Here’s a playlist for of Stereolab’s inspirations and influences. It features the likes of Kraftwerk, Can, Neu!, Broadcast, The Beach Boys, Philip Glass, Brian Eno, The Velvet Underground etc. Get to know!
Last month saw the release of Eminem‘s Kamikaze. Whilst the album was largely panned by music fans and critics alike, it did have a pretty cool album cover. The album art was a reference and homage to the Beastie Boys‘ debut album Licensed to Ill, an obvious point of influence to Eminem as the Beastie’s were the first white rap act to truly break through. This cover got me thinking, what other album art spoofs, parodies or pays homage to other record sleeves. Here are a selection of the best, enjoy!
Pictured on the left is the original, the right features the spoof.
Beastie Boys’ Licensed to Ill and Eminem’s Kamikaze
The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and Frank Zappa‘s We’re Only In It For The Money
Black Sabbath’s Master of Reality and Electric Wizard’s Legalise Drugs and Murder / Murder & Madness (Single)
Elvis Presley’s Self-Titled Debut and The Clash‘s London Calling
The Kinks’ The Kinks Kontroversy and Sleater-Kinney’s Dig Me Out
The Beach Boys’ Pet SoundsandTurbonegro’s Ass Cobra
Leonard Cohen’s The Best of Leonard Cohen and Ween’s The Pod
The Velvet Underground’s The Velvet Underground & Nico and The Dandy Warhol’s Welcome to the Monkey House
The Beatles’ Meet the Beatles and The Residents Meet the Residents
Elvis Presley’s 50,000,000 Elvis Fans Can’t Be Wrong and The Fall’s 50,000 Fall Fans Can’t Be Wrong
March 20th marks the tenth anniversary of Panda Bear’s ‘Person Pitch’, a mesmerizingly playful, radiant and surreal record shaped by eclectic influences, topography and coincidence, amounting to a final creation which remains unsurpassed in contemporary psychedelia. ‘Person Pitch’ is the result of the hours of work Noah Lennox put into a bedroom studio entwined in wires and strewn with samplers, microphones, laptops and keyboards which formed a unique sound concurrently influenced by the Mediterranean warmth of his newly inhabited Lisbon residence. Customs issues meant no guitar equipment at Noah’s disposal, yet that very occurrence shaped the approach to song-craft which gave ‘Person Pitch’ its distinctive edge…
Read the rest here!
Originally written for GIGsoup
Panda Bear earned the top spot in my 2015 Albums of the Year list with Panda Bear Meets the Grim Reaper.
2016 has been an incredibly gloomy year for music. We unfortunately parted with Leonard Cohen, David Bowie, Phife Dawg, Prince, Nick Menza and George Martin, all highly influential figures who will be dearly missed. Elsewhere this year, Frank Ocean released two albums after a sixty-four year wait, Kanye West made the best album of all time in addition to recently announcing Donald Trump will replace Jay-Z on the follow-up to Watch The Throne, Beyoncé and her seventy-two writers single-handedly ended patriarchal oppression with a beverage and somebody forgot to tell Bon Iver that Sufjan Stevens did the “sensitive indie songwriter goes electronic” thing six years ago. So, that’s the cynicism out of the way, here are my personal favourite albums from this year.
Here are a few things I’m looking forward to in 2017.
* Edit – Run The Jewels released Run The Jewels 3 a few days after I finalised this article. It’s barely had time to sink in but my first impression is that it’s unreal; it would have appeared high in this list. It will have to feature in next year’s list thanks to its awkward release date.
30. Kaytranada – 99.9%
Kicking off the list is Kaytranada’s debut album, which features some of the best beats of the entire year; tracks like ‘Bus Ride’ and ‘Weight Off’ are straight up irresistible. For those more in tune with the hardcore side of hip hop, 99.9% can often be a little too poppy, bordering on the saccharine side of 2016’s trendiest genre, R&B, exemplified in Craig David’s guest spot on ‘Got It Good’. Although it’s confused at times, there are some hard-hitting beats, funky moments and influences creeping in from all sorts of genres including wonky and house. Due to its upbeat nature and a healthy amount of guest spots, 99.9% is an incredibly varied and house party ready album.
29. Show Me The Body – Body War
Show Me The Body’s debut album is a blistering mix of post-hardcore, industrial hip hop and punk. Body War is discordant, groovy, aggressive and exciting. Fans of Death Grips may appreciate this album.
28. Dinosaur Jr. – Give A Glimpse of What Yer Not
Give A Glimpse of What Yer Not is essentially a return to the classic sound of Dinosaur Jr., especially the Bug and Green Mind eras. Their previous album I Bet On Sky saw an increased Neil Young influence creeping in and an expansion into more instrumentation however, Give A Glimpse by way of gritty, straightforward alt. rock; ‘Tiny’ in particular sounds like one of their iconic singles from the late eighties/early nineties. Whilst it may not be regarded as being as great one of their classic post re-union albums such as Farm and Beyond, it’s still solid. This year I was lucky enough to see them live after wanting to for years and they didn’t disappoint. I hope the group continue to make music together for as long as humanly possible.
27. Animal Collective – Painting With
Painting With, like Animal Collective’s previous album Centipede Hz is extremely busy in sound, accentuating their defining qualities to the maximum. This will be off-putting to AnCo sceptics yet loved by many a hardcore fan. For the majority of the record, the sound is colourful and vibrant. This works with occasional brilliance in the likes of the sunshine pop ditty ‘FloriDada’ and the kitsch ‘Golden Gals’ yet in other parts, it can be their downfall. Parts of Painting With sound like the audio equivalent of a pack of jelly beans melting in the blistering sun, creating a sickly sweet, unpleasant mess. Panda Bear and Avey Tare’s vocal mannerisms are in your face and heavily manipulated with echoes, overlaps and overdubs throughout and this gets tiresome, unlike the similarly playful Strawberry Jam and Panda Bear Meets the Grim Reaper (my 2015 album of the year) where studio and vocal enhancing techniques were executed brilliantly.
