Disc of the Day reviews new albums, week in, week out, all year. Below are the albums to which our writers awarded five stars. Click on any one of them to find out why.
SIMPLY THE BEST: THEARTSDESK'S FIVE-STAR REVIEWS OF 2017
Alan Broadbent: Developing Story ★★★★★ The pianist's orchestral magnum opus is packed with extraordinary things
British bass music has played a gigantic role in contemporary pop. Twenty years ago it nearly crossed over when the major labels wrongly assumed that, post-Goldie, drum & bass was going to explode commercially. It didn’t and the whole scene disappeared back underground, mutating, breeding, moving forwards. Drum & bass begat speed garage which begat 2-step/UK garage (giving us Craig David!) which begat grime which begat dubstep, all of which begat monster hits by everyone from Justin Bieber to Jax Jones.
Skepta (aka Joseph Adenuga Jr) and James Blake provide a fascinating parallel as voices of the UK's “generation bass”. Both are from north London, and both have come from a grounding in the subsonic undercurrents of London's early 21st century underground genres – Skepta mainly in grime, Blake in dubstep, although each reached into the other's scene a little via early collaborations – and both have risen to international success, in particular becoming influential on the American mainstream.
There's a new kind of forum for electronic musicians. Certainly not a rave, and not just a recital to earnest nerds, built on a kind of patronage, but a long way removed from a standard corporate gig where you're just providing the interchangeable soundtrack to X or Y product launch. The realm of the technology party, often seen at conference-festivals like Amsterdam Dance Event and Sónar, but increasingly as a standalone thing throughout global cities, is something very 21st century, very odd, and still to be negotiated.
Polar Bear have been re-shaping the musical landscape (the experimental jazz end of it, at least), since 2004, and after a few years’ hibernation after 2010, the creature is back in rude health, this year’s album hot on the heels of last year’s Mercury-nominated In Each And Every One. Identifying the group’s generic mix feels increasingly daunting, as new elements are constantly layered onto the existing work.
The past year or two have seen a staggering return to popularity of house and techno music in the UK. For the first time since the mid-1990s, records which have grown steadily through club play over many months are breaking through into the charts on a regular basis – but just as exciting and significant are those records that remain resolutely underground. Because it's there that you start to see the real reason for the longevity of these sounds – both well over a quarter of a century old.
The thought of attending a dance music conference in Amsterdam frankly gave me the creeping horrors. I'd never been to Amsterdam Dance Event before, and the combination of DJ egos, business hustling and relentless partying through hundreds of club venues in a renownedly liberal city presented so many opportunities for both boredom and complete catastrophe, it just seemed like a fool's errand. But this, of course, wasn't fair.
When drum'n'bass emerged from hardcore rave's interactions with London's pirate radio culture, 20-odd years ago, it created some of the most radical grassroots music ever to come out of the British Isles. It came in such a white heat explosion of underground, transforming repeatedly and rapidly through different iterations its first few years, that nobody could have predicted that it would reach a commercial high-point two decades on.
AlunaGeorge deserve to be lauded as one of this year’s great singles bands solely on the strength of “Attracting Flies” and “White Noise”, their collaboration with electro outfit Disclosure. The London duo - featuring the purring vocals of Aluna Francis and George Reid’s sassy production - have been gaining attention in all the right places over the past 12 months, which gives their delayed debut a lot to live up to.
“Formulaic” is all too frequently used pejoratively in reviews – but from minuets to minimalism, Bo Diddley to drum'n'bass, finding a formula that works and sticking to it has produced some of the finest music in human history. Liverpool-born producer E.m.m.a. might not yet be in the history-changing category, but she's certainly found a simple and distinctive recipe and her explorations of its possibilities are currently extremely fruitful.