New music
Thomas Rees
Expectations can be dangerous when it comes to live music, but sometimes managing them is easier said than done. Go and see a band like Jaga Jazzist, a genre-crossing collective of Norwegian multi-instrumentalists who skyrocketed to fame in 2002 when the BBC named A Livingroom Hush jazz album of the year, and you expect it to be big. Especially when it’s the group’s 20th anniversary tour and you arrive at Union Chapel to find the queue stretching around the block.As we filed in, I was in rock gig mode, prepared to leave with mild tinnitus, a few new bruises and a stupid grin plastered Read more ...
Kieron Tyler
Over its 20 minutes, "Le Strategie Saint-Frusquin" colours its dark, funeral declaration with the insistent rhythm of an elephant dragging itself from a tar pit, textures from distorted guitar and saxophone, and occasional interjections of a voice sounding as though it’s beaming down from an early Apollo mission. "Pisces Analogue" is similarly lengthy and as engaging. Involving washes of pulsing electronics, it passes through five movements, each more intense than the previous. After a pause for quiet reflection at 12 minutes, it climaxes with a sky-scraping crescendo evoking a departure from Read more ...
Kieron Tyler
Various Artists: Native North America (Vol. 1) – Aboriginal Folk, Rock and Country 1966–1985America’s music could be jazz, gospel, blues or rock ’n’ roll. Or all of them. Each has black roots. Then there’s the white-rooted country, which also informed rock ’n’ roll. Taking the simplistic line has its problems and doesn’t allow for blurred boundaries, nuance and the fact that history is never neat, but it is clear that all these musical forms generally and initially proliferated amongst communities that are not native to the American continent. What about the music of native North Read more ...
Kieron Tyler
In 1971, the British rock group UFO released their second album. Titled One Hour Space Rock, its cover bore the subtitle Flying and, yes, images of UFOs in the form of flying saucers and a bald, naked and pink humanoid with claw-like fingernails. Musically, although the album had its freaky sections and sported the lengthy tracks "Star Storm" and "Flying", what was on offer was mostly day-to-day blues-rock.Nonetheless, this was an overt acknowledgment that rock music was on a more-than-nodding acquaintance with the concerns of science fiction. One Hour Space Rock wasn’t a bestseller and UFO Read more ...
Adam Sweeting
The future's uncertain and the end is always near, as Jim Morrison put it, and you wonder how long Oz's antique rockers can keep cranking it up. After 41 years, most of them vastly successful, they're now missing guitarist and riff-creator Malcolm Young (who's suffering from dementia), while it's not clear whether drummer Phil Rudd is still on board after a drugs bust and allegations that he was trying to get somebody killed.Despite all that, Rock or Bust, their 16th studio album, manages to deliver a few jolts of the old megaton swagger. Angus Young is still there on lead guitar, and judging Read more ...
Thomas H. Green
There is an odd moment about halfway through Lily Allen’s set. Clad in a shaggy white mini dress akin to a Puli dog’s coat, she announces the next song will divide the audience into those that love it and those that hate it. Her sweet voice then wraps itself around the soundtrack to last year’s John Lewis seasonal TV ad, her version of Keane’s “Somewhere Only We Know”. I fall into the latter of her categories but I look around and a smattering of middle-aged heterosexual couples, who’d previously looked somewhat incongruous here, have grasped their partners and are doing gentle slow dances. Read more ...
Matthew Wright
Last night Latin jazzers J-Sonics confirmed their reputation as one of the most compelling proponents of the delicate art of fusion with a deeply grooving, deeply addictive performance of their propulsive repertoire. Their two Brazilian-flavoured sets were characterised by supple instrumental interplay, including from the singer Grace Rodson, a regular performer with the Roberto Pla Ensemble, whose taut, rippling vocalising rhythms and sumptuous tone were as crucial within the band’s instrumental textures as her solos, which smouldered, then burst into hot Latin fire. When it Read more ...
Matthew Wright
With the musical riches of the BBC, an extended educational visit to Wayne Shorter, and broader collaborations with some of Europe’s most distinctive avant-garde players, it’s not surprising Trish Clowes needs a pocket compass to plot her artistic path. Clowes’ two years as a BBC Radio 3 New Generation Artist are drawing to a close, but with the release of this, her third album, the evidence of her development is plain, with a richer compositional palette, more widely-sourced themes and more tightly woven musical textures.She’s always been situated in the fertile territory where improvisation Read more ...
Thomas H. Green
It has become a staunch tradition that Kasabian gigs end with their fourth single, 2004’s “L.S.F. (Lost Souls Forever)”. By the time they reach it, a good chunk of the Brighton Centre’s capacity crowd, encouraged by guitarist Serge Pizzorno, have clambered on the shoulders of an associate.The song was introduced by a funkin’ stab at a cover of “Praise You”, dedicated to its creator, local hero Fatboy Slim. Then the cavernous hall lights up, everyone suddenly visible as auditorium darkness is banished. “Ah, come on, we got our backs to the wall,” sings Tom Meighan, as if it were a call to arms Read more ...
Matthew Wright
Until recently, The National were a band for the knowing connoisseur, best known for their wry wit and tasteful guitar sheen. They seemed too niche for the O2 Arena, where they played their biggest ever UK headline last night. But that big tent of consumerism has now claimed them, and before an appreciative but rather lukewarm audience, somehow they seemed a little more ordinary and mainstream.It felt like a night of two halves, in which – rather like one of the band’s songs, famous for their late crescendos – the second half picked up significantly, culminating in a funky, brass-driven Read more ...
peter.quinn
The weapon of choice of wannabe jazz chanteuses the world over, the fact that London-based singer, songwriter and composer Fini Bearman chose to deliver the ubiquitous “Summertime” as a wordless meditation almost made me weep with gratitude.The closing song of this eight-track homage to Gershwin's operatic masterpiece, “Prayer (Summertime)” typifies the way in which Bearman and her superb quintet cast fresh light on material that has long since been imprinted on our consciousness. Beginning with scattered phrases in free time, it builds inexorably. As Bearman's voice soars ever higher, the Read more ...
Thomas Rees
It’s not easy to write about a gig when you’re still shaking with adrenaline, still less so when that gig is the grand finale of the 2014 EFG London Jazz Festival, the climax to a giddy ten days of world-class contemporary music. But it’s a cross I’ll have to bear, because last night’s performance from legendary saxophonist Charles Lloyd and jazz giants tenorist Joe Lovano and trumpeter Dave Douglas demands it.Appearing as part of their Sound Prints quintet, completed by young pianist Lawrence Fields, bassist Linda Oh and the ebullient Joey Baron on drums, it was Douglas and Lovano who took Read more ...