The end result is something that’s freaky and funny, as rigorously experimental as it is gleefully entertaining.
The Most Lamentable Tragedy feels like a quintessentially modern album, a scintillating examination of mania and neurosis that uses the history of rock’n’roll as mere stage dressing for its bravura performance.
The Waterfall is ... perfectly attuned to its immediate surroundings, but it also seeks to channel a more all-encompassing spirit.
His work is possibly the most interesting as a collision point between hippy music old and new.
It's more defiant and distinct than anything she’s done before, testament to her first go at self-production. But what really sets it apart from her catalogue is her desire to break the cycle, to let go and let herself be young.
There are fade outs and fade ins mid-song, vocals come heavily treated, instruments are strafed with sound effects; essentially, Weller is making a virtue of his processes here.
On Poison Season, Bejar re-embraces street rock, and recontextualises it as well.
Ba Power feels like another dramatic leap forward and a further landmark in the integration of African tribal rhythms and western rock’n’roll.
What In Colour reveals is the sheer scope of Smith’s skills as a songwriter and producer. The xx on ecstasy: not a bad idea at all.