collaborated on? 

A: So, nofuture was going to be a musically VERY diverse party, and very trashy and for the homies my friends and I called it NOFUTURE, but it never happened because the pandemic started…. So, with the help of Drew, Dj Schlange, who stopped during the covid from Mexico in Berlin and well, out of desperation for not being able to party or earn money, we started to do raves and outdoor parties under the idea of the name that the party already had, nofuture and, in that period of crazy raves we also met the people with whom we would later start collaborating with as Calentura. 

Alongside the parties, my friend Augusto from Caracas showed me raptor house and dj baba, the year before I had already met Beto, Dj Chiakka, from Chakanais who brought the Yo No Soy Guapo documentary about cumbia and sonidera culture to Berlin, and then he connected me with all the people from his collective who were very open to collaborate; <4 Emiliano Dietzgen, Ga, Rosalio etc., and I started to upload content to Soundcloud and well now nofuture is a music platform of everything that is coming to nofuture, and I like that I mainly do the curation, but we make up a very diverse community of friends here in Berlin and Latin America. 

Apart from nofuture I collaborate with Calentura, and we do events not only focused on the club, but also with bands, we go out on bikes with music to demonstrate for climate change, vinyl dance sessions…. we also do more activism when something is happening in Latin America and 4 years ago I also came upon the universe of AL-berlin because they invited me very often to play at their bar… they are a migrant collective in Berlin that focuses mainly on promoting rhythms from the WANA region (West Asia-North Africa) and in my opinion they are the best at organizing festivals, they are the future. Once it was also a café bar and cultural space, but it had to close sadly, it will reopen, we all miss it!

Q: What has been, for you, something that you had to learn or that you feel that, today, you handle better compared to years ago when you started to carry out such projects as you do now?

A: I think I had to learn many things… I am constantly learning… nofuture is like having a kid… we learn together, but I guess to invest in nofuture and becoming more and more professional, especially with the parties and be less naïve and to be more cautious, especially with whom you collaborate! be more selective and follow the intuition… I notice that I have more and more ambition and that’s good <333

Q: From your experience, do you feel that there is a way for solidarity to exist between the artistic communities in Europe, Latin America, and other countries that are part of the world club scene?

A: Definitely there is, I think there is more and more visibility of who makes, produces music and bridges are created, of course here there is a lot of privilege and appropriation, but people are becoming more aware and we try to repair that. There are more and more platforms and collectives, labels, media, that focus on that, especially people in the diaspora support their communities, and that’s how it has to be, but it’s an effort between all of us… there is still a lot to do, here in Berlin a few years ago you couldn’t listen to latinclub, and they wouldn’t give you space anywhere, now everybody plays music by non-European producers and the spaces are making a lot of effort to give us space. Finally, this is not going to stop, we are going to take over all the dancefloors.

Q: Finally, what areyou excited about right now in music and in life, and is there anything new you have in the works that you want to share with us?

A: I’m excited to see the artists I like playing in clubs that are temples here in Berlin, like Tresor and Berghain, now dj babatr has just been playing amazing raptor house, at tresor in herrensauna, a party quite closed musically and focused on a specific type of hardtechno, and it was beautiful, for me the music has to have flavor, variety, they’re dancing and enjoying those rhythms even more. 

The party is political and the dance floor is to heal through dance, enjoy, accept each other, connect, create community. I’m excited to see the scene take a more collaborative turn, to see dance floors and lineups becoming more diverse and more options for more collectives and rhythms that are not the same-old. Especially in Berlin, which for the amount of clubs it has, I feel is a scene with a somewhat limited offering of music… although thank god it’s changing! っ◔◡◔)っ ♥

And well in life I get excited about all the people and experiences I share thanks to music UwU. 

Projects, well, focusing on the music is what I like to do anddd beyond that, keep doing events parties and festivals with nofuture, calentura, al-berlin, meet people open and crazy like me, and whatever else comes, I’m always open to collaborate <3.

by Sidney Abernathy

Editor: Alex H Honey

The post INTERVIEW: Paulah appeared first on Threads Radio.

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REVIEW: Twisted Festival https://wp.threadsradio.com/review-twisted-festival/ Fri, 13 Oct 2023 12:12:54 +0000 https://wp.threadsradio.com/?p=12295 This feature is the third piece of our Grassroots is Greener series – which looks at the health and sustainability of the small, independent, dance music festival scene, and talks to the punters and organisers that make it possible. Twisted was, in summary, an intimate and no-frills affair – involving 300 very lovely people, one […]

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Photo: Izzy Wylie

This feature is the third piece of our Grassroots is Greener series – which looks at the health and sustainability of the small, independent, dance music festival scene, and talks to the punters and organisers that make it possible.

Twisted was, in summary, an intimate and no-frills affair – involving 300 very lovely people, one main stage with a lineup that punched way above its weight, and a smaller day stage just for the afternoons – and all for the cheapest price you could hope to find for a UK weekender.

This was all scattered within an idyllic section of a golf course and patches of woodland, with pillows and hammocks dotted like hidden, semi-secret lounges throughout. There wasn’t a specific camping area, which only added to the garden feel – as you could pitch up wherever, including in the woody bits for protection from the elements.

Photo: Izzy Wylie

With Parris, Raw Silk, Shanti Celeste, and Papa Nugs, there was a ton of UK dance music talent – arguably far more than 300 punters would expect when paying less than £90 a ticket.

Threads Radio warmed things up outdoors on the Friday in the day time, with the Splint Collective taking the reins on Saturday for a day of higher-octane dance music. The day stage was a simple set up with a decent PA system, under a small roof and next to the very comfy chill out sofa area. This part of the day was blissful – with people sprawled under the sun or dancing without the intense pressure of darkness or four walls; as a summer festival should be. 

Photo: Izzy Wylie

However, I wish this stage was scheduled to play for more time – I didn’t want to be inside when the sun was out, and so as the day was ending and the night began, there wasn’t always an appropriate musical environment to bridge the gap between a nice summer’s afternoon and a smoke-filled rave.

As the sun set, The ‘Thunderdome’ came online on – a three-quarters covered stage with a stack of primo Funktion-One rig in each corner, excellent lighting, and constant smoke. Here though, lies that challenge: during the day, it felt weird to be in what was essentially a fabric conservatory still lit up by a setting sun. Without the lasers, smoke and darkness that made it so amazing during the night, it did feel a bit odd during the day whilst things were getting going.

Photo: Izzy Wylie

I have a confession to make: techno and its relatives aren’t my favourite genres, and I get fairly bored of 4/4 after a certain amount of time – even when it gets fast and silly. Of course, not everyone will share this feeling – and if you don’t, then this festival will be one of constant musical ecstasy, as Twisted resonated with the best music these genres had to offer, for the vast majority of the weekend

The highlights of the weekend were Shanti Celeste, Vindya and Spa Day’s sets. Shanti needs no introduction, offering up a wax-focused journey that had everyone euphoric and gripped. Vindya shared a load of amazing global dance music and high energy edits that had everyone cutting a wide array of shapes, which set the Saturday evening off to a perfect start. Spa Day, who also organised the festival as one half of the Twisted team, closed with the last weekend of the set. They played a fast and furious few hours – full of fun edits and absolutely empty of pretension or seriousness. Everyone at the festival filled that tent in a show of solidarity and pure, unadulterated enjoyment.

Photo: Joe Murphy

Finally, I wanted to touch on other aspects of the festival which may inform your choices for the 2024 festival season…

Extra-curricular activities focused around yoga on the Saturday morning – a lovely moment for some, but no wellness classes, pottery, vintage clothes shop, or any other side quests at this year’s Twisted. As someone who never seems to find time for these at festivals, I didn’t particularly miss them.

