New music
bruce.dessau
The remix album is an ungainly beast. The worst feel like a sign of creative bankruptcy while even the best feel like a shameless cash-in on a successful project. Hopelessly devoted fans might still call it a win-win situation, but to outside ears it doesn't matter how hot the hotshot producers are, the lingering echo of a remix album is often the sound of a product being milked dry.And so to Mogwai's A Wrenched Virile Lore, which takes it cue from 2011’s Hardcore Will Never Die, But You Will (the title is almost an anagram, a remix, of the earlier title). The genre-trouncing Glaswegians have Read more ...
theartsdesk
The Jam: The GiftThomas H GreenGiven his continued artistic renaissance, it’s currently rather unfashionable to suggest Paul Weller was never better than with The Jam. Nonetheless, a trawl through their back catalogue will assure most this was the case. Musically, it’s arguable but lyrically it’s definitive. The Gift was The Jam’s sixth and final album, released in the spring of 1982. The trio were at the peak of their powers, riding chart success that melded punk’s snarl with Weller’s suburban angst, including, in “Going Underground”, one of the greatest and most furious songs ever to hit Read more ...
Adam Sweeting
What a year for great British institutions. Sixty years of Elizabeth II, 50 years of James Bond, and a half-century of the Rolling Stones. To recycle an even older cliche, we will never see the like of any of them again.Brett Morgen's Crossfire Hurricane is a chronicle of the Stones' career, assembled from a wealth of news, documentary and home-made footage stretching back to their earliest days as a scraggy west London blues band. The commentary, other than that supplied by various interviewers and TV anchormen glimpsed across the passing decades, is provided by the Stones themselves, who Read more ...
graeme.thomson
Entirely in keeping with the heightened narrative surrounding pop stars and their perpetual crises, Christina Aguilera’s recent history has been spun into the kind of tragedy worthy of Piaf or Callas. Her last album, Bionic, singularly failed to shift anywhere near the kind of numbers pop divas need to keep a hand on the crown; she had the temerity to put on a few pounds and – worse – seem pretty relaxed about it; she got divorced; she got drunk. Ravens were seen leaving the Tower.These routine potholes in the yellow brick road are rigorously exploited and amplified on Lotus. Aguilera returns Read more ...
Lisa-Marie Ferla
There is something so otherworldly about Shingai Shoniwa, the vocal powerhouse who fronts Noisettes, that it is unsurprising to see the band play on it. Shoniwa arrived onstage in a blaze of light, in a spinning gold-hooped skirt that seemed to mimic a flying saucer in the chaos, before launching into a storming rendition of the band’s “I Want You Back”. The illusion lasted as long as it took her to kick off her towering gold high heels and attempt a terrible Scottish accent at the end of the first song.Although built around a duo - Brit School graduates Shoniwa and Daniel Smith, the band’s Read more ...
Russ Coffey
Billy Bragg recently described Jake Bugg as “a teenager with an ear for a good tune and a chip on his shoulder". He was referring to Bugg’s evocations of council estate life, which have invited comparisons to the Arctic Monkeys. Others have sneered at the youngster’s friendship with Noel Gallagher and his unashamedly retro sound. But what’s wrong with being an angry young man with a guitar? Bugg’s major influences span folk-rock written between 1965 and 1975, with a particular emphasis on the work of Donovan. On that count alone, he gets my vote.Commercially, it’s been Bugg’s rockier sound Read more ...
peter.quinn
Just occasionally an artist hits the truth of the song in such spectacular fashion that it makes you feel with ever greater intensity what it means to be human. Last night, vocalist Sheila Jordan's performance of the Jimmy Webb standard, “The Moon is a Harsh Mistress”, a song she recorded on her 1999 album Jazz Child, achieved exactly that: a shatteringly personal account, bookended by an improvisation on a native American theme, both the pathos and power of the song were extraordinary. I'm sure I wasn't the only one who was wiping away tears.With a career that stretches back to the 1940s and Read more ...
joe.muggs
Well that's a shame. Little Mix were likable, talented winners of The X Factor – four times Everygirl in clashing neon, funky, funny, vulnerable but self aware. They proved repeatedly on the show that they could sing and then some, and even though they were a thrown-together group harmonised like they were sisters. Their most memorable turn, doing En Vogue's “Don't Let Go”, perfectly caught the beginning of the current wave of nostalgia for the great 1990s R&B girl groups, and when they won it felt like they could be an actual characterful pop band in the way the Sugababes and Girls Aloud Read more ...
Louise Gray
In 1991, the Basque performance artist Esther Ferrar wrote a letter to modern music’s inventive genius, John Cage, on the future of anarchism. Ferrar’s letter – written in the year before Cage died – was in fact a reply to a question about anarchy’s prospects that the composer had thrown out to the wider world (typically, in the form of mesostic poem called “Overpopulation and Art”), and it’s true to say – as this last event in the short Cage Rattling season made clear, that two streams of anarchy were being addressed: on the one hand, the unfettered possibilities flowing from Cage’s chance Read more ...
Thomas H. Green
It has a cracking cover, Example’s new album. Look at it above. A boy by a lake stretching his hands skywards, emanating untrammelled childhood freedom, contrasted with a festival crowd, innocence long gone, roaring for more. Example appears to be positing his conflicted status. It works well as a metaphor and the album covers the same territory.This is London pop rapper Elliot “Example” Gleave’s confessional fourth album, a loose concept piece where many songs are raw pleas, reeking of rehab speak. In essence, he bitterly regrets and abhors the way he let his idealised former girlfriend down Read more ...
joe.muggs
At the beginning of last night's show, Herbie Hancock looked like he was going to perform with the dignity and serenity befitting a 72-year-old with some 50 years playing experience. The improvisation that launched from a base of Wayne Shorter's “Footprints” was elegant, charming, tasteful and often very beautiful. The synthetic instrumental loops that he triggered via a couple of iPads mounted on his grand piano as backing were unobtrusive to begin with and had a delightfully loose groove.Hancock's playing over some 15 minutes of that piece ran through a meandering narrative that took in Read more ...
peter.quinn
For the way it combined mercurial, on-the-fly interplay, seismic textural shifts and listening of the highest order, this gig was remarkable. In the space of two continuous sets there wasn't a longueur to be found, such was the incredible union of Black Top #5's boundary-pushing improv and fine-tuned musicianship.Saxophonist Steve Williamson, trumpeter Byron Wallen and vocalist Cleveland Watkiss joined Black Top founders, pianist Pat Thomas and vibist/sampler Orphy Robinson, to explore the intersection of live instruments and the technology of dub, reggae and dance floor.You would search in Read more ...