Hitsville U.K.

BLOG MOVING

2010-12-10T00:20:00.000Z

http://hitsvilleuk.tumblr.com/
Moving the blog to Tumblr as it's easier to maintain and yeah, it's just a bit better.
See you on the other side.
xx

FILM OF THE WEEK: Scott Pilgrim Vs The World

2010-09-16T15:46:00.005+01:00

STARRING: Michael Cera, Mary Elizabeth Winstead, Jason Scwartzman, Keiran Culkin, Alison Pill, Mark Webber, Chris Evans, Brandon Routh, Ellen Wong
DIRECTOR: Edgar Wright
RUNNING TIME: 112 minutes
RELEASED: 13th August 2010

If ever a film's tagline was accurate, it's "Scott Pilgrim"'s. "An epic tale of epic epicness" is entirely correct, if grammatically awful. The word "epic" is admittedly overused by us young'uns nowadays, but there is no other word I can think of to describe Edgar Wright's third film. Adapted from Bryan Lee O'Malley's graphic novel series, Scott Pilgrim... follows the story of the titular Scott, a 22 year old Canadian slacker, who plays bass in garage band Sex Bob-omb. They're not very good, but have at least one huge fan in Scott's 17 year old high-school girlfriend, Knives Chau. Unsure of what to his friends and bandmates' disapproval about the relationship, our hero meets another obstacle in the arrival of Ramona Flowers, the girl of Scott's dreams, literally. At a battle of the bands that Sex Bob-omb are playing, Ramona's ex Matthew Patel crashes the gig, challenging Scott to a fight to the death as the first member of The League Of Evil Exes. Only after the League hase been defeated, can Scott and Ramona finally be together.

For anyone over the age of 30, SPvsTW will most likely be a blur of bright colours, noises and meaninglesspop-culture references. But to an audience well-versed in games and indie-rock, it will be, well, epic. Fans of Wright's previous work (Spaced, Shaun Of The Dead, Hot Fuzz) will be familiar with his quick-paced directing style and should help you to notice every little reference buried within the film. Michael Cera once again plays an awkward indie nerd hopelessly in love with a girl, but expands his acting range to include "bit of a docuhebag" this time, since Scott Pilgrim isn't the most likeable guy around for the first hour or so. You never know, Cera might turn into a great actor someday, like Joseph Gordon-Levitt. Both have played the "awkward/alternative" guy multiple times (Cera in Arrested Development, Nick & Norah, Paper Heart and Youth In Revolt, Gordon-Levitt in 3rd Rock, 10 Things I Hate About You and Mysterious Skin) and Gordon-Levitt is now forging his own place as a very gifted actor, thanks to Inception, Brick and the upcoming Hesher. You've just got to hope Cera doesn't get stuck in an unfortunate rut.

But back to "Scott Pilgrim...". The film is full of computer game references and every single one works; from Scott's "Pee" bar emptying out when visiting the "little boys' room" (a possible nod to The Sims) to the aspect ratio changing as if the action is cutting to a cutscene. It also stays as faithful as possible to the original comic series. Sound effects (such as phones ringing etc) appear on-screen as text, characters get introduced with text boxes and descriptions; in fact the only big change from the series is, well, the second half of the plot. The Scott Pilgrim series was only three volumes long when production started on the film, with the sixth and final volume only being released a few months ago, so there are a fair few disparities between the two. But without some backstory and plot points, the film is actually a bit more enjoyable and coherent than the graphic novels. The ending is certainly a lot easier to wrap your head around, whilst some hardcore fans will inevitably have a few gripes of their favourite lines being cut, the film is hilarious enough without having in-jokes and obvious lines thrown at you every few seconds. All in all, Scott Pilgrim has just the right amount of romance, action, comedy and rocking out to live up to its tagline, and is the perfect rom-com for anyone brought up with Nintendo and Nirvana.

FILM OF THE WEEK: Shutter Island

2010-08-16T18:24:00.006+01:00

STARRING: Leonardo DiCaprio, Mark Ruffalo, Sir Ben Kingsley, Emily Mortimer, Max Von Sydow
DIRECTOR: Martin Scorsese
RUNNING TIME: 137 minutes
RELEASED: 19th February 2010

YES. I know this is a music blog I'm writing. If I hand't figured that out by now, I'd have to deaf, dumb and blind (and hopefully good at pinball to compensate). But as much as I am a music obsessive, I'm a film geek in equal measure. Plus film and music are intrinsically entwined; for instance, would any Tarantino movie be quite as cool without the great man himself handpicking the best accompanying soundtracks? Would (500) Days of Summer be so adored by the indie contingent if it weren't for the inclusion of The Smiths, Regina Spektor, Feist and She & Him in the film? The OSTs of Juno, Twilight, New Moon, Eclipse, Watchmen and even Alice In Wonderland are packed with great tracks ranging from Jimi Hendrix to Editors, Mott The Hoople to Cee-Lo Green, Franz Ferdinand to Muse and even Robert Smith. Scott Pilgrim Vs. The World, Edgar Wright's forthcoming comic book adaptation (sure to be amazing, just so you know) will feature Beck, Broken Social Scene, Frank Black, Metric, Blood Red Shoes and The Bluetones, whilst Radiohead's producer Nigel Godrich will be providing the score. And if you need any more proof that music helps to create iconic moments in cinema, see the opening to Trainspotting, Reservoir Dogs and Toy Story. Yes, Toy Story. It's quite ironic then that the first film I've chosen for FOTW has no such star-studded soundtrack or classic pop songs augmenting every scene.

Shutter Island (adapted from Dennis Lehane's 2003 novel) pretty much cements Leonardo DiCaprio's place as Martin Scorsese's new muse, for lack of a better word, replacing Robert DeNiro. Their fourth film working together (after Gangs Of New York (2002), The Aviator (2004) and The Departed (2006)), DiCaprio plays US Marshal Teddy Daniels, sent to investigate the Ashecliff Hospital for the criminally insane on Shutter Island. Along with partner Chuck (Mark Rufallo), Daniels is on the case of the missing patient Rachel Solando, who apparently escaped from her locked cell. Suspecting a conspiracy, Daniels keeps digging deeper in to the workings of the hospital, interviewing patients and staff alike working his way closer and closer to something he doesn't want to know.

Whilst not a timeless classic of a film, Shutter Island makes it four hits in a row for the Scorsese/DiCaprio partnership (it's Scorsese's highest-grossing film worldwide) and not without good reason. The plot and twist are rather Hitchcock-esque and as always Scorsese directs the events fantastically, a one-take, dolly-cam shot of Teddy Daniels' military past being a particular highlight. The superb supporting cast don't hurt either, with Ruffalo, Sir Ben Kingsley, Emily Mortimer, Max von Sydow and Jackie Earle Haley (of Watchmen fame, particularly pleasing to this fanboy) all giving memorable turns. If reports are to be believed and "Leo and Marty" have two more films in the works, then the future looks pretty bright.

The Cribs - Housewife

2010-08-16T16:43:00.006+01:00

Returning after their fourth album (last year's lacklustre "Ignore The Ignorant"), The Cribs have released "Housewife" as a stand-alone single. At least I hope it's a stand-alone single, as an entire album with this sound would certainly mark a dip in form for the Wakefield/Manc band. Already splitting opinion betweens fans and outsiders alike, "Housewife" is the first Cribs song to use a synth, to my knowledge anyway, and whilst lo-fi indie-punk is what the band do best, yet another single cut from that same cloth wouldn't have left much cloth to cut from in future...if that makes any sense. Some supposed fans are blaming Johnny Marr's involvement for taking away some of the bite of the first three Cribs albums, and there is some truth in that (it's a common opinion that when played live, pre-Marr songs are ruined due to his rhythm playing being added). But whilst this change in sound is refreshing, I'm not too sure it works. All the pieces are in place; Marr's rhythm guitar adds to the song, the synth riff is actually catchy and Gary Jarman's basslines drive the song along (although Ryan Jarman still can't hold a tune in a bucket with the lid on), but it doesn't seem to gel on the first few listens. Of course, it'll be sung back in unison by the time it's played at Reading & Leeds, so I doubt The Cribs will have too many worries about a backlash just yet.
7/10

"Housewife" is out on iTunes now or slightly less legal means here.
The Cribs play the Reading & Leeds festivals on Saturday 28th and Friday 27th of August respectively

Everything Everything - Man Alive

2010-08-14T01:36:00.004+01:00

Everything Everything; the great white hope for Manchester music...except they're not actually from there. With members hailing from Newcastle and Kent, their tag as the latest part of the grand Manc-rock lineage (which, even as a Scouser, I am rather envious of) is a tad misleading. But since they actually formed in Mancunia, I'll let it slide.

To describe EE's and "Man Alive"'s sound without painting in brushstrokes broader than the defecit would be pretty tough. It has been called "indie R&B" which is quite accurate on superb singles "MY KZ, YR BF" and "Schoolin'". The latter could well be sold as a single (or at least a remix) from Jason Derulo or NeYo or whoever and you would happily believe that. At times the band sound something like Radiohead getting their funk on, if only because of frontman Jonathan Everything's (the band have all adopted the surname "Everything" a la The Ramones and to a lesser extent, The Fratellis) falsetto vocals, which could be a sticking point for some delicate-eared listeners.

Another 'Marmite' aspect is sure to be the often-undecipherable lyrics. I for one am looking forward to getting my hands on the CD booklet to work out what the hell they're going about. For example; "You’ve become a smithereen!/(I’m watching that!) Foxhound frolic on the abattoir floor, up in heaven it’s symmetrical oh/ Airbrush! What have you done with my father?/Why does he look like a carving?/How do I live in the present?/I make my own density?" from "Photoshop Handsome". "Suffragette Suffragette"'s refrain of "Who is gonna sit on your face when I'm not there?" will probably gain a mixed reaction from any WI members who happen to be listening, but its Biffy Clyro-esque structure and riffs should be enough to make them discard any outrage that may build.
Whilst the slick jerky pop may be the most common view of EE seen, "Final Form" and "Two For Nero" showcase a softer, if equally complex side. "NASA Is On Your Side" is the highlight of "Man Alive", hinting at Muse when they were still weird and good; all reverbed guitars, bouncing bass and an epic chorus all spread across five minutes and seven seconds of dreamlike alt.pop.

One of the best albums so far this year, "Man Alive" is a debut that had more than a bit of pre-release expectation on it, but that expectation has been met and surpassed, without a doubt. Tipped for great things in the deluge of industry shortlists released at the start of the year, Everything Everything have two possible career trajectories, based on "Man Alive". Either they'll head to the upper echelons of the charts, ushering in an era of intelligent, genre bending pop. Or more likely they'll become a bafflingly huge cult band, making intelligent genre-bending pop. Whichever path they end up on, they're sure to keep creating music that sounds more fresh and original than pretty much everything out there.
8.5/10
ESSENTIAL TRACKS: "MY KZ, YR BF", "QWERTY Finger", "Schoolin'", "Photoshop Handsome", "Two For Nero", "NASA Is On Your Side" FOR FANS OF: Radiohead, Muse, most bands classified as dance-punk

Manic Street Preachers: New b-side and other news

2010-08-13T22:15:00.003+01:00

Just over a year on from Journal For Plague Lovers, the Manics are back with tenth album "Postcards From A Young Man". Whereas JFPL was seen as a companion piece to 1994's "The Holy Bible", PFAYM is a return to the bombast and anthemic sound of "Everything Must Go". Described by band mouthpiece Nicky Wire as "one last shot at mass communication", it features appearances from Ian McCulloch, John Cale and Guns 'N' Roses' Duff McKagan. And as if that doesn't sound good enough the artwork features Tim Roth of Reservoir Dogs/Pulp Fiction/Lie To Me fame.

The band have made one of the six b-sides (six!) to first single "(It's Not War) Just the End of Love" available for free download. Wonderfully named, "I'm Leaving You For Solitude" sounds like a lost John Lennon solo track and surprisingly lacks a typical stadium-sized James Dean Bradfield solo, but sounds all the more refreshing for it.

The tracklisting for "Postcards For A Young Man" is as follows:

(It's Not War) Just the End of Love
Postcards from a Young Man
Some Kind of Nothingness (featuring Ian McCulloch)
The Descent – (Pages 1 & 2)
Hazleton Avenue
Auto-Intoxication
Golden Platitudes
I Think I've Found It
A Billion Balconies Facing the Sun
All We Make Is Entertainment
The Future Has Been Here 4 Ever
Don't Be Evil

In case you haven't got quite enough of the Manics yet, there'll be a documentary this Sunday at 12pm on BBC 6 Music. The band will be revealing the pivotal moments and songs that shaped their lives and their careers. It'll also be the first chance to hear new tracks "Auto Intoxication" and "A Billion Balconies Facing the Sun".

"Postcards From A Young Man" is released on the 27th of September
"(It's Not War) Just The End Of Love" is released on the 13th of September
Manic Street Preachers kick off their tour in support of the album on the 29th of September in Glasgow.

VIDEO - Grinderman - Heathen Child

2010-08-10T13:28:00.003+01:00

Taken from Grinderman's second eponymous album, "Heathen Child" is exactly the kind of primal garage rock that we've come to expect from Nick Cave's busman's holiday band. Wailing guitars and an irresistible groove provide a backing for Cave's howls of "I don't care about Allah, don't care about Buddah, don't care about Krishna", sounding ever more like his old self in The Birthday Party. The video features a fair amount of nudity, the floating head from Hot Chip's "I Feel Better" video, wolves, wolfmen and the band dressed as Roman centurions. I hope my mid-life crisis is as brilliant and mental as Nick Cave's seems to be.

"Grinderman 2" is released on the 13th of September
"Heathen Child" is released on the 6th of September (but you can download it here)
Grinderman kick off their UK tour on the 25th of September in Nottingham

INCOMING: Los Campesinos! - All's Well That Ends EP

2010-07-11T23:56:00.004+01:00

LC! are surely the most featured band on Hitsville U.K., but not without good reason. Last week the band posted an mp3 of the ‘Princess Version’ of the title track of their most recent album "Romance Is Boring". It has just been announced that the track makes up part of a new ‘reworkings’ EP titled "All’s Well That Ends". The EP is made up of four alternate versions of tracks from "Romance Is Boring". The tracklisting is as follows:

1. Romance Is Boring (Princess Version)

2. Letters From Me To Charlotte (RSVP)

3. Straight In At 101/It’s Never Enough

4. (All’s Well That Ends) In Medias Res

Ellen, the band's bassist, filmed the recordings of the EP.

Untitled from Los Campesinos! on Vimeo.

The EP will first be available to buy at Los Campesinos! Wichiten show at London’s Garage on Thursday 15th July, and will then be available in limited number from independent record shops from July 19th.
You can pre-order the 10″ EP from Wichita, here: http://www.wichita-recordings.com/shop/webb258t.html

IN CELEBRATION OF... Foals

2010-05-04T19:34:00.003+01:00

Foals' second album, Total Life Forever, is the latest to recieve a 9/10 rating here on Hitsville U.K. and that means an "In Celebration Of..." post. Enjoy...

Foals - Total Life Forever

2010-05-04T19:01:00.005+01:00

First of all, the pre-release hype for “Total Life Forever” has been at fever pitch ever since “Spanish Sahara” made its way on to the internet and has rarely let up, save for a bit of unjust backlash when “This Orient” appeared. Fanboys have been eagerly waiting for proof that Foals are the new Radiohead, or some equally hyperbolic statement, whilst detractors have been queuing up to shoot the band down as arty, student, math-rock bollocks...or something as equally well-thought out and intelligent. If their debut “Antidotes” was something of a curveball to those expecting an album full of “Hummer”-esque indie disco hits, then this should be perfect for them. For those who wanted Foals to go all out and fully embrace their experimental side, then this should also be pretty much perfect. In other words, Foals have made the best follow-up they could have possibly made.

Forgive me for getting all oxymoronic, but the most noticeable thing on first listen is how chaotic and dense the new tracks sound, yet they’re mostly straightforward indie-rock songs and, dare I say, even a little poppy. The plaintive picking on album opener “Blue Blood” gives way to the kind of indie funk last seen on Friendly Fires’ debut album or Franz Ferdinand’s third, before evolving into a whirlwind of noise that first time round listen sounds messy, but repeat listens reveal that everything is in its right place (sorry, that’ll be the only Radiohead pun here). The funk strut carries on into “Miami”, which has ‘big hit’ branded on it. The title track and “Black Gold” continue in the same vein until we hit “Spanish Sahara”. Near-7 minute comeback tracks seem to be the vogue right now (see; The Horrors, Blood Red Shoes etc) so it shouldn’t have been too much of a surprise that Foals returned with one. What is a surprise is Yannis Philippakis’ vocals. Whereas on “Antidotes” he usually sounded like a yapping terrier with a fringe, Yannis now sounds a little more assured in his own voice and ability to sing. Alright, he’s not exactly Florence Welch when it comes to singing, but he does have a unique voice which comes into its own on “Spanish Sahara”. Accompanied only by a solitary guitar and a drumbeat that sounds a million miles away, the track gradually builds from these three elements to swirling alt. pop brilliance. One of the tracks of the year already, it’s obviously the standout and it’s clear to see why some fans were disappointed with the next track “This Orient”.

A great song on its own, but coming straight after “Spanish Sahara” didn’t really help. If anything, “This Orient” is a better example of the depth of the album than the previous track. Verging on FM rock, the song is perfectly layered with every instrument and voice complimenting each other. In fact, “This Orient” is probably Foals most pop moment yet. The first half of “Total Life Forever” is pop, in a roundabout way. Justin Bieber and The Jonas Brothers would kill for some of the hooks that Foals have crammed into the first six tracks, if they weren’t the spawn of Satan and whatnot. But after the instrumental interlude of “Fugue” segues into “After Glow” the band lets their experimental side run free. Sounding a little like “Born Slippy” at the start (at least it does to me) the latter becomes a tornado of tribal dumming, screeching guitars and typical Foals riffs. “Alabaster” and “2 Trees” are possibly the most downbeat Foals songs yet, with the latter being the best on the album after “Spanish Sahara”, but it has competition from “What Remains”, the album’s closer. With guitars alternately sounding like harps and drills, it might not reach the indie discos but it rounds of an album which gives further evidence that Foals truly are a special band.
FOR FANS OF: Radiohead, Bloc Party, These New Puritans,
ESSENTIAL: "Blue Blood", "Miami", "Spanish Sahara", "This Orient", "2 Trees", "What Remains"
9/10

IN CELEBRATION OF... LCD Soundsystem

2010-04-29T05:11:00.002+01:00

As I've done with Gorillaz' and Los Campesinos!'s 9 and 9.5/10 albums this year, here's the best of LCD Soundsystem's videos to educate yourself with and also in celebration of their 9/10 for "This Is Happening".
(Okay, so the last one isn't LCD, but it's pretty damn amazing)

LCD Soundsystem - This Is Happening

2010-04-29T04:35:00.004+01:00

For those out of the loop, LCD Soundsystem are probably the most consistently great band of the last five years. Having garnered near universal acclaim with their first two albums "LCD Soundsystem" and "Sound Of Silver", as well as three Grammy nominations along the way, it’s fair to say they’re a pretty big deal. The brains behind it all and the only actual member is New York DJ, producer and co-founder of DFA Records, James Murphy, whose barely-even-singing singing voice has been the calling card of the band since their first single back in 2002. Having created what many to consider to be two of the best songs of the noughties (apologies for using that phrase) in “Someone Great” and “All My Friends”, expectations have been a little high for LCD’s third, and if Murphy is to be believed, final album.

