Music - Singles of the week - Monday, May 14, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: SHIBUYA CROSSINGS – GAMLA STAN/I’LL MEET YOU AT THE STATION: Shibuya Crossings release a cracking double A-sided single in the form of Gamla Stan and I’ll Meet You At The Station. Many a fan was found when the band released their sophomore album, 2010’s DOYA, to favorable comparisons to the likes of Hefner and Sparklehorse. Now they’re back and brighter than ever. Lead track Gamla Stan is a vibrant indie rocker that recalls the classic likes of Teenage Fanclub and Fountains of Wayne, especially in the way the band meditates on the tragedy of missing love and the brevity of life’s little moments in its lyrics. I’ll Meet You At The Station slows down the pace a little but is a lovely mid-tempo offering that wears its heartfelt sentiments on its sleeve in totally endearing fashion. If its predecessor carried more of an indie/alternative vibe about it, then this track is soaked in classic rock values. It’s little wonder Radio 1 and Xfm have already championed the tracks, while Channel 5 has been using I’ll Meet You At The Station in a number of their prominent TV trailers.
Rating: 4 out of 5
Watch the video for I’ll Meet You At The Station:
Listen to Gamla Stan:
SINGLE OF THE WEEK 2: BLOOD RED SHOES – LOST KIDS: Blood Red Shoes release one of the highlights to emerge from their current In Time To Voices LP in the form of the barnstorming Lost Kids. Underlining the added punch that accompanies their change of direction, the song finds Laura-Mary Carter and Steven Ansell’s vocals double tracked for a potent, layered effect over a killer hook and a huge chorus. The guitar work is meaty and powerhouse throughout, while the chorus is a genuine rouser… if anything, it recalls classic Ash and may even be better. Says Ansell of the song and the anger surrounding it: “This was written bang in the middle of the ‘London riots’. At the time, the images on TV were of streets on fire and smashed up buildings, and strangely Laura and I were fighting like crazy at this point. It just felt there was a lot of destructive, frustrated energy in the air, but we didn’t want to write about it as an overly political song, so this is an attempt to bring together all of that into one.” Job done!
Rating: 4 out of 5
Watch the video:
SINGLE OF THE WEEK 3: SCISSOR SISTERS – ONLY THE HORSES: Odd name aside, this is a classic slice of Scissor Sisters that pre-empts the new album, Magic Hour, by two weeks. Written by the New Yorkers and produced by Calvin Harris, this is a euphoric offering in every sense with a kick-ass beat and some good electronic arrangements combining to create an intoxicating brew that comes complete with a grand chorus. It’s dance-worthy, sing-along and utterly feel-good… just as they were intending. Singer-songwriter Jake Shears explains: “I wrote it for one of my best friends. We had so many amazing adventures this past year travelling the world. It’s about being friends with someone you’re so happy to know.” Shears adds that it’s ‘beat-driven future pop’ that ‘style-hops all over the place unabashedly’. It’s also unabashedly infectious and one of the band’s better tracks to date.
Rating: 4 out of 5
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BEN HOWARD – ONLY LOVE: Following the 100,000-plus sales of his debut album Every Kingdom in the UK alone, a sold-out first tour of the US, and contemplating a hectic Summer of festival appearances ahead of his biggest UK tour to date, Ben Howard releases his new single Only Love to underline his rise as one of Britain’s brightest new singer-songwriters. A beautiful, contemplative ode, it’s a deeply romantic offering that finds Howard’s husky tones set against a subtle acoustic guitar backing. There are vague elements of folk, as well as a touch of pop, but this is unmistakeably the sound of an artist at the top of his game – what’s more, the track is released a little over 12 months since the release of Ben’s introductory Old Pine EP in Spring 2011. Ben’s UK tour later this year has already sold in excess of 40,000 tickets alone, with another 60-plus shows lined-up in 2012, culminating in two nights at London’s Brixton Academy. He only just missed out on a single of the week placement yet again (we thought it only fair to give it to some other people for a change!).
Rating: 4 out of 5
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TOM JONES – HIT OR MISS/BAD AS ME: Tom Jones follows the announcement of the May release of his eagerly awaited new album Spirit In The Room with the double-A sided taster singles Hit Or Miss and Bad As Me. The follow-up to the collection of songs that comprised the acclaimed Praise & Blame album in 2010 sees producer/guitarist Ethan Johns, Tom and a small band of specialist players delving deep into the essence of popular song. Hit Or Miss sees Tom taking on Odetta’s classic track and bringing the song to life with an engaging, down-home country vibe whilst producer/guitarist Ethan Johns, accompanied by Warpaint’s Stella Mozgawa on percussion, Richard Causon on piano and Sam Dixon on bass, support with a delightful musical setting redolent of sunny summer festival days. It’s lively, vibrant and virtually guaranteed to put a smile on your face, complete with those distinct vocals of Tom to lead the way. On the flip side is Bad As Me, a colourful Tom Waits composition that Sir Tom delivers with a maniacal cackle that freely expresses the chaos within. It’s a smart double act to really make you excited about the new album, while underlining its diversity.
Rating: 4 out of 5
Listen to Hit Or Miss:
FOREIGN SLIPPERS – IT ALL STARTS NOW: Welcome to your new favourite Scandinavian band. Foreign Slippers is predominantly the work of Gabi Froden, singer, artist, author, songwriter and ruling deity of a band who specialise in harmony-strewn pop of enchanting beauty. It All Starts Now is the lead offering from the band’s forthcoming album Farewell To The Ghosts (out June 25) and it’s a slow-builder of a song that builds into euphoric exultation. Froden’s unique voice feels almost fragile early on, as it’s set against a subtle plucked acoustic guitar. But once the layering is introduced and the chorus kicks in for the first time, the song blossoms into an absolute beauty. What’s more, it comes with several bonus tracks, including the similarly slow-building Take It On The Chin, which starts out like a Johnny Cash offering before hitting you with more beautiful melodies and a delicious chorus that’s utterly buoyant and pop, and – perhaps most strikingly – a brave, sombre piano drenched cover version of Abba’s The Winner Takes It All, which re-imagines that song in simply amazing fashion. Don’t miss out on the single or the forthcoming album.
Rating: 4 out of 5
Watch the video for It All Starts Now:
Listen to The Winner Takes It All:
DUKE SPECIAL – PUNCH OF A FRIEND: On June 18, Duke Special will be releasing his first new ‘commercial’ music album, Oh Pioneer and, as a prelude to this new chapter in his musical journey, he will be releasing Punch Of A Friend as a free digital download via his website. The track carries all the hallmarks of a classic Duke Special song, elegantly swooning its way through a melancholic daydream of soft harmonies and tender orchestrated percussion as well as the singer’s laidback, soulful vocals. And yet there’s something more resolutely pop about it, too, that is in keeping with the artist’s new commercial direction. Duke says of the track: “Sometimes only a true friend can jolt us back to life when we’re down or on a destructive path. And only a friend has the ability to speak the truth to us and at the same time help us up again… the punch of a friend.”
Rating: 3.5 out of 5
Listen to the track:
FINN BONEL – WEDDING SONG: Finn Bonel returns with his second single release following his well-received debut, Love’s The Only Thing. Wedding Song sees Bonel stay true to his rusky Anglo-Americana roots, but this time he’s given his music an Eastern shimmer, adding an Indian influence with a sitar, tabla and tambura (courtesy of Baluji Shrivastav). Added to this is a string arrangement put together by revered Cellist Audrey Riley who, over the years, has recorded and arranged for the likes of The Smiths, The Cure, Nick Cave, Smashing Pumpkins and many more. The effect is both upbeat and exotic… a song that benefits from Bonel’s distinct, lived-in vocals and the world music elements that lend the track it’s distinct flavour. There’s an instant appeal surrounding it, too, that recalls classic Beatles at times, mixed with a little Kula Shaker, and a set of vocals that could equally be at home on a Bowie record. Bonel is clearly a class act.
Rating: 4 out of 5
Watch the video:
Music - Singles of the week - Monday, May 7, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: MONUMENT VALLEY – YOUR COVER BLOWN: Monument Valley is the musical alias of Londoner Ned Younger and he’s back with a great new single, Your Cover Blown… and a poignant one to boot. A song some two years in the making, the track is starkly informed by the death of one of Younger’s closest friends by suicide. The death, which followed a long struggle with depression, prompted Ned to write several different songs in an attempt to react to the loss in a way that wasn’t trite or clichéd, or empty. All of those songs combined to inform Your Cover Blown, which adopts a sombre tone, yet one that demands careful attention. It’s sad, heartfelt and thought-provoking, further underlining Younger’s storytelling skills. He also plays all the instruments, which are subtely interwoven. The B-side, The Very First Alarm, is similarly beguiling… a sparse guitar weaving its way throughout another reflective tale of a failing relationships and the warning signs [unheeded] that first signalled it. It’s dark but somehow enriching and bodes well for the future of this talented artist.
Rating: 4 out of 5
Watch the video:
SINGLE OF THE WEEK 2: fun feat JANELLE MONAE – WE ARE YOUNG: Having impressed greatly with their debut album, Aim & Ignite, fun return with an equally impressive follow-up in the form of Some Nights and this barnstorming lead single, We Are Young, featuring Janell Monae. Featuring a striking piano bed and some boisterous percussion, this also drops a genuinely euphoric chorus courtesy of Nate Ruess’ distinct vocals and a sing-along value that’s only enhanced by the ‘na na na na na na’ outro. You’ll be singing along “tonight, we are young, so let’s set the world on fire, we can run riot’ for hours afterwards. It’s striking, enjoyable and memorable in every way… and above all else, it’s fun!
