Tag: dance music

Cephid’s Sparks in the Darkness Goes Live at Bath’s Rondo Theatre

Best part of a year has passed since Cephid released the groundbreaking electronica album, Sparks in the Darkness. At the time I said of West Lavington’s musician and composer Moray Macdonald’s alter-ego’s masterwork, it was composed of “gorgeous complex structures and intense electronic textures,” and comparing it thus: “like Jean Michel Jarre came after dubstep, as if 808 State created Tubular Bells!” On February 8th 2025, Cephid is coming to life, live at The Rondo Theatre in Bath……

Yeah, so I waffled in the review, from Dadaist Art of Noises to Delia Derbyshire and onto Kraftwerk, but it was hard to describe this album, to convey how technically constructed it was, because while contemporary, we usually associate electronic music with dance music ever since the slapadash rave era. While it’s certainly danceable, it also relies heavily on the ambience of prog and space-rock soundscapes of yore, and creates this timeless classic impossible to pin down.

The show will likely be that rare and unmissable occasion, Moray said he’s “very excited and a little nervous to announce the first ever Cephid live show!” but that he feels, “lucky to have such a great space to perform in, and I’ll be using light shows, projections, and more to bring the album to life.”

Partner Charlotte is producing the show with Nick Beere on sound. Graham Brown of Grace and Fire and The Paradox Twin will be on percussion and keys, and there’s a solo support performance by ex-Enid’s That Joe Payne.

Since releasing Sparks in the Darkness, Moray has spent a lot of time explaining his thought processes while producing it, and remixing Kleptocracy, the new single from Orchestral Manoeuvres in the Dark which charted at number 1 in the Official Vinyl Singles Chart in May. If you’re an OMD fan, or just have the slightest interest in any subgenre of electronic music, this will be an unmissable show. 

Tickets are HERE.

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Devizes House Promoters Palooza’s Second Night at The Exchange

Well, I had fun, danced my little socks off at Palooza’s inaugural house music experiment back in early March, and I’m glad to hear they’ve another coming up on Friday May 10th….

Palooza delivered everything they said they would to the Devizes Exchange nightclub early March, with a knockout inaugural night of smooth house music vibes. Here’s my take on it. The DJs were bang on the money, the atmosphere was unpretentiously buzzing with positive and uplifting vibes I compared to the UK rave scene at its peak, but a few more through the door would’ve been welcomed. As it is with dance music culture, a new thing has to grow and develop, and this works through word-of-mouth; hence why I mention it!

What impressed me most was the age demographic there. I spotted a number of older ravers, reliving their misspent youth, and I saw younger clubbers too, but all mingled with the shared ethos of good vibes, and that’s what made the night so satisfying. If you missed the last one, I advise you check in on the next one in May; keep up-to-date with them on Facebook. Tickets are HERE.

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Happy Daze; Palooza Baptises House Music at The Exchange, Devizes

Newly formed and locally based collective Palooza hosted their opening night at The Exchange nightclub in Devizes yesterday, offering house music with universal appeal and the ethos of raving days of yore; mind I don’t have an Uncle Albert moment here, “when I was in the rave!”

Greg Spencer, the kingpin in organising the event, told me he’d be interested to read what I had so say about the do. While a DJ night is a different kettle of fish to reviewing a live band, the kettle or main premise is the same for anything, points scored for doing what it said on the tin. In other words, was it as advertised?

Palooza hyped it to be “the hottest house event in Devizes. Deep house and soulful grooves, tech melodies to uplifting beats.” The only indifference was it’s the “only” house event in Devizes for some considerable time. Other than this trivial, my dancing clogs didn’t stop, so top marks all round for a fantastic treat.

Welcomed, then, for those dance music hunters and an inaugural shindig hoping to blossom, I hope so too. Retrospective glimmers to the heyday of UK rave culture have been successful in larger towns, yet always seem to come with a marginalised hook.

Raver Tots invites parents of toddlers to force their youth culture down the throats of their impressionable offspring, in a bizzare soft play-happy hardcore mesh, and Trowbridge recently saw the Pipe & Slippers Raves, patronisingly focusing on middle-aged ravers by reducing noise levels and ending at a respectable time.