Photo: Joe Murphy

In regards to food, vendors felt overpriced – with one asking £15 for a vegan burger. I know festivals aren’t known for their affordable sustenance, and it probably isn’t the organiser’s fault, but this could have been better. Again, however, remember that ticket price…

It was pretty much perfect facilities wise. Toilets were fairly clean and plentiful, tap water was free, the bar had a wide variety of drinks, and there was even a wall of charging sockets for you to charge your phone. An on-site ambulance and medic team also ensured everyone remained and felt safe.

Photo: Joe Murphy

The lineup, or at least the music the lineup played, could have been more varied – with a greater focus on soundtracking a beautiful summer’s day on a dedicated day stage. I’d be interested to see how the ‘thunderdome’ would have felt as more of an open festival stage rather than as an enclosed club space – particularly when the sun was out.

It was a wonderful weekend – organised and attended by beautiful, friendly people, who all seemed to take home with them that elevated community spirit of dance culture. It was, however, less of a boutique micro-festival and more of a rave weekender for those looking for consistently good dance music. 

Photo: Loreta Tale

by Dominic Alston

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REVIEW: Goooose – Rudiments https://wp.threadsradio.com/review-goooose-rudiments/ Wed, 04 Oct 2023 11:51:39 +0000 https://wp.threadsradio.com/?p=12270 For his second album released on Shanghai-based label SVBKVLT, Gooooose delivers an LP characterised by simplicity and a coalescent approach to production. Earlier this year, when interviewed before his live performance at Iklectik, Gooooose (aka Han Han) gave a comprehensive insight into his approach to production, alongside the underpinning concepts of his latest album, Rudiments. […]

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For his second album released on Shanghai-based label SVBKVLT, Gooooose delivers an LP characterised by simplicity and a coalescent approach to production.

Earlier this year, when interviewed before his live performance at Iklectik, Gooooose (aka Han Han) gave a comprehensive insight into his approach to production, alongside the underpinning concepts of his latest album, Rudiments. Here, Han Han illustrated his approach to production by drawing parallels to his time spent studying chemistry, an approach which focused on breaking things down to their individual structures and experimenting with different musical components. What’s evident is his music does not conform to specific ideas or conventions; it instead attempts to produce sounds by experimenting with and replicating techniques. The word experimental has become so detached from its actual meaning in the discussion around electronic music that it is now a very vague descriptor. But in this context, it is an apt signifier. His approach is not driven by intentional aesthetics or conventions but by experimenting with differing sound techniques. Han Han’s focus is the microelements. Joining together small components to build a coalescent piece.

In Rudiments, this approach is clear from the foundations of the album’s concept. Birthed during lockdown in Shanghai, a restriction to the confinements of his own home gave Han Han an opportunistic perspective to focus on quotidian household objects. These simplistic objects provide inspiration for the album and a catalyst for his approach. Additionally, the very concept itself refers to a drumming rudiment, as highlighted by Gooooose in the album notes: “In drumming, rudiments are small and sometimes fundamental pieces that could later form longer rhythmic patterns“. The theme bypasses thinking on grander scales or focusing on the big picture. Instead, it puts smaller structures under the microscope, emphasising the role of the simple elements in music and our day-to-day lives.

The sonic results of this approach yield a stimulating canvas of sounds, cultivating an LP with a minimalist scope but a dynamic variety of tracks. The opening track, Burning Smartphones at a Sunset Desert, sets things in motion with sweeping, sombre drones. The following three tracks on the LP instantly bring the mood to exuberance with 3 tracks packed with groove-filled percussion, simple yet intricately programmed, layered smoothly over pleasant-sounding pads. The standout track of Rudiments, Turn a Roach to a Cleaning Bot, draws from his Drill and Bass influences. An energetic track that dynamically cuts between channels loaded with weighty basslines, zappy breaks and stuttering percussion that progressively builds to a euphoric crescendo of noise. Rudiments reflects the approach of building simple structures to a satisfying result, producing sounds bursting with detail without feeling too complex.

by Alec Jetha

Editor: Alex H Honey

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REVIEW/INTERVIEWS: KALLIDA Festival https://wp.threadsradio.com/interviews-kallida-festival/ Thu, 21 Sep 2023 19:07:56 +0000 https://wp.threadsradio.com/?p=12244 Part two of a two-part series on KALLIDA festival by Morena Alano, including interviews with the festival’s installation artists. Connect with Morena via Instagram. I’m not sure if it’s just me or if everyone follows the same process, but as soon as I get to a festival I’m hit with the urge to explore the […]

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Part two of a two-part series on KALLIDA festival by Morena Alano, including interviews with the festival’s installation artists. Connect with Morena via Instagram.

I’m not sure if it’s just me or if everyone follows the same process, but as soon as I get to a festival I’m hit with the urge to explore the venue to understand my way around as quickly and early as possible, or perhaps to allow for my intoxicated mind to find its way back to my tent in the early hours of the morning. It’s like a human instinct of survival—where are the toilets, bars, stages? Who’s playing where and when, where can I retreat for a breather after 6 hours on my feet… and, the main question on my mind—what sort of art will I encounter? As a festival which puts as much of a focus into the overall immersive experience as Kallida, the visual side is a key aspect of what makes the festival so unique—my job was to explore it.

As much as the sound and music is at the forefront at Kallida, so are the aesthetics.”

Fiona

It was my first time attending Kallida, and quite a spontaneous decision at that, but I couldn’t help myself and had to dig a little deeper. However the website and socials gave little to explore and left a lot to the imagination, so I couldn’t wait to get to the secret spot in North East Devon and discover what awaited us. I’m not going to lie—the arrival was rainy, windy and cold (not exactly what I had envisioned from the sunny videos and photos). After collecting our bracelets we quickly and clumsily set up our tent, which was wet within seconds… oh UK, how we love you. At this point I’m wondering why the hell 24 hours ago I decided to come to this impromptu adventure, when I could be dry and comfortable at home or my local pub. But we’re here, so let’s get moving. The first thing we spot, is a colourful block of colours moving ever so slightly with the wind, but bringing the greenery alive with its industrially bright colours. In many ways it mimics the colour combination in the main stage, built by artist Reg Manning, but in a way more organic and interpretative. Where the main stage is very geometric and uses primary colours, Freddy’s installation plays on shapes, textures and bright tones to illustrate the festival across the year since its inception, weaving together the music, art, and energy. 

As we continue our exploration, the rain starts to get heavier and we quickly take shelter in the barn by the toilets and head towards a mysterious door. Here, we discover a person peacefully seated in the entrance who calmly looks up at us and invites us into their installation. It seemed as if they were almost oblivious to the storm happening inches from their feet. And in we go, why not? I’m honestly not sure where I’m standing. To set the scene, the place looks like a DIY hospital operation room with a splash of spider webs and Wisteria / Honeysuckle creeping in from all sides. The calm human introduces themself as Zaron Mismeras and kindly asks for a volunteer for the interactive piece, to which I automatically offer myself as tribute (how can I not?!). I am asked to lay on my back and place my head between the red and blue light. They place an intimidatingly large pair of noise cancelling headphones over my face and stick two sensors on my hands that will read my stress levels and produce noise and light waves accordingly for a full 5 minutes, but I was too nervous and excited to understand that at the time. 

