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.
Freak Wave is my brand new podcast which features underground and experimental music from around the world, venturing into marginal music scenes from outside of the Anglo-American axis. Episode 1 kicks off with music from Portugal, Malaysia, Colombia, Italy, Angola, Spain and France.
A few months ago, I revisited Rabbit Island’s brilliant debut album, 2011’s ‘O God Come Quick’. With no sign of a follow-up, I idly filed it away as a ‘one and done’ moment of genius. In a joyful burst of synchronicity, I received an email about her follow-up the very next day. I can’t say that I willed this album into existence, but something about that timeline makes the dream seem very real. Perth’s Rabbit Island finds a new approach with ‘Deep In The Big’, her near-ASMR vocals and unvarnished story-telling now come layered under luscious reverb and elliptical, delayed piano.