New music
Peter Culshaw
Not a year in which big names came through, and many on the list below are actually quite introverted and low-key, but none the worse for that. Among numerous global musical gems this year were the following:The Fes Festival of World Sacred Music retained its high quality with scores of top notch acts, notably the wonderful Lebanese singer Abeer Nehme singing Aramaic music with incredible sweetness and purity. The video below gives some idea:The most extraordinary act of this year’s WOMAD was a modern folk group from Italy with the unwieldy name of Canzoniere Grecanico Salentino, whose rootsy Read more ...
Jasper Rees
There aren't a lot of harpists in pop. Transatlantic migrations took all sorts of instruments away from their European place of origin to become the building blocks of American music. But there was no sizeable Welsh diaspora so the harp stayed at home with its most diligent exponents. That places singer-songwriter-harpist Georgia Ruth in a musical tradition with deep roots but a less than broad reach.One of the many pleasures of her enchanting debut album Week of Pines is the way she ushers an old instrument into lush new pastures. In "In Luna" the harp has a lovely eager lilt as a kind of Read more ...
Russ Coffey
“Maybe I needed to grow up a little first/ Well it looks like I hit a growth spurt”. So goes MMLP2’s opening track and over the course of the next hour it becomes apparent this is no idle brag. The album’s dizzying mix of melody, syllables-per-minute, heart and hurt means, despite the endless plaudits being given to rival "deadly fucking serious” Kanye West, it was really the nutcase from Detroit who demonstrated the greater artistic maturity in 2013.Some may consider the term “mature” ironic given Marshall Mathers' love of adolescent word play. But that would be to misunderstand how Em’s Read more ...
Kieron Tyler
Despite his nickname and habit of doing a bunk, George “Shadow” Morton was one of America’s highest-profile and most distinctive producers and songwriters. He was responsible for shaping the sound and style of The Shangri-Las, Janis Ian, Vanilla Fudge and The New York Dolls. Until the release of Sophisticated Boom Boom!! – The Shadow Morton Story, the musical side of his story had not been told. A consummate collection, this significant release was pulled off with style. The packaging was superb, as was the annotation. Its music was amazing too.Morton’s vision brought filmic drama to pop. Read more ...
Tom Birchenough
Queer as Pop (****) was as much about social as musical history, and Nick Vaughan-Smith’s film told its story with a combination of outstanding archive material and some incisive interviewees, the archive taking fractionally more of the weight. Subtitled “From the Gay Scene to the Mainstream”, it started loosely in the Sixties, then jumped back and forth across the Atlantic until the present day as the story demanded.It started from the premise that gay clubs were the places that played the best music, and that it was gay artists who were pushing the stylistic boundaries, which were then duly Read more ...
bruce.dessau
2013 was yet another year when hip hop added a bit of punch to old rockers. Elvis Costello had a crack at his own distinctive version of rap on Wise Up Ghost, while Arctic Monkeys' fifth album successfully fused Alex Turner's recent fondness for Dr Dre with his enduring affection for homegrown turns of phrase and in particular northern words such as "shite".At its heart though, AM is still very much a rock record. Just as you think every permutation of guitar music has been done and dusted AM comes up with the molten blues of “Why’d You Only Call Me When You’re High?” complete Read more ...
mark.kidel
Mali has been in the news this year: music was under serious threat from the fundamentalism that spread through the north of the country and ransacked parts of the ancient city of Timbuktu. The jihadists are hardly music-lovers and Mali’s creative community, one of the most productive in Africa, stood firm while feeling the cold winds of Islamist repression, and reacted with characteristic vigour. The griots or jalis of West Africa have always sung alongside the just warriors, giving them courage with their heart-warming musicBassekou Kouyate, the great ngoni player from Ségou, known for his Read more ...
theartsdesk
We at The Arts Desk are as fond as the next person of swans-a-swimming, partridges and pear-trees, not to mention gold rings, but be honest: 'tis already the season to be jolly sick and tired of all those knee-jerk compilations of Slade, sleighbells and Celine Dion's "O Holy Night". Without wishing to audition for the role of Ebenezer Scrooge, it’s time to admit that not everything made in the name of Christmas is of the highest artistic merit. But, it turns out, there’s gold in them there hills – snow-capp'd, natch.Tireless champions of excellence that we are, we’ve raided our memory banks Read more ...
Kieron Tyler
Beachwood Sparks: Desert SkiesBeachwood Sparks didn’t become Fleet Foxes, but their DNA is integral to the harmonious Seattleites. Both bands have been issued by the Sub Pop label, but after two albums Beachwood Sparks drifted apart in 2002. Fleet Foxes picked up the torch in 2008. The connection is more than a shared label and general musical preferences. It’s through the torch held for Gram Parsons's “cosmic American music” and the debt both owe to David Crosby’s 1971 solo album If I Could Only Remember my Name. Beachwood Sparks had started something – a parallel path to, but not, Read more ...
Adam Sweeting
It's a happy coincidence that John Fullbright hails from Woody Guthrie's home town of Okemah, Oklahoma, but his debut album presents an artist who is far from being a mere clone of the fabled balladeer. A spin through the dozen tracks on From the Ground Up reveals traces of blues, country, gospel, folk and rock, all handled with rough-hewn earthiness. But while Fullbright has a traditionalist's respect for old-fashioned stuff that works ("old country and bluegrass is my bread and butter," as he puts it), it's his gift for imagery and storytelling that makes his songwriting special.Reared on Read more ...
Thomas H. Green
“Like the legend of the Phoenix…” So began the party song of this year, last year, next year, probably the year after.I always thought Daft Punk were overrated. The Nineties was a wondrous narco-techno rave, then along they came with their wah-wah filter disco and every trendy from Hoxton to Brooklyn started wanking on about them, the second coming, as it were, a couple of Parisian aristos in motorcycle helmets. They were alright – fun and all that – but they were hardly Orbital or The Prodigy. They also unlocked our super-duper acid house party to an endless array of vocal house-pop Read more ...
Matthew Wright
The Sons of Kemet’s peculiar forces of two drummers, tuba and reeds have been on the road for over two years now, their performances landing on an unsuspecting crowd like a petrol bomb on seasoned timber. With the tuba playing as part of both the rhythm and horn sections, the Sons can deploy both massive rhythmic firepower and potent melodic edge. It’s an intense and compelling sound, exploring the triangular musical dialogue between North and West Africa, the Caribbean, and New Orleans, in a musical language primed with exploding dance hooks and entwined with spiralling North African melody Read more ...