What made 2016 tick, from ANOHNI to The xx.
Originally published in The Edge
Now we’ve finally reached the concluding moments of 2016, it’s time for This Week In Records to splash out a little bit. You may be familiar with our methods – trawling the web for every last morsel of new music worth your attention and delivering it promptly for breakfast every Friday, with an occasional side dish of irritability whenever someone dares to “spill” a piña colada over a marimba and ends up regurgitating a soulless rendition of a decent dance record from the last millennium. Today, to celebrate the end of all things, we’ve cast our glances right back to where it all began.
Elsewhere on this site, you will find serious collections and rankings of the year – albums, films, games, TV shows, etc. – but This Year In Records is for celebrating 2016’s music in all its delectable forms. Over the next twelve pages, we discuss one release from every single New Music Friday. Some are fantastic. Some are abominations. Some will be recalled as the releases that first caught attention from the music heroes of tomorrow. One is a miserable spawn from The X Factor.
If a rapid whiz through 366 days of music sounds appealing, allow me to be your guide. I promise I’ll only rap twice.
Continue reading “This Year In Records 2016”
Pages: Page 1, Page 2, Page 3, Page 4, Page 5, Page 6, Page 7, Page 8, Page 9, Page 10, Page 11, Page 12
Originally published in The Broadie
My first encounter with Jack Ü, the pseudo-supergroup of professional noise-merchants Sonny Moore and Wesley Pentz, better known as Skrillex and Diplo, came on a sunny Sunday afternoon in Miami last March. At the Ultra Music Festival, the commercial centrepiece of the annual Winter Music Conference that draws the great and the good and the brostep to Floridian shores, the pair took to the stage for the most anticipated set of the weekend.
Within a minute, Diplo had clambered onto the desk and was commanding his sun-soaked congregation, mostly scantily clad college students squandering their spring break by flailing limbs in a sardine-like crush, to scream and clap and all sorts of things that would make the music harder to hear. Call me old-fashioned, but I’m of the opinion that a good DJ should neither be seen nor heard. Their job is to play pre-recorded music in a fluid and appreciable fashion, but Jack Ü took their babysitting duties very seriously and audibly.
And yet, Moore and Pentz moulded their hour on the main stage into the most thoroughly entertaining show of the weekend. Rapidly devouring Skrillex’s new album, Diplo’s dancehall-inspired Major Lazer discography, the talent of their respective labels OWSLA and Mad Decent, and even Toto’s ‘Africa’, the frantic set clicked perfectly. In parts, so does their collaborative album. Continue reading “Album review: Skrillex & Diplo Present Jack Ü”