Lead single “Drunk Girls” wasn’t well received by all LCD fans, although most saw it as a good, if slightly disposable, dancefloor filler in the vein of previous single “North American Scum”. But “Drunk Girls” with its pop sensibilities and instant raucous hook is a world away from the rest of “This Is Happening”. For one, it’s under five and a half minutes long and sounds nothing like Berlin-era David Bowie, whereas the other eight tracks do. Album opener “Dance Yrself Clean”, with its slow and steady build-up to the show-stopping drop, could well be the best thing Murphy has ever done and the quality doesn’t let up from there on in. “I Can Change” is a swirling, shimmering slice of modern disco that you’ll be whistling for the whole day after hearing it, whilst “Pow Pow” and “You Wanted A Hit” return to the dance-punk sound that Murphy and DFA Records helped to create. Despite the latter song’s hook of “We won’t be your babies anymore”, it lives up to its title by being the only other possible hit after “Drunk Girls”, despite being nine minutes long.
“All I Want” is such a pastiche of “Heroes” it’s almost a disappointment when a coke-addled Bowie fails to turn up halfway though. Almost. “Somebody’s Calling Me” continues in treading the line between pastiche and rip-off, by sounding like the illegitimate offspring of Iggy Pop’s “Nightclubbing”. Whilst with lesser artists you’d accuse of a lack of ideas or shamelessly rehashing the past, with LCD Soundsystem, it just sounds like an obvious homage to Murphy’s influences. If “This Is Happening” is definitely to be Murphy’s last album under the LCD name then there’s few better ways to sign off than album closer “Home”, a funky-yet-heartfelt future floor-filler that surely wasn’t intended as such. It’s the closest LCD Soundsystem has come to a conventional pop song over three albums.

“This Is Happening” isn’t full of pure dance-punk hits like “North American Scum” or “Daft Punk Is Playing At My House”, neither is it a collection of earnest, soulful laments such as the previously-mentioned “Someone Great” and “All My Friends” as some may have hoped. Instead its sound is somewhere in between; songs to make you move your hips and break your heart at the same time. They’ll be missed.
FOR FANS OF: Hot Chip, David Bowie, Iggy Pop, The Rapture, Simian Mobile Disco, Justice
ESSENTIAL: "Dance Yrself Clean", "Drunk Girls", "I Can Change", "All I Want, "Somebody's Calling Me", "Home"
9/10

01 Dance Yrself Clean by HitsvilleUK-1

Kele - Tenderoni

2010-04-29T03:03:00.006+01:00

Since Bloc Party have gone on hiatus recently, its members have been given a chance to venture into that uneven of lands known as "side projects". Russell Lissack has formed Pin Me Down with Milena Mapris (essentially a electro-pop version of Bloc Party), Gordon Moakes is now a part of Young Legionnaire with The Automatic's Paul Mullen and La Roux's William Bowerman and, whilst drummer Matt Tong has stayed quiet so far, frontman Kele Okereke has gone solo, embracing his love of clubbing and dance music. "Tenderoni", the first fruits of his solo album "The Boxer", recieved its first radio play tonight to divided opinion. Sounding plagarisingly close to both Wiley's "Wearing My Rolex" and Bodyrox's "Yeah Yeah", "Tenderoni" will almost certainly be a mammoth club hit come the summer, even if it lacks that one big vocal hook that every dance classic needs. Skip to 1:36 and you can just envisage the sweaty crowd of skinny jeans going absolutely apeshit...in a good way. The first proper summer anthem is here, and I expect there's plenty more to come on the album.
8.5/10

INTO THE SPOTLIGHT... Gold Panda

2010-04-29T02:24:00.004+01:00

GOLD PANDA
The Essex-located, Japan-obsessed producer (he attended the School of Oriental and Asian Studies for two years, learning to read and write Japanese) has spent the last year or so becoming the go-to guy for remixes, at the same time as releasing three EPs of his own stellar material. Having tinkered with tracks from Little Boots, Telepathe, Bloc Party and Health, Gold Panda's tracks are likely to become just as vital of a summer soundtrack as The Drums, Summer Camp et al; fuzzy, minimal beats with a strange nostalgic feel created by old VHS samples and loops.
FOR FANS OF: Joy Orbison, James Blake, Yeasayer, Hot Chip
IDEAL FOR: Lazy summer days, sitting in a field, watching clouds. Or remembering days like this. Or pretending to yourself you've spent days like that.

You by Gold Panda
Back Home by Gold Panda
Quitters Raga by Gold Panda

M.I.A. - Born Free (video)

2010-04-29T02:20:00.003+01:00

M.I.A, Born Free from ROMAIN-GAVRAS on Vimeo.

To continue the recent very-video-heavy content here on Hitsville U.K., M.I.A's "Born Free" has itself a video. Definitely NSFW and certainly NSFG (not safe for gingers), the video is probably one of the more thought-provoking and uncomprimising of recent times.

Frankie & The Heartstrings - Tender (video)

2010-04-26T18:25:00.004+01:00

Here's the brand spanking new video from Sunderland's finest popsters, Frankie & The Heartstrings for their latest single "Tender". A rather awesome tune to match the band's rather awesome barnets, 2010 should be a damn good year for The Heartstings, possibly the best new British band around right now.. I can imagine a million and one Blur fans getting in a huff over F&THs stealing "their band"'s song title. The single, released today, is limited to 888 7" vinyls. I pre-ordered mine, what's your excuse?

The xx - Islands (video)

2010-04-23T20:32:00.006+01:00

Adding to what has been an extremely prolific and extremely video-heavy day here on Hitsville U.K., here's the promo for "Islands", the latest single from The xx's imaginatively-titled debut "xx". The coolest/best/worst/most boring new band around, depending on your viewpoint (I'm cemented in the first two opinions myself) and creators of the third best album of 2009, as well as annoyingly being used on both E4's 90210 ads and the Beeb's Election campaign ads; if you don't already love them, you will pretty soon.

Vampire Weekend - Giving Up The Gun (video)

2010-04-23T17:50:00.002+01:00

Whilst LCD Soundsystem's video for "Drunk Girls" may be the best of the year, second place has to go to Vampire Weekend's star-studded promo for "Giving Up The Gun". Featuring RZA, Joe Jonas, Jake Gyllenhaal, Lil' Jon and the best headband since Solid Snake, it's a little bonkers and completely brilliant.

M.I.A - Born Free

2010-04-23T16:59:00.004+01:00

M.I.A is back. Her Diplo-produced, as-yet-untitled third album is due for release around the 29th of June, and the first song to appear from it is "Born Free", an 100mph electro-punk racket which comes off a little like "Sandinista"-era Clash, with a bit of Yeah Yeah Yeahs thrown in. It's not quite "Paper Planes" but it's pretty damn close. Enjoy...

M.I.A. - Born FreebyTheProphetBlog

NEU! featuring Blur, BLK JKS, Big Boi, and Ryan Jarman

2010-04-23T15:52:00.000+01:00

Blur - Fool's Day
Poor Damon Albarn. Being in two of the biggest British bands of the last 20 years (cartoon or otherwise) must be one tough gig. There's no other explanation for the melancholia hovering over his most recent musical output. Gorillaz' "Plastic Beach" often drifts into miserable mopey-ness, especially and unsurprisingly on "On Melancholy Hill", although that doesn't cloud the brilliance of the album too much. Here, on Blur's first single for seven years, released exclusively last week for Record Store Day, Damon bemoans "another day on this little island" with all the effort and enthusiasm of your typical bedroom-dwelling 16 year old. But away from Albarn's miserabilia and Kinksian lyrics of modern Britain, the rest of the band sound as if they never split. Dave Rowntree's drums are solid and simple, Alex James' basslines are laid-back as ever and Graham Coxon goes into riff heaven for the final minute of the song. It's relieving and exciting that they've come up with something this good after seven years apart. All anyone (except Oasis fans) can hope for now is a new album. Despite quotes from the band saying the reunion is over, the line "the forthcoming dramas of the studio, and a love of all sweet music/We just can’t let go" says otherwise.
9/10
Download "Fool's Day"

BLK JKS - Zol!
With the World Cup in South Africa coming up in roughly a month and a half,it makes sense for the footy-related tunes to start rolling out. And BLK JKS (pronounced Black Jacks) since are South African themselves, it makes even more sense. Normally an experimental rock band, BLK JKS have produced a) the best football song since Dario G's "Carnival de Paris" and b) possibly the most summery, infectious tune I've heard in a long while. Hopefully, we'll all be singing along to "I roll and shoot at the same time" by the time England play Honduras in the final (a guy can dream...)
8/10
Download "Zol!" from Pretty Much Amazing

Big Boi - Shutterbugg
It shouldn't come as much surprise that "Shutterbugg" is great. After all Big Boi is one of half of Outkast, and whilst this doesn't quite reach the heights of "Hey Ya!" (not many things do), it's up there with the best. Pencilled in as the first single on Big Boi's forthcoming awesomely-named album "Sir Luscious Left Foot: The Son of Chico Dusty", "Shutterbugg" is likely to be one of the big pop hits of 2010, and there's no reason why it shouldn't be
8/10
Big Boi - Shutterbug by HitsvilleUK-1

Ryan Jarman - Do-Wah-Doo
In case you didn't keep up with the love lives of today's indie stars, Ryan Jarman, singer in The Cribs, is going out with Kate Nash of "Foundations"/"bittah/fittah" fame. Nash's new album (which the original of this track sits on) is supposedly full of riot grrrl influences and punk guitars, which sounds like Mr Jarman has had a lot of influence on his new beau's musical direction. The original "Do-Wa-Doo" is a pretty perfect meld of Nash's old and new sounds, whilst this cover sticks to acoustic guitar and a bit of Stylophone chucked in for good measure (the video for the original is up there for comparison). Jarman's voice tends to irk some listeners, but when singing this, it suits the song almost more than Kate Nash. The sad thing is that both versions of "Do-Wah-Doo" are better than almost everything on The Cribs last album.
7
Ryan Jarman - Do Wah Doo by HitsvilleUK-1

LCD Soundsystem - Drunk Girls (video)

2010-04-23T14:44:00.003+01:00

Some hate it, some love it. The lead single from LCD Soundsystem's third and final album "This Is Happening" is one of the party songs of 2010, and also has the best video of the year so far. All I'm saying is panda anarchists who like a party.

Even more Los Campesinos! for your delectation

2010-04-22T15:27:00.002+01:00

In honour of "Romance Is Boring", Hitsville U.K.'s highest rated album of the year so far (beating Gorillaz' "Plastic Beach"), here's a handful of LC! videos, including one of the first two songs of their Liverpool gig in February (which I went to and requested those songs *proud fanboy moment...even though my requesting them probably had nothing to do with them being played.... * I'll shut up now and let you watch the videos)

Los Campesinos! - Romance Is Boring

2010-04-22T15:07:00.005+01:00

I’m never going to do a Los Campesinos! album review on time am I? It took me two months to review “We Are Beautiful, We Are Doomed” and it’s taken me nearly the same amount for “Romance Is Boring”. Arguments on whether this is LC!’s second or third album will wage between indie kids for eternity (the band consider “WAB,WAD” as an extended EP, not a full album); I’m firmly on the ‘third album’ side if I’m being honest, but I digress.

In the two and a bit years since their debut album, Los Campesinos! have matured into one of the best indie bands around (that’s indie as in independent in sound and ethos, not indie as in The fucking Pigeon Detectives). The twee shackles which plagued them early on have been thrown off and whilst the hyperactive pop playfulness still remains, like a chihuahua in a Kenickie t-shirt, it’s now more streamlined and beefed –up, sounding less disposable and more life-affirming. The bouncy indie pop of old remains for the first half a dozen tracks or so, the title track being the best example of LC!’s evolution. Undeniably more rock than earlier tracks, it contains a chorus catchier than any flu the media choose to chuck on the front page (“You’re pouting in your sleep, I’m waking, still yawning/We’re proving to each other that romance is boring”). Lyrically, the album is superb. Gareth Campesinos! is one of the best lyricists the country has to offer right now, and there are few who can match him for laugh-out-loud moments e.g. “I think we need more post-coital and less post-rock/Feels like the build-up takes forever but you never touch my cock” on “Straight In At 101”, as well as “Plan A”, probably the only song ever about being called up to the Maltese national football team.

Of course, as any LC! fan knows, it’s not all fun and indie-pop frolics, neither musically nor lyrically. Both “In Medias Res” and the aforementioned “Straight In At 101” offer up some pretty depressing imagery (“I phone my friends and family to gather round the television; The talking heads count down the most heart-wrenching break ups of all time/Imagine the great sense of waste, the indignity, the embarrassment when not a single one of that whole century was... mine”). To describe every little nuance and bit of lyrical genius on the album would take quite some time, and would probably be fairly boring. But I will say this; to experience “Romance Is Boring” fully, reading the lyric book along with listening to it is advised (that is if you actually go out and buy it...physically...remember that?).

I’ve gone all this way and not even mentioned “The Sea Is A Good Place To Think Of The Future”, the album’s highlight of highlights and 5th best song of last year, according to me. Foreboding guitar picking and a lone, mournful violin that begin the track belie the explosion of a chorus that arrives, taking any listener on an aural rollercoaster. If you don’t at least “kind of like” Los Campesinos! after this album then, at the risk of sounding like a rabid fanboy, we can’t even know each other*
*Kidding, of course. I just think this a superb album is all.

SOUNDS LIKE: All of your teenage angst, but more intelligent, witty, deep and catchy. And nothing at all like whiny bitchy emo.
ESSENTIAL: All of it. Seriously.
9.5/10

Thom Yorke/Atoms For Peace - Love Will Tear Us Apart

2010-04-16T21:02:00.002+01:00

Thom Yorke covering Joy Division? I'm surprised the indie world has imploded in on itself by now.

Hot Chip - I Feel Bonnie (Club Remix)

2010-03-30T19:49:00.003+01:00

I've been pretty obsessed with the latest Hot Chip single recently, and now here's the equally amazing remix featuring vocals from Will Oldham a.k.a Bonnie "Prince" Billy. It's times like this I wish I was a DJ, if only to play this...

NEU! featuring MGMT, Chiddy Bang and Stornoway

2010-03-30T18:41:00.006+01:00

MGMT - Flash Delirium/Congratulations
Much has been made of MGMT's anti-singles stance on their sophomore album. Having had three of the biggest "choons" of 2008 ("Time To Pretend", "Electric Feel", "Kids"), announcing that you're shunning the single system might seem a little contrary for the sake of it, but that's just MGMT. If you'd delved further into "Oracular Spectacular" than just the singles you would have found a wealth of modern-day psychedelic and experimental pop. Personally, I was never a fan of that album as a whole, sticking to the aforementioned Big Three singles and nowt else. Now, the supposed lack of radio-friendly material on "Congratulations" should scare someone like me away, but the first two tracks to see the day of light from the album are surprisingly accessible, nothing like the proggy noodling that pre-release hyperbole would have you believe. "Flash Delirium" takes a few listens for it to grab you, and when it does, it reveals itself as a fairly conventional classic rock song with a psychedelic twist. That is, until the raucous last twenty seconds and the completely grade-A batshit video. The title track and album closer is a far more laid-back affair, so much so that it's not completely unlikely to think that the band recorded it horizontally. Neither track reaches the heights of the Big Three, but are still worthy additions to MGMT's canon. It just remains to be seen whether "Congratulations" lives up to it's hype or is more of a mess than a student kitchen.
MGMT - Flash Delirium MP3
7/10 / 7/10

Chiddy Bang - Opposite Of Adults
Speaking of MGMT, "Opposite Of Adults" by Philadelphian MC/Producer duo Chiddy Bang samples "Kids" and creates what will likely be one of the biggest party songs of the year, akin to Asher Roth's "I Love College" last year. In fact Mr. Roth gets a namecheck/diss (whatever you young lot call it now). The sampling of "Kids" is a fantastic reworking, sure to breath new life into what has already been a huge hit. Admittedly, its lyrical content isn't too great ("Follow me, follow me I'm the leader/And when I park cars I don't pay for the meter". I'm sure Dylan's crapping his pants...actually considering his age, he probably is anyway) but party hits are never known for being dense explorations of the human psyche. Plus it references Ron Burgundy, which is an instant winner with me.
Download "Opposite Of Adults" and more
8/10

Stornoway - I Saw You Blink
I don't think anyone was asking for a hybrid of Vampire Weekend and Mumford & Sons (I certainly wasn't. I don't want VW's perfection tainted by that shit) but we've got it in "I Saw You Blink". The elastic bassline and breezy tone are reminiscent of the Afrobeat-loving Brooklynites, whilst there's a folk-friendly edge that recalls Mumford, without making me violently angry. Breezy enough to not get annoying, but catchy enough to no go in one ear and straight out of the other, Stornoway are one band to keep an eye on. They'll be all over Radio 1 by August.
8/10

Happy Nick Cave Day!

2010-03-29T17:31:00.004+01:00

I've decided today is Nick Cave Day. No other reason, other than he's a genius and I woke up in a Cave mood this morning. Enjoy the best of the (former) owner of the best facial hair in music.

LIVE - Dan Le Sac vs Scroobius Pip @ O2 Academy 2, Liverpool - 19.03.2010

2010-03-20T15:44:00.005Z

It's fairly safe to say I was one of only two people wearing a shirt and tie at this gig (the other being Pip himself) and I was certainly the only person to be wearing a cardigan. They're not exactly hip hop clobber, unless you're involved at the rather nerdy end of the rap spectrum. Instead, tracksuits and trainers are the preferred uniform, as opening act Sound Of Rum adhere to. Frontwoman Kate looks as if she'd be more at home mugging you for lunch money than rapping on a stage. It's refreshing to hear live instrumentation (actual drums, guitar and bass) in hip-hop than simply relying on laptops etc. Although this means SOR occasionally veer close to rap-rock, it's never too much of a concern and they provide a lot of fun for a support act.

Arriving on stage in what appears to be a Chinese Alan Partridge mask, with a beard to rival Pip's and a bulk to rival Giant Haystacks, B. Dolan has a pretty immediate stage presence. His first bit of banter; "It's my first time here and I only know one thing about Liverpool. That thing is.... the women are loose". Whilst I won't comment on that (for fear of having to deal with the backlash from female friends), Dolan's set was incredible and set the bar high for Dan and Pip: "The Reptilian Agenda", a call-and-response song revolving around the line "The Queen of England is a Lizard"; "a party jam about agoraphobia"; "Joan Of Arc" (dedicated to "Sarah Palin; my muse, my sexual chocolate") whose chorus goes "Joan of Arc had a dildo named Jesus/made of wood from the cross of its namesake/she considered the splinters atonement/and when she came it would fill her with light!" and a bit of audience participation in the form of Dolan stipping down to an Evil Kenivel suit and jumping over the first person to climb the barrier. You don't get this with Kings Of Leon.

Personally, I never thought of Dan and Pip being the most popular of bands. Sure, they obviously have many, many fans, that goes without saying, but selling out the Academy to a rather varied crowd wasn't something I expected. An intense, loud and sweaty gig was par for the course. Whilst I had all the movement space of a dwarf in a pillowcase, I tried my best to obey Pip and get dancing. Songs both old and new were met with near-Beatlemania shouting. Clearly Dan & Scroob fans are quick learners when it comes to lyrics. Cynics usually criticise the duo for being over-earnest, but in the live arena it's clear to see that whilst sincere, they never take themselves too seriously. With both Dan and Pip on fine form, the closing hattrick of "Thou Shalt Always Kill", "Get Better" and "Letter From God To Man" is the perfect ending that any fan could hope for.