Though both successful, they feel presumptuous and a tad condescending, in my opinion. I never felt the need to embed my nostalgic skulduggery on my kids; they find their own way. And as for the idea of finishing a party at eleven o’clock so foggies can retire to their slippers in some kind of care home fashion is, quite frankly, insultingily ageist and badly researched; ravers danced all night, into the next week if possible. What in the good name of John Digweed gave them the ludicrous Cinderella notion we can’t now cut a rug after midnight?! It’s not done via age concern, rather cashing in on nostalgia.

The reason for being critical of these others is that rave had no uniform or restrictions. It was universal, the loosest era you can dub a youth culture, for it engulfed every preceding one and fused them in one electronic explosion of positivity and joy.

Ravers came from punks, mods, soul boys, travellers, new romantics, rastas, bikers, the lot. No one gave a hoot about your roots, ethnicity, political sway, sexual preference, and especially not your age; we all danced together under the same sun. It was the most unassuming epoch ever.

And, delightfully last night, the ethos matched. Palooza filled “the Bin” with a handful of older ravers proving they still got it, but equally attracted a wide age demographic, interacting without the slightest hint of aggravation. That’s the ticket, that’s precisely the atmosphere old ravers cherish with pride, and one which, evidently, is being passed onto the younger present. We stopped racial tension, drunken nightclub brawls, and football hooliganism; really.

The Exchange in Devizes faces historic self-deprecating banter from locals, infamously dubbing it “the corny bin.” I beg to differ. The modern Exchange is on a level way above your typical nightclub. By comparison, it’s comfy, congenial, and affordable at both the foyer and bar. It retains the exceptionally simple but functional design of square amphitheatre dance floor, with all seating facing inward to it and the bar stretching across the rear. It makes the perfect spot for a house night of Palooza’s challenge to recreate the integrity of classic dance music culture. I’m only here to report back that it did, with bells on, oh, and shake ma thang like a Polaroid picture.

The air held a manner of anticipation, and the three DJs delivered. With splinters of classic house samples from Leftfield to Fatboy Slim, the speakers pumped of joyous contemporary beats, bang-on the timeless vibe of house music since its inception. Glow-sticks passed around, smiles and hugs exchanged, no bullshit from tossers, just carefree merriment and united celebration.

Another top point scorer from me was Palooza didn’t try to be something it wasn’t, it didn’t try to cater for all and meld every dance music subgenre into a single night, for that would feel cramped or sycophantic by modern standards. If you attacked it objectively because you wanted abstract minimalist techno or darkstep breakcore, you failed to see the simplicity of a working formula of yore, the enduring practicality of association. Because, while one day viciously throwing down on his box, Jack boldly declared, let there be house, and house music was born, in 1987, when your scrupulous pigeonholed subgenre was an itch in its daddy’s bell-bottoms.

Soz, but a market town like Devizes couldn’t sustain something so codifying as a quasi-amapiano ethereal techno gig; think broader, and dance your trainspotting cares away!

Palooza met that challenge head-on and unruffled. Greg expressed to me that he’s only in it for the love. It now needs the opportunity to grow and harness its ethos. It needs to extend a welcoming hand to those looking for a regular and affordable quality dance music night in Devizes, of which I’m assured it will. And hey presto, ravers young and old will arrive there, Harvey Ross Ball’s smiley face logo will be smiling on our town, and house music will  be reborn, and for that applause, Palooza gets my top rating; feel the melody that’s in the air and beeline the next date, one and all.

Devizes’ First Palooza DJ House Event at Exchange Nightclub

Feeel the melody that’s in the (Devizes) air! If the nineties house clubbing revival is what’s happening elsewhere around the nation, we have to admit, sadly it’s been a smidgen scarce in Devizes. That’s set to change, Greg Spencer from Palooza gladly informs us Devizes is on the verge of a groundbreaking shift in its nightlife scene. About time too, I might add, there’s still a bit of life in this rapidly ageing raver yet, y’know!

The inaugural Palooza DJ House Event is set to make waves at the Exchange Nightclub on Friday 8th March, offering deep house to soulful grooves, tech melodies to uplifting beats, and promising an extraordinary night of music, rhythm, and unparalleled community spirit….well, there’s a thing, that’s what it was always about.

