FEATURE:
A Record High
IN THIS PHOTO: IDLES are due to release their third album, Toneland, next year/PHOTO CREDIT: Naomi Wood for CRACK
Albums to Look Forward to Next Year
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THIS year has produced some stunning albums…
IN THIS PHOTO: Agnes Obel
but we can look ahead to 2020 and start planning which albums we want to snap up. Of those already confirmed, there are some real treats in the pack – I will finish with those that are speculated and not just firmed up. Agnes Obel’s Myopia is out on 21st February – you can pre-order it now. It is a highly-anticipated release from the Danish songwriter, and follows her third album, Citizen of Glass, of 2016. It seems like we are in for a treat.
“Following the same principles as with her previous albums (Philharmonics, Aventine and Citizen Of Glass), which she completed as a one-woman project in her own Berlin home studio, Obel has been under self-imposed creative isolation with the removal of all outside influences and distraction in the writing, recording and mixing process for Myopia. “The albums I’ve worked on have all required that I build a bubble of some kind in which everything becomes about the album.
“For me the production is intertwined with the lyrics and story behind the songs,” says Obel. This is precisely what makes her music so compelling and the same is true with Myopia. “Paradoxically, for me I need to create my own myopia to make music.” Obel was experimenting with techniques of recording processing, warping and pitching down vocals, strings, piano, celesta and lutheal piano, finding ways to melt these elements together to become one and twisting them in a way that you feel at home within the sound she conjures throughout the record”.
I am not going to these alphabetically and, in fact, I am going to break my rule about leaving those T.B.A. albums until last. There is rumour The Avalanches will follow up 2016’s Wildflower next year. We all know they left a sixteen-year gap between their debut, Since I Left You and Wildflower; it is amazing we will get a third album so soon! Again, there is going to be a lot to recommend:
“I think getting 'Wildflower' out of the way... feels like a weight’s been lifted,” multi-instrumentalist Robbie Chater told FBi Radio, adding: “The [new] music is really light, it’s some of the best stuff we’ve done.” It looks like album No.3 will continue to serve up some interesting collaborations, with the likes of the Australian Boys Choir, experimental rapper JPEGMAFIA, soul singer Leon Bridges, and Dhani Harrison (son of George) all rumoured to be involved in its making”.
On 10th January, The Big Moon’s Walking Like We Do, is out and alive. You can pre-order it, and I suggest that you do. The London quartet’s debut of 2017, Love in the 4th Dimension, was nominated for a Mercury Prize, and I love what they are producing. I think they are a band who will be festival headliners in years to come. Just one week later, Bombay Bicycle Club’s Everything Else Has Gone Wrong is released. Make sure you pre-order Everything Else Has Gone Wrong, as it is going to be one of 2020’s best albums.
Guitarist Jamie MacColl spoke with NME about the upcoming record:
“Guitarist Jamie MacColl meanwhile, took a degree in War Studies at King’s College, before making a documentary for the BBC on protest music. Following those projects, he launched a campaign group to help under-30s get involved with Brexit negotiations, helping to get a wide range of voices heard. If that wasn’t enough, he then went to Cambridge to study a masters in Philosophy.
All of this feeds into new album ‘Everything Else Has Gone Wrong’, that Jamie didn’t really think would happen, but now stands as a nice surprise for both band and fans. As the band announce their new record and lengthy 2020 tour, we catch up with the guitarist to talk over all that’s gone on since their disappearance, and what comes next.
Did revisiting that debut album affect how you were writing for the upcoming record? Do you see similarities between ‘I Had The Blues…’ and ‘Everything Else Has Gone Wrong’?
“What we’ve been doing at the moment is definitely more guitar-heavy than the last album, and I’d say that’s particularly the case on ‘Eat, Sleep, Wake’. Also with Jack having done Mr Jukes, he’s maybe been able to separate the two strands of his writing and production, because the last album had loads of layers and samples on every song, whereas I think what we’re doing now is a bit simpler. I was thinking about it in regards to ‘Eat, Sleep, Wake’, and there is a nostalgic element to both the song and the lyrics, and reading what people are saying on social media – which I know I’m not supposed to do – people do seem to be tapping into that, and thinking about being a teenager. Maybe we are conscious of the 10 year anniversary, and also being a bit reflective and looking back on our younger selves with some perspective”.