To begin with, the experience felt like 1 minute not 5, and without sounding too cheesy, took me through what I imagine an indie film would look like if they tried to replicate that moment just before you die where you see your life flash before your eyes but with funkier sonics and transient moments. It was interesting because the calmer sounds, which I could only describe as harmonious and angelical  high pitches, brought on flashing ‘joyful’ memories which  manifested in pulses of blue and white lights (or so it seemed). All of a sudden I was hit with flashing red lights and jarring cutting sounds, really reminiscent of Stranger Things. This was the moment I regained some consciousness and was hit with the realisation that this was my stress triggering the noise and thus I was the only one in control to bring it back to a peaceful state. Suddenly the time was up and I was left there feeling like I had left and come back to my body, all memory of rain or discomfort absolutely disappeared, and all I wanted to know was how? How does this work? Who are you? What did I just experience? 

After speaking with Zaron in more depth, they revealed they suffer from Synaesthesia, which is defined as the blending of the senses—for example, ‘seeing’ shapes when listening to music. They offered their own perspective on their project (which if I haven’t made clear enough already, is mind blowing):

‘I find most people who have this sensation do not ‘suffer’ from it but I find for me it can be somewhat of a hindrance in communication. This is what inspired the original incarnation of this art installation back in 2017, a need to communicate an experience which can’t be explained with words. Comparisons to other similar experiences are probably the easiest way to relate to somebody what the installation is like because the experience is the result of a combination of internal sensory information it cannot be conveyed solely with words, it’s ineffable. I think it relates to the festival by offering a unique perspective on our own sensory experiences going through such an ordeal as the ‘British festival’, which can be a very overwhelming experience for many. This installation serves as a way to take a step back and observe how our mind can physically influence our body and vice versa.’ 

We open the door to the outside world and there is a flock of punters walking toward another magic door diagonally across from us. The doors have opened to the Love Hotel. Do I know what this means and why it’s open at 17:00 and not 22:00 as promised? No. Do I want to find out what’s inside? Absolutely. 

I thank Zaron for the experience and make my way with the herd. My senses are exploding; this is everything I would imagine my dream room to be… if I was persistently high on acid or addicted to sex. The floor is tiled in pink, purple and red lights, with a four poster bed in the centre of the room, with distorted mirrors as backdrops, and let’s not forget the disco balls hanging overhead. Whoever designed this, had a vision and left no detail unthought of. I’m so drawn in I don’t even pay attention to the DJ starting up the set behind me, drawing Kallidans from the rain and mainstage into the room. The energy rises and everyone is instantly one with the music, the walls, each other. I’m so glad I came! 

After the festival I went looking for the mastermind behind the Love Hotel and came across Fiona Albrow, Art Director at Kallida. I was so intrigued as to what inspired this stage. She shared with me that their first venue had been used for swingers parties, ‘so the seed was probably sewn when she walked into one of the bedrooms and saw the carpeted steps to the hot tub and mirrors shaped like nude figures. She wanted to create a space in the festival for people to roll around on a bed and be silly in neon lights, shades of red and pink satin. The mood is David Lynch motels, seedy Japanese pay by the hour hotels and 90’s Beverly Hills girls’ bedrooms. The Love Hotel was conceived in contrast to the stark, minimalist club environments we usually rave in. This year, as the festival has grown, it became its own stage with a light up dance floor and music programmed to suit the aesthetic of the space.’

Back to the festival and our aimless frolicking through the grounds of Ash Barton State. 

The night starts to fall and we all welcome the darkness, knowing and expecting 10 o’clock with excitement. I’m personally waiting to jump straight into 11PM and get moving with Mella Dee, in high hopes he plays ‘Techno Disco Tool’—a tune that’s gotten me through the highs and lows of this summer. We head to the Threshing Barn, and I can hear all around me people asking… What does ‘threshing’ mean? Well I’ve done the research for you and there’s two definitions: a) separating the grain from the crop typically with a flail or by the action of a revolving mechanism, and b) move violently; thrash. Both seemed fitting, but I’ll leave that to your interpretation. The stage is eye-catching, that’s for sure – it has everything you want to look at when you’re dancing; there’s plants, blocks of hay (fitting), roman head sculptures, and flashing blue, purple and red lights all contained by a wire fence that creates a necessary contrast to all the organic shapes and forms. As expected, Mella Dee DELIVERS but it was when DJ Priya was playing that I first noticed the lights flashing to the rhythms of his tracks – the Kallida team, and light designer Lee Samsons have done it again! 

Later into the night, we venture into The Chapel, which attracts the darker of the lot into its deep drops and throbbing low end pulses of hefty sound system beats. The music spanned from dancehall, garage and Sheffield bassline, so as a more of a disco-trance girl myself, I was hesitant to go in earlier on, but now I felt ready – maybe I’ll change my mind? The door was so narrow it did feel like a weird commitment to danger. All you could see from the outside was a steady blue light and faint smoke (adjective to say like creeping out from inside). That’s when it clicked. The Chapel—the lighting and smoke was so simple yet so well thought out it felt almost religious. It was the only stage where you couldn’t make out the faces of the DJs, the only stage filled with a misty smoke, and because of that it was the only stage where you could truly devote your body to the music, unseen and completely surrendered. 

The night comes to an end and I feel elevated and aching for my deliciously uncomfortable and laughably thin ‘mattress’. As we walk back to our tent, we notice the stars have come out.. You know what this means? Clear skies tomorrow! I swiftly close my eyes and I’m out. 

I’m awakened by a sticky sensation of trapped heat. The sun is out, the birds are chirping, my back hurts and I can’t feel my arm from my already thin mattress that had completely deflated overnight, leaving me basically sleeping on solid ground. But it doesn’t matter, it’s warm and the sun is shining. After shoving a dry bread with cheese and ham and drinking a terrible instant coffee that tastes more like soil than actual coffee, I make my way to the walled garden which has come alive under the blue skies. A group of early risers were starting the yoga class next to an installation I hadn’t given the attention it deserved! A wall of textiles arranged in a geometric formation cast dramatic shadows over what would’ve been a large open garden. I get closer to immerse myself in the textiles and look at the patterns up close. Like many of the other installations and stages, the dominating colours are blue, purple, and red—a lucky coincidence? perhaps. The textiles carry prints with words, collages of photos to produce a strong Y2K aesthetic.

I later came to discover that this piece was in its second location, designed by artist Deen Atger, who’s also been a part of the festival from the start. ‘He designed this sculpture after his collective Disturbance got commission by Rally Festival in London. Disturbance is a trans-led program of residencies, workshops, talks and web network that aims to elevate LGBTQIA+ voices in the arts by creating a platform and a safe space for experimentation and innovation across digital and physical performances. 

Habitually the artists’ work involves live projections and interactive live streams, but were pushed to think outside the box to adapt to Rally being a daytime event, a fitting material exploration to bring to Kallida this year too. 

The piece comes from the desire to make a sculpture honouring trans artists in performance and electronic music, a shrine to the ones we lost but also a celebration of the joy we create for ourselves and others. It was also designed as a visual playground, a maze to honour trans artists and folks who have to go through a complex system of intricate bureaucratie as complicated as the maze.’ 

Anya Palamartschuk, Elodie Gatacre, Deen Atger

After speaking with Deen and reflecting that, as he very well put it, ‘music festivals can be so much more than just a place where people go to dance. They can be, when well designed and thought to, a true place of coming together. Intergenerational places of exchange, discovery, inspiration and self actualization’, I hope this piece can be taken into subsequent spaces and festivals across the UK where it can speak to its intended audience and generate the same feelings it evoked in our fellow Kallida attendees. 