26. GOAT – Requiem
GOAT reveal a sprawling set of psychedelic tracks with sounds that span the world over, from Swedish folk to Nigerian afrobeat, Requiem is GOAT’s best album since their debut. Reviewed in more detail here.
25. YG – Still Brazy
The majority of the time, “unoriginality” is frowned upon in music. Other times, however, firmly showcasing retro influences can work brilliantly thanks to the unique way the sounds return to the modern era. This is certainly the case for YG’s Still Brazy. The record is a shameless throwback to the synths, heavy beats and minimalist instrumentation of G-funk, the influence of Dr Dre., Snoop Dog and Warren G are all over Still Brazy. The retro beats and gangster lyricism results in an album that’s one of the most enjoyable of the year.
24. Black Mountain – IV
These guys have been on my radar for years now and after IV was slated as a return to form, I decided to finally delve into Black Mountain. I discovered ten tracks of individual character that fit seamlessly together as a whole record. The opener ‘Mothers of the Sun’ will immediately pull Black Sabbath lovers in with its fuzzy soundscapes whilst tracks like ‘(Over and Over) the Chain’ feature expansive spacey synths and there’s early krautrock on ‘You Can Dream’ and there’s a nod to The Brian Jonestown Massacre on ‘Crucify Me’.. This was one of those “wish I’d checked it this band sooner” moments; IV is a glorious fifty-six-minute trip into the fuzzier side of psychedelia, prog rock and every accompanying genre in-between. I’m by no means opposed to ‘retro-rock’ but Black Mountain manage to look to the past for influence yet execute it with modern prowess.
23. Mark Pritchard – Under the Sun
Global Communication member and dabbler of various electronic genres evokes ambient and IDM with some cleverly positioned guest spots (such as Thom Yorke, Linda Perhacs and Bibio) on a record that’s Mark Pritchard’s first under his own name. Read the review I wrote here for a more detailed report on Under the Sun.
22. Conan – Revengeance
Liverpudlian metal trio Conan continue to make some of the heaviest doom imaginable on their fourth record Revengeance. If you fancy a more in-depth account of the album, read the review on Broken Amp here.
21. Thee Oh Sees – A Weird Exits and An Odd Entrances
As Mutilator Defeated At Last was one of my favourites of last year thanks to Thee Oh Sees increasingly obvious explorations into psychedelia, I was intrigued to see what John Dwyer and co. would do next. Obviously, they were going to release something in 2016, but I wasn’t expecting two albums from them in such short succession. Both A Weird Exits and An Odd Entrances both delve into mind-expanding psychedelia, giving the impression they were set to be a double album set. A minor stylistic change from Mutilator, both albums take cues from krautrock and prog whilst featuring segments of energetic garage rock that defined their earlier work. Highlights from the two LPs include ‘Plastic Plant’, ‘Ticklish Warrior’ and The Beatles-esque ballad ‘The Poem’.
20. Nails – You Will Never Be One Of Us
After Abandon All Life became one of my favourite “heavy” albums of all time, I was intrigued to see what Nails would do next. Opening with the contender for the best introductory track this year and closing with a crushing epic, You Will Never Be One Of Us didn’t disappoint. Nails’ future is uncertain but I really hope they don’t call it quits just yet. In the meantime, read the full report of You Will Never Be One Of Us here.
19. Skepta – Konnichiwa
Possibly the biggest statement in British music this year, Skepta’s Mercury Prize winning album Konnichiwa mirrored Dizzee Rascal’s Boy In Da Corner in success and hype, despite being released thirteen years apart. Whilst it may not top Dizzee for the title of the most acclaimed grime album ever, Konnichiwa is full to the brim of gritty instrumentals and tales of inner-city London in addition to allowing for across the pond crossovers thanks to guest appearances from A$AP Nast and Pharrell Williams. It’s hard hitting and gritty, featuring a wide array of beats and samples, including Queens of the Stone Age’s ‘Regular John’ on ‘Man.’
18. Dälek – Asphalt for Eden
After a prolonged hiatus, industrial hip hop pioneers Dälek return with a solid collection of tracks and a revitalised line-up. Armed with a new producer, their sixth studio album oozes with noise and bleak uneasiness. Here’s a detailed report on the band and the industrial hip hop spectacle as a whole.
17. BADBADNOTGOOD – IV
Last year, BADBADNOTGOOD put some of the best instrumental tracks to record with Sour Soul, a collaborative effort that didn’t equate to the greatness it deserved due to a lacklustre performance from Ghostface Killah. On IV, BBNG move away from the dark jazz-fusion of III and opt for an increasingly modern approach centred on soul, funk and lounge. Frequent collaborator Leland Whitty became a permanent member and an array of guest spots are scattered through the record, allowing for a pop/soul crossovers. Whilst IV may not have reached the dizzying heights of brilliance which III achieved, it’s their most varied work to date and will introduce many new listeners to the young band who always have an interesting take on whichever genre they’re playing.
16. Denzel Curry – Imperial
Probably the only trap rap album I’ve ever enjoyed, Denzel Curry’s Imperial is a ten-track collection of hard-hitting beats, technical rapping and sharp lyrical content. The instrumentals can either be or hard hitting or dreamy and Curry’s rapid flow perfectly complements the beats to create bangers such as ‘Story No Title’ and ‘Knotty Head’ and conscious tracks like ‘Pure Enough’ and ‘This Life’. ‘Gook’ is one of my favourite singles this year.
15. Ty Segall – Emotional Mugger
After the lush glam-psych of 2014s Manipulator, Ty Segall decided to change things up again and bring out a record which stands as the polar opposite to his previous release. Emotional Mugger often sounds irrational, spontaneous and wild. It’s carefree, dissonant, unpolished music with the fuzz turned all the way up. Ty just does what he wants, which will please his adoring fans who rarely have to wait more than a few months between recordings for a new album release. I was hoping for more of the same of Manipulator, but that’s both a pro and a con; artists who get stuck in the same sound quickly become stale so Ty’s experimentation is much appreciated. I saw this album being performed in full and it was an amazing experience, possibly my live highlight of 2016.
