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Found around 160 results for club integral in The Wire.
The Wire June 1994 (Issue 124) 73 Subscription
making use of urban American grooves with Talking Heads. From 1979's conga-driven "I Zimbra" on the group's Fear Of Music album, to the 'reverse crossover' (from the mainstream charts into the black clubs) of 1983's "Burning Down The House", funk and soul have been constant and integral elements in Byrne's music. "A good groove is a transcending force in music," he says. "It becomes a framework that
The Wire June 1996 (Issue 148) 8 Subscription
, but Wagner, in the Kupfer production, shares a predilection with Techno for electricity grid l~ghtingand bunker-black stage settings. End imagery is a constant in Berl~nculture Naturally, ruln is integral to any staglng of the Twilight Of The Gods, but in Kupfer's version, it resonates all the more powerfully for ~ t staking place withln mortarfiring distance of both the rui
The Wire April 2009 (Issue 302) 54 Subscription
her Paradox: An Imprudent Journey Through 50 Years Of Minimalistic Music Various BBE CD This 18 track, time-travelling mix was worked up by Henrik Schwarz, Âme and Dixon of Berlin’s Innercity club night and Innervisions label. Those titles, rather than the location, hint at what’s in store: Deep House and tasteful Techno marked by quasi-soulful warmth are the crew’s stock in trade, as opposed to the m
The Wire April 1985 (Issue 14) 49 Subscription
a marvellousfeel for slow blues. He has formed hisown group called, simply, Manchester Jazz. Putting in hours of rehearsals on interesting material, he booked a roomat the suburban Didsbury Cricket Club on its quietest night -Monday. Now the club is beginningto enjoy standingroom-only crowds. Surely there is a lesson to be learnedhere by leaders of other struggling groups? WITH the financial state
The Wire April 2010 (Issue 314) 76 Subscription
, Ornette Coleman’s The Shape Of Jazz To Come, Dave Brubeck’s Time Out and John Coltrane’s Giant Steps, Thelonious Monk’s agent was endeavouring to secure his client an engagement at the Blackhawk club in San Francisco. “Listen, I heard about this Felonious (sic) guy – he’s some kinda nut. He’ll come into the club and stare at a wall,” is the reported response of club owner Guido Cacianti. So much
The Wire November 2004 (Issue 249) 106 Subscription
Techno had recently arrived in the city, and some would go straight from the protests to the Kozmik par ties at the subterranean Industria club. Underground Resistance never sounded so vital. But the dissidents had their own indigenous soundtrack, too; groups who played at the protest rallies and brought the turbulence on the streets into
The Wire October 2014 (Issue 368) 12 Subscription
simply film a variety of Los Angeles based producers and musicians at work in their bedroom studios. What unites these producers, aside from geography, is their connection to the hugely influential club night Low End Theory, locus and incubator for the instrumental hiphop scene (or beat scene) that has produced artists such as Flying Lotus and Daedelus. Made in collaboration with Low End Theory’s
The Wire August 2001 (Issue 210) 19 Subscription
artist and agent provocateur". Graduating with an MFA in Sculpture from Columbia University in 1973, she began to integrate spoken word, music and film in her stageworks. Anderson became an integral part of the 1970s New York downtown scene, with her installations and pieces like Songs And Stories For The Insomniac and Out Of The Blue. She also collaborated with musicians like Rhys Chatham and
The Wire November 2017 (Issue 405) 82 Subscription
start of “Do You Have A Band?” not because it’s an unusual admission, but rather because poetry – as an affinity group, a zone of experimentation, a fractured and questioning form of aurality – was integral to much of the punk affiliated music coming out of New York from the late 1960s to the early 80s. CBGBs had a Wednesday evening show devoted to avant garde poetry – Eileen Myles’s first reading took
The Wire June 1992 (Issue 100) 62 Subscription
hot guitarist who swings, one Ian Devine, and while we can dig that only women bleed, to the audience at this post-press tense euphoric date at The Factory (actually a Friday at Manchester's Russell Club, hosted by a certain designer record label, soon to turn Hassank Rumpus Room [he means the Hacienah -E 4 into big club bucks), i t seemed like the outfit on-stage was determined to make them leave
