London lyricist and musician Ghostpoet’s fourth album Dark Days and Canapes takes a more explicitly, and welcome, political direction than his previous work.
It has been criticised for its bleakness—and there’s an element of truth to that.
Dealing with topics as harrowing as the refugee crisis, that is not necessarily a bad thing. But you don’t get a feeling from this album that we can do much to change things.
Lead single Immigrant Boogie stands out as a stark indictment of the refugee crisis.
The lyrics are powerful, “I was dreaming of a better life… I can’t swim and water’s in my lungs… Oh let us in.”
The album doesn’t break much new ground technically. But it is well produced and wide ranging in the breadth of musical styles it encompasses.
Recent collaborations with Massive Attack seem to have left an impression.
Some tracks echo Radiohead riffs that border on the rip-off. Others are haunting trip hop-inspired dirges which are unsettling and interesting.
The album has been lauded as a searing political commentary. But unfortunately few of the tracks make really cutting political points.
It’s a pity there aren’t more of them—especially when so much political music is so badly made.
Jean Michel-Basquiat’s work features in this new exhibition at the Barbican.
The exhibition features some work previously unseen in Britain. It will specifically look at the relationship between Basquiat’s painting and the New York music scene.
This exhibition at the Tate is one of a series of exhibitions to coincide with the 50th anniversary of the 1967 partial decriminalisation of homosexuality in Britain.
Some pieces featured were produced as far back as 1861.
When we opposed the National Front
An imagined revolt in Port Talbot