Field Music’s Making a New World is out on 10th January; it is the seventh album from the Sunderland band, and it is going to be a cracker! I have a lot of love for the group, and I admire their hugely original and memorable sound. This is an album I am definitely looking forward to already. Occupying a different space, Halsey’s MANIC is out on 17th January. She is one of the biggest Pop stars in the world, and MANIC follows 2017’s Hopeless Fountain Kingdom. Halsey spoke with Cosmopolitan about her upcoming album:
“Still, she says, she’s a Libra—meaning she just wants everyone to love her, even at her most incorrigible. “That’s the problem: I’ll do what I want, knock down everyone in my path who says I shouldn’t, and then when people don’t like it, I’m like, ‘Why?!’” she admits with a grin. “When I made ‘Nightmare,’ there were people saying, ‘I don’t think this is the move. You just had a number one song and now you’re gonna put out this weird, political song that’s not safe.’ Well, yeah, that’s why I’m gonna do it.” She’s talking about her latest radio smash, part of her “Marilyn Manson–inspired goth record” phase. If “Nightmare” is any indication, with its howled lyrics about trampling the patriarchy, the vibe of her forthcoming album is primal scream from the soul.
That might seem like a radical departure if you’d listened only to songs like “Without Me,” the chart-topping ballad she released mid highly public breakup with her on-again-off-again-who-even-knows-again ex G-Eazy. Or “Closer,” her 2016 collaboration with The Chainsmokers that could probably be statistically proven as the biggest song of the 2010s. But then you’d be missing the point. Because Halsey hasn’t been trying to be some sort of picture-perfect pop star. This rabbit hole she’s gone down, it just kind of happened. “But I love that, because I wake up every day wild-eyed and spongy,” she says, “trying to do things better than the last time”.
IN THIS PHOTO: Halsey/PHOTO CREDIT: Peggy Sirota for Cosmopolitan
Radiohead’s Ed O’Brien has an album out next year and, after sharing the new track, Brasil, many people are intrigued to see what direction he takes. I cannot see an album title yet, but keep your eyes peeled closely. Grimes’ Miss_Anthrop0cene is an album you just know will score huge reviews and own 2020. Pre-order a copy now and own one of next year’s most anticipated albums. Here is what the BBC said:
“It's been four years since her critically-acclaimed album 'Art Angels', but we will soon get to hear Grimes’ long-awaited, and much-delayed, fifth record. Claire Boucher's latest release will be called 'Miss_Anthrop0cene', and she has described it on social media as "a concept album about the anthropomorphic goddess of climate change," with each song representing "a different embodiment of human extinction as depicted through a pop star Demonology.
We’ve already heard the dark synth-pop of 'Violence' and equally brooding 'So Heavy I Fell Through the Earth'. Previous single 'We Appreciate Power', which refined Boucher’s unholy alliance of K-pop, riot grrl punk and industrial metal, sadly won’t feature on the album, instead included as a bonus track for the album’s Japanese edition”.
IDLES’ Toneland is their third and will be out next year. The Bristol band are one of the biggest acts in the world and are getting stronger and stronger. Their last album, Joy as an Act of Resistance, was nominated for a Mercury this year and is an absolute beast! IDLES are touring next year and have barely had chance to rest since they burst through.
I know Toneland will be another truly magnificent record! This year has been a huge one for the iconic band. They talked to DIY in September and were asked about their Mercury Prize nomination (they lost out to Dave’s PSYCHODRAMA):
“How did you process the news of your album being shortlisted for the Hyundai Mercury Prize?
I think the only way to process it is to be grateful and put it in perspective to where you are and then put it your pocket and keep it there, to keep you warm and fuzzy. It’s something you want and something you work for. The Hyundai Mercury Prize isn’t an award as much as it is a conversation; to celebrate what is going on in Britain in that year that is important and relevant. I think every act on the list for the first time in a while is an interesting and valid part of that conversation. It’s just f*cking beautiful to be part of that conversation. I shall not apologise, nor shall I over-celebrate that. It’s just something that we feel we are part of so we’re glad to be part of it. Obviously you enter, we paid that £190 to be part of the conversation and now we are, and it’s beautiful. I can’t wait to go and see it and see what the other acts have to offer.
You mentioned being a part of that British narrative, you’re in esteemed company; do you feel like part of a wider dialogue?
