by Ed Biggs The passing of David Bowie, who succumbed to liver cancer at the age of 69 on January 10th, felt very much more momentous than the average passing of a rock legend. Bowie’s death feels like one of the most significant losses, not just for pop music, but for the totality of Western popular culture. Truly, no artistic voice has been heard like his since, or so fearlessly fought
In terms of music alone, 2015 has been a year like most others in recent times: some promising debuts, more excellent work from established artists, highly anticipated comebacks and reunions, and a clutch of instant classics that could easily stand the test of time.
by Ed Biggs With the news that documentary maker Asif Kapadia, who scored a critically and publicly well-received success with the Winehouse movie Amy earlier this year, is to team up with director Mat Whitecross to make a film about Oasis in 2016, it immediately made sense as a project. The million-selling albums and the iconic songs, the sell-out gigs and the Britpop wars, the squabbling Gallagher brothers and the amazing
To adapt that famous misquotation attributed to Mark Twain, reports of the album’s death have been greatly exaggerated. Ever since the turn of the millennium, conventional wisdom has had it that the traditional long-player is on its way out, an arcane format out of time with the digital world that will cede inexorably to a future of singles and playlists. But while many artists have experimented with what an album
by Ed Biggs The announcement of the first Blur album in over a decade, and the first with Graham Coxon since 1999, was one of the biggest music news stories of the first part of 2015. We’d had the big reunion (two of them), the emotional catharsis, the burying of hatchets, and for many, that would have been enough. But the existence of The Magic Whip seems to have solidified the
by Ed Biggs The prodigiously young Odd Future member Earl Sweatshirt was reportedly very unhappy with his record label for unleashing his second solo album a week earlier than expected. 2013’s Doris was a subtle slow-burner, which at only 44 minutes long played like a rock album in its progression, full of languid, drawling and resolutely un-commercial beat patterns. It received universal critical acclaim, the sound of a man forging