The rest of the day was mostly spent between karaoke, the pool, the Healing Fields listening to the most iconic meditation mantras… you wake up, there is £5,000 in your bank account, your phone is fully charged, you have a hot coffee… and mostly laying under the sunshine by the main stage. I want to make a special mention of how coincidentally Yama Warashi, one of my favourite artists that I discovered on a night out in Cafe OTO in Dalston, was wearing a dress that blended into the geometric stage, suggestive of Piet Mondrian. It really emphasised the unity and circularity of the festival; how everything by conscious thought or coincidence tied in together perfectly. 

When the second night came around, everyone knew everyone and it really felt like one big house party with top tier sound system and surrealist stages yes, but a house party nonetheless. I kept bouncing between all three stages, not quite wanting to leave but eager to listen to the rest of the line up and discover how the night was developing in the other microcosms. In the little breaks I took, I came across two final installations that had caught my eye in the daylight but that really drew you in at night. The first was almost entirely hidden if you didn’t actively go looking for it. Also in the walled garden, I came across what looked a lot like a shrine, with candles, red velvety curtains and a really large collage backdrop in homage to none other than the one and only, Tina Turner. I had seen it by day but it had completely transformed by night, with the candles lit up, creating a sombre ambiance, and where a group of 3-4 friends had squeezed in to share comments of the night, smoke fags, and cuddle up unintentionally next to each other on the decorated floor. I almost considered asking if they had space for one more, but felt the intimate affair was plenty for Tina. 

I continued the path down into the little pond at the bottom of the land, just in front of a giant willow tree with a double seated swing, that I chose as my spot for the following moments of my soon-to-be-morning night. Straight across from where I sat, rainbow reflections stared me in the face. I jumped off the swing and approached these moving colours attached to the roof of a small wooden structure. As I tilted my head  backwards in a 90-degree angle, I was perplexed by what I was looking at. A circular structure made of Dichroic glass with a ladder-like form in the middle surrounded by four concave pieces around the diameter of the circle produced a combination of light and colours that was mesmerising. Think of a CD when you move it under a light, combined with the old moving screensavers of iMacs. Conor, the artist, explains his piece in such depth and beauty that I have no other choice but to share everything he said verbatim: 

My primary ambition is to create a global movement to protect nature, through the medium of art. Dichroic glass has the capacity to consistently shift my emotional state to feelings of inspiration, euphoria, healing, meditation and beauty, the same emotions I receive outside, when immersed in nature. The power of this material and its qualities give me purpose. It makes sense for me to curate the same experiences for others, experiences that are so rare in urban environments, in which our drive for growth and profit create such busy lives that are prevented from being interdependent and one with nature. I think we forget that the drivers behind many decisions—ease, convenience and efficiency, are not in nature’s best interest. By emulating nature’s beauty, integrity and healing qualities through the medium of art, I aim to draw people’s attention to restoring and protecting it.

This work will take many forms and for Kallida I proposed a mindful piece that begins to explore the synergy between analogue visuals and electronic music. I wanted to immerse the audience into meditative states in order to contrast with the surrounding intensity of the weekend, as balance, in life, is key. I knew that my previous tests were capable of achieving this. To enhance the installation, I curated a 3 hour mix with songs selected for their meticulous sound design, ethereal qualities and capacity to create deep and reflective soundscapes. A span of genres was chosen in order to surprise the audience and transport them into a range of emotional states in which they could discover thoughts both old and new. The intention was that by heightening the sensorial stimulation, it would create a synergy that would make the experience more memorable and effective. My work is defined by detail. 

Music is a form of art that has allowed me to travel to places previously unexplored in my mind. I have been invested in the electronic music scene for many years and alongside all the euphoric experiences, it has evolved my personal progression, relationships, motivation, self-belief and general enjoyment of life. It therefore makes sense for me to curate these club experiences to give back to the community which has provided so much. My installation for Kallida was just the start.

My work will extend beyond electronic music too, for people less involved in the scene and I intend for it to be integrated into both urban and natural environments.’

Elevated by the feedback from his art installation for Kallida festival, metic. recorded a mix to pair alongside this editorial article covering the installations at Kallida and the artists’ vision behind them:

This felt like a strong finish to my night and the most serendipitous closing to the phenomenal weekend that took me on a ride. From stormy wet tents, to brits in the wild singing along to Queen’s ‘Don’t Stop Me Now’ amongst other all time pub-classics, and transportational DJ sets, we lived it all. Kallida left us feeling ecstatic, moved and terribly heartbroken to leave. We can hardly wait to see what you got in store for us in 2024.

FIONA 

1. How did you find Kallida or how did they reach out to you?

I’ve been involved with Kallida from its inception as the Art Director. The first year we ran, Lee Sampson, our Lighting Designer and I talked about creating a sensuous immersive installation which would express the character of the festival. As much as the sound and music is at the forefront at Kallida, so are the aesthetics. I’m interested in how the physical space effects how people party. I want the environment to be inviting and liberating.

2. What inspired the space design / what was the concept behind it and how does it relate to the festival /music?

Our first venue had been used for swingers parties so the seed was probably sewn when I walked into one of the bedrooms and saw the carpeted steps to the hot tub and mirrors shaped like nude figures. I wanted to create a space in the festival for people to roll around on a bed and be silly in neon lights, shades of red and pink satin. The mood is David Lynch motels, seedy Japanese pay by the hour hotels and 90’s Beverly Hills girls’ bedrooms. The Love Hotel was conceived in contrast to the stark, minimalist club environments we usually rave in. This year, as the festival has grown, it became its own stage with a light up dance floor and music programmed to suit the aesthetic of the space.

3. Are you looking to develop this further or take the installation to other spaces?

Yes, I think it has multiple paths it suits. As an installation space we had other artists exhibit inside the room with video art or screens and sound art on the red dial phone. It would be interesting to explore working on the theme with new artists and collaborators. 

I can also imagine The Love Hotel continuing as a dance stage as it has such a strong aesthetic and people respond really well to the vibe it creates. Yes, I think it has multiple paths it suits. As an installation I worked with our Art Instillation lead, Deen Atger to populate the space with other artists displaying video art or screens and sound art on the red dial phone. It would be interesting to explore working in the theme with new artists and collaborators. I can also imagine The Love Hotel continuing as a dance stage as it has such a strong aesthetic and people respond really well to the vibe it creates.

4. How did you find people interacted with Love Hotel? Any interesting reactions?

I think it’s always been a fun surprise to encounter. Before it was a stage it had the feeling of wandering into a cheeky bedroom; now there is a four poster bed on the dance floor with a mirror suspended above it. People love taking photos there, hanging off the bed frame, lying on the bed. Its definitely seen a lot of action over the years! 

5. Particularly anything that left an impression or surprised you?

It’s always amazing to be reminded of how much effort goes into the festival. I think we have been incredibly lucky to have so many creative collaborators in our friends and festival goers. It’s been inspiring to see how a collection of people can become a sum greater than their parts. All for 2 days of dancing!

It’s always humbling to be reminded of how much effort goes into the festival. I think we have been incredibly lucky to have so many creative collaborators in our friends and festival goers, involved in co-creating the festival. Reg Manning, Freddy Hardie, Vito Walker, Thea Von-Mantrip and Miriam Griffith are all amazing artists who have been involved almost every year from the beginning. It’s been inspiring to see how a collection of people can become a sum greater than their parts. All for 2 days of dancing!

