New music
Barney Harsent
Dance music has, for millions of people, become synonymous with the very worst that the human race has to offer. Preening, vain, beach-body bumholes dancing like everyone’s watching, while keeping half an eye on their camera, making sure than the framing is right, no matter that they’ve got everything else wrong.Yep, wrong. Because dance music – at its core and at its best – is about losing oneself, about transcendence. Always has been. From Bach to basement clubs, there’s power in the pulse. It's the trigger to a communion that goes way beyond hearing and can transport and transform the Read more ...
Kieron Tyler
July last year saw the publication of Sick on You: The Disastrous Story of Britain’s Great Lost Punk Band, Andrew Matheson’s chronicle of his band The Hollywood Brats. The essential book was impossible to put down. It took in picaresque encounters with Sixties pop star and songwriter-turned impresario Chris Andrews, Andrew Loog Oldham, Keith Moon, Cliff Richard, a pre-Sex Pistols Malcolm McLaren and more.At the book's core was a band convinced of its greatness, yet painted so excessive and ham-fisted that they were bound to fail. The Hollywood Brats formed as The Queen in 1971 and fell apart Read more ...
Matthew Wright
Few new releases come with quite such a specific technical claim as this double release from British saxophonist John Martin. His album title refers to his incorporation of multiphonics, an established technique in free improvisation, within his 11 new tonal compositions, which are in other respects from a recognisable idiom of contemporary jazz, often flavoured with a country and Latin tinge.Martin’s originality is explorative rather than explosive, and this double release, with the quintet he created for the London Jazz Festival of 2014, reveals a technique of infinite subtlety and a Read more ...
Thomas H. Green
Music is so often about context, some music more than others. Such is the case with the latest album – the third – from Canadian electronic bolshies MSTRKRFT. It’s wilfully obnoxious, caustic stuff, a battering techno-based assault that cares not a jot for the classy deep house smoothness Disclosure et al have brought to dance music, nor, for that matter, the energized Ritalin frolicking of EDM. It’s closer in tone to The Prodigy’s battering last album, although on OPERATOR MSTRKRFT care even less about pop, polish and funk. So, in terms of context, at 3am, out-of-your-skull at a festival, it Read more ...
Guy Oddy
Anyone looking for some psychedelic pop to at least give the illusion that we might now actually be in the middle of summer could do much worse than try out the debut album by Anglo-French duo Bosco Rogers. Their 21st century twist on the Monkees’ good grooves is just what the doctor ordered, and Barth Corbelet and Del Vargas’s sun-drenched harmonies and catchy, fuzzy guitars are guaranteed to generate big smiles and some serious rump-shaking from even the most unconfident of dancers.Post Exotic comes straight out of the traps with a bucket load of swagger and the knowing smirk of “Anvers”. “ Read more ...
Kieron Tyler
Thirty-three minutes is not long for an album. What actually counts is not length but what is said and its impact. Norway’s Hedvig Mollestad Trio know what they are doing and over Black Stabat Mater’s 33 minutes they do it with such clarity, force and panache there is no need to say any more. This is exactly what an album should be: a coherent statement.The title is a feint. Hedvig Mollestad Trio’s fourth album does not sound like Black Sabbath. There are guitar riffs: heavy, pounding, pulsing riffs. They employ a one-string style similar to the soloing of Sabbath’s Tony Iommi. But Mollestad’ Read more ...
Sebastian Scotney
Sixty-five thousand people came to Wonder. The final night of British Summer Time in Hyde Park was a sell-out. With a performance lasting four hours including an intermission, the Detroit-born legend and his band – and also the weather, which stayed fine all evening - can have left nobody disappointed. The show, based on the album Songs in the Key of Life, with some extra off-piste excursions, was thoroughly convincing live. It just works very well, and on several levels. First there's the sheer quality and compositional versatility of the original album. The appeal of just about all of Read more ...
peter.quinn
Ludic, ironic, kaleidoscopic, highly stylised, this follow-up to the Elliot Galvin Trio’s acclaimed 2014 debut, Dreamland, packs an exhilarating feast for the ears into its shortish 38-minute time frame. Like that greatest of musical magpies, Igor Stravinsky, who was able to creatively distort any style that appealed to him, from medieval music to the music of the Second Viennese School, Galvin similarly dips in at will to the endless resources of jazz, classical and pop music history to create a sound-world entirely his own. Punch, the trio’s debut for Edition Records, sees the pianist Read more ...
Markie Robson-Scott
At Mumford & Sons’ air-punchingly rousing concert at the Hyde Park festival, thoughts of Brexit start to intrude. Those “Little Lion Man” lyrics, for example – so apposite, surely. “Weep for yourself, my man/You'll never be what is in your heart/Weep, little lion man/You're not as brave as you were at the start… I really fucked it up this time.” And those giant inflatable bananas that people are waving – is that a subtle reference to EU fruit quality standardisation?Possibly not everyone in the 60,000-strong, predominantly white, mid-20s crowd is equally preoccupied (but why not? Read more ...
Kieron Tyler
If Kris Kristofferson had just been the writer of “Help Me Make It Through the Night”, “Me and Bobby McGee” and “Sunday Mornin’ Comin’ Down”, his legacy would have been assured. Each song is a classic, and each is wonderful. Elvis Presley and Gladys Knight & the Pips ensured that “Help Me Make It Through the Night” would live forever. Kristofferson’s ex-girlfriend Janis Joplin did the same with “Me and Bobby McGee” – the writer did not initially know she had recorded it. In 1969, Ray Stevens was first to tackle “Sunday Mornin’ Comin’ Down”. Johnny Cash was next. All three songs featured Read more ...
Katie Colombus
For Aerosmith frontman Steven Tyler, country music is the new rock n’roll. And it seems an easy transition from one kind of heavy beat to another, with simple melodies, alongside rich textures and honeyed harmonies in this new vista.Tyler brings his own unique flava into the Nashville-infused mix, with album opener “My Own Worst Enemy” introducing us to a deliberate accordion backdrop but with some decent riffing and a screeching hot guitar solo at the end of the song. "We're All Somebody From Somewhere" is set to be a summer hit. It’s a great time to be preaching unity for “Some Read more ...
Thomas H. Green
Cliff Martinez isn’t your average Hollywood film composer. He didn’t come up via an orchestral academy or even move sideways from the electronica/classical crossover milieu. Neither John Williams nor Jóhann Jóhannsson are his template. Instead, he took a sharp left out of the LA punk scene, drumming in bands ranging from Lydia Lunch’s no wave noisiness to the nascent, raucous Red Hot Chili Peppers. He even played on Captain Beefheart’s final freak-out, 1982’s Ice Cream For Crow. However, since the Eighties, and especially working with the director Steven Soderbergh, he’s carved himself a Read more ...