Connoisseurs of all things delicate and deeply felt will love the music put out by A Colourful Storm, the Melbourne-based DJ’s indie label
From Melbourne Recommended if you like the C86 compilation, AU/NZ jangle-pop, Mess Esque Up next Going Back to Sleep out now
Melbourne-based DJ Moopie, AKA Matthew Xue, is renowned for engrossing, wide-ranging sets that can run the gamut from gelid ambient music to churning drum’n’bass and beyond. He also runs A Colourful Storm – a fantastic indie label that massively punches above its weight when it comes to putting out charmingly moody experimental pop music, from artists as disparate as London-based percussionist Valentina Magaletti, dubby Hobart duo Troth, and renowned underground polymath Simon Fisher Turner.
In 2017, the label released I Won’t Have to Think About You, a compilation of winsome, C86-ish indie pop. Earlier this year, it put out Going Back to Sleep, a quasi-sequel to that record which also functions as a neatly drawn guide to some of the best twee-pop groups currently working. Sydney band Daily Toll, whose 2025 debut A Profound Non-Event is one of the year’s underrated gems, contribute Time, a seven-minute melodica-and-guitar reverie. Chateau, the duo of Al Montfort (Terry, Total Control) and Alex Macfarlane (the Stevens, Twerps), push into percussive, psychedelic lounge pop on How Long on the Platform, while Who Cares?, one of Melbourne’s best new bands, channel equal parts Hope Sandoval and Eartheater on Wax and Wane.
Elsewhere, Going Back to Sleep features tracks from San Francisco indie stalwarts the Reds, Pinks and Purples; minimalist Sydney group the Lewers; and sun-dappled folk-pop from Dutch duo the Hobknobs. It’s an unassuming compilation that’s almost certain to become well-loved and frequently referenced among connoisseurs of all things delicate and deeply felt. Shaad D’Souza
(Domino) Blooming strings, mellifluous guitars and airy vocals make Melody Prochet’s fourth album a calming place to visit – even if there’s a lack of standout tracks
French musician Melody Prochet, AKA Melody’s Echo Chamber, never struggles to find a supporting cast. Her self-titled 2012 debut was produced by Tame Impala’s Kevin Parker. On second album Bon Voyage (2018) she teamed up with Swedish psychedelic rock band Dungen, whose guitarist Reine Fiske popped up again on 2022’s Emotional Eternal and now features on Unclouded. Prochet’s fourth album is produced and partly co-written by composer Sven Wunder, and its dizzying array of contributors also includes Josefin Runsteen (opulent strings) and DJ Shadow collaborator Malcolm Catto (percussive fizz).
Still, somehow Prochet retains her own singular vision. Borrowing a title from a quote by Japanese animator Hayao Miyazaki – “You must see with eyes unclouded by hate. See the good in that which is evil, and the evil in that which is good” – Unclouded takes her airy vocals and baroque dreampop into brighter terrain. Some tracks have a 90s vibe, reminiscent of Saint Etienne or Lush. Others have a feel that can only be accurately described in horticultural terms: the blooming strings of the really lovely Broken Roses, or the sprinkles of xylophones that make Burning Man sound like, well, a Japanese garden.
(Brawl) The violinist sets out on her darkest exploration of yuletide yet, giving a murky and melancholy twist on familiar Christmas standards
Traditional music finds its popular, cosy home in the carol, despite the uncanniness that surrounds the nativity story, and the fraying thread back to the past that each winter brings. A veteran explorer of the season (in 2020’s sparkling Winter Rituals EP with cellist Kate Ellis, and 2022’s starker New Christmas Rituals, with amplified fiddle-playing from André Bosman), Laura Cannell sets out on her best and darkest journey yet here, exploring the time of year when, as she writes on the liner notes, “joy and heartache try to exist together”.
Named after the line in Good King Wenceslas before the cruel frosts arrive, Brightly Shone the Moon begins at the organ – a nod to Cannell’s childhood Christmases in the Methodist chapels and churches of Norfolk. Cannell’s fiddle then quivers around the 16th-century folk melody of O Christmas Tree/O Tannenbaum, as if the carol is swirling in a snowglobe, trying to settle in memory. All Ye Faithful follows, full of murky repetitions of the pre-chorus passages, where choirs usually sing “come let us adore him”. But here, love feels stuck, rooting around like an animal in the ground, a sonic reminder of how smothering and strenuous the winter can be for many.