HIGHLIGHT OF THE NIGHT: Either Dan's mid-gig biscuit craving (someone actually brought a pack with them...) or "N Dubz, get better; Chipmunk, get better; Tinchy Stryder, get better; Scroobius Pip, get better..."

LIVE - Wild Beasts @ O2 Academy 2, Liverpool - 18.03.2010

2010-03-20T13:48:00.004Z

Wild Beasts are one of a number of contemporary bands who, had they existed 20 to 25 years ago, would have been one of the biggest bands in the country a la The Smiths. There's certainly a similarity between Morrissey, Marr, Rourke & Joyce and the Kendal-via-Leeds band. Sharp, fluid guitar lines, acrobatic vocals and often laugh-out-loud lyrical imagery are part and parcel of Wild Beasts; all three are brought to the fore during their live show.

First support act Lone Wolf certainly lives up to his name. Playing guitar and keyboard solo (the live band "couldn't make the tour") and looking a little lupine, he plays a bewitching set, reminiscent of Bon Iver, just without the overplayed backstory and haunting falsetto. The highlight of the set is forthcoming single "Keep Your Eyes On The Road", which never sounds the same for more than thirty seconds. On the basis of this set, debut album "The Devil And I" should be pretty special.

Erland & The Carnival are up next, and sound like a menagerie of a number of different bands. There are elements of tonight's headline act, the funk of Egyptian Hip Hop, the folksiness of Beirut, the strut of second album Franz Ferdinand (not a bad thing, despite popular opinion) and even the experimentalness of late Blur. This last comparison should come as no surprise when Simon Tong (of The Verve, Blur, Gorillaz and The Good, The Bad & The Queen) is one of the core members of the band. Tong's guitar, along with the relentless drumming of David Nock drive the band's performance. With the current folk rock revival (hello Mumford & Sons, Noah & The Whale, Laura Marling), 2010 could very well see Erland & The Carnival propelled into the spotlight.

By the time Wild Beasts arrive on the stage, the audience are at fever pitch. According to singer Hayden Thorpe, the last time the band headlined a Liverpool gig, there were roughly six people there. There's at least seventy-five times that amount in attendance this time round; "very humbling", in the words of Thorpe. With two stellar albums to pick a setlist from, it's no wonder Wild Beasts turn in a stellar performance. Even though on record, lyrics are occasionally indecipherable thanks to Thorpe's unusual voice, nearly every word is sung back to the band. On this showing, Wild Beasts certainly have the fanbase to reach the level of mainstream adoration that The Maccabees and The Horrors did last year. But should they fail to be picked up by the fickle fifteen year-old "indies", they'll be the biggest and best cult band in the country, which is no bad thing at all.

HIGHLIGHT OF THE NIGHT: Either the short, bald guy next to me dancing like it was the Happy Mondays on stage or "We've Still Got The Taste Dancin' On Our Tongues"

VIDEO: Gorillaz - Stylo

2010-03-17T18:46:00.004Z

In honour of Hitsville U.K.'s first 9/10 album of the year (Plastic Beach, in case you hadn't read), here's the rather cool, Bruce Willis-featuring video for "Stylo" (which doesn't really sound like Eddie Grant's "Time Warp", despite what he says)

ALBUM CATCHUP: 6-10

2010-03-17T16:38:00.004Z

6. Ellie Goulding - Lights
Ellie Goudling is in the exact same position as Florence and her Machine were last year. Topping “ones to watch” lists left, right and centre with a Brit Award before her album’s released. That’s a lot of expectation on the former folk singer, and it’s set her up for a fall. Save for the pure pop gold of “Starry Eyed”, “Under The Sheets” and “Wish I Stayed”, as well as the really rather good “Every Time You Go”, there isn’t much to back up the hype. It’s all a bit bedroom pop, nowhere near the levels of Florence, La Roux or even Little Boots. I hate to be so negative, given how cute Ellie Goudling looks (she’s up there with Zooey Deschanel, Marina and Laura Marling for indie-girl crushes) but “Lights” is wholly unspectacular. Really, I should have expected this, considering she’s worked with this dick.
SOUNDS LIKE: Radio 1's wet dream
ESSENTIAL: "Starry Eyed", "Under The Sheets", "Wish I Stayed", "Every Time You Go"
5/10

7. Everybody Was In The French Resistance... Now! - Fixin' The Charts Vol. 1
Eddie Argos, he of Art Brut fame as well as smelling like eggs fame (from what I’ve heard from one source) has joined up with Dyan Valdes of The Blood Arm (remember them?) to make...well...an album that sounds like Art Brut going pop. To be honest, it wasn't going to sound like much else, when you take Argos' distinctive half-talking, half-singing style into consideration. Whilst the last two Art Brut albums have been a bit meh, EWITFR...N! (I think I'll just call them The French Resistance from now on) makes Argos sound revitalised with a new lease of life. The chorus of "G.I.R.L.F.R.E.N" is too catchy for it's own good, as will "Think Twice (It's Not Alright)", whilst "Walk Alone" (a riposte to Gerry & The Pacemakers "You'll Never Walk Alone") could possibly become a favourite of Evertonians everywhere (including this one). Okay, it's not life-changing stuff and occasionally a bit too tongue-in-cheek for its own good, but there are worse ways to spend 35 minutes than listening "Fixin' The Charts Vol. 1".
SOUNDS LIKE: Art Brut, if they'd made it to Top Of The Pops
ESSENTIAL: "G.I.R.L.F.R.E.N. (You Know I've Got A)", "Think Twice (It's Not Alright)", "He's A 'Rebel'", "Coal Digger", "Walk Alone"
6/10

8. Fyfe Dangerfield - Fly Yellow Moon
After a lacklustre second album, Guillemots have gone on hiatus, allowing amazingly-named frontman Fyfe Dangerfield to go solo. As with Eddie Argos and The French Resistance, "Fly Yellow Moon" doesn't differ greatly from Dangerfield's day job. "She Needs Me", for instance, could slot in perfectly on either Guillemots album, but Dangerfield is a highly underrated songwriter and a world without his songs would be worse off indeed. Opener "When You Walk In The Room" is a bouncy piece of piano-pop that The Beatles would write if they formed tomorrow, and "So Brand New" sees Fyfe switch to '60s crooner mode with good result. "Faster Than The Setting Sun" may veer a bit close to Coldplay territory, but overall "Fly Yellow Moon" is a fine album that should shove Dangerfield's talents further into the spotlight. Now, if we can just get that third Guillemots album...
SOUNDS LIKE: The best alt-pop songs of the year
ESSENTIAL: "When You Walk In The Room", "So Brand New", "Barricades", "Live Wire"
7/10

9. Gil Scott Heron - I'm New Here
The godfather of hip-hop has had a rough few years; Gil Scott Heron hasn't released or recorded any new songs since 1994, let alone a new album; has had heavy drug problems, had two spells in jail and contracted HIV. So it comes as no surprise that "I'm New Here" takes on subjects more personal than the political issues of old.Whilst older material was more jazz and beat inflected, "I'm New Here" lends itself more to electronic music. Opening track "On Coming From A Broken Home (Part 1)" pulsating synths give the song a threatening, somewhat aggressive edge, as if Heron's grizzled voice didn't already do that half the time. The album is reminiscent of Johnny's Cash's last few LPs, not as in it's the words of a dying man, and not so much as to sound the same (I can't recall Cash ever delving into trip-hop), but in the intesity and feel of the record, as if Heron has still has a lot left in the tank.
SOUNDS LIKE: That old guy at the back of the bar, who you think might be a big crazy, but is actually a genius being allowed to record an album.
ESSENTIALS: "On Coming From A Broken Home (Part 1)", "I'm New Here", "I'll Take Care Of You"
7/10

10. Gorillaz - Plastic Beach
If you can get your head around the entirely bonkers back story cooked up by Damon Albarn and Jamie Hewlett to "Plastic Beach", well, you've got a longer attention span than me. As the whole Gorillaz gets sillier and sillier, the music has improved a whole lot. The previous two albums have never really been favourites of mine, thus I've always considered Gorillaz to be a singles band, but Plastic Beach has proved me wrong. Maybe it's the wealth of collaborations, maybe it's the concept of the album, something has just clicked this time. Maybe all future Gorillaz albums should involve Snoop Dogg, Mos Def, Bobby Womack, Mick Jones, Paul Simonon, Lou Reed, De La Soul and Gruff Rhys, with a bit less Damon Albarn? Don't get me wrong, I love Damon Albarn, but seeing as the best tracks on "Plastic Beach" feature guest stars, it could just work. If tracks that are as playful and layered as "White Flag", "Superfast Jellyfish" and "Rhinestone Eyes" are the future of pop, then colour me happy. The only problem with "Plastic Beach" is that after the title track, it seems to drop off a little. But that's only a minor complaint. After all, there can only be so much genius on one album.
SOUNDS LIKE: Gorillaz. Nothing else.
ESSENTIAL: "Welcome To The World Of The Plastic Beach (featuring Snoop Dogg and Hypnotic Brass Ensemble)" "White Flag (featuring Kano, Bashy and The Lebanese National Orchestra for Oriental Arabic Music)" "Rhinestone Eyes" "Stylo (featuring Mos Def and Bobby Womack" "Superfast Jellyfish (featuring De La Soul and Gruff Rhys)", "Glitter Freeze (featuring Mark E. Smith" "Some Kind Of Nature (featuring Mark E. Smith" "On Melancholy Hill" "Plastic Beach (featuring Mick Jones and Paul Simonon"
9/10

VIDEO: Hot Chip - I Feel Better

2010-03-17T16:28:00.001Z

Directed by walking ball of hilarity Peter Serafinowicz, it's hard to tell which is more mental; this, or "Telephone"...

Hot Chip - I Feel Better

Hot Chip | MySpace Music Videos

SUMMER CAMP - Ghost Train (video)

2010-03-16T18:02:00.003Z

...or, what I will be forcing all of my friends to listen to from May to September.

PLAYING CATCH-UP: Albums I've missed over the last two months

2010-03-16T14:50:00.008Z

In my 64 day absence, I've missed out on reviewing a fair few albums, so I'm making up for that now.

1. Beach House - Teen Dream
Beautiful melodies, ethereal vocals, heavenly arrangements, but there’s only so many times you can listen to the same aural equivalent of a cloud. There’s nothing too heavy or groundbreaking on Beach House; take the songs individually and they range from okay to amazing (“10 Mile Stereo” being the best track on the album), but in one go, it’s just a bit too much.
SOUNDS LIKE: Someone dreaming of Grizzly Bear
ESSENTIAL: "Silver Soul", "10 Mile Stereo", "Take Care"
7/10

2. Blood Res Shoes - Fire Like This
Blood Red Shoes have struggled to escape the indie tag they’ve been tarred with, and rightfully so. They are a lot heavier than, say, Two Door Cinema Club. In fact, a hell of a lot heavier as seven minute sludge-rock closer “Colours Fade” shows. But being a little harder and heavier than their contemporaries doesn’t really excuse them from not moving on from their debut “Box Of Secrets”. And when I say heavy, I don’t mean “In Utero”/“The Holy Bible”/“Master Of Puppets” levels of distortion and disturbance; more like Radio 1 midday-heavy, or Hollyoaks soundtrack-heavy. Had this been their debut, it would have been quite impressive, but there’s feeling of déjà vu on pretty much every track.
SOUNDS LIKE: Nevermind-era Nirvana, fronted by a girl.
ESSENTIAL: "Light It Up", "Heartsink", "One More Empty Chair", "Colours Fade"
6/10

3. Dan Le Sac vs Scroobius Pip - The Logic Of Chance
In the two years since their debut, Dan Le Sac vs Scroobius Pip haven’t been given the kindest ride by critics. Why? I’ll never know. Le Sac’s beats now rival those of the biggest DJs around, whilst Pip’s flow has come on tenfold. Alright, the opening to Great Britain sounds alarmingly like Hadouken! and the spoken word “statistics” bit may sound cringeworthy depending on your fandom, but the insanely catchy chorus makes up for everything. Sticking with cringe moments, the “Rehab”-pisstake in “Last Train Home” doesn’t sit well with me, but I digress. For a band known for something of a novelty hit (“Thou Shall Always Kill”), the subject matter of most tracks is quite deep and, in the case of “Cowboi”, slightly unnerving. Cynics and year-round grinches will decry Le Sac vs Pip as preachy and overly political, but, at the risk of sound too much like Jon McClure, it’s better than album about girls and drinking. “The Logic Of Chance” is undoubtedly a step-up from the pair’s debut “Angles”, if only for the opening line of “Get Better”; “Imagine a song/that really reached out and touched kids/Not in a Daily Mail way/Innocence corrupted.”
SOUNDS LIKE: That cool-but-brainy teacher who's into hip-hop being let loose in the music department
ESSENTIAL: "Sick Tonight", "Great Britain", "Get Better", "Inert Explosions", "Stake A Claim", "Cowboi"
7/10

4. Dum Dum Girls - I Will Be
It would be easy to write Dum Dum Girls off as a third rate female Ramones, based on appearances alone. They’ve got the cool scowls down to a tee, leather jackets, names like Dee Dee, Frankie Rose and Bambi and they look as if they would almost definitely beat you in a fight. But instead of dumb, three chord, bubblegum punk, “I Will Be” contains some of the sweetest pop tunes you’re likely to hear this year, albeit hidden behind swirling shoegaze guitars and a few walls of distortion. “Bhang Bhang, I’m A Burnout” is an ideal sunny summer day soundtrack, whilst “Blank Girl” is already a forerunner for one of the tracks of the year. With only two tracks crossing the three minute line, the Girls don’t outstay their welcome, but leave you with enough hooks and harmonies to keep you satisfied.
SOUNDS LIKE: Girl group pop, with a metric ton of attitude, behind MBV guitars.
ESSENTIALS: "Bhang Bhang, I'm A Burnout", "Jail La La", "Yours Alone", "Blank Girl", "Baby Don't Go"
7/10

5. Eels - End Times
Excluding the refrain of “Mr E’s Beautiful Blues” (“Goddamn right, it’s a beautiful day”), Mark Oliver Everett has never been one for looking on the sunnier side of life. Having just gone through a divorce before recording “End Times”, that was never going to change on this album. If you’re having a bad time at the minute, it would be advised to avoid this album, unless you’re a) of sound mind, b) away from anything noose-y or razor-blade-y and/or c) enjoy revelling in downbeat acoustic laments. “End Times” isn’t fill with up tempo indie rock a la previous hits “Souljacker Pt 1” and “Novocaine For The Soul”, but turning misery, heartbreak, divorce et al into positive rock ‘n’ roll is a tricky thing to do, and luckily E steers clear of trying. At fourteen tracks, it may drag a little, but as usual with Eels, it’s never boring, and often brilliant.
SOUNDS LIKE: Music you'd need to make/hear after a break-up
ESSENTIALS: "Gone Man", "In My Younger Days", "Mansions of Los Feliz", "A Line In The Dirt", "End Times", "Nowadays", "I Need A Mother", "Little Bird"
9/10

Sincerest apologies

2010-03-16T14:08:00.003Z

I've been neglecting the blog for quite some time now. 64 days to be precise. Stuff gets in the way; uni, work, life etc. But I shall neglect no longer! Or at least neglect a bit less.

Anyways, it's pointless now but the top four songs of 2009 were:

YEASAYER - Ambling Alp
FRANKIE & THE HEARTSTRINGS - Fragile
THE DRUMS - Let's Go Surfing
THE BIG PINK - Velvet

Whilst the top ten albums were:

NOAH AND THE WHALE - The First Days Of Spring
MANIC STREET PREACHERS - Journal For Plague Lovers
THE xx - xx
THE BIG PINK - A Brief History Of Love
THE HORRORS - Primary Colours
THE MACCABEES - Wall Of Arms
JAMIE T - Kings & Queens
MAXIMO PARK - Quicken The Heart
WILD BEASTS - Two Dancers
ARCTIC MONKEYS - Humbug

And that's that. I'm going to see Wild Beasts and Dan Le Sac vs Scroobius Pip in the next few days, so there'll be live reviews up for them soon, and I'll probably revamp the whole look of the blog.

2009: Songs of the Year - Number 5

2010-01-11T19:57:00.003Z

You know what? Balls to this, Blogger won't let me post what I've written for this for some reason, so here's basically what I've been trying to say

I LOVE LOS CAMPESINOS! THIS SONG IS AMAZING! IT'S A FREE DOWNLOAD! YOU KNOW WHAT TO DO!

2009: Songs of the Year - Number 6

2010-01-11T19:37:00.003Z

Taking a new direction is one thing, completely reinventing yourself is another, especially after a mostly derised debut album. But that's what The Horrors did, shocking everyone by returning after two years as a very very good band. "Sea Within A Sea" was the first release from Primary Colours and was a world away from the garage-punk of Strange House; eight minutes of swirling synths, Ian Curtis-esque vocals and a whole dollop of Krautrock. In a year of complete musical turnarounds, "Sea Within A Sea" was undoubtedly the most suprising and the best.

2009: Songs of the Year - Number 7

2010-01-10T17:11:00.003Z

Surely Jay-Z is one of the biggest stars on the planet today? Very few can lay claim to being bigger (Beyonce, Rihanna, Lady Gaga...Kings Of Leon maybe...but that's it). So for someone of such stature to rally against one of the most prevalent trends in modern music (auto-tune) is a brave move, but one that was pulled off with aplomb. Okay, it was a little hypocritical since Kanye West was involved, but that one point aside, "DOA" is a bold, brash statement of intent, with tumbling drumbeats, a great guitar hook and a fantastic choice as a lead single for The Blueprint 3

2009: Songs of the Year - Number 8

2010-01-10T17:02:00.003Z

Another classic from a rather poor album. Tongue 'N' Cheek saw the former Dylan Mills go from underground hero to triple chart-topper and the best popstar in Britain right now. Unfortunately, "Bonkers" was only one of a handful of tunes to match up to Dizzee's past glories. Only just reaching the annoying stage 7 months after release, "Bonkers" lives up to it's name, being one of the best, but most unlikely Number Ones of the year.

2009: Songs of the Year - Number 9

2010-01-10T16:48:00.004Z

I'm the first to admit that Ian Brown's solo career isn't exactly fantastic. A good chunk of it is mumbling indie-rock with a dancey beat behind it, just to pull in a few unsuspecting Stone Roses fans. Some may even say "Stellify" is more of the same but then they'd be wrong. An instantly catchy piano line builds to what should have been a festival anthem of a chorus (unfortunately the majority of the crowd at Leeds didn't have a clue) and a great brass breakdown (I'm a sucker for them). It's just a pity the rest of the album was shockingly poor.

2009: Songs of the Year - Number 10

2010-01-10T16:07:00.004Z

I don't think there's been one song this year that has been as simultaneously downbeat and uplifting as this, the title track and opener to Noah And The Whale's second album. Only a song rooted in real-life heartbreak could provide such lyrical contrasts as "It's the first day of spring/And my life is starting over again", "For I do believe that everyone has one chance/To fuck up their lives" and "For I'm still here hoping that one day you may come back" The funereal, "Be My Baby"-aping drumbeat combined with orchestral flourishes that tug on the heartstrings make for an emotional 6 minutes and 39 seconds. To be honest, any one of the songs on The First Days Of Spring could have been here, but I'm playing safe and going with the first, and possibly the most powerful on the album.

