Londoner Yemi Olagbaiye is the model of a new generation musician for whom the dissolution of genre categories means not homogenisation but an opportunity for greater individuality.
One of last year’s finest surprises was the debut album from Rayographs, a fractured, psychedelic excursion that remains enthralling. Paper Dollhouse is the solo guise of Rayographs’s Astrud Steehouder. While A Box Painted Black isn’t quite the shock Rayographs was, it beguiles.
Against all the odds, I find myself going into 2012 with a strong sense of optimism. And the reason? I am a born-again rave zealot. I saw it at Outlook Festival in Croatia, I saw it at Sónar in Barcelona, and I saw it at the Big Chill where I was running a stage; participatory, constructive, creative partying, where the crowds go not just to be entertained but to plug into something bigger, to be part of something.
It's understandable that people get put off leftfield dance music, given how much micro-genre delineation and dog-in-a-manger protectionism there can be in underground scenes. It can seem a shame sometimes, but then again, these are part and parcel of the fertile creativity and passion that exists around the music, so it's swings and roundabouts.
You’ve got to love the “I Can Only Give You Everything” riff. Admiral Black do and base their “Got Love if You Want It” around an inverted version on their debut album. Cheese-wire fuzz guitar pulses, Bo Diddley drums bash and a wheezy organ, well, wheezes. From the borrowed title alone, it’s obvious where Admiral Back are coming from: classic Sixties-leaning rock. It's not all scuzz and psych though in the house of Black. “Madman’s Blues” drifts by in a haze and “Crystallised” begs for lighters in the air and a swaying audience.
Ken Kesey is one of these characters who gets filed under "Counterculture Legend", alongside the likes of Hunter Thompson and Abbie Hoffman, though his accomplishments are somewhat amorphous. His early achievements as a novelist are easier to quantify - One Flew Over the Cuckoo's Nest and Sometimes a Great Notion put him pretty high up in the batting averages of modern American literature - but he gave up literature for film-making.
If there's one electronic sub-genre that is not worth approaching blind it's “tech-house”. Since the late Nineties, it has tended to be the most functional and generic of club soundtracks, a steady, decadent plod, all clean lines and predictable shifts: nothing to frighten the horses or interrupt the steady progress of weekend hedonism. In short, boring.
The “remix album” has a patchy history. From bodged-together cash-in collections of already-released B-sides via showcases of hipness (hello Radiohead!) to focused collaborations (Mad Professor's reworkings of Massive Attack being the best known), the range of approaches is diverse to say the least. If anyone can get it right, though, it's King Midas Sound's Kevin Martin.
A few years ago – peaking in 2007 - “cosmic disco” was a brief clubland rage. It came mostly from Oslo and consisted of calm, bearded Norwegian dudes creating a fabulous psychedelic stew of groovy house, Italo-disco, and their own ineffable proggy weirdness. Where filter disco, the unkillable dance-pop sub-genre kick-started by Stardust’s “The Music Sounds Better With You”, has mostly been hugely unadventurous, relying on basic retro pilfering, cosmic disco was always marinated in the deep, druggy pulse of the best nightlife.
A reverb-swathed guitar picks out a rudimentary surf riff. Drums whack out the Bo Diddley shuffle. The four-to-the-floor bass throbs. Vocals drag the vowels out. As whole, the sound spirals, pulses. At eye-rattling volume, The Black Angels serve up a psychedelia that’s mind expanding, but more about the darkness within than the light without. Their trip isn’t the worst ride you’ve ever been on, but it sure doesn’t take you to the third bardo.