The post-punk dance pioneers continue to reinvent themselves
This article is from 2015.
When Edinburgh's electronic dance pioneers FiniTribe returned to active duty in 2014 with a set of remixes of their 1980s acid anthem, ‘DeTestimony’, it marked the low-key resurgence of one of the most eclectic operations to ever emerge from a club culture. FiniTribe emerged from Edinburgh's post-punk scene in 1984 to release material through Wax Trax, One Little Indian and FFFR, also subverting the nursery rhyme ‘Old MacDonald’ to wind up the ubiquitous hamburger joint en route.
Irvine Welsh declared himself a fan: ‘more than any other act, FiniTribe defined my love of dance music and provided the soundtrack to my social life. These weren't the songs I grew up to, they were far more important than that; they were the songs that I refused to grow up to.’ Since their 1998 album, the more downbeat Sleazy Listening, former member Philip Pinsky has become a successful composer for theatre, and the current line-up of fellow originals Davie Miller and John Vick is now formally known as FiniTribe With A Finiflex Production in a nod to their old studio base.
Upon their return, the new incarnation of FiniTribe have played with fellow clubland auteurs 808 State, and are slowly but surely becoming key players in an underground scene personified both by Glasgow's Poetry Club, where they play next week, and by Edinburgh's mixed-media night, Neu! Reekie! At the latter they share a bill with Young Fathers and Andrew Weatherall. Like Weatherall, Miller and Vick are constantly reinventing themselves to remain a vital pan-generational force of experimental beats produced to seduce to.
Poetry Club, Glasgow, Fri 5 Jun; Central Hall, Edinburgh, Tue 9 Jun.