This Year In Records 2016

What made 2016 tick, from ANOHNI to The xx.

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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”

Album review: Eric Prydz – Opus

A decade in the making, Prydz’ debut LP calls on ’80s synthpop and his famous progressive house for a sparkling journey through his abilities.

Originally published in The Edge

It was almost a dozen years ago that Eric Prydz almost displaced then-Prime Minister Tony Blair from his rowing machine with some rather provocative aerobics. 2004 single ‘Call On Me,’ a Stevie Winwood sample, spent five weeks at the top of the UK charts and, aged 7 and still only understanding music through the prism of ITV’s Saturday morning compendium CD:UK, Prydz’ self-maligned track served as my vulgar introduction to house music. By the time ‘Pjanoo’ was beaten to Number 1 by only Katy Perry four years later, an appreciation for the discipline and the man in particular had begun to properly gestate.

Numerous releases under countless guises later, including a three disc compilation under his dancefloor-centric alias Pryda in 2012, Prydz has at last put an album out under his own name. Opus requires patience, lasting beyond two hours, however the evident influences from the synth-pop upon which he feasted in his youth prevents it from feeling tedious. Continue reading “Album review: Eric Prydz – Opus”