electropop
Chris Harvey
For the past decade, Victoria Park in east London has been host to the Field Day and Lovebox festivals, both homegrown and both still growing in size and influence. Last year’s headliners included rare appearances from Aphex Twin (Field Day) and Frank Ocean (Lovebox), bringing huge crowds to this vast and beautiful Victorian lung. This year, however, both were outbid and unceremoniously booted out to search for pastures new when the American organisers of Coachella decided to set up a new London festival.All Points East, a 10-day event, spread over two successive long weekends, boasts Read more ...
Javi Fedrick
Unknown Mortal Orchestra’s four albums all centre around off-kilter pop and flirtations with distortion; their latest LP, Sex & Food, carries this tradition forwards in a more laid-back manner. Their current European tour in support of the album seems to have lined up nicely with the schedules of American acts Deerhunter, Black Lips and Sam Evian (as well as much-hyped British act Boy Azooga), with all five artists descending on the Albert Hall in Manchester for the six-hour Strange Waves III.Between the criminally early start time of 5pm and Transport for Manchester’s bus timetabling Read more ...
Joe Muggs
Ryuichi Sakamoto has conquered underground and mainstream with seeming ease over four decades, never dropping off in the quality of his releases. Indeed his most recent projects, following his return to public life after treatment for throat cancer in 2014-15, are among his best. The async album was rightly listed by many, including theartsdesk, as one of 2017's best; the async remodels remixes showed him absolutely keyed in to the electronica zeitgeist, and Glass, his live collaboration album with Carsten Nicolai aka Alva Noto is a worthy addition to the duo's extensive Read more ...
Joe Muggs
Everything on this record changes shape. One moment in “RayCats” Far Eastern instrumentation is being glitched beyond recognition, then suddenly it sounds like something from a relaxation tape. “Same” shimmers and twists between 20th century avant-classical, Depeche Mode at their stadium peak and pure electronic sound. “The Station” sounds like Drake or Future crooning over the bassline from a 90s grunge track, but periodically dissolves into Autechre type abstraction.But that's Daniel Lopatin, aka Oneohtrix Point Never, all over. Since he emerged from the US electronic noise scene, he's Read more ...
Owen Richards
When bands move to the US, some find themselves drawn into the commercial machine; when Scottish band Chvrches crossed the Atlantic, they were targeting direct assimilation from the start. Recorded with mega-producer Greg Kurstin, the band are aiming to be more direct than ever; perhaps a wise move considering they’ve always leaned heavily on the pop side of electro.This move is successful, somewhat. The production is appropriately crisp and expansive, and the songs nearly all follow the same structure (sleek verse, build up pre-chorus, hook-heavy chorus). Lauren Mayberry’s voice was built Read more ...
Kieron Tyler
Loner’s opening track “More of the Same” lyrically tracks being at a party where “everyone’s well dressed with a perfect body and they all have alternative haircuts and straight white teeth.” It triggers a flashback to schooldays when it was, indeed, the same thing. “Cry!” looks a life in the limelight, “Money” is about doing everything for money and “Bikini” is about becoming a celebrity. The price of entry? Putting on a bikini and dancing.Caroline Rose’s third album is a smart, sardonic 11-track romp through how she sees aspects of the modern condition. A sadness-tinged cynicism is Read more ...
Thomas H. Green
There have been reports that as many as 50% of vinyl-buyers don’t actually listen to it. They keep records as a token of affection for the artist in question. This seems curious but, then again, most young people don’t own turntables and the idea is anathema to the way they consume music. However, while there’s a healthy market in reissues and older artists, the most cutting edge music imaginable is appearing on plastic. Check out our Vinyl of the Month! All musical life is reviewed below. You won’t find a more thorough and expansive set of monthly record reviews: theartsdesk on Vinyl is a Read more ...
Javi Fedrick
Pinkshinyultrablast might be a long way from their hometown of St Petersburg, but in recent years they’ve built themselves up in England as one of the more bizarre and original bands in today’s psych/shoegaze revival, and on the day their third album Miserable Miracles is released, they hit the north for a night of fuzz and electronic trickery.Support comes from Warm Digits, whose propulsive set has the room hooked from the off. Mostly playing tracks from their 2017 LP Wireless World, drummer Andrew Hodson and guitarist Steve Jefferies don’t let the groove drop, with their songs forming, Read more ...
Mark Kidel
Jon Hopkins navigates the territory between avant-garde electronic and beat-driven dance music with brilliance. There’s plenty here to make you want to get up and move, but as much to persuade you lie down and let the symphony of textures and timbres open you ears and take you on an inner adventure.Hopkins claims that his 2013 album “Immunity” was an MDMA trip, while this new one evokes the rollercoaster of an out-and-out psychedelic experience. Hardly surprising then that this isn’t a party album, and even less background music. While there are moments of irresistible sweetness and stillness Read more ...
Thomas H. Green
Blossoms are the latest inheritors of the massive-in-Manchester mantle that has, so often in the past, translated into massive-almost-everywhere ubiquity. That their eponymous 2016 debut album was a chart-topper shows they’re on the way, although they’ve not yet mustered a single that’s thrown them to the next level. The surprise when they first appeared was that, although they look indie and have fans such as Ian Brown of The Stone Roses, their sound was a blend of polished yacht-rock and electro-pop, more The Killers than New Order. With Cool Like You, the rock aspect is almost gone. This Read more ...
Kieron Tyler
Exorcism begins with a track titled “Rapin’”. Its lyrics tell of a late night walk home during which the drunk protagonist is sexually assaulted. “Did you pick me because there’s no one else around?” asks Jenny Wilson in an account of her own experience. Two days later she goes to a doctor and, as she puts it, “I had to show my body again”.Tracking the attack and its aftermath, Exorcism is thematically testing. The closest parallel springing to mind is the 1982 single “The Boiler”, by Rhoda with the Special A.K.A. Wilson’s fifth album draws from being raped, the emotional, institutional – Read more ...
Thomas H. Green
The last we heard of US duo Daphne & Celeste was 18 years ago, when they made their name with three hits, notably the nursery-rhyme playground chant bitch-offs “U.G.L.Y.” and “Ohh Stick You”. They famously performed under a hail of bottles at Reading Festival in 2000, then disappeared, going on to peripheral film-acting careers. Max Tundra, an alt-tronic artist who is released on vanguard labels such as Warp and Domino, now engineers a comeback for this millennial, tween-pop pairing. On paper, this is a great, original idea. Upon listening, it’s partly successful.Mostly gone is Daphne Read more ...