Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
Live review: Delphic/Egyptian Hip Hop
Cargo, London, Monday, February 22
Now Delphic, they know about presenting full packages. Tonight, retro-modernist aesthetic merges with techtronic power punch as explosively as The Gatekeeper shagging The Keymaster (Ghostbusters reference, ask your dad – ’80s Film Ed). Swathed in blue lights – it is, after all, Monday – they take to a stage slanted with the neon undercar tubes nicked off a Gary Numan tourbus from 1982 and unleash Godzillectro, a rampaging beat beast chewing up massive chunks of granite rock guitar. This is ‘Clarion Call’ and it gives way to the computerised vowel-stutter of ‘Doubt’, the poppiest homage to their Mancunian dance heritage on debut album ‘Acolyte’, a title that all but accedes to their cultural debt to New Order and Underworld.
Teeth have been gnashed over Delphic’s ability to meld the pop edge of the former with the hardcore techno thump of the latter, but tonight they mingle seamlessly. ‘Doubt’ drifts away into a sinister trance anthem before unravelling the sort of melodic electro coda guaranteed to get Bernard Sumner’s moobs jiggling. ‘This Momentary' descends deep into the hard house jungle for several minutes, then just when you think you’re lost in this impenetrable undergrowth of beaty noise,
a clearing appears ahead where the ecstatic clatterpop of ‘Counterpoint’ is raving with the devil in the pale moonlight.
By the time the pounding aciiiid pump of encore ‘Acolyte’ transcends all ‘Technique’ comparisons – and the ’80s revival in general – there’s no talk of dance/rock crossovers here. Just a bunch of blissed’n’blitzed retro-ravers reaching for their imaginary whistles.
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing
With their bigger and better second album, London-based indie/dance band Boxed In have earned their breakout moment
Islamic mythology meets the horror of war in this claustrophobic, low-budget spine-tingler