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Elgin Marvel: Supporting Your Soccer Team through the Interpretative Medium of Dance
11:32 am



A young fan of Elgin City Football Club, celebrates her team through the medium of dance.

I’d certainly like to have some of whatever she’s on.

Bonus yaldi remix, after the jump…
Thanks to Parkhall2009, via Brian Sweeney and Alan McGee

Posted by Paul Gallagher | Leave a comment
Notes from the Niallist #10: the Golden Larynx of Shaun J. Wright
07:33 am



Shaun J Wright. The name may not be familiar, but the voice should be.

Shaun is the owner of the beautiful baritone that graced the best bits of Hercules & Love Affair’s Blue Songs album, released in January 2011. A Chicago native, his work is a real treat for fans of house music, recalling some of the best vocalists in the genre, singers like Robert Owens and Peven Everett, while still retaining a distinct flavor all of its own.

This week, as he appears as guest vocalist on not one, but two separate releases (audio below); I sent him some questions for my notes column:

THE NIALLIST: Where are you based just now and how do you find it?

SHAUN J WRIGHT: I currently spend most of my time in my hometown Chicago. It’s interesting being back here as I haven’t lived here this long since I left for college. Before leaving I was in such a rush to go I didn’t truly have a chance to appreciate the city’s rich textures beyond house music. This time around I feel at ease with being here and it’s been just what I’ve needed to refocus and begin working on my solo endeavor and other collaborations. 

TN: You have two new releases coming out, one with Stereogamous who are from Australia, and one with Kiki on Berlin’s highly respected BPitch Control label. Tell me how recording with these two different acts came about. Were there different processes and inspirations? 

SJW: I met Jonny Seymour and Paul Mac backstage after a gig in Barcelona. They sent me a few tracks and instantly I connected with and recorded what is now “Face Love Anew” (which will be released Nov. 27th, on vinyl and Dec. 11th, digital format). They gave me a lot of freedom to write the lyrics and express them melodically as I imagined. It’s been such a pleasure working with them as they’re so talented and incredibly loving and sweet. It’s also been a great experience preparing for the release with Honey Soundsytem’s HNYTRX and CockTail d’Amore. Everyone has been so gracious and open throughout the process. The remix package is sick and quite the family affair. Honey Soundsystem’s Jason Kendig, my sister Kim Ann Foxman, my boys from Horse Meat Disco, The Miracles Club and Carry Nation! It’s just all types of ovahness going on with this release!

Kiki and I met in Berlin. My other sister, Aerea Negrot, suggested that we meet up to work together. She was spot on. The chemistry was instant for me. He’s a very calm and patient producer and also allowed me the freedom to move as I chose over his sultry tracks. What’s interesting is that the music you hear now is completely different from the music I initially recorded to. He has the insane ability to recreate songs extremely fast and often. This is the second feature of mine being released on BPitch Control. A few months ago I was featured on a song by System of Survival on their album “Needle and Thread”. I’ve been a huge fan of the label and Ellen Allien for years. She’s been quite supportive of my development and it’s been nice to foster a relationship with BPitch Control.

TN: Who have been the biggest influences on you musically? Give us a bit of background on your discovery of music and getting into singing and writing…

SJW: Hands down, my greatest influences were creators of the second wave of house in Chicago in the early 90’s. I was still very young but the music was ubiquitous throughout the city and I found it infectious. Cajual was my favorite label at the time and I religiously followed it’s output along with it’s sister label Relief. I was also into the street dance culture which later become known as juke so alot of Dance Mania and ghetto house reigned for me. From there I ventured into the popular NYC sound at the time, particularly Masters At Work and the output from Tribal America. 

Some of my favorite singers include Rachelle Ferrell, Minnie Riperton, Donnie Hathaway, Bilal, Norah Jones, and Bjork. 

I began writing songs in my early teens but I eventually became more invested in dancing. I think I was hesitant because I was afraid to sing in public and share my writings. I also desired to begin DJing then but I found it intimidating. Now I’m engaging in them all and I think it’s a good time in my life to do so. 

TN: Dance music and culture seems to be booming in America right now - how are you finding that? How as an artist do you feel you fit into that?

