With mixes that overflow with colourful melodies, musical landscapes that usher in dreamlike mind-states, and productions that mirror those aesthetics, over the last three years, Yu Su has been creating her own world. The Kaifeng-born, Vancouver-based artist’s work has captured the attention of labels such as New York’s Arcane, re-issue imprint Peoples Potential Unlimited, Music From Memory sub-label Second Circle, and most recently, Ninja Tune’s Technicolour. The expansive knowledge of music that’s evident in her work stems back to her childhood.
IT’S often said that behind every hit, there’s a lawsuit. Black Box’s ‘Ride On Time’ is no exception. Loleatta Holoway slammed it for ripping off her vocal and was understandably outraged when her voice was then mimed on the video by Katrin Quinol: a non-singing French model.
A large commercial venue, it restricted what he played most nights, apart from at a weekly student club event. “On Thursdays I could play my own thing. The students would go mad, because it was they only place they could hear what they wanted.” Gradually his sound began to take over. “By 1988 every night became 80 percent house. It was more than a new sound, it was a culture. People were carrying whistles or whatever they could to make some noise on the dance oor.” Daniele began honing his sets to work the new scene.
Thank god for Shazam, eh? Gone are the days of hearing a killer tune and painstakingly searching for it. Singing a hook to a bemused-looking bloke in a flat-cap in your local record store, or rudely interrupting a DJ during a crucial moment and causing him to clang a mix.
And this year more than ever, clubbers all over were spotted on dancefloors eagerly holding their phones up — like professional ramblers checking the direction of the wind — to find out what tune was playing at that particular moment.