Arcade Fire//Everything Now Review

“We’ve all got this “literary” fiction that simply monotones that we’re all becoming less and less human…and we all buy the books and go like “Golly, what a mordantly effective commentary on contemporary materialism!” But we already “know” U.S. culture is materialistic. This diagnosis can be done in about two lines.” – David Foster Wallace to Larry McCaffrey

How about “Infinite content/We’re infinitely content”?

Arcade Fire have never sounded so shallow, tired or cynical. It’s been coming for a while – their three most recent albums have all featured a track or two dedicated almost solely to Win bitching about the youth – but it’s never seemed so fatal.

The relentless ‘message’-ness and moralising of Everything Now – it’s about how we have everything now and infinite content has not made us happier – makes for pretty poor company most of the time, made worse by a smug sense of superiority and half-baked experimentation. Continue reading


Animal Collective//The Painters & Meeting of the Waters EPs

The perception of an artist’s’ prolonged excellence can often thank gradually reduced expectations for that longevity; same applies for Animal Collective. After the underwhelming but still compelling Centipede HZ. and the largely uninteresting Painting With, this year’s EPs have seemed like a resurgence – even if they’re not. Continue reading


Assorted Albums Almanac//Spring 17

There have been many months of music, film and anything else noted and not uploaded here. But when you unload those thoughts and experiences, surely best to start from the present rather than the past? Here are a selection of albums that caught the ear – or, more often in the process of discovery, the eye – over the past month or so.

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Best of 2016: Film



2//I, Daniel Blake


3//The Witch


4//The Wailing


5//Green Room


6//Hunt for the Wilderpeople


7//Under the Shadow


8//The Lobster






11//Hell or High Water


12//Captain America: Civil War


13//A Monster Calls


14//Hail, Caesar!


15//10 Cloverfield Lane



Best of 2016: A Subjective Ranking

Look past the losses of 2016 and what you’re left with is an otherwise stellar year for music.  It speaks volumes, however, that so many of the year’s finest albums predicate on darker themes. But across albums that tackle topics as diverse as racism, sexism, age, death, tragedy, loneliness, what proves profoundly striking is the shared sense of fire, grit and perseverance that resonates through each. It has been a year in which so much of our music has dealt with despair and yet managed to deal out hope. Acceptance is perhaps the other big theme; self-acceptance, mainly. Whether it’s Angel Olsen’s defiant Woman, Chance’s celebratory Blessings, Bowie’s terminally beguiling Lazarus, or Solange’s soul-searching Cranes in the Sky. The mutual catharsis of this year’s best music seems to have given artists an urgency and vitality, a striking sense of relevance, that has allowed 2016 to become a year of music in which a Kanye West release can seem like only an afterthought.

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Michael Kiwanuka // Limelight, 15 October

For an album whose mode is most often melancholic, Michael Kiwanuka’s Love and Hate translates into a surprisingly energetic, even joyous live experience. These aren’t radical reconstructions of the album’s original tracks, but they are injected with a vitality and momentum that unearths the latent funk buried in the album’s slow-build introspection. Continue reading

Article, Review

Nick Cave & The Bad Seeds // Skeleton Tree Review

Nick Cave is often at his most pretentious, and his most farcically overblown, when he indulges his demonic preacher alter-ego. As his croon has deepened and mellowed in his later years, he has developed a voice that is almost excessively rich in drama. His lyrics, which already walk a fine line between the poetic and the ponderously cliché, can seem exaggerated into melodramatic farce.  

This, however, is a rare record where Cave truly sounds sincere. I have no doubt that his previous works have been performed with unshakeable sincerity and conviction – his passion and presence is undeniable – but here it for once sounds less like an act, a character, a stylisation. It is almost painfully real. Continue reading