2009: Songs of the Year - #50 to #11

2010-01-08T04:03:00.002Z

2009: Songs of the Year...FINALLY! - #100 to #51

2010-01-07T20:13:00.012Z

Most sincere apologies, dearest readers. I actually cannot remember the last time I blogged, a sad state of affairs indeed. The reasons are (not so) may and (not very) varied; laptop reset itself, thus deleting everything I was writing and had written to put on the blog, uni got in the way a little, then came Christmas, New Year's, a lot of eating and procrastination, an obsession with (500) Days Of Summer and Inglourious Basterds (amazing soundtracks for both by the way) etc etc. Excuses, exucses, I know. So without further ado, here's #100 to #51 on Hitsville U.K.'s Songs of 2009 countdown. The rest will come tomorrow, with some actual writing for the Top 10 and the Albums of 2009 list following next week, along with tips for 2010. Better late than never eh? (Even further apologies if you can't read this well :[)

Tweet-ville U.K. featuring Dizzee Rascal, Codes, Slow Club, Mumford & Sons, Wolfmother and Tubelord

2009-11-08T00:02:00.007Z

Since I've got a whole heap of albums that have yet to grace the pixels of Hitsville U.K., and I want to clear the space they're taking up in my mind, here's a handy little thing to help me (that I may have nabbed from Jamie Milton of Music Fan's Mic, who may have nabbed it from someone else...don't really know); an album review in the space of a tweets, or to those of you not keeping up with modern trends and technology, 140 characters. Call me lazy for doing this (and I'll call you correct) but it's simple and allows me to just give a brief overview etc etc. I'll get on with it now.
(Ratings, track recommendations and other stuff not included in the 140 limit, just so you know)

DIZZEE RASCAL - TONGUE N' CHEEK
"Bonkers leads to this; a go at proper pop "Cheeky" misogyny, stale beats, phoned-in flows, the odd Credit Crunch reference. Yawn, mostly"
RECOMMENDED LISTENING: "Bonkers", "Dance Wiv Me", "Holiday", "Dirtee Cash", "Can't Tek No More"
5.5
CODES - TREES DREAM IN ALGEBRA
"Odd title, epic stadium rock. Would be a new U2 (zzz) if not for ambition and creativity. Bit samey halfway through but one to look out for"
RECOMMENDED LISTENING: "Malfunctions", "Guided By Ghosts", "In Algebra", "Starry Eyed"
7

SLOW CLUB -YEAH SO
"Twee-er than B&S, but even better. Simple folk ditties mix with bittersweet indie rock to lodge in your thoughts for long after listening"
RECOMMENDED LISTENING: "When I Go", "It Doesn't Have To Be Beautiful", "There's No Good Way To Say I'm Leaving You", "Because We're Dead", "Apples And Pairs", "Our Most Brilliant Friends"
8

WOLFMOTHER - COSMIC EGG
"Big-haired Aussies return with new members but no new ideas. Same retro-rock as debut, but no equally great songs a la "Dimension", "Woman""
RECOMMENDED LISTENING: "Cosmic Egg", "New Moon Rising", "Sundial"
3

TUBELORD - OUR FIRST AMERICAN FRIENDS
"Another quiet-LOUD band. Noticeably more depth, talent and ideas than most new bands. Clever, thrilling, few negatives cept little diversity"
RECCOMENDED LISTENING: "Somewhere Out There A Dog Is On Fire", "Stacey's Left Arm", "Propeller", "He Awoke On A Beach In Abergavenny", "Cows To The East, Cities To The West"
8

NEU! featuring Rihanna, Ash, Yeasayer and Them Crooked Vultures

2009-11-04T20:08:00.008Z

RIHANNA - RUSSIAN ROULETTE
The world's second biggest popstar (after Beyonce) makes her post-Chris Brown-gate (can't think of a better name right now) comeback with Russian Roulette, the lead single from her fourth album Rated R. The girl obviously loves alliteration, but instead of reasserting herself in the public conciousness with a huge crossover hit à la "Umbrella", "Don't Stop The Music", "Disturbia", "SOS", "Shut Up And Drive" etc. "Russian Roulette" is a downbeat, brooding ballad. On first listen, it may seem a little anonymous and meandering, but endeavour and you'll find that a great modern pop song doesn't have to be huge beats and incessant whirring aimed squarley at girls at 18th birthday party, drunk on WKD. Slow and sultry, it worms its way into your memory with a fantastic soaring chorus, which sounds oddly familiar. The only problem now is airplay. The powers-that-be weren't exactly to pleased about the Russian roulette reference in Lady GaGa's "Poker Face", so an entire song on the game itself, coupled with a gunshot at the end? Good luck with that one Rihanna.
[Available to hear on Rihanna's website]
7.5

ASH - JOY KICKS DARKNESS
As you may have guessed from the artwork, this is Ash's second single from their A-Z series (For those not in the know, Ash gave up making albums to concentrate on singles and are releasing 26; one every two weeks). After the synth-poppy True Love 1980, the Downpatrick trio have gone back to what they do best; powerful pop-rock. "JKD" has a rawer edge than most early Ash singles but, unlike "Girl From Mars" et al, isn't an immediate pop song. Which probably isn't the best thing for a singles-only band to be releasing. But the blistering rock-out coda more than makes up for it, along with a rather awesome guitar solo. Two down and 24 to go, there's a lot to look forward over the next year.
7

YEASAYER - AMBLING AMP
The indie press darlings sure are a savvy lot. Releasing this single as a free download towards the end of the year, just before all the "Best Of 2009" lists are compiled, is a surefire way to win over those easily-won-over music hacks and boost them to the upper echolons of said charts. I shouldn't be so cynical, because if this was released on 1st January 2010, it would still make the Top 20 of 2010, at the very least. "Ambling Amp" is a genius slice of skewed pop, a bouncy "proper pop song" (basically stuff sung on X Factor and popular with those awful people known as the general public) hidden behind avant-garde sound effects and bubbling synths, making it sound like it's been concocted in a laboratory, which it probably has been. Perfection like this is beyond mere mortals. Okay, that was overly-hyperbolic, but this an amazingly good song, that even the milkman could whistle...probably. And it's a free download. Life is good sometimes.
[Available as a free download here]
10THEM CROOKED VULTURES - MIND CHASER, NO ERASER
Considering the components that make up TCV, this should be great, appealing to metalheads, indie kids and ageing rockers alike. Or it could follow the supergroup rule...basically that 99.9% of supergroups are a bit shit. Or, for an analogy relating to the members, it could be pretty damn good (Josh Homme/Queens Of The Stone Age), alright but a bit bland (Dave Grohl/Foo Fighters) or boring enough to enduce jaw-breaking yawns worldwide (John Paul Jones/Led Zep). The answer is that "Mind Chaser, No Eraser" is a bit more Foo Fighters than QOTSA. It says something when the best bit of a song is the comedic (I'm guessing) brass band tacked on the end. With the only two tracks available sounding like the latter-day bollock-less Foos, things aren't looking good for TCV's album. At least this was free and I didn't have to part with the hard earned money...that I'm sent every month.
[Available for free on iTunes]
5

Delphic - Acolyte artwork

2009-11-04T15:28:00.000Z

Released on 11th January next year, Delphic's debut should be a delight, judging from early singles "Counterpoint" and "This Momentary". With albums from Vampire Weekend, Los Campesinos!, Lightspeed Champion and now this, the first few months of 2010 are shaping up to be amazing.

TRACKLISTING

01. Clarion Call
02. Doubt
03. This Momentary
04. Red Lights
05. Acolyte
06. Halcyon
07. Submission
08. Counterpoint
09. Ephemera
10. Remain

Lightspeed Champion second album news.

2009-11-04T12:24:00.004Z

New-rave-godfather-turned-alt.-folkster Dev Hynes, better known as Lightspeed Champion, has announced the details of his sophomore album, along with a sneak preview of lead single "Marlene". Titled, rather amazingly, "Life Is Sweet! Nice To Meet You", it's due to be released on the 1st February 2010.

Tracklisting

"Dead Head Blues"
"Marlene"
"There’s Nothing Underwater"
"Intermission"
"Faculty Of Fears"
"The Big Guns Of Highsmith"
"Romart"
"I Don’t Want To Wake Up Alone"
"Madame Van Damme"
"Smooth Day (At The Library)"
"Intermission 2"
"Sweetheart"
"Etude Op.3 ‘Goodnight Michalek’"
"Middle Of The Dark"
"Bridge And A Goodbye"

Very interesting. At first I thought this would turn out to be this year's "The First Days Of Spring", going off the plaintitive guitar strums, reverb and organ in the background, but the QOTSA-style rock out means this is going to be very, very different

Them Crooked Vultures - New Fang

2009-10-27T19:50:00.003Z

A few days ago, I posted the cover art for Them Crooked Vultures' eponymous debut album. If the thought of Josh Homme, John Paul Jones and Dave Grohl collaborating doesn't get you excited, then you've got no soul. "No Fang" has been uploaded to YouTube as a taster for the album and as expected it's a bluesy rock-out with a very heavy Led Zep influence. But, it feels a little bit too clean and neutered to be the sum of its parts, until the breakdown at the end. Let's just hope this is one of the weaker tracks of the album, and the rest is face-melting retro-rock that neither Wolfmother. The Darkness nor Tenacious D could create in their wildest dreams.

Editors - In This Light And On This Evening

2009-10-27T18:36:00.004Z

I was in HMV the other day, looking to add to my vinyl collection/addiction. Whilst having a quick flick through the CDs (remember them?) I came across Editors' rather good second album "An End Has A Start". I was horrified to notice a "One For The Lads" promotional sticker slapped on the case, as if it were a Pigeon Detectives album or a Jeremy Clarkson "Edgy & Cool Driving Songs for The Middle Aged" compilation. Now anyone who knows Editors and their music will realise this is a horrific mistake; Editors are the purveyors of gloomy rock and slightly-epic stadium indie, with the occasional nod to Joy Division. They aren't for the typical "lad". I doubt you'll hear anyone of that persuasion enthusing about Chris Urbanowicz's guitar riffs or Tom Smith's doom-laden voice in the way they would about Oasis/The Prodigy/Kaiser Chiefs/*insert generic indie-pop-rock band with a few catchy hits here*.

Anyway, the point of that long -winded and ever-so-slightly discriminatory anecdote was to illustrate that despite the indie/hipster set's usual negative point about Editors (that they went a bit Coldplay and aimed for to be on those Clarkson comps), the band was still pretty far from universal fame/acceptance. Such a thing is now probably even further away due to third album "In This Light And On This Evening". Like the Yeah Yeah Yeahs earlier this year, Editors have gone all synth in the two years since "An End Has A Start". A bold and brave move, yes, but one that works? Most certainly.

The opening title track starts off with a low, throbbing synth and stays this way for the next two-thirds of the track before exploding into an apocalyptic breakdown which wouldn't be out of place in a futuristic, sci-fi film (the band have mentioned that the album is influenced by such films, and in particular the Terminator theme). The track consists of only one, repeated verse (" I swear to God, I heard the Earth inhale, moments before it spat its rain down on me/ I swear to God, in this light and on this evening, London's become, the most beautiful thing I've seen. ") with Smith's vocals sounding reverential, brooding and resigned at the same time. It sets the tone for the remaining 8 tracks, which all seem to twist and turn in many different directions. It doesn't exactly reach "Paranoid Android" or "Happiness Is A Warm Gun" proportions, but there were certainly a lot of ideas floating around in the album sessions.

Whilst the move towards electronic music will certainly lose them a few fans, "In This Light..." has some of Editors most accessible, poppy material. "Bricks And Mortar" would be a fantasic single, if it could be trimmed down from its 6:21 running time and the amazing-but-preposterously-titled "Eat Raw Meat = Blood Drool", which is possibly Editors' best chorus yet. Lead single "Papillion" continues down the poppier route, but brings with it the morib lyrical side of the band. Never before in my mind have lines such as "You will choke, choke on the air you try to breathe" or "The world turns too fast, feel love before it’s gone" felt so at home in a pop song, and the chorus of "Darling, just don’t put down your guns yet/if there really was a God here/he’d have raised a hand by now" could have easily come from the pen of Richey Edwards.

Although for all the positives of the album, the novelty of 'Editors + synths' does grate after a while, with only Smith's lyrics and voice keeping some songs afloat (for example "The Big Exit" is saved just before the "skip" point by the powerful middle eighth, which is basically Smith singing alone, the electronic beeps barely in the background). Overall, "In This Light And On This Evening" is a great album, a near-classic. The only thing stopping it from reaching "classic" status is the overused synth elements (and the decision to not include "No Sound But The Wind") but from here, Editors can do pretty much anything with their sound, be it guitars, keyboards or something for the lad population, although I hope that road is blocked. Forever.
FOR FANS OF: Joy Division, White Lies, Interpol, Kraftwerk, Bloc Party
ESSENTIAL TRACKS: All, except "Like Treasure"
9

ALBUM NEWS: Los Campesinos - Romance Is Boring

2009-10-25T19:54:00.005Z

Los Campesinos! have announced the details of their forthcoming second/third album (I can't be bothered explainin). Named "Romance Is Boring", it's out on February 1st 2010. Cannot wait.

The tracklisting is as follows:

In Medias Res
There Are Listed Buildings
Romance Is Boring
We’ve Got Your Back (Documented Minor Emotional Breakdown #2)
Plan A
200-102
Straight In At 101
Who Fell Asleep In
I Warned You: Do Not Make An Enemy Of Me
Heart Swells/100-1
I Just Sighed. I Just Sighed, Just So You Know
A Heat Rash In The Shape Of The Show Me State; or, Letters From Me To Charlotte
The Sea Is A Good Place To Think Of The Future
This Is A Flag. There Is No Wind
Coda: A Burn Scar In The Shape Of The Sooner State

Taken from LC!'s blog:
"The album was recorded and mixed between March and June of 2009, in Seattle, Connecticut and Monmouthsire, with producer John Goodmanson. It features guest appearances from Jamie Stewart, Zac Pennington and Jherek Bischoff.

It is a record about the death and decay of the human body, sex, lost love, mental breakdown, football and, ultimately, that there probably isn’t a light at the end of the tunnel."

Once again, I cannot wait for this. Early contender for Album of 2010, and I've only heard two tracks so far.

Them Crooked Vultures - S/T artwork

2009-10-23T13:28:00.003+01:00

This should be amazing. How can Josh Homme, John Paul Jones and Dave Grohl collaborating not be?
(released 16th November 2009)

Watch The Tapes! feat. Girls, Editors, Mumford & Sons, Johnny Foreigner, Ash, Florence & The Machine, Lily Allen and Everything Everything

2009-10-19T15:06:00.008+01:00

Yet another new post catergory type thing. Yeah, basically the best music videos of the past week or so shall be here for your enjoyment/derision/apathy. Obviously this week won't include Jamie T's "The Man's Machine" or Arctic Monkeys' "Cornerstone", as they've got their own posts because they're so special/I've only just thought of this now.

Jamie T - The Man's Machine video

2009-10-19T14:51:00.003+01:00

Now I like Jamie T as much as the next guy; two fantastic albums, amazing live, cheeky everyman image. There isn't much to hate really. Especially here, with one of the best choruses on "Kings & Queens"(even if it is kind of unitelligble). Just recently, I've felt a bit "meh" towards Mr Treays and his exploits. I'm not trying to sound uber-cool and indie, like "I knew about him first!", but maybe it's his position as flavour of the month with those types who say they "like all kinds of music" on social netowrking profiles or like to think they're down with it and out there by listening to something outside the Top 40. Meh, ignore my ramblings, and enjoy this rather cool vid, for an awesome song.

The "New Moon" soundtrack

2009-10-17T20:14:00.004+01:00

So far, all that the "Twilight Saga" (as it's now known) has given us musically is Paramore's "Decode", which is reason enough to think about avoiding the New Moon OST. But one glance at its tracklisting is more than enough to get any indie fan hot under their checked shirt collar. Here are the choice tracks from one of the best soundtracks for a while

THE KILLERS - A WHITE DEMON LOVE SONG
So this is what they've been hiding up their sleeves. After the fairly dire Day & Age album, this is definitely a step back in the right direction for the Las Vegas foursome. Gone is the glitter and grandeur of the last album, replaced with a sombre tone that pops up in most great Killers songs. Tinkling ivories and a slow waltzing pace, along with an uplifting middle eight as well as a proper guitar solo and a bit of brass tacked on (I'm a sucker for brass instruments on pop songs. See; Maximo Park's Leeds set this year, Maccabees new album) make this a definite success and a nice stop-gap before the fourth album
8

BON IVER & ST. VINCENT - ROSLYN
New Bon Iver material is always a cause for celebration (ironic considering how Bon Iver sounds), and even though this was never going to be a massive step away from his previous songs, it's a welcome addition to the canon. A little bit countrified, thanks to the slide guitar section, "Rosyln" sounds more warm and welcoming than most songs on "For Emma, Forever Ago". This is most likely due to the spectral vocals of St. Vincent singer Annie Clark, who augments Bon Iver's typical template with ease. The only bad point is that it'll no doubt be used during a scene in which someone's looking around broodingly, or being a miserable queynte. It deserves so much better.
8.5

EDITORS - NO SOUND BUT THE WIND
This song first appeared at Editors gigs in 2008, but in a much different guise. It bore more of a resemblance to the Editors of old, motorik beats, squalling echo-drenched guitars and rumbling bass. In that arrangement, it was merely a very good Editors song, but as it is on this soundtrack, "No Sound But The Wind" become a thing of beauty. Consisting of just Tom Smith and a lone piano, the simple chords combined with Smith's powerful vocal propel this to the fore of Editors songs. How this didn't make it on to the new album is baffling. But once again, the single negative point is the association with the film, which you know will be awful, and with Robert "shite hair" Pattinson, who is awful.
9.5

And now for your enjoyment, and mostly mine, some rather hilarious Twilight pics/gifs.

The Time Machine: Jakobinarina - The First Crusade

2009-10-16T22:19:00.000+01:00

The Time Machine returns! Turns out the past isn't too great, but hey, I've remembered this lost gem. Jakobínarína's first and only album "The First Crusade" released just over two years ago. They've since split-up (I couldn't tell you why, since the explanation on their blog is Icelandic) which means it's very unlikely a fantastic follow-up will be unleashed onto an unsupecting musical world. "The First Crusade" is basically what the latest Cribs album should have sounded like; furious punk rock with an undeniable pop edge, and some great Johnny Marr guitar flourishes on top. Jakobínarína manage it without the help of the Manc legend, so how The Cribs didn't is a mystery.

Anyway, it's easy to see how "The First Crusade" slipped into the indie rock ether. Released in the same year as "Favourite Worst Nightmare", "Neon Bible", "In Rainbows", "Myths Of The Near Future" and, to a much, much, much lesser extent, The View's debut, it didn't stand much chance of appearing in end-of-year polls or being heralded as an outright classic. In my humble indie nerd opinion, "The First Crusade is one of the best albums of the last decade and should be remembered as such. Crafted by six Icelandians (Icelandicers?) between the ages of 17 and 21, it's astounding how powerful and vibrant it sounds. The pace barely lets up throughout the 12 songs, both the drums and guitars play at breakneck speeds, whilst a young Bernard Sumner lookalike bellows at you about the good points and (many) bad points of being young, angry, horny, judgemental and always looking for a good time.

