Sweden’s most gloriously unhinged export is back, and Viagr Aboys might just be Viagra Boys at their most fun, feral and fully realised. This album doesn’t try to out-clever the world; it grabs it by the collar, shakes it around, and laughs in its face.
It took until the last song before Lauren Mayberry started to well up onstage, which was good going. The singer had mentioned early on the prospect of a hometown Glasgow gig for her solo career had left her emotional all day, both with joy and fear.
Just the other day I overheard one of my kids watching a YouTuber called Nathan Zed and was instantly gripped. It was called “How Trying Became Cool Again,” and focused on pop cultural moments like Kendrick Lamar’s Super Bowl show, Doechii’s Tonight Show performance, Chappell Roan’s giant pink pony at the Grammys and Tyler, The Creator’s… well, just about everything.
Microtonic comes into focus on its third track, “Infinity Peaking.” Album opener “Goit,” featuring a guest vocal by Working Men’s Club’s Syd Minsky-Sargeant, is doomy post-Balearic impressionism with spoken lyrics seemingly about the loss of self. Next, the distant-sounding rave-shoegazing hybrid “John on the Ceiling.” “Infinity Peaking” is the point of coalescence; where beats-bedded, drifting electronica is suited to the comedown experience.
Is there such a thing as a boundary between pop and alternative any more? The presence of strange characters like Chappell Roan, Billie Eilish and Lola Young in the mega mainstream suggests not – and so does trajectory of Jessica Smyth aka Biig Piig.
A reissue can be an aide-mémoire, a reminder that a record which has been off the radar for a while needs revisiting, that it deserves fresh attention.
What’s to be said about an album that’s half well-executed body-moving, dancefloor pop and half sickly, slick schmaltz? It’s as if the creator is covering off all possible fanbases, those with taste and those lacking it.
South Korean quintet TXT's latest mini-album delivers six meticulously crafted tracks that showcase the group's evolving artistry through everything from dreamy pop to reggaeton to classic R&B.
With its stripped back arrangement – some ethereal guitar chords here, an unforgettably chirpy three-note descending synth riff there, plus vocal lines that flow and blend mellifluously – album opener “Heaven” delivers the mini-album's first and perhaps most memorable earworm.
Purveyors of extraordinary energy and euphoria, Underworld never miss a beat. The new album – 30 years on from their debut, and their exposure in Danny Boyle’s Trainspotting – once again features music that will always be better live, in the midst of a bouncing throng, ablaze with smiles of joy, than on the best stereo at home, or state-of-the-heart cordless headphones.
There’s a real bind for Kylie Minogue. Her core audience want disco pop, people like me slag her off if she branches out from disco pop and goes country, she does disco pop well… but it’s really, really hard to do disco pop relentlessly well all the time.