Ultra Mono by Idles
Since 2018’s Joy as an Act of Resistance, Idles’ rise to fame has been rapid. Selling out Alexandra Palace and winning a Brit Award is no easy feat for a left-wing punk/hardcore band with lyrics such as, “My race and class ain’t suitable, so I raise my pink fist and say black is beautiful”. Idles have managed to form a committed base of fans and get their message out to the mainstream. In Ultra Mono, the message of working-class pride and unity is consistent throughout. No doubt the album is shaped by their experiences growing up in austerity Britain.
Following the Second World War, austerity and rationing loomed large in British society. The rebuilding of post-war Britain would change the country forever. The Windrush generation saw new cultural influences appear, rationing ended and the longest sustained boom in the history of capitalism began. Musically, the US was the most important place in the world and young people looked there for their inspiration, leading to four musical developments that would profoundly influence British youth in the 1950s: traditional jazz, rock’n’roll, skiffle and modern jazz.
SOURCE is the long-awaited debut album from Camden’s Nubya Garcia, which follows her award-winning EPs 5IVE (2017) and WHEN WE ARE (2018). The compser, saxophonist and DJ cut her teeth in groups such as Maisha and Nerjia, and made waves appearing on with Sons of Kemet’s Your Queen is a Reptile and Makaya McCraven’s Universal Beings.
The explosive impact of this summer’s Black Lives Matter protests was bound to stir music makers into creative action. Public Enemy’s Chuck D, once described rap as “Black America’s CNN”, the genre that provides the soundtrack and commentary to life in the ghettos. Fight The Power, released in 1989 is arguably the band’s magnum opus. Remixed for 2020 it includes a stellar line up of collaborators such as Questlove and Black Thought from The Roots, Rapsody and Nas. Meanwhile the images in Anderson.
It was terribly sad to hear of the death of reggae legend Frederick “Toots” Hibbert of Toots and the Maytals. His unique, gospel influenced music was fantastic to listen and dance to. It was deeply political and inspirational. “54-46 Was My Number” and “Pressure Drop” are unforgettable tracks with passionate, political lyrics that talk of struggle and injustice. The title of the former refers to his prison number after wrongful arrest. The latter is a reminder to those in power that the day will come when they will fall. It was covered by The Clash amongst others.
Cat Mackay spoke to filmmakers Don Coutts and David Hayman about their 2018 documentary Slavery: Scotland’s Hidden Shame. Coutts and Hayman travelled to Sierra Leone and Jamaica, bringing to light facts about the Scottish ruling class’s central role in the horrors of the slave trade.
SR: Were you commissioned to make the documentary, or was it your own idea?
Fifty years after his death in1970 at the peak of his fame, Hendrix is still revered as the premium electric guitarist. His music became part of the soundtrack of a generation’s revolt. In the six years of his recorded output, he produced just four albums. But these, the hit singles from them and the new tonal and emotional territories he established with the electric guitar, make him one of the most important musicians of the century. Hendrix began playing on the Chitlin’ Circuit with, amongst others, the Isley Brothers and Little Richard.
There are three things to say about the government announcement of £1.8 billion for the Culture, Arts and Heritage sector announced in early July. First, for those who work in a sector of the economy that employs about 270,000 people this is potentially a lifeline. Second, compared to the funding provided by other (mostly European) governments for the same purpose, it is a pittance. Third, one of the effects of this money is that it will deepen the inequalities that already scar the different forms that make up the creative industries.