Wednesday, October 19, 2016

Former Pearl Jam Drummer Dave Abbruzzese Responds to Rock and Roll Hall of Fame Snub

Former Pearl Jam drummer Dave Abbruzzese isn’t happy about being left out of the band’s Rock and Roll Hall of Fame nomination. Rather than going after the Rock Hall, Abbruzzese has challenged Pearl Jam to speak up against the “injustice.”

Dave Abbruzzese played on two of Pearl Jam’s most essential records: Vs. and Vitalogy. The percussionist also performed during the band’s Ten tour after the departure of Matt Chamberlain. His three-year tenure with Pearl Jam ended in 1994, but Abbruzzese believes he should be alongside Rock Hall nominees Eddie Vedder, Mike McCready, Stone Gossard, Jeff Ament, Matt Cameron and Dave Krusen. Chamberlain and fellow former drummer Jack Irons was also left off Pearl Jam’s Rock Hall ballot.

“It’s just a fine opportunity to see what Pearl Jam has to say in response,” Abbruzzese wrote on Facebook. “Let’s see if they do the right thing. It’ll be interesting to see the spin that is put on it. That band and its management have never been ones to shy away when an injustice is done. Let’s see if they still have the courage to fight the good fight!”

The drummer added, “I’ve seen them change a 15 year old settlement agreement just by ignoring its contents and withholding money that didn’t belong to them in order to force me to accept the changes. They know how to play the game…their way! … The members of Pearl Jam have got to know what’s the right thing to do. They can’t justify ignoring my contributions. Like me or not.”

Bridget St. John, Dylan Golden Aycock, Lake Mary at The Schoolhouse, October 21

The Orb at Webster Hall (Marlin Room), October 20

Shellac, Shannon Wright at The Bell House, October 24|utmccn=(not%20set)|utmcmd=187737&__utmv=-&__utmk=225685530

Monday, October 10, 2016

Mark Newman & The Doobie Brothers at The Paramount, October 13

Having recently performed at LIU Post for the “Musicians Without Borders” Benefit Concert this past September and releasing a bluesy new single titled “Scapegoat” singer/songwriter and guitarist Mark Newman is getting ready to open for legendary rockers The Doobie Brothers this Thursday, October 13th at The Paramount- 370 New York Ave, Huntington, NY!

Although Newman has played a ton of exciting solo and full-band showcases in the past few months--notably NYC’s B.B. King’s for the Delbert McClinton Birthday Show, The Space at Westbury opening for the one and only Don Felder, The Blue Note in Tokyo, Japan, The Space at Westbury opening for David Bromberg, NYC’s Legendary Bitter End, and the Pig’n Whistle in Los Angeles with Fred Herrera and Alex Del Zoppo, founding members of Sweetwater--he has also worked as sideman to so many soul, blues, and rock greats of our time like John Oates (Hall and Oates), Jim McCarty (The Yardbirds), Willy DeVille, Sam The Sham, and Sam Moore! 

A New York native, Newman’s musical prowess has taken him around the world several times over, playing with an eclectic mix of noted musical talents from Sting to Elvis Costello, and Travis Tritt as well as his own solo work. A multi stringsman, Mark has mastered electric/acoustic/lap steel guitar as well as the mandolin and dobro, and with a voice reminiscent of many rock and bluesmen before him- it has the familiarity of an old friend yet the power and soul of many of today’s rock, soul, folk and R&B icons. For over five years, Newman and fellow songwriter Naomi Margolin have run the “Music From the Hive” Singer/Songwriter Series, and for the past two years- “The Original Music Series” for bands, in an attempt to keep original music alive on Long Island. Newman also records and produces local artists in the Long Island/NYC area. 

“Walls of Jericho,” which was released in 2010, is filled with intricate guitar work and mixed with a plethora of sounds from hard rock to a lighter more Dylanesque folk tinge, but this style comes even more to the forefront on 2015’s “Brussels” out now on Danal Music and available via iTunes and CD Baby. The live acoustic-driven EP packs a bluesy punch reminiscent of Clapton’s “Unplugged” album through both the guitar work and raw vocal power. On the first track “Mean Season (Lucille, Lucille)”, Newman bellows “I waited til’ dawn, see if the sun will shine when you’re gone // You turn away, I just can’t stay where I don’t belong” and like many early bluesmen before him, you can hear the soulful longing and strife in his voice. With the brilliant slide-guitar work in “Dead Man’s Shoes” we’re easily transported in our minds to the West in the era of outlaws and cowboy boots, and in “Must Be A Pony” reminded about the power of a child’s enthusiasm and the efforts not to lose it as time goes by. 

