New music
Russ Coffey
When theartsdesk last saw folkie Swedish sister act First Aid Kit, they were both still teenagers. It was a dank February night and they beguiled a tough Edinburgh club with voices that sounded like they belonged somewhere in A Midsummer Night’s Dream. But that was almost two years ago, a long time in the life of one teenage girl, let alone two. That evening, our reviewer wrote, “Hope filled the air, like the scent of freshly cut grass.” Last night, as I stood backstage waiting for a pre-show chat with the girls, I worried that after months on the road some of that artless charm may have Read more ...
Russ Coffey
At last, seasonal talent-show spin-offs are showing signs of real talent. Hot on the heels of the appealing, if insubstantial, Olly Murs album, comes Rebecca Ferguson’s debut. And, if Murs’ release wasn’t too bad, people are saying that Ferguson’s is such a leap forward it’s bad form to mention her in the same breath as the other alumni. Part of the fuss is, no doubt, down to the fact that, finally, The X Factor seems to have uncovered someone with authentic, visceral ability. But the reaction is not just about confounded expectations. Ferguson seems genuinely capable of giving Adele Read more ...
joe.muggs
I almost feel duty bound to make a declaration of interest here. I have done several pieces of paid writing for the Red Bull Music Academy, including a piece of course material for this year's Academy, and a few days ago I went to Madrid to see the Academy for the first time on their tab. But here's the thing: music writers rarely, if ever, feel the need to say that they have written sleeve notes or other material for a major record label when writing about an artist on that label, let alone that the label is paying their expenses for a story (which they generally do, as magazine and Read more ...
Kieron Tyler
Without Hubert Sumlin there would have been no Yardbirds, Captain Beefheart, Led Zeppelin, T-Rex or White Stripes. He was also an essential ingredient for The Rolling Stones. As Howlin’ Wolf’s guitarist, his straightforward power was the perfect foil to Wolf’s guttural vocal roar. The combination of Sumlin’s razor-wire distortion and bouncy riffing was irresistible and prefigured – influenced – the hard rock which evolved in the late Sixties. It also gave Marc Bolan his electric guitar style when Tyrannosaurus Rex became T-Rex.The songs Sumlin played on became classics and were influential. Read more ...
david.cheal
About a year ago, when I saw Gorillaz’ sensational show at the O2 Arena in London, one of the highlights of the evening was “To Binge”, the duet between Damon Albarn and Yukimi Nagano, the Swedish-Japanese singer with the Swedish band Little Dragon. It was a fabulous moment - a song drenched in emotion, Albarn on his knees, Nagano’s voice swooping and soaring.Strange to say, then, that the one element that was missing from Little Dragon’s sold-out show at the Shepherds Bush Empire last night was emotion. Granted, their music is essentially about upbeat electro-powered rhythms, so I wasn’t Read more ...
Thomas H. Green
A decade and a half ago I was junglist correspondent for Eternity magazine, a long since defunct organ that catered to the then thriving print press for rave devotees. This was how I ran into Aquasky, a trio of studenty, long-haired guys from Bournemouth making chill-out drum and bass. A lot has happened to them since then. Most notably - apart from being much less hirsute - they long ago dumped the marijuana’n’jazz approach and make, under the radar, contagiously ballsy rave music that takes no prisoners but also welcomes anyone with a party bone in their body to their party.Their new album Read more ...
mark.kidel
In the age of Skype and no-frills budget travel, frontiers barely exist – at least if you’re not an immigrant or refugee. World music is as much about boundary-breaking and fusion these days as it is about discovering the unsullied treasures of what UNESCO calls the "intangible heritage". Contemporary global sounds can feel like an opportunistic marriage between musicians who have little in common, or else a more appropriate union with some basis in cultural kinship or history.You’d expect the Shankar lineage to show respect for the essences of different traditions and Anoushka Shankar, whose Read more ...
Thomas H. Green
In the mid-Nineties, America had a bit of a moment with electronic dance music. The most emblematic sign of this was The Prodigy’s Fat of the Land topping the Billboard charts in 1997. The truth was, however, that despite inventing house music and techno, en masse nationally they didn’t really get rave culture. The US liked their electronic dance stylistically performed as close to a KISS concert as possible. They liked it, in other words, to be rock’n’roll.Now it’s happening again, but on a broader scale. On the one hand American R&B superstars have absorbed Euro-pop and dubstep, on the Read more ...
matilda.battersby
Kate Rusby’s Christmas show was a brilliant way to get that festive feeling. Standing on a stage lit by three huge glittering stars and a collection of colourful glowing baubles, she and her band (“the boys”) worked their way through a surprising and heartwarming selection of traditional carols, set to unusual tunes and with creative flare.The Barnsley Nightingale’s version of “While Shepherd’s Watch their Flock by Night” was set to the tune of “On Ilkley Moor Bar T'at”. It was extraordinary. She sang “And this shall be the sign” instead of the bar t’at bit. At every introduction of a new Read more ...
david.cheal
Let’s hope that the first posthumously released Amy Winehouse album is also the last; not because it’s in any way bad – actually it’s a pretty decent collection of songs from throughout her career – but because “pretty decent” is about as good as it gets. After this, if there’s anything left, it will surely only be the sound of a barrel being scraped.Assembled by Winehouse producers Salaam Remi and Mark Ronson, it’s a patchwork of alternative versions, some newer stuff, some bits and bobs, plus her famous duet from earlier this year with Tony Bennett. What shines through immediately – and Read more ...
howard.male
Some critics have lazily compared Baloji to Somali rapper K’nann: both are African rappers who had lucky childhood escapes from countries about to descend into war and chaos, but beyond that they seem to have quite different approaches to what they do. K’naan is as much a pop musician and poet as he is a hip-hop artist, firmly concentrating on melody, song structure and hooks. Whereas Baloji, at least on the evidence of this album, seems to want to engage more with roots music while finding ways for his rhymes to fit in with already established musical idioms.So Kinshasa bands Zaiko Langa- Read more ...
marcus.odair
A Hawk and a Hacksaw began a decade or so ago as a solo project, when Jeremy Barnes stopped drumming with indie-folk cult heroes Neutral Milk Hotel. It was with the 2004 addition of violinist Heather Trost, however, that the sound was found: a peculiar, and occasionally mariachi-tinged, take on East European folk.The pair have subsequently toured with Portishead and Calexico, and worked with Beirut’s Zach Condon on his bestselling 2006 album Gulag Orkestar. This, however, must be their most imaginative project yet: a live soundtrack to a 1964 film by the Armenian director Sergei Paradjanov. Read more ...