CDs/DVDs
Barney Harsent
Birmingham’s reggae veterans UB40 are a band who have often worn their politics on their sleeves, and the title of their new album is taken from Jeremy Corbyn’s Labour Party mantra. The parallels between the two have already been noted, of course. After a turbulent time, a split saw a new man thrust into the spotlight while divisions raged and claims were made over who had the rights to the soul of a British institution. Sound familiar? In fairness to Duncan Campbell, brother of former singer Ali, he seems to have adapted to his role rather better than the current Labour leader (fair Read more ...
Asya Draganova
A mere 12 years since their previous disc Ma Fleur came out, the Cinematic Orchestra have finally got around to releasing their fourth studio album. So naturally, there are expectations to meet and To Believe responds by demonstrating a re-energised artistic direction. The new album finds a good balance between the lightness of the Cinematic Orchestra’s sound and a coherent, well-articulated album concept. Indeed, without any pretentious claims to innovation, this new set evokes a sense of space, motion, and timelessness with contemporary and elegant orchestrations, memorable loops, and a Read more ...
Tom Birchenough
The story behind this first – and final – feature from the young Chinese film-maker Hu Bo is as sad as anything in recent cinema history. Stretching to nearly four hours, An Elephant Sitting Still is a film of almost unremitting bleakness, following the overlapping paths of a group of characters and their existence – “life” hardly seems the right word for it – in a run-down city in regional China. Set over the course of one day, it is also a hugely skilled piece of filmmaking, with a script from Hu (also an acclaimed novelist) that manages the rare achievement of bringing separate strands of Read more ...
mark.kidel
Foals have delivered a consistently top-notch series of albums (this is their fifth since Antidotes in 2008): guitar-led, high-energy, musically literate without being effete or pompous. Power pop elevated beyond the run-of-the-mill by a great deal of intelligence and taste.The latest album is the first of a pair (a kind of delayed-release double album) and once again, the band, who are no doubt at their best as a very exciting live act, have made an album rich in material that will stand the test of time, and yet feels very fresh. That frontman Yannis Philippakis should hail from the hill Read more ...
Guy Oddy
Metaprogramação is the third album from Deafkids, the chaotic mass of hair and flailing limbs that put on a fine display at last summer’s Supersonic Festival, during a recent rare visit to the UK. As with the band’s previous fare, it’s a whoozy psychedelic concoction that sits very heavily indeed. Characterised by weirded out 1970s’ Dr Who-type sound effects rubbing up alongside guitars and vocals that are manipulated and twisted beyond all recognition in a musical stew that is driven by ferocious polyrhythms that never let up, this is an album that sits in an orbit as far from the mainstream Read more ...
Owen Richards
As collaborations go, it’s a doozy. Karen O’s signature vocals over Danger Mouse’s production – it was always going to pique interest. And Lux Prima does much to meet expectations, gorgeous cinematic soundscapes that flit between haunting and defiant. At its best, its damn near mesmerising. But for those expecting a genre-defying, structure-blowing new horizon, it falls just short.Of course, those parameters are wholly unfair to judge an album, but it was hard not expect something ground-breaking after the titular lead single “Lux Prima”. Clocking in over nine minutes, a synth groove Read more ...
Tom Birchenough
You might think an American high school comedy an unlikely place to locate a love letter to Oscar Wilde – even if there’s a flamboyantly gay story behind it. But Freak Show screenwriters Beth Rigazio and Patrick J Clifton, adapting James St James’ source story, have a way with wit that is clearly aiming to match the writer whom they keep quoting. The fact that they sometimes try rather too hard doesn’t detract from the full-on experience that is producer Trudie Styler’s 2017 directorial debut, a film that sustains itself on the sheer over-the-top camp energy of its teenage hero, Billy Bloom, Read more ...
Lisa-Marie Ferla
You’d be forgiven for thinking, in the age of streaming, that the promotional single was a dying art. And yet there’s already something familiar about Sigrid’s long-awaited debut album. It’s almost two years since “Don’t Kill My Vibe” was the song of the summer, propelling its young Norwegian protagonist to the heady heights of Glastonbury and the BBC Sound of 2018 title making its inclusion, along with fellow 2017 track “Strangers”, on her first full-length appear a little cheeky. Consider them the advance guard - or perhaps a Trojan horse - for a collection of bittersweet bangers with just Read more ...
howard.male
Was that "A waltz is a beat not a march" being hollered through what sounds like a megaphone on “Three Steps to a Development”? Sometimes it’s tricky to make out what vocalist Austin is on about, as he strains to be heard above the dazzling organised noise: such perversity and archness is pure art-school. But in this instance it also places focus on the relentless forward thrust and throbbing physical heft of the music itself. Snapped Ankles (great name, gentlemen) offer up a shiny new take on the post-punk aesthetic epitomised by bands as diverse as Devo, the B-52’s, Magazine and early Read more ...
graham.rickson
Marvel at Stranger in the House’s title sequence, the pulsating multi-coloured shapes accompanied by the cheesiest of title themes. It’s not Saul Bass, but it’s effective. Pierre Rouve’s 1967 film contains elements which may confound, irritate and annoy, though it fully deserves this handsome reissue in the BFI’s Flipside strand, with its mission “to rescue weird and wonderful British films from obscurity”. They don’t come much more weird and wonderful than this, with Hungarian émigré Rouve fresh from duty as executive producer on Antonioni’s Blow-Up. You can tell.Georges Simenon’s source Read more ...
Jo Southerd
Stella Donnelly does not suffer fools gladly. On her debut LP, she calls out all manner of bad behaviours, from crappy bosses to creepy guys, annoying family members to disappointing boyfriends. Donnelly’s very much a part of the new guard of songwriters who aren’t going to sit in silence, and aren’t afraid to stand up for themselves and others. And yet, angry music this is not. There are no pounding drums, no squealing riffs, no hateful growls. Rather, a quiet confidence and self-assuredness defines Beware of the Dogs. Album opener and first single "Old Man" sets the tone with Read more ...
Liz Thomson
Twenty years on from No Angel, the most successful debut ever by a British woman which went on to become the top-selling album, worldwide, of 2001, Dido Florian Cloud de Bounevialle O'Malley Armstrong releases her fifth album. Spare output by most standards, though she has contributed songs (Britney Spears, Rihanna) and backing vocals elsewhere in the interim.Dido has described Still On My Mind as “accidental” because she never plans anything, and the experience of its creation “magical”, perhaps because it was all so unexpected. It’s an album intended to capture “the rush” she herself gets Read more ...