His most recent release “Scapegoat” is yet another tune that brings Newman’s full-scale musicianship into the forefront as not only a brilliant slide-guitarist, but a gifted lyricist as well. His imagery depicts an innocent man on the run from the law after being framed for a murder he didn’t commit when he bellows “Walking home through an alley when I witnessed a hit, he was fightin’ for his life when his throat got slit // I screamed ‘hey stop!’ but not in time, I saw their faces and they saw mine”. The story takes an even darker turn when he continues “The police showed up to take care of business // They were looking for a weapon, looking for a witness // Though I know who it was I refused to name names // They took me downtown, I think I’m about to get framed”. Though a darker tale, the song itself verges more on the upbeat and danceable blues feel with a hammond organ solo that wouldn't be out of place in The Band, The Doors, or many of the great iconic rock songs of our time. But to judge for yourself, check it out via SoundCloud

With further shows coming up in the next few months including a Tao Jones Reunion (8PM) performance in Sea Cliff, NY Monday, October 17th and Saturday, December 3rd at Bar Louie (Commack) (10PM), you won’t want to miss a great opportunity to see Mark open for The Doobie Brothers on the Main Stage at The Paramount Thursday, October 13th at 8PM!

Aaron Comess group with Teddy Kumpel and Richard Hammond at Rockwood Music Hall, October 10

Friday, September 16, 2016

The Beatles: Eight Days a Week review – moptops conquer the world

Blink and you’ll miss it, but Ron Howard’s intensely enjoyable documentary about the Beatles’ touring years has a great surreal moment at the very beginning. The moptops are getting out of the plane in New York, on their way to a date with destiny on The Ed Sullivan Show, and the newsreel camera briefly catches a couple of placards held up in the huge airport crowd. “Beatles Unfair 2 Bald Men” reads one, and another says: “England Get Out of Ireland.” The images vanish, and their atypical sentiments are in any case drowned by the global scream of unironic adulation. Yet both echo other undercurrents in Beatlemania: a fear of these weirdly attractive aliens, a hatred of youth culture and youth itself, and perhaps mixed feelings in New York and the US about this extraordinary new British invasion. Maybe Paul McCartney even saw that second placard and modified it as a song title for Wings.

Is there really anything more to say about the Beatles? Well, Howard gives us a movie conceived on similar lines to his non-fiction features such as Apollo 13 or Frost/Nixon, real people tested in the fire of publicity, with the same classic narrative arc of personal growth. Yet he persuades you that there might be something new to say, in a film that includes interviews with the two surviving members McCartney and Ringo Starr, archive material with Harrison and Lennon, and intriguing conversations with present-day fans such as Elvis Costello, Whoopi Goldberg and Malcolm Gladwell (whose 2008 book Outliers brings the Beatles’ Hamburg years into his theory that greatness takes 10,000 hours of practice).

Howard’s film has a different emphasis from, say, Ian MacDonald’s critical classic Revolution in the Head, which was explicitly about the Beatles’ recordings. This is about the Beatles as live phenomenon, and the fact that their music was all the more remarkable because it had to be heard above the scream – that ambient sound of sex, excitement and modernity, mixed in with a thin chirrup of press envy. The scream was an important part of it. There are many familiar scenes of the Beatles being unsure, in venues such as Shea Stadium, as to whether they could even be heard at all. And the film demonstrates that the sound system, such as it was, was just the stadium’s PA speakers. What the fans heard was a thin and tinny travesty. But that was hardly the point.


Can you hear us? … the Shea stadium concert. Photograph: SubaFilms

  Eight Days A Week: how Ron Howard brought the Beatles back to life

Eight Days a Week is about what amounted to an almost unbroken four-year, semi-improvised multimedia performance for which there was no pre-existing template – not simply the music but the giant public spectacle and public scrutiny, the theatre of arriving at airports, hotels, posing for incessant photographs, and most challengingly of all, talking to journalists. With wit and good humour far in advance of anything being shown by the press corps, the Beatles came up with snappy but good-natured replies to the questions. Eddie Izzard interestingly comments on their style. All too clearly, with pointed questions about how long the group expected all this to go on, the press was waiting for a comeuppance. Eventually it came, with John Lennon’s remarks about the Beatles being bigger than Christianity. Not in the US Bible belt they weren’t. (A more accurate blasphemy would be to say they were bigger than Shakespeare.) The row soured the exhausted Beatles’ already darkening mood and it was time to quit touring.