14. Xiu Xiu – Plays The Music Of Twin Peaks
Angelo Badalamenti’s compositions which blended dark jazz, dream pop and ambient perfectly heightened the strangeness of David Lynch’s ground-breaking series Twin Peaks. From the soothing theme song to the recurring ‘Audrey’s Dance’, the music has become inseparable from the iconic show. Experimental/post-punk group Xiu Xiu covered various songs from the soundtrack for an art exhibition regarding the work of Lynch and subsequently decided to record them for a Record Store Day release. The result is a fantastic and eccentric record which offers frequently intriguing and terrifying takes on Badalamenti’s work. The closer ‘Josie’s Past’, which features readings from Laura Palmer’s diary is a particularly unnerving highlight.
13. Oranssi Pazuzu – Värähtelijä
Oranssi Pazuzu are a Finnish black metal group who incorporate many genres into an atmospheric cocktail of sound which includes psychedelia, prog, noise rock and space rock. Bizarre yet surprisingly listenable, even non-black metal fans will appreciate Värähtelijä. Here’s an article I wrote exploring the phenomena of “psychedelic black metal”.
12. Joyce Manor – Cody
Joyce Manor throw their fans off-guard with every release. Their follow up to their highly acclaimed debut Of All Things I Will Soon Grow Tired was as experimental as pop punk gets; delving into R&B basslines, using spoken word snippets, covering 80s pop classics, referencing The Smiths several times and recording folk tracks on a tape recorder. Their third album, Never Hungover Again furthered their power pop influences and added clever instrumentation alongside sparkling production. Cody is their most poppy release yet and seems like a step down, understandably considering the quality of their past three albums. Despite this criticism, Cody features some of Joyce Manor’s best songs to date such as ‘Fake I.D.’, ‘Stairs’ and ‘The Last You Heard Of Me’. Here’s a more detailed account of Cody.
11. The Body – No One Deserves Happiness
The Body have once again proven they are one of the most ground-breaking groups in contemporary metal thanks to No One Deserves Happiness, “the grossest pop album ever made”. This was my favourite metal album of the year so it had to feature on my staff feature on Broken Amp.
10. The Hotelier – Goodness
Goodness is a massive step-up in quality from the previous work of The Hotelier. They’ve stripped almost all of their pop punk sound off, resulting in a solidly enjoyable and consistent indie rock record which sometimes borders on the grandiose post-rock tendencies of The World Is… . There’s a sense of positive urgency in the vocal delivery, the guitars flirt with dynamics, and the track snippets are a cool little addition. Goodness is probably the biggest surprise of 2016 for me.
9. King Gizzard and the Lizard Wizard – Nonagon Infinity
It wouldn’t feel right if King Gizzard and the Lizard Wizard didn’t release something crazy this year and they didn’t disappoint with Nonagon Infinity. The album is designed as an “infinite loop”, basically meaning that as soon as the album ends, it loops back to the start so the end note meets perfectly with the opening one; possibly the only time in the digital music age that the repeat function has come in handy. Whilst many artists go for conceptual albums in musical content or lyricism, King Gizzard choose to explore the album format. For instance, last year’s fantastic Quarters! devoted an equal quarter of the record for each track (10 minutes 10 seconds to be exact) and Quarters! and Nonagon Infinity are as intriguing as they are straight-up enjoyable. So enough about the formats, it’s the music that shines through. Taking a healthy dose of Thee Oh Sees-esque lo-fi psych-fuzz and blending it with touches of heaviness and prog musicianship, King Gizzard blast through track highlights such as the funky ‘Mr Beat’ and the wild ‘Gamma Knife’ with repeated motifs throughout to create a sense of cohesion that fits the overlaying theme. The band currently seem to be on a creative streak on par with their influences and with a monstrous five albums expected for next year, King Gizzard will keep fans on their toes throughout 2017.
8. A Tribe Called Quest – We Got It From Here… Thank You 4 Your Service
We Got It From Here… is oddly A Tribe Called Quest’s comeback album and swan song. Surprisingly enough, it serves as both a return to form and a piece of hip hop history. Their first album in eighteen years offers a fresh take on their iconic blend of jazz and rap, soaking up a range of alternative hip hop influences who have come to prominence since Quest’s absence, exemplified in their sampling measures (such as using the same beat heard in Madvillainy’s ‘Meat Grinder’ on ‘The Killing Season’) and an impressive roster of guests spots from Kanye West and André 3000 to Kendrick Lamar. We Got It From Here… will be remembered as contextually significant as it was released shortly after the world found out that Donald Trump would be the next President of America. Tracks such as ‘The Space Program’ and ‘Conrad Tokyo’ explore the anxieties of minorities and the positive media portrayal of the reality TV star. It’s amazing to see one of the most important groups in musical history get the send-off they deserve, especially after the surprise death of Phife Dawg earlier this year. Despite a tumultuous relationship between the group, differences were settled and the creative chemistry inevitably flowed, resulting in one of A Tribe Called Quest’s strongest albums to date.
7. Leon Vynehall – Rojus (Designed To Dance)
The follow up to the impressive debut Music For The Uninvited, Brighton based DJ Leon Vynehall brings his unique blend of catchy house with shades of techno and a flair of the experimental on Rojus (Designed To Dance). The record would sit comfortably at a house party and club setting thanks to its deep bass and punchy rhythms whilst being perfectly suited for home or headphone listening thanks to its layered approach. With so many house artists concentrating on minimalism and atmosphere, it’s refreshing to see a style centred on enjoyability, one that’s catchy, accessible and danceable in equal measures.
