The first I heard of St Vincent was their seven minute shredding of Big Black's Kerosene. Then she released Strange Mercy, an album of strange, ethereal Baroque pop, so it's nice to find her absolutely ripping it to pieces again, on this Record Store Day release 'Krokodil'; which finds Annie Clark howling 'Sweet Crocodiles' over blistering distorted guitars. For someone who looks so sweet, Clark really knows how to transform into a monster.
Disclosure's new track, Boiling, features Sinead Harnett, is the first snippet of a release from the duo on Greco-Roman. This is Dubstep's Radio 2 moment, just under four minutes of lushly produced synths and drum patterns, huge vocal melodies. Or maybe it's loungestep? Dubstep for a hotel bar, coated in red velvet, Sinead Harnett is an evening dress, and disclosure manipulating Abelton in tuxedos.
With dubstep's assault on the charts last year, and it's metamorphoses into brain-dead 'brostep' in America, you'd think it'd be creatively dead, yet it seems that it's shattered into about a thousand pieces and has sprung up everywhere, sounding usually nothing like it forbears. PMR Records is one of those at the forefront of pushing the sound into new directions, with L-Vis 1990, Julio Bashmore and Jessie Ware, who were all rooted in dubstep, moving into the shady area of 'post'. Whilst L-Vis moved into glimmering, chrome-plated and bass-laden house, and Bashmore reunited UK Garage with Dubstep into slinking, emotive, clubjams, Jessie Ware uses her heartbreaking voice to propel it towards more soulful territory.