With George Martin at Abbey Road studios. Photograph: Apple Corps

In an age before social media, the Beatles could do and say almost anything they wanted to without it rebounding. A wave of euphoria and happiness pours from the screen, and Howard’s movie surfs that wave. If there is a flaw in the film, it is that it somehow fails to notice the Beatles’ wives. Three of them were married or got married in this period, and Linda Eastman met Paul towards the end of this time. Surely their domestic lives were part of what complicated their brotherhood and made their eternal boyhood on the road untenable. There is a lot of simple, moment-by-moment pleasure to be had here. Howard dishes up familiar archive footage but new material as well: in particular, their final performance in Candlestick Park, San Francisco. The Beatles’ cherubic faces are strangely compelling: they did indeed look like intergalactic creatures who found a home on our planet

Thursday, September 15, 2016

Liam Gallagher to take part in livestream Q&A before first screening of Oasis documentary

Liam Gallagher is to take part in a livestream Q&A before the first screening of new Oasis documentary Supersonic next month.

The film's director Mat Whitecross will join Gallagher in answering questions for fans watching in cinemas all over the country when the documentary debuts on October 2. Cinema chain confirmed the news on Twitter last night.

The film, which was co-produced by Amy director Asif Kapadia, will be released fully in UK cinemas two weeks later on October 14. It will then be released on Blu-Ray and DVD in the UK on October 31.

Supersonic documents the band's rise to fame over a period of three years from 1993-96, up to their career pinnacle at Knebworth. It features new interviews with Noel and Liam Gallagher, their mother and members of the band and road crew.

"It [Supersonic] could have easily been over seven hours long," he said. "We did 12 interviews with Noel and the same with Liam. We did about 20 hours with both of them. We'd talk to Noel and Liam and it was like we'd created a conversation between them even though they weren't in the same room.

"Noel was like 'I don't want it to be a bunch of grey haired middle aged rockers talking about how good things were in the old days'. But we kept it in the present by doing these audio interviews."

He also said despite the ongoing feud between the Gallagher brothers, they were both very honest about each other during the interviews.

“We did separate screenings for Noel and Liam," Whitecross explained. "But in the interviews with Liam I said, 'Well obviously you started the band' and Liam would say 'Yeah but Noel would never admit to that' and I would go 'No that's what Noel told me last week' and he'd be like 'Really? Alright, OK'.

"I realised they were both trying to be as honest as possible about it. Noel was very open. It's pretty amazing some of the things he says about Liam. He said Liam was better looking than me and funnier than me and he wore better clothes than me but he wants my talent."

Wednesday, September 14, 2016

Rest in Audio: Company Will Turn Your Ashes Into Vinyl

Now your friends can scratch you into the afterlife

Figuring out how you want to be memorialized after your death is often a lifelong question, some artists spend their whole lives trying to commit one act that may resonate beyond their mortal coil, yet for the deepest (and somewhat laziest) of audiophiles there is a convenient new answer: having your ashes pressed onto vinyl.

Founded in 2009 by Jason Leach, And Vinyly is a pun-obsessed UK-based service that allows customers to press their remains onto a vinyl record. What began “just for fun” is now a bustling business for Leach, as people can use the skull and crossbones mouse icon to choose from a selection of different packages.

You can get album artwork portraits by James Hague (of the National Portrait Gallery) or street artist Paul Insect (or just choose your own art). You can hire musicians through the company who will write and record a track at £500 (about $650) a pop (or maybe you want to write your own song?). And for those who have a hard time making decisions, you can have parts of your body cremated and committed to vinyl while the rest of your body is buried (but why not just have a Viking funeral and save everyone the confusion?).

Yet some do take this option more seriously than the website’s “Live on beyond the groove!” type candor. Aeon’s Hearing Madge documents one And Vinyly customer’s process of making a record of his deceased mother. It does make one think, what song would be on your death record?

Monday, September 12, 2016

Frank Ocean goes ‘Blond’

Anticipation for new Frank Ocean studio material has been so frenzied that somehow it seems longer than just four years since his celebrated 2012 debut “Channel Orange” heralded his arrival as a major creative force.