SJW: I don’t connect with most of the mainstream dance music and culture. Maybe it’s a matter of age or aesthetic. Either way, it doesn’t move me in the same manner as music found just below the visible surface. I’m not sure that I do fit into that boom. It’s not even a consideration of mine to do so. I’ll just continue to make the music and imagery that feels authentic to me and if it becomes apart of that dialogue I’ll be well pleased. If it doesn’t, I’ll still be well pleased. 

TN: How was working with Hercules And Love Affair? Are there any more H&LA collaborations lined up for the future?

SJW: Hercules was truly a life changing experience. I got to venture to many new places around the world and develop great relationships. Andy took a big risk allowing a newbie to join the crew so I’m grateful for all that it was. 

TN: What does the near future have in store for Shaun J Wright?

SJW: I’m looking forward to spreading my wings creatively. I have a few more collaborations on the horizon as well as a solo EP that I’ve been working on diligently for the past year. Hopefully, they’ll all see the light next year. 

The first of Shaun’s two singles released this week is an appearance with the Australian duo Stereogamous called “Face Love Anew”, which is released through San Francisco’s Honey Soundsystem’s HNYTRX label:

The second release is a collaboration with the Berlin-based producer Kiki called “Spending Time Together/Through Darkness”, and is released through the BPitch label:



Posted by Niall O'Conghaile | Leave a comment
7 Inches of Pleasure: ‘The Joy of the Single’
01:52 pm

Pop Culture


The first single I bought was “Snow Coach” by Russ Conway. It was at a school jumble sale, St. Cuthbert’s Primary, sometime in the late 1960s. I bought it because I loved winter, and Christmas, and the idea of traveling through some snow-covered landscape to the sound of jingling sleigh bells . I also knew my great Aunt liked Russ Conway, so if I didn’t like it….

I bought it together with a dog-eared copy of a Man from U.N.C.L.E. paperback (No. 3 “The Copenhagen Affair”). These were the very first things I had chosen and bought for myself, with a tanner (6d) and thrupenny bit (3d). I played the single from-time-to-time on my parents’ Dansette Record Player - its blue and white case and its BSR autochanger, which allowed you to play up to 7 singles one-after-another. My brother had a selection of The Beatles, The Stones, The Kinks, The Who, Elvis and The Move, which he played alternating one A-side with one B-side like some junior DJ. It meant I didn’t have to buy singles, as my brother bought most of the things I wanted to hear, so I could spend my pennies on books and comics and sherbert dib-dabs. It was a musical education, and though Conway was a start, the first 45rpm single I really went out and bought was John Barry’s The Theme from ‘The Persuaders’, which I played till it crackled like pan frying oil.

As this documentary shows 45rpm singles were an important part to growing up: everyone can recall buying their first single - what it looked like, its label, its cover, the signature on the inner groove - and the specific feelings these records aroused. With interviews from Norman Cook, Suzi Quatro, Holly Johnson, Noddy Holder, Richie Hawley, Paul Morley, Jimmy Webb, Jack White, Neil Sedaka, Trevor Horn, Miranda Sawyer, Brian Wilson, The Joy of the Single is a perfect piece of retro-vision, that captures the magic, pleasure and sheer bloody delight of growing-up to the sound of 45s.


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Exclusive Premiere: Ships release new song ‘Places’
04:10 am



After a couple of years of “hanging out, sizing up, and rigorous sound/soul searching” musicians and artists Simon Cullen and Sorca McGrath have brought their talents together to form Ships, a collaborative synth project, which is winning considerable attention at home, in Ireland, and across the water.

Cullen is a former member of Les Bien, the core of Lasertom and The Blast Crew, and a pivotal member of the arts/music/film/video collective Synth Eastwood. McGrath is a singer/songwriter formerly with Palomine. Having established themselves as independent artists and performers, McGrath and Cullen brought their shared interest in Fleetwood Mac, Prince and Moloko (together with “honorary” member Cian Murphy of I Am The Cosmos), to create their upbeat, emotive and fruitful collaboration Ships. They have already released 2 singles, “You’re Gonna Feel It” (which was part of a release with I Am The Cosmos) and “Two Hearts”.

Now, here is Dangerous Minds’ exclusive premiere of Ships’ latest track “Places”.

Bonus tracks from Ships, after the jump…
Previously on Dangerous Minds

I Am The Cosmos: Exclusive premiere of track ‘Lost Rhythm’


Posted by Paul Gallagher | Leave a comment
Rhythm Device: perhaps not the ‘Acid Rock’ you were expecting
12:58 pm



Some ravers, yesterday
“Acid Rock’ by Rhythm Device is actually from Belgium in 1989, and not California in the late 60s, as the name might conjure up.

