R&B’s newest superstar remains unfinished both on stage and on record, but a Valentine’s crowd is certainly not bothered.
Originally published in The Edge
374 days ago, the idea of Khalid filling out Hammersmith’s prestigious Eventim Apollo – let alone doing so twice with ease at rather lofty prices – would have seemed more than a little far fetched. He was making his London debut seven physical miles and a million conceptual ones away at Hoxton Square Bar & Kitchen, a venue typically reserved for the newest of newcomers and perhaps best known at the time for over-the-bar barbecue courtesy of Michigan techno oddball Seth Troxler. Courtesy of still being a week away, debut album American Teen hadn’t yet accrued any of its multiple billion streams. In fact, when The Edge took a punt on him to feature as one of our picks for 2017 the month before, it was only after a haphazard combination of play counts that we arrived at a figure of 30 million streams for ‘Location’ to make our selection seem that little bit more statistically sound. Here, it would be remiss of us not to attempt something similar: per Wikipedia, the Khalid of today has 46 platinum certifications around the globe. Continue reading “Live review: Khalid at Eventim Apollo, London”
The New York duo tell all about their unlikely friendship, what makes a perfect party, and percussive on-stage foliage.
Originally recorded for Surge Radio and published in The Edge
Sofi Tukker (aka Sophie Hawley-Weld and Tucker Halpern) might not be a household name just yet, but you’ll certainly recognise their sound. Since the release of their Portuguese-language debut ‘Drinkee’ in 2015, vocalist Sophie Hawley-Weld and basketball player turned instrumentalist Tucker Halpern have been fusing her bossa nova adoration with his house style for a series of infectious releases, including 2016’s debut EP Soft Animals. Last autumn, they were picked out by Apple to soundtrack their iPhone X campaign, launching ‘Best Friend’ – a lively ode to friendship penned alongside New York duo The Knocks, Australian twins NERVO, and Japanese newcomer Alisa Ueno – directly to a global audience. During their recent headline tour across Europe, we caught up with the pair to dig into what makes their unlikely friendship so special and find out what they’ve got brewing for 2018.
Continue reading ““Willing and excited and enthusiastic, that’s really what we are” – An interview with Sofi Tukker”
Britain’s buzziest band tell all (from their kitchen) about their upcoming album, getting love from Frank Ocean, and plotting worldwide sensory domination.
Originally published in The Edge
As band introductions go, Superorganism’s inaugural missive last January has proved rather striking: “WE ARE SUPERORGANISM, WE ARE IN MAINE/LONDON, WE ARE DIY, WE ARE EIGHT AND MULTIPLYING, WE HAVE BECOME SENTIENT.” To figure out what powers an eight-strong outfit capable of driving copious excitement by wearing coats on TV, deploying bizarre percussive techniques in radio sessions, and, of course, releasing things like new single ‘Everybody Wants To Be Famous,’ we joined de facto frontman Harry in the collective’s kitchen to talk signing to legendary indie imprint Domino Records, hosting antipodean orphans in the house on Christmas day, and how starting a band on a whim over the internet ended up with one of the most anticipated debut albums of 2018. Continue reading ““We’re constantly expanding, like the universe itself” – An interview with Harry of Superorganism”
If you’re looking for video shoots where people set themselves on fire, these party specialists won’t ‘Let You Down.’
Originally published in The Edge
Coming five years and 10 platinum certifications since they first hit their native charts, the London debut of Sydney-based electronic duo Peking Duk feels long overdue. However, when speaking to The Edge on an open-top Original Tour bus on a crisp December lunchtime between sold-out nights at The Garage and KOKO, Adam Hyde and Reuben Styles already feel right at home. “We went to the West Ham vs. Arsenal game last night – had the time of my life,” Styles says. “It was a 0-0 boring game but there were a lot of loose eastenders out and it was fucking hilarious. It was sick.”
