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Annie Mac Presents... Leeds
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Annie Mac Presents Leeds - Tickets - Taking Liberties
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The American rapper produced seven of his own fifteen album track list, and his release was one of the highest acclaimed to come out of the Odd Future set up.
To get a taste of the action, check out Hive, a smooth flowing vocal effort over a bass-driven back beat, Chum, a funky piano backing that lays the foundations for some sweet and smart lyrics from Earl, and Sunday, a fast moving effort with Frank Ocean that sees the duo explore their personal relationships in an interesting song. The artist already has friends in high places — featuring on records not only with Ocean but also Mac Miller and Tyler, The Creator, and he could well be on a similar trajectory in the upcoming year to that which Kendrick Lamar has followed in Expect big things.
The performer, who originates from LA, brings a chilled out vibe that can switch effortlessly into a faster flowing, harder-hitting number, as can be seen in single Enemy. A few names to watch out for then in , and a reminder that just when the advent calender is coming close to an end, there is still plenty more to look forward to.
Stuart Kenny As published originally at: www. Safe to say, any positivity that was once overwhelming in the record has now been stripped, and in its place remains a gritty, hypnotic street vibe with a constant undertone of in-your-face confidence. Track after track the record offers up repetitive rhythms in a manner that flows effortlessly from one to the next, the chanting of the artist blasting distinctively and clearly over rolling drum beats, and futuristic soundings of synths and horns finding themselves mixed in unconventional manners with morphed back beats and avant-garde techniques.
What finally comes out of this is a mix of pop, drum and bass and techno methods in a strangely addictive end product. Two features included with contribution from The Weeknd, Exodus and Sexodus, stay closer to the mainstream, with big bass in the distance meeting a ruffled house rhythm with a more than catchy rhythm, but all in all the record is far from the Sunday lunch norm.
Bring The Noize seems to define the album perfectly. The stuttering and shouting of random words to start off a number with fast chat from M. A meeting a beat including randomly creaking door sounds and a pretty catchy melody. Odd, but endearing and with a huge backing, much like the majority of the track list. An album made of marmite from M. Better that than working in fucking McDonalds. Findlay had only finished a hectic rehearsal session when she took to the phone for this particular interview, yet the artist seemed characteristically vivacious throughout the conversation — a trait which carries through to the assertive nature of her rock n roll work.
Indeed, in Greasy Love we see an urgent, empowering sound develop around fuzzy, blaring vocals, while in FakeBlackHeart a slow, circling guitar riff morphs into a boisterous backing dominated by the distinctive and delightful Findlay.
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FakeBlackHeart I had had for a little bit and I thought that those two tracks went together well. An electrifying music video accompanied the release of the title track, and the artist was keen to remark on her positive time with director Ruffmercy, with whom she worked to construct the emotive, supernatural-esk production.
The hard working artist will have a lengthy list of plans that are ready and waiting for the turn of the year too, and if she continues to impress with her fresh brand of music, it could well be a future that will prove even more busy and even for bountiful for the talented Natalie Findlay. Either way, what better time to do so than on a Friday night in the Scottish capital, and what better conductor for the task than Radio One queen Annie Mac. The Annie Mac Presents tour flowed into Edinburgh late last month, bringing with it the abundance of expectation it now carries to provide an elegant explosion of electronic dance music attached from so many successful showdowns before.
The air of anticipation gave the old Edinburgh Picture House a buzzing feel that was quickly picked up by funky house producer Duke Dumont, who started the proceedings early and set a telling tone for the night with soulfully sweet melodies overseen by big bad basslines.
Co-writer of that aforementioned Duke Dumont hit MNEK was on stage to back up the producer with some fresh vocals, but it was the bouncy bassline of The Giver that most notably gave a turbo-boost to the dance floor motions, with party-goers flying onto shoulder tops and producing the camera phones to chant the anthemic lyrics of the summer sensation.
Now Wave presents Cyril Hahn
Certainly no rest for the entertained then, other than the half-hour odd wait for a drink of course, and the securing of a long-lasting mortgage to afford said beverage. Chill master Cyril Hahn was up next with his brand of expressive house, oozing a clean, laidback vibe with numbers Perfect Form and Raw Cut — the latter of which grabs for a particularly juicy bassline — yet with a more relaxed vibe to his music than his predecessors, there was a case to be had for perhaps swapping the set times of Dumont and Hahn to add a more natural progression to the night.
Regardless, the ambience and sound waves mechanically hit full throttle when the awesome Annie Mac arrived on decks, pumping out a variety of deep, deep house tunes and letting loose a higher quantity of bass than a stick of dynamite in the North Pacific Ocean. A massive success from the constantly impressive Mac all-in-all, and one filled with more than enough talent and diversity to make the five hour duration of the event fly by quick as you like.
From the early days of Bring Me The Horizon to their present day widespread success, this Sheffield five-piece have always been one to polarise popular opinion.
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