6. The Avalanches – Wildflower
Plunderphonics group The Avalanches return after sixteen years with possibly the most anticipated album of 2016, it’s only their second since the revolutionary classic Since I Left You was released. In my opinion, this is just as good as their debut but despite both albums sample heavy nature, it’s near impossible to compare the two; Wildflower is much more psychedelic. The trippy feel is exemplified on ‘Colours’ which features Jonathan Donahue of neo-psych pioneers Mercury Rev, featuring backwards vocals and numerous psych-pop quirks. Wildflower showcases its fun and carefree side throughout; ‘Subways’ is a catchy little disco-funk track, ‘Frankie Sinatra’ is a delight with its carefree sound and excellent choice of guests (in the form of MF DOOM and Danny Brown) and ‘The Noisy Eater’ sounds like the best song Gorillaz they never released. It’s great to have The Avalanches back and it would be even greater to hear more of them in the future without waiting another sixteen years.
5. Radiohead – A Moon Shaped Pool
A Moon Shaped Pool came out of nowhere. There were no preceding interviews, advertisements, or sponsor encouragements regarding the release of Radiohead’s ninth album. Shortly after every trace of a social media presence was removed online, the first single ‘Burn the Witch’ was released and the compulsory hype ensued. The album was released five days later to mass critical acclaim. A huge improvement on the unremarkable The King Of Limbs, A Moon Shaped Pool is a collection of vulnerable, orchestrated art rock. The different approach from the Oxford five-piece is a welcome change, the group don’t revert back to the sounds of their previous work and offer something entirely different. As it’s subdued, it’s a grower and improves with every listen. The varied yet minimalist instrumentation, haunting vocals and sequencing are integral to the record. Radiohead will headline Glastonbury next year and it will be interesting to see these tracks being performed at a huge festival setting.
4. Aesop Rock – The Impossible Kid
Aesop Rock’s seventh album is possibly his best work to date. The beats are indebted to John Carpenter soundtracks and El-P’s cold electronic production (the influence of Run The Jewels and The Cold Vein are all over this), often sounding like sci-fi rap blockbusters. Despite the fantastic instrumentals, it’s Aesop’s flow and lyricism that drives the music. Deemed to be the wordiest rapper of all time, his multi-syllabic flow is rapid, technical, and often shifts within the beat. Lyrically, Aesop Rock is highly metaphorical, a flair which has often confused casual fans yet delighted the hardcore backpacker types who delve into the interpretations of each and every line. The Impossible Kid features the loquacious, cryptic stanzas of classic works such as Labor Days but pleasingly, he frequently delves into straightforward storytelling approaches. ‘Dorks’ deals with how musicians portrayals are steered by the media rather than the artists themselves and ‘Blood Sandwiches’ chronologically reflects upon parental worries of impressionable youth. Seemingly a serious album, Aesop is often sarcastic and habitually amusing, even writing about his pet cat in the track ‘Kirby’ so it isn’t all doom and gloom. Thanks to the improvements in Aesop’s nimble lyricism, storytelling and beat preferences, The Impossible Kid is one of the most memorable hip hop albums of the year.
3. Deakin – Sleep Cycle
Those who were disappointed with Painting With will find more than enough to love with Animal Collective member Deakin’s first solo album, Sleep Cycle. Deakin is the only semi-permanent member of Animal Collective, often being considered the “least significant member” of the group due to being absent in the creation of AnCo classics such as Merriweather Post Pavilion, one of the most acclaimed records of all time. He rarely tours with the group and until now, he’s never released any solo material, adding insult to injury when compared to Panda Bear who’s gained numerous album of the year and decade awards. Originally conceived as a project in 2009, Deakin (real name Josh Dibb) set-up a Kickstarter to fund both the album and a trip to Mali to perform at a festival to raise money for a charity. He scrapped plans for the album yet decided to finance the trip himself, donating all of the money raised and self-funding the expedition to Africa. After hearing about the project being postponed after little in the way of updates, fans were mortified. Dibb’s reasons for the adjournment stemmed from severe self-doubt regarding the quality of his material and singing.
Deakin silenced his own misled doubts and his naysayers with Sleep Cycle, an album which beats anything Animal Collective, as a band, have produced in nearly eight years. It’s a short and subtle record packed full of kaleidoscopic sounds, engaging vocals, delicate electronics and spirited experimentation. ‘Golden Chords’ delves into slow-burning psych-folk, there’s the melodious ‘Just Am’ with its beautiful shimmering keyboards and repetitive rhythmical backbone and ‘Good House’ is a perfectly fitting and gorgeously trippy album closer. For someone so insecure about their prowess as a vocalist and musician, Sleep Cycle seems so assured thanks to the rewarding brilliance of its finest moments. A joyous mix of organic sounds and layered repetition, Sleep Cycle is the best psychedelic album of 2016. Let’s hope we hear more from him in the future.
2. Danny Brown – Atrocity Exhibition
Detroit based rapper Danny Brown returned after a three year wait after the disappointing EDM/trap influenced Old and thankfully, Atrocity Exhibition is not only a massive improvement but an innovative step forward in hip hop. Citing the Joy Division track and J.G. Ballard’s surrealist novel ‘Atrocity Exhibition’ as the titular foundation and influence for the album, Danny Brown reflects on his demons extensively throughout the fifteen tracks presented to the listener. Brown states that he is the atrocity exhibition, frankly unveiling his reckless lifestyle without restraint for the public to see through his music.
If Old was the party, Atrocity Exhibition is the comedown. The lyrical content focusses on Brown’s struggles with addiction, paranoia, sleep deprivation, mortality, depression, delinquency, and dissociation stemming from his extensive drug abuse whilst the production echoes the unease with dense, challenging and highly experimental beats. Atrocity Exhibition is by no means promoting drug use as it may superficially suggest upon the first listen; Danny reflects on extremely dark topics such as damnation through overdose in the sarcastic ‘Ain’t It Funny’, if one more line could kill him on the spot on ‘White Lines’ and the deterioration of his mental health in ‘The Downward Spiral’, cleverly referencing a line from his breakthrough album XXX in the process. ‘Really Doe’ is possibly the greatest song this year, featuring an insane hook from Kendrick Lamar and exceptional verses from Ab Soul and Earl Sweatshirt whilst the post-punk influence is illustrated in ‘Pneumonia’ which showcases an ingenious pseudo-drop and an exceptional industrial-style beat. Brown signed to Warp Records for this album and it allowed him full artistic freedom over the direction over the record, with Warp stimuli even creeping in on the IDM influenced ‘When It Rain’.