Rating: 4 out of 5
Watch the video:
THE SUBWAYS – KISS KISS BANG BANG: The Subways release one of the highlights from their latest album Money and Celebrity in the form of Kiss Kiss Bang Bang. A firecracker of a single, the track is already receiving a fantastic fan reaction both online and at shows. Singer Billy Lunn penned the track around a ‘fiery relationship’ and the ‘ongoing battle between 2 lovers’ and it boasts a fast pace and an infectious, sing-along chorus that’s almost certain to create a dancefloor crush at clubs. It doesn’t mark that much of a stretch for the band in general but the melodies are tight, there’s a rawness about the energy and the boy-girl vocals continue to work a treat. In short, it’s great fun.
Rating: 4 out of 5
Website l Album review
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KATZENJAMMER – ROCK-PAPER-SCISSORS: All-girl multi-instrumentalist Norwegian quartet Katzenjammer release Rock-Paper-Scissors as a new single on the same day that they also release their new LP, A Kiss Before You Go, and provide further proof of why they’re finally making a big splash in the UK (being playlisted by Steve Lamacq and winning a three-page Sunday Times Culture feature to add to a sold out date at the Scala in London last month. The track is a Balkan-tinged hoedown backed with pure pop sensibilities, that’s sure to draw a grin on to the faces of all who listen. It’s a gutsy, below deck fiddle jig which gives the banjo and mandolin a good airing, while simultaneously inviting those toes to tap along and the rest of your body to get jiggy with it. The lush vocals only make it more of a breeze and add some pop flavourings to underline its mainstream credntials.
Rating: 4 out of 5
Watch the video:
JUSTIN BIEBER – BOYFRIEND: Justin Bieber comes of age, or rather comes of Justin Timberlake, on new single, Boyfriend, his best offering to date. Fusing elements of pop with R’n’B and rap influences, this track finds him whisper rapping an opening that declares “if I was your boyfriend I’d never let you go” before hitting fans with those trademark falsetto (or baby) vocals. But rather than being shamelessly sentimental like some of his earlier records, and especially his Christmas offering, this has a little extra edge and a darkness to it that hints of desperation and angst. It’s a better sound for him that, dare we say, could well propel his fame even wider. And it does remind us a lot of early Timberlake material.
Rating: 3 out of 5
Watch the video:
GOSSIP – PERFECT WORLD: Gossip have delivered their new single Perfect World like a bolt out of the blue from nowhere but it’s a competent offering from them that benefits from both Beth Ditto’s unmistakeably powerful central vocals and the decision to team up with Brian Higgins and Xenomania on production. The result is a track that eschews some of their more fiery punk-rock tendencies in favour of something more resolutely pop-rock, giving rise to a powerhouse record that maintains the anguish of previous records lyrically with something even more radio friendly. It’s a brash return from them but one that should also get people gossiping about them once again (and mostly in a positive fashion).
Rating: 3 out of 5
RITA ORA feat TINIE TEMPAH – RIP: The debut single from Rita Ora comes with some impressive credentials behind the scenes… from Drake’s lyrics to Tinie Tempah’s rapped cameo to Chase & Status’ production values. And yet you might have been correct to expect something a little more than a Beyonce/Rihanna wannabe. Ora has a strong set of vocals and all the sassy attitude you’d expect with that kind of backing behind her, not to mention a sound that does incorporate elements from all of its co-creators, but there’s still a lack of a clear identity of her own and she’s not really doing anything different at the moment. The track boasts strong chart and club potential but it feels tailored to attract that rather than daring to offer an alternative to the norm.
Rating: 2.5 out of 5
SPARROW – BEAUTIFUL: Brighton four-piece Sparrow is made up of Ali Gavan (vocals/guitar), Marina Tiffeny (vocals/guitar), Bryn Mabey (vocals/bass) and Caz Adlington (drums) and they’re sometimes described as “combining the beauty and fragility of The XX with the catchiness and raw power of early Radiohead”. New single Beautiful (which is available as a free download) offers a taster of their forthcoming album However Did The Wolf Get In (out May 20) and is a beguiling slow builder that definitely contains something of the brooding Radiohead about it, albeit with a softer set of vocals supplied by Marina and Ali’s combination. Fans of music that makes its way onto the Twilight soundtrack may also like to check out this track in particular, as it has something of a ghostly, ethereal quality about it befitting that kind of movie.
Rating: 3 out of 5
Watch the video:
Music - Singles of the week - Monday, April 30, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: KEANE – SILENCED BY THE NIGHT: As excitement builds ahead of the release of Keane’s latest album, Strangeland (on May 7) the band now drop Silenced By The Night as the lead single. Heralded as an emotionally driven anthem with a hook so huge you could raise the Titanic with it the track retains all the values that have become something of a Keane trademark – emotive vocals, electronic backdrop and a chorus that’s catchy as hell. It’s lively, too, that puts it in the mid-tempo ballad range. Indeed, there are elements in Tom Chaplin’s vocals that reminded me of Hall & Oates – yet they’re as sweeping and powerful as ever in their own right. It’s a strong indication that Keane have crafted yet another gem of an album.
Rating: 4 out of 5
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LIANNE LA HAVAS – LOST & FOUND: The sultry vocals of Lianne La Havas once again reign supreme over her new single, Lost & Found, moody yet beautifully realised piano-backed ballad. It’s essentially about heartbreak and contains a raw, heartfelt honesty reserved for all the best balladeers. But it also retains an air of optimism, especially as the song comes of age and reaches its elegant finale. La Havas is proving herself to be quite an exceptional talent. Lost & Found has been produced by Matt Hales and includes remixes from Ifan Dafydd and Lapalux as well as two new tracks, Liar and Empty. The video (below) has been directed by seminal French online sessions website Blogotheque, who championed Lianne even before her electrifying performance on Jools Holland.
Rating: 4 out of 5
Watch the video:
THE PROCLAIMERS – SPINNING AROUND IN THE AIR: There’s always a jovial, almost playful quality about The Proclaimers and this is evident in the joyful new single, Spinning Around In The Air. Melodic, sing-along and featuring the distinct vocals of twin brothers Craig and Charlie Reid, this is also a lyrically amusing affair that grips from the first moment you hear it. The mandolin work adds a great instrumental layering too. The single is the latest taster of what to expect from the duo’s ninth studio album, Like Comedy, which is every bit as fun to listen to. The video was directed by Little Britain’s Matt Lucas and finds the twins dressed up as ‘wee grannies’ who have a few too many glasses of punch, resulting in chaos with hilarious results. It’s only being unveiled today.
Rating: 4 out of 5
REBECCA FERGUSON – GLITTER & GOLD: Rebecca Ferguson drops one of the highlights from her Heaven LP in the form of the feisty Glitter & Gold. The track offers a sassy put-down to a love rival that’s delivered with the confidence of Beyonce. It invests proceedings with an earthy slice of R’n’B, picking up the pace and drawing on elements of Adele and even Back to Black era Amy Winehouse courtesy of some retro leaning instrumentals and a gospel leaning set of backing vocals. When Ferguson warns ‘take care of your soul’, you’d better believe she means it. The single underlines the feeling that Ferguson is one of the better talents to have emerged from the reality TV scene.
Rating: 4 out of 5
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BLACK HATS – KICK IN THE DOORS: Kick In The Doors is a lively introduction to Black Hats, aka Ian Budd (bass and vocals), Nick Breakspear (guitar and vocals) and Mark Franklin (drums and vocals). Boasting a solid and catchy central guitar riff and a chant-worthy chorus that’s as intense and insistent as the lyrics about kicking in the doors suggest, this is a boisterous punk-inflicted rocker that should become a firm crowd-pleaser for them (you can imagine the mosh pit becoming quite sweaty when it’s played). Produced by Sam Williams (Plan B, Supergrass) it sets a hectic pace and makes a statement that is worth taking notice of. Support for Black Hats has already come from BBC Introducing Oxfordshire and BBC 6Music (Tom Robinson) for previous unreleased tracks.
Rating: 4 out of 5
Watch the video:
Watch an acoustic version of the song:
IN GOLDEN TEARS – UNDERNEATH THE BALANCE: Hamburg based In Golden Tears release their new single, Underneath The Balance, and serve notice that the German music scene has more to offer than the likes of Rammstein and Kraftwerk. If anything, there’s a pop edge that leans towards the ‘80s that’s reminiscent of acts such as A-Ha and Simple Minds. Their music has been described, in general, as uplifting pop that’s driven by pumping bass lines and echoing drum sounds that make their way through a dark shadowy wall of synthesizers. It’s capped off by Patrick H Kowalewski’s solid, sometimes falsetto vocals, that underline the band’s pop credentials. Underneath The Balance shows evidence of all of these facets without ever blowing you away. But it doesn’t get on your nerves either.
