Thursday 27 November 2014

DOLLS - Killing Time

Though the path of the two-piece rock band is fairly well-trodden by now, London duo DOLLS are attempting to inject some fresh impetus into the format with debut single Killing Time. After the cripplingly dull rock of Royal Blood managed to mystifyingly sweep the entire country this year, it's certainly refreshing to hear a group attack a song with genuine vigour and aggression.

Frontwoman Jade Ellins' vocals certainly help - here they brood and menace early on before giving way to primal howling alongside crashing drums and screaming guitars. It's exciting, visceral stuff that manages to steer well clear of two-piece blues rock cliches. An assured debut effort from a group who may well be ones to watch out for next year.


Monday 24 November 2014

Daisy Victoria - Nobody Dies

Daisy Victoria - an artist featured on this very blog earlier this year - recently returned with new single and EP Nobody Dies. Whilst earlier single Heart Full Of Beef spat and stammered like an angry offshoot of Anna Calvi, Nobody Dies is an altogether more lucid affair.

Shimmering guitars, dreamy psychedelics and cryptic lyrics combine to form a piece of work that is more Bush than Calvi; daring and experimental in its ambition but with its roots firmly planted in melodic pop music.

Victoria has a wonderfully versatile voice that is equally at home with forceful guitars as it is with the more electronic sounds on show here. This is an exciting step forward from an artist who is unarguably set for bigger and better things.


Monday 6 October 2014

Idea For A Film - Can't Sit Still

Music is defined by trends. Trends in sound, trends in fashion, trends in instrumentation. But recently it has become more and more defined by one trend in particular: promotion. It's a subject I touched upon at the start of the year, and you only have to take the example of 2014's breakthrough act Jungle, whose idea of self-promotion was, well, to do no promotion at all. They stayed out of the spotlight and almost nothing was known of the band who would go on to release a Mercury-nominated top 10 album in July.

Perhaps Jungle have started the latest trend in music. Idea For A Film give very little away about themselves through their website and Bandcamp page, other than their Manchester roots and the fact that they make music in a 'dingy, disused Victorian mill; there is no heating, no ventilation, and the tap water has a murky greenish tinge to it.' There is something strangely alluring about knowing so little about a group, particularly when an introductory email from one member of the band simply states that they want to 'recommend something new to you'!

But anyway, on to the music. 'Can't Sit Still' is the only glimpse of music we have so far from Idea For A Film, and it's absolutely remarkable. The song has a certain ghost-like quality to it, with its shimmering guitars, spooky vocals and haunting soundscapes. It's magical stuff from the first second, with a lengthy instrumental intro soon giving away to the manipulated vocals and cryptic lyrics that speak of 'gasping for air' before asking the listener 'Do you really know what you want?' The cacophony of noise that precedes the piano-led outro only adds to the unsettling atmosphere that has been so stunningly put together here.

Idea For A Film have managed to carve out a truly unique sound of their own in 4 and a half minutes of ethereal, blissed-out brilliance. In one more little quirk, it will cost you a cool £1,000 to purchase it from Bandcamp. But fear not, for you can stream it for free below.


Wednesday 1 October 2014

Lapsley - Falling Short

Lapsley is an artist we first featured upon the release of her exceptional debut single 'Station', and a couple of days ago the Liverpudlian returned with her latest offering: 'Falling Short'.

A more piano-led slice of ambient loveliness than the likes of 'Station' and 'Painter', 'Falling Short' nevertheless maintains some of Holly Fletcher's distinctive trademarks - namely the wondrous vocals, pitch-distorted vocals and catchy melodies. It's yet another strong showing from an artist who keeps getting better and better, something which is evidenced in electronic goddess Annie Mac electing to release it on her latest '...Presents' compilation.

Just 18-years old yet already boasting a back catalogue that songwriters twice her age would be proud of, we can only implore you once again to check out the dreamy delights of Lapsley.


Wednesday 10 September 2014

Gengahr - Powder

Seems like formerly-blissed-out Londoners Gengahr have added some serious punch to their sound in the time that I've been away. Their debut 'Demo EP', released in the early stages of 2014, was a delightfully woozy affair with menacingly dark, psychedelic undertones. With lazy, swaggering vocals and understated guitar hooks adding to the lo-fi sound, it was a devilishly addictive listen.

Now, they have returned with their first single 'proper': 'Powder'. Though it kicks off in similar fashion to their recorded output - those trademark scruffy vocals coupled with a low-key production - it soon transforms into a different beast altogether. Grungy 90s guitar hooks eventually overcome and dominate the song as it reaches it's thrilling conclusion, the ante slowly ramped up and up as those vocals remain: the melodic calm amidst the ever-growing storm.

'Powder' is a slow-burning rocker boasting a delicious melody and some truly virtuoso lead guitar work. An exciting new tune from one of my new favourite bands - soon they'll be your favourites, too.


Monday 9 June 2014

Album of the Week #25: Gramatik

Artist: Gramatik
Album: Beatz & Pieces Vol. 1
Year: 2011
Label: Pretty Lights Music

Gramatik's sample-laden music has been a guaranteed party starter for six years now, but the 2011 record Beatz & Pieces Vol. 1 is surely the pinnacle of his impressive discography.

Melding elements of funk, jazz, hip-hop into a cohesive body of work, Gramatik's instrumental music is DJ Shadow-esque in its execution and J Dilla-esque in its imagination. Though musically it is influenced by the likes of jazz and funk, in truth the samples called upon are from even further reaching corners of the globe and across huge swathes of time. A quick glance at his WhoSampled page reveals the above to be true - there are pinches of swing, soul, rock 'n' roll and more that are chopped, sliced and distorted before being thrown into this bubbling melting pot of styles and genres. It all makes for an intricately constructed set of songs from an artist who clearly has a rich and varied taste in music, but importantly Gramatik's talent is such that it all comes together to form a unique record that's great fun to listen to.

Repeated vocal hooks, scratchy funk samples and hip-hop drum beats tend to be the cornerstones of Beatz and Pieces, something which is evident as soon as the beat to album opener 'DreamBIG' kicks in. 'So Much For Love' is a joyful clash of sampled vocals and piano riffs that creates a dancefloor-filler that you won't find populating the airwaves of Radio One. The tracks here are wearing darkened shades, bopping their heads and smoking cigars whilst you long to be as fucking cool as them.

Gramatik expands upon his sound a little with the likes of 'Good Evening Mr. Hitchcock' and 'The Drink Is Called Rakja'. The former throws in sweeping strings and flickering keys for a lush body of orchestral sound, whilst the latter's electro-swing sound is the most frenetic affair on the record. Both are heavily-layered, masterfully-crafted bodies of work, which is symbolic of the whole album. Yet when Gramatik strips it back to the bare bones - if you could call it that - in 'Like You Do', the result is an effortlessly hip slice of instrumental funk-hop that is the standout moment of the record. Considering the competition it has, that's some achievement in this myriad of party-starting tracks that are, well, just. so. bloody. good.



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Monday 2 June 2014

Album of the Week #24

Artist: Emma Ruth Rundle
Album: Some Heavy Ocean
Year: 2014

After leaving a tantalising glimpse of Emma Ruth Rundle's spectacular talents in last week's Midweek Mixtape, it's probably only fair that her stunning debut album comes under the one album a week-shaped spotlight today. Rundle has concocted a dreamy world of sounds in Some Heavy Ocean, taking the listener on an immersive journey through her folk-tinged set of psychedelic numbers. Recalling the spirit and sound of hometown L.A. and throwing in her own pop sensibilities to create a unique sound, it is a beguiling listen that sweeps and soars its way through 10 songs of pure beauty.

Although there are hints of 60s psychedelia, 70s folk and pop, it is the menacing atmosphere running through this work that sets it apart from its contemporaries. 'Haunted Houses' is atypical of the album as a whole, with its soft acoustic plucking the backbone behind sweeping strings and Rundle's haunting voice, which is honest, heartfelt and often seems to plead with the listener to join her on this journey - rather like fellow American Lana Del Rey.