Yes absolutely. I was talking about this yesterday to Tim Putnam from Partisan Records. Individually, as voices, slowthai, Anna Calvi, Grian [from Fontaines DC] and myself who write all the lyrics, we are worlds apart and we create very different universes, perspectives and windows into the world for our audiences. That’s something that’s intrinsic in us. That’s something that you can’t compare in terms of style. When you extract that style and you talk about believability, vividness and gumption for something they believe in, whether it be something abstract or something real; something working class, something from a woman’s perspective, something from a queer perspective, something from a black perspective, something from a middle-class perspective, something from an Irish perspective, all those things are exactly what we should be talking about and celebrating in Britain”.
IN THIS PHOTO: Laura Marling
Kendrick Lamar and Laura Marling are teasing albums for next year. Lamar’s previous album, DAMN., arrived in 2017, as did Marling’s Semper Femina. I am a huge fan of both artists, but I am especially looking forward to Marling’s new album – an artist who has not put a foot wrong since her debut album! No set dates and titles are confirmed so, again, keep your eyes out. Moses Sumney’s græ is arriving in two parts: the first is in February and the second is in May. You can do some pre-ordering and hear the Californian soar. I want to bring in extracts from an interview he recently gave to SSENSE:
“One way you’ve defined your identity in the media is by presenting your own personality via the ideas of others. You prefaced your last record with an examination of Aristophanes, and then on the record itself, you have a song called “Stoicism.” Where does your interest in Greek mythology and philosophy come from?
It’s so funny, because I think the record makes it seem like it’s been a deep interest of mine, but it only really emerged towards the end of making the record. I wanted to contextualize it in a way that reached beyond modern times.
We’re in such a place where people are [self-]identifying more than ever before, and that feels so modern to people, especially to the old guard. I wanted to contextualize identification as something that has always happened. We’ve always been looking for ways to define and describe ourselves, or ways to give cultural significance to our personal feelings. And so I needed to reach beyond when any of us were born to say, like, these concepts I’m thinking about have been around forever.
In terms of self-identification, Aristophanes himself was a comedic playwright. As serious as your music can sound, do you think there’s anything about Aromanticism—the concept or the record itself—that’s funny?
I do, I think it’s hilaaaarious. The first song on the album is called “Don’t Bother Calling,” and it’s basically being really over-dramatic, and just saying, “Oh, don’t call me, I’ll call you,” and, “I’d love to be in love with you but I’m too busy thinking of the sun, the moon, and the stars, and the alignment of our galaxy.” It’s just so over the top and over-dramatic that in a lot of ways, I feel like I was playing a character while I was writing it, and trying to be as dramatic as possible—which is inherently funny.
I shall do a few more albums that are out next year but we do not know too much about. Phoebe Bridgers is preparing to 2017’s Strangers in the Alps. It was a marvellous debut from the American. She proved herself to be one of the most original songwriters out there and is someone I am looking forward to hearing more of next year. In October, NME asked her about her second album:
“Does that make you feel like a very different person and songwriter to that which wrote ‘Stranger In The Alps’?
“I could talk a big game about how I’m not that person or I’m getting far away from those topics, and then I end up with 10 songs that are about depression. I have no idea. I’ve never really been afraid of how people were going to define me, as long as I didn’t write some cheaper song because people like that I’m depressed.”
IN THIS PHOTO: Phoebe Bridgers/PHOTO CREDIT: Christopher Hall/Mixtape Magazine
And what makes the new album different from your debut?
“The production is totally different to my first record. People still kind of think of me as like a folk artist, but on the first record, I truly was deferring to other people to produce me. I basically had these country folk songs. [On the new record] I do a little bit of screaming on what we’ve recorded so far”.
Run the Jewels’ Run the Jewels 4 is out in 2020, but we are not 100% sure exactly when it will drop. The Orielles’ Disco Volador is their second; it is out on 28th February; so make sure you get a copy. The Halifax band are one of this country’s finest. Expect 2020 to be a very busy and successful year for them. The fourteenth album from Pet Shop Boys, Hotspot, is one you will also need in your life. Here is what the BBC reckon:
“For 14th studio album ‘Hotspot’, Pet Shop Boys relocated to Kreuzberg, Berlin’s Hansa Studios, which helped birth records including David Bowie’s Berlin trilogy, U2’s ‘Achtung Baby’ and Pixies’ ‘Bossanova’.
