Having spent most of the last decade concentrating on Academy award-winning film scores (2010’s The Social Network) and his How to Destroy Angels project, Trent Reznor rebooted Nine Inch Nails in December 2016 with Not the Actual Events, the first … Continue reading →
Pop is reputed to be a safe, pappy form. In the hands of producers like the Glasgow-born, LA-based Sophie, it has become a warped carnival of artifice – abrasive, while retaining cutesy tropes. Her excellent debut compilation, Product (2015), was … Continue reading →
Under orders not to upset new neighbours, Field Day got strict with its headliners – pulling the plug on an overtime Erykah Badu – while serving a jazzy lineup of fresh stars
The twinkling baroque harpsichord that opens producer Daniel Lopatin’s latest album is a perfect representation of his unpredictable work. Having made his name over the past decade with albums that encompass noise music, synthesiser-heavy electronics, and luscious harmonies, his ninth … Continue reading →