(Double Double Whammy) One half of Water From Your Eyes re-records songs from the back catalogue of his other band, resulting in acoustic fare touched with regret and darkness
As one half of Brooklyn-based duo Water From Your Eyes, Nate Amos makes left-field pop that feels hypermodern: wry, memey lyricism; post-ironic genre-hopping; the kind of jilted chaos and tonal jumble that characterises a social media feed. Yet the band had actually been plugging away for seven years before their 2023 breakthrough. Amos’s solo project This Is Lorelei has been going even longer, only gaining proper traction with last year’s belated debut album Box for Buddy, Box for Star.
Now Amos is capitalising on this recent momentum with another release, this time a compilation of re-recorded songs dredged from his extensive Bandcamp back catalogue. Unlike his WFYE output, these tracks are mainly gentle folk-rock numbers that deal in honeyed melancholy. They tend to be brief and narratively vague, glancing at regret, disappointment and darkness (“you don’t want to know what my dreams are about,” he claims on But You Just Woke Me Up). His most obvious stylistic counterpart is indie-rocker Alex G, but while Amos can’t rival him for lyrical punch, he can match his knack for pleasingly diverting detail: see Name the Band’s chunky pop-punk bassline or the bright guitar twang on Dreams Away.
With an experimental and maxed-out sound, bold new MCs are emerging from all corners of the UK – and with US rap in the doldrums, the time is ripe for another British Invasion
It’s early November and London’s Electric Ballroom is heaving. The warm-up DJ drops Fetty Wap’s 2014 smash Trap Queen, and the young crowd, a fair portion of whom were in primary school when the tune first came out, roar every word. They’re clad in baggy skatewear, with distressed, monochromatic union jacks plastered across hats and jackets. A coat sails across the room: someone is going home chilly tonight, but that’ll be the last thing on their mind as Liverpool rapper EsDeeKid, one of the fastest-rising musicians in the world, explodes on to the stage.
Wrapped in a hooded cloak and spinning like a twig in a hurricane, he grabs the mic and snarls: “Are you ready for rebellion?”, his distinctive scouse accent battling a storm of apocalyptic bass and John Carpenter-esque horror synths. Behind him, projections flash in stark black and red – tower blocks, eyeballs, dot-matrix geometries – more like the ragged photocopy aesthetic of 80s post-punk than any luxury rap branding. The teenagers in the room are ecstatic, borne aloft by the palpable sense, thrumming from stage to pit, that this is A Moment.
Katy Perry joined boyfriend Justin Trudeau for lunch with former Japanese Prime Minister Fumio Kishida during her world tour break in a stylish green ensemble.
Sabrina Carpenter defended her evolution from Disney star to adult pop artist, addressing criticism and backlash over her sexual innuendos in song lyrics.
Ireland, Spain, Slovenia and the Netherlands pull out after decision not to hold vote on Israel’s participation
Ireland, Spain, Slovenia and the Netherlands will boycott next year’s Eurovision after Israel was given the all-clear to compete in the 2026 song contestdespite calls by several participating broadcasters for its exclusion over the war in Gaza.
No vote on Israel’s participation was held on Thursday at the general assembly of the European Broadcasting Union (EBU), the body that organises the competition.
Some users jump generations in expanded Wrapped review while Taylor Swift tops UK streams for third year
It has given some in middle age dubious hope that they have their finger on the cultural pulse. Meanwhile, some younger users have been told their listening habits suggest they are well into retirement.
Spotify has confected a wave of intrigue over what our musical preferences suggest about our vintage, with its “your listening age” feature causing delight and consternation.
The guitarist for Booker T & the MGs defined the sound of original R&B, co-creating soul anthems and proving himself one of the most influential musicians of the 60s
Steve Cropper stood at the side of musical legends and toiled in the shadows of the studio, never a star. But his work with his fellow musicians and singers at Stax Records in Memphis, Tennessee, established him as one of the most creative and influential musicians of the 1960s.
Actually, pretty much every rock icon of that fabled decade looked up to Cropper, who has died aged 84. The Beatles seriously considered recording at Stax, and the Stones covered songs he played on and emulated his crisp rhythm and lead guitar playing. As a jobbing musician in 1964, Jimi Hendrix drove from Nashville to Memphis to meet Cropper (they chatted about guitars and jammed), while Janis Joplin insisted her new band play Stax’s Christmas party so as to rub shoulders with Cropper and co. Across the world, garage bands played songs he had helped to shape.