The outcome of Danny Brown’s influences which stretch from traditional hip hop to industrial, post-punk and experimental rock result in a bizarre, varied, psychedelic, dense and abstract piece of work that will be remembered as a crucial milestone in hip hop. Continuing on from Vince Staples’ Summertime ’06, Brown similarly utilises the Joy Division/post-punk influence as the centre-theme for an album and the result is comparably thought provoking and gloomy. Atrocity Exhibition should be concentrated on from a perspective of despair and the vicious cycle of drug use rather than Brown’s past work which encouraged the party lifestyle. Atrocity Exhibition is possibly the biggest artistic statement of the year and just missed out on the top spot of this list by a fraction. I’ll be listening to this for years to come.
1. Death Grips – Bottomless Pit
In 2012, Death Grips became one of my favourite groups. I couldn’t stop listening to The Money Store, hearing it shortly after the massive hype it received that year died down a little. It was heralded by many as the best album of the year thanks to its sheer energy, shattering sub-bass, insane drumming and the vocal prowess of MC Ride. I was even more impressed upon delving into their previous work, their debut mixtape Exmilitary especially. It was a perfect mix of experimental hip hop, industrial rock and punk aggression with excellently selected samples ranging from Pink Floyd’s ‘Interstellar Overdrive’ and Black Flag’s ‘Rise Above’ to Link Wray’s ‘Rumble’. Distorting the line between experimental hip hop and punk, Death Grips became one of the most talked about groups of the 21st century.
A few months after The Money Store, Death Grips released No Love Deep Web. They leaked the album as a free download before the formal release was set by their label, Epic Records. Although I found the stunt hilarious at the time (just look at that album cover), this seemed to be the beginning of several controversial stunts for the band. Additionally, No Love Deep Web was the first piece of music from Death Grips that seemed to be drop in quality. The following albums Government Plates and Niggas On The Moon just didn’t click, the catchiness appeared to be replaced by ill-fitting experimental tendencies. To add insult to injury, the band cancelled several tours and didn’t bother to show up at festivals, instead they wrote a “suicide note” and subsequently explained they never intended to perform at these shows in the first place. Despite being asked to perform alongside Soundgarden and key-influences Nine Inch Nails for a huge tour in the Summer of 2014, they disbanded, pompously stating they were a “conceptual art exhibition” and they were “at their best”, refusing to acknowledge fans disappointment at their intentional no-shows and the dip in album quality. I was just about ready to give up on the group so I was sort of satisfied upon hearing they had decided to call it a day. Although I understand the sense of immediacy is why people enjoy NLDW, Government Plates and Niggas On The Moon and their raucous, noisy experimentalism, I just didn’t personally connect with them. Jenny Death was a step in the right direction, however.
With Death Grips announcing their reversion to touring and making music, I was hoping they would return to form and cease the exploits. In 2015, they released ‘Hot Head’ and once again I was disappointed, the track sounded like a complete mess. When Bottomless Pit came around in May, I didn’t even bother listening to it until a friend convinced me it was “their best since The Money Store”. Initially sceptical, I decided to give their sixth studio album a go. After several listens that week and many more throughout the year, I came to the conclusion that this was my favourite album of 2016.
Bottomless Pit surpassed all expectations. From the thrash metal referencing opener ‘Giving Good People Bad Ideas’ to the closer ‘Bottomless Pit’, I was hooked, even growing to enjoy ‘Hot Head’. Bottomless Pit is perhaps Death Grip’s most diverse album thanks to thirteen genre-spanning tracks which reference industrial metal, noise rock, abstract hip hop, glitch and digital hardcore. Although it is often compared to The Money Store in terms of sound, it sounds like a sequel as opposed to a direct imitation. Although frequently noisy, brash and overflowing in layers of sound and instrumentation, Bottomless Pit is incredibly enjoyable, fun, sinister, interesting and doesn’t outstay its welcome.
Although preceded by several great tracks, Bottomless Pit hits a stride at around the halfway point with ‘Eh’ and its ingenious syncopated rapping delivery which perfectly fit with the unobtrusive beat and background electronics. There is no “drop” or aggressive instrumentation in ‘Eh’, it sounds like the group at their “most hip hop”. This style should be explored in more depth it would be great to hear Death Grips making an album with a similar sound to abstract hip hop artists such as MF DOOM or Company Flow, for example.
‘Trash’ is comparable to ‘Eh’, showcasing MC Ride’s clever wordplay and rapping virtuosity. Songs like ‘Bubbles Buried In This Jungle’, ‘Ring A Bell’, ‘8080808’ and ‘BB Poison’ feature throbbing riffs and dense beats reminiscent of industrial rock/metal acts Godflesh and Nine Inch Nails. Bottomless Pit also features excellent production, bone rattling sub-bass and intricate percussion thanks to drummer Zach Hill and producer Flatlander, traits which become increasingly apparent on tracks such as ‘Houdini’ and ‘Warping’.
Overall, Bottomless Pit is an exceptional return to form, incorporating all the elements of Death Grips’ previous releases whilst resuming the catchy hooks and head-nod inducing beats of Exmilitary and The Money Store. This album rekindled my love for Death Grips and seeing them perform at an insane sold out show in Manchester only furthered this. They are the band I’ve listened to the most out of any artist in 2016 as I’ve revisited their entire discography in addition to playing Bottomless Pit countless times. Although some will say there have been more ground-breaking albums released in 2016, it is this album which I keep coming back to over and over again. I discover new things upon every listen and rarely skip a track if one comes up on shuffle. The success of Death Grips comeback album and the ensuing tours which saw them performing to thousands whilst actually having fun again (the group performed in London in Halloween dressed in full suit attire) is a delightful feat. The group continue to shock and perplex in equal measure and recent social media uploads have seen bizarre imagery posted with no explanation, raising countless questions on what this could “mean”. There’s no doubt we’ll hear something from the prolific and eye-brow raising group but until then, Bottomless Pit, the best album of 2016, will be played continuously.