Lyrics like "Jump around, around, around/to the sound/of mediocrity", "And I thought to myself/ "I've nothing to live for"/ Except next weekend/Because there will be a dance revolution" and "Who wants to be wise when they're 17? Got girls to see and a world to conquer" may not be challenge for Dylan, Morrissey or Richey Edwards in terms of being poetic or world-alteringly brilliant, but they do sum up the life of a 17-to-21 year old almost to a tee (much like The Hold Steady do, but without the world-weary and wise, retrospective feel to their songs). It's a shame that nothing this exciting and/or vital has come out of the music scene in the last three years or so, and an even bigger shame that Jakobínarína have split up. I seriously reccomend "The First Crusade" to anyone who likes their music loud, angry, fun and very catchy...or just anyone who like good music. I'll leave you with the best of Jakobínarína...

ESSENTIAL TRACKS: Every single one.
FOR FANS OF: The Cribs, Johnny Marr, Johnny Foreigner, The Futureheads, Be Your Own Pet, loud and angry punk rock
10

The Beatles Polls Winners!

2009-10-16T20:43:00.004+01:00

It's finally over. That is, the worldwide obsession with the Fab Four (which coincided with my own obsession) and the best Beatles album/single polls that have been on the sidebar for the past few weeks. One or two suprises in the results, but overall I'm pretty pleased to see most people have the same opinion and favourites as me. It was a double tie for both polls; "Abbey Road" and "The White Album" coming out on top for the albums, with "Help!" and "Strawberry Fields Forever" triumphing in the singles poll. I expected most to plump for the easy option and go for "Sgt Peppers", but it seems you lot are more versed in the work of John, Paul, George and Richard (apologies if that sounds patronising).

Also thanks to all those who voted, around 50-odd if I remember correctly. Nice to know someone reads this stuff.

Without further ado, here are the full results:

ALBUMS
1. Abbey Road - 5
= The White Album - 5
2. A Hard Day's Night - 2
= Let It Be - 2
= Revolver - 2
3. Rubber Soul - 1
= Sgt Peppers... - 1
= Yellow Submarine - 1
4. Beatles For Sale - 0
= Help!
= Please Please Me - 0
=With The Beatles - 0

SINGLES
1. Help! - 8
= Strawberry Fields Forever - 8
2. Something - 7
3. A Hard Day's Night - 6
= All You Need Is Love - 6
= Can't Buy Me Love - 6
= Day Tripper - 6
= Get Back - 6
= Hey Jude - 6
= I Feel Fine - 6
= Let It Be - 6
4. Eleanor Rigby - 5
= She Loves You - 5
5. Ballad Of John And Yoko - 3
= Hello, Goodbye - 3
= I Want To Hold Your Hand - 3
= Paperback Writer - 3
= Ticket To Ride - 3
= We Can Work It Out - 2
6. Lady Madonna - 2
7. Please Please Me - 1
= From Me To You - 1
8. Love Me Do - 0

So there you have it. Not much love for early Beatles albums, and no love for poor little "Love Me Do". Some people...

Arctic Monkeys - Cornerstone video

2009-10-16T20:21:00.002+01:00

This song just got a million times better, thanks to this video. "Cornerstone" is likely to be the Arctics' next big hit, and you can expect more than a few parodies of the above video over the coming months. He may look like a bit of a knob these days but it's hard not to love Alex Turner for stuff like this.

Rants In E Minor: Dubstep, I just don't get it!

2009-10-09T22:17:00.005+01:00

NME.com recently published this article, on dubstep, proclaiming 2009 to be the year that dubstep "broke". Now forgive me for being pernickity, but the term "broke" or "breaking" usually refers to becoming prominent in the mainstream, say like Arctic Monkeys in 2005/2006 or the explosion of punk in 1976/77. Let me ask you, can you see anything like either of those right now in mainstream culture? I certainly can't. NME have done this before, in 2007, when punk supposedly broke for a second time (conveniently 30 years after the original) but really it was only Gallows who achieved a modicum of fame outside of the underground. In comparison to the Atlantic Ocean-sized impact of the Sex Pistols, The Clash et al, Gallows were like the water in your toilet.

Similarly, dubstep has had little if no affect on the modern world. Okay, punk didn't exactly turn the world on it's head, but it's impossible to ignore the affect it had. Fantastic music that was different to anything heard before, a youth sub-culture that came to symbolise both the genre and the latter half of that decade and a DIY ethic that has survived to this very day. Unfortunately that ethic has helped create this abortion of a genre At the risk of sounding like a wholly out-of-touch 60-something, dubstep is little more than repetitive instrumentals with the occasional looped electronic riff thrown in. It's like listening to fucking Kraftwerk. The genre is miles away from breaking anything; its three biggest points so far, in terms of exposure, are Burial's nomination for the Mercury Prize, a Britney remix and Skream's kinda good remix of La Roux's "In For The Kill". That's it; two b-side remixes and the token urban genre nomination for a prize losing prestige faster than you can say Speech DeBelle.

Whilst almost every other epoch-defining and groundbreaking music genre of the modern era has had widespread appeal and following (Rock N Roll, Punk, Electronica, Dance and House), dubstep seems to be the preserve of either nerdy enthusiasts, with encyclopedic knowledge of the genre, or middle class suburban white kids, yearning to be cool and out there. I'm sure the creators of dubstep tracks put a lot of heart, soul and effort into their music, but it seems like the simplest genre about. Subterranean bass, unbelievably dull and repetitive beats, moody atmosphere, a little cyclical keyboard hook thrown in every now and then, and in Burial's case, snippets of noise from the urban world. Stoned braindead chimps could make an album of this tripe, no problem.

What I find immensely puzzling is that, for a kind of music derived from dance and hip-hop, it borders on impossible to actually dance normally to any dubstep track. Alright, I can't dance normally anyway, but there's actually no way of "rhytmically moving" to it. The most played track in clubs, to my limited knowledge, is Skream's mix of "In For The Kill" and that only even approaches danceable in the last minute or so. What do people do when it comes on? Shuffle and sway for four minutes, then all of sudden start throwing shapes for 60 measly seconds. This is probably one of the reasons I dread going into "indie" clubs. Already-overly-awkward and pasty indie kids pulling their most awkward moves to boring bollocks like this.

Of course I'm not a complete luddite, and hate all things not played on guitar. I like dance music, I like Burial's albums, despite the lack of variety. But to say that dubstep has "broke" and is no part of mainstream culture is as stupid as saying the Lib Dems are favourites for the next election or Katie Price is a respectable human being. The genre was 'born' around 1998, so to say it's only just broken 11 years later is evidence enough to me that we've defnitely run out of ideas and have to resort to elevating the leftovers at the bottom of the musical barrel.

NEU!: featuring Delphic, Everything Everything, Lost Knives and Copy Haho

2009-10-09T01:46:00.006+01:00

Neu/new in the most literal sense of the word, as the following four bands are virtually unknown outside of the indie universe. So listening is not only reccomended, it's compulsory as it's pretty likely you'll discover your new favourite band.

DELPHIC - ALTERSTATE
Manchester's great hope have already scored a brace of underground hits with the astounding New Order-esque "Counterpoint" and the slightly more restrained "This Momentary". On "Alterstate", things are taken back even more, resulting in a blissful, hypnotic, almost completely instrumental piece of electro pop. It verges on dub-step with it's pulsating bass and complex beats, coupled with barely-there vocals. Whilst it probably won't propel them into the public conciousness, "Alterstate" is likely to complete a hattrick of indie hits for the Manc foursome, especially as it's available as a free download from their site.
7.5

EVERYTHING EVERYTHING - MY KEYS, YOUR BOYFRIEND
Currently being whispered/shouted about in the "blogosphere" as the next big thing as well as gaining places on preemptive Ones To Watch 2010 lists, EE have one of the best and most confusing pop singles of the year right here. Not pop in the way that wanky alternative bands see their songs as being, despite being as accessible as a chastity belt without having the key, actual pop; choruses, instantaseous hooks and a fantastic bassline. Alright, it's not the typical fair of yer average pop-picker, but with influences as diverse as Michael Jackson, Talking Heads, Radiohead, Dr Dre, The Beta Band, Destiny's Child and The Futureheads, they were never going to churn out JLS-type bilge. It doesn't matter that you can't even make out the lyrics throughout most of the song, since when do the majority of people listen to them anyway? Embrace another Mancunian four-piece that will definitely be going places
9

LOST KNIVES - LEFT ALONE//SHE'S NOT YOU//STATIC
A hotly-anticipated fresh clutch of demos from the Steve Lamacq favourites, written to show the diversity of their canon. Whilst the change in sound isn't exactly the jump from "What Goes On" to "Tomorrow Never Knows" on Rubber Soul, there are a few noticeable differences from the first three demos. "Left Alone" is the most similar, but more focused and driven, whilst "Static" is the early Horrors transformed into an arena band...except great. However, "She's Not You" could very well be Lost Knives' breakthrough track. Fizzing with Interpol-esque guitars, drums crashing like tidal waves and a bassline that Peter Hook would love to have thought up, it slides from a menacing verse to an unexpectedly epic and uplifting chorus, that should have you singing along before the end of the song. This is one more talented Manchester band headed for the top. Bastards. What, me, jealous? No...well yeah, I'd rather have three very exciting local young bands than The Beatles Rockband. Bloody Mancs get all the fun...
7//9//8

COPY HAHO - BRED FOR SKILLS & MAGIC EP
The Glaswegian quartet (yes! they're not from Manchester) are friends with Los Campesinos! and Dananananaykroyd and it certainly shows on this EP. Drums crash about like they're going out of fashion whilst the guitars are the most vibrant and energetic I've heard since Arctic Monkeys' debut. But sharp Sheffieldian post-punk isn't on the menu here. Skewed indie rock is Copy Haho's dish of choice with a whole heap of melody as a side order (okay I'm dropping the food metaphor now). It's probably quite unfair to compare them to their compadres (LC!, Dana and Johnny Foreigner, The Xcerts) but it's inescapable that Haho sound like all of those bands at some point on the EP, kind of like a copycat little brother. The only time the "fight pop" formula is thrown out of the window is on "Bad Blood" which sounds something like a fuzzless, un-angsty Nirvana during the verses and, bizzarely, Oasis in the chorus ("Champagne Supernova" and "All Around The World" in particular). But maybe that's just me. This one little diversion is evidence that Copy Haho can create something that stands out and sounds great at the same time. But for now, it's a case of good songs, but has been done better before.
6.5

Album Pile-Up (warning: extremly positive reviews here)

2009-10-06T13:29:00.098+01:00

There have been a LOT of albums I've neglected to review over the last few months, partly due to not listening to them enough, partly due to sheer laziness. But to clear the backlog and put my mind at ease, here they all are, in the bare minimum of what constitutes a review

WILD BEASTS - TWO DANCERSWho: Divisive Kendal quartet, with challenging falsetto vocals
What: "Two Dancers" is Wild Beasts' second album after last year's debut "Limbo Panto". The fluid guitar work and operatic vocals of that record led to a few sticking "The new Smiths" tag on the band. A lot to live up to for any band, but they've surpassed what could be seen as lazy pigeonholing to create, in what is a year of great second albums, an amazing sophomore effort that sounds like nothing else around right now. Dreamlike in parts and sexed up in others, the jump in quality is astounding, especially when considering "Limbo Panto" was a very good debut. Hayden Thorpe's falsetto will still either endear or prove and instant point of hate for new listeners, but those who endeavour to keep listening are in for a wonderful treat.
Key Tracks: The sublime "Hooting & Howling", "We've Still Got The Dancing On Our Tongues", "All The Kings Men"
9

JAMIE T - KINGS & QUEENSWho: The "one man Clash" or as he's probably known to his mum, James Treays
What: Yet another fantastic second album, this time from the baseball-capped bard of Wimbledon. "Kings & Queens" is just as eclectic and carefree as Treays' debut "Panic Prevention", just enhanced and improved. And to those of you who have listened to "Panic Prevention", you'll know improving on it is no mean feat. "Kings & Queens" has more than it's fair share of possible hits ("368" and "Hocus Pocus" are right up there with the cold for catchiness) but what's interesting is the amount of ballads on the album. Ballads probably isn't the right term, but introspective, acoustic songs that aren't as rabble-rousing as the rest of the album is a bit of a mouthful. It's tracks like "Emily's Heart" and "Jilly Armeen" that showcase Treays' tender side (probably why he has such a big "female following") as well as giving evidence that he isn't a one-trick pony
Key Tracks: "368", "Sticks N Stones", "Emily's Heart", "Chaka Demus", "Spider's Web", "Castro Dies", "British Intelligence", "Jilly Armeen"
9

JAY-Z - THE BLUEPRINT 3Who: In his own words:'For those that didn't get the memo my name is Jay-Z and I'm pretty fucking awesome'
What: The final part of Jay-Z's "Blueprint" trilogy, which features an all-star cast, from Luke Steele (of Empire Of The State fame), Alicia Keys, Mr Hudson, Kid Cudi, Pharrell, Rihanna and meme-of-the-moment Kanye West. Had this album come out two years ago, then Jigga's Glastonbury set would have been an even bigger success, such is the amount of moments of genius here. "D.O.A" is one of his best, everyone knows "Run This Town" by now (having the three biggest names in hip-hop and R&B was always going to result in a hit) and pretty much every other song has a great beat and a killer line. It's safe to say that "TB3" further cements Jay-Z's position at the top of the game.
Key Tracks: "Thank You", "D.O.A", "Run This Town", "Empire State Of Mind", "Real As It Gets", "A Star Is Born", "Young Forever"
8

THE BIG PINK - A BRIEF HISTORY OF LOVE
Who: The latest one to watch in the "shoegaze" pigeonhole
What: Another year, another moody group in leather jackets with loud guitars. Not that this is in any way a bad thing, after all rock 'n' roll is built on that template. TBP have described this album as a "future soul record", an attempt to 'mix up their favourite two genres of music' in soul and noise. It's safe to say they've succeeded in that. " A Brief History..." does have a doomed love story feel to most of its songs, probably due to the apocalyptic guitar feedback they're drowned in. This isn't an easy listen, it's an album of heartbreak, melancholy and skyscraping noise and straight-up pop moments are hard to come by, other than the inescapable "Dominos", "Velvet" and "At War With The Sun". "A Brief History Of Love" probably isn't what your girlfriend/boyfriend would want you listening to, since they'd think you were a miserable bastard and isn't what your parents would want you listening to after a break-up, for fear you'd start wearing studded leathers and end up hating everything. But I digress, The Big Pink have crafted an amazing debut that stands up to almost any other released this year
Key Tracks: "Too Young To Love", "Dominos", "Love In Vain", "At War With The Sun", "Velvet", "A Brief History Of Love", "Tonight", "Count Backwards From Ten"
9.5

NOAH AND THE WHALE - THE FIRST DAYS OF SPRING
Who: Underrated folk-poppers, damned for all eternity to be associated with "5 Years Time"
What: Once again, it's a second album that surpasses its predecessor. "Peaceful, The World Lays Me Down" was a good, if underrated debut from NATW, unfortunately eclipsed by the aforementioned single. Little over a year later, "The First Days Of Spring" was released, and quite frankly, it's an astonishing record. From the funereal, "Be My Baby"-esque beat of the opening title track to the orchestral middle section and the hopefulness of album closer "My Door Is Always Open", this is an album deserving of all the plaudits it gains. Whereas you may have thought of NATW as a one-song, bland pop band, listening to this will almost definitely change your opinion. At the risk of descending into extreme hyperbole, "The First Days Of Spring" is one of the best albums of the last decade; grand, majestic, heartbreakingly honest and powerful lyrics ("This is a song for anyone who can't get out of bed/I'll do anything to be happy", "This is the last song while I'm still in love with you/This is the last song that I write whilst your even on my mind", "I'd be anyone to be at your side/I need your life in my life/Need your light in my life"). As you can tell this isn't the happiest album ever, and it's pretty clear it tells the story of a break-up (most likely the one of lead singer Charlie Fink and Laura Marling). But as with pretty much all great pop, it deals with the sour side of love and is all the more perfect for it.
Key Tracks: All of it, including the accompanying short film. It's worth it.
10

THE XX - XX
Who: Another band dressed in all black, and another band that sound like noone else around
What: The debut of the hotly tipped, barely-out-of-school London foursome, The xx are unique in the music scene at the minute. The only way to describe them is Radiohead and Florence Welch covering R&B/pop songs with Burial producing. But that's waaaaay too NME for my liking. The fairly lo-fi production and use of artificial beats gives The xx (yep, that's right, no capitals) a dubstep feel without delving too much into that overrated genre. The simple guitar lines sound almost fragile and yet push the songs forward, usually acting as the main melody. Romy Croft and Oliver Sim's hushed vocals intertwine for the best boy-girl vocals this side of Los Campesinos! debut album, and give "xx" a sultry, sexy feel. Whilst in broad daylight, the album is merely very good, it comes into its own when listened to in the early hours of the morning, I'm not too sure why this is, but come midnight, "xx" is a magical record. The tense atmosphere and downbeat mood take on a life of their own, whilst the sparseness of each song seems perfectly suited for dark winter nights. The xx will have a very tough job on their hands bettering this, but I look forward to the results
Key Tracks: "Intro", "VCR", "Crystalised", "Islands", "Shelter", "Basic Space", "Infinity", "Night Time", "Stars"
9

Vampire Weekend - Horchata

2009-10-06T12:58:00.004+01:00

Last year's indie press darlings (and winners of Hitsville U.K.'s Album Of The Year) have been fairly quiet for quite some time now, apart from a great set at the Reading & Leeds festivals. But recently they've revealed the artwork for "Contra", their second album and now the first single taken from that record is free to download on the band's website. That single is "Horchata". Carefree and almost childlike in it's simplicity, "Horchata" sounds like the afrobeat constantly associated with Vampire Weekend and as straightforwardly pop as they come at the same time. Big drums, smooth vocals, easily memorable hooks and a whimsical, orchestral flourish makes this a worthy addition to VW's canon. Of course to the common garden music fan, it's not going to displace "A-Punk" as their One Big Hit™, but to any Vampire Weekend fan "Horchata" will be on constant repeat.
8.5

Los Campesinos! - There Are Listed Buildings + The Sea...

2009-10-02T11:49:00.005+01:00

The best band you probably haven't heard of return with two previews of their latest album (second or third, depending on whether you think an Extended EP of 10 tracks counts as an album). Los Campesinos! have always been what I personally want in a band; the ability to make shouty, loud, throw-yourself-around indie and rather twee 'n' tender alt.pop with at least one heart-brakingly great lyric in every song. This winning streak continues in "There Are Listed Buildings" and "The Sea Is A Good Place To Think Of The Future" which are on the as-yet-untitled new album.

