“It's a Happening Thing,” January 1967’s debut single from California’s Peanut Butter Conspiracy, is one of the year’s best. Driving, with a full sound, a psychedelic edge, soaring vocal and immediate tune, it sounds like a hit.
Doja Cat is a fascinating one-off. She’s a rap-centric Californian artist whose background dips into everything from new age philosophy to skate culture. She’s the epitome of a 2020s singer who’s as much a social media phenomenon as a pop star (and has also been featured artist on tunes by almost everyone).
One of the great moments of Private Eye magazine’s fustiness in recent years was putting Mariah Carey in Pseud’s Corner, for the quote about how she deals with the ageing process: “I do not acknowledge time.” That quip is of course in no way pseudo-intellectual, and in every way fabulous, as anyone with the slightest knowledge of Carey or pop culture would grasp immediately.
Solar Eyes are an indie dance two-piece from Birmingham’s Hall Green. With a sound that binds together psychedelic guitars, foot stomping beats and trippy lyrics, their sophomore album Live Freaky! Die Freaky! exudes a wild-eyed exuberance that echoes the 1990s’ marrying of electronic dance music and floppy-haired indie tunes.
“Helix” is the ninth track on portals//polarities. With this dramatic, acid house-leaning slab of shoegazing-infused electropop, Night Tapes make the case that they’re the real deal.
The tour by the 81-year-old Mulatu Astatke which is currently under way and this album seem to be giving off different messages. Coming to London on 16 and 17 November, it is being marketed as a farewell. Last night's show at Ancienne Belgique in Brussels had lured a full house through being billed as “his very last concert on Belgian soil". Paris’s Salle Pleyel mentions “une grande tournée d’adieu”.
The remarkable The First Family: Live At Winchester Cathedral 1967 represents the first-ever release of a previously unheard recording of a 26 March 1967 Sly and the Family Stone live show. It is the earliest document of Sly and Co. to surface.
Robert Plant is magnificently well-equipped to shine as a consummate musical survivor: not only has his voice kept its magic, with a range from sensual caress to ecstatic howl, but he’s deeply rooted in timeless music, Scots-Irish and American folk as well as the country blues.
Hackney’s Round Chapel is an appropriate venue. Scottish smallpipes player Brìghde Chaimbeul opens her set with “Dùsgadh/Waking.” It has the spirit of a call to prayer: the directness, the insistence, the magnetic quality. All of which draws in anyone exposed to its power. It enchants.
I’ve never thought of myself as a political artist. I write about love. The tender bits, the messy bits, the heartbreak that rearranges a life. That’s where songwriting usually finds me. “TIEF”, from my forthcoming album Sunshine Music, arrived differently. It’s built around an interpolation of “Slave” by the legendary calypsonian singer Mighty Sparrow. Calypso, a music that has lived in my bones for as long as I can remember. “Slave” proposed a question I sought to answer.