Fiona Albrow
Art Director

FREDDY

1. I’ve been involved with Kallida since the beginning. I’ve previously been involved with working with the organisers on various projects. I’m a textile artist so the ethos of Kallida using art and music was perfect for me to get involved in. I think so many festivals have their main emphasis on music and DJs that often the aesthetic is forgotten. 

2. In previous years we produced the amazing seating at the main stage using carefully picked out fabrics and colour palette, chosen by Fiona Albrow. I worked closely with Fiona to produce a lot of textiles and parts of the festival. We used fabric to create a variety of spaces. The art work I produced this year is a reflection on all of the Festival. There’s also an amazing piece at the back of the main stage built with acetate colours which was built by Reg Manning and again concept with fiona. I wanted the fabric to mimic this design and colours. So basically the piece is an illustration of the festival over the years.

3. I’d love to develop this idea of creating pieces that illustrate the themes of festivals.

4. I’ve not really received much individual feedback, but as a whole I think people love the ideas and thought that go into the Kallida festival.

5. Kallida festival always surprises me, how this amazing collective of people manage to keep coming up with new artwork, lighting and sounds is incredible. I particularly loved the combination of Lee Samsons lighting in the chapel and the DJ proteus industrial sound this year. This combo was perfect and something I’ve never seen done so well. I feel like as they both have their roots in Sheffield this really comes across. Being from Sheffield myself and now living in London I can see the way this really is apparent throughout the festival. With also the amazing music and sounds and influences of the festival in Uganda (I need to look up the name).

CONOR

1. How did you find Kallida or how did they reach out to you?

I first knew about Kallida after my final year product design exhibition in July 2022. I had a conversation with my tutor, Andrew, about dance music and Dj-ing, which is when I found out that his friends ran the festival. This knowledge became dormant until after my debut installation at Above Below, Ivinghoe, in June 2023. I caught up with Andrew and logically enquired if Kallida could exhibit my second installation and so he put the wheels in motion with the organisers, which came back positively. After a

a busy summer, a short proposal and a few test examples later, 18 days before the festival, they confirmed they would like the installation. The challenge had begun.

2. What inspired your design / what was the concept behind it and how does it relate to the festival /music?

My primary ambition is to create a global movement to protect nature, through the medium of art. Dichroic glass has the capacity to consistently shift my emotional state to feelings of inspiration, euphoria, healing, meditation and beauty, the same emotions I receive outside, when immersed in nature. The power of this material and its qualities give me purpose. It makes sense for me to curate the same experiences for others, experiences that are so rare in urban environments, in which our drive for growth and profit create such busy lives that were prevented from being interdependent and one with nature. I think we forget that the drivers behind many decisions—ease, convenience and efficiency, are not in nature’s best interest.

By emulating nature’s beauty, integrity and healing qualities through the medium of art, I aim to draw people’s attention to restoring and protecting it.

This work will take many forms and for Kallida I proposed a mindful piece that begins to explore the synergy between analogue visuals and electronic music. I wanted to immerse the audience into meditative states in order to contrast with the surrounding intensity of the weekend, as balance, in life, is key. I knew that my previous tests were capable of achieving this. To enhance the installation, I curated a 3 hour mix with songs selected for their meticulous sound design, ethereal qualities and capacity to create deep and reflective soundscapes. A span of genres was chosen in order to surprise the audience and transport them into a range of emotional states in which they could discover thoughts both old and new. The intention was that by heightening the sensorial stimulation, it would create a synergy that would make the experience more memorable and effective. My work is defined by detail. 

Music is a form of art that has allowed me to travel to places previously unexplored in my mind. I have been invested in the electronic music scene for many years and alongside all the euphoric experiences, it has evolved my personal progression, relationships, motivation, self-belief and general enjoyment of life. It therefore makes sense for me to curate these club experiences to give back to the community which has provided so much. My installation for Kallida was just the start.

My work will extend beyond electronic music too, for people less involved in the scene and I intend for it to be integrated into both urban and natural environments.

3. Are you looking to develop this further or take the installation to other spaces? 

I’m open to taking it to other spaces to generate more conversations and observe interesting interactions and ideas. This is always valuable for the creative process. There are further elements I can add to the current installation to create a more immersive experience and I can also diversify the accompanying music to test the boundaries of what’s possible—I have a lot of songs and ideas to play with. 

However, I am cautious of allowing the work to grow before it and I am ready. In order for my work to truly channel what nature intends, there are various tasks I now know I must resolve in order to create the foundations for this work to evolve from and ensure it maintains Integrity.

I am working on Kallidascope 2.0 which will provide an experience of beauty like no other. It will certainly take me more than 18 days but I’m confident that it will hold a power capable of inspiring people and reconnecting them with where we’ve come from. It will feature in a documentary that I am creating with my brother that encompasses everything in this article and hopefully serves as inspiration for others. 

4. How did you find people interacting with the installation? 

Any interesting reactions? Some people shared that it allowed them to explore childhood memories with their friends and stimulate nostalgic thoughts. This was very significant for me to hear as it was my intention for it to achieve such things. Others got lost for 40 minutes without getting up, and groups of people, who had previously not met, came to experience the installation together and look up in awe. People would vocalise their present thoughts at different times and share a myriad of shapes, colours and illusions that they could see—mesmerisation was a key experience for many. But what was most powerful were the prolonged moments of silence as I believe this is a true indication of comfort in your surroundings, your ephemeral headspace and with the people around you. It was very special to me to be able to provide that experience of contentment for people, and the beanbags certainly helped. 

I am innately attracted to the ethereal qualities of our environment and the works of other creatives, from sounds to materials, colours, gradients, or light play. I think that these otherworldly characteristics hold an element of ambiguity which allow people to explore these spaces with their own thoughts. As everyone is built from different contexts and influences from their upbringing, it means that these ambiguous explorations are unique to each person. By providing a context for people to enter these reflective states, I believe it allows them to pause, relax, contemplate and act as a form of therapy for people to personally nurture their well-being. Such context is rare for many people, but I have experienced first hand that it is so powerful to be able to pause, reflect, breathe and then do, rather than just do. 

I think that our busy lives can shift what we perceive to deserve our attention and it’s only when invited into these contemplative states that we are able to analyse our roles and the consequences of our actions. Upon this reflection and circular process, I believe we can shift our focus to opportunities and acts that are more beneficial for the planet. Often this is not the most convenient option but perhaps a more intelligent one as a whole.  I intend to create communal spaces for people so they can feel more responsible for and in control of their emotional states and actions. I want people to believe in their capacity to act in the ways necessary to achieve their own goals and also participate in initiatives that aim to restore life on earth. I hope that these spaces of reflection will allow them to realise their passions, inspirations, people and other organisms of significance, how important they are to many and what role they play, or can play, in and amongst our natural environment. If people can identify these elements for themselves, I believe it creates a strong foundation for them to help others and create communities of people who work symbiotically and feel like they have purpose. 

5. Particularly anything that left an impression or surprised you?  

The gatherings of people that it brought together was the most inspiring observation for me. Music has the capacity to achieve this on its own, but it is sometimes difficult to converse when in the dance. I noticed that the installation in its current form could do both. I love the idea that my work can create connections between people that previously didn’t exist. Collaboration is the key to creating new ideas and establishing movements and local communities that can equally add value to both society and nature.  I think that when people understand that they can achieve goals by sharing what they enjoy or what they’re good at, rather than being distracted by monetary transactions, there’s a sense of harmony, altruism, unity, compassion and empathy that is created and shared, which perpetually motivates the cycle. 