Hence the uber-silly video of leather-clad danse-boyz rocking out in a cheap looking discotheque.

The bass riff in this New Beat classic is naggingly familiar, it reminds me of the KLF a bit, but I am guessing it’s all nicked off some Chicago acid original anyway. That hasn’t stopped “Acid Rock” from being sampled by Nine Inch Nails, no less, on their late 80s hit “Down In It”.

Rhythm Device was the nom-de-techno of producer Frank De Wulfe, who followed up “Acid Rock” with the “Dream Trance” / “Higher Destiny” 12”. Although Discogs helpfully informs us that, even though they had different names:

These tracks are actually four different mixes of “Acid Rock”.

What a surprise.

Anyway, it’s all about the video. A perfect guide in how to look devastatingly butch and astoundingly gay at the same time, it’s all sold by the singers unwavering seriousness:


Posted by Niall O'Conghaile | Leave a comment
Madness: Ska’s original Nutty Boys in concert from 1980
03:43 pm



Madness are now as loved as the Queen Mother was once adored by London cab drivers. Understandable as they have been making people happy with their infectious music for over 30 years.

This is Madness live in Nottingham from 1980. Originally recorded for the BBC, it’s a great show, and although the audio isn’t perfect, it’s difficult not to watch without a grin on your face.

Madness Graham ‘Suggs’ McPherson, Mark ‘Bedders’ Bedford, Lee ‘Kix’ Thompson, Carl Smyth (aka Chas Smash), Dan ‘Woody’ Woodgate, Chris Foreman (aka Chrissy Boy), Mike ‘Barso’ Barson

Set list:

01. “Night Boat To Cairo”
02. “E.R.N.I.E”
03. “Mistakes”
04. “Close Escape”
05. “Crying Shame”
06. “Razor Blade Alley”
07. “Baggy Trousers”
08. “My Girl”
09. “Land Of Hope And Glory”
10. “Embarrassment”
11. “On The Pete”
12. “The Prince”
13. “One Step Beyond”
14. “Madness”

Madness will be touring for the release of their 10th studio album Oui Oui Si Si Ja Ja Da Da (with a cover by Peter Blake), which is out on October 29th, more details here.


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Debbie Harry explains ‘How To Pogo’ for Americans
11:49 am



A cute lesson in “pogoing” by Debbie Harry on Glen O’Brien’s legendary underground cable access show TV Party. Blondie’s Chris Stein was the show’s co-host.

Posted by Tara McGinley | Leave a comment
Notes from the Niallist #4: Introducing Ynfynyt Scroll
09:18 am



They say House music is a feeling, and I am inclined to agree.

For too long House music has been defined by a rigid beat pattern that, almost 30 years after its birth, has barely changed. In fact, it has changed so little as to make this hallowed genre seem stale and insignificant, the opposite of how it appeared the first time round, when (ironically) it wasn’t the beat that defined it so much as the attitude.

I remember hearing House music for the first time as a child of about 9 or 10 and asking my siblings to buy me a compilation of this strange, funky music. They got me a two-cassette release, called something like Hits of House, and unexpectedly opened my ears to a whole new freakish world of camp men from Chicago stuttering over a hard and dark music unlike anything I had ever heard. Sure, I had been obsessed with S’Express already, tuning into late-night radio on my headphones hoping to hear “Theme From S’Express” and “Hey Music Lover,” while also hoping not to get busted by my parents in the next room. But Hits Of House was like nothing I had ever heard. It’s hard to explain to younger generations just how fresh House was when it first appeared, just as it is hard for the listener to recapture the thrill and joy of hearing it for the first time.

But that’s where Ynfynyt Scroll comes in.

YS is a young, Austin-based producer who takes the best elements of house music from the 80s and 90s and squeezes them through the post-crunk filter to create something eniuinely fresh. You know, as opposed to what most of the magazines and websites sell House fans as being “forward-thinking”. Ynfynyt Scroll makes music that actually sounds like it comes from 2012, not 2002 or even 1992.