TheNash Ensemble (Onyx) The chamber group’s all-Ravel CD is an impeccable farewell to its much-missed founder
This all-Ravel recording by the Nash Ensemble was the final project of Amelia Freedman’s extraordinary 60 years as artistic director, and it’s a fitting farewell to the group’s much-missed founder, who died in July. It includes all three larger chamber works plus the composer’s own two-piano arrangement of his orchestral masterpiece La Valse: Alasdair Beatson and Simon Crawford-Phillips are a polished team in this, sounding wonderfully louche early on and then dispatching fistfuls of notes and long glissandos with seeming ease, all while catching the music’s increasingly sinister nature.
The 1905 Introduction and Allegro was a commission from a harp manufacturer, intended to make their instrument sound good – which it duly does as played by Lucy Wakeford, although what is most striking is the way the seven instruments coalesce and separate to create kaleidoscopic textural interest. Indeed, as confirmed by their quicksilver, sometimes excitably fierce String Quartet and especially by their vibrant performance of the Piano Trio, it’s the attention to the details of colour and tone that really makes these performances take flight, the instruments combining to catch the dazzling light and intriguing shade that are such intrinsic features of Ravel’s music.
He’ll be forever known for his festivehit, but Wood was virtually the face of 70s glam rock – writing and performing stomping hits with the Move, ELO and Wizzard
Roy Wood occasionally wrote for others – psych fans should check the Acid Gallery’s splendid 1969 single Dance Round the Maypole – and the single he made with girlfriend Ayshea Brough, an early 70s TV presenter, exemplifies his idiosyncratic pop skills and his kitchen-sink approach to arrangement: kettle drums! More oboe!
As the band celebrate their 60th anniversary, a California exhibition draws attention to the unique psychedelic artwork that has long told their story
Artist Bill Walker is one of those guys who always seems to be in the right place at the right time. Having met Phil Lesh, the Grateful Dead bassist and avant-garde classical composer, as a student at Nevada Southern University (now the University of Nevada, Las Vegas), Walker was invited in 1967 to make an album cover for the band’s second album, Anthem of the Sun. This experience led to an epic LSD and ayahuasca trip in the Valley of Fire outside Las Vegas over New Year’s Eve and when Walker returned to San Francisco, he painted Anthem of the Sun, complete with figures he came across in the desert.
The Anthem of the Sun painting visually demonstrates the intense innovation that happened in the psychedelic revolution, when music was electrified and LSD became central to the burst of culture that defined the 1960s. The Grateful Dead encapsulated this spirit in their music and came to be considered the most American band of all time for being at the center of the psychedelic movement and its transition from the Beat generation that preceded it.
Twenty years on, the social media-savvy contestants will have greater power. His brutal approach to judging them will have to change, too
There is a moment in the trailer for Simon Cowell’s new Netflix show, The Next Act, that is almost touching in its adherence to the way things once were. Cowell, who we see on a variety of beige sofas primly clutching his knees, talks about how to curate a new boyband, 20 years after the launch of his first TV talent show. “There is a huge risk here,” he says, heavy with drama. “If this goes wrong, it will be: ‘Simon Cowell has lost it.’” In fact, as anyone who has an eye on dwindling audience figures for his existing shows knows, for the vast majority of 18- to 24-year-olds – or even for younger millennials – the more likely response will be, “Simon who?”
Which doesn’t mean that a new generation of viewers can’t be lured in by Cowell’s expertise. The question of whether 66-year-old Cowell can tweak a dusty and decades-old model has less to do with current music trends – just as well, since pop music has moved from TV to TikTok, which Cowell says he hates – than the music executive’s extremely well-tested ability to make good TV and bend his persona to align with the times. In the rollout of publicity for the new show, Cowell has made a good fist of expressing regret at how rude he used to be to contestants, apologising in the New York Times, after some cajoling, for “being a dick”, and putting his eye-rolling, grimacing performance as a judge down to the tedium of audition days rather than what most of us understood it to be: the extraction of lolz out of confused individuals who had the misfortune to appear on his shows.
Legendary guitarist Steve Cropper, known for Blues Brothers and Booker T. & the MG's, dies at 84. The Memphis music icon helped shape soul music history.
As a member of Booker T. & the MG’s and as a producer, he played a pivotal role in the rise of Stax Records, a storied force in R&B in the 1960s and ’70s.
Prolific musician was known for work on songs like Green Onions and Otis Redding’s (Sittin’ on) The Dock of the Bay
Steve Cropper, the legendary guitarist whose work as an instrumentalist, producer and songwriter at Stax Records left an indelible impression on Memphis soul music, has died at the age of 84.
The wrinkle in this year’s Spotify Wrapped release was an estimate of the user’s “listening age.” Some wore it like a badge of honor. Others made excuses.
Miley Cyrus and Maxx Morando are engaged after four years together. The two met on a blind date and have kept their relationship largely private over the years.
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