'Arms I Know So Well' is the obvious entry point into the album and the perfect example of Rundle's eye for a pop melody underpinning the sea of ambient sounds that it accompanies. It reaches its glorious crescendo amidst barely-audible vocals and increasingly frantic guitar strumming, offering the perfect centrepoint of an album which is built around this song.

The reverb-heavy 'Living With The Black Dog', and is the furthest point at which Rundle extends her psychedelic tendencies, making it a compelling album closer that recalls female doom-pop merchant Anna Calvi and even Stevie Nicks' solo output. It may seem hyperbolic to compare 'Some Heavy Ocean' to such artists, but it is a fully deserved praise of an album that never fails to delight.


Wednesday 28 May 2014

Midweek Mixtape #7



Eerie atmospherics soon give way to jangly guitars in Ferry Light Switch, the opening track off the Bristolian 5-piece Daggers and Waves' Wayward Lines EP. This uplifting sun-kissed drifter, held together by delicate guitars and woozy vocals, absolutely flies by in five minutes of Kurt Vile-esque bliss.

Continuing those warm weather vibes, as we desperately try to remember what sunny weather is like here in the South West, are father and son duo Tree Dwellers, who are presumably hanging around somewhere on the same beach frequented by Daggers and Waves. This one's a bit of an oddball really: a bass riff here, stabs of strings there, sampled vocals hooks and funky guitar licks all thrown into the melting pot for an infectious slice of funk-hop that comes from the same page as the likes of Gramatik or J Dilla.

I think these chilled-out tracks must be sending you to sleep though. SO WAKE UP! HERE'S A SING-SONG! Lois The Band's 'Be True To Yourself' is massive, epic, anthemic, glorious etc et al that recalls the best moments of Britpop and all of those early noughties sing-a-long groups. Live, this would be a beer-drenched classic.

Now for something all the way from L.A. Singer songwriter Emma Ruth Rundle makes incredibly atmospheric, heart-wrenching guitar music sprinkled with pop sensibilities. It can be pretty dark and pretty powerful stuff - but beware Rundle's ability to draw you into her world with those catchy melodies before you find yourself totally engrossed in the arresting soundscapes that she creates. 'Arms I Know So Well' is a nice entry point into her stunning debut album Some Heavy Ocean, which you can listen to here.

Sheffield duo Slow Club's latest offering veers away from their earlier folk-pop offerings, strings and brass giving the slow-burning 'Suffering You, Suffering Me' a real Motown edge that pushes the group into their poppiest territory yet - not that you should be worried, 'cause those two have absolutely nailed it once again.

Tuesday 20 May 2014

Midweek Mixtape #6



After first thrusting themselves into view with the release of their no nonsense self-titled debut album earlier this year, the stock of Leeds punk rockers Eagulls has continued to rise with two recent scintillating performances on Letterman and Jools Holland. Their confrontational punk rock isn't displayed any better than in 'Possessed', as cascading, fuzzed out riffs collide with pounding drums and aggressive, shouty vocals to create an enticingly-toxic melting pot of noise.

Anton Newcombe may be a divisive figure at the best of times, but it is hard to argue with the peaks of The Brian Jonestown Massacre's long and occasionally-frustrating discography. When he's on form, such as in 1996's Take It From The Man!, there are surely few songwriters more talented than the enigmatic Newcombe. 'Memory Camp', the stand-out track from latest album Revelation, sees the band returning to scale those huge mid-90s peaks once again.

Mac DeMarco is another hugely talented songwriter making a welcome return: this time with the critically-lauded Salad Days, backed by the hugely enjoyable 'Passing Out Pieces'. A careful evolution rather than revolution from his earlier sound, don't let his 'oddball' persona mislead you into thinking his music is equally slack and carefree: 'Passing Out Pieces' is delicately put together with a sheen and confidence that mirrors DeMarco's flourishing skills as a songwriter.

Leamington Spa two-piece Coves are a group of counterpoints and contrasts: a boy and girl, guitar and drum duo who mesh crashing blues numbers with dreamy electronic sounds to create beguiling songs more reminiscent of the L.A. sun than the undoubted delights of urban Warwickshire. 'Beatings' sums up this intriguing aesthetic as it soars with the repeated line My heart stops beating for you before slipping into a psychedelic crack-out in its stunning finale: distorted guitars, crashing drums and bleeps and glitches battling for precedence at the heart of this psych-rock behemoth.

Monday 12 May 2014

Album of the Week #23

Artist: Teleman
Album: Breakfast
Year: 2014
Label: Moshi Moshi

Rising from the remnants of late noughties indie pop outfit Pete and the Pirates, it could have been tempting for Teleman to rest on their laurels and on the reputation of their former incarnation. But with the swooning, electro-tinged 60s melodies of debut album Breakfast they have already managed to carve out a sound that is both familiar yet totally their own. Despite just one change in the lineup, drummer Hiro Amamiya joining the former pirates Tom Sanders, Jonny Sanders and Pete Cattermoul to form the band, the shift in sound from guitar-heavy indie to boasting a more blissful and melodic electronic edge has been sharp yet apparently effortless.

Whilst Pete and the Pirates boomed with a restless energy beneath their catchy guitar pop, Teleman have taken on a droid-like appearance and their music appears almost robotic in patches. However, that's not to say the group have ditched personality in favour of a more sleek and assured sound. 'Steam Train Girl', for instance, shares characteristics of both. It is precise, exact and confident in its delivery, yet its motoring melodies and instrumental climax make it the life force and beating heart of Breakfast. Imagine Kraftwerk with guitars and you're halfway to understanding it.

Elsewhere, the Velvet-esque ambient balladry of '23 Floors Up' and 'Cristina' display the group's personal touch and canny knack of finding that addictive melody that served them so well as Pete and the Pirates. And though guitars still feature on Breakfast, it is the keyboard and synths that feature more prominently, and as the album progresses, they come to define Teleman's sound. Perhaps the trio needed a clean slate to edge the six-stringer into the background, but it has worked a treat. A range of ideas are explored on Breakfast and it has all the hallmarks of a group exploring yet still finding their feet and their own sound.

If the amalgamation of guitars and synths is the one thread running right through the record, that notion is perhaps summed up most pertinently in album closer 'Travel Song.' Quite literally a song of two halves, the first is a pleasant enough stomp with nods to new wave and Motorik via Pirates-esque indie. Yet the band move head-on into Motorik territory after a brief lull in sound, harsh guitars and robotic vocals clashing and colliding as Sanders' fitting vocal hook of I'm not in control, I'm not in control soars and soars and soars in mantra-esque fashion. It is a thrilling end to a thrilling record, and the sound of swirling synths guiding the song to its abrupt climax is emblematic of an album that successfully blends the old and the new to create one of the most exciting efforts of 2014.

'Breakfast' is released on 26th May by Moshi Moshi Records. Until then, you can hear some of the tracks from the album on Teleman's Soundcloud page.

Wednesday 7 May 2014

Midweek Mixtape #5



In the latest installment of the Midweek Mixtape we've got some real big-hitters making their mark in 2014. The Horrors are back, finally, after the critical and commercial success of their stunning 2011 album Skying. New album Luminous is a careful step forward, but one that is undoubtedly just that: forward. 'Change Your Mind' is the standout track of the album from a band with an increasingly impressive discography, and one whom you suspect are slowly moving towards producing something quite extraordinary.

Damon Albarn's long-awaited debut solo album is, in some way, exactly what you might expect from him. Generally consisting of his trademark soulful, honest yet hard-hitting ballads, Everyday Robots also exhibits his more experimental side that he is so heavily associated with. But on this occasion, it's the Bobby Womack-esque 'The Selfish Giant' which stands out, boasting a beautiful melody coupled with backing vocals from none other than Bat for Lashes.

