Philip is consistently one of my favorite music writers and he proves why with this excellent look at the artists and tracks that influenced a key track from Jamie XXs new collection, In Colour. Four Tet, Burial and Lone are all clear influences, but (relatively) obscure artists such as IVVVO and WK7 make this playlist enjoyable. Be sure to also read Philips excellent profile of Jamie XX in Pitchfork
The productions of Montreal musician Tim Hecker move electronic music to unexpected places. His early work fused the dry, pulsating rhythms of techno with the bare minimalism of Brian Eno. Alongside other avante garde electronic artists and collaborators Ben Frost and Oneohtrix Point Never, Hecker has carved out a music vocabulary that mines the ethereal underpinnings of dark industrial spaces. Aaron from Beats has compiled a great playlist of his influences, which range from the modern classical of Philip Glass to shoegaze pioneers My Bloody Valentine.
Police brutality (and murder) is certainly a timely subject, and one that has been covered extensively in music over the years. You could probably make a playlist of 20 songs about police brutality from hip-hop artist in the past month. Kali does a great job at providing a wide spectrum of genres, eras and perspectives on this playlist from Alternet. You have the cannon -- "Fuck tha Police" and "Killing in the Name Of" -- but there are also some great left-field picks -- like the Dicks or Anti-Flag ones.
Frank Ocean is a great artist, but not a particularly gifted vocalist, at least not in the traditional sense. His range is rather limited, his phrasing is straightforward and voice is somewhat generic. His power lies in the risks he takes, as a musician, songwriter, and as a personality. There are few albums of the past decade as adventurous as Channel Orange, and there have been few celebrities who’ve navigated the media machine as seamlessly and eloquently as Ocean. Stripped of the context of his own music, his guest turns work best when he’s allowed to be himself; either in the prickly politics of “Church in the Wild” or on the laconic, SoCal anthem “Sunday.”
Missy is easily one of hip-hop’s most innovative talents. Her and Timbaland’s production effectively globalized the genre, and she’s always been underrated as a rapper -- she mined the space between singer and rapper a good decade before Drake got there. Some albums are better than others, but she never fell off, and it’s a travesty that she hasn’t released one in over a decade. Although her singles are epochal, she’s much more than a singles artist, and she’s the latest in Al Shipley’s amazing “deep cuts” series.
About a decade ago, cumbia experienced a “ñu” makeover. The traditional genre that was once the soundtrack to Latin America’s ghettos bridged the gap between the old and the new, the poor and the rich. Refashioning themselves as ñu-cumbia, a fresh generation of cumbia-thriving musicians and producers replenished this once-marginalized genre by injecting it with an array of riveting sounds, from reggae to EDM to jazz and even balkan. Uruguay’s Campo, who adds tango’s sophistication to the breezy “La Marcha Tropical,” introduces his beats to sound system block parties and South American resorts alike; Bomba Estéreo, the feisty Colombian duo known for igniting global dance floors, inspired Will Smith to start rapping again after a ten-year hiatus in the EDM-tropical “Fiesta (Remix)”; and ZZK Records, Buenos Aires’ pioneering digital cumbia label home to Nicolá Cruz, La Yegros and Fauna, keeps spotlighting this Latin American music explosion, now in an upcoming documentary series. While some setlist-featured musicians maintain the cumbia rhythm in its original güiro and accordion-driven format, others let experimentation lead the way. These are the new sounds of the old forbidden rhythm.
The ’90s have never sounded better than they do right now—especially for modern-day indie rockers. There’s no shortage of bands banging around these days whose sound suggests formative phases spent soaking up vintage ’90s indie rock. Not that the neo-’90s sound is itself a new thing. As soon as the era was far enough away in the rearview mirror to allow for nostalgia to set in (i.e., the second half of the 2000s), there were already some young artists out there onboarding ’90s alt-rock influences. But more recently, there’s been a bumper crop of bands that betray a soft spot for a time when MTV still played music videos and streaming was just something that happened in a restroom. In this context, the literate, lo-fi approach of Pavement has emerged as a particularly strong strand of the ’90s indie tapestry, and it isn’t hard to hear echoes of their sound in the work of more recent arrivals like Kiwi jr. or Teenage Cool Kids. Cherry Glazerr frontwoman Clementine Creevy seems to have a feeling for the kind of big, dirty guitar riffs that made Pacific Northwestern bands the kings of the alt-rock heap once upon a time. The world-weary, wise-guy angularity of Car Seat Headrest can bring to mind the lurching, loose-limbed attack of Railroad Jerk. And laconic, storytelling types like Nap Eyes stand to prove that there’s still a bright future ahead for those who mourn the passing of Silver Jews main man David Berman. But perhaps the best thing about a face-off between the modern indie bands evoking ’90s forebears and the old-school artists themselves is the fact that in this kind of competition, everybody wins.
It may be that 2019 was the best year for ’90s metal since, well, 1999. Bands from the decade of Judgment Night re-emerged with new creative twists and tweaks: Tool stretched out into polyrhythmic madness, Korn bludgeoned with more extreme and raw despair, Slipknot added a new drummer (Max Weinberg’s kid!) who gave them a new groove, and Rammstein wrote an anti-fascism anthem that caused controversy in Germany (and hit No. 1 there too). Elsewhere, icons of the era returned in unique ways: Nine Inch Nails’ Trent Reznor scored a superhero TV series, Primus’ Les Claypool teamed up with Sean Lennon for some quirky psych rock, and Faith No More’s Mike Patton made an avant-decadent LP with ’70s soundtrack king Jean-Claude Vannier. Finally, the soaring voice of Linkin Park’s Chester Bennington returned for a moment thanks to Lamb of God guitarist Mark Morton, who released a song they recorded together in 2017.
Taking a look at the playlists for my show on Boston’s WZBC might give the more seasoned college-radio listener a bit of déjà vu: They’re filled with bands like Versus, Team Dresch, and Sleater-Kinney, who were at the top of the CMJ charts back in the ’90s. But the records they released in 2019 turned out to be some of the year’s best rock. Versus, whose Ex Nihilo EP and Ex Voto full-length were part of a creative run for leader Richard Baluyut that also included a tour by his pre-Versus outfit Flower and his 2000s band +/-, put out a lot of beautifully thrashy rock; Team Dresch returned with all cylinders blazing and singers Jody Bleyle and Kaia Wilson wailing their hearts out on “Your Hands My Pockets”; and Sleater-Kinney confronted middle age head-on with their examination of finding one’s footing, The Center Won’t Hold.Italian guitar heroes Uzeda—who have been putting out proggy, riff-heavy music for three-plus decades—released their first record in 13 years, the blistering Quocumque jerceris stabit; Imperial Teen, led by Faith No More multi-instrumentalist Roddy Bottum, kept the weird hooks coming with Now We Are Timeless; and high-concept Californians That Dog capped off a year of reissues with Old LP, their first album since 1997. Juliana Hatfield continued the creative tear she’s been on this decade with two albums: Weird, a collection of hooky, twisty songs that tackle alienation with searing wit, and Juliana Hatfield Sings the Police, her tribute record to the dubby New Wave chart heroes (in the spirit of the salute to Olivia Newton-John she released in 2018). And our playlist finishes with Mary Timony, formerly of the gnarled rockers Helium and currently part of the power trio Ex Hex, paying tribute to her former Autoclave bandmate Christina Billotte via an Ex Hex take on “What Kind of Monster Are You?,” one of the signature songs by Billotte’s ’90s triple threat Slant 6.
