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IGGY POP POST POP DEPRESSION


Josh


If you looked at him, you wouldn’t suspect Iggy Pop was 68. He looks like a mummy from Doctor Who who has had one too many to drink; he sounds like a radio announcer who has also had one too many to drink. For this album he’s brought in Josh Homme from Queens Of Te Stone Age but it remains an Iggy record. Te record grabs you early with Break Into Your Heart. If you amplify Baby from Te Idiot ten times then is what you get. Gardenia is a song that only Iggy could sing. It’s creepy and it’s funny, it’s quintessential Iggy. Matt Helders from the Arctic Monkeys is on drums and he excels now that he’s not rubbing Alex Turners ego. Sunday is built on his robotic funky groove, capitalised with another trademark Iggy chorus. Te song gets weird and devolves into gospel before becoming a Game Of Trones theme tune. After this the album grinds to a halt. Tere is little variety to catch your attention on the second half of the record. Paraguay, however, is a romp through Iggy’s fears and delusions. Good stuff from Iggy, and hopefully not the leather- faced man’s last.


KANO


MADE IN THE MANOR Wedaeli


Skepta dropped the first classic single of grime’s New Age. Stormzy nailed the first classic freestyle. If you’re anything like me, you’ve been waiting for the revival’s first classic album –Made in the Manor might be it. Kano gained underground popularity in the 2000’s, and has released 4 records since. He dabbled with hip-hop along the way, but never turned his back on grime. Rest assured, Made in the Manor isn’t an attempt to mount grime’s rampant success. Te proof is in the production. Kano’s delivers purist grime beats, but on his own terms. Belters like 3 Wheels Up and Flow of the Year boast dirty beats, but the tight production advances on beats from his debut. Metal riffs carry Hail, while T-shirt Weather in Te Summer beams Balearic vibes. Trough his bars, Kano gives us access to his East Ham. He’s gone all Kendrick – rapping about “trying to grow up straight in a town full of crooks”, evoking the personal and political complexities of Good Kid M.a.a.D city. It’s no rip off though, authenticity lies in name checked roads, references to fellow MCs, and poignant anecdotes. All that, supported by a deft flow. JME and Damon Albarn jazz up the credits, but Made in the Manor wouldn’t have suffered without them. It stands strong as an accessible, advanced, modern grime album.


UNDERWORLD


BARBARA BARBARA, WE FACE A SHINING FUTURE


Nick


22 years after debuting with uber acclaimed Dubnobasswithmyheadman, Underworld bring us the seventh instalment of their late night magic, but with so many classics already banked, can they deliver? I Exhale launches us straight in, big and bold, inventive with plenty of oomph, If Rah takes their foundation of bass and organ, layering textures to forge an irresistible vibe. Another deep throbber follows with yet another set of compulsive body moves finessed like master puppeteers pulling our strings, like the prodigal son of Skyscraper, I Love You. Santiago Cuatro is our breather, like walking out for a cheeky one-skinner from a club in Cairo at dawn, watching the sun come up over the temples and market place. Te second half moves at a different pace. Motorhome has a soothing dub world folk feel, a snake charmer beguiles us behind big drums and piano. Ova Nova and Nylon Strung close the album with blissed out gems. Underworld have delivered fully, and repeated listens offer new sounds, Easter eggs of self-aware intelligent music. Still having fun after so many years working together is hard to achieve, let alone remaining sincere in their desire to produce tunes.


50 / April 2016/outlineonline.co.uk


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