electropop
Barney Harsent
Justin Bieber’s undoubtedly had a tricky time of it, living in the full glare of the world’s media. While it’s demonstrably not “the toughest thing in the world”, as he recently suggested in Billboard magazine, it can’t be much fun having your every misdemeanour writ large. His fourth album, Purpose, purports to be his mea culpa, but I’m left wondering what he’s supposed to be apologising for. Surely a teenager who has been gifted unimaginable wealth should be forgiven for occasionally acting like an impatient dick and driving badly? We let pensioners get away with it all the time.At the time Read more ...
Joe Muggs
There's a current running through the underground club / electronic music of the 2010s that cares not a jot for progress – but neither is it retro as such. It's been called “outsider house”, which is a pretty lame name for stuff that is often extremely accessible and welcoming, and is certainly not just house music. Rather it's a kind of neo-psychedelia, a sound that plays tricks with memory and expectation, collapsing oppositions between sophistication and naiveté, between kitsch and sincerity, and between low and high fidelity in the pursuit of beautiful discombobulation. And as the none- Read more ...
Barney Harsent
John Grant is nothing if not a confessional songwriter. On his last album, Pale Green Ghosts, there were moments of dark despair, caustic barbs and some surprisingly slinky grooves soundtracking a man who was offering himself up with a breathtaking honesty. On Grey Tickles, Black Pressure – a title that places us somewhere between mid-life crisis and full-on nightmare – he is similarly laid bare, but the literate humour has now become full-on funny and could well mark him out as the best lyricist of his generation.Although Grant says he wanted to get “moodier and angrier” on this record, he Read more ...
Lisa-Marie Ferla
As the year in which Jenny Hval has already declared war on “soft dick rock”, 2015 seems perfect for the return of Peaches: the electroclash shock-rock pioneer’s bass-heavy, provocative music is the diametric opposite. Rub, her first album in six years, comes as an audio and visual package: each track is accompanied by an artist-directed video featuring everything from Peaches and comedian Margaret Cho sharing a day of zany adventures while dressed in matching hand-knit body suits (complete with comically oversized, flapping penises) to performance artist Empress Stah shooting lasers from a Read more ...
Kieron Tyler
Don’t be fooled by the header picture. Despite the relaxed poses, Iceland’s Pink Street Boys are amongst the angriest, loudest, most unhinged bands on the planet right now. Hits #1, their debut vinyl album – which follows distorted-sounding, lower-than-lo-fi cassette and digital-only releases – is so impolite and wild that once the rest of the world gets the message the story of what constitutes the current-day music of their home country will have to be rewritten.They are not an anomaly. Iceland is currently witnessing a groundswell of loosely punk–inspired bands drawing from the edgy spirit Read more ...
Thomas H. Green
Giorgio Moroder has long been adopted by the cognoscenti. He’s the studio wizard who gave us key Seventies disco hits, iconic in the development of electronic music and club culture. The culmination of this archiving tendency was the tribute song on Daft Punk’s Random Access Memories, indeed, the whole album seemed sprinkled with shiny Moroder synth polish. It was undoubtedly this that resulted in Sony hauling him from retirement to work with a who’s who of contemporary chart-pop. The result is appalling, a catastrophic mire of Costa del Dumb Euro-cheese, pitched in some teeth-jarring Read more ...
Thomas H. Green
Most people like new music to sound as much as possible like music they’ve heard before. At the very least it should adhere to core genre tenets that don’t force listeners from their comfort zone. Music that’s regarded as brave by a conservative music media usually has the tiniest hint of something fresh, resulting in self-satisfied hurrahs for the excitements of Vampire Weekend, Arcade Fire and the like. A label such as Belgium’s Crammed Discs, then, which consistently backs artists unbound by genre or even locality, never receives the mainstream attention it deserves as one of the world’s Read more ...
Thomas H. Green
In 2004 the era-defining dance duo Orbital supposedly went their separate ways. In fact, they merely took a four-year sabbatical. Three years later one half of the sibling pairing, Paul Hartnoll, released his debut solo album, The Ideal Condition. It was a lush affair, demonstrating a rich, warm musicality which hinted where Orbital’s melodic chops came from. It didn’t sell but was the best thing either Orbital brother, together or separately, had done in years. The revitalised Orbital then released two further albums, the latter of which, Wonky, was a gem, its closing number, “Where Is It Read more ...
Barney Harsent
After waiting a quarter of a century for Blancmange’s last album, 2011’s Blanc Burn, this new offering, effectively a Neil Arthur solo project, almost feels like a rush release. There’s a much changed visual aesthetic – gone is the stylised, Fifties cover kitsch, replaced by something much more stark and impenetrable. Now, I know you shouldn’t judge a book by its cover, but what about CDs?This new collection is certainly darker, but, before we address that, let’s get the negative stuff out of the way. Don’t worry, it really won’t take long. So… “Useless” sounds like the Wedding Present trying Read more ...
Lisa-Marie Ferla
Had it not been for the fact that Charli “XCX” Aitchison had struggled to find a hit of her own until last summer’s Fault in Our Stars-soundtracking “Boom Clap”, I’d be convinced that she had tapped into some secret formula for producing perfect pop hits. “I Love It”, the rabble-rousing breakup anthem she wrote for Swedish electropop duo Icona Pop and her attention-grabbing hook on Iggy Azalea’s “Fancy” share a distinguishable swagger, but had little impact on the negligible success of her 2013 major label debut True Romance. In the fickle world of pop music, that should have been enough to Read more ...
Kieron Tyler
Orchestral Manoeuvres in the Dark: Junk CultureOMD’s fifth album, Junk Culture, followed 1983’s Dazzle Ships into the shops. Where that was experimental, fragmented, wilful, used found sounds and, in places, eschewed melody and traditional song form, 1984’s glossy release was recorded at Montserrat’s swish Air Studios, the facility founded by George Martin which was favoured by Dire Straits, Elton John and Paul McCartney. Dazzle Ships was influenced by Stockhausen. Junk Culture featured the mambo-esque calypso “All Wrapped Up”, a weedy echo of early Eighties chart funsters Modern Romance.Of Read more ...
Kieron Tyler
Whether intentional or not, the third album by French chart-topping duo The dø is effectively a renewal of “Sweet Dreams”-era Eurythmics. The synth bubble-‘n’-pulse and vocal lines nodding towards the choral and gospel inescapably evoke what Annie Lennox and Dave Stewart fashioned in the mid-Eighties. Shake Shook Shaken’s third track “Miracles (Back in Time)” suggests so much of Eurythmics’ “Here Comes the Rain Again” that it’s possible Dan Levy and the Finland-born but France-dwelling Olivia Merilahti are actually paying tribute to Eurythmics.Shake Shook Shaken – with its bizarre sleeve Read more ...