‘Let You Down,’ their fizzy, self-deprecating new release, marks another first, with Hyde debuting his own vocals alongside those of Icona Pop’s Caroline Hjelt and Aino Jawo. His move comes as the logical next step from the band launching their full Weeknd-inspired live act over the summer at Splendour In The Grass, which one of their crew describes to me as Australia’s equivalent Glastonbury. The result was evidently successful – tastemaking radio station Triple J described the performance as “stepping things up to 11 without sacrificing the simple pleasures of a Peking Duk throwdown” – and, to feature on spring’s impending debut album, it made perfect sense to rekindle a friendship that began with some spilt orange juice in the air years prior. “We met on an aeroplane from Miami to LA,” Hjelt recalls. “We were like, ‘We saw some Australian dudes play last night,’ and you were like, ‘It was actually, kind of, us.’ That was the first meeting, and then we met in Sweden at the Northbound studios [in Stockholm].” Continue reading ““Does anyone know if Whitney Houston did a Christmas song?” – An interview with Peking Duk and Icona Pop”
Don’t worry, there’s no Lil Pump/Big Shaq/Katy Perry/Chris & Kem/Ed Sheeran here.
2017 has been quite a year. To celebrate three things – its musical goodness, me finally getting things in order on these pages, and a year of better playlisting that’s allowed me to bring all the best bits together without it taking approximately a million years – here’s a collection of 101 of the best songs it’s spawned. There’ll be many more words, playlists, and things appearing here over the coming months, especially if I can figure out how to make Spotify embeds look as nice on WordPress as they can elsewhere, so do say hello if there’s anything you think I’ve missed.
Continue reading “101 songs that prove 2017 wasn’t entirely awful after all”
Our Lorde is 2017’s saviour
Originally published for The Edge’s album of the year countdown
Having gone from winning an Auckland school talent show and covering Pixie Lott in a radio session to selling 10 million copies of her debut single and being anointed by David Bowie as “the future of music” before she’d even had a moment spare to turn 17, it may come as no surprise that Ella Yelich-O’Connor opted to retreat towards normalcy as the Pure Heroine days wound down. Of course, sailing was not entirely plain: between incessant partying, herding idols like Kanye West and The Chemical Brothers for her Hunger Games soundtrack, taking helicopter rides into the wilderness to work on follow-up material, and covertly reviewing onion rings on Instagram came a painful breakup and a biting pop landscape eager to absorb her “incorrect” stylings.
Melodrama, the resulting Lorde record, comes rooted in that hedonistic habitat whilst trading the sprawling naïveté of (relative) youth for an affecting glare at heartbreak. A far cry from the days of ‘Tennis Court’ (“It’s a new artform showing people how little we care”), it is a remarkably bare concoction that pairs unorthodox pop competence with conscious overwrought feeling. Detail is superfluous to requirements, save for exposed piano ballad ‘Liability’ indulging in fame’s unceremonious responsibility for the theme (“The truth is I am a toy that people enjoy / ‘Til all of the tricks don’t work anymore / And then they are bored of me”), whilst the meeting of bitterness and a euphoric yearning for escape that is impeccable lead single and album opener ‘Green Light’ serves as a mostly upbeat red herring. Continue reading “Album review: Lorde – Melodrama”
The south coast’s brightest star plays a tremendous hometown sellout.
There may still be the odd occasion where some listings site confuses Portsmouth’s Jerry Williams with the Swedish rocker of the same name 54 years her senior, but selling out a second headline in just seven months at her hometown’s most prestigious venue shows the south coast has cottoned on to her narrative-laced indie pop glories. Spending the summer with 2016 EP cut ‘I’m Not In Love With You’ featured across BBC Radio 1 to precede barnstorming braces of sets at V and The Great Escape will certainly have done no harm whatsoever, and perhaps as a result her full band setup now feels more refined and primed for the big time than ever before.
Amidst enthusiastic singalongs for deceptively vibrant staples ‘Mother’ and ‘Boy Oh Boy,’ Williams zipped with remarkable efficiency through a setlist predominantly comprising unreleased tracks that will inevitably form the basis of 2018’s full-length bow. Her apparent allergy to songs that clock in above three minutes ensures this, with time for everything from solo acoustic therapy for a father-to-be (‘David At The Bar’) to a Pollyanna-like take on the perks of mortality (new single ‘Grab Life’) and a chatter-suspending storm of a Jamie T cover to be delivered with infectious precision.