Greg, who has previously owned a record shop and music venue, has been involved with festivals, and written dance music, signed to labels and remixed for other artists, tells me how he took a break from it all whilst raising a family, but like many of us feeling there’s something missing from middle-age, he’s aching to zip up his boots and go back to his roots, “for the fun,” he expressed. Yeah, I’ll go along with that!

This inaugural Palooza DJ House Event promises to redefine Devizes’ nightlife, creating a space to celebrate music, forge connections, and craft unforgettable memories. Palooza urges Devizes to “get ready for an introduction to a new world of rhythm, and become a part of it. Join us at Palooza, and let’s create memories, dance, and celebrate the beauty of music.”

They promise the event will have its share of surprises and special moments, making Palooza a truly unique experience each and every time. Palooza’s inception arises from a shared passion for the dynamic beats of house music. The event’s creators are dedicated to bringing this unique experience to the heart of Devizes, sharing their love for music with the local community.

The team has carefully selected a thrilling lineup that combines the infectious beats of our local DJs, known for setting the dance floor ablaze, with globally recognized music from the house music scene. Each performer will infuse the night with their distinctive style and boundless energy, creating an unforgettable musical experience.

“Palooza isn’t just an event,” they continue, “it’s an immersive journey into a world of rhythm and connection. The energy is palpable from the moment you arrive, drawing you in and making it impossible to resist the allure of the music. This event offers the freedom to dance without inhibition, lose yourself in the music, and connect with fellow party-goers who share the same passion for house beats. Whether you’re a seasoned clubber or a first-timer, Palooza invites you to a night of boundless energy and camaraderie.”

In a unique initiative, Palooza invites partygoers to suggest their favourite house music track before the event for the opening DJ set. Visit the Palooza Facebook page to contribute to the music poll selection and shape the unique atmosphere of the night.

Just one? Tricky, but, twist my arm, if I had to pick just one it would be Sunscreem’s Perfect Motion. Remember it? Oh, I do, vaguely! In a cloud of strawberry scented smoke, the dancefloor like an air hockey pitch, my feet gliding like two pucks, and, if you’ll pardon the puck pun, not giving a puck either, about any inhibitions, or cares, just you, and a fluffy crowd of smiling faces; If rhythm’s a drug, I’m hooked on you, So show me every move, We’ve got perfect motion…. Noooo, someone stop me, I double dare you!! I better sit down, have a cuppa and a bourbon biscuit, calm myself down a bit…. until March 8th, coincidently my birthday! 

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Sparks in the Darkness: Cephid Takes Electronica to New Dimensions

Just when I think every musician within a ten-mile radius is under our radar, another one pops up, and usually, they produce electronic music. So, I say, look, I know Devizes is a blues town, but Devizine covers all arts, and besides, I’m an old raver; ergo, if you’re creating music, electronic or not, you’re very welcome here….

Proving I’m an old raver, for photographic evidence is nil and memories vague, West Lavington’s musician and composer Moray Macdonald’s alter-ego Cephid’s forthcoming album, Sparks in the Darkness had me pondering a post on a Facebook group for ravers, which I wouldn’t be on if I wasn’t! Someone posted a video highlighting the work of Delia Derbyshire at the BBC Radiophonic Workshop, another commented rightly she was a pioneer of electronic music, a second added “erm? Kraftwerk?” causing me to rant; it doesn’t take much these days!

Yeah, I’ll give you, Kraftwerk were the primary electronically generated pop group, but Derbyshire’s magnum opus, the Doctor Who theme, an electronic rework of a Ron Grainer composition, predates Kraftwerk’s first commercially successful album Autobahn by eleven years.

This raises a fascinating point; at electronic music’s clunky inception few sought it viable for commercial pop. Fatboy Slim pointed out, You’ve Come a Long Way, Baby. The BBC Radiophonic Workshop created sound effects ideally for sci-fi series. Lesser-known German electronic pioneers Tangerine Dream only became familiar to the masses during the eighties for their numerous Hollywood film scores. Organisation zur Verwirklichung gemeinsamer Musikkonzepte, Kraftwerk’s quirky and pre-synthesizer antecedent, was the crème-de-crème of kosmische Musik, Dusseldorf’s experimental scene of the sixties, but while it took psychedelia and space-rock to another planet, Melody Maker mocked it “krautrock,” a name which stuck as its genre.

