Want an antidote so forced seasonal cheer and the catchiness of Christmas pop? How about some almost entirely atonal drone, clatter and throb with titles like “Fish Death”, “Tales for Violent Days” and “Dissonance Émancipee”?
Even those with the most tangential connection to pop music will be aware that K-Pop is all conquering, and the likes of BTS and BlackPink are on some metrics the most successful of recent acts anywhere. But at the same time, there is also a growing awareness that there is a burgeoning Korean indie and art music scene, the flames of which have been fanned by what has become one of London’s most interesting and enterprising annual festivals, K-Music.
There’s been a quiet storm of critical approval building around Weyes Blood. American singer Natalie Mering has been releasing music for over a decade but, during the last two or three years a tailwind of positive verbiage has blown her faster forward. Her last album, Titanic Rising, the first of a loose trilogy, of which this is the second part, made low level inroads to commercial success on both sides of the Atlantic.
There is now a kind of “leftfield mainstream” in electronic music. It’s populated by people a decade or more younger than the original acid house generation, but who take their core inspiration from post-rave experimentation of the early-mid Nineties. Dusky, Bicep and to an extent people like DJ Seinfeld, Four Tet and Jon Hopkins all channel the rich melodies and textures of Future Sound of London, Orbital, early Aphex Twin, Underworld and co to arena-filling effect.
Ten minutes before The Orb got on stage at the Hare & Hounds, Alex Paterson was standing in the building’s courtyard with a big old spliff in his hand “clearing his head” and getting ready for action. So, it was good to know that some things don’t change.
“Our only hope of saving our planet is if we begin to have different feelings about it,” Brian Eno writes in introduction to his new album in five years, Foreverandevernomore (the first featuring his own vocals since 2005’s Another Day on Earth).
“Perhaps if we became re-enchanted by the amazing improbability of life; perhaps if we suffered regret and even shame at what we’ve already lost; perhaps if we felt exhilarated by the challenges we face and what might yet become possible.”
Beth Orton has never rushed her music. Her first four albums came one every three years, then since 2002 it’s averaged at a five year gap each time. So it’s no wonder also that there can be stylistic schisms from one to the next.
The word “immersive” has, of late, been hijacked. Now used with conspicuous abandon by everyone from estate agents offering piss-poor 3-D renderings of bang average houses to fancy-dress film screenings, its true meaning has been immolated to the gods of mediocre marketing.
Step forward Engineers multi-instrumentalist Mark Peters, whose new solo album, Red Sunset Dreams, does much to rebalance the scales and restore order for those who like their dives deep and their sound surround.
Who’d have thought that Steve “Interesting” Davis OBE (as he was mercilessly dubbed by the original Spitting Image in the 80s – at a time when he was wiping the floor with the best of the international snooker world on a regular basis) would turn out to be the most interesting ex-World Snooker Champion in living memory?
It’s hard to know exactly when new age music passed from being a retro curio to being part of the language of alternative music. Certainly it can be traced back to the early-mid Noughties, with acts like Emeralds, Oneohtrix Point Never and James Ferraro, and labels like Kranky and RVNG Intl. bringing synth repetitions and cosmic aesthetics into the world of North American noise and DIY music.