So blown away was I on first hearing Ynfynt Scroll that I immediately asked Rodrigo (his real name) to do a remix for me, which he thankfully agreed to. I am very happy to report that his remix of “Work It” doesn’t disappoint, coming on a bit like Junior Vasquez draged to a deep south R&B club, but even that pales in comparisson to his own releases, such as the Let Me See It EP on the #Feelings label. I also emailed him a few questions, that he gratefully replied to:

THE NIALLIST: Who are you and where are you from?

YNFYNYT SCROLL: My Christian name is Rodrigo Díaz. I was born in Lima, Peru, but I’ve lived in Dallas nearly all my life. My assumed name is Ynfynyt Scroll, which since 2010 have I used for production, DJing, visual art and as an excuse to be a cunty brat with heavy Islamic fundamentalist undertones.

TN: Describe the YS sound to me.

YS: It’s all about scroll scroll scrolling. Just keep scrolling on to the next thing until your brain goes “ugh, ya,” whether it’s listening or producing. I have almost no intentions when setting out to make a track, I just gravitate toward certain sounds that lend themselves to certain genres, but I don’t think in terms of genre.

TN: Who and what are your biggest production influences?

YS: I am very influenced by bedroom rap producers of the American south, mutli-layered trance pad chord hits, men who love dancing without making physical contact with anyone else, Afro-Peruvian rhythms, breakz and very early house.

TN: I hear the club scene in Texas is hot - is this true?

YS: Well Austin does a pretty good job of bringing talent through. Groups like Elevater Action, Broken Teeth and Peligrosa consistently throw good parties, my Freshmore buds in Houston do a good job too, and in Dallas there’s Track Meet, of which I am a part. We’ve thrown some pretty neat, all-out, immersive parties with movie-quality glowing slime and exotic set designs and neat/fun stuff like that, but haven’t had the frequency of guest that the folks in other cities have had up to now.

TN: What can we expect from a YS DJ set?

YS: You can expect me to be all over the place, to ignore genre and sometimes tempo, to play a lot of really abrasive and tinny, trebley Ha tracks, and to play as much amateur music as possible. You can also be sure you’ll hear your fair share of American southern rap, something that has been a part of every DJ set I’ve ever played.

TN: If you could have written any song in the history of music, which one would it be?

YS: Chaka Khan’s “I’m Every Woman.”



There’s lots more to be heard and downloaded at the Ynfynyt Scroll Soundcloud page.
You can find The Niallist on Twitter.

Posted by Niall O'Conghaile | Leave a comment
Disco majesty: download ‘After Dark Vol 1’ by Italians Do It Better for free
07:13 am



The cult Italo/synth disco label Italians Do It Better have just re-released a remastered version of their classic 2007 compilation After Dark, featuring music by Chromatics, Glass Candy, Farah, Mirage and Professor Genius, for free through Soundcloud.

Label boss Johnny Jewel explains why IDIB decided to give the remastered re-release away for free:

Over 5 years ago we released a slow-burning label sampler at midnight on my birthday. The original pressing was a demo CDR that Ida No colored with markers & glued cutouts of my hand spraypainting our names on the world. It was supposed to be a limited edition of 237 copies meant for the merch tables of Texas & California. It exploded overnight. 77 minutes of analog electronic music mutating through Italo Disco, Krautrock, Electro, Giallo Cinema, & Pop. By now, After Dark seems like it’s in its thousandth pressing…(we lost track a long time ago). And as we prepare for the release of After Dark 2, we wanted to share with you where it all began.

The last 5 years seem like a beautiful blurry dream. Since the October 15th release date was announced back in July, everyone has grown increasingly anxious for the hard copy. At that time, we didn’t know Karl Lagerfeld was going to commission Chromatics to choreograph 27 minutes of music for the Chanel runway. We also couldn’t have known that Symmetry was going to be asked to score a top-secret motion picture for 2013. There is so much music we can’t wait for you to hear. For the diehard fans, we’re going to start leaking tracks next week.

After slowly chiseling away at it since the spring of 2008, After Dark 2 is finally right around the corner. Thanks to everyone for being so enthusiastic & patient. I promise it’s worth the wait. In the meantime, download the fully remastered version of the first After Dark here. I blended it together at 5 am this morning. Enjoy!

