Kesha is one of the 21st century’s most characterful pop stars. She’s regularly stepped out of the boxes people have put her in, musically and otherwise. But, even taking into account truly oddball songs such as “Godzilla” (from 2017’s Rainbow), or projects such as working with Flaming Lips, Gag Order, created with cosmic ultra-producer Rick Rubin, is by far her most out-there work. It’s also the sound of a tormented human being.On her first two albums Kesha personified young American women raucously embracing hedonism, breaking out of the cultural straitjackets that had head-melted Britney, Read more ...

Brighton is writhing with music biz sorts. The Great Escape is here, the multi-venue festival that’s taken place here for over a decade-and-a-half, presenting bands from all over the world, most of them little known, at least in the UK. It takes place over four days, Wednesday to Saturday, although not much happens on Wednesday, so the real Day One is Thursday, and here we are. We’ll be back Saturday for a full day-long mash-up but, to start off, here's a quick dive into the first evening, starting at the Latest Music Bar, on a central street perpendicular to the seafront. Upstairs is an airy Read more ...

Amongst the stranger recordings surfacing in 1977’s summer of punk was the version of Sex Pistols’s “Pretty Vacant” appearing on the budget Hallmark label album Top Of The Pops Volume 60 – the latest in a long-running series collecting ostensibly sound-alike versions of current hits recorded by anonymous session musicians and singers in a Wembley studio.This “Pretty Vacant” just-about caught the heft of the original but was in no way a convincing facsimile. The singer tried though. He adopted a voice along the Old Man Steptoe lines which might have caused the then Johnny Rotten to chuckle. Read more ...

Before even a note was struck, Yard Act’s singer James Smith was setting the bar high. “Over the past two days everyone we’ve met in Glasgow has been telling us this is the best gig we’ll ever play”, he declared, as soon as the Leeds band arrived onstage. They then proceeded over the following 70 minutes to deliver on that expectation, with an evening that’s among the best the storied old Barrowland has ever seen.That might sound like overzealous hype, but this was a beefed up set that possessed power, passion and playfulness all at once. This current short jaunt for the group is essentially Read more ...

My associate for the evening has recently returned from Breaking Convention, a conference on psychedelics, celebrating their renaissance in recent years. He’s been microdosing regularly. Around us the crowd sways, many with eyes closed, bobbing, silhouetted by two screens and a stage backdrop on which a dancing silver-grey blob-humanoid grooves itself to liquid, splatters flowing off it.Equally shadowy onstage, two dark-haired men are clapping. The one on the left is singing too. “Can't say it’s what you bargained for/It’s forever at the push of a button/Up to the edge of the edge of the edge Read more ...

March 1960’s I Hear A New World EP was British pop at its most extraordinary. As its liner notes put it, it was “a strange record”: one seeking to aurally reflect life on the moon and in outer space. Musique concrète, pop and studio-only sonic manipulation were rolled into one. Its creator was producer Joe Meek.However, barely anyone heard the EP. There was a low pressing run of maybe just 99 copies as fewer-than 100 avoided purchase tax. An album was planned and around 25 test pressings were made. It never came out. A second EP went no further than the printing of some sleeves. The EP which Read more ...

Ain’t Too Proud? Ain’t too good either, I’m afraid. Which is a shame as there’s plenty of the raw material here that powers juggernaut jukebox musicals around the world, but this production has the feel of a cruise ship show with a much tighter band and better singers. We follow the rise of the Motown megaband, The Temptations, from the dark alleyways of Detroit to the top of the charts, supercharged by hits like “My Girl”, “If You Don’t Know Me By Now” and “Papa Was a Rolling Stone”. Their stock-in-trade comprised power ballads sung in close harmony and stage shows that sold the songs Read more ...

It’s hard to think of an album that’s simultaneously as dramatic and as restrained as this. But then Dave Okumu has always put his music and ideas out into the world in the subtlest of ways.As a guitarist he’s been omnipresent for many years, playing with Jane Birkin, Adele, King Sunny Adé, Grace Jones, Theo Parrish, 4 Hero, Matthew Herbert, Amy Winehouse, Tony Allen, Radiohead’s Ed O’Brien and many others, and as a writer/producer he’s quietly sculpted a highly influential sophisticated pop sound for the likes of VV Brown, Nilüfer Yanya, Jessie Ware and Rosie Lowe as well as his own band The Read more ...

Together or separately, British psychedelia and 1967’s related music have been ceaselessly looked at. There cannot be an awful lot more to say. Nonetheless, the law of diminishing returns is there for ignoring so herewith the follow-up to the 2016 box set Let’s Go Down & Blow Our Minds.Too Much Sun Will Burn - The British Psychedelic Sounds Of 1967 Volume 2 is – in keeping with its predecessor – a 79-track, four-hour clamshell set. Despite the crowded market, it's a great listen. Should an introduction to the territory be needed, the diligent Too Much Sun Will Burn does a mighty fine job. Read more ...

This is technically Leslie Feist’s first release since 2018’s Pleasure. But that doesn't mean the Canadian songwriter has been resting on her laurels.In the five-year period, she’s stepped into the role of solo parenthood by adopting her daughter Tihui, relocated to Toronto, and launched a chart-topping podcast series, Pleasure Studies. All this during a global pandemic that’s thrown the art industry into a bin fire.Accolades and adoption process aside, something else was percolating in the ether though. During the first lockdown, the musician found herself more productive than ever. As she Read more ...

I admit I’ve never really seen the point of Ellie Goulding as a pop star. What is it that identifies her? What aspect defines her music? What sets her apart from the pack? Since I believe femme-led pop music is the defining pop of this century so far, surely I should be onside? My contrarian side honestly willed her fifth album to persuade. But it does not. It is, instead, everything about femme-centric 21st century pop that its critics deride. It is vapid, lacking character and substance.You may suggest that, as someone who’s clearly not a fan of Goulding, I’m not the ideal to review this, Read more ...

From around July 1977, Jeremy Gluck began contributing to the UK music weekly Sounds. Amongst his pieces were features on The Lurkers, The Rezillos, 999 and his home country Canada’s punk band The Viletones. He’d also written about Generation X for what ended up as the final issue of Sniffin' Glue. In parallel, along with guitarist Robin Wills, he was formulating the band which became The Barracudas.The pair met at an early 1977 show where The Unwanted, the punk outfit Wills was in, was the support band. Once The Barracudas debut single was out – August 1979’s independently released “I Want Read more ...