My week just gone has been filled with the funk and disco of Shalamar and McFadden & Whitehead, and the classical romance of celebrated French chanteuse, Edith Piaf.
Missouri singer SZA has been a firm favourite of mine since discovering her in the early half of 2014. She makes wavy, psychedelic R&B and neo-soul, similar to Kelela and Jhené Aiko, and she has a voice that will say with you for days.
Natasha Khan revels in the unusual and the antiquated. The Bride, her fourth full-length in her guise of Bat for Lashes, is a tale of macabre beauty and tragedy.
Parlophone Records, 2005A gimmick. That’s what they put Gorillaz’ success down to. Despite everything that had been achieved by this unusual musical concoction in the 18 months since the launch of their 2001 debut album, detractors still labelled them a here today, gone tomorrow band. But little did they know that the virtual band, created by musician, Damon Albarn, and cartoonist, Jamie Hewlett, would front what would later be acknowledged as one of the most influential and progressive records of the noughties: Demon Days.
A one-time video stream of the concert was broadcast tonight, so I thought I’d scribble down some impressions as I watched it. This is a summary of those impressions.
As if news of Gorillaz return in 2016 wasn’t enough already. Yesterday, Blur announced their first new album as four-piece in 16 years. Should the rumoured The Good, the Bad & the Queen follow-up somehow be in the mix, I’ll be doing back flips down the street. Blur’s new album, titled The Magic Whip, started from jam sessions in the “claustrophobic and hot” confides of a Hong Kong studio, following a cancelled show in Japan. Guitarist Graham Coxon and long-time Blur producer Stephen Street developed these sessions until, as drummer Dave Rowntree put it, “we all realised we’d done something quite special there”.
Everyday robots just touch phones.
Image: Aaron Lee