Seems rock’s phobia of electronic progression was the reason for Britpop’s retrospection to acoustic instruments once rave came of age. The chalk and cheese mingle side by side in today’s pop; David Gray’s self-dubbed style, folktronica hammered that last nail in.

The relevance of all this is, while immersed in Cephid’s gorgeous complex structures and intense electronic textures, one cannot help but contemplate the combined efforts involved in contributing to this development, as it harks it’s influences and indulges those passed, no matter by Sparks in the Darkness comparisons all would sound timeworn. From the impact the Doctor Who theme must’ve had on the English television-watching nation, to The Art of Noise and Yello, and from avant-garde American electro outfit Newcleus, to Universe’s Tribal Gathering 1997, when I observed every raver ascend from their chosen subgenre tent to pay respects to Kraftwerk. Cephid encompasses these, yet is ultra-modern, uses tech as orchestral, and is as fresh as the Buxton spring; like Jean Michel Jarre came after dubstep, as if 808 State created Tubular Bells!

Futurism and sci-fi remains a large part of marketing presentation for electronic dance music, from the eerie android on the cover of Kraftwerk’s We Are the Robots, to Phil Wolstenholme’s Vergina sun spaceship on the Orb’s 1992 album U.F.Orb, Sparks in the Darkness follows suit with a mysterious red sphere projecting across a cityscape for its cover, strikingly designed by Tiago Marinho.

The album commences akin to ambient house’s finest, floating or bubbling spooky and mysterious layers of atmospheric swirls, but its orchestral build indicates time has passed since the fluffiness of The KLF and Orb. Moray Macdonald cut his teeth touring with progressive rock and metal artists such as That Joe Payne, Godsticks, Kim Seviour and Ghost Community. This is sharper, unsubdued, his harder-edged rock influences will insure bands like Pink Floyd, Hawkwind and the Ozric Tentacles will be acknowledged here; erm, The Prodigy’s punk fusion post-Jilted Generation too, in part. The opening track To Catch the Eye of the Heaven flows into the next, as a raver I note Leftfield, and I’m holding out for it kicking in.

Thirty seconds into the second tune, the single Worlds Before, and it does, and when it does it’s immense, a stomp to make New Order blush, with all the workings of modern technology, you are encased in this, what is a culmination of many years of work, and there’s no going back.

Moray defines it, “soaring melodic leads cutting through spacious washes of synths, while propelled by layers of sequencers, drums, and percussion. Pulverising techno seamlessly giving way to complex progressive workouts and moody, groove-driven soundscapes, all packed with lasting melodic hooks.” Yeah, I’ll go with that! It has the concept album quality in which you must indulge in it completely. By Terminus we’re nodding to up-tempo trance-techno, breaking with vocal coach Angel Wolf-Black’s celestial chants, but behind its entrancing bleeps binds this driving rock drum, either by Emily Dolan Davies, who has drummed for Bryan Ferry, The Darkness and Kim Wilde, or Graham Brown of The Paradox Twin.

Midway the pace lessens and Of Promises trickles into something definably more electronica, of Tangerine Dream’s sombre movie moments, of Don Johnson contemplating his fate as he leans on his white Ferrari looking out across Miami harbour’s night sky. Moray Macdonald has created music for film, theatre and art installations, and it shows.

Strobe takes off from where Of Promises lands us, like the later track Dead Hand’s Decree, it’s The Chemical Brothers on their best behaviour. Moray states, “the Cephid was created as an opportunity to bring diverse influences together into a single coherent artistic statement.” From his work with artists across the modern progressive scene, to his early love of experimental electronic music, many musical facets are represented, but still it flows in one radical and unique package impossible to pigeonhole.

There’s no surplus of talent left out of this project, Placebo’s Shelby Logan Warne, and Jerry Kandiah producer of Killing Joke and The Futureheads have mixed and mastered this, and while its not commercialised, just like Delia Derbyshire’s work in the sixties, it’s too groundbreaking to be ignored.

As The Old Me, plays out, even its name prompts me to imagining myself hearing this in a field somewhere in 1991, amidst matted trilby wearing juniors, eyes the size of saucers and dribbling on a Wrigley’s, it is so innovative, so radical, I’d probably have had a seizure!

