1. Sunless 97

    The critical transformation of house from the music of vest-and-neon-sunglasses wearing Eurotrash into the fashionable and amorphous sound of 2013 can probably be put down to two things; firstly people in their early twenties now don’t remember M25 raves in ’91, and the commercialised death of rave culture, it’s happened and gone and now ripe for being reborn; secondly the term is broad enough to encompass huge swathes of recorded music that it’s easy to lump enough people in together to make it interesting to write about.

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  2. Matthew Herbert

    “I don’t know what happened,” Matthew Herbert begins, “but I seem to have become part of the establishment, which is confusing, because I think my music is possibly at its most challenging at the moment.” He might be right, his last album was built out samples he’d recorded in Tesco and built into rhythmic house tracks. The one before, an investigation of the meat industry, he spent a year recording noises made by a pig, from birth to death to dinner plate, before fashioning it into an album. His most recent, he describes as a “jazz quartet record,” him and two musicians “we went away and set up our equipment in a barn on the Welsh borders and recorded for two days.” Except that the entire record is based around one five second sample of a bomb exploding in Libya, sent to him by a friend of a friend, who’d recorded it during the battle of Ra’s Lanuf in the Libyan uprising.

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  3. Vondelpark

    There’s always been paradoxes running through the heart of Vondelpark; between the UK Bass scene they grew out of and their sensibilities that looked further afield for inspiration; between their languid, drifting, weed fumigated music and their driven, serious approach to making it. They’ve been playing together for about a decade yet they’re still all around 22, and whilst they were originally discussed in somewhat veiled, mysterious terms, as the entity of a single producer there’s never been much to hide. Three school friends from Surrey, singer-guitarist Lewis Rainsbury, bassist Alex Bailey and keyboardist Matt Lawrenson, forming a band with the aim of making “come down music” as Lewis puts it, “keeping involved with dance music” whilst recording at home.

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  4. Deptford Goth

    One mistake commonly made when writing of love songs is that they often come swathed in metaphor; as if the idea of love can’t be understood unless it’s strangled by something grandiose and wordy, thinking that those emotions can’t be done justice without some grand conceit.

    Yet Daniel Woolhouse, better known by his alias of Deptford Goth, has wrestled a set of songs to life for his debut record, Life After Defo, that shine with rare, honest, simplicity conveyed by what he describes as its “mantra like” lyrics.

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  5. Arcadia Missa

    Arcadia Missa is a gallery, research and publishing project run by Rozsa Farkas and Tom Clark, started in 2011, but building out of work the pair were carrying out as students at Central St Martins, surrounding institutional critique and self-education. They opened the gallery in February 2011 showing Lucky PDF and Warren Garland. Since then they’ve gone on to work with artists as various as Marlie Mul, Harry Sanderson, Clunie Reid, Hannah Perry, Jesse Darling, Katja Novitskova and Amalia Ulman. They work around presenting new and collaborative modes of art-making, in particular those that often situate digital culture within a wider conversation on the socio-political context of everyday life.

    The gallery has been defined by their collaborative and conversational approach to showing artists, often overflowing into their programme of published works. So far entailing three issues of their in-house journal How To Sleep Faster, two ejournals, and their recently published first Anthology, a record of the Open Office project that ran through the second half of 2012. An attempt to address precarity as experienced by immaterial labourers working today, how ideological formations such as neoliberalism, democracy as consumer choice, and ‘instant’ communication have come to define the ways in which we work and create. Avoiding the fetishisation of the object and social relations of precarity itself.

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