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New Music Fridays: Festicket Staff Picks

New Music Fridays: Festicket Staff Picks


This week Festicket's staff picks range from wigged-out psychedelia from Japan, a collaboration from two titans of contemporary hip-hop, and a troubadour who's found her place in the world. Find our playlist below and some words on our particular favourites beneath it. 


Cat Power - Wanderer

 

A rambler since her teens, Wanderer would be an apt name for Cat Power aka Chan Marshall’s latest effort, yet it’s a reflection on her former life rather than present.

Wanderer encompasses each era of her career; haunting acoustic tales, grungier compositions reminiscent of 2003’s You Are Free, a tender cover of Rihanna's 'Stay', and an appearance from admirer Lana Del Rey on lead single ‘Woman’ sonically represent the tapestry she's woven. Still, it’s Marshall’s trademark smoky vocals that remain the troubadour’s trump-card. Addressing the necessary journey of decision-making on ‘You Get’ ("It takes time, to get what you want") implies that Marshall is no longer seeking to fly the nest, but rather make a house a home for her firstborn.

Matador Records seemingly thrust Marshall into the direction of a ‘commercial success’, which spurred Marshall to seek a new destination, and after lengthy legal disputes found a new home in Domino. The wanderer need wander no more. TC 

 

Kikagaku Moyo - Masana Temples

 

First off, this band has a sitar player. That right there should tell you everything you need to know.

Kikagaku Moyo are a psych-rock outfit from Tokyo who are just as comfortable moulding delicate melodies as they are jamming to fuzzed out grooves. Their new album doesn't find them re-charting their course or anything, but it does show they haven't lost a step. Soaring highs and reflective lows abound. AW

 

Kurt Vile - 'One Trick Ponies'
 

You’d have thought calling a track ‘One Trick Ponies’ and including lyrics like “I’ve always had a soft spot repetition” might leave Kurt Vile open to criticism, given that this Kurt Vile song, like every Kurt Vile song before it, sounds exactly as you’d expect a Kurt Vile song to sound.

And yet, the idiosyncratic delivery, wry sense of humour and charmingly unelaborate guitars make it so utterly listenable that it’s hard to complain too much. JK

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