Wolf Alice. WOLF ALICE. One of those bands that I've been fully aware of for offensively long, without ever actually dipping into their releases and seeing what all the fuss was about. Well, now I have, and you should too. Immediately. 'Blush', from the eponymously-titled 2013 EP, is absolute magic, with Ellie Rowsell's vocals sparkling and shining before soaring into a stunning finale.

This is the track that Jack White recorded, pressed and released in just FOUR HOURS for this year's Record Store Day - making it a world record. The song itself is fittingly fast and furious, as White's typically bluesy guitar licks are poked and prodded by his yelping vocals, with the song barely catching its breath before a mega guitar solo is already hitting you hard and then retreating into a fuzzed-out, violin-indebted outro that instantly takes on a mind of its own. Yep, it's a bit of a mad one, this.

Finally, a cut from EMA's critically-lauded LP The Future's Void, which was released earlier this year. 'So Blonde''s stomping drum beat is quickly accompanied by vocals that shift from airy and whispy to snarling and menacing in one fell swoop. Let me tell you about this boy I know, EMA sings, barely able to conceal her disdain in the paired backing vocals. A proto-grunge rocker that's a real highlight on a superb album.

Sunday 4 May 2014

Album of the Week #22

Artist: Sylvan Esso
Album: Sylvan Esso
Year: 2014
Label: Partisan Records

Musical side projects are famously hit and miss. For every Gorillaz, for instance, there's a SuperHeavy. With so many influences, styles and egos going into the melting pot it can be hard to distil it all into a cohesive listen. But North Carolina duo Sylvan Esso, made up of Mountain Man's Amelia Meath and Megafaun's Nick Sanborn, have come together to produce a debut album that, for the most part, is a sparkling effort.

That's not to say the record is perfection. When I first heard album opener 'Hey Mami' earlier this year, I must admit that it didn't quite do it for me. Meath's sleazy vocals seem like they were born out of a all-night jazz club; you can almost smell the rum and coke in them. Yet the track combines this with harsh, heavy electronic beats from Sanborn to create a tuneful but ultimately confused, jumbled sound.

'Hey Mami' stalls and splutters its way forward, but after the duo soon start moving through the gears. 'Wolf' is the first sign of what they're capable of: the sparse production of Sanborn this time complementing the vocals of Meath. But things really get going with the mid-album double-whammy of 'H.S.K.T.' and 'Coffee.' The former steps up the tempo a notch as Meath is guided along by the deftly-arranged synths and sounds of Sanborn as he expertly controls the anticipation throughout the song, hinting and hinting before eventually heading down a glorious drop in the finale. It's made for the 4am dancefloor.

If 'H.S.K.T.' was enough to floor you, then 'Coffee' gently eases you up again, more swirling synths and blissed-out vocals in perfect tandem. Meath's vocal refrain of Get up/Get down is beckoning you into their world, fast-forwarding a few hours from the highs of the previous song and transporting you to the 6am sunrise, where that horrible realisation that the night's over hits you like a train. Here though, you get a sense of that atmosphere without the hangover and massive hole in your wallet. It's like a mini-concept album.

By now, their forward momentum is unrelenting. 'Uncantena' and 'Play It Right' offer a similar counterpoint to each other, with the latter meshing those heavier sounds and lighter vocals so much more successfully than early on in the album. In  many ways, you can hear the two artists coming to terms with each other and growing together as you listen to Sylvan Esso, which is a journey you're invited to. And when the two are in tandem, it's irresistible.

Sylvan Esso is released on June 2nd. Click here to listen to a few tracks from the album...



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Thursday 1 May 2014

Midweek Mixtape #4




Daisy Victoria - Heart Full of Beef

When this song landed in my inbox, accompanied with a long-winded and (quite frankly) lovely message, I have to admit that I wasn't expecting the record to quite sound as it does. Yet in Heart Full of Beef, Daisy Victoria evokes immediate comparisons with Anna Calvi, her powerful voice and harsh guitars making it a thrilling listen - and showing that you should never come to any early preconceptions about an artist. A dark, powerful and intense record.

Little Dove - Into The Ground

It's difficult to avoid thinking of The White Stripes when you first hear Little Dove. Yet Jack and Meg's influence was such that almost any two-piece blues rock band is bound to do the same. That shouldn't take anything away from Into The Ground, a stomping blues assault packing a mega riff and an incessant, pounding drum beat. Don't write this LA duo off as White Stripes imitators - their self-titled debut album does more than enough to suggest they're a fearsome proposition in their own right.

Yellow Ostrich - Neon Fists

The folk rock stylings of Neon Fist starts off innocently enough, but as the tempo and noise is gradually ramped up and up it becomes a more captivating listen with each passing second. In the end, the steady acoustic guitar lick is the calm epicentre of the hurricane that slowly starts to encircle it, distorted guitars and increasingly strained, almost desperate vocals pleading for the song to reach its thrilling climax.

Wye Oak - Glory

Though Wye Oak's lead singer Jenn Wasner was said to have suffered severe writer's block in the run-up to latest album Shriek, you would never have guessed it after listening to this majestic slice of electro dream pop. Her ghostly vocals take Glory by the scruff of the neck, and even as the glitchy electronic solo is taking shape, you're always hoping it will eventually find its way back to her stunning vocal hook. Which, thankfully, it does.

Oliver Wilde - Night In Time Lapse


Bristol-based bedroom musician Oliver Wilde is beginning to make waves with his brand of 'downer pop, glitch tinsel, dad rock and sit down classics' (his words, not mine). In B-Side (B-SIDE!!) Night In Time Lapse, his blissful vocals are barely audible above the dreamy guitars and cracked-out electronic sounds, yet it all comes together perfectly to form, well, top quality downer pop, I suppose. This writing lark is easy sometimes...



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Sunday 27 April 2014

Album of the Week #21

Artist: Voluntary Butler Scheme
Album: A Million Ways
Year: 2014
Label: Split Records

It's one of those little oddities that music created by a one man band seems to automatically go up in people's estimations. From Paul McCartney's McCartney II  to Tame Impala's Lonerism, it is often surprising to hear that such complex albums have actually been written, recorded and produced by a lone individual. The Slowdown by solo artist Pilote, an early album of the week on this very blog, is another example of the masterful compositional skills that some individuals possess. Which brings us to this album by one man band Rob Jones, aka The Voluntary Butler Scheme.

With releases under his Voluntary Butler Scheme moniker dating back to 2009's debut album At Breakfast, Dinner, Tea, Jones has quietly been building up an impressive band of followers, with recognition from the likes of NME, Radio 1, 6 Music, XFM and even The Sun. He's also played sessions for Huw Stephens, Marc Riley and Dermot O'Leary and drawn praise from none other than Suggs, of Madness fame. It's an impressive CV for sure, yet this wide-ranging support hasn't exactly led to mainstream success.

Melding together trumpets (A LOT of trumpets), synths, guitars, bass and more with effortless ease, Jones manages to create a densely layered yet approachable album, one that is underpinned by his affable, relatable lyrics and multi-tracked vocals. The almost endless brass accompaniments throughout recall quintessentially British records by the likes of Blur, The Kinks and, for a more contemporary reference, Sweet Baboo.

The glitchy electronic beats and shuffling drums of album opener The Q Word soon give way to an extended brass outro and Jones' heartfelt, repeated plea Don't take your love away from me becoming an All You Need Is Love-esque mantra. It isn't the strongest indicator as to the direction of the remainder of the album, however. The rest packs a much more concise pop punch, rarely going over the three minute mark, even if that heavy brass influence is a prevalent theme throughout.

But it's not all charming little trumpeted numbers. Brain Freeze melds a funky guitar hook with a typically melodic vocal delivery and catchy lyrics, whilst the closing title track is a far woozier and blissed out affair than much of what precedes it. You might find you're often having to remind yourself that this record has been put together entirely by an individual, for despite the plethora of catchy, poppy numbers, the added instrumentation make it a far more complex listen that it initially seems.

