There is a wonderful cross pollination of sounds and ideas running through the heart of Rude Audio’s latest release. It is music made using the latest studio technology yet it beats with an ancient heart, it’s from a London based band but their brand of Balearic chill is infused with North African and India sonic thumbprints. They make spacious and ambient music yet it still has a wonderfully confident beat, depending on your state of mind you can groove away to its exotic charms or just let it gently wash over you.
Unlike the often brash, linear and direct music that comes out of such a scene, Rude Redux seems to ooze from the speakers, a dub platform is used as a base for all sorts of world sounds and cross-cultural blending and this solid foundation allows them to be spacious when they want to be or use it to really ramp up the woozy, hazy intensity.
As a band they seem to have all the right underground and off the radar credentials, operating away from the limelight and in doing so building up a reputation for being the alternative choice for the underground party scene. And you can hear why. For every strand of familiarity there are two strands of “what just happened,” where did that sound come from” and “I wouldn’t have thought of doing that.” If you remember the early releases from the Future Sound of London and the original Balearic dance scene then Rude Redux is going to really make your day. Cinematic, cross-cultural and totally accessible. Cool!
When you read that a song has been inspired by the beauty of meditation it is quite natural to have formed some preconceptions as to what sort of music is likely to follow. Something dreamlike, transient, gentle and built along simple lines perhaps? And whilst Candle in the Sea is indeed all of those things, it is as far removed from the wispy, twee, new age expectations that have already formed unbidden in your mind.
Whilst many rappers and hip-hop artists seem content to sing about personal gain, the glitz, the glamour, the game, of getting the trappings that seem to go hand in hand with the genre, 
Today, Brighton math-rock band 
Here’s a question for you. If a truck carrying a back catalogue of 50’s rock’n’roll and blues records heading west at 60 miles per hour collided with a truck carrying 60’s garage rock and later punk records heading east travelling at 45 miles per hour, what noise would be forthcoming at the point of impact? Okay, rhetorical question. Silly question. Here’s another one. How can a band repackaging the most familiar rock ’n’roll vibes sound like the freshest sonic dish of the day? Only the gods of music know, well, them and 
After a few months of anticipation, London post-rockers 
I love music that refuses to sit in neat generic demarcations. I love music that is happy to exist in a multi-cultural sonic world. I love music that looks to the future rather than back at past glories. To find that all in one place is a rare and wonderfully satisfying thing but that is exactly what I found when giving Songs With Venissa a spin. I might not know exactly what Afro-Futurism, the description that producer 
There has been a real revival of the glossier end of the post-punk sound of late, I guess a lot of it has to do just with the passing of time. Eighties revivalism has seen slick keyboard sounds and big production move from the old hat category into the vintage section and is thus now cool and referential rather than merely nostalgic and dated. I’m sure films such as Ready Player One has helped things along in no small part.
