Pitchfork's 100 Best Tracks of 2015
I wrote about Sufjan Steven's "Fourth of July" and Björk's "Lionsong" for Pitchfork's 100 Best Tracks of 2015.
I wrote about Sufjan Steven's "Fourth of July" and Björk's "Lionsong" for Pitchfork's 100 Best Tracks of 2015.
In the early 1980s—before the notion of "alternative music" would become a cultural commodity sold to disaffected teenagers—there was arguably no more important or consistently groundbreaking record label than 4AD. Founded in 1980 by Ivo Watts-Russell and Peter Kent, the British indie label made a name for itself not only for introducing the world to the likes of Cocteau Twins, Dead Can Dance, Pixies, and Throwing Muses, but also for establishing a distinctive visual identity that proved to be as influential (and often as inscrutable) as the music itself. That was all thanks to the work of little-known British graphic designer Vaughan Oliver.
In her first proper interview in over four years, the now 27-year-old Adele Adkins recently told a journalist from i-D, “Life is so much easier when you don’t hoard your past.” It’s a fairly potent statement coming from someone who has essentially built her stadium-sized career out of doing that very thing. Over the course of three albums Adele, the gazillion-selling British phenomenon, has proven herself to be the queen of romantic rumination — dissecting, articulating, and gloriously amplifying her own heartbreak in ways that, quite literally, make the whole world weep. At the time of the interview, the suggestion that her new album, the just-released 25, might shake off some of her melancholy and melodrama was an intriguing one. No longer heartbroken and now happily familied, what might a forward-looking and seemingly content Adele sing about?
In addition to having one of the greatest names ever, actor Max Martini happens to have one of the greatest faces—handsome, strong, and the kind that can easily disappear into almost any role. He’s made a name for himself playing tough guys, notably in Saving Private Ryan and Pacific Rim, and now he continues the streak with Michael Bay’s 13 Hours: The Secret Soldiers of Benghazi. In the movie, Martini portrays Mark “Oz” Geist, one of the security contractors who risked his life defending the diplomatic compound in Libya. “Most men fantasize about being heroic,” the actor says. “I know Hollywood paints me to be a badass, but Mark is the real deal. His bullets were real—mine aren’t.”
Anyone trying to discover what New York City sounds like circa right this very minute need look no further than Le1f, the N.Y.C.-based rapper, producer, and dancer who has spent the past few years transmuting the city’s energy into his own specific blend of queer hip-pop. The musical nom-de-plume of twenty-six year-old Khalif Diouf, Le1f has been releasing singles and remixes intermittently for the better part of a decade now. His debut mixtape, Dark York, garnered raves back when it was released back in 2012, setting the stage for what would a long and arduous journey towards his first studio album. Given the breadth of Le1f’s vision on Riot Boi, out today on Terrible Records/XL Recordings—a sonic palette that includes futuristic rap, deconstructed R&B, and nods to industrial grime and vogue-appropriate house—the past three years has clearly been time well spent.