“We’ve written much of our music over the last ten years in Berlin and it was an exciting experience to work on this album in Hansa and add a new dimension to our sound,” the band say on their website about ‘Hotspot’, which was produced by Stuart Price (Madonna, Kylie, The Killers). 2019's ‘Dreamland’ single features Years & Years frontman Olly Alexander, while Suede’s Bernard Butler plays guitar on ‘Burning the Heather’”.
Poliça’s When We Stay Alive is out on 31st January. It is worth your pennies, and here is this some more information:
“The final roots of the band's first solo album in three years - having released a collaborative record with classical ensemble s t a r g a z e last year - lie in an accident that left frontwoman Channy Leaneagh with a smashed L1 vertebrae and battered spine that saw her in a brace with limited mobility for months. Half of the album was written before the accident and another half was written after.
A press release explains: "While recovering, Leaneagh's doctor told her to focus not only on physical healing, but to meditate on the mental act of healing as well - working to erase the anger, regrets, and fear she felt about her fall. To do so, he suggested she rewrite the story she told herself about what happened [when she fell and sustained her injury]."
This process saw Leaneagh look further back into her past. "I felt there were many things I could look at and say, 'This happened to me but I'm okay now,'" she explains. "'It’s not happening anymore and I got the care I needed for it. Now it’s time to rewrite the story I tell about myself and to myself'".
In terms of more albums for next year, here are some more in the ether: Baxter Dury - The Night Chancers (20th March), Childish Gambino – TBA; Everything Everything – TBA, Frank Ocean – TBA; Georgia - Seeking Thrills (10th Jan), La Roux – Supervision (7th Feb), Lana Del Rey - White Hot Forever and Nadine Shah – TBA.
IN THIS PHOTO: Nadine Shah
Let’s break a few of these down. You can pre-order Baxter Dury’s album; it is going to be another witty and highly special album from the master. Go and pre-order Georgia’s Seeking Thrills. This going to be an album you will not want to miss:
“Second album from the wonderous Georgia. Georgia is seeking a thrill. Her new album, Seeking Thrills, is a musically daring story of hedonism, self-discovery, and above all, the transcendental power of the dancefloor.
Inspired by the Chicago House and Detroit Techno of the early 80s, Seeking Thrills is a sonic feat of exploration and excellence, with textures that reflect Georgia’s background in ethnic musicology, and hours upon hours spent rifling through records. Feminine without being saccharine, Georgia’s deep, brooding reflections carry us through euphoria, heartache and melancholy but always with the memory of the good times.
Started Out, the first single Georgia released from Seeking Thrills, is an upbeat pop twist on Mr Fingers’ Can You Feel It, and as Georgia sings you can almost hear the smile: “We are wicked young fools who behave / Back in the arms of somebody who saved us”. Its release was shortly followed by About Work The Dancefloor, a synth-charged, Robyn-adjacent pop song with a delicious hook. Both were runaway hits. The album is underpinned with sense of melancholy and vulnerability, but with a real sense of power.
Seeking Thrills fuses analogue club sounds with stunning pop songwriting, and showcases Georgia's lifelong love affair with the drums. As a session drummer, making her name playing and collaborating with Micachu, Kwes, and Kate Tempest, she used her technical knowledge to replicate set-ups from 80s house and techno”.
Next year will see a lot of eyes trained the way of Lana Del Rey. She only released Norman Fucking Rockwell! this year, so here is another artist keep to capitalise. White Hot Forever proves Del Rey is in fine and productive form. She spoke with NME recently, where she was asked about her albums and working alongside Jack Antonoff:
“Ever since she broke through with the elegantly downcast ‘Video Games’, Del Rey has been an outlier in the pop world, keeping herself sonically separate from her peers. It’s surprising, then, that on ‘Norman Fucking Rockwell!’ she chose to work with Jack Antonoff, frontman of Bleachers and pop producer du jour who’s worked with Lorde, Taylor Swift, Carly Rae Jepsen, Sia and Pink. While he doesn’t overshadow the women he works with, there’s a definite Jack Antonoff pop sound – a shimmery kind of deceptive euphoria – that weaves its way through most records he’s involved in. If Del Rey had already carved out her own, very specific space in culture, how would teaming up with someone with an equally distinct but very opposite oeuvre work?
IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Mat Hayward/Getty Images
“Jack very much takes my lead – I don’t know how it is with him with other people, but he liked for me to know where I was going,” she says. The two met at a party and it was him who extended that invite to work together. “He asked me if I wanted to come over to his studio in New York and I told him I didn’t have anything to write,” she explains, but he insisted that they could do something together if she just gave him a couple of hours. The way she tells the story makes it seem like she was fairly nonchalant about his offer at the time, but she accepted anyway and was surprised by what she found. “His sensibility is a little more traditional and acoustic than I thought it was. That was really good because some of my songs in my journals were already eight minutes and I didn’t want to condense anything. He’d like, ‘Ten minutes?! Alright!’ He’s like a little comedian”.
Green Day’s Father of All… is out on 7th February, and it sees the Pop-Punk icons as fired up as ever. Tame Impala’s The Slow Rush is another album that is gathering a lot of buzz. The singles Tame Impala’s Kevin Parker has put out this year have been blistering – I am especially fond of Borderline. In this interview, Parker talked about his process:
“Parker has clearly felt some pressure. “If I could make an album every year I would,” he said. “I’d love to. I hate to sound precious, or to say I can’t hurry it, but it’s true.”
He added: “Part of the thing about me starting an album is that I have to feel kind of worthless again to want to make music. I started making music when I was a kid as a way of feeling better about myself, you know? The ironic thing is, if I’m feeling on top of the world or feeling confident or like everything’s good, I don’t have the urge to make music.”
IN THIS PHOTO: Tame Impala’s Kevin Parker/PHOTO CREDIT: Graham Miller for The New York Times
Glen Goetze, the A&R manager at Universal Music Australia who first signed Tame Impala and continues to advise Parker, said making music is “a stoically solitary process” for him.
“I know it turns his head inside out sometimes, not having a bandmate or a band, not working in any way where you can turn to other people,” Goetze said. “He’s got to go through all those phases to come out the other end with something as incredible as he does”.
I will finish up soon, but The 1975’s Notes on a Conditional Form will arrive next year. It follows last year’s A Brief Inquiry into Online Relationships. Here is what we know so far; but you can pre-order and mark your calendars for 21st February. There are actually a lot of great rumoured albums out next year, and I know some brilliant newcomers and legendary artists will bring us some wonderful music. Lady Gaga and Morrissey have albums out next year, and there are a few details out regarding Lady Gaga’s upcoming album. Joanne came out in 2016, and since then she has been keeping busy; her turn in A Star Is Born won her awards and brought huge kudos. Whilst this interview she conducted with Oprah Winfrey for ELLE does not ask her about her next album, I love the openness and bravery Lady Gaga shows when talking about herself. She discusses, among other things, living with mental illness and fibromyalgia:
“It needs to be a much bigger conversation. I want to know, What did you once believe was insurmountable, and in the end, you realized, the solution was so easy?
I once believed that there was no way back from my trauma. I really did. I was in physical, mental, and emotional pain. And medicine works, but you need medicine with the therapy for it to really work, because there’s a part that you have to do yourself.
IN THIS PHOTO: Lady Gaga/PHOTO CREDIT: Sølve Sundsbø for ELLE
Is this suffering from your fibromyalgia?
It is. Although there are many different theories about fibromyalgia—for me, my fibromyalgia and my trauma response kind of go hand in hand. The fibro for me is a lighter pain; the trauma response is much heavier and actually feels the way I felt after I was dropped on a street corner after I’d been raped repeatedly for months. It’s a recurring feeling. So I had a psychotic break at one point, and it was one of the worst things that’s ever happened to me. I was brought to the ER to urgent care and they brought in the doctor, a psychiatrist. So I’m just screaming, and I said, “Could somebody bring me a real doctor?” And I didn’t understand what was going on, because my whole body went numb; I fully dissociated. I was screaming, and then he calmed me down and gave me medication for when that happens—olanzapine.
This is my last question: What do you believe life is asking of us?
I believe life is asking of us to accept the challenge. Accept the challenge of kindness. It’s hard in a world the way that we are; we have a very, very grave history. We’re in trouble, and we have been before. But I think life asks us amid these challenges, this hatred, this tragedy, this famine, this war, this cruelty: Can you be kind and can you survive?”
