New music
Thomas H. Green
“Julio Bashmore” is actually the nom-de-dancefloor of Bristolian DJ-producer Matt Walker who’s been slowly building a rep over the last five years. Outside clubland, music-lovers may have heard of him via his production on Jessie Ware’s early singles. In the nightworld, he’s better known as the purveyor of classy, propulsive house sprinkled with a smidgeon of grit. His debut album combines both these aptitudes to increasingly enjoyable effect as it progresses.It opens with the title track, which samples early Eighties easy listening R&B-disco queens The Jones Girls and, for a few songs, Read more ...
Matthew Wright
After years of pussyfooting around pop, hoping the Pet Shop Boys will write something in a passable classical idiom, the Proms has embraced the most euphoric popular genre of all - dance - to its bosom. Pete Tong, long-standing Radio 1 presenter and DJ, is probably the high priest of this music, and under his guidance last night, Radio 1 and the Heritage Orchestra, conducted by Jules Buckley, brought a near-capacity Proms crowd to a booming climax in way that's quite possibly never happened before.It never seemed likely the sedately seated rows would stay put once the dance beats were Read more ...
Matthew Wright
With the sad news of John Taylor’s sudden death at the age of 72 following a heart attack during a performance at the Saveurs Festival (France) earlier this month, this delightful and intimate but low-key release acquires unexpected lapidary weight. Taylor, an undisputed and much admired, though self-taught, master of contemporary jazz piano, made his name in London in the late 1960s collaborating with both mainstream (John Dankworth and Cleo Laine) and avant-garde (Kenny Wheeler and Norma Winstone, with whom he formed the influential Azimuth trio). He saw his fortunes follow that of the Read more ...
Peter Culshaw
Now was the summer of our disco tent. The disco tent in question backstage was not jumping as much as in previous years – somehow strutting your Travolta moves in wellies doesn’t quite cut it. A glam tribute band at Molly’s Bar on Thursday night, knocking out Bolan and Bowie numbers dressed in cheap sci-fi tat were hugely entertaining though.Friday was a washout, with nonstop rain, but there were gems – like Tinariwen (pictured, below) whose music is more roll than rock, something to do with how the camels move in the Sahara. Though their main man Ibrahim seems to have been replaced by Read more ...
Mark Kidel
Trudging through the mud at last weekend’s WOMAD provided fleeting moments of random entertainment, as if surfing old-style across the bandwidths of a short-wave radio, you’d stumble unexpectedly on snatches of exotic sounds from around the globe: an eerie double-bass Mongolian throat-song one minute, and a horror-dark wisp of electronically enhanced tango the next. The food was taste-bogglingly varied too, from Algerian-flavoured steak wraps to a mysterious array of Tibetan treats. WOMAD’s programmers know their stuff. There was a profusion of excellent music drawn from all corners of Read more ...
Guy Oddy
There is something strange happening in mainland Europe at the moment. Perhaps this has been spurred on by a feeling that the old certainties of the past aren’t quite so solid, but a mind-expanding psychedelia with an eye for the dance-floor and free of navel-gazing pastoral whimsy has been springing up in all kinds of unexpected places. Bands like Goat and Sonic Jesus (from Sweden and Italy respectively) have begun to make themselves heard by peddling sonic rituals that take their cues from a far bigger world than late ‘60s California, and it is out of this miasma that Portuguese threesome Read more ...
Matthew Wright
With its time and observatory, Greenwich is a fitting venue for record-breakers, and Sir Tom Jones, who sang at the Greenwich Music Time Festival last night, has some impressive vital statistics. The still-slim, still-dynamic figure in a black suit has sold 100 million records in a career of over 50 years, and on a good day, he can be Elvis Presley with a touch of Bryn Terfel.Last night’s show flagged a little towards the end, after a succession of slightly creaky R&B songs, though a couple of cobwebby numbers is an inevitable consequence of a 75-year-old plundering their full back Read more ...
Thomas H. Green
Peter Perrett reappears for his third encore. This time his band doesn’t play with him. He attacks the guitar alone, “No Peace for the Wicked” and “It’s the Truth”, both songs from his days in The Only Ones, 35 years ago. His distinctive cracked voice is strong. In any case, the crowd assist him, even though these are not sing-along songs so much as perfectly constructed mini-melodramas of the heart. Clad in a black open-neck shirt and – rare for him – no shades, he’s not the pale wasted junkie princeling of myth. He’s clearly invigorated – fragile, for sure, but with drive and purpose about Read more ...
Kieron Tyler
The listless Complete Strangers drifts by in such a haze that it’s impossible to maintain any concentration on it after the first 10 minutes or so. When it ends, after 43 minutes and 10 songs, awareness that it’s finished only comes when whatever else has been focussed on instead comes to an end. Appropriately, for Vetiver’s mainstay Andy Cabic, it seems his attention has been elsewhere too since the release of 2011’s The Errant Charm. The Complete Strangers press release says he has been “experimenting with elaborate vegetarian cooking” and digging through San Francisco’s record shops to Read more ...
Kieron Tyler
Tennessee Ernie Ford: Portrait of an American SingerAlthough there are different American music charts, success in one category but not another is not a marginal accomplishment. A major star on the country chart can be as popular, heavy selling and as big a live draw as one on the mainstream chart – now known as The Hot 100. But crossing over is still the dream. Taylor Swift isn’t for the country charts alone. Back in the Nineties, nor was Alan Jackson. The daddy of them all though was Tennessee Ernie Ford (1919–1991). In 1955, his single “Sixteen Tons” figured as strongly on the pop Read more ...
Thomas Rees
When Afro-Cuban jazz pioneers Irakere first played Ronnie Scott’s, back in 1985, they sold out the venue for five weeks on the trot. Thirty years later, and 40 years since the pioneering Latin jazz outfit began, they’re back to celebrate the anniversary, playing two shows a night across six nights, with pianist and founder Chucho Valdes at the helm. I’d heard the stories and I was in the mood for a party – for the kind of gig that has you wishing you’d splashed out on one of the tables at the front where you're right in the middle of the action, with room to dance – and at times it was Read more ...
Lisa-Marie Ferla
That I’ve tended to lump The Maccabees in with a certain brand of mid-Noughties landfill lad-rock is my problem, not theirs; not least because the Londoners’ ambitions on their latest album are pitched more at cinéma vérité than Kasabian. The band’s self-professed “difficult” fourth album, Marks to Prove It, takes its inspiration from the nightlife of the inner city – and it’s certainly sonically ambitious, if sometimes a bit joyless in its execution.London and guitar bands go hand in hand, but the things that differentiate The Maccabees from their brethren are apparent right from Read more ...