by Ananya Wilson-Bhattacharya
The Canadian electronic music scene is relatively little-known internationally, not least its radical activist elements. But LAL, the Toronto-based electronic duo, never sought widespread international recognition. Instead, the self-identified ‘semi-anarchist’ couple – singer-songwriter/manager Rosina Kazi, and producer-instrumentalist Nicholas Murray – have embraced their position outside the mainstream by fostering a literal and metaphorical space for alternative musicians and poets. They produce their own unique sounds, inspired by both European electronic and fusion bands. They’re also influenced by both the Canadian, and the global socio-political landscapes. I sat down with Rosina in a downtown Toronto coffee shop to discuss the band’s history, potential move to Europe, and their community performance space, Unit 2.
by Alex Valente
2019 is drawing to a close, but the turmoil and trauma of this turbulent year show no signs of abating. As we wrote on the cold, miserable and particularly unfortunate morning of Friday the 13th,
in the coming months and years, many in this country and elsewhere will suffer under a Tory government led by a racist liar. Social services will be dismembered. Workers’ rights will be eroded. Vulnerable people will face violence at the hands of increasingly aggressive immigration authorities and police. All of which will be sanctioned, incited, and protected by the country’s highest authorities and institutions.
The turn of a decade is an important time to review, to remember what the good fight is actually about, and what type of work is expected from us, as people, as a community, as a society.Continue Reading
tw: mentions of homophobia, violence
by Alex Day
Belinda twerks on stage, wearing glitter and a pink wig, and the crowd erupts into whoops and whistles. To the sound of Rihanna singing ‘bitch better have my money’, she makes it rain with cash hidden under her bra. Banknotes fly over our heads. The compère for the evening, Cynthia Road, tells us this is the first time Belinda has performed drag and the crowd, equally glitter-garnished, erupts once more.
by Carmina Masoliver
The mission to create the Vagina Museum began two years ago, when its founder Florence Schechter stumbled upon the Icelandic Phallological Museum, dedicated to the penis, yet could see no equivalent for the vagina or vulva. It’s thanks to crowdfunding and support from Camden Council that the museum now stands amongst the market, blending in discreetly with its surroundings, its doors wide open and welcoming. There is a fantastic shop to explore alongside the museum itself, where you will find vulva badges, cards, accessories and more.
by Jonathan Lee
The oldest known song in the British Isles dates back 1,400 years and it’s written in Welsh.
Pais Dinogad was sung in Rheged, a kingdom of Yr Hen Ogledd (the old North), in what is now modern day Cumbria and the Scottish Lowlands. The song is a simple lullaby, telling a baby of his father, Lord Dinogad, who is out hunting in a time long before Anglo-Saxons or even Gaels had arrived in this part of Britain.
It probably wouldn’t be described as an absolute banger if we’re completely honest (although this lyre-wielding, tattooed, metal-head gives it a real good go). It’s nonetheless incredible that it’s still being sung at all today, and that its lyrics are broadly comprehensible to modern Welsh speakers.Continue Reading
by Alex Day
Jungle, for those that don’t know, is a music genre that started in the early 1990s. It’s a combination of reggae and breakbeats – fast, moody and disorientating. This sound has, traditionally, been played in warehouses to pleasure-seeking ravers resistant to authority.
By 1996, a few years after its inception, the sound evolved, and the era of ‘jungle’ came to a close. Commercialised, disfigured by modern production techniques and stamped out by the 1994 Criminal Justice Act; drum and bass (a faster and more polished version of jungle) took its place.
by Ananya Wilson-Bhattacharya
The alternative British Asian pop genre, Asian Underground, held a significant place back in the early-mid ‘90s as a uniquely transgressive genre combining Indian classical instrumentation, jazz, the contemporary sounds of dub, drum ‘n’ bass and jungle, interspersed with crooning Bollywood-style vocals. The genre blew up and enjoyed mainstream popularity in the late ‘90s and early 2000s, exerting significant influence on Western hip hop, R&B and urban music at the time. DJ Isuru Perera, better known simply as DJ Isuru, is one of the leading figures in today’s Asian Underground revival, having collaborated with a range of DJs and performers aspiring to reintroduce this strand of ‘90s Dance music to a younger generation. He is also a regular presenter on SOAS radio, where he hosts various (mainly British Asian) musicians from different eras, playing their music with accompanying track-by-track analysis.
I caught up with Isuru to discuss Asian Underground history and his latest initiative, ‘Mishti Dance’, a series of evening events held in East London. Isuru neatly articulates its ethos as ‘a return to the experimentation of the Asian Underground in the face of commercial clubbing’. The format of Mishti Dance comprises a community-based arts and performance space featuring both poets and DJs, in a radical defiance of the rigid, distinct cultural categorisation of arts events as either high arts- or club music-based.