Lil Ugly Mane – Mista Thug Isolation (2012)
Not much is known about this elusive hip hop artist but his music speaks volumes in itself. Lil Ugly Mane (the experimental hip hop artist Travis Scott) “retired” from making music last year after the release of Oblivion Access but I think we can expect more from him in the future due to his impressively prolificacy. His discography is diverse, ranging from instrumental collages and trippy Memphis rap (influenced by artists such as Three Six Mafia and chopped and screwed artist DJ Screw) to cloud rap and instrumental hip hop. Although gaining popularity and fame through Internet platforms such as Bandcamp and Youtube, don’t confuse Lil Ugly Mane’s music with “meme rap” like Yung Lean. On Mista Thug Isolation Ugly’s lyrics reflect a braggadocious persona, full of drug and violence references, his voice is pitched shifted several octaves down and the beats are fantastic beats are psychedelic, deep, rich and eerie.
Candy Claws – Ceres & Calypso in the Deep Time (2013)
Ceres & Calypso in the Deep Time is as warm in its conceptual nature as it is in its content; it’s about a girl and her pet seal time travelling through an ancient universe and that’s exactly how this album sounds (in addition to perfectly reflecting the album art). It’s warm, lush, vibrant and ethereal, mixing psychedelic dream pop with shoegaze and noise pop, amounting to a sound of Person Pitch meeting Slowdive and early Mercury Rev. Ceres & Calypso is a lo-fi wall of sound, high in reverb and barely audible vocals and although Candy Claws songs lack diversity in parts, they instead opt for an all-encompassing, ambient feel full of playfully delicate delights.
The Beach Boys – Surf’s Up (1971)
So, my current obsession with The Beach Boys continues, and after enjoying Sunflower and loving Smiley Smile (but not as much as The Smile Sessions), I decided to check out Surf’s Up. Post-Pet Sounds Beach Boys saw them experimenting with a variety of sounds, from soul to psychedelia, progressive pop and baroque pop. Surf’s Up features all of these sounds, but is closer to mellow psychedelic pop and despite the title, it’s not a falling back to the old ways of their disingenuous surf sounds. With standout tracks such as ‘Feel Flows’ and ‘Don’t Go Near the Water’ and disregarding out of place rocker ‘Student Demonstration Time’, Surf’s Up has become my favourite Beach Boys studio LP, falling second only to Pet Sounds.
Loop – Heaven’s End (1987)
Noisy, droning, brooding, spacey psychedelic rock with a nod to Stanley Kubrick on the album sleeve, what more could you ask for? Loop were the loudest band of the neo-psychedelia mini-revolution of the late 80s and their jams satisfied many an eardrum and probably burst even more. Some accuse them of being a second rate Spacemen 3 but Heaven’s End seems looser and more jammy than anything those two did. I picked this up on vinyl for £2 at a vintage shop in Nottingham along with Talking Heads Remain In Light and Primus’ Sailing the Seas of Cheese, definitely the best luck with crate digging I’ve ever had.
Other notable listens:
Mos Def – Black on Both Sides (1999)
Juggaknots – The Juggaknots (1996)
Buffalo Springfield – Buffalo Springfield Again (1967)
Pink Floyd – Atom Heart Mother (1970)
Country Joe & The Fish – Electric Music for the Mind and Body (1967)
The Beach Boys – Sunflower (1970)
King Gizzard & the Lizard Wizard – I’m in Your Mind Fuzz (2014)
Boards of Canada – The Campfire Headphase (2005)
A list compiling all things psychedelic. Psych rock, pop, neo-psych and its garage rock side.
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Black DiceBeaches and Canyons (2002) |
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Garage Psych |
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The SeedsThe Seeds (1966) |
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The FuzztonesLysergic Emanations (1985) |
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Blues MagoosPsychedelic Lollipop (1966) |
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Ty SegallManipulator (2014) |
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Ty SegallGoodbye Bread (2011) |
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Ty Segall & White FenceHair (2012) |
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King Gizzard & the Lizard WizardI’m in Your Mind Fuzz (2014) |
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King Gizzard & the Lizard WizardQuarters! (2015) |
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King Gizzard and the Lizard WizardNonagon Infinity (2016) |
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The WytchesAnnabel Dream Reader (2014) |
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Thee Oh SeesMutilator Defeated at Last (2015) |
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Thee Oh SeesCarrion Crawler / The Dream EP (2011) |
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Thee Oh SeesFloating Coffin (2013) |
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Black Rebel Motorcycle ClubB.R.M.C. (2001) |
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Black LipsArabia Mountain (2011) |
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Allah-LasAllah Las (2012) |
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Heavy Psych |
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Blue CheerVincebus Eruptum (1968) |
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BaronessYellow & Green (2012) |
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Captain BeyondCaptain Beyond (1972) |
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Flower Travellin’ BandSatori (1971) |
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Leaf HoundGrowers of Mushroom (1971) |
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FuzzFuzz (2013) |
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T2It’ll All Work Out in Boomland (1970) |
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Psychedelic Folk |
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ComusFirst Utterance (1971) |
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DonovanSunshine Superman (1966) |
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King Gizzard and the Lizard WizardPaper Mâché Dream Balloon (2015) |
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Sun City GirlsTorch of the Mystics (1990) |
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Linda PerhacsParallelograms (1970) |
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Animal CollectiveSung Tongs (2004) |
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Animal Collective & Vashti BunyanProspect Hummer (2005) [EP] |
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EspersThe Weed Tree (2005) |
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Storm CorrosionStorm Corrosion (2012) |
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Grizzly BearVeckatimest (2009) |
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Ty SegallSleeper (2013) |
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More Cuts
These just have enough psych to make it onto the spectrum |
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CanEge Bamyasi (1972) |
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SantanaAbraxas (1970) |
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FishmansLong Season (1996) |
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FunkadelicMaggot Brain (1971) |
