Looking for something to blow away the cobwebs with? The new LP from Squarepusher might just be the ticket.
Be Up A Hello will be his first album in five years, released on January 31 via Warp. It sees Tom Jenkinson reflect on the impact of his years raving, with the result that the album draws heavily on acid house, techno and rave, whilst looking to the future. The tracklisting is as follows:
A1. Oberlove A2. Hitsonu A3. Nervelevers A4. Speedcrank A5. Detroit People Mover B1. Vortrack B2. Terminal Slam B3. Mekrev Bass B4. 80 Ondula
The first two tracks from the album have been unveiled: ‘Vortrack’ was released just before Christmas, and ‘Nervelevers’ was released today.
Her music draws on many sources and influences (not all of them musical, either), and seems to be being pitched as somewhere between hip-hop and emo. To these ears, there’s much in common that might classify it as soul, too, or maybe we all need to step away from the categorisations before the artistry at work gets ignored. The reality ios that Arlo Parks is very special and very distinctive. Are you paying attention?
Well, this has been a task and a half, so this year, there are fifty tracks, forty seven done in an alphabetical list by artist, and finally three tracks given gold, silver and bronze ranking.
There’s no shortage of musical things I would have loved to have done, and seeing Siouxsie and the Banshees live would have been great.
Today’s track ‘Ill Est Ne the Divin Enfant’ (translated into English from the French, literally ‘He Is Born, the Divine Child’) was covered by the band on the b-side of their 1982 single ‘Melt!’
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This is a performance on a French TV show with 17 Seconds’ all-time hero Robert Smith of the Cure as part of the group:
In 2011, Tom Tom Club covered the song, too. This is a different reading but just as lovely…
Annie Lennox also covered the song on her Christmas album, A Christmas Cornucopia:
Back in 1991, the
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Chieftains covered it with vocals from Kate and Anna McGarrigle on the album The Bells Of Dublin:
As we draw to the end of this decade, it is clear that Kate Bush has been a bit more visible than in the previous two decades, with the release of the Director’s Cut album, the 50 Words For Snow winter album and the live performances that led to the Before The Dawn live album. Perhaps, like the Blue Nile,
