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Eventually, Jay Electronica will release a full-length album. It's difficult to say what level of interest or excitement will attend it—truly powerful, charismatic artists tend to have the ability to organize the pop-culture narrative around their movements, however erratic or infrequent.

Jay Electronica, however, seems bent on riding this theory all the way out—the news feed for his career in the last three years resembles a basement refrigerator containing only baking soda.

It may create a capital-M moment, or it might drop uselessly like a pod from a rotted tree. What is certain, however, is that it will happen safely outside the corona of excitement and possibility that surrounded the release of 'Exhibit C', released in final days of That moment arrived perfect and already preserved in amber--as Just Blaze, keeper of the East Coast flame, pushed a Billy Stewart sample beneath a filter, Jay Electronica told the most coherent and compelling story he's ever bothered with, painting a vision of himself as homeless, sleeping in the rain, fighting off hunger pangs, receiving visitations from angels.

The irony, of course, is that despite all the agonizing waiting, he knocked the song out in 15 minutes. The British producer Addison Groove—Antony Williams, better known as the dubstep artist Headhunter—discovered Chicago juke and footwork the way most non-Chicagoans did back in the late '00s: by watching videos of dancers on YouTube. He made 'Footcrab' as a way of folding juke tracks into his own DJ sets; the song is paced according to dubstep's conventional tempo, but the stuttering vocal loops and syncopated toms are more in keeping with footwork's hyperkinetic flutter.

While 'Footcrab' isn't really a footwork track, it helped whet European palates for the form, hitting shelves shortly before Planet Mu brought out actual footwork records from DJ Nate and DJ Rashad, and finding its way into the boxes of DJs from Ricardo Villalobos to Mr.

Chvrches achieved maximum likability with 'The Mother We Share', and you can prove it with the following: 'likable' became the desperate, last line of defense for people trying to find reasons to dislike it.

They'd have a point if Chvrches were really trying to be an indie rock band, but the Scottish trio are done with that part of their lives; two of the members did stints in miserablist post-rock bands while Lauren Mayberry has the double indignity of a law degree and a failed career in music journalism. After years of trying to appeal to various groups of stock-still, grimacing dudes, Chvrches crowd-please with equal and opposite force with a single so brilliant and on-target, they put a damn neon bullseye on the album cover.

The original version was good, the one on The Bones of What You Believe was a charm offensive, an already-sharp song given diamond-cutting production. So there's nothing 'edgy' about the lazer-guided melodies, bombastic synth-drums, and heat-seeking timeliness: it's ca. As we speak, major labels are blowing a lot of money in search of bands who can sound anything like this and Chvrches nailed it on the first try in their basement.

If you have to dislike 'The Mother We Share' for any reason, make it that. Ty Segall is capable of writing more good songs in one year than many of his peers manage in an entire decade.

In , he let loose with three full-length albums while fidgeting with a variety of genres psych-folk? If she's too simple, her detractors don't get the basics. Yes, it's a song about how when Bethany Cosentino's narrator is with someone, she has fun. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.

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