Rating: 3 out of 5
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ALLMAN BROWN – WOMAN: Woman is the debut single and first track to be released by young Londoner Allman Brown. It’s an intimate number showcasing his soulful side and marks the first fruit of his collaborations with Kensaltown Studios producers Paul Herman (Emelie Sande, Dido) and James Bryan (Nelly Furtado). Having made a worthy impact on the London gig circuit, Allman found himself invited to ply his dulcet tones in the acoustic bars of Paris and New York. He duly obliged and his exploits across the waters attracted the attention of influential music industry folks, including jazz prodigy John Batiste who joined him on stage during a gig at Soho House in New York. He clearly made an impression across the Atlantic, playing to full houses in NYC, but it was the hit-making producers at KensalTown studios who took him under their wing, proving he has come a long way since sneaking into gigs whilst working as a bartender at the Royal Albert Hall! Woman starts as it means to go on, in stylish fashion… a gentle piano giving rise to a smooth set of vocals and a passionate song about a woman that feels genuinely sentimental towards its subject. The chorus is catchy, too, and delivered in a fashion that marks Brown out as a genuine name to keep an eye on in 2012. Allman is also encouraging other artists to collaborate with him via a remix competition which can be found via the Soundcloud link that is accessible here
Rating: 3.5 out of 5
Watch the video:
Music - Singles of the week - Monday, April 23, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: THE CAST OF CHEERS – ANIMALS: Irish quartet The Cast of Animals have already blasted their way into the public’s affections thanks to the blistering single Family, which also saw the band championed by the influential likes of Zane Lowe, Fearne Cotton, Huw Stephens and more, and now their follow-up single Animals looks set to endear them further. Billed as a rousing, raucous monster of a track that nimbly hop-scotches between delirious guitar loops, jackhammer synths and anthemic vocals the song is an effortless crowd-pleaser. The melodies are great, the guitar loops fun and memorable and the chorus is made for singing along. It contains an infectious charm that’s impossible to deny.
Rating: 4 out of 5
Watch the video:
SINGLE OF THE WEEK 2: BEYONCE – END OF TIME: You’ve got to hand it to Beyonce, she knows how to deliver a kick-ass track that’s utterly infectious. End of Time is another high-energy offering that blends R’n’B and pop to seamless effect, complete with sing-along style chorus and hip-shaking beats. The hefty brass section and marching band style drums bring an energy that’s hard to ignore and which reminded us of past offerings from both Madonna (Four Minutes) and Gwen Stefani. But this is, of course, delivered with the distinctly sassy vocals of Beyonce, who is really in defiant form. The central refrain of “say you’ll never let me go” is a shout out to fans to keep embracing her – and why wouldn’t they when she delivers songs of this much fun.
Rating: 4 out of 5
THE STAVES – THE MOTHERLODE EP: UK trio The Staves limber up for their forthcoming support for Bon Iver on their North American tour with the release of this 3-track Motherlode EP. And it’s easy to see why they’ve already attracted UK support slots for some of Britain’s leading lights, including Michael Kiwanuka and Ben Howard. The band specialise in easygoing folk-pop that’s rich in emotion and heartfelt sentiment, as showcased by the laidback lead track The Motherlode, with its sensual harmonies and quiet strumming. Pay Us No Mind starts in similarly soft fashion, a lone but beautifully realised vocal unfolding against a dusky guitar and some very low-key percussion. It’s easy just to sit back and become lost in the vocals, though, especially once the harmonising is added in. Final track Wisely And Slow has a bluesy vibe attached to its folk and is all the more notable for being delivered a capella early on. It affords those stunning vocals a delicious platform upon which to shine and it may even be the pick of the songs on the EP, especially given the outro (at around the two and a half minute mark) which all of a sudden includes a lively instrumentation and some gentle harmonising to go with its handclap beats. It’s a masterfully constructed track that really does stop you in your tracks.
Rating: 3.5 out of 5
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DEVIN – MASOCHIST: Having brought his brash, punk attitude to the UK for the first time last month and fresh from storming sets at this year’s SXSW, New York’s Devin now unleashes Masochist as his latest offering. Following on from where You’re Mine left off, the track is three minutes of propulsive guitars and rolling drums set against Devin’s wild and boisterous vocals. There’s a retro style to the delivery, too, that recalls classic punk rock acts of old, while the vibrancy of the beats invites people to dance along. The chorus, meanwhile, is anarchic in the way that all good punk rock should be as well as sing-along worthy. It’s set to become a firm live favourite and something of a go-to track for teenage rebellion. The layered vocals late on add an extra slice of quality.
Rating: 3.5 out of 5
Watch studio footage of Devin:
CHILDISH GAMBINO – HEARTBEAT: We’re torn over the latest offering from Childish Gambino, aka Donald Glover. At its heart, there’s a subtle blend of delicate piano and smooth soul vocals over a heartfelt chorus. But then there’s the grinding synth that accompanies the middle section, which sounds more like something that a harder dance act might produce. It’s also then that Glover adopts a harder rap edge. In stripped back, minimalist and almost spoken word form, it’s more effective. But the mixture of styles is also guaranteed to make the track get noticed. Heartbeat is therefore a bit of a mixed bag – but then maybe it’s trying too hard to tick all the right boxes.
Rating: 3 out of 5
LEVELLERS – TRUTH IS: From the opening fiddle of Truth Is you kind of know what you’re going to get from Levellers’ latest single – and it’s another rip-roaring blast of pure infectious energy. Taken from their forthcoming album Static On The Airwaves, the single was actually released on Saturday to mark Record Store Day and will be available in a limited edition red vinyl 7” on the day before being available online the following day. The track is produced by Seth Lakeman and bears some of that singer’s trademarks too, while lyrically it was inspired by the band’s tour to Athens in October 2009, where they witnessed first-hand the effect that the economic turmoil was having on ordinary Greek people. Hence, there’s also a Greek flavour to the instrumentals that sits comfortably alongside the folk-rock elements, while the chorus is anthemic and designed to stir the emotions. It does. Commenting on the record, Mark Chadwick said: “Economic mis-management by governments and financial institutions have brought misery to people all around the world… Time and again they place the burden of their failures onto those on the bottom rung. At their peril.”
Rating: 3.5 out of 5
THE ROBBIE BOYD BAND – I WON’T LET YOU GO: Having won hearts among Radio 2 listeners and supported The Delays and The Kooks, The Robbie Boyd Band look to capitalise on their recent success with the release of an EP, Autumn’s Flow, and this endearing single I Won’t Let You Go. The song showcases frontman Robbie’s enchanting song-writing and distinct vocals, combined with the band’s colourful arrangements and nostalgic harmonies. It’s a record that’s steeped in an easy-going folk-pop sound and which invites those toes to tap along in appreciation, while reflecting fondly on the one you love. Lyrically, too, it’s full of optimism and hope, while the fiddle-strewn outro adds an extra layer of cool. You can well imagine it adorining the soundtrack of some romantic movie in the very near future.
Rating: 3.5 out of 5
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PULLED APART BY HORSES – WOLF HAND: Pulled Apart By Horses insist new single Wolf Hand is a track that offers their very own piercing tale of “forgetting about ageing and staying forever young”. It sets a rip-roaring, meaty guitar against shouted vocals about being young, being a dick and nothing having changed and comes accompanied by a video that celebrates the energy and stupidity of youth. It’s a song that, with every word, pounding beat and soaring guitar, is designed to embody the spirit of [rebellious] youth. How much you like it depends on how much you like your music loud and with a punk-rock-grunge style energy – as this certainly blows away the cobwebs. And it’s for those reasons, too, that you suspect it has cult appeal as well as the potential to become a go-to track for the disenchanted youths or ‘adults’ who still enjoying their inner kid. It’s loud, obnoxious fun.
Rating: 3 out of 5
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CALVIN HARRIS feat NE-YO – LET’S GO: Calvin Harris knows how to conjure a hit dance track no matter what the critics may think of him. Latest offering Let’s Go comes comples with soulful lyrics from Ne-Yo and an Ibiza-friendly synth and beat that gradually builds into a big dance anthem. It’s for that reason that it also sounds soulless and designed purely with the summer dance theme in mind. For sure, there’ll be lots of arms in the air and sweaty bodies swaying in tandem to its rhythms but there’s something so generic about this that prevents it from standing out. Harris is capable of better, as his recent collaboration with Rihanna suggests, but this is the sound of the performer on auto-pilot.
Rating: 2 out of 5
Music - Singles of the week - Monday, April 16, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: KYLA LA GRANGE – VAMPIRE SMILE: Kyla La Grange’s new single Vampire Smile is and is another excellent taster of her forthcoming debut album, Ashes, which is due to land on July 30, 2012 (via ioki records/Sony). Written when she was just 19 years old, Vampire Smile is the fourth single from the 25-year-old which again showcases those striking vocals and her ability to mix the sweet and the savage in her lyrics. It’s a dark and beguiling take on possession and obsession that will get under your skin and stay there, building steadily to a heady conclusion that’s dripping with power and atmosphere. Lyrically, it’s full of unstelling imagery and a mounting terror befitting its name, while the instrumentation is expertly realised to create something that’s by turns unsettling and utterly striking. There’s a heady intimacy to her bruised whisper of “baby I need to leave, ‘cause I’m getting drunk on your noble deeds”, before she gives full rein to her huge voice in a plangent, heart-swelling chorus. We’re officially very excited about the approaching album.
Rating: 4 out of 5
Watch the video:
SINGLE OF THE WEEK 2: B.o.B – SO GOOD: It’s not doing anything particularly original but B.o.B’s new single So Good is a really feel-good single that fuses hip hop and pop in effortlessly enjoyable [and crossover] fashion. Featuring lyrics such as “I’ll be your Da Vinci if you’ll be my Mona Lisa” set against a bouncing piano loop and some slick, uplifting beats, it’s an ode to enjoying the better things in life that’s hard not to get behind. Vocally, it transcends the song’s hip-hop roots by employing a positive outlook and a less pronounced form of rap, as well as a sung chorus, that’s anthemic and celebratory (“we’ll be in the high life, soaking up the sun life”). With the sun starting to shine in our skies, it’s a great way to add a little ray of positivity into your lives… for which we can all be grateful during these harder times.
