list.co.uk/clubs Previews | CLUBS
TECHNO/ELECTRONICA COLLAPSE Glue Factory, Glasgow, Fri 19 Apr
Young promoter Kenny Love was on a personal mission. Following on from noise gigs he organised in his own l at and the Interzone exhibition he arranged with his partner Diane Edwards at the Whisky Bond earlier this year, booking up Container (aka Nashville’s Ren Schoi eld) was – and is – a substantial coup. The result of this ambition is Collapse, one of the best nights of electronic music happening in
Scotland this month. ‘There’s been a lot of good noise stuff in the past ten years,’ says Love, who used to sing with Gropetown, ‘but it had all slowed down a bit until Container came along. I listened to him obsessively last year and I got to see him live at a summer festival in Poland. He’s great live, and for a guy from quite a humble DIY background playing in noise bands to be getting good press from places like Resident Advisor for playing this loud, rhythmic techno is really good to see. I just emailed him, he’s a pretty straightforward guy like that, and he said he was really keen to play Glasgow.’ The rest of the Collapse bill involves an early performance by The Orpheus Choir, the new synth
techno project from Aleks Jurcyk of The Guild of Calamitous Intent; old school minimal drum machine surges of Glasgow’s much-admired Silk Cut; and a DJ set from sound engineer and obscurist Mother aka Mark Maxwell (‘expect Sunn 0)))’ amidst the techno, says the blurb). Diane Edwards will also be creating a special installation for the party. Almost as exciting as the headliner will be an appearance by Edinburgh duo Dalhous, who
are signed to the high quality London electronic label Blackest Ever Black. Following a change of identity from their previous alias Young Hunting, they release a new album, An Ambassador for Laing, this May. ‘We won’t be releasing any further material under the Young Hunting name,’ says Marc Dall of Dalhous, the pair’s preference for being interviewed by email adding a sense of mystery to some statements. ‘We moved onto the Dalhous project through a need to escape some of the restrictions we put in place with the last project.’ Dall’s partner Alex Anders continues: ‘We’re having much more fun with the arrangements and
production of the Dalhous tracks, doing things we would have never attempted in the past. I suppose we’re informed by our own curiosity for exploring new sounds and ideas; we’ve always been more interested by music when it sounds human and organic. We don’t really listen to strictly electronic-sounding music, I like music to still have grit and an acoustic vibe that comes across with a human touch.’
With a second album almost i nished already, the pair promise previews of new material and
TECHNO/HOUSE TREVINO Flash Mob at Saint Judes, Glasgow, Fri 19 Apr
‘It’s underground house and techno,’ explains Trevino, a new alias for a name that will be more familiar to most clubbers as drum & bass don Marcus Intalex. This isn’t a new secret identity with Intalex trying to keep his involvement coni dential; he’d rather keep the divisions clear in everyone’s mind. ‘I’ve been a drum & bass DJ for about 20 years, so this is obviously a change of direction musically for me. I didn’t want to be stood behind the decks at a house and techno gig and have people come up to me and ask for drum & bass, it was that simple.’ Intalex isn’t a complete novice in the world of
house, as he started out DJing Chicago sounds and Detroit techno after a game-changing night in Manchester. ‘I went to see New Order in ‘87 at the Hacienda,’ he explains. ‘The gig was alright, nothing special, but what happened after the gig was. The band went off the stage and this fucking music came out of the speakers: I couldn’t even see the DJ; the music was mad futuristic and that one experience pretty much changed my life.’
With dance music fracturing during the 90s, he went on to champion the drum & bass sound for two decades. This new venture has revitalised him as a DJ and producer. ‘It’s a new challenge, a different buzz and probably something that I’ve craved for a long time,’ says Intalex. ‘Funnily enough, I’m enjoying doing drum & bass more, because there’s less pressure on it now.’ He feels like a young DJ out to earn his stripes once again. ‘I’m visiting a lot of cities I’ve already visited, but as a completely different entity. I wouldn’t say that I’m naïve, I know what a good tune is, but I’m just not 100% as coni dent as I am with drum & bass, so it’s almost like learning the trade again. I’m coming from a fresh angle, because I don’t necessarily know what’s popular, I’m just picking tunes I like and playing them. And what better way is there to DJ than that?’ (Henry Northmore)
‘projected cut-up visuals from the 1972 British documentary Asylum, using audio from the movie blended into the mix’ in their live set. ‘I like music that works around mistakes, that’s improvised or that makes a lot of the live format,’ afi rms Love of the currently one-off Collapse’s aesthetic. ‘But it’ll be loud too.’ (Henry Northmore) ) y
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Silk Cut Inset: Dalhous
18 Apr–16 May 2013 THE LIST 49