That brilliant soul/hip-hop hybrid includes the heartrending ballad “Bad Religion,” about forbidden, unrequited love that a closeted young man feels for a male friend. The track, in tandem with Ocean’s startling public candor about his attraction to men, created a stir for both his bravery in a sub-genre often viewed as being less than tolerant toward homosexuality (although support for Ocean far eclipsed any negative outcry) as well as for its riveting honesty. The genre-tripping collection, also highlighted by marvelous gems such as “Pyramids” and “Monks,” was hailed by critics and fans as a masterpiece and it landed on many year-end “best of” 2012 lists.

Speculation over Ocean’s next move has been almost obsessive. Every hint, comment and potential clue about the follow-up to “Channel Orange” launched a mixture of feverish anticipation and consternation by fans battling impatience while salivating over the prospect of hearing what Ocean would turn out next. Ocean finally ended the long wait with a pair of strong projects: a visual album called “Endless” that dropped on Aug. 19, and the breathlessly awaited new studio release, “Blonde,” on the following day. Despite being defiantly non-commercial in every sense of the word — there’s not a strong pop radio hook to be found — “Blonde” has already achieved massive success, shooting straight to No. 1 on the Billboard Top 200 album chart.

It’s interesting to note that Ocean surrounds himself with a bevy of diverse collaborators on “Blonde” and, despite this, the album has been almost universally acclaimed by critics and revered by “serious” music fans since its release. Early this year BeyoncĂ©’s similarly vast list of contributors on “Lemonade” was viewed by some vocal critics as tacit proof that the singer is merely a pop diva propped up by those with the “real talent.” This double standard is curious, and yet not so — obvious sexism, with men often afforded more respect for their talent, has been rampant in popular music from the beginning. “Lemonade” and “Blonde” couldn’t be more different sonically and thematically, but both are bold and uncompromising works that challenge listeners and raise the bar on what standard popular music produced for mass consumption can be.

Let there be no doubt, “Blonde” is a triumph. Although the endless perfectionism that led to its long gestation may be frustrating for fans, it’s difficult to argue that the end result does not justify Ocean’s meticulous attention to detail. His downtempo, idiosyncratically structured compositions fall between the cracks of any traditionally definable genre. The overall vibe is that of fragmented dreams, an intimate night of mind travel that’s languid and shrouded in smoke, mellow and contemplative but also immediate and emotionally potent.

Frank Ocean is one of those rare artists with a singular voice, a unique and immediately identifiable sound that is boundlessly original yet wears its influences and forebearers on its sleeve (think R&B greats like Prince, Stevie Wonder, D’Angelo and Bill Withers merged with hip-hop pioneers like De La Soul punctured with other sonic excursions as diverse as the Beatles and Radiohead). His hypnotic tone poems wander in unexpected directions, looping a kaleidoscope of sounds, samples and vocal effects with complete disregard for the confining lines of standard pop, R&B or hip-hop. “Blonde” is not a flashy album — it’s low key, personal and obviously a work of intense importance for the artist. It’s deeply absorbing and rewarding, with tracks like lead single “Nikes,” “Pink + White,” “Self Control” and the epic closer “Futura Free” among the high points. It’s hardly about the individual tracks, though. “Blonde” is an experience, a continuous journey that’s fascinating to hear unfold. It rewards repeated and careful listens, great headphones and a wide open mind of musical curiosity.

Tuesday, August 23, 2016

Liam Gallagher says ‘Oasis will sail again’ and Noel should get back to ‘his side of the stage’

Liam Gallagher still holds out hope that Oasis will ‘sail again’.

While discussing plans to release new music in 2017 during an interview with Q Magazine – his first since the split of Beady Eye – Gallagher nevertheless had thoughts for his first and biggest love.

“I believe that Oasis will sail again and it will be glorious,” he said. “In the film (Supersonic) Noel says that Knebworth wasn’t really about Oasis, it was about the fans because you can book the biggest venue, but what if nobody had come?”
“And if it’s really about the fans Noel let’s do it, because they want it. One year. A tour for a year. We’d smash it. My bags are still packed from my last tour, so I’m ready.”

Gallagher also re-stated his belief that Noel left Oasis primarily to scratch his frontman itch, but that in the middle of the stage he presents more of a Don McLean vibe than the Steve Jones of his lead guitarist role.

“He’s a great guitarist, our kid,” Liam said. “He looks like Steve Jones when he’s over there on that side. Be happy over there. But out front he looks like Don McClean. If he thinks he’s Lee Mavers he needs to have another look at himself because Lee Mavers is dark and mysterious and you don’t know what’s going to happen with Lee Mavers.”