Local communities can solely exist when people share their skills and give each and everyone a purpose, no matter how big or small. When people come together to accomplish values, a powerful synergy is created. The whole is now greater than the sum of its parts. This is what’s necessary to create the movement required to make a difference to restore Mother Earth and for it to thrive again. 

#alwaystakecareofthedetails

https://www.instagram.com/art_metic/

DEENO

1. How long have you been working with Kallida – how did you manage the art installations or find artists?

I’ve been involved in Kallida since the very beginning actually, I was brought to the team by my dear friend Fiona Albrow who was and still is doing the whole art direction of the festival. My role was to find cool artists for them to take part in the festival with art installations, mainly via my work as curator at Ugly Duck. I would find artists fitting our vibe and vision but also some people would get in touch with the desire of bringing their recent creation.

We mainly focused on digital and electronic culture for the music as well as for the art meaning that we worked with light artists working on sculptures, video artists and projection mapping. It’s pretty amazing that some of them now have quite big names, Aphra Shemza for example or Billy Fraser or the designer collective Kai Lab. Kallida is very artist led so the core crew are also artists Lee Lee samson and Pete Dunsby. Are truly visionaries. 

2. What inspired your art installation / what was the concept behind it and how does it relate to the festival /music? 

It’s a piece that I did after my collective @Disturbance got commission by Rally Festival in London to make an artwork. @Disturbance is a trans-led program that aims to elevate LGBTQIA+ voices in the arts by creating a platform and a safe space for experimentation and innovation across digital and physical performances. A yearly program of residencies, workshops, talks and a web network model where past artists return as juries, speakers and mentors.

So we habitually work with live projection and interactive live streams but as Rally was during the day we had to find something else. I thought about making a sculpture honouring trans artists in performance and electronic music, a shrine to the ones we lost but also a celebration of the joy we create for ourselves and others. So many innovations in terms of music or other arts are created by people who have transcended their own boundaries. The Sculpture was made of a wooden scaffolding with a large piece of fabric printed with a digital collage of some poetry and images. It was also designed as a visual playground, a maze to honour trans artists and folks who have to go through a complex system of intricate bureaucratie as complicated as the maze.

Installation by Disturbance:

Anya Palamartschuk , Elodie Gatacre, Deen Atger

3. Are you looking to develop this further or take the installation to other spaces?

Yes I would love to show it at other spaces, weirdly even though it works more in contemporary art, music festivals have been really cool places to show this work. 

We’re also looking at getting more commission to create other pieces and as I said in March we’ll be putting on our live show—you’ll have to come for that!

4. How did you find people who interacted with your project? Any interesting reactions?

It’s been wonderful to see people interact with it. Yes, many were really so interested, emotional, paying a lot of attention even late in the day or night when obviously being a bit more merry. It was wonderful to see people getting the sort of message or intention we were trying to share with them at the very first brainstorming of the build of the piece. I think the best reaction was that someone shared some tears but they were tears of joy as well as of grief.

5. Particularly anything that left an impression or surprised you?

Music festivals can be so much more than just a place where people go to dance. They can be, when well designed and thought to, a true place of coming together. Intergenerational places of exchange, discovery, inspiration and self actualization. I think everyone left Kallida this year feeling so ecstatic, many people told me they could really feel the care that our team put into this event, all truly out of passion and love for music and arts. 

AARON

1. How did you find Kallida or how did they reach out to you? 

I worked with Pete Dunsby (Funsby), one of the organisers, at various venues across Sheffield for many years. We worked on some fun projects together, this happens often with my work as a lighting designer but I especially appreciated what Pete was doing in terms of making & building diy lighting systems, as that is what I enjoy also. Furthermore, I am constantly talking about my art practice & the philosophy behind it so as soon as there is ever an opportunity to convey a message to people, in any capacity, I take it. 

2. What inspired your art installation / what was the concept behind it and how does it relate to the festival /music? 

I suffer from Synaesthesia, which is defined as the blending of the senses. I find most people who have this sensation do not ‘suffer’ from it but I find for me it can be somewhat of a hindrance in communication. This is what inspired the original incarnation of this art installation back in 2017, a need to communicate an experience which can’t be explained with words. Comparisons to other similar experiences are probably the easiest way to relate to somebody what the installation is like because the experience is the result of a combination of internal sensory information it cannot be conveyed solely with words, it’s ineffable. I think it relates to the festival by offering a unique perspective on our own sensory experiences going through such an ordeal as the ‘British festival’, which can be a very overwhelming experience for many. This installation serves as a way to take a step back and observe how our mind can physically influence our body and vice versa. 

3. Are you looking to develop this further or take the installation to other spaces? 

Yes definitely, I have been working on various versions of it on and off since its inception and hope to refine it further and make the experience even more dynamic and exciting! In the future I would like to make a 2-player version of it, where each are shown a biological state and the 1st/closest participant to reach that state ‘wins’ if that makes sense? I would also like to utilise many other non-invasive methods of externalising biological data, like eye-tracking. 

4. How did you find people who interacted with your project? Any interesting reactions? 

Because the installation responds based on how a person is feeling, everyone interacted with it completely independently, both actively and passively. Those who were anxious would have had and felt an anxious response from it, and inversely those who were more at ease will have had a calming experience. It exacerbates your feelings like that I find, whether you want it to or not! 

Everyone reacted so differently, it was very exciting to see because I had made the installation according to how I felt, to then to see it react completely differently with a new set of sounds and colours for each person was incredibly heart-warming. Only 1 or 2 people had a bad experience with it, which considering I estimated putting around 100 people through is an acceptable rate of failure.

5. Particularly anything that left an impression or surprised you? 

I put someone in the installation that also had synaesthesia and they had a very interesting reaction that was almost exclusively colours and all of them too! Seeing my work be accessible and communicable with other synaesthetes is an intensely great joy to me. 

Recently, I woke up in the midst of an intense panic attack, 100% convinced I was on the very brink of death. So I reasoned that if I was going to die I at least wanted it to at least sound good, so I instantly whipped out ableton and connected the circuit (that I use for this installation) that detects micro-changes in the skin (Galvanic Skin Response) and translates them into MIDI notes. I did a quick bit of sound design and off I slipped into what I was then convinced was death. I, of course awoke the next day to the mellifluous tones of reality, however it was the ability of using this interactive work to quantitatively record how I was feeling at that exact moment in time that struck me when I listened back to it. Since then I have been recording my biology whilst asleep every day/night and I intend to use these datasets for both training and creating further works. I think everyone has different ways of dealing with stress and anxiety especially regarding death; I cope best by making things. It alleviates a part of me that doesn’t want to be forgotten, ideas can outlive people by a long shot. 

by Morena Alano

Editor: Alex H Honey

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REVIEW: KALLIDA Festival https://wp.threadsradio.com/review-kallida-festival/ Mon, 18 Sep 2023 20:32:00 +0000 https://wp.threadsradio.com/?p=12222 Part one of a two-part series on KALLIDA Festival, by Ben Broughton. I think I can say with fair certainty—it’s been a pretty shit summer hasn’t it. So imagine my sense of vindication, when, as I awoke last Saturday morning in a field in North Devon and heard the soft-spoken voice of a recovery MC […]

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Part one of a two-part series on KALLIDA Festival, by Ben Broughton.