"TALB" is probably LC!'s most radio-friendly track in a while, not too twee as to be straight, sugary, saccharine pop but not too spiky and indie to drive casual listeners back to their Snow Patrol. Reminiscent of the material on debut "Hold On Now, Youngster", the "ba-ba"s and humming that surround the choruses make this an obvious future sing-along classic (well to us awkward indie kids anyway), and the brass section (brass!!) is a rather welcome augmentation of the LC! sound
There Are Listed Buildings by loscampesinos
8.5

"The Sea..." on the other hand, is a much different beast to the aforementioned first single. The brooding, mournful guitar and violin combo of the intro is very similar to "We Are Beautiful, We Are Doomed" highlight "Heart Swells/Pacific Daylight Time" until it explodes into an epic maelstrom, which edges towards My Bloody Valentine, musically at least. Lyrically, there are more great lines here than most bands can manage in a career. For example; "you could never kiss a Tory boy without wanting to cut off your tongue again", " I grabbed hold of her wrist and my hand closed from tip to tip/ I said “you’ve taken the diet too far, you have got to let it slip”", " ask her to speak French and then I need her to translate, I get the feeling she makes the meaning more significant" and "She was always far too pretty for me to believe in a single word she said, believe a word she said". Let's see Hard-Fi top that. In short, this is the best thing LC! have done so far and makes me unbelievably excited for the album. And what's more it's free to download from their blog, so go do that and then buy the album when it's released.
10

"The making of a great compilation tape, like breaking up, is hard to do and takes ages longer than it might seem..."

2009-09-24T23:54:00.005+01:00

As you can (hopefully) tell from the title, I've been watching High Fidelity. It involves girls and music, how did I not find it/start worshipping it earlier? In fact, I can pretty much see my life being like that in 10/15/20 years, should I make certain decisions. Hell, it's pretty much my life know...just minus the constant stream of women (more like being drip-fed one per year) and my very own record store (more like this blog and the rest of the internet).

Anyways what it relates to is the Spotify mix playlists that I have created for you lovely people...at least I'm hoping you're lovely...to just spread a bit of aural goodness around. No, I don't see myself as some sort of musical Maharishi, imparting pearls of great music to you, the unenlightened. Being honest, most of you reading this will probably know infinitely more about this than I ever will and should you open one of the playlists, laugh in scorn at my woefully "mainstream" choices. But who gives one? I just want to share stuff I think is freaking awesome with anyone who wants to listen, hopefully convert a friend or two into liking a band and kill a bit of boredom.

Playlist Numero Uno is full of more well known bands/tunes of this year, with the odd suprise. So expect "Bonkers", "Dog Days Are Over", "Run This Town" and "Zero", though not "Bulletproof" or "In For The Kill" by La Roux. Even I'm sick of them by now.

Enjoy!

Playlist Nummer Zwei is the best of the lesser-known, "weird indie shit" (as I'm certain some acquaintances would call it) to appear this year. So album tracks from slightly less mainstream bands, obscure groups you're not sure how to say the name of (hello, Dananananaykroyd!) and basically good stuff. I've gotta say though, listen to the Noah & The Whale album in one go, as it is, not shuffled. You'll thank me later.

Enjoy even more!

Hopefully you'll enoy them, go buy the various albums/singles, see the bands live and, y'know, be a proper music fan. Or, if you're disgraced by my tastes, feel free to send me a playlist back to "educate" me. It could be fun. And these playlists will over there in the sidebar should you ever feel like downloading in the future and can't be bothered to click a few times right this second.

Oh and if you don't have Spotify, I reccomend you get it. Now.

NEU! featuring Muse, The Chapman Family, The Pains Of Being Pure At Heart, The Hot Melts, Girls

2009-09-22T12:34:00.009+01:00

Muse - Uprising
The first official release from "The Resistance" (after the bonkers "United States Of Eurasia") sees the Teignmouth trio in usual fine form, even if this does sound like a million different other songs. Hints of "Spirit In The Sky", "Shoot The Runner", "Personal Jesus" and even the Doctor Who theme tune all crop up, but seeing as Muse have never been the most serious of bands (Evidence? Here and here) it's pretty much acceptable. After all, what's rock & roll without a little bit of madness? "Uprising" isn't up there with previous Muse classics, and it's not even the best song on the new album but the simple catchiness and awesome-as-usual guitar work should make it a hit with both new and old fans.
7.5

Virgins

The Chapman Family - Virgins
First it was "Kids", now it's "Virgins". You'd be forgiven for being worried by The Chapman Family due to their song titles, but leaving that to one side, this new single is an altogether more radio-friendly affair than its predecessor (basically there aren't blasts of face-melting guitar every 5 seconds). That's not to say the Chapmans have gone all Jonas Brothers. "Virgins" is still a brooding slice of post-punk genius, with Joy Division-esque bass and the oddly anthemic edge we've come to expect from the Teesiders. For anyone anticipating their upcoming tour or a possible album, this will only serve to get you even more excited
8.5
The Pains Of Being Pure At Heart - Come Saturday
One of the bigger names of the shoegaze craze (both in popularity and actual length), TPOBPAH have the balance between pop tunes and feedback just right, something that a fair few bands in the scene cannot manage e.g. Times New Viking. That said, "Come Saturday" is a bit anonymous compared to the rest of The Pains' debut, despite a great intro which sounds like a twee Clash (sounds horrible, but it's pretty alright). I reccomend the rest of their self-titled album, but just skip this one.
6

The Hot Melts - Red Lips
Well this is something new; a Liverpool band who aren't directly influenced by The La's/Shack. The Hot Melts favour big rock tunes rather than jangly Merseybeat, and when combined with the typical Scouse pop nous, we get one of the freshest and best new bands around at the minute. Plus, should you lack enough funds to actually go out and buy their album, the band are giving it away for free. If The Hot Melts don't get big, then I'll eat my hat...after going and finding one first.
8

Girls - Lust For Life
Along with The Drums, Girls are the buzz band of the second half of '09. Both deal in bittersweet indie pop, but Girls seem that little bit more dangerous or typically "rock & roll". Once you get past the slightly odd, slightly androgynous vocals (which isn't too easy with lines like "I wish I had a boyfriend/I wish I had a loving man in my life") you'll find that this is one of the best pop songs of the decade...if a little scuzzed up. Whether Girls end up as an indie one-hit wonder or a classic underground band remains to be seen, but for now you can just stick this on repeat
9

Soup Of The Day: The Drums

2009-09-21T14:19:00.005+01:00

FROM: Brooklyn, NY
GENRE: Indie/Pop
SOUNDS LIKE: The soundtrack to either a lost classic 80s teen movie or a 1960's surfing flick. Or what's hidden underneath the feedback and noise of every shoegaze song; perfect pop. Or a pop Joy Division, which I know sounds horrible, but turns out top be pretty awesome.
ESSENTIAL TRACKS: "Let's Go Surfing", "Best Friend", "Down By The Water"
YOU'LL LOVE THEM IF YOU LIKE: Pop, Vampire Weekend, The Pains Of Being Pure At Heart, The Answering Machine, Blink 182 (at a very big push)
CHECK OUT: Their aptly-titled "Summertime" EP
MORE INFO?: MySpace, official website

It's hard not to love Muse sometimes...

2009-09-21T14:12:00.003+01:00

Okay, Oasis and Nirvana have done it before, but Muse are better.

The Hitsville UK Alternative Mercury Prize! Results!

2009-09-19T17:34:00.006+01:00

Yes, I'm fairly late in posting this and yes, hardly anyone voted but I have a duty as a music blogger/nerd to do this sort of thing. And just so there are no complaints (not that there ever are), only British albums released in the last 12 months that weren't nominated for the actual Mercury could qualify. So here are the results of The Hitsville UK Alternative Mercury Prize or The Thermometer Award (Thermometer, mercury...geddit?)

VV Brown - Travelling Like The Light - 3/30%
Los Campesinos! - We Are Beautiful, We Are Doomed - 3 votes/30%
Franz Ferdinand - Tonight: Franz Ferdinand - 2 votes/20%
The Maccabees - Wall Of Arms - 2 votes/20%
Metronomy - Nights Out - 2 votes/20%
We Were Promised Jetpacks - 2 votes/20%
Grammatics - Grammatics - 1 vote/10%
Jack Penate - Everything Is New - 1 vote/10%
Manic Street Preachers - Journal For Plague Lovers - 1 vote/10%
It Hugs Back - Inside Your Guitar - 0 votes
Late Of The Pier - Fantasy Black Channel - 0 votes
Sky Larkin - The Golden Spike - 0 votes

So congrats to both LC! and VV Brown on being joint winners. A well deserved victory for both, if fairly suprising (my money was on The Maccabees). "Travelling Like The Light" is a superb album, fusing parts of 50s/60s rock 'n' roll with soul and modern pop. If I was going to be lazy, I'd say she was the alternative to the hype storm of La Roux, Little Boots and Florence...alright, she basically is. It does have something for pretty much everyone, except death metal fans and that awful breed of human that drives around at 100mph at night listening to awful dance. Ok, "Crying Blood" is essentially a reworking of "The Monster Mash", but it doesn't stop it, or the album from being any less awesome.

LC! on the other hand, are a somewhat more acquired taste. But if you persevere with "We Are Beautiful, We Are Doomed", you're in for a treat. The band are probably most known for their painfully accurate lyrics ("As if I walked into the room to see my ex-girlfriend/Who by the way, I'm still in love with/Sucking the face of some pretty boy with my favourite band's most popular song in the background/Is it wrong that I can't decide which bothers me most?" is one that is now ingrained in my mind, and what indie guy hasn't felt like that?), that sum up angst in a way not seen since Morrissey. "WAB,WAD" is a massive step forward from their debut "Hold On Now, Youngster" both musically and lyrically, fully embracing the range of LC!'s influences (from the alt.pop of Kenickie and Bis to the punk rock of Fucked Up and Black Flag, as well as the noise of No Age and Xiu Xiu). Judging by the new track "The Sea Is A Good Place To Think Of The Future", things can only get better.

Weezer - Raditude cover

2009-09-11T21:56:00.002+01:00

Need I say more?

NEU! featuring Ian Brown, Weezer, The Black Box Revelation, and The Drums

2009-09-10T23:30:00.002+01:00

Ian Brown - Stellify
King Monkey may not have that many big tunes of his own (as evidenced at Leeds) but this is certain to join the few in his canon. Lo-fi and clearly dance-inspired with the entrancing piano line. Driven along by an great marching beat and like pretty much everything to do with Brown, it's got a certain swagger to it which is more than enough to propel it into classic status.
9

Weezer - (If You're Wondering If I Want You To) I Want You To
The first release from Weezer's awesome-ly titled seventh album "Raditude" is just what you'd expect from Rivers Cuomo & the other three. The skiffle-y intro makes way for a great pop chorus, with all the ingredients for a classic Weezer tune; girls, lsuting after them, some reference to summer and Slayer. After the 50/50 awesomeness/filler of The Red Album, "Raditude" is gonna be...well...rad!
8

The Black Box Revelation - I Think I Like You
There hasn't been a young, brash, permanently-wearing-leather-jacket-type rock 'n' roll group with both tunes and attitude around in a while (The Enemy? Really? Did you hear that second album?!). What Oasis would sound like if they were still 20, playing shite clubs and showed a hell of a lot more passion for what they do, instead of cosying up to Russell Brand or starting fashion labels. It's not what you'd call original and whilst it may have been done thousands of times before, TBBR are making garage rock what it should be; exciting and not giving a fook.
7.5

The Drums - Let's Go Surfing
There's no point in anyone releasing any other single this year. This is the best song of 2009. It's what is under all that feedback and droning of the current shoegaze revival; pure classic guitar pop, just guitar, bass, drums and packed to the brim with hooks. "Let's Go Surfing" is the perfect summer song, and had it recieved more exposure, it would have been this year's "A-Punk"...just less annoying. If you can stop yourself from listening to it on repeat/humming it throughout the day, then I'll eat my hat.
10

Arctic Monkeys - Humbug

2009-09-10T21:23:00.000+01:00

These days, virtually every big record has a collection of buzzwords mentioned in every preview, review, interview and article associated with it, and "Humbug" is no different. Mentions of Turner & co's third effort have never been far from the words "dark", "mature" or "Josh Homme". Regular producer James Ford has been reduced to involvement on just three tracks, whilst band idol Homme has guided them to somewhere a world away from the Sheffield nightclubs and dancefloors associated with the Monkey's debut. It would appear Britain's biggest band of the moment are growing up.

Pre-album hype may have been just that, as mutterings of Black Sabbath and psychedelic influences aren't exactly at the fore of "Humbug". If anything, it's more Last Shadow Puppets than QOTSA in places. Opener "My Propeller" could have comfortably slotted in on "The Age Of The Understatement" had a string section been tacked on. It gives the biggest hint that Turner's songwriting and ear for a melody has been honed to perfection thanks to his work with Miles Kane. "Mardy Bum" it ain't. That's not to say it's wholly inaccessible, pretty much the opposite in fact. It's very easy to imagine the Monkeys hitting the upper echelons of the charts should they pick their singles well from "Humbug" (perhaps unsuprising to discover the most chart-friendly tracks are the Ford-produced ones). For the casual listener (a.k.a your mum/dad/uncle with questionable taste/chavvy cousin who liked "When The Sun Goes Down"), this album will take a fair few more listens to "click" than the previous two. This may be a bit of a cop-out but it's a grower.

Even if you find yourself enjoying it on the first few times, repeat listening is required to appreciate how far the band has, pardon the pun, evolved. Turner has turned into an unusual mix of Nick Cave and Morrissey in the body of Jim Morrisson, Jamie Cook is growing into a damn good guitarist whilst the rhythm section of Matt Helders and Nick O'Malley dominate a hefty chunk of the album, in particular "Pretty Visitors", possibly the band's heaviest track to date. Turner's vocals have gone from the spikey adolescent quasi-rap that characterised their debut, to a smooth, almost-lounge lizard croon that undoubtedly suits the tone of the record. The darker, sexed-up likes of "Dangerous Animals" and "Fire And The Thud" wouldn't exactly suit the mile-a-minute delivery of yesteryear. That's not to say that everything on the album is "mature" i.e. darker, moody etc, as two standout tracks are possibly the most obvious ballads Turner has ever written. If you shut your eyes "Secret Door" and "Cornerstone" could be offcuts from the Last Shadow Puppets, and as both bands progress, it's likely that the similarities will keep on increasing.

"Humbug" is nowhere near the difficult album some are making it out to be. To those with a wide taste, or even those who just like good songs the new set of songs will be immediately accessible. But any fan lusting after songs about "Topshop princesses" and being "thrown in the riot van" will be severely disappointed for the remainder of the Arctics' career. As they stated a few years ago "We'll stick to the guns/ Don't care if it's marketing suicide/We won't crack or compromise". If that results in more of the same as "Humbug", then good on them.

9

Rants In E Minor: "Screamo", its bastard children and why idiots should not be allowed instruments...

2009-09-09T13:25:00.017+01:00

Yes, it's another feature, and yes I'm fairly rubbish at regularly updating the blog (massive apologies) but I'm putting that down to a) my laziness, b) having a megaton of stuff to before uni and 3) it's summer, gimme a break! But I digress, "Rants In E Minor" will be me, letting out my inner Bill Hicks and basically spewing a lot of hate and bile into a post, whilst panning for a bit of comedy gold.
Basically what I'm addressing here is bands who scream/roar/whatever in every single song. Obviously it's impossible to reprimand everyone of these tools, and I'll admit one or two bands pull it off (namely Gallows), so I'll focus on the main culprits. First up; Enter Shikari. You do have to feel a little sorry for the St Albans troglodites as they're one example of the NME's cycle of building bands up to knock 'em down. But ES are one band who deserved it, in my humble opinion. Welding a few rave synths, bleeps and bloops on to nu-metal does not equal genius. It barely equals music! In essence, Enter Shikari are an English Limp Bizkit. I'll admit I had a soft spot for "Sorry, You're Not A Winner" when it came out, but apart from that everything else is an assualt to my fairly small ears. Take recent single "Juggernauts", the musical (I use that word lightly) equivalent of a piece of play-doh that's been under the sofa for a decade and accumulated god-only-knows-what onto it. Sounds that should be left on a Gameboy, lyrics on "community", maaaan that even the most pretentious 6th Former would reject, banal action moive shout outs ("(What the hell will happen now? I really don't know man!")...it baffles me how people can actually listen to this claptrap and deem it "awesummm!!11 :P lol". What's even worse is the video for latest single "No Sleep Tonight". A piss-poor metaphor, basically the masses against the classes. The lead singer bumps into some guy who looks pretty well off, proceeds to stalk him and then with an army of idiotic fans tells him he "won't be getting any sleep tonight. Pure genius, I'm sure you'll admit, but the problem is Enter Shikari are most likely the offspring of the smarmy middle class type of guy shown in the video, so all they're doing is shouting at Mummy and Daddy for not getting them the right Christmas present, or something just as petulant.Accross the Atlantic, there's even more to make you want fill your ears with cement. Starting with Brokencyde, or as they prefer to be called; brokeNCYDE (The name apparently comes from the idea of their music "being broken or "broken inside" due to their relationship problems"...real deep). You only have to look at what the band call themselves before deciding someone has to be physically punished. "Se7en", "Phat J", "Mikl", and "Antz" are four white-than-white suburban boys from New Mexico who make an unholy mixture of screamo and "crunk". That's probably not even the most hateable thing about them. Only one of the band plays any form or instrument and one guy is there for lighting. LIGHTING! Controlling lights does not make you part of a band! And I haven't even got to the lyrics yet. If you thought normal hip-hop was bad for sexism, cast your peepers on these words of wisdom; "I walk into the club looking kind of sexy now/I see these shorties in the corner, they started making out/They pull their panties down, they take their pants off/Then they started getting freaky on the dance floor/Shake it mommy give it to me like you need some love/I got some bottles in the caddy that we can open up/Let's get drunk tonight, baby we don't have to fuck/And bring your friend along, maybe we can have some fun". You read them in Stewie Griffin's voice too, right? You know the world is messed up when John Lennon is murdered, yet music like this is allowed. If you're going to kill someone, you should have some taste.

The final part of this tripod of evil is Attack Attack!, who are more hilarious than they are hateable. Don't get me wrong, they are still everything that is wrong with the world but you can't help but chuckle...possibly in disgust or horror. Effectively an American Enter Shikari, concocting a mix of electronica and nu-metal. For an NME-esque reference, Funeral For A Friend and Aqua. Yes, Aqua of "Barbie Girl" fame. They have someone lip-syncing the screams of the old singer, they have a song called "What Happens If I Can't Check My MySpace When We Get There?" which I suspect isn't ironic, and the video for "Stick Stickly" shows what is possibly the worst guitar playing style ever. Between this bollocks, X-Factor pap and donk, it's hard to decide what to hate more.

Leeds mutha'uckas!

2009-09-09T13:25:00.016+01:00

Leeds. Was. Awesome. But that's stating the obvious considering the line-up, which was suprisingly unpopular with large chunks of the ticketgoers. But without further ado, here's a review of the entire weekend.

FRIDAY
Fightstar - 12:45 - 13:15 - Main Stage
I think I prefer Busted. Seriously. You can't look at Charlie Simpson without hearing "Year 3000". Fightstar are what you imagine the metalheads/emo kids two years below you in school would make if they had a ion of talent. Not to say they were any good. Murky and muddy through most of the set, the only thing of interest was the growing size of the first mosh pit of the festival.

The Rakes - 13:30 - 14:10 - Main Stage
Last seen; supporting Franz Ferdinand, Manchester, Oct 2006
For all their great tunes, The Rakes have never really gotten "big". Sticking them on the main stage, this early probably won't help that. Considering the arena was still mostly made up of hardcore kids left over from Fightstar/still waiting for Enter Shikari, The Rakes were never going to be too popular. Alan Donohoe's vocals don't really seem to have the same effect live as they do on record, going from lively and cool to shrill and fairly annoying. That said, they still put in a pretty good performance, just it'd be much more enjoyable in one of the smaller tents.