Quinzhee is a sun-kissed nugget of great pop music, with the vocal hook I'm building us a house out of snow likely to be a welcome earworm for days to come. It sounds effortlessly constructed and delivered by Jones, which is a testament to his masterful songwriting skills. He hasn't achieved anything like mainstream success as a result of his talents, but mainstream success for this album wouldn't quite feel right. A Million Ways To Make Gold is an endearing and personable listen that somehow feels precisely like a hidden gem - and I kinda hope it will stay that way.



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Wednesday 23 April 2014

Midweek Mixtape #3

Kelis - Friday Fish Fry

Kelis has become somewhat of a musical chameleon over time. Her latest album, Food, was released this week, and the nu-soul motown swagger of the record makes for a totally refreshing listen - something which is becoming a common occurrence for the American singer. Brass-laden with a strong retro vibe, Friday Fish Fry is the crowning point of the record and Kelis' delicate, husky and raw vocals are perfect for this soul-tinged classic.




The Brian Jonestown Massacre - Goodbye (Butterfly)

Back once again with their latest offering of psych-rock, The Brian Jonestown Massacre have an handy knack of not particularly changing their sound throughout their career yet always managing to sound different. The exclusive Record Store Day release Goodbye (Butterfly) has the band in full flow, with frontman Anton Newcombe's vocals barely audible over a droning, addictive melody and the soft, Beatles-esque backing vocal 'doo doos' chant a constant in the background. Always different, yet still unmistakably The Brian Jonestown Massacre. It's a record only they could make.





Pixies - Greens and Blues

Indie Cindy, the first studio album from the Pixies since 1991's Trompe Le Monde, sees the indie rock legends occasionally return to their great heights - particularly in the trademark Pixies sounding Greens and Blues. Soaring Santiago guitar riffs together with Black Francis' strummed acoustic, the calm amidst a storm of noise, ensure the loss of bass player and songwriter Kim Deal hasn't knocked the band far off their near-peerless course.





Jamie xx - Sleep Sound

Not content with producing sleek, sophisticated, Mercury Prize-winning indie pop with The xx, Jamie xx has done it again with his latest release. His 2011 Gil Scott-Heron remix album We're New Here was a triumph, and he soon followed that with the majestic Far Nearer. Now, Sleep Sound sees the producer return to the sound that he has managed to carve out for himself in an astonishingly short period of time. Another banger.

Sunday 20 April 2014

Album of the Week #20

Artist: Talisman
Album: Dole Age
Year: 2011
Label: Bristol Archive Records

A theme I touched upon in my review of Phaeleh's Fallen Light some weeks ago, The Bristol Sound is one that didn't come about as if by magic. By the time Massive Attack, Portishead and Tricky were making trip-hop-shaped waves around the globe, it was after years of the city finding, redefining and finetuning its own sound. But one common theme is the bass-heavy nature of a lot of its output - starting with the prolific Bristol reggae scene of the late 70s and early 80s. The band at the forefront of that was Talisman.

Bristol has long been a heavily multicultural place, something which has had both positive and negative consequences for the city. This melting pot of different cultures has often spawned a vast amount of new and original music, from Mark Stewart's post-punk pioneers The Pop Group through to house purveyor Eats Everything via Massive Attack. But it has also had a negative side. Racial tensions have too often reared their ugly head in the city - none more so than during the St. Pauls Riot of 1980. It was the culmination of a deterioration in race relations throughout the 1970s and a watershed moment for the city. Yet Talisman have become inextricably linked with this point in Bristol's multicultural history.

Against this backdrop of racial tensions and urban riots, Talisman were a reggae group who managed to (briefly) unite the broken local communities in Bristol. Brendan Whitmore, a white Irishman, played the saxophone in Talisman alongside a revolving collective of Caribbean musicians, regularly playing gigs to the heavily black and Caribbean-populated area of St. Pauls. But instead of heightening the racial tensions in the area, the music brought the community together. Whitmore was accepted and appreciated, seen as a skilled saxophone player in a top reggae band rather than a white man in a black neighbourhood.

Since releasing a series of singles, EPs and an album in the late 70s and early 80s, it seemed until recently that this microcosm of Bristol's musical history had been lost forever. But in 2011, Bristol Archive Records gathered together the best of the songs they recorded between 1977 and 1981 in the Dole Age compilation. The songs are melodic and blissful yet lyrically striking - as you might expect considering the cultural backdrop in which they were written. Talisman's USP, however, has to be the dub style breakdown that they shoehorned into most, if not all songs. It is a nod to Bristol's bass sound and to the band's own love for dub, symbolic of the unique sound attributed to many artists that have broken out of the city.

The compilation is a mixture of 7" versions of studio tracks together with several live recordings during the band's pomp. Run Come Girl is a harmonica-led reggae classic, whilst Free Speech and Dole Age address the social issues of the time in the only way that Talisman know: through classic reggae music. The live recordings thrust the instrumental dub breakdowns into the spotlight further, with the colossal Words of Wisdom flirting with the 15-minute barrier and Ah Wah U Seh clocking in at just under 9 minutes long.

These features mark Talisman out from many other reggae bands and make them a continued shining light for UK reggae music. But most importantly, Talisman are a constant reminder of the social and political barriers that can be broken down by music. They united a fractured community by creating wonderful music, and that's something that should be remembered for a long time, particularly in these times of austerity.



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Wednesday 16 April 2014

Midweek Mixtape #2

Although I regrettably wasn't able to provide y'all with an album this week, I'm back to give you a rundown of some of the coolest stuff that I've heard this week.

Liars - Vox Tuned D.E.D.

Three-piece New York group Liars have never been afraid to switch up genres. After flitting from punk, post-punk, noise rock and beyond, they're currently testing the waters of deep, dark, experimental electronic music. Interestingly, a common ploy for the group is to immerse themselves in the culture of another city before producing their new record: from a cabin in the New Jersey woods to the dripping-in-history city of Berlin, they've never been shy to relocate. Although much of the material for their latest album, Mess, was recorded at their home studio in L.A., it hasn't stopped them from creating what is arguably their most daring effort yet. Vox Tuned D.E.D. is dark, brilliantly challenging and challengingly brilliant.



Captain Murphy - Duality

Just in case Steven Ellison's brilliantly experimental albums under the Flying Lotus name weren't enough, in 2012 he dropped the Duality mixtape under his other moniker, Captain Murphy. Featuring a guest appearance from Earl Sweatshirt, the album is ferocious hip-hop bathed in psychedelia and interspersed with old spoken word clips. Accompanied by a quite frankly disturbing video, Duality hits hard in both its confrontational lyrical style and musical nature that matches the experimental reach of FlyLo. A must watch.



The Voluntary Butler Scheme - Brain Freeze

A catchy, brass-laden effort with a funky guitar line and memorable lyrics: solo artist Rob Jones has managed to pack plenty of elements into this bubblegum pop gem, and its infectious melody and addictive nature are pretty symbolic of the whole aesthetic of his third solo album, A Million Ways To Make Gold. The West Midlands-based artist is pretty likely to feature again on this blog, but for now, check 'Brain Freeze' out.



Thursday 10 April 2014

Midweek Mixtape #1

Hello and welcome to the first weekly round-up of what's currently on my musical plate. I figured recently that I have a pretty hormonal taste in music – it shifts between three or four different genres every week, never mind every month! And though I like to give a weekly taster of what hidden gem I think you should also love (every Sunday, if you didn't know), this brief midweek snapshot should (hopefully) help you unearth some more great music that you might not have heard. Enjoy!

Jamie Hamilton – Circles

Woozy, ethereal, electronic sounds swirl their way around Jamie Hamilton's tender voice and soft acoustic guitar in Circles. The singer-songwriter's debut album is a quirky record full of missteps designed to throw you off course – Oceans for instance boasts an electronic wig-out to close out a seemingly acoustic ballad. But it's Hamilton's sleazy, blissful vocals which are the main constant in Circles, which never fails to surprise and often delights.