Rating: 4 out of 5
Watch the video:
MARINA & THE DIAMONDS – PRIMADONNA: Marina & The Diamonds – aka Marina Diamandis – return with the bittersweet synth pop of Primadonna, a shape-shifter of a single that showcases her ability to toy with expectation. The chorus unfolds in sweet fashion with Marina declaring herself a primadonna girl in a sweet tone and with sugary melodies, before then dropping a set of grinding synths that are more in keeping with a Lady Gaga record (and which come courtesy of producer Dr Luke). It’s primed for maximum chart success yet retains a sense of Marina’s own identity (especially in that striking voice) that makes it another surefire hit for her. And while we have some reservations, there’s no denying this is also catchy as hell once you’ve heard it a couple of times.
Rating: 3 out of 5
Watch the video:
THE CRIBS – COME ON, BE A NO ONE: Having whetted the appetite with Chi-Town, a whirlwind four date live excursion and the imminence of a fifth album In The Belly Of The Brazen Bull, The Cribs release Come On, Be A No-One, as a single. The track has already proven to be a new highlight in the band’s ever expansive live set and sees The Cribs having reverted back to trio status in confident form. The track is described as a rallying call that throws out a chant-worthy notion before enveloping it in wave upon wave of guitar riffs, bass and drums that show no let up in during its two minutes and 38 second lifetime. The music has a raw rock vibe to it, while the vocals are suitably ragged to give the track – and the sentiments behind it – the kind of indie-rock outsider vibe it seems to be seeking. It’s a riot of energy that’s also great fun to shout along with.
Rating: 3 out of 5
Watch the video:
CONOR MAYNARD – CAN’T SAY NO: Conor Maynard is another self-made YouTube sensation a la Justin Bieber who first shot to fame by singing cover versions of his favourite singles. But where Bieber hails from America, Maynard is Brighton-based… although judging from the sound he’s created on his new single Can’t Say No he’ll more than fit in States-side. This owes more to early Justin Timberlake than Bieber, dropping a sleek, sexy beat over breathy vocals about sexy girls. It’s a party record that flirts with R’n’B as well as pop and it boasts guilty pleasure value and crossover potential, displaying a maturity that belies Maynard’s tender years… as well as more testosterone than Bieber has so far managed over the course of his career. Whether he can achieve quite the same heights remains to be seen but with songs of this nature, he’s definitely on the right path to global success. In pop terms, this is disposable fun that could even be ripe for a Glee cover version.
Rating: 3 out of 5
Watch the video:
LMFAO – SORRY FOR PARTY ROCKING: LMFAO – aka ‘Laughing My F**king Arse Off- are LA duo Skyler (aka Skyblu) and his grandson Stefan Gordy (aka Redfoo) and they’re rapidly becoming renowned for vapid dance tunes mixed with hip hop. Hot off the back of their Sexy & I Know It single, they now drop Sorry For Party Rocking as the title track from their latest album and it’s the usual soulless mix of styles. On this occasion, it’s a throbbing synth loop, some frenetic beats and a sarcastic kind of apology that says ‘sorry for party rocking’. It’s a super-club leaning kind of record that actually has very little to recommend it… grinding its way into your subconscious in unrelenting fashion much in the same way as every LMFAO tack does.
Rating: 2 out of 5
JENNY GILLESPIE – BELITA EP: Jenny Gillespie’s new EP Belita offers a gentle blend of folk, indie pop and post-rock. Produced by Jenny and multi-intrumentalist Shahzad Ismaily (Jools Holland, Lou Reed), the EP marks Gillespie’s third release after the chamber folk of 2009’s Light Year and the ambient progressive pop of 2010’s Kindred.The ensuing CD is a bit of a mixed bag if we’re being totally honest. Gillespie’s beautifully evocative vocals shine throughout but sometimes her music needs a little winding up. Creature of Our Make sets the template… Gillespie’s tender vocals combining with those of Sam Amidon to create a low-key slice of dusky folk that’s nicely understated yet still high on melodic structure. Gillespie goes it solo on the stripped back Wooden Bench, sounding almost melancholy against the acoustic guitars and gentle piano chords that form the backdrop. It’s a reflective offering that requires the right kind of mood. Alas, the same kind of softly, softly approach is adopted on the serene Mariposa, another of the EP’s duets, which is perhaps a little too understated at this point on the EP. Sunshine Blood benefits from some lovely piano arrangements, while Cheating Gong once more finds Gillespie dueting to pleasing effect. But while the folk is largely intact, the EP lacks the indie pop moments that were promised and is perhaps a little too measured for its own good. Gillespie remains an appealing vocalist and a constantly evolving performer when compared with her previous work. But this is very much an EP that you have to be in the right mood to best appreciate by virtue of its quiet approach.
Rating: 3 out of 5
Listen to Creature of Our Make:
BLEECH – MONDAYS: Bleech’s new single Mondays has already been featured on BBC’s Waterloo Road (along with about a thousand other songs!!) and is taken from the band’s upcoming debut album, Nude, which is scheduled for release this summer. It’s a pile-driving single, coated in melody, that announces: “I’m happy when I’m happy, happy when I’m sad, I’m happy cos it’s Monday”… a sentiment that I doubt too many people will actually get behind come Monday morning! But it’s a decent enough offering that while not quite hitting the anthemic heights it’s doubtless seeking to attain, suggests there’s plenty more to come from this band in the future. Bleech consists of sisters Jennifer and Katherine O’Neill and their schoolmate Matt Bick and even though they weren’t old enough to drink together when they formed, their music has attracted the attention of the likes of NME, Rock Sound and Clash Magazine.
Rating: 3 out of 5
Watch the video:
Music - Singles of the week - Monday, April 9, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: BOMBAY BICYCLE CLUB – HOW CAN YOU SWALLOW SO MUCH SLEEP: Bombay Bicycle Club release one of the out and out highlights from their excellent current album A Different Kind of Fix in the form of How Can You Swallow So Much Sleep. The fourth track to be taken from the album (their third), it’s a slow-building song of immense beauty that combines steeped vocal loops and breathy samples with a sublime central guitar riff and a strong bass. If anything, there’s a vaguely ethereal element to it that recalls both Sigur Ros and Death Cab For Cutie (for this listener at least!) but it hooks you in from the very first listen and is utterly captivating and entirely infectious. It could even be the best release from the album yet! The video, too, is a beautiful animation created by Anna Ginsburg – which has taken six months to create – and is made even more personal by the fact that she also went to school with the band.
Rating: 3.5 out of 5
Watch the video:
SINGLE OF THE WEEK 2: REGINA SPEKTOR – ALL THE ROWBOATS: Regina Spektor drops All The Rowboats as a download single as an early taster from her forthcoming album, What We Saw From The Cheapseats – and it’s a confident, likeable return. The new LP marks the first new material from Spektor since 2009’s far and was recorded mostly live over an eight week period, with Spektor playing piano as well as delivering the vocals. All The Rowboats actually opens with an electronic surge before dropping some insistent beats and moody piano chords to concoct quite a heady brew. Spektor’s vocals retain the husky, almost whispered sweetness more commonly associated with her but the more insistent, robust percussion is terrific and instantly helps the track to stand out. A bonus track, Don’t Leave Me (ne me quitte pas), employs more easy-going melodies but has a breeziness about it that perfectly compliments the lead offering. Put together, it’s an essential digital purchase.
Rating: 3.5 out of 5
LANA DEL REY – BLUE JEANS: “We don’t need no money, we can make it all work” sings Lana Del Rey over her latest single, Blue Jeans, over another beguiling offering that should continue to enhance (or rebuild) her reputation. Making maximum use of her pronounced, vaguely haunted vocal style, this also builds using hazy guitar strums and low-key strings to deliver something that’s brooding, yet mesmerising. When Lana sings “I’m going to love you until the end of time”, you might just believe the sentiment applies to every single one of us. It’s another track that confirms the hype has been justified surrounding this artist.
Rating: 4 out of 5
Watch the video:
TOM WILLIAMS & THE BOAT – TEENAGE BLOOD: Tom Williams and The Boat release the second single Teenage Blood (and also the title track) from their forthcoming album and continue to impress. A big country rock stomper of a track, the song reportedly sets the tone for the new album from the get-go and features lilting harmonies and an instantly rousing chorus. With a nod to cult heroes including Nick Cave, Tom Petty, Leonard Cohen to Teenage Fan Club, the song is crafted with the hallmarks that Tom Williams’ fans have come know lyrically; his poetic sharp wit and heart-felt tales of love lost. The title track dwells on the ‘sense of genetic inevitability’, of a broken relationship and its effects on the human psyche – but doesn’t sound downbeat or melancholy in any way. If anything, it’s brooding in an intense but vibrant kind of way, the combo of percussion, guitar and fiddle adding up to a likeable whole. Bonus track Flatout Surviving is a great acoustic back-up that heightens the goodwill you’ll feel towards this particular outfit even more.
Rating: 4 out of 5
Watch the video:
SKINNY LISTER – PLOUGH & ORION/IF THE GAFF DON’T LET US DOWN: Having been dubbed ‘the hardest working band of 2011’ Skinny Lister now bid to maintain that momentum with the double-A sided release of Plough & Orion and If The Gaff Don’t Let Us Down. And they hit the ground running. The former track is an utterly charming slice of pop infused folk that’s tender, breezy and makes brilliant use of its boy-girl vocals. The latter, in contrast, is ‘a rip-roaring folk marauder’ that begins somewhat deceptively, with a low-key intro before hitting you with a foot-stomping beat and some ramshackle guitars and vocals. It’s the sort of track you can imagine getting carried away with (ie dancing in madcap fashion) at a good old Friday night craic. Put together, the two songs make for a hugely entertaining package.
