New music
Tim Cumming
No songwriter casts a deeper shadow than Bob Dylan does, and since the first three volumes of the Bootleg Series came in 1991, his shadow career – now reaching Volume Ten with Another Self Portrait – continues to prove as compelling as the official releases. While the latter are set in stone, the Bootleg Series is more like a basement excavation, digging into the softer darker clays of epochal concerts, wildly alternate versions, and almost willfully lost treasures.With Another Self Portrait, Dylan’s archivists have remoulded clay, looking for a hidden masterpiece. Folks, it’s just not there Read more ...
Lisa-Marie Ferla
I have little patience with those that link mental anguish with creativity, glamorising the former as if the latter were any consolation. That said, there is comfort to be drawn from songs that spin the blankness of depression into something desolate and beautiful. It’s why I’ve had “Night Still Comes”, the second track from Neko Case’s new album, on repeat for the past week: it slips in, hopeless and otherworldly after a typically strident album opener, and runs on unchecked like the internal monologue of the depressive. “Is it because I’m a girl?” Case muses, rhetorically. “If I puked up Read more ...
Kieron Tyler
Sly & the Family Stone: Higher!Sly & the Family Stone’s hits “Dance to the Music”, “I Want to Take You Higher” and “Stand!” delivered a sharp wake-up call to the American charts in a period when psychedelia meant new styles of pop were becoming less concise and the mellow vibes of Laurel Canyon were about to begin reducing energy levels. Sly Stone’s gang showed that music could go to fresh places without losing vitality and precision. The case doesn’t need to be made that Sly Stone – born Sylvester Stewart in 1943 – is one of America’s greats, but Higher! makes it anyway with Read more ...
Serena Kutchinsky
Dalston was the place on Friday night, as the Sun Ra Arkestra put on a trademark display of Afro-jazz excellence in the intimate surrounds of Café Oto. Jazz pioneer Sun Ra might have been dead since 1993, but his influential big band is very much alive and capable of puffing their way through marathon sets.Formed in the mid-1950s by Sun Ra, aka visionary pianist and composer Herman Poole, the Arkestra is currently led by the famed saxophonist Marshall Allen, 89. Frail-looking but authoritative, Allen worked with Sun Ra from 1958 until the latter's death and is often referred to as “the second Read more ...
joe.muggs
This is an incredibly hard album to work out. One major clue comes, though, with its second track, “Maxim's 1”, the backing for which is a dead ringer for a lost track from Cocteau Twins's 1990 Heaven or Las Vegas album. Not that any of the rest of the album sounds like Cocteau Twins, but it does hit a very similar magic formula. That is, though it ostensibly comes from an “indie” milieu, it has vast sonic ambition closer to the biggest pop/soul/R&B records of its time than to any guitar-wrangling mitherers, but it is also psychedelically alien to the point of indecipherability.Los Read more ...
Peter Culshaw
This was a somewhat nostalgic look at the rise of “World Music” as a genre, starting in the Eighties when the term was first used, essentially as a marketing tool. As the ever ebullient Andy Kershaw put it, the problem was where in record stores “you could put a choir of Bulgarian tractor drivers next to some hot shot guitar slinger from Guinea-Bissau". And as another talking head - and there lots of mainly good ones - pointed out, there was an urge for something a bit more real, more connected, more spiritual even, than either the gloss of Eighties mainstream pop or earnest indie-rock was Read more ...
Serena Kutchinsky
When the best thing you can say about a band’s comeback album is that it sounds vaguely like their era-defining punk funk debut, you can either wonder why they bothered or admire their dogged devotion to a single sound. The music world has moved on from the dance rock sound popularised by the Glasgow foursome’s foot-stomping first single "Take Me Out" (a title now more synonymous with TV dating hell), but Franz Ferdinand have not moved with it. A decade of success has seen flashes of experimentation but after a failed attempt at producing a more dancefloor-friendly album (2009’s Read more ...
Peter Culshaw
Why are the Malians always punching way above their weight in music? There may be some historical reasons. The French always were more welcoming to the culture of their empire than the Brits (and more used to foreign-language music), while Paris became a great centre of West African music, from where it was disseminated over Europe. It’s also true that some of the most influential gatekeepers here – such as Lucy Duran (who presented this concert and has been to Mali about 50 times) are ardent Mali-philes. But it’s probably as much to do with the richness of the music which seems so deeply Read more ...
Lisa-Marie Ferla
There have been those who have uncharitably suggested that Crystal World is in fact a sixth Ladytron album rather than the solo debut of the band’s frontwoman, Helen Marnie. It’s an easy, if lazy, conclusion to jump to when said album flirts with many of the same electro-dreampop calling cards and features a bandmate on production credits, but take a trip into Marnie’s world and there is plenty to set it apart.Curiously it’s on the vocals that the differences become most obvious. This is still the same Marnie of the sometimes sultry, sometimes glacial persona she adopts on the best known of Read more ...
Kieron Tyler
Imagine an aural swoon of a song like a mermaid’s sigh preceding one which introduces Saint-Saëns’s The Carnival of the Animals to free-jazz skronk. After that, Laurie Anderson pops along to take on the soft soul of the early Seventies Isley Brothers. An evening with Julia Holter encompasses all of that, yet knits it all together gracefully to make a whole like nothing else. Despite the fleetingly familiar elements, it couldn’t really sound ordinary: her chosen live set up supplements her own keyboard with drums, a violinist, cellist and saxophonist. Hardly a regular band.Holter can’t be Read more ...
Thomas H. Green
There is no guarantee of success in any area of rock and pop but those who wish to succeed through sheer graft might look to metal as their main chance. While multiple bands in other genres have fleeting, unpredictable moments in the sun, a decent metal act ticking the right boxes with the fans and initially willing to slog the circuit for 350 nights of every year, especially in the endless wilds of Middle America, can build and build and build. Look at Iron Maiden, possibly the biggest band of their vintage in the world. They do what they do with thundering, enjoyable efficiency, are beloved Read more ...
graeme.thomson
Next Monday Bob Dylan releases Another Self Portrait (1969-1971), the tenth volume of his Bootleg Series which casts new light on one of his most maligned records, 1970's Self Portrait. Two days beforehand a selection of his pastel portraits will go on display at the National Portrait Gallery. (Both events, naturally, will be reviewed on theartsdesk.) At 72, popular music's most mercurial character is still throwing curveballs. For half a century now successive generations have wrestled with Dylan's mutations; mostly we pick and choose and settle for – at best – a partial understanding. His Read more ...