Talisman - Run Come Girl

Talisman are a Bristol-based reggae group who originally disbanded in the 1980s, before their seemingly forgotten music was rediscovered and reissued by Bristol Archive Records in 2011, before the group reunited in 2013 for a string of live dates and a triumphant reunion album. Their story doesn't end there though - but more on that on Sunday, when they will be our album of the week! Run Come Girl is a melodic, harmonica-led highlight complete with a dub-inspired breakdown towards the end. A must listen.





The Lijadu Sisters – Life Is Gone Down Low

For anyone fortunate enough to have attended the recent live celebrations of William Onyeabor's music, with the only two performances in Bristol and London, they were joyous occasions of the hidden gem of gems. But one pleasant surprise from the shows was the live return of The Lijadu Sisters, two Nigerian twins who haven't performed live for some thirty years. Still, I suppose that beats William Onyeabor's record of having never performed his music live. Life Is Gone Down Low is a beautiful slice of afro-pop and a real live highlight – no mean feat when you're up against the likes of this.



Kyla La Grange – Cut Your Teeth

Emerging from the folk-rock driven sounds of her debut album Ashes, Kyla La Grange reappeared earlier this year with the sultry electronic vibes of Cut Your Teeth. With it's sparse arrangement and Kyla's soft, whispered vocals dominating, its one of the pop songs of the year so far. A brave, bold change in direction for Kyla, but judging from the reaction to this so far, it's a step that has been worth taking.

Sunday 6 April 2014

Album of the Week #19

Artist: Phaeleh
Album: Fallen Light
Year: 2010
Label: Afterglo

Bristol-based electronic musician Phaeleh has been releasing his ambient, bass-heavy music since 2008, making him somewhat of a veteran in the genre, but it's surely 2010's Fallen Light which stands out as his most complete piece of work. He is one of many electronic artists to break out of a city which has become defined by it's love of bass, with this record plucking the best elements from trip-hop, dubstep and ambient music.

It is perhaps a rare feat for electronic musicians to make genuinely strong albums - Disclosure one modern example that goes against that trend - but even at 13 songs long, Phaeleh also goes some way to disproving that notion. But where the all-conquering Disclosure called in all manners of special guests to feature on Settle, Phaeleh calls in just one - Soundmouse - to feature on two songs: Afterglow and Breathe in Air. Both are album highlights.

Soundmouse's superb, woozy vocals certainly lift the two tracks to the highest points of the record, as they float in and out of that blissed-out Bristol bass sound. Badman flirts with dubstep and is symbolic of the coffee table, 'post-dubstep' phase, where everyone calmed down after the rise of Skrillex and American 'brostep'. It's a testament to Phaeleh's abilities that this track actually preceded the whole emergence and subsequent submergence of that scene.

Perhaps the only disappointment stemming from the album is the length of both the individual tracks and the whole album. Although the more ambient moments of the album nicely float along, it certainly treads a fine line between that and plain old meandering. But the knockout moments of this album are some of the best electronic music you'll hear, so it's certainly worth persevering with - just like any music of this nature.

Phaeleh does manage to blend together the elements of what has made 'The Bristol Sound' as successfully as you could hope for though. Fallen Light is a rewarding journey through post-dubstep sounds that will have you racking your brains for who influenced it. However, Phaeleh's music has probably influenced more modern artists than you might think.



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Sunday 30 March 2014

Album of the Week #18

Artist: Postcards From Jeff
Album: Postcards From Jeff
Year: 2014
Label: Alien Boutique

Ever since I started inviting readers of this blog to send me their music, I've been sent a wide array of music from all over the world. From the atmospheric of hip-hop of Ceiling Demons to the sun-kissed reggae vibes of Dojo, I've been more than happy to try and spread the word about some brilliant underground musical talent. But one submission this week may have topped the lot. Postcards from Jeff's self-titled debut EP is a thing of beauty, underpinned by cinematic pop soundscapes and the wonderful voice of singer Joss Worthington.

Falling somewhere between Matt Berninger's baritone, Jason Pierce's hoarse vocals and the gravelly tones of Mark 'E' Everett, Worthington's voice seems strangely familiar yet entirely unique at the same time. It also seems to take from the best of Manchester contemporary Ian Brown's husky, comforting, 20-fags-a-day voice.

Musically, the EP is backed by an ever-changing array of instruments of sounds, with orchestral strings, pentatonic piano lines and processed guitars serving up anthemic and often dramatic sonic backgrounds. Remarkably, the accomplished sound of Postcards From Jeff is brought together entirely by Worthington, who plays, records and mixes everything himself. It's a heck of an achievement to bring so many influences into a cohesive piece of work, but the part-time producer has certainly managed it here.

It's kicked off by A House, an anthemic opener which sets the tone for the rest of the EP. Wandering synths soon give way to a backdrop of pounding drums and acoustic guitars, the familiarity of Worthington's voice a suitable accompaniment to his honest and homely lyrics. It's melancholic and one of the standout songs that I've heard so far this year. Veronica follows suit, the ode to a former lover laying bare the honesty of Worthington once more: I'm like a sick rabbit/in the mouth of a dog.

The supremely-titled Agoraphobic House Party ventures more into dream territory than pop, the relatively sparse arrangement of the song making for a clear midpoint to the EP. Despite its short length, Postcards From Jeff has been put together with the sort of care normally reserved for much larger projects, from the carefully-ordered tracklist to the fittingly cinematic videos for A House and latest single Awake. And it is Awake which is the glorious closing track. With a infectious piano line leading the charge into your eardrums, it has all the hallmarks of a great pop song. Skilfully put together and masterfully executed, it is symbolic of this release as a whole.



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Wednesday 26 March 2014

William Onyeabor vs. Hot Chip - Atomic Bomb

I recently featured a classic compilation of William Onyeabor's songs released by Luaka Bop on this blog. Now, as a special record store day release (not just some reissue), Hot Chip have covered Onyeabor's Atomic Bomb for an album of covers and remixes entitled What!? - William Onyeabor Remixed.

The combination of Onyeabor's afro-electro-synth-funk and Hot Chip's off-beat disco-pop is as positively awesome as you might expect. The track premiered on Lauren Laverne's 6 Music show earlier this week, where she quipped that Atomic Bomb feels like it was written for Alexis Taylor to sing. I couldn't agree more!

An all-star cast of musicians including Damon Albarn, Kele Okereke (Bloc Party), Pat Mahoney (LCD Soundsystem) and Ghostpoet join Taylor in performing Onyeabor's music live for the first time next month. Just two dates have been announced at London's Barbican Centre (April 1st) and Bristol's Colston Hall (April 2nd). Tickets to Bristol can be found here and London here. You would be mad to miss out - listen below!


Sunday 23 March 2014

Album of the Week #17

Artist: Crocodiles
Album: Crimes of Passion
Year: 2013
Label: Frenchkiss

Distortion-heavy 90s rock with pop sensibilities

As the end-of-year lists were flooding in late last year, I couldn't help but feel that one album was being constantly overlooked by the critics - though I'm sure I wasn't alone in feeling like that about at least one album. American duo Crocodiles mix 60s psychedelia with 90s rock in Crimes of Passion, a criminally underrated record that deserves to be brought back to people's attention.

Fuzz, feedback and noise is the name of the game here. It's noise rock in some places, psychedelic rock in others and plain old rock'n'roll elsewhere, all of which are held together by consistently strong pop melodies and crunching riffs. Distorted guitars weave in and out of almost indecipherable vocals telling tales of heartbreak and despair, this sonically chaotic setting the perfect accompaniment to the anguished lyrics.

Crimes of Passion is a record held together and defined by its riffs. She Splits Me Up is the perfect example, its jangly guitar line backed up by another exceptionally strong melody, whilst Teardrop Guitar is more of the same fuzz-pop goodness. Although Crocodiles' influences are fairly signposted - think San Francisco of the 60s and Seattle of the 90s - they have managed to mix these influences and throw in their own pop sensibilities to form a sleek, modern and refined version of this melting pot.