“What’s wrong with him!” one raver asks another as I lie comatose.

“He’s had a premonition of the future of electronic music and his fragile mind cannot handle it; somebody get him a Technotronic album, pronto!!!”

The single Worlds Before is out now. Sparks in the Darkness will be released 9th February 2024. Find out more about the project HERE.

Social Media
https://www.facebook.com/cephid.world/
https://www.instagram.com/cephid.world
https://twitter.com/cephidworld
https://mastodonmusic.social/@cephid
https://www.youtube.com/@CephidWorld

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Waxin’ the Palace; Chatting to the Man Who Convinced Wiltshire Council to Have a Rave!

All the local mainstream are on it like a fly on a turd, and the negativity of keyboard warriors is flowing fast and furious. Who am I to steer off the bandwagon, yet you know we’ll handle the news Wax Palace obtained permission for a “rave festival” to happen near Erlestoke with a slightly different angle……

An angle much less based upon the fact your esteemed editor had a youth some indeterminable time yonder, where he gyrated in muddy fields with eyes like saucers, masticating the shit out of a Wrigley’s Doublemint, and more on the notion, I hope, that while we have a great music scene in these backwaters, there is little to tickle our younger resident’s tastebuds. This then, is great news, surely?

But is raving still a progressive thing, or does it dabble largely in retrospection? And what exactly will this Wax Palace provide in the way of entertainment? Harry, one of the organisers, a man who unbelievably convinced Wiltshire Council, conservative at the best of times, to grant them permission to hold what’s best described, to avoid media confusion, as a “rave festival;” can he sell ice to Eskimos, or what?! In a short chat with him, I suspected he could.

He giggled at the question, “we’d do our best, that’s for sure! It’s been a bit of a task, but we got it through, and they seemed very with it, during the hearing.” Throughout Harry projected himself as level-headed, reliably assured of the achievement of Kaleidoscope, the name of the event.

The first myth from the Gazette’s report to dispel is that these guys are bundling down from Yorkshire to ruin our peaceful community, when Harry explained the company is only registered there, and he lives close to Erlestoke himself. “The group who first run it were students in Leeds,” he explained, “but we’re very much Wiltshire born and bred.” Herewith the reason for bringing it to Devizes.

Promoting this today is neither here nor there, they’ve a solid base and early bird tickets have already sold out for the estimated 800 strong event. “This is our third edition of the festival,” he said with me interrupting about how to define it, “it is very much a festival, but we hope it has the apogee of a rave, though licenced, as the articles have focused on. It started as one night event, next time it was two, now we’ve got the full weekend, and our largest line-up yet.”

To spoil my queries of disambiguation, musically, Kaleidoscope will offer the whole range of rave subgenres, from house and disco to techno to drum & bass; “you name it will be there!” But this only got me pondering the setup, if it would, as legendary pay-raves like Universe’s Tribal Gatherings once attempted, to host each subgenre in a different tent. Because much as this appeased the then evolution of the diversity, it tended to clash into one immense noise when central! “We don’t have genre-split tents,” Harry clarified, “they’re split more-so by their set design. We’ve got three stages, one indoors, another outdoor, in which we’re shaping out an old school bus for the DJ’s, which should be really fun.”

Harry jested jealously at me rapping about raves of yore like Universe, “we missed that golden era, but we very much like to be inspired by the ethos.” This is great, though I’m trying to avoid an Uncle Albert moment where I preach on memory lane, but it does bring to question how niche is the market, does Harry think rave is either coming back, or it never really lost its appeal?

“I think it is coming back, commercially, perhaps it did lose a bit of what it was meant to be. In the last few years, I’ve heard people referring to their club nights as raves. I think the term rave now covers something broader and less political than it did, originally.” Harry hopes it does come back, encouraged to bring back those original values.

Though I’d suggest, rave was apolitical, it wasn’t until government interjected with the Justice Bill post-Castlemorton which both forced it underground and for ravers to think politically. Originally it was solely a celebration of life, and to party, and that really was our only objective. Which neatly covers another misconception; we raved everywhere and anywhere, if it meant standing in a muddy field, or if it meant going clubbing, location was irrelevant, so long as we could blow off steam and dance!