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Pink FloydMeddle (1971) |
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EdanBeauty and the Beat (2005) |
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The AvalanchesWildflower (2016) |
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QuasimotoThe Unseen (2000) |
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TobaccoFucked Up Friends (2008) |
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DIIVOshin (2012) |
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The ByrdsThe Notorious Byrd Brothers (1968) |
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Alice Coltrane featuring Pharoah SandersJourney in Satchidananda (1971) |
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Pharoah SandersKarma (1969) |
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Sun RaLanquidity (1978) |
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D.D DumboD.D Dumbo (2013) [EP] |
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LSD and the Search for GodLSD and the Search for God (2007) [EP] |
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The Brian Jonestown MassacreThank God for Mental Illness (1996) |
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The Brian Jonestown MassacreAufheben (2012) |
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The Brian Jonestown MassacreBringing It All Back Home Again (1999) [EP] |
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The BeatlesRubber Soul (1965)
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The BeatlesAbbey Road (1969) |
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The Stone RosesThe Stone Roses (1989) |
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The Stone RosesFools Gold (1989) [Single] |
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Kurt VileWakin on a Pretty Daze (2013) |
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MastodonCrack the Skye (2009) |
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EarthHex; or Printing in the Infernal Method (2005) |
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GhostIf You Have Ghost (2013) [EP] |
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Meat PuppetsMeat Puppets II (1984) |
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ToolLateralus (2001) |
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Holy FuckLP (2007) |
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Various ArtistsThe Reverb Conspiracy Volume One (2012) [Compilation] |
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VoivodAstronomy Domine (1989) [Single] |
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UfomammutIdolum (2008) |
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Morbus ChronSweven (2014) |
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GaspDrome Triler of Puzzle Zoo People (1998) |
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Psychedelic Black Metal |
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SighImaginary Sonicscape (2001) |
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Hail Spirit NoirPneuma (2012) |
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NachtmystiumAssassins – Black Meddle Part I (2008) |
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Oranssi PazuzuVärähtelijä (2016) |
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Aluk TodoloOccult Rock (2012) |
Cheers for reading!
Dr. Dre – The Chronic (1992)
So after watching Straight Outta Compton, the exceptionally entertaining biopic on notorious gangsta rap group N.W.A. I decided to revisit them and the output of their respective members. The key three figures in the group were producer/MC Dr. Dre and rappers Ice Cube and the late Eazy-E who each brought an incendiary, individual style to the group. Dre was the latest out of the three to record a solo effort, but his became the utmost celebrated, influential and commercially successful. It influenced pretty much all of hip-hop for over half a decade, its patented sound defined the west coast hip hop scene in addition to a heap of east coast stuff (just listen to The Notorious B.I.G.’s ‘Big Poppa’, for example). It spawned the genre known as G-funk, a subgenre characterised by a style of production using limited samples, deep bass which drew on Parliament/Funkadelic grooves and live instrumentation such as high pitched synthesizers. Every song on The Chronic is exceptionally well produced; every track features memorable beats with brilliantly selected samples. The ominous bass, news report snippets and gang chants give ‘The Day the Niggaz Took Over’ an eerie, urbane feel (recalling the L.A. riots of 1992 after the not-guilty verdict of the Rodney King case) whilst ‘Lil’ Ghetto Boy’ is incredibly smooth with synths that border on symphonic. It goes without saying that the singles of ‘Let Me Ride’ and ‘Nuthin’ But A ‘G’ Thang’ are certified bangers. The Chronic positioned Dr. Dre at the forefront of gangsta rap and hip hop scenes in general with its controversial urban realism and futuristic beats. It fueled the fires of hullabaloo commenced by his former groups tales of violence and hood mentality, it saw the birth of G-funk and launched the career of Snoop Dogg. The Chronic is a stone cold classic; give it a spin if you’re even vaguely into hip hop.
The Olivia Tremor Control – Black Foliage: Animation Music Volume 1 (1999)
Wow, this one was just dripping in colourful weirdness. At nearly 70 minutes long, it’s a psychedelic pop mammoth, influenced by late 60s guitar pop such as The Beatles, The Zombies and The Beach Boys. It’s incredibly whimsical and its synthesis of sickly sweet melodically delivered ditties and obscure sound collage/field recording samples make for a dizzying trip of a listen. The Olivia Tremor Control are members of the indie rock and psychedelic pop collective known as the Elephant 6 which notably features the seminal indie/folk act Neutral Milk Hotel. The sound featured in Black Foliage… however is more closely affiliated with other artists in the commune, especially the quirky psychedelia of Circulatory System and Of Montreal. Part of the albums downfall is also its charm; the manipulations and medley of sound in the interludes give this album a ‘trippy’ retro feel whilst also seeming futuristic and fresh. It’s an album of juxtaposition and that leads to juxtaposed feelings. Usually I can’t stand meandering and strange trails of experimentation that go nowhere but here on Black Foliage, it adds to the charm of the record, making it sound like a gem lost somewhere in the hedonism days of The Summer of Love. Funnily enough, they never did make a Volume 2.
Foxing – The Albatross (2013)
This one was a definitely a surprise. Having disliked records by The World Is a Beautiful Place and I Am No Longer Afraid to Die (irksome band name, right?) and other post-rock inflicted emo, I was expecting to hate this band/album. What I found was ten gorgeous tracks with a chamber pop vibe; the overall melodramatic and spontaneous emotive feel is reminiscent of Arcade Fire’s debut Funeral. I really enjoyed ‘Inuit’ with its dynamic delving, the subtle anthemic quality and fiddly guitars in ‘Bit By A Dead Bee Part I’. Not even the glitch influenced percussion could ruin the brilliant ‘The Medic’. Emo is a genre I’ve put a huge amount of effort listening and looking into but the majority of it has fallen short. The Albatross, however was a more immediate record, I began to enjoy it within a few tracks.