Dua Lipa is the last artist I shall mention. Her second album, Future Nostalgia, is out next year. She recently put out the title track and has promised a fun and upbeat album with sounds of the 1980s and Disco. It sounds like it Is going to be one of Pop’s biggest albums of next year. I want to bring in an interview she gave earlier this month, where she discussed her sources of inspiration and her fans:
“That unselfconscious expression is something that comes to the fore on Don’t Start Now and the rest of “DL2” (the title her fans have been using in demanding tweets basically ever since the first one came out). She’s aware that her lyrics will be picked apart and scoured over for clues as to her past relationships, but she’s also keen not to give oxygen to specifics. “I mean, it is what it is,” she shrugs. “Art is subjective and the way I think of it is that I focus on songs until the second they’re out and then once they’re out they no longer belong to me. So if people want to pick them apart and make of them what they will then that’s fine. It’s just me being honest and sometimes that bites me in the arse.” She’s acutely aware too that this lyrical unpicking is gendered (“I think as a woman in the music industry, and especially with my life in the public eye, I have been demonised”), and that female sadness is preferred when it comes to high profile break-ups. “I feel like with this record there’s a lot more about being upbeat and fun, and enjoying the fact that I’m allowed to be happy,” she says. “That I’m allowed to have a good time. Without allowing the opinions of others to get in the way of that”.
IN THIS PHOTO: Dua Lipa
Pop stars vs the opinions of others is an ongoing battle, accentuated by social media. It’s partly why she cleared out her Twitter and Instagram ahead of this new era. “Start everything fresh,” she smiles. “But also to prove to me that it’s not real. You can just do whatever you want and people shouldn’t get so caught up in it.” Like most of her peers Lipa has a love/hate relationship with it all. On the one hand she enjoys connecting with her fans, and was obsessed with being the first person to tell them about the new single, favouring a teasing tweet over a billboard or some sort of Challenge Anneka-style marketing campaign. On the other, it’s what nearly crushed her confidence when it came to performing, an area of the (female, men can get away with a lot less, but that’s for another time) pop star code she’s perhaps not excelled at quite yet (there are memes, of course there are). “I was fine for a long time and then I started to see people’s reactions even to things I was proud of,” she says. “I’d go on social media and I’d read things people would write… and I’m not made out of steel. You know. As much as I’d like to think I am, I’m not. It definitely made me second guess myself.” She says 2018’s Electricity video, which saw her dancing around a New York-style apartment, was a turning point. “It was really the first time that I was on set and I had no inhibitions. I wasn’t afraid of what anyone thought. I was proud of myself for not allowing my nerves or anybody else’s opinions get in the way. It was really freeing”.
As the clock ticks I sense we’re eating up valuable pop star time. One last thing: How would her friends describe her? “Probably quite blunt and to the point,” she says, er, bluntly. “I’m probably the most honest, in your-face-person. Like if a mate said ‘what do you think of this dress?’ I would never be the person to lie to them. Or same with boys. ‘Complete wrong ‘un, get rid of them’.” She laughs. There must be so much fakery in this industry though? “Either invoke a ‘be kind’ policy or say things to my face,” she shrugs. “Just be honest. I don’t need a yes person.” And with that she’s off, a little bruised but ready for round two.
IN THIS PHOTO: Nine Inch Nails (Atticus Ross and Trent Reznor)
In terms of late news arrival, it seems Nine Inch Nails are brewing something for 2020. NME provide more details:
“Nine Inch Nails have revealed they are planning to tour and record new music in 2020.
Since the band’s most recent album ‘Bad Witch’ in 2018, Trent Reznor and Atticus Ross have been busy focusing on soundtrack work.
But, in a new interview, it’s been revealed the band intend to tour and work on new Nine Inch Nails music.
There is no further detail on their plans as yet. The interview in Revolver with Reznor and Ross about their soundtrack work simply states: “Nine Inch Nails is not forgotten. In 2020, Reznor and Ross plan to take the group back out on tour, as well as record new NIN music.”
Nine Inch Nails last toured in 2018, around the release of the experimental ‘Bad Witch’ which, at half-an-hour, was the shortest NIN album”.
It is going to be a great year for music next year. I know, as the months progress, we will get more details about those unconfirmed titles and rumoured albums. There are a lot of great ones that we know about; some real corkers in the pack! It is obvious that 2020 is a year where we have…
IN THIS PHOTO: Grimes/PHOTO CREDIT: Chuck Grant for Interview Magazine
SO much to look forward to.