Joe Muggs
theartsdesk.com
United Kingdom
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Past articles by Joe:
Album: Kristin Hersh
Kristin Hersh’s voice, it transpires, is ageless. In the 80s when Throwing Muses broke through, she hit a particular combination of tones – blurring boundaries between harsh and smooth, melodic and discordant, trad and weird – that became vastly influential.Along with the likes of Sonic Youth’s Kim Gordon and Pixies’s Kim Deal, she not only reconfigured the sense of what the female voice was in… → Read More
Album: Burna Boy
There’s been a lot of flak flying around this album already. It’s mainly been triggered by Burna Boy’s public activities which have included disparaging the wider Afrobeats music scene of West Africa, and some somewhat overcooked expressions of his pan-Africanist philosophy. → Read More
We Out Here Festival, Wimborne St Giles review: it's a family affair, and then some...
We Out Here Festival, now in its fifth year (and fourth edition, as 2020 was of course cancelled for Covid), has become an institution. Curated by jazz-centric veteran DJ Gilles Peterson and actualised by Noah Ball – best known for his role in creating Outlook Festival in Croatia which has served as UK bass music’s metting point in the sun since 2008 – it joins the dots culturally through… → Read More
Album: ¿Téo?
A little remarked fact of modern music is just how lush the sound of modern R&B and adjacent music is. A decade ago, the relative harshness of trap beats and EDM synths seemed to dominate sonically, or on the more bohemian fringes there was a meandering haziness derived from the UK influence of James Blake and Burial. → Read More
Album: OSEES - Intercepted Message
On the face of it, this is an extremely simple record. It is big, stomping, party-monster neanderthal synth-rock. → Read More
Album: ANOHNI - My Back Was a Bridge for You to Cross
A “back to basics” album is a risky thing. When an act has expanded into big, lavish or experimental production, it’s not a simple act to strip that away. Trying to go back to the intimacy or spontaneity of early work can feel forced: they may find they’ve become reliant on the possibilities of studio craft, or simply evolved into a different kind of artist. U2’s recent horrorshow of a… → Read More
Album: Lunice
There are whole books to be written – indeed, hopefully being written – on how hip hop has interacted with dance music culture in North America over the past decade plus. From the overblown mania of rap megastars jumping on David Guetta tracks in the heat of the EDM explosion at the start of the 2010s to the far more sophisticated fusions done brilliantly by Beyoncé and slightly less so by Drake… → Read More
Album: Sigur Rós
It’s easy to take Sigur Rós’s emotive force for granted. So ubiquitous has their 2005 “Hoppípolla” been on everything from talent shows to apocalyptic environmental collapse documentaries to lyrical scenes of birds in flight that it became the archetypal tear-jerking music of the modern era. Everything about the band was designed with weapons-grade effectiveness for omniemotional impact. → Read More
Album: Janelle Monáe
There’s been a good deal of discussion on “the socials” about how much Janelle Monáe’s sexy image is a new thing or a big deal.Casual viewers, still stuck on the suit-wearing image with which she crashed into public consciousness in 2010, have acted shocked at her going almost or completely unclad in recent videos and shoots. In turn fans have pointed out the obvious – that her outré sense of… → Read More
Album: Steel Banglez
There is a truly fascinating story to be written about the hidden Punjabi influence on UK bass music. Maybe it’s natural for kids growing up with the huge booming sounds of dhol and tabla drums to gravitate to big bass speakers, but some of the most unique and influential producers in the interface between reggae, grime and dubstep have been from Punjabi backgrounds: notably Kromestar,… → Read More
Album: Paul Simon
Paul Simon is an ornery bugger. Full of awkwardness and perversity as a person, seemingly hugely detached, but as an artist capable of as much tenderness and directness as just about anyone out there. Capable of making world-changing artistic statements but queering his pitch with bizarrely, unnecessarily reactionary statements or actions. Really, a very weird man. → Read More
Róisín Murphy, Royal Albert Hall review
In one sense you know what you’re going to bet with Róisín Murphy. Disco beats, a lot of bright colours, costume changes, goofing about, kick-arse vocals, and hats – lots and lots of hats. And yes, all that was present and correct at the Royal Albert Hall. But in another way, any given show is alien territory. → Read More
Album: SBTRKT
Aaron Jerome has always cut his own path through British music. After a few jazzy, groovy experiments under his own name in the 00s, he came dramatically to prominence at the end of that decade as SBTRKT. He was always associated with the post-dubstep moment where the UK bass subcultures of dubstep and grime folded back into house and techno, launching big names like Hessle Audio and Disclosure… → Read More
Album: Jessie Ware
“If you’re going to do it, do it well” goes a chanted refrain in the opening title track here. And it’s words Jessie Ware clearly lives by – she is not someone who has time to do anything rubbish. → Read More
Album: Easy Star All Stars
You’ve got to hand it to New Yorkers Easy Star All Stars: their records do what they say on the tin. This starts with a simple reggae drum rhythm fading in, couple of echo effects, a nifty fill, then in comes David Hinds of Steel Pulse singing, beautifully, “pushing through the market square / so many mothers sighing”. It’s “Five Years,” delivered straightforwardly in dub reggae style, no… → Read More
Album: Dave Okumu and the Seven Generations
It’s hard to think of an album that’s simultaneously as dramatic and as restrained as this. But then Dave Okumu has always put his music and ideas out into the world in the subtlest of ways. → Read More
Album: Thomas Bangalter
Popular musicians “going classical” can work well. Look at Radiohead’s Jonny Greenwood, at Richard Reed Parry and Colin Stetson from Arcade Fire, or at the late Jóhann Jóhannsson who had a successful career as indie and electronic musician in Iceland before becoming a globally beloved orchestral composer. Of course the boundaries are flimsy anyway these days, with the likes of Max Richter, Nils… → Read More
Album: The Zombies
There’s something charmingly unassuming and humble about The Zombies. Nowadays their 1968 second album Odyssey and Oracle regularly figures in all time greatest albums lists, but it was a flop at the time and its reputation grew through a gradually snowballing cult status, and the band split soon after its release. Most of their existence, in fact, has been in this century, with Rod Argent and… → Read More
Album: Depeche Mode
Depeche Mode’s Andy “Fletch” Fletcher, who died in May last year, was generally held to contribute to the dynamic of the band more than the music. The only member of the band without songwriting credits, his contribution as peacemaker and “tiebreaker” in creative decision-making was nonetheless so important that speculation was rife that fellow founders Martin Gore and Dave Gahan might not be… → Read More
Album: U2 - Songs of Surrender
U2 are better than their many critics make out. Their Stakhanovite work ethic in creating huge sonics, not-a-bolt-out-of-place songwriting and stagecraft that could reach every corner of the biggest venues long before the days of giant LED screens made them the biggest band in the world with good reason. Bono Vox’s “Marmite personality” was also a big part of that: it pretty much requires a… → Read More