As a long-time fan of Oneohtrix Point Never, I was disheartened that his last album Garden Of Delete was so difficult to love. It was a bloody-minded record, daring us to enjoy a dense, arhythmical odyssey, all the while knowing that it was essentially impenetrable. Thankfully, the follow-up is almost a complete U-turn, rippling with beautiful broken vocoder pop, lush electronics and a starring role for the harpsichord. It’s as bold as it is unorthodox, a breath-taking revision of electronic music and modern composition. It proves that true originality and innovation need not repel, but can instead deliver a warm embrace, and reassure us that this Age Of… whatever is going to work out just fine.
In response to the endless war with the algorithm, I am deploying an old-school newsletter – and the first edition dropped today. It’s called ‘accents’ and it includes new discoveries, would-be modern classics and old school raves, culled from research for my Double J radio show, Fat Planet, and scouting for my record label, Provenance. Test drive ‘accents’ here + subscribe to future editions here.
Led by renowned jazz musician, clarinetist, saxophonist and composer Shabaka Hutchings, this is one of my favourite records of the year thus far. Your Queen Is A Reptile digs into the African roots of jazz, and meshes it with afrobeat heat, UK club culture and relentless Afro-Caribbean rhythms. Featuring players who have worked withMulatu Astatke and The Heliocentrics, this Mercury-shortlisted album is a must for fans of Kamasi Washington or Fela Kuti.