Rating: 4 out of 5
Watch the video:
THE GHOSTS – GHOSTS: One week ahead of their album, The Ghosts release the taster single Ghosts, one of its highlights. Featuring a slick mix of pulsating synths and ethereal vocals, this track is imbued with a suitably haunting quality that’s born out of life’s uncertainty and the band’s own personal experiences. It’s thoughtful yet upbeat enough to keep your feet tapping along. And it comes with a variety of remixes from the likes of Seamus Haji (who introduces an even harder synth sound along with some propulsive beats), Millions Like Us (who adds a pile-driving guitar riff that really works, before losing the plot slightly amid industrial leaning synth arrangements) and Ad Brown (who attempts to come over all Ibiza, unsuccessfully). Formed in 2010, The Ghosts were formed when Alex Starling (formerly of Ou Est Le Swimming Pool) was introduced to drummer Ian Palmer by mutual friend Jon Brookes, of The Charlatans.
Rating: 3.5 out of 5
Watch the video:
MAN WITHOUT COUNTRY – PUPPETS: Puppets is the second release from Man Without Country and comes with their re-imagining of Björk’s All Is Full of Love as well as remixes by Big Black Delta, Error Operator and an alternative version by the band themselves. The Cardiff duo of Tomas Greenhalf and Ryan James specialise in an atmospheric, sometimes uneasy sonic palette – their forte, a dark yet uplifting paradox. Glacial guitar ripples are spliced with an eerie synth pulse, yet have the ability to morph into an anthem when you least expect it. On Puppets, they mix ghostly vocals with throbbing electronics and rapid beats that build towards a headrush chorus. It’s impressive stuff that lays down a sizeable marker for their album, Foe when it’s released on June 4. Of the remixes, an ethereal take from Big Black Delta is easily the best, stripping away the energy and replacing it with something nocturnal and dream-like. Error Operator’s remix is even more out there but not quite as effective, although you can hear that one below.
Rating: 3 out of 5
Watch the video for Puppets:
Listen to the Error Operator remix:
AMANDA MAIR – SENSE: Seventeen-year-old wunderkind Amanda Mair made her entrance last year with Doubt – an impressive debut that had UK and US tastemakers entranced. New single Sense has already seen Mair picking up more plaudits Mair ahead of the release of her eponymous debut album in the UK on June 11. And you can instantly hear why. It’s a breezy slice of pop, coated with easygoing harmonies (a ‘la la la’ here, a ‘da da da’ there), an infectiously hummable chorus and a feel-good quality that belies the uncertainty contained within the lyrics. Mair first came to the attention of Swedish label Ladrador (Radio Dept., Sambassadeur, Acid House Kings) at the age of 15. She had no track record, no bandcamp or Myspace and hadn’t played any live shows, but she has recorded some songs wtih a Labrador associate who – blissed out – passed them on to the label. Since then, there’s been no stopping her.
Rating: 3.5 out of 5
Watch the video:
SLUGABED – SEX: Mr S Lugabed, of Slugabed Enterprises Plc, claims that his track SEX provides the perfect soundtrack to your nights of digital pleasure seeking. The track combines the artist’s love of funk, prog, odd-house and computers to deliver something reportedly late night and sensual. Alas, the washed out synth sound underpinning the track, and softcore beats, failed to generate much excitement of any kind in this listener. The instrumental is quite ordinary, in fact… background music at best. While the bonus offering, Molecules, which lays claim to breaking Steve Winwood down into his constituent parts, is similarly forgettable. Admittedly, things get better on the remix front, where Daedelus weaves some magic and gives SEX some extra zip. But in the main, this is extremely disappointing or, should we say, anti-climactic.
Rating: 2 out of 5
Music - Singles of the week - Monday, April 2, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: ANE BRUN feat JOSE GONZALEZ – WORSHIP: Now here’s a match made in heaven. Norwegian born, Swedish based Ane Brun teams up with Jose Gonzalez for the second release from her critically-acclaimed album It All Starts With One. A moving, deeply atmospheric slow-burner, the song is a concise plea to live in the present and leave a troubled past behind that sounds as though Brun wrote it especially for her Swedish-Argentine colleague. In fact, it had been “in the sketch box for two or three years” without the singer knowing what to do with it. Pairing her soft, fragile vocals against the ghostly, yet calming tones of Gonzalez, though, proves a master-stroke as the gentle instrumentals and occasional strings provide a moody, evocative backdrop to the thought-provoking lyrics. Worship has been described as a distant relative to the Peter Gabriel classic Don’t Give Up, a song that Brun sang repeatedly with the star throughout 2011’s New Blood tour after he invited her to join him on tour. Maybe next time, Gabriel will guest on a future Brun track to similarly classy effect?
Rating: 4 out of 5
Watch the video:
FLORENCE + THE MACHINE – NEVER LET ME GO: Florence + The Machine continue to sweep all before them with another successful album in Ceremonials and now this new single, Never Let Me Go. A power anthem that haunts and enchants, it’s a particularly brooding effort from the talented performer, marked out by her striking vocals and a stunning set of background instrumentals. These take the form of a gothic style piano, some crashing cymbals (which are designed to reflect the ocean/wave element of the lyrics) and some subtle but occasionally sweeping strings. It’s more sombre than some of Florence’s tracks and has been described by some as Enya-esque (with a touch of Sinead O’Connor). But there’s no denying the power of the chorus, which stays with you long after the song has finished. The video, too, has an enthralling, almost ethereal quality about it.
Rating: 4 out of 5
Watch the video:
GRAHAM COXON – WHAT’LL IT TAKE: Graham Coxon drops the highly energetic, utterly infectious What’ll It Take from his latest long-player, A+E. It’s a simple concoction, too, driven by a bouncing electronic pulse, some typically rapid guitar licks and a vibe that’s designed to make people dance as fast and hard as the questioning (if repetitive) lyrics suggest. If Blur had written such a song, it may have been called Song 2 – it’s that kind of simplicity married to catchy brilliance. The video, too, is worth checking out, having been made up of featured moves sent in by 85 fans from 22 countries all cut together by director Ninian Doff. It’s below for you to enjoy and dance along to.
Rating: 3.5 out of 5
Watch the video:
OLLY MURS – MY GOODNESS: Early on, you might be forgiven that Olly Murs has broken into ballad territory. But it’s not long before the eternally optimistic singer breaks into a trumpet fanfare that enables him to profess his undying love for someone new and act like a giddy fool. There’s an energy that’s designed to be infectious surrounding this latest offering from the singer, which is as vibrant as you’d expect for a single being released on the cusp of spring. And it’s as cheesy as ever, packed with lyrics like “I’ve been dreaming of a life that anybody else would die for” and “cause I don’t know if I can stop now, I’m going too fast, heart first, my head just can’t slow me down”. That said, his enthusiasm is such that it’s difficult not to root for him to stay happy, and this has the same kind of toe-tapping, easy-going, disposable pop quality that is fast becoming his cheeky trademark.
Rating: 3 out of 5
LAURA MARLING – ALL MY RAGE: Laura Marling continues to underline her immense talent with the folk-rock offering All My Rage… and we use the rock term advisedly. This is, of course, rooted in folk but it has a vibrancy that isn’t often found in her music, driven as it is by some rousing guitar licks and a kick-ass percussion. Marling’s vocals don’t sound particularly angry but they slowly build the intensity towards a rousing, layered chorus that exhilarates in all the right ways courtesy of the addition of some flutes as well. Lyrically, it’s chock full of some quite unsettling material, while the video isn’t without its eerie elements, but it adds up to a striking whole that should only broaden the acclaim and appeal surrounding Marling still further. What’s more, it gets better and better the more you keep hearing it. It’s surely a big anthem in waiting for her. It’s taken from her current album, A Creature I Don’t Know.
Rating: 4 out of 5
Watch the video:
THE MILK – BROKE UP MY FAMILY: Hotly tipped Essex four-piece The Milk follow-up their hit single B-Roads with the hip Broke Up My Family. A mix of classic, contemporary soul, taut guitar-rock and pop, this also marks a more personal turn for the band as it was written in response to broken homes. It was also produced by the boys’ long-term collaborator, celebrated DJ and remixer Brad Baloo (The Nextmen). It’s a slick mix of styles that somehow works very well indeed, mixing the musical genres with giddy abandon, while investing the vocals with a bitterness and regret that mounts the longer the track lasts. By the time the song ends, the chorus sounds harsher, the lyrics are more potent and there’s even an F-bomb dropped. Fortunately, it retains an energy that still makes the listener have fun. It’s a heady brew and further evidence of this band’s edgy versatility and hip appeal – although the remixes do it few favours.
Rating: 3.5 out of 5
THE FUTUREHEADS – THE NO.1 SONG IN HEAVEN: The Futureheads have made a record with no instruments at all. It’s called Rant and it’s strictly a capella. It’s out the same day as this double A-side single, The No.1 Song in Heaven and Meet Me Halfway. It’s notable for not having instruments but something of a surprise direction change and not entirely successful. But perhaps that has more to do with the choice of themes, for The No.1 Song in Heaven is particularly odd… a cover of Sparks’ ‘70s track, it’s a strange choice that doesn’t quite come off. Much better is their take on The Black Eyed Peas’ Meet Me Halfway, which slows down the tempo to surprisingly good effect and adds a brooding element to the yearning lyrics. And let’s face it, most things are better than Black Eyes Peas’ originals of late, especially when you have a dose of Futureheads covering it. Commenting on their change of direction, Ross Millard explains: “If we were gonna carry on making music we needed to change it up. Making another Futureheads record as per usual wasn’t something that appealed to us. We’ve always been a four-part harmony group; it’s been a massive part of the genetics of this band.” Whether this a capella style can be sustained over the course of a whole album, or is a hit with fans, should be interesting to see – but at least they’ve avoided Flying Pickets comparisons for now.