I think I can say with fair certainty—it’s been a pretty shit summer hasn’t it. So imagine my sense of vindication, when, as I awoke last Saturday morning in a field in North Devon and heard the soft-spoken voice of a recovery MC gently declaring they had fixed the weather, I felt the comforting, quite unfamiliar rays of the sun basking the countryside in its golden glory. They had only gone and done it. Amidst a desert of dismal grey, the weekend of Kallida festival was an oasis of sunny memories and good times. In the spirit of that, and to keep summer 2023 in as positive a light as possible if only for my own sanity, I offer this somewhat fragmented recount of one of the most unique and memorable festival experiences of my young hot life. 

Situated on a manor farm deep in North Devon, Kallida festival feels more like a house party put on by your mate with impeccable music taste than a conventional festival. This became evident as I trudged around the site in the drizzle on the Friday afternoon, orientating myself to make sure I wouldn’t lose people later. Yeah no need for that. With 4 stages (6 if you count the Walled Garden and pool) in total and a ‘main stage’ which could house maybe about 200 people, it took 10 minutes to cover the entire site. And this was an amazing thing, because it meant intimacy, but more importantly meant everyone who was there was there for a reason. And that reason was: really, really good dance music. And so, as the rain gradually started to dissipate on Friday evening, the creme de la creme of raving royalty gathered in a field in Devon; the Avengers Assemble, or Power Rangers, of the dance. 

Friday night drew in quick. By about 8PM I was already getting down at the main stage to my favourite Missy Elliot and Modeselektor beats. I told the DJ how impeccably vibes things had been so far – he replied with a naughty little wink and said: “you aint seen nothing yet”. But I’d have to wait. With only the main stage open at this time, a pal and I sank into some old bus chairs at the back of the stage. I sat there, in utter contentment, already quite waved, as the blue-note-esque tones of 30/70’s sultry jazz ambience wrapped me in a soft blissful blanket whilst the fairy lights swayed in the night air. In the calm before the storm I was properly introduced to the warmth and friendliness of the festival – I met so many lovely people in that chair, and by the time 10PM rolled around and Kallida revealed its true self, I felt warm, fuzzy and fully supported in my lumbar. 

Each night at Kallida, from 10PM, 3 stages opened up—The Chapel, The Love Hotel and the aptly named Threshing Barn. As the DJ at the main stage had pointed out, I’d not seen anything yet, because these stages are where the magic of Kallida truly lies. We checked out The Chapel first—literally is what it says on the tin, an old stone chapel, 150 cap max. Sweatbox. Totally pitch black inside aside from a giant monolithic screen on the wall behind the DJs which displayed pulsating pixel totems of heavy greens, blues, reds and yellows. Things started to warm up as the DJs in there threw down some seriously heavy dancehall beats—I could feel my rave legs activating. 

On to the Threshing Barn next. Look, as someone who grew up in Devon, I’ve seen my fair share of free parties, barn parties, all that jazz. The Threshing Barn felt like an ode to this rave heritage, a towering sound system dominating the room and a super industrial utilitarian vibe keeping everything sparse and brutal. This was juxtaposed by the Greek-style busts observing the crowd with a solid serenity enshrined on thrones of foliage. I wonder what was going through their heads as they saw the throngs of sweaty excited ravers start to fill the room. 

Things went from warmsin’ to total energy activation as Mella Dee hit the Threshing Barn stage, lifting the crowd up through heavier and heavier 4/4 tracks and breakbeats. You could feel the energy in the room rising, big man Mella Dee keeping the crowd in the palm of his hand, total masterful warmup control. After a quick cashew and banana break, I was back at the front as LCY stepped up. By this stage I was already pretty gone, and lost myself in the hyperactive super-collider which was LCY’s set, fragments of jersey club, breakbeat, grime 2.0, footwork, bassline and garage blasting my senses. I don’t think I said a single word during that entire set. 

DJ Priya took to the stage next. I’ve not had the chance to see her play before and was super excited to see her do her thing, and she absolutely delivered. For me it summed up the whole spirit of the festival – unashamedly fun, in no way pretentious – just a kaleidoscope of ridiculous bangers and singalongs which felt like the most tasteful free party set I’d ever heard. On the way up to the festival I’d be talking to my mate about the key axiom of dance music—the axiom of bangers and non bangers. The axiom is simple—bangers live in a constant dualism with non-bangers, because for something to bang, we need to define what does not bang. The most effective DJ sets intertwine bangers and non-bangers in amazing ways to create super satisfying juxtapositions, because no one can just play bangers all night. Otherwise, are they really bangers? Well. DJ Priya certainly broke this axiom.

DJ Thempress up next delivered another absolute blinder, taking us further down the free party rabbit hole as the BPMs and silliness continued to step up—me and my mate were front and centre for the entire set, raving like absolute silly things, kids who have just woken up on Christmas.

Around 4 we headed back over to The Chapel, which was in full sweatbox mode as Sheffield bass music specialists Liquid Steel Sound checked out some of the most ridiculous baseline and garage I’ve heard in a long time. I got lost in the hypnotic allure of what i will only refer to now as The Screen, the constantly warping pillars of colour acting as a portal to further immerse me in Kallida. 

Kallida has a mantra—a manifesto, if you will—“total sensory overload”. I thought I’d already experienced this take as I stumbled back towards my tent that morning, but then I walked into Zaron Mizmeras and his synesthesia machine. Zaron had taken one of the little cubbies at the estate, and inside it he’d set up a multi-sensory, individual-use rig which, from what little I could understand in my state, was able to generate unique musical arrangements by monitoring an individual’s electron activity and project visuals directly into one’s retinas which simulated the phenomenon of synesthesia. Sign me right up. I honestly felt like I was Christopher Walken in that 1980s movie Brainstorm, being plugged in to some state of higher consciousness. It might have just been what I was on, but I definitely felt like I was seeing an insane montage of what can only be described as everything but in the style of 90s CGI game art. Sort of imagine a blend between that and the music video for Flying Lotus – Zodiac Shit and you’d be close. I finished up, gathered my senses, and Zaron told me my emotional state was in good nick from the readouts. Excellent. Time for sleep, I drifted off to the sound of digitally rendered crystal drum circles coming over the hills. 

Saturday was, as said, glorious weather. The MC hadn’t lied when he said they’d fixed the weather for us. First stop – the pool party. It hadn’t even gone 3PM and Colder Tech Support were throwing out a killer set, as everywhere ravers, now fully replenished from the night before by the sun, booze and of course, bangers, danced their socks off in their swimming gear. The people watching was to die for, so many beautiful humans on display, as well as a raver in a fully inflatable dinosaur costume and three people welded into an inflatable rubber ring. My mate got a lot of compliments for her bag of grapes which she had skilfully attached to her bag for ultimate dancing mobility. 

The day progressed beautifully—the sun kept shining, and everyone was in wonderful spirits. After a delicious late lunch courtesy of En Root, a grabbed a quick power nap. Three hours later I was awoken by my pal—I’d totally dozed off, and night was drawing in. Time started to speed up at this stage as I acclimatised to the flow of the festival, and before I knew it it was time to catch someone I’d been excited to see all weekend – Debonair. The Chapel was the perfect backdrop for her shapeshifting beats, and for two hours me and my mate felt utterly content with life—a lot of the time we were pretty much the only ones in there—it felt like she was spinning just for us. Lovely humans left right and centre—a particular highlight for me was a lovely dude called Benton calling me and my mate the most professional ravers he had ever seen—“somehow you always seem to be where the best vibes are and have totally transcended above the rest of the gremlins”. I’ll take it. 