And herein lies my pitch at why I think this is a fantastic addition to our local events, because if you’re the first to complain about this, I sure hope you’re not the same one whinging about acts of anti-social behaviour in youth culture. If Wax Palace can provide a safe haven for young to go and enjoy themselves, it’s surely a positive.

Wiltshire Council were keen to label this a festival rather than a rave, as rave connotes to some to be an illegal, uncontrolled gathering. I say, this is the name of the genre, and doesn’t relate to illegal gatherings at all. After the Justice Bill the scene became anarchistic in frustration to the restrictions, but it never began like this. There was a sense of one big family, a tribal movement, and it was all about smiles. This, I feel is an important point to reduce this common misconception, and something Harry was also keen to express. “We’ve worked really hard to build a real sense of community,” he explained.

Today, of course, the original ravers have come of age, and organisations like Raver Tots have marketed retrospection in the form of taking your kids to a rave, but throughout our chat I got the feeling the ethos of Wax Palace was much more progressive, about introducing “rave; the next generation,” and that’s good to hear. “We like the idea through the way we organise events and our approach will introduce the idea of raving to a market who are only just coming to an age where they’re able to go to clubs. So, it’s nice to think we have the chance in shaping that impression they have. For a lot of people, this could be their first music festival, and for it to be local and described as a rave would be really exciting; exactly what I’d wish I’d have had in my village when I was 18.”

Tickets are here, Kaleidoscope takes place from 2nd-5th September.

Avoid negativity of misconceptions bought about by a bygone era, well organised and safe pay raves have happened since day dot, and providing youth with entertainment is paramount to building bridges; Wax Place, I salute you!

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Glamping and other plush extras add to the allure of a modern-day festival, but how far are you willing to go to make your festie experience that bit more luxurious? Established dance festival Shindig, which takes place 26th-29th May in the glorious grounds of the Dillington Estate in Somerset, boasts the only festival in the UK with a hotel on site, and I don’t mean slumming in a Travelodge!

“You can either stay in the beautiful main 18th Century Dillington House,” they announced, “or in the incredible contemporary Hyde complex.” The Superior Rooms are the largest and most luxurious, which are mostly found in the Hyde. Many come with their own private decking or balconies with views over the stunning Somerset countryside. Plus, hotel guests have their very own entrance straight into the festival, so you won’t miss any of the action.

And that action is headliners De La Soul and Roy Ayers, with a massive host of live acts and DJs, including Nightmares on Wax, and Don Letts with Terry Hall, its own after-hours nightclub with Goldie playing among others, and a general good vibes atmosphere where the entire family is catered for. There’s the Kids Kingdom, which will be fully programmed with activities to keep them busy during the day, and performance shows and cinema for kids.

Okay, big question, yeah, hotel rooms start from £1,000 for four nights bed & breakfast, but this includes secure parking, room service, bar and restaurant. Other boutique camping options are bell tents, yurts and squirts, airstreams, or bring your own camper with a £70 in advance ticket.

All this wows me, how far the festival scene has come, and Shindig truly is a testament, for the glitzy side of dance music. But in this, it got me reminiscing of the downside to festivals of yore, lying flat in the cheapest prism one-man tent money could buy, with a burnt-out tealight, a little pond of muddy Special Brew and grass blades, telling myself it was all part of the festival experience!

Once, camping halfway up the side of an Andalusian Mountain, graduated to a dome tent, yet having to anchor my feet in the sleeping bag in a bottom corner and fasten myself diagonally across, supported either side by my rucksack and other paraphernalia, in order to prevent waking to find myself, and all my gear too, slumped into the bottom corner like I did on the first morning!

I find myself thinking back to people-watching at a bygone murky Glasto, where within the mud-drenched surrounding akin to an apocalyptic movie, I perchance to spot a glamorous young girl dressed totally in white, white leggings, white top and trainers. She was just standing there, in the midst of it all, spotless and looking horrified at the desolation around her. With frazzled mind I had to ponder how she’d even got that far, I mean, without resembling everyone else, who were covered head-to-toe in mud and shit.      

The only conclusion I could muster was teleportation, but I’m now certain of one thing, that chick needed Shindig, possibly more than anyone! Phew, if I were her, or you, I’d get my ticket here, forget the past and relish in the festival indulgence of a new era!

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