Rating: 3 out of 5
Listen to Meet Me Halfway:
KEATON HENSON – SMALL HANDS: Keaton Henson releases Small Hands as the latest release from his keenly anticipated debut album, Dear…, which is out on the same day. The LP itself is described by the 23-year-old London artist as a reaction to a particularly traumatic relationship breakdown. Small Hands therefore is typically melancholy, with Henson’s disconsolate vocals backed by only a vague beat and some tender acoustic licks. Lyrically, he asks the object of his one-time affection to forget about his life and move on… but it’s not a cheery effort; rather, quite abject, as though he’s about to break into tears. If you’ve experienced a similarly wretched romantic fallout, there’s comfort to be found. But even then, this particular song (and the album it’s taken from) may be one long self-indulgent pity-fest too far.
Rating: 3 out of 5
Watch the video:
Keaton Henson – Small Hands from Blink on Vimeo.
Music - Singles of the week - Monday, March 26, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: YPPAH feat ANOMIE BELLE – FILM BURN: Yppah has long been one of our favourite artists on the Ninja Tunes rosta (along with Bonobo). He returns with the first single from his forthcoming third album, Eighty One, in the form of the sublime Film Burn. What’s more, it comes backed with a set of vocals from another of our favourite artists of the moment: Anomie Belle. Brilliantly conceived and put together, the track revolves around heartbeat kick, a music box chord sequence, bubbles of electric bass and the distinct, vaguely ethereal tones of Belle. It’s as cinematic as its name suggests, beautiful and warm to boot, and a near-perfect slice of chillout that rivals the likes of the aforementioned Bonobo for intricacy and hipness. Belle’s vocals, meanwhile, embellish the Yppah sound like never before – and the even better news is that she crops up on a further three tracks on the LP (which we now can’t wait to hear!). A remix from Kwes adds extra zip without compromising the delicacy of the original too much. But the next treasure is Her Star Won’t Shine, a wide-screen slice of hip-hop-post-rock that has Go! Team elements about it. Alas, it’s not on the album, so is worth downloading as a damn fine standalone moment in its own right. It’s kick-ass cool.
Rating: 4.5 out of 5
SINGLE OF THE WEEK 2: FRANK EDDIE – BITE THAT/RAP ROMANCE: Frank Eddie – the new project from Fred Deakin (ex-Lemon Jelly) – drops the third in his series of vinyl only releases, with Bite That/Rap Romance, via his own Impotent Fury imprint. This latest release is not too distant from Lemon Jelly’s innate sense of fun, but also showcases a clear progression in Fred’s sound and aesthetic, and cements Frank Eddie as an artistic entity in its own right. Both tracks are great fun… Bite That opening amid a flurry of drum beats and a slightly woozy synth loop, before hitting you with the same kind of giddy feeling that was synonymous with Lemon Jelly in their heyday as well as a sing-along ‘hey’ loop and a retro rap vibe that is a really cool throwback. Imagine what might happen if Bruce Hornsby jammed with Lemon Jelly and hit up The Go! Team for some added vocals. The video for Bite That, created by Fred’s own Airside design agency, will be broadcast on Channel 4 as part of their Random Acts animation strand. Rap Romance, meanwhile, mixes the same kind of slick beats with a retro-leaning guitar riff and another old-skool hip hop vibe that also recalls Paul Hardcastle era ‘80s. It’s pretty darn cool. And what’s mote, this is all building toward a debut album release early next year.
Rating: 4 out of 5
Listen to Bite That:
Watch the video for Let Me Be The One You Call On
SIMONE FELICE WITH FRIENDS FROM MUMFORD & SONS – YOU & I BELONG: As Simone Felice prepares to release his debut solo album, he offers fans a tantalising taster of what to expect with the uplifting Mumford & Sons backed single You & I Belong. Taking its cues from the slow-build approach often adopted by Mumford & Sons, it begins with piano melodies underpinning a folksy chorus that celebrates life and which finds Felice in typically fine, albeit husky voice. Thereafter, a subtle whistle underbed then adds an interesting hook, while the folksy harmonies create a warm sound that helps build to its euphoric, celebratory chorus. By the time the banjo licks kick in to provide extra layering late on, you’ll be having a blast and looking forward to what else is to come from Felice. The decision to team up with Mumford & Sons, meanwhile, is an inspired one. This is a great record for ushering in the warmer weather.
Rating: 4 out of 5
CHRIS ISAAK – MY BABY LEFT ME: Currently enjoying a renaissance in the UK after his current album Beyond The Sun entered the charts at No.6, Chris Isaak will build on his current momentum with the release of the single My Baby Left Me, one of its highlights. As with the album as a whole, My Baby Left Me finds Isaak paying tribute to the glory days of Memphis’ Sun Studio and the visionary artists who started out there under the guidance of Sam Phillips. Originally written by Arthur Crudup, My Baby Left Me is most famous for Elvis Presley’s recording, while John Lennon, Creedence Clearwater Revival and Slade are among the many artists who have also covered the track. Isaak, though, with his distinct vocal drawl and twang recalls the brilliance of Presley’s version, while bringing his own distinct qualities to the mix. It’s a rousing old-school rock ‘n’ roller that pays tribute in just the right fashion while re-inventing the song for a new listener base. It’s just one of many reasons to discover this thrilling LP.
Rating: 4 out of 5
Listen to the track:
BEAR DRIVER – BIG LOVE: Remember how good it used to be listening to the summer-fuelled anthems from acts like Teenage Fanclub and Dinosaur Jr? Well, Bear Driver’s Big Love is one from that kind of songbook… that is to say, vibrant riffs (with a touch of distortion at times), laidback vocals and a sweeping chorus that encourages love, peace and happiness. It’s a feel-good anthem in waiting in many ways, a summer festival crowd-pleaser that arrives just in time to be played loud in the park or out of car stereos just as the sun has put his hat back on. The track is taken from their forthcoming self-titled debut album, which is released on June 4. Bring it on.
Rating: 4 out of 5
Listen to the track:
PLAN B – ILL MANORS: Plan B returns to his rapping style for the first track to be taken from his forthcoming movie, Ill Manors. It’s also a standalone track in its own right which takes a political blast at the current state of the UK and its disenchanted youths… the same kind of yooves, mind, that went out and rioted last year to make their point. It’s volatile and provocative in every sense, dropping incendiary lyrics such as “what needs fixing is the system/ not shop windows down in Brixton’ and ‘you bloody rich kids never listen’ over aggressive beats and menacing strings. The video, too, is packed with violence and news clips showing some of the harsher elements of life on the council estates he grew up. It’s reactionary and has some merit but you also wonder whether the wrong kind of people might get behind it as an anthem. Ben Drew has bags of talent but his rap form is a long way removed from the slick soul of Strickland Banks and arguably finds him at his least appealing.
Rating: 2 out of 5
You decide – watch the video:
CHRIS BROWN – TURN UP THE MUSIC: Chris Brown may have been hailed as the new Michael Jackson by his producer but he’s got a long way to go before he can hold a candle to the late artist in his heyday or escape the ghosts of his own past. His latest single Turn Up The Music is a bit of an abomination too. Built around vocoder-laced vocals, hefty club beats and a techno backdrop that quickly becomes irritating, this is the type of track that seems to be borrowing from a tried and tested template for success, while offering Brown the prospect of being a mainstay throughout the summer clubbing season in the super-clubs of Ibiza and beyond. It’s that kind of soulless creation that just seems to go on and on in its non-descript and highly repetitive way.
Rating: 2 out of 5
BILLY VINCENT – BOTTLE TOP: Taken from their forthcoming debut album She (released on Something Nothing Records), Bottle Top marks the latest single from London quintet Billy Vincent. It also sees the band slow down their brand of skuzzy Americana folk for a tender and heartfelt indie rock number that is nicely rounded off with a brass fanfare. It’s a good change of pace for the band, albeit drenched in melancholy elements, that continues the good work already established with their past EP releases, Once On The Grand Union and King Island Coyote. Billy Barratt and David Vincent’s vocals are particularly expressive and contain a longing that makes your heart go out to them and the sentiments they sing of. Bonus track The Raleigh Burner Song is worth checking out too, and equally as low-key and slow-burning.
Rating: 3.5 out of 5
Watch the video:
DECIBELS – THE LESSER: Described as a blissful mix of lo-fi, ambient, electro and indie, Decibels release their debut single The Lesser and, sadly, seem to be lacking in much bliss. While nothing particularly objectionable about the song, the retro sounding synth sound and slightly pained vocals are a little tiring come the end of the track, no matter how much Stuart Bruce attempts to mix them up by throwing in the odd falsetto. The ensuing track actually reminded me a bit of a mix of Godley & Cream and Erasure with the synth sound very much to the fore. It’s busy and hints at better material to come. But as things stand, there’s just something missing that prevents us getting too excited about it.
Rating: 2.5 out of 5
SHOWBIZHEROES – CLIMB TO FALL: Showbizheroes have been likened to the sound of early Muse and there are certainly some similarities when listening to their appealing new single Climb To Fall. Featuring distinct guitar hooks and foreboding drums, as well as expressive (occasionally high pitched vocals), it’s a heady brew that explodes to life at various points. If you like Muse, then this is a band worth checking out. And you’ve got to applaud them for rising to the spotlight, as even though they have a distinct lack of money, the band decided to take the initiative and set up their own DIY style studio in a second floor ‘would be’ greenhouse in order to bring their music to the masses. The effort seems worth it thus far.
