The response to this album will depend almost entirely on whether the listener regards Norwegian electronic musician Hans-Peter Lindstrøm’s Seventies-synth-wizard-goes-disco thing as tasty noodle or just noodle.

TUESDAY 27^TH JUNE 2023

I wake up around 11.00, get outta bed around 12.00.

There are whole books to be written – indeed, hopefully being written – on how hip hop has interacted with dance music culture in North America over the past decade plus. From the overblown mania of rap megastars jumping on David Guetta tracks in the heat of the EDM explosion at the start of the 2010s, to the far more sophisticated fusions done brilliantly by Beyoncé and slightly less so by Drake on big albums last year, it’s created some of the most ubiquitous sounds globally.

Some rock bands base their career around being musically fluid, an ever-changing what-will-they-do-next? conundrum. Others, such as, famously, Motörhead and The Ramones, simply go on doing their thing, honing it, repeating ad infinitum, with an almost zen devotion. The results, at their best, are vigorously on-point.

Popular musicians “going classical” can work well. Look at Radiohead’s Jonny Greenwood, at Richard Reed Parry and Colin Stetson from Arcade Fire, or at the late Jóhann Jóhannsson who had a successful career as indie and electronic musician in Iceland before becoming a globally beloved orchestral composer. Of course the boundaries are flimsy anyway these days, with the likes of Max Richter, Nils Frahm and Anna Meredith existing comfortably with one foot in the concert hall and one in the gig venue.

After an unavoidable delay theartsdesk on Vinyl returns with over 9000 words on new and recent releases, ranging across the entire spectrum of known music. Dive in!

VINYL OF THE MONTH

Edrix Puzzle Coming of the Moon Dogs (On the Corner)

There’s retro and there’s retro. Some music – what you might call the Oasis tendency – simply reproduces the obvious signifiers of the past as signposts of cool. But there’s other stuff that shows deep understanding of both the technique and the spirit of what came before, that really taps into the same wellsprings that created the sound it’s replicating in the first place.

Last days of June 2022, I sit in my writing hut. My liver is radioactive jelly, my nose reinforced concrete, my leg muscles marathon-cramped, and poisoned perspiration rolls down my forehead, stinging my eyeballs.

Despite a five-year career and no breakout hits, Australian outfit Confidence Man has grabbed the attention of some heavyweights.

Perhaps appropriately, when I called Pete Tong for his 10 questions I was hungover, on the phone in a park after a night at a very good party. It’s a sign of the times that things are appearing to return to a relative normal, despite the threat of Omnicron and a precipitant winter lockdown.