The world is plagued with pardoners, shucks and saviours, and they’re all bearing down on Britt Daniel. Continue reading
It’s no understatement to write that Spoon‘s forthcoming eighth album, They Want My Soul, is an album I eagerly anticipate, and from which I expect taut, muscular quality. From the contents of an All Songs Considered interview with the band’s Britt Daniel and Jim Eno which features snippets of new material, I also expect sweetness and light (“I Just Don’t Understand”), dreaminess and R&B (“Inside Out”), rawness and interference (“Knock Knock Knock”). Continue reading
*Not actually definitive at all.
This started with my recognition that BuzzFeed has decided to carve up every phenomenon in the world into ‘definitive rankings‘ and ‘which x are you?‘. Not to be outdone, here, then, is my contribution to this growing corpus. I hope Mr. Matthew Perpetua is paying attention. Continue reading
With violent simplicity, a four-day holiday teases with the trappings of summer. Relinquish reason, and fall for this meteorological trick. Continue reading
Wild Beasts’ Present Tense is decidedly grown-up in its attitude to love and lust, and it’s also home to two of the band’s most foreboding, non-sexual compositions. Continue reading
A friend’s sister has been in town, visiting from the Garden State. She brings with her the baggage of a gentler pre-campus life: sprinklers on lawns, the station wagon, and the sodium-glare of streetlights on wide tree-lined avenues. Nothing evokes endless estival evenings like Real Estate‘s second album, Days. But at a certain point, I had begun to wonder if Matthew Mondanile’s plangent, cyclical music would overwhelm the elegant simplicity of his childhood friend Martin Courtney’s lyrics, which are lifted wholesale from the imagery of dusky suburbia. Continue reading
A great clue to assist in the decoding of Beck’s Morning Phase lies in the packaging of his last proper full-length, Modern Guilt. Released in 2008 with an unbearably au courant title, its paranoia was more in tune with the America of the Cold War, and its cover was inescapably an homage to Dylan’s Highway 61 Revisited. Crisp Swiss typography and a shot-from-the-hip castoff photograph was an elegant visual counterpoint to the music within, produced by Danger Mouse and rich with rubbery synths and psych rock tropes. Continue reading
From the bowels of the BBC, Delia Derbyshire et al coaxed endearingly schlocky electronic sounds from rudimentary, homemade equipment. Twenty years after it started shuttering up for the final time, two bands are channelling a similar approach to very different conclusions. (more…)
There is a lost art form and it is the special disco version. Beloved of James Murphy, and neophytes like my friends and I, these are endlessly strung-out 12″ edits suitable for dancing to in people’s living rooms. Embarrassment doesn’t enter into the equation.
Hayden Thorpe is Antony Hegarty but beneath him, in place of Nico Muhly’s strings or a tender piano figure, are only chilly synths and caustic, brutal drums.