Eagles of Death Metal - 14:20 - 15:05 - Main Stage
Josh Homme's other other band (after QOTSA and Them Crooked Vultures). Although that is a slight fallacy seeing as he only plays on their records and never live. Not that it's noticeable, with frontman Jesse "The Devil" Hughes more than filling Homme's stage presence and acting the classic rock & roll frontman. Most people (including myself) only know two songs, but that doesn't matter as EODM make up for the lack of tunes with showmanship and a good-time feeling. An unexpected highlight if only for the phrase "I just want to shake my dick and make you all feel happy."

The Chapman Family - 15:00 - 15:30 - Festival Republic
Unfortunately I only caught "Kids", having forgotten their stage time and needing to get back to camp. But as expected, The Champans did not disappoint and were furiously superb for that one song. With a new single and tour this October, I can only hope I get to see an entire set.

The Courteeners - 16:00 - 17:15 - Main Stage
Oasis had broken up, but noone seemed to notice or heard at Leeds with The Courteeners doing a pretty good job of filling in. Not direct descendants of the Gallaghers per se, but with enough swagger to replace them, The Courteeners look to be going from strength to strength, especially with the confidence to chuck away their two biggest songs as set openers. Judging by the new songs on show, the second album should be a treat.

Ian Brown - 17:35 - 18:20 - Main Stage
Despite taking an age to arrive on stage, King Monkey provided the best set of the day so far. Okay, it wasn't a set for casual fans but the triple whammy of "F.E.A.R", "Stellify" and "Fools Gold" ("this one's good for boppin'. Whatever happened to boppin'?" went the introduction from Brown) made sure it left a lasting impression.

Maximo Park - 18:40 - 19:25 - Main Stage
A few may have been puzzled at Maximo's high billing as, like The Rakes, they haven't exactly reached Arctic Monkey status with the British public. But by the end of the set, there would have been few unconverted to the Geordies cause. Smart, sharp, fun, funky, and some fantastic dance moves from Paul Smith, the Park showed that they're more than capable of growing and growing to bigger things. The brass band augmenting the end of the set was a masterstroke.

The Prodigy - 20:00 - 21:00 - Main Stage
Bonkers before they'd even started setting up, there's less pushing in a ward of pregnant women. "Omen", which before now had been a minor chant amongst campers, turned into a full-blown festival anthem the minute it was played. Due to the fear of being crushed to death, I made a fairly swift exit. I managed to return for the closing "Out Of Space". There's little more fun than going mental in a field of other people going mental to probably one of the best dance tracks ever. I doubt it was as much fun on the front barrier though...

White Lies - 19:30 - 20:10 - NME/Radio 1 Stage
Last seen; on the NME Awards tour, Jan 09
Having escaped death by rave, I managed to catch the last few songs of White Lies set. In the space of seven months, they've gone from doomy post-punkers to a rather epic rock band. In a strangely sparse tent, they still managed to bring the house down with "Death" and with a second album, they could definitely move swiftly to headliners of the NME stage or even high on the main stage. You'd be foolish to miss them.

Arctic Monkeys - 21:30 - 23:00 - Main Stage
Last seen; Manchester, Dec 07
The local(ish) boys return to...well, mixed reactions really. There were those who were only there for "Dancefloor", those who were underwhelmed by the performance and pissed off Turner's transformation to cliched arsehole rockstar and then there were those who thought it was a great rock show. I was pretty much in the latter group, having memorised the new album and pretty much every song that was played. Yes Alex Turner is too far up his own backside, coming out dressed in RayBans, leather jacket, awful hair and obviously pissed/coked up to the eyeballs, but that doesn't take much away from the live show. The new songs sound powerful and confident whilst older tracks are given a new breath of life e.g. "Fluorescent Adolescent" is slowed down with a new middle eighth. "Bring on the backlash" has been the Arctics attitude since they first appeared, and whilst the backlash is beginning, I don't think they give a monkey's.

SATURDAY
Vampire Weekend - 17:05 - 17:50 - Main Stage
Yeah, considering VW were fourth from top on the second day, you can tell I didn't get around much. Anyways, the buzz band of 2008 lived up to my high expectations, what with them making my album of last year. Of course, the majority of people only knew "A-Punk" (in the words of my friends, "they should just play A-Punk for half an hour then get off") but for those who, y'know, actually like to delve deeper and listen to albums, the set was a treat. Perfect for a somewhat sunny afternoon and the two new songs have got me and probably a lot of others eagerly anticipating their sophomore effort.

Yeah Yeah Yeahs - 18:15 - 19:05 - Main Stage
The eternally hip band. In the mass-music-industry-fap over New York in the early part of the decade, the YYYs were almost gods, even compared to The Strokes and Interpol. But despite their elevated status in the world of indie, there isn't much that comes to mind that justifies a third from top billing on the Main Stage. But they do have the big songs. "Zero", "Heads Will Roll" and "Date With The Night" are all crowdslayers and a beautiful acoustic version of "Maps" should have brought a tear to the eye of even the most wasted reveller. The YYYs just seem like a tent band, they could have comfortably slotted in as headliners at the NME stage this year, and are a bit wasted on a field full of Radiohead fans.

Bloc Party - 19:30 - 20:30 - Main Stage
Or Radiohead Jr, as some seem to view them. Bloc certainly have a similar eclecticism and experimental side to them and can probably lay claim to the affections of an equal amount of indie kids' hearts, but they're an altogether more festival-y band i.e. you can dance around to them. And dancing was certainly the order of their set with only two slower numbers included. The segue of "Song For Clay" into "Banquet" in particular sent the place wild. Though despite all this, BP seem like they're forever consigned to penultimate band status. It's hard to envisage them making the step-up to headliners, seeing as they've played lower down for the last five or so years. But for now, I'll enjoy them wherever they are.

Radiohead - 21:00 - 23:00 - Main Stage
Reading gets "Creep". Reading got "Karma Police. Reading got "Street Spirit". Three songs I was pretty desperate to hear live on what was probably the only time I'll see Radiohead live. But this was the only complaint from a phenomenal performance. The lack of real hits dampened the atmosphere somewhat since your common garden Radiohead fan doesn't know "(Nice Dream)" or "A Wolf At The Door" so by throwing them into the set along with other less-known tracks won't exactly increase the bonhomie. But regardless, this was five outstanding musicians playing outstanding songs with an entrancing stage show. If only they'd played "No Suprises"...

SUNDAY
Little Boots - 15:05 - 15:45 - NME/Radio 1 Stage
Now you wouldn't imagine big, bold, shiny pop would fit in with rain-soaked, northern fields, but somehow Little Boots made us all forget the horror of barely-cooked beans and pissed-on tents for 40 minutes. Especially by bringing her monumentally wasted brother up on stage to play tambourine. On this evidence, it appears Ms Boots will stick around longer than her counterparts

The Horrors - 16:05 - 16:50 - NME/Radio 1 Stage
Last seen; supporting Arctic Monkeys, Manchester, Dec 07
A very large jump from blatant pop of Little Boots to dark and moody shoegaze of The Horrors. The last time I had the "pleasure" of seeing them, they were awful, possibly the worst proper band I had ever witnessed. What a difference just under two years makes. No longer goading and insulting the crowd, the band have perfected their look and their sound to make for a superb set, which is slightly lost on the sections of the crowd who only recognise Faris Badwan as "that goffy fella who was shagging Peaches Geldof".

Jack Penate - 17:10 - 17:55 - NME/Radio 1 Stage
From pop to shoegaze and back to pop again. The ever-effervescent Mr Penate attempted to bring a little bit of joy after the gloom of The Horrors. Okay, it did feck all to brighten up a miserable day but it certainly made the NME stage a happier place. Crowd surfing, crazy dancing and a cheesy grin are all part and parcel of a Penate live show and it was no different here. Whilst his newer material may not have brought the carnival that Friendly Fires did later on, it was the best warm up they could ask for. Pity about him losing his shoes though, they were rather snazzy.

The Big Pink - 18:10 - 18:45 - Festival Republic Stage
The Glasvegas comparisons are going to come thick and fast for the winners of the NME Phillip Hall Radar award and it's easy to see why. For one, they've both won the aforementioned award, they both deal in moody, shoegaze-inspired indie, they're got a short frontman in a leather jacket, a creepily slim bassist, a female drummer who's pretty damn good and a tall one. So as you can see too many similarities to ignore. But whilst Glasvegas have been clumped into the lad-rock zone, TBP are much too alternative for drunkards to start hugging each other to. Droney electronic soundscapes surrounding what are essentially classic soul songs; hypnotic on record but blistering in the live arena. It's enough to make me want to start my own band. So you know they've gotta be good.

Florence And The Machine - 18:15 - 19:00 - NME/Radio 1 Stage
Last seen; NME Awards Tour, Liverpool, Jan 09
Due to being blown away by The Big Pink in the Festival Republic tent and her being forced offstage, I was only able to catch a small part of Florence's set. In comparison to the last time I saw her (crowdsurfing, barefoot, running around the venue) she seems to have matured a fair bit, as well as being pushed into the whole "forest elf" look by someone at her label no doubt. Anyways, it was a good, if unremarkable few songs I heard. That's all really.

Friendly Fires - 19:20 - 20:10 - NME/Radio 1 Stage
Last seen; NME Awards tour, Liverpool, Jan 09
If there's one band that deserves a proper summer's day to perform on, it's Friendly Fires. Unfortunately, they had to deal with a wet and miserable Sunday evening although it didn't put a dampener on proceedings. Racing through their fantastic debut, they're a band that you need to be at the front for, or at least nearby, just to join in with the carnival and dancing. A little disappointing that the Brazilian dancers didn't make a return, but they weren't really needed. FF are well on their way to challenging Muse for the 'best live band' tag.

Jamie T - 20:25 - 21:15 - NME/Radio 1 Stage
Okay, scratch that. Friendly Fires AND Jamie T are challenging Muse. Possibly the most energetic performance of the weekend from the "sexy" (according to some...girls are extremely weird) Wimbledon troubador and with only two tracks from his new album (admittedly two bloody great ones). Spitting out lyrics at the speed of a machine gun, he even manages to convince the metalheads who are here for Faith No More, and Faith No More only, to bop along at the very least. Even if you can't keep up with the rapid verses, every chorus is designed for a festival singalong and the crowd doesn't let up. An unexpected delight.

Kings Of Leon - 21:30 - 23:00 - Main Stage
As expected, the mass exodus to see the Followill clan began the second Jamie T dropped his mic, resulting in the biggest crowd of the weekend, stretching back to the burger vans and one awkwardly placed ice cream truck, eventually destroyed during "Red Morning Light". As with Radiohead, KoL are in essence a group of good musicians playing good songs, and what more could anyone want? Well judging by a few members of the crowd, "Sex On Fire" played 20 times apparently. Even so, the audience "blew Reading to hell" according to Caleb Followill, although that wasn't hard considering the crowd down south had been less accepting of the band. Suprisngly the songs from the fourth album sounded alright and actually worth singing along to, whilst every single older song seemed injected with a renewed passion and feeling. That fifth album may be a while away but my guess is it'll be worth the wait.

Notes on a festival

To guys: Stop wearing bandanas! You are not a hippie, you are not in MGMT. And anyways the craze for them was last year
To girls: Stop wearng flower headbands! You aren't Florence Welch, you're not a hippy, this is not woodstock!
Please don't walk around topless. Okay we get it, you're fit and tanned, stop making everyone else fell inadequate and burying your face in the toilets
Dropping heavy metal in a DJ right after The Streets "But You Know It" goes down suprisingly well
To those of you who suddenly started saying "I love dubstep, me", stop it. Just because Nick Grimshaw has been banging on about it this week, doesn't mean you should to! Stick to your white, middle-class unimaginative pap.
Avoid the Relentless tent, unless you love donk or one of those aforemention "dubstep lovers"
If you're going to start burning people's tents on the last night, be polite and ask first
People should know that shouting for a band to play something will never result in them playing it
The "Green Army!" shout only works when lads do it. This is a proven fact.
Half the festival were walking around wearing The xx t-shirts. They were getting given out for free during their set. I now regret missing them.
Campsite rumours: Oasis had split (true), Barry Chuckle was found dead in a brothel (false), KoL had cancelled and Kasabian were being flown in to replace them (false)
If you're going to go to someone's camp and make friends, don't blank them the rest of the weekend. It's a bit mean.
Bring spare sleeping bags. Somehow, people forget to bring their own.

"Sunday Sunday"

2009-08-16T15:14:00.007+01:00

Yet another feature type thing. I should stop introducing these things to the blog as I'll lose track even more, but may as well give it a shot. As you may have guessed from the title, this is going to happen every Sunday (hopefully) and will include anything from the past week that I haven't mentioned or reviewed etc. Which right now, is a lot of stuff.

THE BIG PINK - DOMINOS"These girls fall like dominos! Dominos!"
Any gloomy noise-pop song that can get a Disneyfied 11 year old singing along to it after the first chorus is going to be huge. The Big Pink have built on their first couple of singles ("Velvet" and "Stop The World") which were brilliant but kind of inaccessible to the masses, to produce what is likely to be the "Indie Hit Of Summer 2009"™. It'll be on trailers for Skins, featured on Hollyoaks and you can bet your skinny jeans that the BBC will use it on an advert for Reading & Leeds. Not that this is a bad thing, because "Dominos" is as catchy as swine flu, but less lethal and with more synths. And what's more, it's available for download on TBP's website, for free! Very kind of them.
9.5

JAMIE T - CHAKA DEMUS"Tonight Jay, I'm gonna teach 'em a ballad/An English man in every coward"
Personally, I cannot wait for Jamie T's second album. All signs point towards another modern classic that escapes pigeon-holing, thanks to "Fire Fire" and "Stick N' Stones". Latest single "Chaka Demus" makes it a hat-trick of great pre-album releases with a Funky Drummer-esque beat, Radio 1 friendly hooks and lyrics spat out at a machine gun rate. Like "Dominos", it's going to soundtrack a fair few summers and be used on pretty much any advert aimed at the "yoof of 2day", but also like "Dominos", this isn't a bad thing at all.
9.5

THE CRIBS - WE WERE ABORTED//CHEAT ON ME"Your virility, makes me forget empathy"
"I could be someone else if you'd rather/Try to win you over like a new step father"
A double whammy of tunes from the Jarmans-and-Marr (Marr-man?) collaboration. Okay, neither song is a major change of sound and image (a la The Horrors, Franz, Penate) with both sounding like The Cribs with some melodic lead guitar on top. This is only testament to how effortless Marr's contribution ot the band is. There's no whimsical Mancunian melancholia to be seen (as some may have expected from Marr's last big band The Smiths...not sure you'll have heard of them) just powerhouse riffs and probably the closest thing to the proper punk sound that you'll find around today. Plus it's probably the only song to include the word "masturbation" that isn't sung by 35 year old American pop-punk bands who really should give it up.
8//8

DAN BLACK - UN"Gimme, gimme, symphonies/Gimme more than the life I see"
Whereas 2009 has been overrun by female pop acts, the guys have been left in their dust, on the fringe of mainstream success but no quite breaching the gap from the underground. Dan Black is one such guy. Gaining a bit of attention for being refused to sample Biggie Smalls lyrics on "Hypntz" last year, he's emerged with his debut album. Needless to say, he hasn't reached the heights of La Roux or Little Boots yet, and is unlikely to with anything here. "Symphonies" (the rewritten version of "Hypntz") is the opening track and the best on the album, so subsequently it's all downhill from there. There are few other high points on "Un", with only "Alone", "Cigarette Pack" and the initially aggravating "Yours" reaching above the level of mundane. Pardon the pun, but highly "Un"inspiring.
GO DOWNLOAD: "Symphonies", "Alone", "Yours", "Cigarette Pack"
4

V.V. BROWN - TRAVELLING LIKE THE LIGHT"Baby, there’s a shark in the water/I caught them barking at the moon"
One name that slipped under the pop radar at the beginning of the year was V.V. Brown. Barely a mention on any journalist's pick lists and no Top Ten singles to hype up her album, but who needs them when you've previously written for the Sugababes and Pussycat Dolls? TLTL is a solid album, indebted to 50s rockabilly and deserves much more attention than it's got. Anyone who can use the melody from "Monster Mash" and turn it into one of they year's best pop songs ("Crying Blood") whilst making you forget the original deserves a medal, and V.V. Brown is that person. A handful of tracks grate or stick to firmly to one sound but in a year of good debuts, TLTL is up there with the best.
GO DOWNLOAD: "Crying Blood", "Shark In The Water", "Leave!", "Game Over"
7.5

2009-08-01T19:51:00.007+01:00

HITSVILLE U.K'S ALTERNATIVE MERCURY
>>>Everybody's doing them...>>>

Since the real Mercury nominees were announced, pretty much every music site has been giving their verdicts on the choices and thusly compiling their own lists. May as well join in with the fun. Sticking with the planetary theme of the Mercury, I think I'll call it the "Pluto Award" for now, unless I think of a better, cooler name...

FRANZ FERDINAND - Tonight: Franz Ferdinand [>>>REVIEW] [>>>EXAMPLE]
GRAMMATICS - Grammatics [>>>REVIEW] [>>>EXAMPLE]
IT HUGS BACK - Inside Your Guitar [>>>REVIEW] [>>>EXAMPLE]
JACK PENATE - Everything Is New [>>>REVIEW] [>>>EXAMPLE]
LATE OF THE PIER - Fantasy Black Channel [>>>EXAMPLE]
LOS CAMPESINOS! - We Are Beautiful, We Are Doomed [>>>REVIEW] [>>>EXAMPLE]
THE MACCABEES - Wall Of Arms [>>>REVIEW] [>>>EXAMPLE]
MANIC STREET PREACHERS - Journal For Plague Lovers [>>>REVIEW] [>>>EXAMPLE]
METRONOMY - Nights Out [>>>REVIEW] [>>>EXAMPLE]
SKY LARKIN - The Golden Spike [>>>EXAMPLE]
VV BROWN - Travelling Like The Light [>>>EXAMPLE]
WE WERE PROMISED JETPACKS - These Four Walls [>>>EXAMPLE]

The poll is right there in the side bar, vote for however many you want. Have a listen to the examples first before voting, always helps. Also, apologies for the 18 days without posting, it's been a little hectic in 'personal life' world.

2009-08-01T19:39:00.001+01:00

MOST OBVIOUS TITLE OF THE YEAR GOES TO...
>>>Jack Peñate>>>Everything Is New>>>
When you think of soul music, you think of the sharp suits, o-zone destroying hairstyles, dance routines, ever-perky singers, joyful bands and superb songwriting. You do not think of a Londoner with superskinny jeans, big phat Nikes and a worrying likeness to a young George Michael. But Jack Peñate has transformed himself from continually-chirpy LDN scene troubador to the most soulful singer-songwriter of the last decade or so, even if his brand of soul is a mish-mash of most hip genres of the minute. Whilst his debut 'Matinee' was high on enthusiasm but lacked consistenly good tunes, Peñate's second effort 'Everything Is New' adheres to it's title.

New sound, new look, new songs (obviously) and it would appear a new found sense of purpose. Over the 9 tracks (and noone should moan about there only being nine, Bon Iver's For Emma, Forever Ago had the same and everyone practically orgasmed over that) Peñate's produced basically what can be seen as this year's version of Vampire Weekend's album; a perfect summer album, that has both depth and substance.