Common – Like Water For Chocolate (2000)
Common’s Like Water For Chocolate is an exploration into soul and jazz by means of hip hop. The beats organic sound is due to production from the Soulquarians collective, an all-star cast of modern soul and hip hop musicians from the more alternative side of the respective genres including (but not limited to) beat making legend J Dilla, The Roots’ Questlove and D’Angelo. The sound is definitely comparable to Slum Village and The Roots; smooth, jazzy, and with a percussive flair. Jay Dee has some unreal beats of course, especially the psych alluding ‘Nag Champa’ which sounds like Hendrix playing solos backwards. The highlight however is the DJ Premier cut ‘The 6th Sense’ which sees his signature turntable scratch imposed beats become the centre-piece of the album. Clocking it at nearly 80 minutes long, this isn’t something palatable in a single listen, it could definitely do with some of the fat trimmed. Its length means it isn’t an ideal introduction to those wanting to get into jazz rap and conscious hip hop, however it is regarded as a classic in many circles.
Atlas Sound – Logos (2009)
Atlas Sound is the moniker of Bradford Cox, member of the neo-psych/dream pop group Deerhunter. There’s something with a lot of his groups music I find very pleasant and enjoyable, but rarely memorable. It’s usually a sound comprising of a haze of ambient textured guitars, breezily washing over me, making me unable to recall what exactly I liked most about it. This statement may seem a bit harsh, but their dreamy soundscapes are the main reason why so many of their cult fanbase are captivated by them. Logos is the best thing I’ve heard from them anything Deerhunter related since 2009s Microcastle. I love the pulsating bass in ‘Washington School’, the Panda Bear featuring ‘Walkabout’ and the warm, cyclical acoustic guitar strums on ‘Attic Lights’. With a few more listens, I feel I’ll be able to really dig this.
Other notable listens:
Thee Oh Sees – Carrion Crawler / The Dream EP (2011)
Kurt Vile – Childish Prodigy (2009)
Fennesz – Endless Summer (2001)
Holy Fuck – LP (2007)
Algernon Cadwallader – Parrot Flies (2011)
Boris With Michio Kurihara – Rainbow (2006)
Tony Molina – Dissed and Dismissed (2013)
Everything I could wish for and more: fuzzy, melodic, sickly sweet pop music. There is a distinct early Weezer influence, as well as slacker college rock groups like Dinosaur Jr. and Guided By Voices (who Tony covers with the track ‘Wondering Boy Poet’) and the power pop of Teenage Fanclub. Molina’s tone is thick and fuzzy, reminiscent of noise rock and grunge groups of the early 90s and the solos are punchy and incredibly tuneful. It sounds organic with its lo-fi approach and doesn’t outstay its welcome at a mere 11 minutes in length. There isn’t a second wasted here.
The Beach Boys – The Smile Sessions (2011)
The Smile Sessions is one of the most infamous albums ever due to its mystique and being notorious for the unprecedented amount of work going into each piece, forming a highly conceptual set of songs. It never surfaced due to legal issues, internal band fall outs and substance abuse/mental issues from primary songwriter Brian Wilson. The Smile Sessions is the piecing together of the recordings before the project was abandoned into an album that fits together (somewhat surprisingly) exceptionally well, with Wilson stating it is “not a far cry” from what the original Smile would have sounded like. To me, this is The Beach Boys at their best. The songs have that signature Beach Boys charm, with layered wall of sound production, baroque instrumentation and gorgeous harmonies yet if you’re only familiar with the Beach Boys early pop work, then you might be a bit weirded out by this one. It’s psychedelic, progressive, hypnotic and overall it’s a sonically amazing piece of work. I was completely blown away by the tracks ‘Surfs Up’, ‘Vega-Tables’, ‘Heroes and Villains’ and ‘Barnyard’ which all have their own separate characteristics. And of course, the huge hit classic single ‘Good Vibrations’ closes the album off in spectacular fashion. This is only my second foray into The Beach Boys but I can already say I much prefer it to Pet Sounds. God only knows how grateful I am for this album being eventually fulfilled (see what I did there?), I’m sure it will grow to be one of my favourites of all time.
Yeasayer – All Hour Cymbals (2007)
Yeasayer offer a new take on psychedelic music which fuses layered pop with other-wordly rhythms on their debut album All Hour Cymbals. Psychic chants, eclectic instrumentation and a syrupy sweet overall sound all seem to be a nod to cultures as far-a-field as South Africa and the Middle East. It’s hard to describe in one appropriate summary but I’ll try my best: it’s like the Talking Heads covering The Beatles ‘Tomorrow Never Knows’ for 45 minutes straight. Not that the album isn’t diverse, it’s just so easy to be captivate by its jam-like groove.
U.S. Girls – Half Free (2015)
Urm, okay. How did I miss out on this one? This would have easily featured in my top 3 albums for last year! It seemed to come out of nowhere but U.S. Girls (aka Meghan Remy) has been making music for years now, it’s just that Half Free has made a much bigger impact than her previous work. Half Free is sort-of a psychedelic pop album, yet it’s sort of distressing and uncomfortable with its incredibly dark and hazy instrumentals, owing in part to synthpop, shoegaze and industrial. It’s hard to describe in sound, but that’s pretty much the crucial element that makes this so good; the mix of sounds presented into something novel. Her vocals sound like 80s pop music, yet the instruments are dreamy and percussive, creating an almost cloud rap atmosphere (especially on ‘Navy & Cream’) and there’s even a bit of dub reggae in there (see ‘Damn That Valley’). There’s some straight up indie bangers there too, like ‘Sed Knife’ and ‘Window Shades’ is a summary of both the upbeat catchiness of the prior mentioned track with the wall of noise clamors that define the majority of the record. U.S. Girls is an artist who becomes intriguing on the first listen and this is an album that definitely needs a bit of delving into.
Other notable listens:
Dirty Beaches – Badlands (2011)
PINS – Girls Like Us (2013)
The Brian Jonestown Massacre – Strung Out in Heaven (1998)
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