Daniel Lopatin on making music in the “unbelievable psychic peril” of a pandemic
The electronic producer Oneohtrix Point Never on isolation, the “cloaked insults” of reviews, and what Mark Fisher got right about time.
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Taylor Swift’s Evermore is Folklore’s darker, colder sister record
Swift’s second album in less than five months bears the same sensitively wrought indie-folk flourishes as its older sibling, but is…
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Albums of the year
The best records of 2020, as chosen by New Statesman staff.
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Joni Mitchell: “I know what I want and I’m not afraid to stand up for it”
The musician on being misunderstood, playing ping pong and why her songs aren't about her.
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The Avalanches’ We Will Always Love You: uplifting disco meets celestial trip hop
Listening to the Australian electro duo's third album is like floating around a zero-gravity party.
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Yungblud’s Weird!: bland, indistinct pop-rock
The Doncaster musician has cultivated a fanbase around his celebration of nonconformity, but his music is unadventurous.
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Jimi Hendrix’s demons
Beneath the guitarist's flamboyant virtuosity lay a life scarred by childhood neglect and depression.
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Miley Cyrus’s Plastic Hearts: rebellious, retro pop-rock anthems
Drawing from 1980s rock, metal and her country roots, Cyrus abandons her belting soprano to sound like a 50-year-old smoker in cowboy…
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