“You know what’s going to happen with Noel. His sleeves rolled up. It’s like Dermot O’Leary with a guitar. He needs to f**k back over his side of the stage and strike a pose.”

In the feature, Q described the forthcoming Supersonic movie, which charts Oasis’ rise from Manchester to Knebworth, as a ‘masterpiece of a rock documentary’, containing key footage from the band’s early days such as Noel Gallagher first discovering his younger brother had joined a band and the aftermath of their now legendary gig in Glasgow in the presence of Creation boss Alan McGee.


Museum Dedicated to Founding Member of The Wailers and Prolific Solo Artist Will Be Located at the Re-Named ‘Peter Tosh Square’ at the Pulse Centre in New Kingston, Jamaica

This October, late Reggae Legend Peter Tosh will be honored with the opening of a new museum dedicated to his life and impact on the music industry and the world. A founding member of the groundbreaking reggae group The Wailers along with Bob Marley and Bunny Wailer- his work with the group, later solo career, social activism, and advocacy of the Rastafarian religion have left a lasting mark on not only Jamaican culture, but the world at large.

The project comes on the 40th anniversary of the commercial release of Tosh’s 1976 hit single “Legalize It”, and is promised to give fans a fascinating and introspective look into the life of one of Jamaica’s most celebrated figures. Many prominent artists/entertainers who have been majorly impacted by his life and music have also been invited to attend.

When the Peter Tosh Museum officially opens its doors, Jamaicans and visitors from around the world will be able to see a large collection of never-before-seen Tosh memorabilia, as some of the treasures will be displayed to the public for the first time. Visitors will also be able to relive aspects of the non-conformist, futuristic and abundantly creative Tosh experience through sizzling audio and video recordings featuring the superstar, as well as iconic artifacts including his M16 guitar and beloved unicycle that became one of his favorite means of transportation. Also available will be exclusive merchandise for sale to the public.

Museum Launch Itinerary:

Wednesday, October 19th: Launch VIP Cocktail Event (7PM)

Thursday, October 20th: Symposium (6PM)

Friday, October 21st: Press Conference (10AM)

Saturday, October 22nd: Museum Benefit Concert (8PM)

Sunday, October 23rd: Peter Tosh Memorial Garden Excursion (9AM)

Jamaican Prime Minister Andrew Holness (Right) with Niambe McIntosh (Center, holding her Father’s M16 guitar) and Chairman of Pulse Kingsley Cooper (Left) at Jamaica House

A self-taught guitar and keyboard player, Tosh and The Wailers became pioneers of the burgeoning reggae scene in the late 1960’s, and together they toured the world for over ten years. He left the band in 1973 to pursue his solo career and earned huge success with “Legalize It” and later solo releases. The project is promised to give fans a deeper look into the man behind the music. Tosh died at the age of 42 in 1987 during a tragic home invasion.

“This is an important turning point in the preservation and advancement of my father’s legacy, and the museum will allow my father’s message of equal rights and justice to be heard by generations, both young and old,” Niambe McIntosh, daughter of the Grammy winner and administrator of the Peter Tosh Estate has recently said.

Tosh with Fellow Wailer Bob Marley and Mick Jagger, with Whom He Collaborated on 1978’s “Walk and Don’t Look Back”

The Museum project is a joint-venture collaboration between the Peter Tosh Estate, Pulse Investments Ltd, and Andrea Marlene Brown.

Pulse Chairman Kingsley Cooper, who produced the 1983 Pulse Superjam concert which became Tosh's last ever performance, and who led the initiative for the museum’s establishment, said he was pleased that the lengthy negotiation had finally borne fruit and he is looking forward to this game-changing project. “The great Rastafarian campaigner for equal rights and justice, for the abolition of apartheid and for the legalization of marijuana, who did not get his due in life, will now be duly honoured by this important addition to his legacy,” Cooper said.

Tosh left behind a legacy that included countless hits, collaborations with artists such as Mick Jagger (“Walk and Don’t Look Back”) and Keith Richards, and a family who have worked diligently in recent years on the Museum project and preserving his legacy.

The Peter Tosh Museum, opening this October, will help to further solidify Peter Tosh as a founding father of reggae, and an abounding social activist who accomplished so much in a short time.

For More Information on Peter Tosh and His Legacy, Visit:

Monday, August 22, 2016

Primal Scream + Anton Newcombe 12"

Primal Scream + Anton Newcombe

"We gave Anton an ecstatic depressive post punk blue eyed soul song to remix and he gave us back a paranoid crushingly heavy claustrophobic 9 minute dub of medicated dread psychosis and we love it" - Bobby.