I really can’t recommend this compilation highly enough, it’s a treat for all those who love dance music of the past and the present, even those who prefer their “dance music” to be enjoyed in a distinctly horizontal position, perhaps with some herbal refreshments. And if you’re a fan of Ariel Pink and John Maus’ lo-fi, retro sounds, there is much here to savor:

Previously on Dangerous Minds:

‘Kill For Love’: Chromatics glacial take on synth disco (and Neil Young)

Haunted Retro part 2: Nite Jewel, Desire & Italians Do It Better

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Notes from the Niallist #2: Tranarchy in the UK
06:52 am



I ended my first Notes from the Niallist column by mentioning the collective I am a co-founder of, and performer with, called Tranarchy.

Frankly, it’s Tranarchy that has been taking up most of time, and distracting me from mining the cultural coal face for Dangerous Minds. But that’s the trade-off I guess, as Tranarchy is helping to create the diamonds people discover under all that dust.

As the name would suggest, Tranarchy is a drag-and-trans-heavy collective interested in subverting, and commenting on, normative gender roles. I know that all sounds very serious, but Tranarchy is dedicated to putting the fun first, and letting people discover the message for themselves, without having it rammed down their throats. There’s just too much hectoring in this world already, and not enough people willing to lead by example, i.e. living the life they want to live regardless of what society says. Sniff all you like at the supposed frivolity of drag queens and the “feminine” aesthetic, as historically has been the case with male-dominated, straight society, but always remember how much guts it takes to flaunt your otherness in public.

Besides the political aspect, however, there’s something almost magical going on with Tranarchy. And I mean “magical” in terms of seeing dreams and desires become a reality. We started the collective just over a year ago, and as we have grown at a surprising rate, we have managed to put on events and happenings that, just 18 months ago, we (literally) could only have dreamed of.

So far, we have hosted Manchester’s first ever vogue ball, called Vogue Brawl (now into its second year.) We’ve held a number of interactive film screenings in the style of the legendary Peaches Christ’s Midnight Mass in San Francisco (Showgirls, Zoolander, Mad Max: The Road Warrior with Empire Drive-In and Abandon Normal Devices.) We have created promo videos and photos shoots for our events that show off much of Manchester’s untapped talent, and these are beginning to get attention in the States and further beyond. Our most popular film so far is the promo for Vogue Brawl 2: Pride Is Burning, which can be basically summed up as “The Warriors in drag.”

The collective is very aware of gay and trans history and we want to celebrate that. We’ve held a few outlaw parties inspired by the original New York club kids James St James and Michael Alig, and documented them in the style of the sadly-missed pioneering NYC videographer Nelson Sullivan.

This is where it gets interesting, though. Our first outlaw party was a reclaiming of the Manchester tram system, which, as anyone who has ever used public transport will know, can get pretty hairy if you stand out in any way. Our last outlaw party was even bigger, in terms of execution and impact. It was an invasion of, and statement about, Manchester’s annual “Pride” festival of gay culture and awareness.

Every year, Manchester Pride is held in the city’s Gay Village and attracts up to 40,000 people, making it one of the flagship gay Pride festivals in the UK. However, the amount of money raised for charity as opposed to the amount of money raised for personal profit has been a major, running issue for a while, as has the fact that a festival celebrating gay visibility, and interaction with the wider, local community, is held in a walled-off compound that charges people to enter.

However, the one thing the Manchester Pride organizers don’t have control over is the large canal that runs right through the Gay Village, and along side Canal St, where much of the festivities take place. So, as a bit of a lark, Tranarchy took a barge down to the Village this year, and crashed the Pride party to perform a few numbers and make a basic point.

We have issued an official Tranarchy statement detailing some of the problems with Manchester Pride to accompany the YouTube video, and here is an extract from that:

Freeing Pride is not an attack on Pride as a party, and it is not just about the fences and the ticket prices. Its about setting Pride free from the businesses and individuals who seek profit before the well-being of our community. It’s about asking what the event is really about, who benefits from it who should pay for it, and remembering why we do it in the first place! Its about asking whats more important; extra cash for an organization reaching out to the most vulnerable among us, or getting to see Steps [90s pop band] one last time before they slip into room 101?

In short, we were all incredibly nervous about pulling this stunt, but it turned out better than we could have hoped. Check out the old voguing queen we encountered at the end of the video, in the Piccadilly basin, which is a well-known cruising ground:

Our YouTube video channel is here, and for regular news updates, subscribe to Tranarchy on Facebook.

For more info on Tranarchy, and past event pics, visit

A much longer piece, detailing the objections to how Manchester Pride is run, can be found at Manchester Pride Investigation.

You can find the Niallist at and on Facebook.

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