Drafting in Paul Epworth to produce has to be one of the smartest moves Penate has made. The production is tight, not muddy and slightly lo-fi (to my ears) but not dull thanks to a clean, pop sheen. All the songs benefit, and are given room to breathe. The mixture of styles on "Pull My Heart Away", "Body Down" and the title track make it hard to imagine Peñate ever playing the straightforward guitar pop of his debut ever again. But with a set made up purely from this album, it'd be pretty hard to care
ESSENTIAL TRACKS: "Pull My Heart Away", "Be The One", "Everything Is New", "Tonight's Today", "So Near", "Let's All Die", "Body Down"
FOR FANS OF: Jamie T, Florence And The Machine, Vampire Weekend
8.5

2009-07-13T14:05:00.004+01:00

NEU!
>>>TRACKS>>>13/07/09>>>Dizzee Rascal, Jay-Z, Bloc Party, The Big Pink, The Twang

Dizzee Rascal - Holiday (featuring Calvin Harris and Chrome)
Just over a year since "Dance Wiv Me", Dizzee unleashes a second collaboration with Chrome and kinda-crap, kinda-alright dance-master Calvin Harris. Less immediate than "Dance..." and "Bonkers", the synth riff is pretty much Harris' "I'm Not Alone" but toned down slightly, whilst Dizzee sounds half asleep throughout the track. Only when it gets a bit trance at the end does it really grab any attention. Not sure if it'll be a third Number One in a row for Dizzee, but it'll be a hit either way.
7.5

Jay-Z - D.O.A (Death Of Auto-tune)
Anyone who witnessed the opening to his Glasto set last year will testify that Jay-Z cannot sing, so why his comeback single denounces something to help people sing better is a bit baffling to say the least. Anyways, it's more a "diss" (yeah I can't pull that off) on the plethora of rappers using it; Kanye, T-Pain, Lil' Wayne et al. The great guitar riff and tumbling drum beat make for an addictive tune, as well as the jazzy trumpet breaks. If this really is the "Death of Auto-tune" then good riddance.
9

Bloc Party - One More Chance
The ever changing Bloc are back, with their third one-off single (after previous in-between-album singles Two More Years and Flux). Those of you hoping for a return for the spiky post-punk of Silent Alarm may as well just give up, as Kele & co seem intent on delving deeper into a dance direction. All the elements are there, a "Blue Monday"-aping beat, the classic house piano riff, a pitch-shift on the vocals and an overly-repetitive chorus. If it was released about 20 years ago, it'd be a classic today. But seeing as it's Bloc Party and a significant amount of fans want the band to stick to the same formula as their debut, it'll most likely be viewed in the same light as "Mercury"; messy, mediocre and a mistake. Even though it's better than most of "Intimacy" and is up there with their best work, fanboys are rarely pleased.
8.5

The Big Pink - Stop The World
First came the superb "Velvet", and now this. The Big Pink are much too kind. "Stop The World" is a whirlwind of hypnotic feedback, heavy drums and one massive chorus, as well as being strangely uplifting despite the seriousness it purports. As dancey as it is moody thanks to the pulsating bass, TBP should be huge by the time their album arrives, even bigger than Glasvegas were hyped up to be last year. B-side "Crushed Water" is a more spaced out affair, sounding a bit like Massive Attack, a bit like Foals, but completely unique at the same time. This is a special band so hop on the bandwagon whilst you can.
9

The Twang - Barney Rubble
Remember them? A gang of 40 year old Brummies (well they're closer to 40 than 20) who NME salviated over a few years back, calling them "the best band in Britain" and making Stone Roses and Happy Mondays comparisons. Yet another case of NME getting way too worked up and messing it's pants over a merely "alright" band. But The Twang have soldiered on through the mass derision and return with a summery shuffle. They haven't reinvented the musical wheel and they're not making zeitgeist-riding, seminal music, but they weren't doing that in the first place and never will. Just enjoy it as something that is positive, pleasant and pretty good.
7

2009-07-13T01:05:00.004+01:00

>>>HEAD TO HEAD<<<
Little Boots vs Florence vs La Roux

So it's finally happened. After all the hype, tentative interviews, glamourous photoshoots and all the other bollocks that comes with showbiz, the "Three Hot Ones To Watch in Pop 2009" Little Boots, La Roux and Florence & The Machine have finally all released their albums for public consumption on the derision of music snobs (a.k.a me). Impressively Little Boots and Florence have both made the Top 5 in the Album Charts, but La Roux has grabbed a Number One single which puts her in pole position to become the biggest of the three. But enough chit-chat.

LITTLE BOOTS - HANDS
Big catchy pop tunes, a few of which are better than anything Girls Aloud have released (excluding "Love Machine"). "Stuck On Repeat" is one of the pop singles of the year, without a doubt and succeeds where Madonna and Kylie have failed recently in crafting pure electro-pop that is actually worth listening to. Similarly "Meddle" shows Little Boots' talent for a big pop hook, as does "New In Town". But that's all "Hands" is really, choruses. Even Steps and S Club Juniors could do choruses! Even whilst listening to it now, I can't remember "New In Town"'s verses. When she decides to get a bit ravey (e.g. the intro and chorus to "Earthquake") Little Boots has tunes to rule the charts and the clubs. But whilst she decides to peddle schlock like the overly-80s and tired Symmetry, which features The Human League's Phil Oakley (sample lyrics "You're the night to my day/And the left to my right". Anyone else have an almost jaw-breaking yawn at that?) she'll unfortunately be stuck dangerously close to the pop scrapheap. I'd advise sticking to singles, but then again I have no bearing over anything in music really...at least she's better than The Saturdays.
ESSENTIAL TRACKS: "New In Town", "Earthquake", "Stuck On Repeat"
FOR FANS OF: Madonna, Kylie, Girls Aloud anything big and shiny and pop
5.5

FLORENCE AND THE MACHINE - LUNGS
Or the non-electronic one as she may be seen as. Barely a hint of synth or keyboard anywhere on this album, which leaves Florence seeming more human, more real than tired, boring mainstream pop (Little Boots) or cold, expressionless 80s revivalism (La Roux). Oh, and the fact that she dress like a woodland sprite and is a mainstay on the London scene, but we'll brush past that. "Lungs" is the most ambitious out of the three, with some big orchestral ideas just beneath that "modern Kate Bush" exterior. "Dog Days Are Over" and "Rabbit Heart (Raise It Up)" should be pretty familiar to anyone who's listened to Radio 1/read NME in the last year, as they showcase Flo's good set of lungs (awful pun, sorry) and ear for a tune. Much of the album follows suit, with liberal use of harp and various other folksy elements along with the mystical or magical feel brought on by the lyrics. The only time "Lungs" diverts from the style is for the early White Stripes-aping "Kiss With A Fist" and "Girl With One Eye" which is so bluesy that I imagine it being sung in a smoky bar somewhere in the American south. However, the foresty, folksy schtick does begin to grate after a while with a handful of tracks indistinguishable from each other but skip past them to get to the good stuff.
ESSENTIAL TRACKS: "Dog Days Are Over", "Rabbit Heart (Raise It Up)", "I'm Not Calling You A Liar", "Kiss With A Fist", "Girl With One Eye", "Between Two Lungs", Cosmic Love", "Hurricane Drunk"
FOR FANS OF: Kate Bush, Laura Marling, Bat For Lashes, Lightspeed Champion
8

LA ROUX - LA ROUX
La Roux are already on the path to being big. A duo with a public face and a producer beavering away in the background, a unique look, possibly iconic album artwork and of course a Number One single and a Number Two album (thanks to a certain Mr Jackson). Whether they're a retro-futurist pop act to be loved or shameless 80's revivalism to be discarded is an arguement that will rage on for quite a while, but personally, they land somewhere inbetween. The tinny synths of "In For The Kill" as well as the Thriller-esque spoken word middle-eighth belong back with the miners strike and Thatcher, whilst drippy ballad "Cover My Eyes" is sooooo 80s that the video for it would involve a smoke machine with a black background, a slightly out of focus camera, lots of pastel and Elly Jackson on a stool. I don't care if she broke down in tears after recording it, it's shite. But apart from this and the plodding "As If By Magic" and "Reflections Are Protections", "La Roux" is a suprisingly good, modern pop record. It manages to steal the theme of heartbreak from country & western/crappy emo and bring it to the euphoria of electronica without being too cheesy or heavy-handed. Elly Jackson's voice, which trembles between annoyingly fragile and ear-bleedingly shrill often within the same verse, may make it a bit hard to like as well as her looking like the most twattish of LDN scenesters, but don't be suprised if she gathers a few more Number Ones in future.
ESSENTIAL TRACKS: "In For The Kill", "Quicksand", "Bulletproof", "I'm Not Your Toy", "Fascination"
FOR FANS OF: Little Boots, Ladyhawke, Lady Gaga, Passion Pit, Erasure, Eurythmics
8.5

2009-07-13T00:55:00.000+01:00

SHAKING LOOSE
>>>Bombay Bicycle Club>>>I Had The Blues But I Shook Them Loose
Child stars, or whatever you want to categorise them as, have been prett rife in pop music pretty much since it all kicked off. From Stevie Wonder to Michael Jackson (R.I.P) through to the Osmonds and the Disney set (Justin Timberlake, Britney, Christina Aguilera, Miley Cyrus *shudder*) even in hip-hop with Lil' Bow Wow and Lil' Wayne and other "lil" people with chains bigger than them. But indie/alt. rock has never been a place for those below drinking age. Apart from Tiny Masters Of Today, "underage" rock wasn't really even a thing until the mini-explosion of the 'scene' a few years back. It gave us Poppy And The Jezebels, Cajun Dance Party and this lot, Bombay Bicycle Club.

Things have been quiet for BBC since winning the 2006 Road To V competition and opening the festival, but 3 long (well for uber-fans anyways) years later they've produced their wonderfully-titled debut "I Had The Blues But I Shook Them Loose". The band have one foot in Britpop and the other firmly in American alternative rock, often sounding like a youthful Death Cab For Cutie, especially on "Lamplight". For four teenagers who have barely just finished their A-Levels (which, personally makes me feel like I've wasted the last few years) BBC are suprisingly mature musically. Whreas most teenage bands end up sounding like godawful Arctic Monkeys/Klaxons/No Age soundalike bands, BBC make epic-sounding alt. rock that stands out from the rest of the indie class of '09. Fluid guitar lines explode into spiky powerchords in a way last seen on Bloc Party's "Silent Alarm".

Comparisons with Bloc don't end their; BBC's songwriting have a delicate, heartfelt edge which has been eradicated in Bloc Party thanks to the overwhelming dance elements. But whilst they may be talented and unique in today's music scene, "I Had The Blues..." isn't the fantastic debut promised by their early demos and hype. It does have a handful of brilliant songs, lead single "Dust On The Ground" for instance, as well as "Always Like This" which is manages to sound like The Smiths, Vampire Weekend, Foals, Bloc Party and Jeff Buckley (due to Jack Steadman's acrobatic vocals) all at once, but there isn't much else that jumps out or strikes me as a work of genius like the aforementioned two tracks. However, BBC show tons of promise and will probably produce album after album that better this...hopefully.
(Apologies for the awful title, there was nothing else I could think of)
ESSENTIAL TRACKS: "Dust On The Ground", "Always Like This", "Cancel On Me", "The Hill", "The Giantess"
FOR FANS OF: Bloc Party, The Maccabees, Cajun Dance Party
6.5

2009-07-06T23:06:00.006+01:00

Maybe the new hairstyles were a good thing...
>>>Arctic Monkeys>>>Crying Lightning>>>
To surprisingly little fanfare, Arctic Monkeys slipped back onto the music radar with "Crying Lightning"'s first radio play. No big advertising campaign, no countdowns, just an announcement on their website and Zane Lowe's tweets. Which is surprising, as a) they're probably one of the biggest bands in Britain, b) they're headlining Reading & Leeds and c) this is quite different. Whereas previous Arctics material has been characterised by a taut, funky rhythm section and either spiky guitar stabs or crunching powerchords, "Crying Lightning" sees the band return with a swagger.

The plodding bassline, revealed in an early form in one of the band's "The View From..." video blogs, is up there with their best whilst the lead guitar snakes in and out of the track, hinting that Josh Homme's influence on the new album will be fairly noticeable. It bares more resemblance to "Matador" and "Too Much To Ask" than "Fake Tales..." and whilst it may not be a big sing-a-long moment at gigs like the latter (seeing as the lyrics seem to be more pre-occupied with "gobstoppers" and various other confectionery) it'll be a welcome change of pace. It's all too tempting to call it a "Crying" shame (and thus produce one of the worse Arctics puns) but all signs point towards a hat trick of classic albums.
("Crying Lightning" is available to download from iTunes now. So go get it, now.)
8/10

2009-07-03T03:52:00.006+01:00

SOUP OF THE DAY
THE GASLIGHT ANTHEM
FROM: New Brunswick, New Jersey, USA
GENRE: Rock/Punk/Alternative
SOUNDS LIKE: Brandon Flowers fronting the Hold Steady, covering Bruce Springsteen. Check shirts a-plenty then.
ESSENTIAL TRACKS: "The '59 Sound", "Great Expectations" "High Lonesome", "Here's Looking At You, Kid"
YOU'LL LOVE THEM IF YOU LIKE...: Bruce obviously, Green Day (at a push), Kings Of Leon (similar passionate, tuneful, wholly American approach), The National, The Hold Steady.
CHECK OUT: Their second album "The '59 Sound" is out now
MORE INFO?: Official site, MySpace

2009-06-30T14:26:00.003+01:00

PRINCES OR PAUPERS?
>>>Kasabian>>>West Ryder Pauper Lunatic Asylum>>>They may not look it but Kasabian are pretty clever blokes. In the build up to their third album, they released "Vlad The Impaler" online for a limited period, along with a video featuring every emo/scene/hipster/whatever girl's favourite comedian/pin-up Noel Fielding, running around being zany as usual. Then, they managed to get album opener "Underdog" to soundtrack the latest Sony Bravia advert which featured Kaka (wearing an AC Milan kit only a matter of months before switching to Real Madrid...woops). So far, so good in terms of exposure. Add to this a top 3 single with "Fire", roping in Rosario Dawson of Sin City fame for a duet ("West Rider/Silver Bullet") and being billed as Bruce Springsteen's 'special guests' at Glasto, Kasabian are certainly setting themselves up to be a Big Band™.

"West Ryder Pauper Lunatic Asylum" certainly has all the hallmarks of a typical Big Band™ album; the preposterous name, the band's bravado around the release and a lot of psychedlic flavouring...if you catch my drift. In terms of the latter, it goes from the superb breakdown of second single proper "Where Did All The Love Go?" to the just plain oddness of the intro of the aforementioned Rosario Dawson duet (probably the only time the phrase "emus in the zone" will appear on an album). Whilst the psychedelia is fairly evident throughout, "West Ryder..." still has more than it's fair share of 'old Kasabain'. Tom Meighan's barked vocals on "Underdog" hark back to their debut, whilst "Vlad The Impaler" welcomes back the ground shaking bass that has characterised virtually every Kasabian hit.

But the pick of the bunch has to be "Fast Fuse". Released last year as a limited edition vinyl single, it's up with the band's best; a frantic, bluesy rocker with the best riff Noel Gallagher never wrote. Whilst the folksy "Thick As Thieves" offers a calmer but just as catchy side to the band as well as providing evidence that Sergio Pizzorno isn't that bad of a singer, the rest of the album appears to be little more than filler, and not even good filler at that. If anything "Ladies And Gentlemen (Roll The Dice)" resembles the dirges that made up the numbers on Oasis' post-Morning Glory, pre-Dig Out Your Soul albums, "Swarfiga" is a bland instrumental that goes nowhere remotely interesting and "Secret Alphabets" and "Happiness" are little more than Beatles pastiches that are only marginally better than The Enemy's efforts at the same.

The much-discussed cover may give the impression of a 21st Century "Sgt. Pepper's..." but the album itself is slightly more conservative, much less forward-thinking than that landmark. That's not to say that Kasabian haven't produced their best work to date, and one of the more brave albums of the year, in terms of branching out musically. I just hope Tom Meighan gets a good haircut and fast.
ESSENTIAL TRACKS: "Underdog", "Where Did All The Love Go?", "Fast Fuse", "Vlad The Impaler", "Take Aim", "Fire"
FOR FANS OF: Oasis, The Stone Roses, Happy Mondays, Primal Scream
7.5

2009-06-29T20:08:00.003+01:00

X-CEPTIONAL
>>>The Xcerts>>>In The Cold Wind We Smile
The amount of talent flooding from Scotland in the last half-decade or so. From the obvious Franz, View and Glasvegas to the more underground likes of Broken Records, Twilight Sad and Frightened Rabbit, it would seem there's something in the water north of the border. The Xcerts are the latest in a long line of band to hope over Hadrian's Wall, armed with some cool haircuts and a armful of proper tunes Alright, the drummer is from Exeter, but we'll ignore that for the time being.

This, their fantastically-titled debut "In The Cold Wind We Smile", has enough to please anyone, as long as you like loud shouty-yet-cacthy rock. The easiest comparison to make would be with the almighty Biffy Clyro, as both bands have an affinity for "quiet-loud-quiet-LOUD!" dynamics and the odd angular riff, as evidenced most clearly in "Listen Don't Panic". I could blather on about the many musical influences/touchstones that find themselves on this album, such as Ash, Nirvana, nu-metal (in a good way), but that would be boring and also because the band are in a field of their own. Their are hooks aplenty throughout "In The Cold Wind..." from cutesy "oooh-oooh-oooh"s on album highlight "Just Go Home" to the passionate bellowing on "Crisis In The Slow Lane". Musically, The Xcerts have talent beyond their young years, switching between tinnitus-inducing walls of noise, restrained, slow burning verses, funky, poppy middle eighths and acoustic laments all in the space of a few tracks.

For a debut, the sonic pallete is pretty amazing. They could either be a new My Bloddy Valentine or Foo Fighters or, judging by the calmer moments of the album, an alternative U2. And when it comes to lyrics, the band have a certain knack for tugging on hearstrings with at least one line per song. Prime examples such as "We could stay up, drink and talk this night away/The liquid that burns us is fire for words we wish we'd say" ("Just Go Home"), "I'm your new best friend/Yeah I'm your new haircut/Yeah I'm the open hole that burns down your neck and into your gut" ("Aberdeen 1987") and "We sat on a bridge and smoke until our lungs collapsed" ("Lost But Not Alone") should provide a lot of singalong moments at Xcerts gigs.

Going on the fact that they could appeal to pretty much any teen sub-culture that doesn't revolve around 'beats', it's suprising that The Xcerts aren't pretty big or at least on more "Ones To Watch" lists. "In The Cold Wind..." is a gem of an album and should they get the right amount of exposure (e.g. soundtracking a moment of angst on Skins/Hollyoaks, yet more support slots with the likes of Biffy and Future Of The Left) then The Xcerts will be making a lot of people's lives louder for the better
ESSENTIAL TRACKS: "Home Versus Home", "Lost But Not Alone", Crisis In The Slow Lane", "Just Go Home", "Aberdeen 1987"
FOR FANS OF: Ash, Biffy Clyro, Nirvana, Tubelord, Dananananaykroyd
7.5