avant-garde
joe.muggs
Want an antidote so forced seasonal cheer and the catchiness of Christmas pop? How about some almost entirely atonal drone, clatter and throb with titles like “Fish Death”, “Tales for Violent Days” and “Dissonance Émancipee”?Music presented as a “lucid nightmare” fuelled by “toxic relationships; job insecurity and exploitation; immateriality of the future, translated into frustration, exhaustion/desperation, claustrophobia and a desire to escape; anguish, panic and a sense of powerlessness towards nature and disease”?Well here’s the funny thing: this album by a Rome-based audiovisual artist Read more ...
Thomas H. Green
Christeene is not so much a musical entity, as a performative assault, an artist who pushes drag somewhere visceral, caustic, wilfully edgy and defiantly unpolished. The creation of New York-based, Louisiana-raised Paul Soileau, her videos and shows have thus far probably been more important than her albums, but her third raises the bar.Where previously her music has been rap-laden, post-electroclash, the excellently titled Midnite Fukk Train is more fully-formed, in New York’s underground punk rock tradition. And she nails it.Accompanied by her Fukkn Band, the album has eight tracks and is Read more ...
joe.muggs
The journey of Ross “Hudson Mohawke” Birchard has been truly one of the most extraordinary in modern music. From teenage scratch DJ champion and happy hardcore raver in some of Glasgow’s more feral club environments, in the late Noughties he quickly moved through making rhythmically fractured hip hop.Just as quickly he leapt into huge trap beats that made him a trailblazer in the explosion of the arena-packing US EDM scene, and from there to being studio collaborator of choice for Kanye West, making significant contributions to 2013’s Yeezus and 2016’s Life of Pablo. Now LA based, he is Read more ...
Thomas H. Green
Melt Yourself Down’s last one, 100% Yes, was the most ballistically exciting album of 2020. The band are unique, a six-piece mutation who, as their album title indicates, don’t fit in anywhere. The good news is that they’ve not tempered what they’re up to one jot. Pray For Me I Don’t Fit In amplifies the in-yer-faceness of their music and rampages out of the speakers like a wild beast.Where 100% Yes was underpinned by a lively Afro-indie funk aesthetic, their fourth album ups the ante, becoming closer to the scene that gave them their name (they were named after an obscure album by Seventies Read more ...
joe.muggs
This is just boggling. The Japanese rock trio Boris have been together in the same lineup for over a quarter of a century – and it’s longer still since their original formation – but they’re outdoing themselves record by record. Their last record, NO, was the most energetic record they’ve ever made. Where they’re best known for floaty dream pop and sludgy, doomy, lava-flow-like noise churning, NO is a 1000mph fusion of thrash, punk and classic metal, a glorious rage against a world of fear and torpor in the COVID age. And now, only six months later, comes another album, and in dramatic Read more ...
Thomas H. Green
The first of two December round-ups from theartsdesk on Vinyl runs the gamut from folk-tronic oddness to Seventies heavy rock to avant-jazz to The Beatles, as well as much else. All musical life is here... except the crap stuff. So dive in!VINYL OF THE MONTHSimo Cell Yes.DJ (TEMƎT)The latest from French producer Simo Cell is a bass-boomin’ post-trap six tracker that doesn’t play it straight at all. These are the kinds of tunes that should be heard on a giant sound system so that the earth itself rumbles. The enormous head-annihilating spacious tech-dub of “Farts”, a highlight, sits easily Read more ...
Gary Naylor
Like all great art, Samuel Beckett's works find a way to speak to you as an individual, stretching from page to stage and on, on, on into our psyches. This happens not through sentimental manipulation or cheap sensationalism, but through the accrual of impressions, the gathering of memories, the painstaking construction of meaning. Rarely far from view on the London stage, Beckett has two seminal one acts on view briefly in London before touring to Bath. Upon hearing the shoes of May (Charlotte Emmerson) in his 1976 Footfalls pace out the nine steps back and forth as we learn of the Read more ...
Thomas H. Green
Amon Tobin is hard to pin down. His music has mutated over the years. He initially fitted in with Ninja Tune’s late-Nineties/early-Noughties roster of post-hip hop stoner breaks, heavily jazzed. But in more recent years, he’s wandered into an area where glitchy soundscaping and avant-classical experiments are laced with warped sampling. Then there’s his industrially heavy Two Fingers crunch-step project. And that’s not even mentioning his extensive video game and film work. Now this. A head-battering, unhinged outing that’s uncategorisable, surprising, highly original, often also gorgeous. Read more ...
joe.muggs
Ask someone in the early 2000s to predict which cities were going to be influential in electronic music in coming years, and it’s unlikely many would have picked Kampala, Uganda. But here we are. Across African countries, vernacular electronic forms and versions of DJ culture have been bubbling for a good while, but in Uganda, catalysed by two immigrants – Greek-Armenian Arlen Dilsizian and Belgian Derek Debru, founders of the Boutiq Electroniq club and Nyege Nyege festival and label – misfits from these various scenes, and indeed from none, have gathered, influencing one another and any Read more ...
Thomas H. Green
They stand in a row, nine of them, in a long, strange corridor between rows of stacked, palleted, planked wood and the red brick wall of an endless warehouse. Nine tripods, each two humans high, with a spinning helicopter head, double-ended by conical horns that emanate a gentle angelic howling or lower end drone-hums. Eyes closed – and being music-geeky about it – this carefully calibrated tonal concerto assails the ears somewhere between US mystic Laraaji’s processed gong experiments and the final ethereal works of Spacemen 3.But this is about the experience. Artist Ray Lee Read more ...
joe.muggs
It’s funny how the most high tech music can sound very traditional. In the case of producer / instrumentalist / occasional singer Ziúr, it’s the tradition of her hometown of Berlin that is expressed in her whirrs, clangs and mutated voices. Here – as on her previous records with British labels Planet Mu and Objects Limited and Canada’s Infinite machine, and like most of the roster of her new home, Berlin’s PAN – the sound palette is hyper-detailed: glistening, crackling and booming with the kind of abyssal vastness and obsessional detail that only today’s processing power can generate. But Read more ...
joe.muggs
Theartsdesk is a labour of love. Bloody-mindedly run as a co-operative of journalists from the beginning, our obsession with maintaining a daily-updated platform for good culture writing has caused a good few grey and lost hairs over the years. But it has also been rewarding – and looking back over the 10 years of Disc of the Day reviews has been a good chance to remind ourselves of that. One thing in particular that drew me into the collective when it was founded, and has kept me going throughout, was the understanding that artistic forms would be treated with equal respect and Read more ...