Rating: 3 out of 5
SINCE MONROE – LOST GENERATION EP: Starting back in March 2011, Andy Clifford and James Bradley had a musical vision to write music that was simple, catchy, riff driven and would reach out to a mass audience. Taking influences from their favourite bands from Foo Fighters, Weezer, to Nirvana and Nine Black Alps (amongst many many others), in the short space of time since their first jam session, Since Monroe have snowballed with the help of Rich and Matt Tregortha, through various radio stations on digital and internet with their songs picking up a couple of accolades on the way (Track of the Week on Amazing FM’s Rock Show and Band of the Week on Noize Level Critical). Since Monroe are now releasing the debut EP Lost Generation on their own label (Younitee) and have a tour to back up the release when it hits iTunes in March 2012. The EP certainly hits you with plenty of heavy riffs, recalling the likes of the Foos and Nine Black Alps in their pomp, if appearing a little rougher around the edges. DJ is a real no-nonsense piledriver that wastes no time in laying down the format, Jack Kahuna Laguna maintains that momentum with even louder guitars, and Lost Generation comes close to evoking the grunge and rage of early Nirvana (though without the catchiness per se). It’s the pick of the tracks though. If you like your rock to come with grunge and a lot of anger and power, then this is a new act worth checking out. If not, get ready to put in the ear-plugs.
Rating: 3 out of 5
Have a listen:
Music - Singles of the week - Monday, March 19, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK: BLOOD RED SHOES – COLD: Blood Red Shoes drop their emphatic new single Cold ahead of the release of their new album In Time To Voices on March 26. Featuring a meaty guitar riff and some hyper-active drums, this is the sound of Brighton-based duo Laura-Mary Carter and Steven Ansell at their most bold and defiant. It’s rabble-rousing, dust off the cobwebs kind of stuff with Laura-Mary’s confident vocal delivery setting the scene well and leading the listener into a genuinely rousing and truly anthemic chorus. It’s a hard song to shake once it gets into your head and is made for playing loud. Laura-Mary says of the track: “Steven started playing this weird drum beat in a soundcheck and I wanted to make it into a song, so I found this mean riff to play over it. It has this hip-hop groove which is something we’d never tried before.” On this form, they should do it more!
Rating: 4 out of 5
Watch the video:
EP OF THE WEEK: SEVERIN – EVERYTHING BREAKS: Following a wave of blog hype and John Kennedy making the band his XFM X-posure hot-one, Severin’s four-track debut EP, Everything Breaks, is a blast of urgent, addictive noise on the first singles High Shot and Macabea before hypnotic late-night darkness takes over on Light//Water and 0806. Comprised of Danny Sanchez (beats/guitar/electronics) and Elizabeth Anne Martin (bass/synths/vocals), Severin are rapidly becoming the new cool in dark pop-electronica. High Shot, especially, offers a thrilling mix of styles – kicking off with a throbbing electronic pulse, before quickly layering in some emphatic beats and a scream-like surge that provides an exciting, even foreboding backdrop to a song that invites the subject matter to “keep pushing my love”. Vocally, Elizabeth has a sweetness to offset the harder instrumentals. She sounds more haunted on Macabea, while the beats are more deliberate and atmospheric, but the track still scores highly to maintain the early energy of the EP. And then Light/Water strips things down with some dreamy, neon drenched qualities that 0806 then sees out in almost cinematic fashion (with an industrial under-current). Put together, this is an eclectic and consistently thrilling mix of styles that justifies the hype surrounding them.
Rating: 4 out of 5
Listen to the Everything Breaks EP:
Watch the Macabea video:
BRETON – INTERFERENCE: Sonic and visual experimentalists Breton release their second single, Interference, as the latest taster from their hugely anticipated debut album Other People’s Problems (due for release on March 26). Lyrically, the track touches on compulsive, destructive relationships, their internal compromises and justifications that’s set against a lively, if threatening mix of brass and strings courtesy of German composer and Breton hero Hauschka. He conducted and recorded an orchestra in Berlin, some parts of which were then re-sampled by Breton and worked into the song alongside the classical arrangement. The sounds heard at the end of the track are the string section putting down their bows when the recording session finished. Put together, it makes for an emphatic, take-notice offering that’s shot through with the angst suggested in the lyrics and tonnes and tonnes of atmosphere. It may not be to everyone’s taste (in the mainstream) but there’s no denying its pull, its power or the way it forces you to sit up and take notice whatever your ultimate opinion.
Rating: 4 out of 5
Watch the video:
COLDPLAY – CHARLIE BROWN: The third single to be released from Coldplay’s Mylo Xyloto is yet more typically assured stuff. Slow-building, but with an epic sense of timing and delivery, this finds Chris Martin’s emotive vocals belting out around a lively synth arrangement and some typically assured guitar work from Jonny Buckland. The meaty chorus, in which Martin rallies ‘all the boys, all the girls’, is designed to be best appreciated (and sung along to) in the stadiums that Coldplay now effortlessly call home, while the instrumentals, as always, would work just as well on their own. It’s epic, inspired and typically Coldplay, right down to the enchanting (and melancholy) piano outro that ends things on a surprisingly reflective, thoughtful note.
Rating: 4 out of 5
Watch the video:
AMADOU & MARIAM feat SANTIGOLD – DOUGOU BADIA: Having previously collaborated with Blur’s Damon Albarn to note-worthy effect, African duo Amadou and Mariam now team up with Santigold for their new single, Dougou Badia. The result is yet another success story that boasts genuine crossover potential. On this occasion, a vigorous background beat and some addictive guitar licks combine well with Amadou and Mariam’s distinctly African vocal delivery. It’s a track that refuses to forget its African roots, but which shows enough knowledge to broaden its appeal by sprinkling a little Santigold magic over proceedings. It’s cinematic at times… slowly building towards its rousing finale. An alternative mix by Kennie Takahashi is also worth checking out as it refuses to compromise the integrity of the original, while embellishing the overall sound with even more layers. It’s taken from the forthcoming album, Folila, which hits stores on April 2.
Rating: 4 out of 5
Listen to both tracks:
NICKI MINAJ – STARSHIPS: Nicki Minaj releases another insanely irritating single in the form of Starships. Produced by RedOne (of Lady Gaga fame), this has Ibiza sounding synths and high-pitched, occasionally warped vocals singing about inconsequential fluff such as touching the sky, ‘f**king who you want and f**cking who you like’, while ‘getting on the floor’. It’s typically sassy in the way that Minaj likes to court controversy and attention but it’s almost completely devoid of merit. As for the chorus of “starships were meant to fly”… well, duh?! Who writes these lyrics? Or better yet, who buys these records?
Rating: 1 out of 5
JLS – PROUD: At the other end of the mainstream spectrum we have the super-earnest JLS record Proud, this year’s Sport Relief single. And without wanting to throw a dampener on a charitable cause, this is the kind of schmaltzy, drippy, overly sappy offering that JLS specialise in and which fails to inspire anything other than derision. The JLS boys don’t have a bad set of vocals but this track, about falling down and being picked back up, is a play-it-safe approach to making money that – somewhat crucially – lacks any inspiration of its own. The longing vocals, the co-sung chorus, the limp instrumentals… it lacks any real heart and feels woefully manufactured and typically manipulative. And now I’m probably going straight to hell for writing such things! The video is just as bad too.
Rating: 2 out of 5
ESPERANZA SPALDING – BLACK GOLD: Released on the same day as her album Radio Music Society, Black Gold is a useful indicator of what to expect from that LP. And, sad to say, it’s a bit of a disappointment. Spalding has a marvellously expressive jazz voice but her decision to explore song forms and melodies using the jazz medium makes her music a little restrictive to all but the most appreciative jazz fan (and that’s despite comments from her to the contrary). Spalding claims she enjoys doing this while thinking about the listener, and especially those who may not appreciate jazz. But even in single form, Black Gold has a meandering, almost experimental quality about it that lacks any real structure to get behind. It’s a jazz workout first and foremost, with elements of ‘pop’ found in the chorus. Unfortunately, it just doesn’t do enough to convince the sceptics that she’s achieved her goal of creating something with genuine crossover appeal.
Rating: 2.5 out of 5
Watch the video:
MARTYN – HELLO DARKNESS: Riding high off the critical acclaim that greeted his sophomore album Ghost People (which found its way onto several best of 2011 charts), Martyn opens his 2012 account with a follow-up 12” featuring the previously unreleased Hello Darkness. The ensuing track flits between 2-step, driving techno and old rave to offer a track that’s equally at home in the rawest, grittiest warehouse or within the safe confines of home late at night. It’s energy is undeniable even if you really need to appreciate the techno-rave scene to extract the most from it. For this listener, however, it’s also a little too one-note and overlong… lacking in the diversity often shown by fellow Ninja Tune label-mates such as Yppah (who has a forthcoming single on the way). More interest is offered in the remix of Bauplan, with a grime leaning take from Night Slugs bosses L-Vis 1990 and Bok Bok. Featuring erratic samples (of a tweeting bird one minute, and the cocking of a gun the next) it has an urgency and a danger about it that’s pretty compelling. And it’s again tailor-made for late night sound-systems, offering plenty of soundtrack potential too. It’s arguably the better reason for checking out the 12”, which is finally rounded off by a remix of We Are You In The Future by Redshape.