Consistency is another prevalent theme of the record. Although certain songs soar more than others, you're never left skipping any and pretty much all these slices of distortion-coated pop manage to weave their way into your head one way or another. So in that sense, it's difficult to pick any stand-out tracks. Instead, what you have here is an accomplished, consistent selection of tracks in a record that manages to strike the right balance in so many different areas - between noise and pop, long and short, psychedelia and rock. It was only released 7 months ago, so perhaps not quite enough time to be blowing the dust off it just yet, but give this one a spin and you'll be rethinking your best albums of 2013.



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Tuesday 18 March 2014

Album of the Week #16

Artist: William Onyeabor
Album: Who is William Onyeabor?
Year: 2013
Label: Luaka Bop

Enigmatic afro-electro-synth-funk

Who is William Onyeabor? It's a question I pondered for the first time earlier this year - and thank goodness I did - even though nobody appears to be any closer to answering the original question. The mysterious Onyeabor released no fewer than eight albums between 1977 and 1985, then suddenly disappeared without a trace, retiring from music. No interviews, no explanation. It was only last year that record label Luaka Bop elected to gather together his finest work in the latest compilation in their World Psychedelic Classics series. Now, finally, his pioneering music has reached the widespread audience that it deserves.

Even now, it's an album that sounds futuristic and otherworldly in its soundscapes together with its bewildering fusion of afrobeat, funk and synths. Three of the songs on the collection go over the ten minute mark, which gives you some idea of the ambition and scope that underpins this compilation. But arguably the most incredible feature of this record is its total isolation from any other scenes, influences or genres. Recorded in Onyeabor's own studio, this almost mythical figure was doing things on these albums that matched or even surpassed the work of his contemporaries in Europe and America. Just as the electronic scene was slowly gathering pace across the water, this trailblazer had already made his own revolutionary sonic explorations .

It was after the recent release of the Searching for Sugarman-esque documentary, Fantastic Man, that a little more light was shone on Onyeabor. His retreat into a life devoted to religion comes as less of a surprise when you consider a lot of his lyrics, which addressed themes of materialism, war and love. These themes simply add another string to his considerable bow. Funky looped guitars and synth fade in and out to jittery afro rhythms and electronic beats on Good Name, whilst Atomic Bomb's bizarre, soaring electronic sounds are the perfect complement to its melodic chorus.

Who is William Onyeabor? is a supreme collection of songs from an almost unknown talent in the field of electronic music. He marries strong melodies with layer after layer of skittery noises and loops to create a sound that the likes of Damon Albarn, Alexis Taylor and Pat Mahoney have since confessed a love for. Yet it is the total single-minded nature of the record and the artist which sets it apart from other work. It makes the record utterly unique, and most importantly, a joy to listen to.



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Friday 7 March 2014

Three Tracks A Week

OK. An apology. I promise you one album a week. The name of this blog is 'One Album A Week', and save for a crazy few weeks in November, I've generally delivered on that ambitious promise. But, this week I can't give you what you want, and for that, I apologise. For now, I feel like I'm above all this one album a week nonsense*, so instead, I'm going to tip you off about a few awesome new songs that I've been sent instead. They span quite a few different genres, so there's bound to be something you like, nay, LOVE here.

*untrue

Dojo - Give Me Love




First up, some extremely soulful reggae from East London collective Dojo. Lead singer Khanyisa Twani left a South Africa fresh out of apartheid at the age of five for a new life here on our fair shores, and before too long she got together this quartet. Thank God she did. Give Me Love is an uplifting slice of Caribbean-inflected goodness complete with a sax solo, that AMAZING voice and chorus so catchy you'll be desperate to catch the next flight to Jamaica (geddit!?). I can feel summer coming along already...

The Assist - Speak It Aloud




Next, and a bit of indie music that distances itself way away from what you might consider 'landfill'. There's been a bit of renaissance of intelligent indie recently, and this Walsall four-piece have carried that on with Speak It Aloud. They've managed to pack a fair amount into this track - slap bass, an instrumental intro, a few choruses and an instrumental outro for good measure - yet somehow you're still left wanting more after just shy of 3 minutes. The Assist aren't messing around - this is a fat-free banger from a band on the up.

Wreaths - Goin' Back to Haiti




Don't be intimidated by that 14:50 length on this video. Firstly, the song itself is only thirteen glorious minutes long, and secondly, once you tune in you'll find it almost impossible to tune back out of this noisy, incessant psych fest. Unashamedly recalling My Bloody Valentine and Spacemen 3, this song weaves in and out of consciousness with its hypnotic bass line, pounding drums and spaced-out vocals before reaching a thumping crescendo and coming crashing back down to earth. One for the dreamers.



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Sunday 2 March 2014

Album of the Week #15

Artist: Ceiling Demons
Album: Dual Sides
Year: 2013
Label: EmuBands

Atmospheric hip-hop with pop flourishes

I'm seemingly on a bit of a crusade to dispel a common myth at the moment. Since stating that UK hip-hop is a dirty phrase around a month back, two top quality albums from the genre have since come under the spotlight and been the album of the week on the blog. The next chapter is some hip-hop from Ceiling Demons, a hip-hop trio not from New York, or Detroit, or even London, but from North Yorkshire. Sure, it's not where you necessarily think would be fostering hip-hop talent, but Ceiling Demons are trying to change all that.

Fresh from supporting the critically-lauded Young Fathers on their recent UK tour, Dual Sides is a record that most immediately recalls that brand of slightly avant-garde UK hip-hop. The sound is atmospheric, the production string-laden and the lyrics often addressing serious themes of life and death. MCs Psy Ceiling and Dan Demon certainly don't hold back in their vocal delivery and at times it's pretty hard-hitting stuff. It may sound like an inherently dark record, but that's not entirely the case.

Dual Sides is an exhausting listen. The flow is relentless throughout, even if the Yorkshire-inflected rapping does take some getting used to, and the raw emotion in tunes such as The Mirror's Image and Someone Great makes for an intense listen. Follow the Compass is utterly frenetic and barely takes a second to draw breath, with the repetition of the title in its outro acting as a mantra and as a symbol of the album's overall sound. It's become a bit of a cliche for groups to say that they only really made a record for themselves (and if anybody else likes it, that's a bonus), but Ceiling Demons genuinely seemed to follow the path that they wanted to follow and made the record that they wanted to make.

If the title Follow the Compass is symbolic of the album's aesthetic, then the superb album closer Heartstrings is the ultimate symbol of everything that's good about the group. Awash with strings, backed by a choir and possessing a stunning vocal outro, it's powerful yet delicate, gritty yet poppy and epic yet understated. The heartfelt lyrics are finely balanced with pop flourishes, and that's arguably the one thing that sets this album apart from its contemporaries. You might expect an album packed full of such emotion to be a bit of a challenging listen, but Ceiling Demons have instead balanced this out to make it a more accessible listen. Ultimately the record is made all the better for it.

Every Step is Moving Me Up is arguably the poppiest moment of the album, but in context it makes perfect sense. It's a perfect entry point into the world of Dual Sides, a world that rewards repeated listens. Immerse yourself in this album and you'll soon find it's more evidence of the now compelling case for the renaissance of UK hip-hop.



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Wednesday 26 February 2014

Best Songs of 2014 - Spotify Playlist

Don't worry, I'm not jumping that gun quite yet...

Each year I put together a Spotify playlist compiling all the best stuff released that year, which I constantly keep updated.

It currently features some of the bigger tunes released by the likes of St. Vincent, Maximo Park and Bombay Bicycle Club as well as lesser-known stuff from Mvscles, Sylvan Esso and Ceiling Demons. Check it out!



