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Read | The loss of Fabric

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When places like Fabric disappear – places that allow particular subcultures to flourish and alternative forms of politics to be forged – the damage is even more telling as they destroy the very possibility of subcultures forming in the first place. Hence, the richness and diversity of London’s cultural capital suffers.

A piece by Oli Mould, lecturer in Human Geography at Royal Holloway University.

Listen | DāM-FunK – A Prince Mix

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Issue_50-Prince

To commemorate Wax Poetics’ 10 year anniversary and the magazines 50th edition, the magazine got funkateer DāM-FunK to put together a mix of his Prince favourites and obscurities. It’s no longer available on Soundcloud but I downloaded it when it was first available so its only right that I share it now.

Download it here

1. Prince & the Revolution – 17 Days (original version)
2. DāM-FunK – 17 Days (D-F Re-Freak)
3. Prince – Irresistible Bitch (Props Re-Edit)
4. Prince (featuring Andre Cymone & Pepe Willie) – One Man Jam
5. Prince – Wet Dream Cousin
6. Prince – Dirty Mind (1981 Live Version)
7. Prince – Soft & Wet (original version)
8. Prince – Ballad Of Dorothy Parker (D-F Extended Re-Edit)
9. Prince – Sticky Like Glue (Props Re-Edit)
10. Prince & the Revolution – All My Dreams

 

 

Watch & Listen | Bonobo Live

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Enjoy a live recording of Bonobo’s last night of the North Borders album tour at Alexandra Palace in London in November 2014, courtesy of Boiler Room.

 

Watch & Listen | Kamasi Washington Live

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The Epic is a 172-minute, three-volume set that includes a 10 piece band, that’s 2 bassists and drummers, 32-piece orchestra, a 20-person choir led by the great Dwight Trible, and a compositional score written by saxophonist Kamasi Washington himself. Kudos to the Brainfeeder label for investing in this great album, I haven’t been this inspired by an album for a while. The band are playing the Barbican, London in November 2015 and I haven’t been this excited about a gig since Sun Ra’s Arkestra.

Jazz Night In America features Kamasi Washington and the music of The Epic at its release party, and in its full glory. Watch it at the link!

http://www.npr.org/templates/event/embeddedVideo.php?storyId=402062824&mediaId=409865151

Watch | The Godmother of Rock & Roll

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Today would have been the 100th birthday of Sister Rosetta Tharpe, the Godmother of Rock & Roll.

A pioneering crossover artist from the gospel world, Tharpe came from Cotton Plant, Arkansas, a town on the banks of the Mississippi. Born to musical parents, she toured the country with her mother in revival performances across the south and made her first record at the age of 23. By the time she took the Manchester stage to sing “Didn’t it Rain” Tharpe was 49 years old and a highly seasoned, confident performer who could captivate any audience with her powerful voice and phenomenal playing.

Above see a younger Tharpe play some jazz-inflected blues in “That’s All,” a sexy-sounding song about tolerance for sinful men. Sister Tharpe worked clean, but she could get down with the best of ‘em. [source]

Find out more by watching this 2014 documentary.

 

Watch | Model 500 live

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To celebrate 35 years of making music, Detroit techno legend Juan Atkins returns to his own Metroplex label to release the first Model 500 album in 16 years, called Digital Solutions.

As part of the celebrations Model 500 (Juan Atkins, “Mad” Mike Banks, DJ Skurge and Mark Taylor) are performing live, the first was at the end of January at Le Quartz, as part of the Astropolis festival in Brest, France on January 24th 2015.

Enjoy below

Listen | Lubomyr Melnyk

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Lubomyr Melnyk

“Marginal Invitation,” one of the Three Solo Pieces, demands close listening of the macro- and micro- varieties. Measure by measure, Melnyk’s playing astounds: individual notes reach us with infinitesimal separations between them; left and right hands lay out a shifting rhythmic grid that slides into new chordal configurations after each phrase lives in the mix for its own moment. Zoom out, and whole measures of consistent 1/32 notes fuse into discrete chunks, yielding phantom melodies and overtones that float above Melnyk’s handiwork as a rarefied layer of slo-mo harmonies. [credit]

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