Ultragroove Presents, the Beat Jazz Basement, Edinburgh, Thu 17 Oct; CCA, Glasgow, Fri 18 Oct

‘As far as I can gather from what people tell me or what I read, this so-called revival is based on fashion and dull irony,’ says Metro Area’s Morgan Geist, dismissing the electro movement that the style magazines have been forcing upon us for the last three years. ‘That’s not what music is about for us in fact, quite the opposite.’

It seems that the length of time between a previous era and the revival of what people remember as its major cultural reference point is forever contracting. We’ll be holding 2002 revival parties before the year is even out.

Like all bands or collectives worth their salt, Metro Area are keen to avoid labelling or pigeonholing, and Geist is often cagey about which genres are associated with their sound. The word electro is often bandied about when describing the Metro idea, but Geist argues that the term is often misconstrued. Like all fans of music, he can understand where it came from originally, and why: ‘Electro is sort of a beat or a drum machine or a feel to me, if we’re talking about stuff like ‘Clear’ or ‘Planet Rock’ or TechnoHop Records out of LA, things like that. I don’t think it has much to do with house. I think at least in NY it had to do with hip hop, but most people today tend to forget or ignore that.’

Metro Area meeting ground for house and electro

(originally planned for the re-opened Sub Club), and

If anyone’s qualified to comment on the New York

scene, it’s Geist and Metro collaborator Darshan Jesrani.

After over a year of late-night sessions in New Jersey and Manhattan, Metro Area released their debut 12in, featuring the critically acclaimed ‘Atmosphrique’, in 1999. They’ve honed the live experience so skilfully that their three British dates have generated intense interest from discerning house heads the length and breadth of the country. They’ve acknowledged their following north of the border, with dates in Edinburgh (as part of Ultragroove’s third birthday celebrations) and Glasgow

there’s also a spot at London’s Fabric, so they obviously know their good clubs from their bad.

This is due to the organic approach that marks out all high—grade dance music producers. Geist acknowledges the importance of the free approach, and its key exponents. ‘I like DJs with their own style who have faith in their selection and will expose the crowd to new music rather than just pandering to them. I love a good mix but as I grow older it seems to be the music far more than the technical skills for me. Ideally, though, it’s a combination.’ (Johnny Regan)

il( )lJSi (iAi {N BE liAl it (Si N )( DYE DJ UCHIKAWA

Audio Deluxe, the Honeycomb, Edinburgh, Sat 26 Oct

Get a taste of Japanese house

\Nitli the f3X(L(:[)ll()ll ol the recent and exceedingly rare appearance ol [).J Knish ll" l (iiiilluigl‘. it's not often that

Scottish shores arr,- giar;erl wrth self;

from Japanese [)Js. However, only one week alter Japan's leading hip hop turntahlist hit the decks at i go. Kyoto king and current ’rai‘e groove master" of the Japanese urban sound. [)J lJehikawa. s set to play at Craig Smith's soulful shindig Audio Deluxe.

Something of a pioneer in his native Japan. Masahiko Uehikawa started [)Jing in the iiiid 1980s. In the early 90:; he set up (Earden, Kyoto's rnost influential club night at the tune and it was during this period that U(:llll<£l‘.'.’£i_ in his own \.'./or'ds. '\.‘~./a|lxed the path of the Paradise Garage. Indebted to l).Js like l)avr<l Maneuso and | any I evan, [Jehikawa was equally iiiipiesserl by the l oridoii <:lui) scene of the iiiid 80s and particularly by Norman Jay who he describes as ‘a big irillueriee on my soul.

Now a inajor player at (lllll) nights in Kyoto and lrilx'yt). lJehikawa (1()llll)lll(?33 the er:le<:ti<: exuberance of

his New York and London heroes With a very contemporary take on the black dance music model. ‘My style is real dance music.' he says. 'l play soul. ja/x. l atiri, dance classics. deep house. techno and all the other styles that you can think of -- in other words. all sounds that link to the dancetloor.‘ (Catherine Bromley)



Word Up

The latest c/ub news

INNER EAR LTD, THE company behind Glasgow’s internet radio station of fine repute, Radio Magnetic, have unveiled their intention to bid for the forthcoming FM licence for the Glasgow area. They have already proved their worth in the field of dance music but their plans for Glasgow Live are far wider reaching. ‘Rather than be seen as purely a dance radio station,’ co-founder Tom Lousada explains, ‘the format will bring in specialist programming currently neglected by the radio spectrum, whether that be quality jazz or northern soul. We are also intent on bringing more speech and Glasgow specific programmes that reflect the feelings and diverse attitudes of the city.’ Word Up heartily backs their bid and remember log onto or tune into 106.6FM (until 3 November) in the mean time.

ll- Nl-W MUSIC AND NEW digital media are your thing check out the dialogues 2002 festival in Edinburgh (running 22 ~30 October). Featuring a number of live events as well as gallery installations and DJ sets. check listings throughout The

1 rs! and www.riewniusicnewmediaorg for more info.

FOR THOSE CLUB HEADS out there craving a bit of culture Optimo mainstay Twitch is doing the background music for two Arches Theatre Company shows: Joy of the Worm and the deliciously titled I Licked a Slag’s Deodorant. Again check the theatre listings in this very mag or for the full craic.

l INAl lY Tl ll 'ON THE BALL' award has to go to the Liquid Rooms and their l-logirianay listings. the first to reach List towers so far this year, and it's a goodie as Colours Jerri forces wrth Undmwater to present [)ar'ren [‘lllOl‘SOll, lllll Deluxe. Jon Mancini and Smokey and the Bandit. lickets just 920 before ()hr'istrrias ($325 after).

i,‘ .ii (M and? THE LIST 75