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Sunday 23 February 2014

Album of the Week #14

Artist: The Abyssinians
Album: Satta Massagana
Year: 1976
Label: Jam Sounds

Political, melodic, classic reggae from the vaults

There's an existing train of thought that the only essential difference between punk and reggae is the drugs that the respective artists were on. Whilst the politically-charged punk movements of the UK and USA were partly fuelled by hard drug use - cocaine, speed, heroin - the politically-charged reggae movement of Jamaica was partly fuelled by softer drug use - namely marijuana. Their close links are further evidenced by punk's more obvious nods to reggae- The Clash covered Junior Murvin's Police and Thieves as well as producing some reggae-inflected hits of their own, in the shape of White Man in Hammersmith Palais and Guns of Brixton. Jimmy Jazz even directly references Satta Massagana's title track in its lyrics.

So it's perhaps little surprise that this week's album, a reggae classic, is as socially and politically charged as the future punk albums that it undoubtedly inspired. Released in 1976, the same year as The Ramones' eponymous debut album, Satta Massagana came out on the cusp of punk, bearing strong political messages. But it's far from just an angry protest album - the lyrics, melodies and vocal harmonies are as good as you'll hear on any reggae album.

Bernard Collins, Donald Manning and Lynford Manning, the trio of vocalists who make up The Abyssinians, shared songwriting duties on the album, with each member's contributions seemingly equally strong. It's something which is symbolic of the melodic, accomplished sound of The Abyssinians. All three members came together to pen the classic title track Satta Massagana, which has become somewhat of a reggae standard.

The powerful social commentary coupled with the strong melodies are most obvious in album opener Declaration of Rights, whose lyrics decrying slavery and lack of human rights are backed by the exceptional vocal harmonies of the group. This striking contrast is atypical of The Abyssinians and their trademark melodic reggae sound. Despite the heavy political content of much of the record's lyrics, the songs are never bogged down by their message, rather, it's the memorable melodies that are the driving force behind Satta Massagana.

The wondrous I and I  is a particularly standout moment on a record packed full of them. It's probably the song that best showcases the sound of The Abyssinians, but it's only scratching the surface of an accomplished set of classic reggae hits. With the original release clocking in at a little over half an hour (which is a pretty similar length to a punk album) it's well worth setting aside 33 minutes to hear one of the best reggae albums ever released.



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Friday 21 February 2014

5 Unmissable Summer Festivals

We all know that Glastonbury will most likely be mega. Coachella has a sweet lineup as always, and Reading & Leeds will attract the big hitters once again. But which lesser-known festivals this summer will truly be unmissable? It's time to start saving those pennies, looking behind those sofas and reconsidering those visits to the pub: these five festivals are the places to be this summer.

Liverpool Sound City, 1st-3rd May


First, off, it's the SXSW of the UK (although Brighton's Great Escape festival might have something to say about that one). Liverpool's urban festival Sound City has grown and grown in size since its inception in 2008, and 2014's edition is their strongest offering yet. Featuring keynote speeches from Sonic Youth's Thurston Moore and The Velvet Underground's John Cale, the three-day festival has also attracted the cream of the crop of new and alternative music. Jungle, Courtney Barnett, Findlay, Fat White Family, Girls Names, Royal Blood, Thumpers and Wolf Alice are just a pick of the marathon lineup on show this year. A 3 Day Wristband is just £50 whilst a Conference & Live Festival Pass, which encompasses the keynote speeches as well as the festival lineup and much more, is a very reasonable £120.

Primavera Sound, 28th-31st May


Heading a little further afield, Primavera Festival always delivers a stellar lineup, and this year is no different. The dual event, held at sites in Porto and Barcelona, attracts an eclectic array of artists year on year across SEVEN DAYS. That's right, SEVEN DAYS OF FESTIVAL. This ain't for the light-hearted. The Brian Jonestown Massacre, Jamie xx, Warpaint, Queens of the Stone Age, Arcade Fire, Television, Daniel Avery, Earl Sweatshirt...there's old, there's new, there's electro, there's indie, there's hip-hop...there's pretty much everything. Tickets started at just €99 and are currently priced at €199. Not one to be missed.

The Governor's Ball, 6th-8th June


We're getting a little brave (and a little skint) now. Going even further afield to those United States of that America, there's a little ol' festival called The Governor's Ball in New York City. A relatively young festival born in 2011, this year is once again the best yet. Outkast, Jack White and Vampire Weekend are the headliners, with The Strokes just below, but that's far from everything. *deep breath* TV On The Radio, Broken Bells, Damon Albarn, James Blake, Childish Gambino, Tyler, The Creator, Kurt Vile, RJD2 and Run the Jewels are just a glimpse of what this festival offers. It's $230 a ticket, which works out at around £130. I'd say that's pretty reasonable.

Bonnaroo, 12th-15th June



Staying in the US of A, the weekend after this little worldwide jaunt sees us arrive at Tennessee's Bonnaroo Festival, who probably have the wackiest lineup of the festival season. Seeing Elton John and Lionel Richie at the top of lineup could put a few off...but when those names are combined with the likes of Kanye West, Arctic Monkeys, Bobby Womack, Janelle Monae, CHVRCHES and Chance the Rapper, it makes for one of the most exciting festival lineups you'll see for some time. I wonder if Elton, Lionel and Kanye will be sharing a dressing room? You can grab a ticket for another very reasonable price of $250.

Unknown Festival, 8th-12th September


So after a busy summer taking in the UK, Europe and America, time to relax, isn't it? Well not for those at Unknown Festival. One of 3,493 festivals in Croatia, this one has all the typical characteristics of a foreign festival - sunny weather, beaches and boat parties - but offers a more eclectic lineup than anywhere else. Although it has strong electronic leanings, it's got a great mix of live music and DJs. CHVRCHES, Wild Beasts and Mount Kimbie are the standout live acts, whilst Erol Alkan, John Talabot, Simian Mobile Disco, The 2 Bears and are the DJing alternatives to one of the last festivals of the season. With several budget airlines flying over and tickets starting from £129, this young festival has already established itself among the elite.

So there we have it- the five best festival lineups of 2014. But remember that this is just a taster - these and loads more still have to reveal hundreds of new artists yet. Then there's the small matter of that little festival in Pilton...



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Sunday 16 February 2014

Album of the Week #13

Artist: Arthur Beatrice
Album: Working Out
Year: 2014
Label: Polydor

Sleek, sophisticated indie pop

Patience is a virtue. London quartet Arthur Beatrice formed in 2010 and went on to feature in the NME and The Guardian in 2011, but it's taken three years for their debut album to emerge since then. The band decided to follow what is becoming somewhat of a well-trodden path in terms of album promotion - no promotion at all. After their mentions in the national music media, they retreated into their own studio and slowly put together what would become Working Out.  A lot of what they do seems meticulously planned, from Arthur Beatrice reflecting the male/female vocals to the name of the album, Working Out, seemingly a telling nod to the band honing, finetuning and discovering their own sound over those three or four years. And that's certainly something that they've managed to do. While their brand of sleek, sophisticated pop recalls contemporaries such as The xx and Wild BeastsWorking Out is far from a rehash of old ideas.
Self-produced by the band, it's an album where each note seems pored over, each drum fill well-thought out and each lyric considered, torn apart and rewritten.  Although it may well have been planned to within an inch of its life, it somehow retains a sense of freedom and not once does it sound forced or mechanical. The minimalist guitar sounds of dreamy opener Councillor is the track most reminiscent of The xx, whilst the pained lyrics of Late and Carter - Uncut soon give way to uplifting choruses - a prevalent theme throughout.
But Midland and Charity are the finest examples of what Arthur Beatrice are truly capable of. Midland begins with singer Ella Girardot's typically haunting vocals, before slowly building into a joyous chorus with Chic-esque guitars propelling the track into dance territory. The chorus is one of the finest of the year so far, a notion reinforced when Girardot's falsetto vocals strike in the second chorus. In an album full of contrasts and counterpoints, typically it is the male vocals of Orlando Leopard which then drive the similarly-euphoric Charity. The tracks tend to follow a similar structure, with dark, brooding openings leading into uptempo choruses before retreating into their shells once more. Despite the success the band have with this formula, the repetition is one of the album's very few drawbacks.
Working Out is an assured debut album and also a tantalising glimpse of what the future could hold for the band. Whilst a set of songs  that are this precise can often come across as dull and impersonal, it's the impassioned vocal delivery and powerful lyrics that lift this from a good pop album to a great pop album. Continue in this vein, and Arthur Beatrice are surely destined for bigger and better things. Mind you, they've probably already planned that out.


