electronica
Owen Richards
And so, Tame Impala’s evolution from riff-laden psych-mongers to dancefloor-fillers is complete. It’s undeniable from the opening drum machine on “One More Year” supplanting Kevin Parker’s trademark kit-work. The band’s music has always been built from the groove up, but now the head banging has been replaced with waves of rhythm that flow through the body. The Slow Rush is an apt name. This is an album that replicates the wash of a narcotic come-up. Unstoppable, inimitable, and highly addictive.A sense of joyous adventure carries through the songs, less concerned with the destination than Read more ...
India Lewis
John Grant’s entry onto the stage was unobtrusive, appropriate for a set-up that consisted of just a grand piano and an electronic keyboard (with accompanying keyboardist). He began with similarly unadorned songs, the ballads that peppered the start and the end of his set. Despite it being a departure from his more orchestrated recorded sound, a strong hint of the space-opera remained, coaxed out by synths and allusive lyrics. His songs are deliciously naughty, a sophisticated, rich sound that is counterbalanced by swear words and a satisfying cynicism. There were times when this wasn’t Read more ...
Joe Muggs
Robert Henke is to techno fans as Leo Fender and Les Paul are to rock lovers. The Ableton Live software which he co-created is every bit as influential as any guitar they built, and probably more used. However, of course, being just a piece of code, it could never be iconic like a guitar. This performance was partly inspired by that fact: as Henke explained in his preamble, he's fascinated with a time when computers were a whole lot simpler and, perhaps, cooler to look at.Looking like a funky Open University lecturer in brown suit and pointy boots, Henke explained the 1980 Commodore PET Read more ...
Jo Southerd
In 2019, music kept its place as a vital means for expression and escapism in an increasingly troubled and troubling world. Happily, there were plenty of brilliant albums to get lost in over the course of the year. Sharon Van Etten’s Remind Me Tomorrow was a masterclass in comeback albums. After her short hiatus from music, the record saw her trade in her folky roots in favour of synthesisers, elevating her sound to dizzying new heights while maintaining the intimacy and intensity that first stole her fans’ hearts. Remind Me Tomorrow provided a steady stream of great singles - "Jupiter 4 Read more ...
Joe Muggs
This is a bittersweet recommendation to make. On the one hand, it is simply one of the mightiest electronic albums of the year, an exemplar of how grime continues to be a vital part of the British sound palette long after it was pushed aside as the only game in town on the urban airwaves by various other new rap and dance forms, the sound of a true pioneer at the top of his game almost two decades into his career. On the other, it’s now tinged with sadness as around the time of its release in late summer, Rodney Price aka Terror Danjah was taken ill and has been in a coma for most of 2019. Read more ...
Thomas H. Green
It was hard avoid bleak in 2019. Then the election hit and everything went off a cliff. Watching the world turn to a shit-bowl of ignorance and greed, the raging nihilism of the year’s key film, Joker, suddenly seemed appealing. The 2020s will be about a response, clearly, but in the meantime spirits need lifting. The album that has served that purpose round my way since its release in April has been No Geography by The Chemical Brothers.No Geography is the best album of Tom Rowlands & Ed Simons’ career. While I’ve long enjoyed their output, especially some of those club-slaying singles, Read more ...
Thomas H. Green
The O2 is usually a bright, sterile space before the bands come on. Its starkly lit US sports event ambience is accentuated by humanity milling around layered plastic seating clutching giant tubs of soft drink. Not so tonight. The venue has been open for three hours before the headline act is due. The lighting is purposefully dingy as 2ManyDJs and James Holroyd spin techno-flavoured sounds, warming up the crowd. The aim may be to reimagine this corporate space, with its horrid placards shouting Sky, Coca Cola, etc, into a warehouse party. The balconies are a black skyline with phone lights Read more ...
Joe Muggs
There couldn't be much that's more techno than for a musician to have had a quarter-century career, only just be releasing his second solo album, and making it a quadruple. David Sumner aka Function is a true scene trouper: starting out in New York in the mid-90s, moving – inevitably – to Berlin in the 2000s, releasing dozens of 12”s, collaborating successfully with other key names like Dominick “Vatican Shadow” Fernow and, for quite some time, with Karl “Regis” O'Connor, and DJing for more nights than the imagination can comfortably encompass in various dark caverns and catacombs.These 17 Read more ...
Joe Muggs
In the eight years since theartsdesk last spoke to Carl Craig, a lot has happened. He moved from his native Detroit for a sojourn in Barcelona (partly for ease of access to his summer DJ residencies in Ibiza), then recently returned. He's reinvented tracks from his back catalogue for orchestra, in a style he dubbed "action and adventure" - certainly more John Williams than Debussy - and has performed them as such around the world. He's successfully built the Detroit Love brand for compilations and club nights via his Planet E label, featuring the city's unsung heroes like Stacey Pullen, Read more ...
Owen Richards
Beck stands on the front cover of his new album Hyperspace with a vintage Toyota and Japanese text resplendent above. It’s the perfect scene setter for an album you could easily imagine soundtracking a midnight drive through Tokyo. Or if the lyrics are anything to go by, an intergalactic voyage. Following on from 2017’s excellent Colours, Beck has settled into a reliable late-career groove that mixes deceptively simple songwriting with intricate production. The best example of this is the aptly-named “Chemical”, creating sounds that wash over your synapses like a psychoactive compound. Read more ...
Thomas H. Green
Without further ado, slightly delayed by the sheer volume of releases at this year time of year, here is the latest edition of theartsdesk on Vinyl. You will not find a more extensive monthly report on the goodies newly available on plastic anywhere on the internet. Every conceivable genre is theartsdesk on Vinyl’s game so dive in and get involved!VINYL OF THE MONTHDallas Acid The Spiral Arm (All Saints)What do they put in the water in Austin, Texas? We need to dose the nation with it NOW so that millions of eyes turn upwards from the Daily Mail and look to the stars. Dallas Acid have worked Read more ...
Kathryn Reilly
Tahliah Barnett has been having a rough old time of it. There was that doomed celebrity romance (Robert Pattinson) and some health issues (I’m not entirely sure if we need to know about her operation to have fibroids removed) but suffering, as we are all aware, is the fuel of creativity. Unclassifiable but leaning towards the classical, fka twigs’ gut-wrenching, soul-bearing second album – her first since the Mercury Prize nominated LP1 – showcases her soprano vocals against bare, eerie arrangements which will without doubt never be played in a club. Upbeat this is not; but Read more ...