If you were to compare solo career resumes, Ghostface Killah has probably been the most prolific of the Wu-Tang Clan members. Ironman, Fishscale and Supreme Clientele are all staples of any self-respecting hip-hop collection, and his reputation within the world of rap music is beyond reproach.
The deteriorating economic situation in Greece has been worldwide news for a while now, and besides the repetitive and insulting media simplification of these issues — austerity, austerity, austerity — it’s a reality that few can truly relate to and even fewer can effectively write music about.
We have a quick chat and e-coffee with Leeds’ indie-pop oddballs The Wednesday Club about their music, the importance of humour and art. We reviewed their latest album, Passing Strange, over yonder.
James Blake’s self-titled debut LP was a stripped down, skeletal exploration of human emotion; a scrapbook of thoughts and feelings where the fractured snare taps and sporadic bass notes served as little more than nods of agreement with Blake’s soulful rhetoric.
Over the decades, hardcore punk music has often been an outlet for the voice of the voiceless; an angry fist of defiance against the perceived oppression of modern society. With Howl, aptly named after the Allen Ginsberg poem of the same name, This Routine Is Hell are here to carry on that tradition, delivering a vitriolic 18 minute assault on those who would attempt to stifle their dreams — a series of poignant battle cries to and from a generation brought up around media interference, global conflict and economic meltdown, one distorted guitar riff at a time.
Justin Timberlake has been treading a very deliberate artistic path for many years now. It’s been a subtle evolution, built piece-by-piece by a burning desire to make pop music his way, far removed from the stifling constraints and expectations the genre is known for.
Having been out and about since before 2007, it’s amazing to me, at least from the sound of Passing Strange, that The Wednesday Club haven’t garnered more attention for themselves.
Last year, Mauro Remiddi released his first album under the name Porcelain Raft. Strange Weekend was a fascinating, astral collection of songs that caught the attention of many with their striking rhythms and infectious melodies. We were able to speak with Mauro and talk to him about where he goes from here.
I’ve often fantasized about sitting in a smoke filled room surrounded by people who have not only seen things, but truly experienced them. They are gifted with a kind of wisdom that grandchildren believe only their own grandparents possess — the kind reserved only for those equipped to handle it.
I enjoy the mystery in music, so you can picture my delight when I received an email in the dead of night from an enigmatic Austrian artist named 00y 18, a one man blitzkrieg who creates ferociously bleak instrumental sludge inspired by the churning industrialism of steel mills. This is the Stahlstadt EP.