New music
Sebastian Scotney
“How did all these people get in my room?” the greatest crooner of them all once quipped, as he threaded his way through the Count Basie Orchestra and out onto the stage at The Sands in Las Vegas. But whereas Sinatra in 1966 had to convince an audience of just 600 people that they were seeing an intimate show, Michael Bublé sets himself the task of doing the same for 20,000. The Canadian singer’s ambition on Thursday night, he said, was to turn “this cavernous space the O2” for the first of his three sold-out nights there, into a cosy club. And the most remarkable and surprising thing Read more ...
Lisa-Marie Ferla
“I appreciate the irony of me singing this in my mum jeans,” says Emmy The Great, whose five-month-old is travelling with her on this tour, before playing “We Almost Had a Baby”. Despite its jaunty little riff the song, from her 10-year-old debut album, is a desperately sad one, about a pregnancy scare.Emma-Lee Moss was in her early 20s when she wrote the songs that would become First Love and the record is a time capsule packed with broken hearts, dramatic short stories, pop culture references and the intense, deep love for this person, and that song, that feels all-consuming in one’s youth Read more ...
Tim Cumming
June 2017 witnessed a musical miracle, of sorts – the resurrection to recording and brilliant songwriting of Peter Perrett, The Only Ones’ singer, songwriter, and architect of his own ghoulish entombment in a Gothic south east London pile, fielding serious addictions for decades and emerging only briefly in 1996 for his excellent Woke Up Sticky album, and the publication of Nina Antonia’s biography One & Only, for whose launch he performed in the basement of Helter Skelter on Denmark Street with Only Ones guitarist John Perry. His sons also played, as a duo called The Kuntz, “because that Read more ...
Sebastian Scotney
“Alexa, play Mélanie De Biasio”... and you know exactly where you’re headed. The Charleroi-born singer has created a sound-world, a place which is instantly recognisable. Everything is slow-moving and half-stated, hinted at rather than fully expressed; hypnotic grooves from the trio who are often required to thud, to trudge heavily, to move effortfully, reinforcing the contrast with her light but well-placed voice or her clear-toned flute; the occasional unvoiced breath, maybe repeated as a rhythmic device.She has talked in recent interviews of how devoted she is touring, and to keeping Read more ...
Barney Harsent
Over the past two decades, Brighton’s Fujiya & Miyagi have managed, without fanfare or fuss, to amass an enviable back catalogue of linear, krautrock driven grooves dresses in slinky, drop-shouldered pop melodies. It’s a formula that has served them well and has proved elastic enough for them to grow without it ever seeming to give at the seams. This is, in part, due to an admirable sense of simplicity that reached a peak on 2017’s self-titled near-masterpiece (in fact a compilation of three EPs). On Flashback, however, there is a distinctly different cut to their cloth. Certain Read more ...
Nick Hasted
Neneh Cherry’s matchless bohemian life has perversely secured her pop position. The crowd tonight is maybe three-quarters female, and as unconcerned by a setlist almost wholly drawn from new album Broken Politics as Cherry is by the long lacuna in what you could hardly call a career.From a Swedish commune childhood to an adolescence collaborating with the Slits, from helping start the Nineties with 1989’s Raw Like Sushi to lending Massive Attack a room to make Blue Lines, from taking time to bring children into the world, ease parents out of it and grow a 29-year marriage to co-writer Cameron Read more ...
Guy Oddy
It’s been a couple of years since Peter Perrett, the former frontman and creative force behind the much loved but commercially under-performing Only Ones decided that he’d had enough of being a mere legend and got back into the musical ring. He had made a brief reappearance in the mid-1990s under the guise of The One, but that was all very fleeting, and Perrett’s infamous bad habits soon reasserted themselves until a short Only Ones’ reformation tour 10 years ago. Again, that was followed by a period of silence. Now, however, Perrett has put together Humanworld, a second solo album in as many Read more ...
Lisa-Marie Ferla
Nothing brings home the difference between sequencing an album and sequencing a live show like going to see a classic album played in its entirety. And Manic Street Preachers’ This Is My Truth Tell Me Yours – described by frontman James Dean Bradfield in Edinburgh as “a curious mixture of dancing and thinking” – is a stranger choice than most for the live treatment. The five-million-plus selling, multi-award winning album, the 20th anniversary of which the band are currently celebrating, is objectively their biggest release. Look beyond the singles, though, and its songs are arguably Read more ...
Sebastian Scotney
The sheer scale of the Mariah Carey phenomenon is truly astounding. Since the release of her first album in 1990, she has now clocked up worldwide album sales of over 200 million, and had 18 US Number One singles. Also – and far less frequently mentioned – she is actually third in the list of songwriters with the most chart-topping singles, and sixth in the list of producers. In other words, she is right up there contending with Lennon and McCartney in the first case, and she’s not that far behind George Martin in the second.In this live show, the first of three nights of the “Caution” Read more ...
Chris Harvey
Back in 2001, after the release of their debut album This Is It, The Strokes weren’t just the most fashionable band in the world, they were also regarded as the group that could “save rock”. That was asking quite a lot.This Is It was 36 minutes of near-perfect guitar pop, delivered with New York cool, insouciance and sex appeal, but it was also as retro as their East Village thrift-store threads. It seemed to contain echoes of every guitar riff you’d ever loved. Didn’t "Alone, Together" sound like the Undertones? "Last Nite" like Tom Petty? "Someday" like the Buzzcocks?It didn’t matter. These Read more ...
Guy Oddy
Richard Hawley’s eighth solo album, Further is, like so many of his previous discs, a masterclass in good taste and relaxed easy listening vibes – but it’s one which manages to steer well clear of the middle of the road. In fact, there’s much here that is reminiscent of that other cool Northerner in a suit, Barry Adamson, who spent a fair few albums wrestling the Easy Listening genre from the '70s cardigan-wearing hell of Val Doonican and his pals. For much of Further, Hawley is on a similar track with a groove that suggests Roy Orbison fronting Phil Spector’s famous Wall of Sound.Further Read more ...
Kieron Tyler
Debates about whether 1964’s Marnie presaged Alfred Hitchcock’s downslide as a force will run and run. It is however certain that it was the director’s last film scored by Bernard Herrmann, who had worked on 1963’s The Birds, 1960’s Psycho, 1959’s North by Northwest and, before that, a run of Hitchcock’s films back to 1955. After Marnie, the affiliation continued – for a while. Herrmann’s music was heard in the TV show the Alfred Hitchcock Hour and he provided a score for Torn Curtain which the director neither liked or used. The professional relationship was over.Although the music for Read more ...