TRIPTYCH
JAMIE LIDELI.
‘l was awakened by Matthew Herbert really, in a magic kind of moment ' Just how much Credit Herbert can take is open to debate, but only a QUirk of fate COuld have led to the doggedly leftfield technocrat Jamie Lidell's staggering reinvention as a purveyOr of flagrant Sunshine SOul.
‘l set about borrowing equipment and trying to get my SOund as close to a Motown Interpretation of the song.’ Lidell explains of a bare-bones remix of ‘The Audience' he did. ‘I thOught that w0uld really freak Matt out but deing that Just felt like stepping into an old pair of shoes.’
It has thus proved a pivotal moment in the unpredictable career of the artist formerly known as Super,_Collider. It led to 2005's Multiply, a meld of his
earlier experimental, arty—electronic and Kevin Saunderson'u ‘(3i "'1 L ‘e leanings applied to this new, exultant las lnner Citvi. llieé‘ie ed; in l! 1» neo-SOUI persona. the success of once inspired. and iii eii ii ids -'l°.', which made a notable convert of his at articulate. the hedonism mt r first dubious label Warp. With this emerged alongside a flf'llfrlill « mOnth's follow-up. Jim. Lidell has CraVing unity and an ear ape trr iii: the made the step into a straighter gospel deadening conservatism of the sound. shelving his experimental itch Thatcher Reagan era. llltm: rem ,n if; and taking on a considered and deftly would also directly influeni :e the produced songwriting style. This time I embryonic acid house scene and flit-ii th0ught | just wanted to get this music influence is still evident I20 wars later on the radio.' admits the unabashedly It is unSurpiising that Detroit techni savvy Lidell. ‘Why not? I'm so bloody found an audience in Glasgow in the close. Iiust feel it's time.' 80s. FolloWing the decline of l.'l(lllfill‘,
For a Berlin-based pop-soulster who and unemployment had become embarked on his muSical career Widespread in both cities When alongsde Christian Vogel in Brighton's promoters like Martin Mackai, ifoundei late-90$ techno scene Jamie Lidell of Rubadub Records; and f)l()lll<)l( :l of remains defiantly unperturbed by his this Triptych debuti inVited artists; ll()l'l apparently skewed path. DetrOit to play. Glasgow's clubbing
‘I think it was more a question of fraternity embraced them at; tllfrll man CORRECTO what I choose to release. There was The relationship between Detroit and llie. it i”. i " :t: always a difference between what I did Glasgow has endured. with it‘d? the l' i °, ' : in my spare time and what I chose to appearances by musicians; from the many“ it "1 ti : 9 present to the world. Sure it does look Motor City at clubs like Pressure. based art " i r it i ‘ ' " ' : v - :"- . : :_ ' 1' ‘v. "- a little strange. but I'm happy about Return to Mono and Mackay's own for. .:. ma l, i i ' . ' ' ' that.‘ says the ever-confident mUSlClan, Club 69 in Paisley. to be maids». i" "r l 2 : -- ; . ' Citing the Chameleon-like careers of Mackay has been waiting 20 years; hard 1: yet ' : ‘ °' ' ,z' z’ : Prince and Beck as influence beyond a for Model 500 to play in Glasgow and print ,ii a 1; ' 'r -' L more obVious musical association. ‘l've their performance at the Art School i:; dunno a. ti. ii' ' always been a singer, I guess people a unique opportunity to Witness some arts: in L z °' ' 1" :1 just didn't know that back in the day. I of the most influential figures in techno (Zaire ‘y * : ~ ' ' " chose my moment to get my styles performing and to celebrate the ‘Werii. f" u :l r ’l : z ' ' z . - : together, and then dropped it on extraOrdinary. unifying potential of lltit fr" tie t: i )r ' r them.’ (Mark Edmundson) electronic leSIC. (Colin McKeani .'.’ll‘ hip: “a . " H 2 I Tramway, Glasgow, Fri 25 Apr; I Glasgow School ofArt. Sat 26 Apr. ifrli’lfl‘igi't't mi u : lac
Liquid Room, Edinburgh, Sat 26 Apr.
MODEL 500
There are few living artists in the pantheon of contemporary music who can claim to be as influential as Juan Atkins. Growing up in 19705 Detroit. the young musician was inspired by the cosmic funk of George Clinton's Funkadelic and fascinated by the elegant European minimalism of Kraftwerk. Working as Model 500. Atkins combined these influences and set a template for what would become known as Detroit techno.
Over the following years. Atkins ' dz, / / r,» ' a would perform a pivotal role in such ex; ‘ seminal releases as Derrick May's ' r r, ,. ia 'Strings of Life' (as Rhythim is Rhythim) I Q r r ’ v’r: r i u x J Fr / ,
24 THE US? 10-24 Apr 2008