by The Norwich Radical team
At year’s end, many of us feel the pull to try and put a positive spin on the preceding 12 month period – to celebrate its joys, while recognising its difficulties in order to put them behind us as we look to the new year with a hopeful eye. At the end of 2020, it is particularly difficult to find a positive angle from which to look back, or forward. The slow-motion explosion that is Brexit has rolled on, the UK government that came to power just over a year ago has taken every opportunity to demonstrate its incompetence and corruption, and the mainstream media has continued to side with the powerful over the marginalised. And then there’s the elephant in every room – the Covid-19 pandemic, which has pushed many of the institutions we rely on to breaking point, revealing just how little many governments care about the lives of their more vulnerable citizens.
by Chris Jarvis
Anniversaries are strange things. Almost exclusively, they consist of rose-tinted, uncritical and nostalgic assessments of whatever they seek to commemorate. 2016, forty years since the ‘birth’ of punk, appears no different. Expect Union Jacks, safety pins galore and excessive images of John Lydon in BBC sanctioned documentaries. Expect descriptions of how important Malcolm Mclaren was to punk’s success, claims that New Rose was without contention the first punk rock single and a neat lineage where pub rock became punk – a very British phenomenon.
Inadequate as such histories are, they are demonstrative of the problem we have with understanding punk as a cultural occurrence. Debate rages amongst fans about whether punk was ever grassroots, whether it was ever political, whether any of the anti-establishment ethos was ever genuine, or instead fabricated by an astute record industry seeking to find the new zeitgeist. Adherents to either theory will read selectively into the evidence and ignore anything which would disprove their dogma.Continue Reading
by Carmina Masoliver
I first came across Richard Yates’ work through Kate Winslet and Leonardo DiCaprio in the screen adaptation of Revolutionary Road. It wasn’t until I stumbled upon the book in HMV, for something ridiculous like £1, that I actually read his work. I loved them both equally. Maybe I’m just a sucker for all things retro, but I felt he was extremely talented at capturing the human condition in characters who were entirely believable; both romantic and tragic. His ability to do this seemed to extend to a variety of characters and situations when recently reading his Collected Works.Continue Reading
by Mike Vinti
Flying Lotus, alongside Shabbaz Palaces and Thundercat, released their first single on Monday of new project WOKE. Featuring George Clinton of Parliament-Funkadelic, it’s a typically psyched out, funk laden cut, overflowing with strange samples and squelching synth lines.
Since the release of You’re Dead! last October, Flying Lotus’s profile has been growing. No longer merely the preserve of open-minded hip hop heads, he’s broken out to become a critical darling and gained lucrative mass appeal, having produced tracks on Kendrick Lamar’s latest LP To Pimp a Butterfly. Flying Lotus is also the founder, and head of, record label Brainfeeder, a collective of musicians from around the world specialising in experimental electronic music and hip hop, with a heavy jazz influence.
Brainfeeder has provided a home not just for Flying Lotus’ pet projects such as WOKE, but for some of the most challenging and boundary pushing artists currently recording. As its founder’s profile grows and grows, now is the perfect time to explore some of the other artists on its roster and their releases over the years.Continue Reading