Rating: 3 out of 5
TOMOS LEWIS – FOUR SONGS EP: Tomos Lewis is clearly aiming to position himself among the same critically-acclaimed company as Ryan Adams, Damien Rice and Bon Iver. His Four Songs EP subscribes to the same kind of song structure as those artists, while showcasing Lewis’ own brand of song-writing based around melodic hooks, sweet harmonies and alt country/folk twangs. If you like those aforementioned artists, there’s every chance you’ll soon have another hero in Lewis. Of the notable songs, EP opener I Died Deep Inside is a keen mix of strong vocals and melodic guitar riffs that slow-build into a rousing finish (a la Mumford & Sons), while closer These Boots has a gritty sense of atmosphere that showcases a more muscular sound. It’s arguably the pick of the lot. Elsewhere, Lewis lays down the folk mellowness of What’s A Man To Do in engaging, if unspectacular fashion, while also holding a candle to the sparse, husky style of Ray Lamontagne on Elinor (with a little Newton Faulkner thrown in). He’s at his best and most appealing, though, when ensuring his sound has more body and more layering. He’s an artist to watch off the back of the EP’s opening and closing moments alone.
Rating: 3.5 out of 5
Listen to I Died Deep Inside:
Music - Singles of the week - Monday, March 12, 2012
IndieLondon gleefully checks out the cream of the week’s singles. All you have to do is click on the pictures to order them…
SINGLE OF THE WEEK 1: PAUL WELLER – THAT DANGEROUS AGE: The evergreen Paul Weller shows no signs of succumbing to That Dangerous Age he’s currently singing about with this hip, barnstorming new single. Boasting slick beats, funky Hammond organs and some classic guitar riffs, the track looks destined to become a classic Weller single for the way it combines catchy, sing-along values with piercing social insight. The song itself details with precise wit the agonies of the frustrated middle-aged wage slave. As Weller states: “There was an inference that I was going through a mid-life crises, which I found really amusing: the clichéd notion of it. And that was the impetus for (the song) even though it isn’t really about that. It’s a bit tongue in cheek, too. I guess it’s also about how society views people of a certain age. For me, does it really matter what age you are? It’s what up there in your soul that matters.” It’s all the more amazing, then, that this particularly song makes Weller sound younger and fresher than he has for ages. The track will be available on CD digipack, two 7” singles and a download EP. The formats include all-new B-side Portal To The Past and remixes of That Dangerous Age by Matt Helders of the Arctic Monkeys and Ladytron plus an explosive version of new album track Green. The new album, Sonik Kicks, hits stores on March 19.
Rating: 4 out of 5
Watch the video:
SINGLE OF THE WEEK 2: STEVE SMYTH – ENDLESS NOWADAYS: Steve Smyth releases his debut single, Endless Nowadays, on TeenAgeRiot Music and duly serves notice of an interesting new talent. Following a recent homeland tour, this hirsute young Aussie, and owner of a unique voice whose timbre can take him from be-gravelled blues-man to angelic upstart in the space of a stanza, looks set to go global. He’s already played London dates to critical success and now, with the release of this moody, banjo-backed single, he only looks set to win over more people. The track is vaguely reminiscent of Josh Pyke and The Shins, with a little Radiohead thrown in, but is utterly addictive, both instrumentally and vocally… with the lyrics providing a thought-provoking accompaniment to what is a pretty complete package. Endless Nowadays (great name too) is taken from Steve Smyth’s debut album, Release, available now digitally and set for full release this spring.
Rating: 4 out of 5
Listen to the track:
LABRINTH – LAST TIME: Labrinth drops the electro-pop-rap workout that is Last Time as the latest taster of what to expect from his keenly-anticipated album, Electronic Earth (out April 2). And on the evidence of this, it might be a pretty decent LP. Last Time combines elements of vocoder-laced vocals with swishing synth arrangements, futuristic orchestration and string arrangements to deliver the type of offering that could appeal to everyone from ELO fans to Bruno Mars and beyond. It’s slick, upbeat and puts you in a good mood – just as every good pop offering should. And Labrinth still manages to retain a sense of his own identity. The video is a bit of a corker too (and it’s below).
Rating: 3.5 out of 5
Watch the video:
KATY PERRY – PART OF ME: Don’t let the zippy electronics and snappy pop beat fool you, this is the sound of Katy Perry at her most broke down and heart-broken. And it’s hard not to think it wasn’t inspired by recent events in her own personal life, no matter how amicable statements suggest. Lyrics here include “you can keep the diamong ring” and “this is the part of me that you’re never ever going to take away from me”. Earlier on, meanwhile, she states: “I just wanna throw my phone away, find out who is really there for me, you rtip me off, your love was cheap, was tearing at the seams.” Perry actually insists the song was written prior to her marriage split but you can’t help but wonder why she’s chosen to release it now. It’s catchy but that somehow doesn’t sound right to me given the messiness of any divorce. Ah well, celebrities eh?
Rating: 2.5 out of 5
Watch the lyric video:
MIA – BAD GIRLS: “Live fast, die young, bad girls do it well…” So sings MIA over the opening moments of her latest in your face pop offering. Songs don’t come with much more attitude than an MIA offering and this is arguably the best she’s had to offer since Paper Planes. It’s lyrically bereft of much to say but the Middle Eastern hip-hop beat (courtesy of Britney hitmaker Danja) adds a distinct flavour that compliments the sassy vocals well. The video, meanwhile, finds the politically minded Sri Lankan native dancing in the middle of the desert, surrounded by various sheiks, and breaking things up with footage of car chases. It’s a striking video that’s well worth checking out – but it also underlines her fondness for getting controversial. You have to begrudgingly admire her… with Lady Gaga floundering, she’s the most potent threat to Madonna’s likely chart dominance over the next few months.
Rating: 3 out of 5
Watch the lyric video:
ADAM LAMBERT – BETTER THAN I KNOW MYSELF: Adam Lambert limbers up for the release of his next album, Trespassing, with the supposedly anthemic Better Than I Know Myself. An ode to his loved one that acknowledges how well his other half knows him, it builds from an edgy electro beat (supplied by Dr Luke) into a euphoric, falsetto-driven outpouring of emotion that’s pure boy-band pop. A moody piano midway through manipulates the emotions still further, making it ripe for pick-up on some sappy teenage TV programme or for a Glee cover version. Lambert’s vocals emerge with credit but this is fairly contrived and manipulative and not really worth getting excited about.
Rating: 2 out of 5
MISSING ANDY – MONEY: Essex five-piece Missing Andy drop their new single Money ahead of their album, Generation Silence (out March 19), and offer another of their observations on the state of modern society. On this occasion, there’s a funky mix of horns, Mark Ronson-style beats and brash warnings (“don’t turn your back cos we’ll take all your money!”) delivered in a cheeky, anthemic way. It’s a fun blast of indie-pop energy that forms one of the 12 tracks HMV selected as part of their ‘Next Big Thing’ initiative. The video for the track was created and produced by the band themselves and takes a sideways look at modern society, characterised by the band’s now trademark black humour. Taking the form of a heist movie with a twist, it’s already gathering an appreciative online audience.
Rating: 3 out of 5
Watch the video:
THE DETOURS – IGNITE EP: Although formed in 2006 it’s taken until now for The Detours to release their debut EP, Ignite, but sadly the wait hasn’t been worth it. According to their PR, they combine energetic guitar riffs with soaring sing-a-long choruses that err on the side of hard rock in a You Me At Six meets Funeral For A Friend kind of way. That is to say, they sound kind of generic within the genre they represent. Album opener One Last Chance opens amid a flurry of spiky riffs and layered, lively guitars but never really lives up to its early potential, with angst-ridden lyrics once again contemplating the difficulty of our trying times. But it’s done in such a familiar, underwhelming manner that it’s nowhere near as empowering as it thinks. Title track Ignite adds more intensity and grit but could be the sound of countless Download rock bands plying their trade, while Free offers more of the same and kind of blurs into the sound of the previous track. It’s meant to inspire… but it sorely underwhelms.
Rating: 2 out of 5
JAKE MORLEY – FEET DON’T FAIL ME NOW: Having impressed greatly throughout a successful 2011, Jake Morley now plans to re-release his debut album, Many Fish To Fry, via a bigger label and revisits some of his singles. Hence, new single Feet Don’t Fail Me Now is one of its highlights and immediately displays the vocal prowess that has seen the likes of Kevin Spacey and Princess Beatrice turn out for his live shows. A shimmering, full bodied slice of guitar pop, it combines lively riffs (both acoustic and electric) with fine sunshine vocal harmonies and a gospel backdrop over the catchy chorus. It’s a feel-good record of the highest calibre that gets a welcome second airing and which deserves to become a chart smash as well. The sentiments about keeping going are also pretty empowering and delivered in such a way as to not sound overbearing. Welcome back, Jake.
Rating: 4 out of 5
Watch the video:
KATZENJAMMER – I WILL DANCE (WHEN I WALK AWAY): Norwegian quartet Katzenjammer release new party-ready single I Will Dance (When I Walk Away), the first single from the band’s forthcoming LP, A Kiss Before You Go. Featuring galloping hony tonk piano, acoustic guitar, double bass and accordion, as well as a breezy set of female vocals, this is a Vaudevillian hoedown of ear-pleasing proportions that is high on its own melodies and intoxicating to boot. There’s a sweetness and sense of euphoria about it that makes it impossible to dislike and which bodes well for the release of the LP, which also features an intriguing cover version of Genesis track Land of Confusion on sousaphone.
Rating: 3.5 out of 5
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