After this, we finally got round to checking out the Love Hotel. From a set design perspective, it was impeccable, with a fully light up LED dance floor, funhouse mirrors, and a queen-sized four poster bed at the back which looked like it had been lifted straight from Versailles. Jambada was on the decks and was playing some ridiculous heaters, sort of like a mix between afro-house and UK Funky, but truthfully I don’t know what it was. If someone was there, happens to be reading this article, and knows what genre of music that was, please tell me, because I have been racking the Spotify playlists and depths of Soundcloud trying to find something similar. 

I made my way back to the Threshing Barn to catch the rest of Mantra’s jungle set, before Rob Rua stepped up to close things down. The crowd had definitely dissipated by this point—many people’s energy had totally dissolved after the madness of Friday night, and what was left was a concentration of pure ravey energy. Fully embracing my professional raver identity, I donned my sunglasses and proceeded to cut shapes until the sun came up. 

I wandered down to the ponds as the sun rose, and, alone with my thoughts, reflected on how beautiful the experience had been. The weekend had been nothing short of a total catharsis—any anxiety or bad feelings I’d been holding on to had been totally obliterated by the total sensory overload of Kallida. I felt totally at peace with the world. 

Packing up to leave the next day, Kallida’s beautiful spirit manifested itself once again—unlike literally any other festival, everyone took their stuff home with them, and again I was re-affirmed in the fact that everyone was here for a reason—to have a good time, enjoy some seriously good dance music and do it with a crowd of unbelievably lovely humans. 

As I sat on my couch that afternoon, watching shit TV to numb my mind, I desperately wished a ravey Peter Pan would swoop in and take my right back The Chapel, for just one more night. But alas, I’ve still got 360 or so days to wait until I get to experience that immaculate atmosphere again. I’m counting down the days. 

by Ben Broughton

Editor: Alex H Honey

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INTERVIEW: African Head Charge https://wp.threadsradio.com/interview-african-head-charge/ Thu, 07 Sep 2023 01:35:41 +0000 https://wp.threadsradio.com/?p=12237 African Head Charge has had an expansive career over four decades. Thankfully for us, they haven’t stopped yet. After a twelve year hiatus, founding member Bonjo Iyabinghi Noah, alongside close friend Adrian Sherwood, has returned to On-U Sounds for their latest album – A Trip to Bolgatanga. This is their best album yet – full […]

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African Head Charge has had an expansive career over four decades. Thankfully for us, they haven’t stopped yet. After a twelve year hiatus, founding member Bonjo Iyabinghi Noah, alongside close friend Adrian Sherwood, has returned to On-U Sounds for their latest album – A Trip to Bolgatanga.

This is their best album yet – full of experimental yet accessible songs, with dance floor heaters as well as some more relaxed tunes and the experimental, tribal music we expect from AHC. The sounds and styles haven’t stopped evolving over these four decades.

Producer Adrian Sherwood agrees: “It’s always a case of getting all the right ingredients sorted for Head Charge, and then having some fun with overdubs and mixing and getting it completely perfect. We always work well together, but I think on this one we have the greatest result.”

I chatted to Bonjo about his expansive musical career, his influences, and the latest album…

Tell us a bit about yourself and your music

I never planned to get involved with music – until I came to London. I was playing drums a lot in Jamaica, in the church, on the side of the road. I was never great at much else, couldn’t do paperwork or work a normal job, so music and drumming was my life, but I never thought it would be my profession until London.Thankfully I was able to make enough money and a life from this.

What about London made you want to commit to drumming?

Well I moved to a place with my wife and children, and upstairs there was a singer called Eddy Talbot who was singing in a band called Undivided. Downstairs there was a drummer called Rueben who used to drum in a band called In Brackets – playing with different artists as a backing band. Because I was living under a singer and above a drummer, I became friendly with both of them, and started going to their gigs, going backstage, meeting their friends etc. I guess I was a roadie then. They liked me as I was helpful with the equipment, stuff like that.

One day, we went to a studio late at night where we could have a drink and a smoke. There was a guy called Erol who left his congas there, so I went to play them and we had a jam – it all came back to me. A band came in and said “you can really play those”, and I explained I had played since I was seven in Rasta camps and spiritual churches with my grandma.

Errol helped me get some second hand drums, and I was then invited to play with bands around London. I did some touring in Ireland. Desmond Dekker even invited me to play with them – Desmond Dekker and the Aces. Later I played with Lee Perry and others, Dillinger. I started working with Creation Rebel, and from there, met Adrian Sherwood – and it escalated to AHC.

How has your music changed throughout the years?

What I’d say is that at the beginning there was a separation between the African drumming I was playing and the drumming that reggae bands wanted, which was a bit frustrating, so I knew I had to get my own thing together to really play the music inside of me. Some people did like what I was doing, like Dekker, but a lot of the reggae bands I played with didn’t as it was different to the Jamaican percussion they were used to.

Adrian and I used to spend all night in the recording studio playing – with him in the mixing room and myself on the percussion. We kept playing and kept building until it became something – that’s how African Head Charge started – always drums first, through improvisation. 99% of our music was drums first. That’s still the case, even today with the latest album. People called me Noah coz I was always building.

So the drums came first, but did the albums have any greater conceptual aims? Did you plan the sound, and have a vision of how you wanted the whole thing to fit together?

Eventually it did, but at the beginning it was just me adding layers. Later on I started to think about the whole thing – writing lyrics and songs.

Have there been any particular moments of inspiration in your life? Any big events, good or bad, that led to changes in your music? This could be new pieces of music technology, or playing new drums, etc.

All of my music has come from learning. I will never stop learning. Before this album, I spent a lot of time in Ghana; visiting and learning from the various tribes and peoples there. I learnt a lot,about drums, music, and life in general. This has all been reflected in the latest album. 

Another point of inspiration for me was hanging out with Fela Kuti, way back before African Head Charge and meeting Adrian. There was a Nigerian band called The Funkies, who were looking for a conga player, and I went and got the job. Eventually they took me to meet Fela Kuti, as they were supporting him on a tour, so I got to hang out with Ginger Baker in his mansion and with Fela. Fela was a lovely guy.

I always brought this good Jamaican weed called Red Beard. The first time I went to meet them, I didn’t talk much and just listened, but the second time, we started jamming and Fela came down and heard me playing, and said ‘Bonjo’, and since then the name stuck, and everyone called me Bonjo. That’s how I got the name.

There aren’t many people in the world who can say they were christened by Fela Kuti…

Yes, but I still think a reason he liked me so much is because I brought this Red Beard every time. He was always happy to see me after that. A friend with weed is a friend indeed… We were friends from there.

How old were you at this point?

I was about 24, 25 at that point. This was before I became involved with Adrian and African Head Change.

Do you have a favourite venue, concert or festival?

The first time I played Glastonbury we played the main stage. That moment stood out. Also the Mount Fuji festival, and the one in Belgium recently – Reggae Geel – loved that one too, and played there with my sound system.

This may be an impossible question to answer, but do you have a favourite drum you always go back to, or enjoy playing the most?

We have many drums in Africa, and I learned all of them, but when I play live I usually play the Congas as you can get sounds from all the other drums off them.

It’s good you look back and still love everything you’ve done. I used to make music a bit and always heard old things and thought ‘god that was crap’…

Well I still listen back and think ‘I could have done that better’… there are always things you can add. But you can’t keep adding things forever, got to stop somewhere.

Do you have any tour dates booked, and any gigs in the UK coming up?

The next gig is in Budapest, and I have a few coming up in Japan. There’s one due to happen in Manchester, and some others being discussed, but can’t say much until it’s confirmed. I love festivals though, love gigs, love playing live… It’s amazing to see what I’m doing make people happy.

by Dominic Alston

Editor: Alex H Honey

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