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Friday 14 February 2014

Brody Dalle - Meet The Foetus/Oh The Joy

This tune really smacks you in the face on first listen. It starts off with Dalle's spacey vocals and romping, bluesy guitars driving the song along...until three minutes in it becomes another beast entirely in one hell of a crazy metal crescendo, complete with a catchy vocal hook. A proper triumphant, furious, hands-in-the-air moment. Give it a listen below.

Sunday 9 February 2014

Album of the Week #12

Artist: Roots Manuva
Album: 4everevolution
Year: 2011
Label: Big Dada

A sprawling collection of hip-hop, dubstep, pop, dance and beyond

The album under the spotlight last week was some top notch UK hip-hop from Union Blak. Following in the same vein, this week there's a nod to arguably the name that's been synonymous with the genre since the 90s. It's always refreshing to see elder statesman of the music world releasing high-quality albums late into their careers, and Manuva, now into his third decade as a recording artist, is one such example of this.

13 years ago, Roots Manuva totally shook up the then stale UK hip-hop scene with Run Come Save Me, a stone cold classic that should be mandatory evidence in criminal cases against the state of the genre. For a long time Manuva understandably struggled to reach those same heights again. Until 2011, that is. 4everevolution is a sprawling effort from an artist at the peak of his powers. It's his White Album, his tour de force, the sound of a man totally reinvigorated.

The album effortlessly lurches from genre to genre, and Manuva seems comfortable with each and every style he chooses to adapt. But this album is anything but comfortable- not content with simply dipping into new soundscapes and genres, Manuva launches himself into hip-hop, dubstep, reggae, pop, dance and more with total ease.

The ambition of 4everevolution is quite something, and the name fitting. Manuva teams up with producer Toddla T on the dancefloor filler Watch Me Dance, synthetic steel drums come to the fore on the Caribbean-inflected Wha' Mek? and the pulsing bass behind the dubsteppy Here We Go Again is the perfect backing sound for his typically gritty social commentary.

Breaking the shackles of what is expected of a hip-hop artist is not an easy thing to do. Kanye West is somewhat of a trailblazer in this respect, with his polarizing work amazing and frustrating in equal measure. Manuva clearly holds similar ambitions for his music and he has been rewarded with an album that certainly impresses far more than it frustrates. Although a 17 strong tracklist which clocks in at just over an hour long might put some people off initially, the quality of the work never wavers despite the constant embracing of different genres.

In releasing this album, Roots Manuva cemented his reputation as the leading light in the UK hip-hop scene. A consistently creative, ambitious effort that deserves all the plaudits that comes its way.



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Wednesday 5 February 2014

Forgotify

Here's one for the hipsters. San Francisco-based Forgotify have hit upon a pretty interesting concept.

4 million songs have never been streamed on Spotify. Not once! Aside from being fairly depressing for the artist, it's one hell of an opportunity for us music-obsessives to change this injustice and give the never-heard music of this world a platform.

In my trial run on Forgotify, I heard some music which, it's fair to say, should probably have been consigned to the Forgotify database forever. But I also heard some crackers which deserved far more than zero listens (I'm looking at you, The Stampeders).

Try it for yourself below. You never know, you might just stumble upon someone who becomes your favourite artist- thus making you the hippest of all the hipsters out there.

Forgotify

Sunday 2 February 2014

Album of the Week #11

Artist: Union Blak
Album: Union Blak Friday
Year: 2013
Label: Effiscienz Records

Modern old skool-styled UK hip-hop

Sir Simon Williams and Kimba may hail from New York and New Jersey respectively, but the duo who make up Union Blak are based here in the UK. Naturally, I hereby claim them as UK hip-hop. And by my watch, we need all the hip-hop talent we can get in this country- 'UK Hip-Hop' has become a rather dirty phrase.

Union Blak are straight out of the old skool. You can't really argue with endorsements from Chuck D, De La Soul and Jazzy Jeff, and fortunately, the music lives up to the hype. Union Blak Friday, briefly given away for the princely sum of £0 late last year, is a relentless set of hip-hop bangers masterly produced and rapped.

Much like my review of Ugly Duckling a few weeks ago, this is an album that could quite easily have appeared in the deluge of jazzy hip-hop in the late 80s and early 90s. It's all funky hooks, catchy refrains and honest, heartfelt lyrics - no macho posturing in sight. Union Blak are certainly reading from the same hymn sheet as some of their old skool American contemporaries, but unlike Ugly Duckling, they've captured a moment in time of hip-hop and, with a touch of Anglicisation, advanced it.

Some of the cream of UK hip-hop feature on the album, including Serocee, K9 and Blak Twang. And it's this splash of British artists that really help to set the album apart from the rest. With Williams' beats excelling throughout, the unashamedly British verses from the featuring guests make it an album that doffs a cap to the past and acknowledges its transatlantic influences, but doesn't merely try to imitate it.

Although the featured artists always impress, the album's main highlights arrive when it's the two adopted Londoners of Union Blak in the spotlight. 5th Avenue, an ode to New York, is perhaps the standout moment of the whole record and comes as a counterpoint to the predominantly UK-influenced hip-hop. Elsewhere, closing track Hit is symbolic of the album as a whole, with Kimba's effortless flow and Williams' catchy beats and vocal sample hook coming to the fore.

Union Blak Friday is an album that's hard to dislike. It perfectly encapsulates that Friday feeling of freshness and freedom. Whisper it quietly, but this is hip-hop firmly rooted in UK culture, and it's really rather good. Give it a chance and have a listen below. You won't regret it!



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Sunday 26 January 2014

Album of the Week #10

Artist: Making Marks
Album: A Thousand Half-Truths
Year: 2014
Label: Fika Recordings

With temperatures in Oslo currently hitting -5, there’s not much summer cheer to be had in Scandinavia at the moment. But Norwegian four-piece Making Marks are looking to change all that. Their infectious, summery indie-pop has been making waves in their homeland, and after receiving rave reviews from critics for their early releases, debut album A Thousand Half-Truths comes eagerly awaited.

Opening track Bruises immediately sets the tone for the rest of the album, with its blissful, laid-back tone and jangly guitars. And it’s the guitars which impress and come to the fore throughout the record, whether it’s the wonderful, driving riff in Lemon Sheets or the Harrison-esque riffing in the title track. The guitar seems to be relieving some built-up tension when it’s really allowed to let loose in a few numbers, and is skilfully supplemented by an array of instruments: strings, trumpets and banjos to name but a few.

This brand of 60s, Byrds-esque guitar pop can often sound forced and unnatural if not in the right hands, but that’s never the impression that you get here. The songs, only one of which edges past the 4-minute mark, effortlessly flow throughout. It’s easy to be taken in by the woozy mix of male and female vocals, and even during some of the album’s meandering moments, it’s quickly rescued by being followed by one of the stronger points of the album, such as in the aforementioned Lemon Sheets or the cheery Forgive and Forget.

The consistently excellent male and female vocals are a real high-point of the record. The two voices never battle for territory in the ethereal soundscapes and only support the effortless feeling both in the composition and the sound of the album. Much like the Moby Grape album that featured on the blog recently, you’re never left wanting more, and you're never left thinking anything here is overblown or bloated.

A Thousand Half-Truths isn’t going to smack you in the face and demand instant attention. Instead, it might take some time to be drawn into the dreamy world of Making Marks. It’s more like a comforting arm around the shoulder: perfect for these cold winter nights.



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