'100% or Nothing' feat. Big Belly Nothing 100% Dub (Bobby Selassie and Primal Jah). Out Friday August 19th on clear vinyl. 


Frank Ocean: Endless first-listen review – brilliantly confounding

And so, after all the delays and rumours and teasers and the DIY-themed live streams, Frank Ocean’s new album is finally here! What, I hear you ask, is Boys Don’t Cry actually like?

Erm, we don’t really know. Because Frank Ocean being Frank Ocean, the album he has put out isn’t Boys Don’t Cry. At least we don’t think it is. Instead it’s billed as a “visual album” called Endless. Apparently, it is one big teaser – the teaser to end all teasers, if you will – before the real thing, with a brand-new title, arrives this weekend. Although haven’t we heard that before?

So what, I hear you ask – perhaps with a slightly less patient tone than before – is Endless like? And what the bloody hell is a “visual album”?

To answer the second question, the 18 tracks here have been released as one long video in which Ocean appears to get back on the home improvements game. We see him building a spiral staircase in his warehouse, while rocking various outfits – from an impressively baggy Jesus and Mary Chain sweater to a protective suit – as the music drifts by. And it really does drift, with brief instrumentals such as Ambience 001: In a Certain Way and the Daft Punk-sampling Hublots acting as segues. They also double up as palette-cleansers throughout what is a rich, varied and – at times – challenging musical feast.


Because Endless isn’t always an easy listen. There are computerised voices (arty curtain-raiser Device Control), hazy electronic shimmers (In Here Somewhere) and the odd snippet of conversation littered across Endless, the latter providing a pleasingly lo-fi counterbalance to what is overall a rather futuristic and lush aesthetic (the London Contemporary Orchestra provide a variety of sumptuous strings). Song structures are often free-form, especially through the second half of the record, where the point at which one song ends and another begins is difficult to keep track of. Strangest of all is the final track, Higgs, which seems to be a spoken-word advert for a Samsung Galaxy phone, read aloud by German artist Wolfgang Tillmans over pulsing electronica. It must have thrilled the execs at Apple Music.
Endless feels like an artistic statement before a pop album, even if it’s ultimately an impressive merging of the two

But the idea that this is a singularly avant-garde statement would be wide of the mark. There are clearly songs here, as proved by the swooning synth lines on Commes Des Garçons, or the reggae-tinged Slide On Me, staged over a skittering rhythm and acoustic guitar. It’s just that these tracks have the tendency to dissolve into cut-up voices, or pitch shifts, or electronic bleeps. That’s certainly the case on Alabama, but that shouldn’t discount the fact it also features Sampha’s gorgeously plaintive question: “What can I do to love you more than I do now?”

In fact, soulful melody is in no short supply throughout Endless, and Ocean’s voice ensures it’s delivered more passionately than any other mainstream pop star is managing right now. You realise how much you’ve missed that devastating falsetto the second it hovers into view on a cover of the Isley Brothers’ 1976 hit At Your Best (You Are Love). As Ocean gets busy with a circular saw (those stairs won’t build themselves, you know), the track embodies the merging of R&B and sadboy electronica that’s been developing ever since Ocean first emerged. (Hardcore Frankophiles will have heard a slightly different version in a 2015 tribute to Aaliyah.) The influence of James Blake, Sampha and Jonny Greenwood would have been heavily present here even if those artists hadn’t appeared on Endless.

Of course, your view of Endless may well depend on how you approach it. If you’re expecting a conveyor belt line of hits, then you will be somewhat disappointed as much of this album floats by hazily and with no clear direction. Endless feels like an artistic statement before a pop album, even if it’s ultimately an impressive merging of the two. You might wonder at times – perhaps as beats flicker by and Ocean starts sanding down a particularly rough piece of wood – what on earth is going on. But surely the whole point of Frank Ocean is that he likes to confound, and this really does feel like a brilliantly confounding, unique piece of work.

And besides, the full pop Frank will undoubtedly be unveiled when whatever Boys Don’t Cry is now called emerges. Probably. Possibly. Who knows with this most mysterious and intriguing of artists? All we can say for sure is that there are rumours that an image of Ocean’s face is gradually being projected on to the John Lewis store in Peterborough, along with a countdown clock to a date in March 2018, when etc etc etc.