Jamie T’s second album in two years is a punk, rap, pop and hardcore tour de force
Nirvana: Sliver: The Best of the Box
Scraping the ground where the barrel used to be
But ‘Sliver’, the cobbled-together ‘highlights’ from last year’s ‘With the Lights Out’ box set, a collection of demos and early recordings that ran over four discs, is a record that does nothing but sully the Seattle band’s trailblazing legacy. Fans will buy it for the sleeves proclamation of ‘three unreleased songs’, but the sketchy, hissy, uninspiring skeletons of tunes Kurt didn’t want to release in his lifetime are scant reward for your buck. Furthermore, what’s terrifying is that there will be those for who ‘Sliver’ is their first Nirvana record – their initiation to a beyond brilliant band. If this is your first Nirvana record, the barely-listenable versions of ‘Lithium’, ‘Smells Like Teen Spirit’, ‘All Apologies’ et al on show here will make you wonder what all the fuss is about. Do yourself a favour and seek out 2002’s ‘Greatest Hits’ compilation instead (and all of the official albums, too).
The debt we owe Nirvana is immeasurable. Not just for the great music they left behind in the wake of their troubled, tempestuous, but ultimately thrilling career, but for the simple art of making music good again at a time when it was cack. ‘Sliver’ is no fit way to honour that debt.
Character studies and ready melodies abound in the latest record by the Oxford quartet
A battle-like record where fear and dread rule
Another gripping Pedro Almodóvar mystery, full of vibrant visuals and emotional revelations
The Californian succeeds, once again, in exposing the ugliness of mankind. It’ll get under your skin