Sneaky Pete's Edinburgh
Sunday October 9th
4 stars
Lewis Roberts may only be just about old enough to attend a club, but
judging by this appearance he certainly understands what's required to
keep the customers satisfied. Still in his teens, this Glasgow-based
Welshman has patented a form of lazy, low-slung electronica on his
somewhat obliquely titled twelve inch single, 4D/MTI, awash with
stop-start twitchy-fingered glitches and sampled divas that sounds
designed for the play-room . Live, Roberts somewhat wisely cranks
things up a bit, lest anyone think they're at a groovily soundtracked
dinner party where people think its okay to talk over the music. Some
still do anyway, but they're twats.
The novelty here is having Roberts perform behind his laptop on a stage
mounted in the centre of the dancefloor, thus creating an in-the-round
experience hitherto unexplored in Sneaky Petes' bijou interior. As
Roberts mixes and matches an array of beats and twinkles flanked by
dancers on all four sides during a forty-minute set, a very up close
and personal wig-out ensues, especially when a few show-offs take to
the venue's regular stage. The Koreless sound is a quietly commercial
one, and Roberts could easily translate his appositely bright-eyed
brand of dubstep to a full-on band situation. It worked for Moby.
The List, October 2011
ends
Sunday October 9th
4 stars
Lewis Roberts may only be just about old enough to attend a club, but
judging by this appearance he certainly understands what's required to
keep the customers satisfied. Still in his teens, this Glasgow-based
Welshman has patented a form of lazy, low-slung electronica on his
somewhat obliquely titled twelve inch single, 4D/MTI, awash with
stop-start twitchy-fingered glitches and sampled divas that sounds
designed for the play-room . Live, Roberts somewhat wisely cranks
things up a bit, lest anyone think they're at a groovily soundtracked
dinner party where people think its okay to talk over the music. Some
still do anyway, but they're twats.
The novelty here is having Roberts perform behind his laptop on a stage
mounted in the centre of the dancefloor, thus creating an in-the-round
experience hitherto unexplored in Sneaky Petes' bijou interior. As
Roberts mixes and matches an array of beats and twinkles flanked by
dancers on all four sides during a forty-minute set, a very up close
and personal wig-out ensues, especially when a few show-offs take to
the venue's regular stage. The Koreless sound is a quietly commercial
one, and Roberts could easily translate his appositely bright-eyed
brand of dubstep to a full-on band situation. It worked for Moby.
The List, October 2011
ends
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