The Best of 2010 - My Top Ten

Best of lists are always a hard thing to think about. You've almost always got your top one or two, but when you're thinking of more it gets a bit complex. And that was without a doubt the case, with my mind going from a top 5, to a top 8, but I finally have my Top Ten albums of 2010. And I'm not saying these are the best 10 albums of the last 12 months or so, I'm saying that these are my favourites. Feel free to agree or disagree.

10. Eminem - Recovery/Vampire Weekend - Contra

I thought a top eleven would just be silly so at number 10 is both the true return of a rap legend and the second release of an American indie foursome. Eminem was back on form in 2010 with 'Recovery', after the questionable 'Relapse', and rightly won back many fans with a top record. Pushing Marshall Mathers back to the top of the charts, 'Recovery' spawned the monster hits 'Not Afraid' and 'Love The Way You Lie', meaning his more hip-hop direction stands up well to his previous work. On the other end of the spectrum, Vampire Weekend boosted their budding reputation with the happy-go-lucky 'Contra'. Like the Beach Boys meeting skinny jeans, the songs 'Horchata', 'Giving Up The Gun' and 'Cousins' are the best of a good bunch from the Manhattan group.

KEY TRACKS: Love The Way You Lie/Cousins

9. Weezer - Hurley

For those who aren't fans of Weezer, just breeze past this. But for those who aren't decided or are fans, 'Hurley' is well worth a listen. Like this blog once said, they won't write world-changing songs, and this effort doesn't quite live up to their seminal work 'Weezer', but it is still a fantastic collection of fine geek rock anthems. From the Jackass-backed 'Memories' to the wistfully sentimental 'Time Flies', 'Hurley' is the funnest album of the year and reminds us of Rivers Cuomo's talents. And for the perfect summation of the band, look no further than one of my favourite tracks of the year, 'Where's My Sex?'

KEY TRACK: Where's My Sex?

8. Arcade Fire - The Suburbs

Anyone who has looked at an end of year best album list would more than likely have found this fine effort near the top - and it's unlucky not to be nearer the summit in mine. Arcade Fire shook off the difficult second album tag and asserted themselves as one of the bands of the year, with the diverse and thoughtful 'The Suburbs'. In a great year for the Yanks, this epic record has to be listened to as a whole - a journey that the seven-piece band have magnificently and carefully put together. Thought-provoking and heartfelt.

KEY TRACK: Rococo

7. My Chemical Romance - Danger Days: The True Lives of the Fabulous Killjoys

The kings of emo are back - but they've lost the make-up in their boldest effort yet. Gerard Way and Co. have well and truly dropped 'The Black Parade' for this fast-paced rock album that puts them up towards the world's best. The concept is California 2019, the band are outlaws and they are having more fun than ever. MCR have never sounded better and their talent is on show here for all to see. Now with the opportunity to win over more people than ever with the lack of mascara, Way powers through the likes of 'Na Na Na (Na Na Na Na Na Na Na Na Na), 'Sing' and 'The Only Hope For Me Is You' which set themselves up there with anything guitar-related in recent years. The best rock album of the year.

KEY TRACK: S/C/A/R/E/C/R/O/W

6. Plan B - The Defamation of Strickland Banks

Ben Drew is an impressive man. Not only did he release one of the best albums of the year, but to go alongside it is a film he directs and stars in. 'The Defamation of Strickland Banks' is the tale of rape, imprisonment, solitude and sacrifice, but it's not as gloomy as you think. Plan B's fantastic vocals make it more like a Motown-inspired soul record, with dashes of rap, R'n'B and Hip-Hop. Along with it came the massive hits 'She Said', 'Stay Too Long' and 'Prayin'', but again the real pleasure comes in the album as a whole. One talented guy and one hugely entertaining album.

KEY TRACK: Welcome To Hell

5. Kanye West - My Beautiful Dark Twisted Fantasy

The clue is in the title. Again one of the biggest albums of the year, Kanye West was on top form and this could very well be his masterpiece; combining the best parts of his releases so far to make this titan of a hip-hop record - for once validating his status as one of the biggest artists on the planet. Extremely personal, honest, self-indulgent and seemingly endless (at over an hour long) and with some of the biggest names thrown in (Jay-Z, Bon Iver, Rihanna, Beyonce to name a few) it's epic in every sense of the word. 'POWER', 'Monster' and 'So Appalled' are top tracks, while 'Runaway' deserves it billing as the song of the year. A dark twisted fantasy indeed.

KEY TRACK: Runaway/Monster

4. Gorillaz - Plastic Beach

Damon was at it again and he was on top form as Gorillaz returned with the fantastic 'Plastic Beach'. Dipping into the worlds of hip-hop, electronica, pop, rap and jazz, the only way to class this properly is under 'alternative'. And Damon doesn't disappoint with his friends; Snoop Dogg leading the way in an album containing cameos from Mos Def, Lou Reed, Little Dragon and De La Soul among others. The animated pop group are sounding better than ever; more confident and more innovative and experimental than before; 'Plastic Beach' was a fine effort. Highlights are found throughout, but come mainly from 'Stylo', 'Empire Ants', 'On Melancholy Hill' and the Snoop-inspired 'Welcome To The World of the Plastic Beach'.

KEY TRACK: On Melancholy Hill

3. Brandon Flowers - Flamingo

Us Killers fans got treated to a Killers album this year - in the form of lead singer Brandon's debut solo release. It's hard to see where the others fit in with this pop sensation, with all the confidence, skill and synths you would expect from his bandmates. At his balladry best, Flowers shows off his undoubted skill in the pop highlight of the year. The first five songs come straight from a Killers release; 'Welcome To Fabulous Las Vegas' a wonderous opener, followed brilliantly by 'Only The Young', 'Hard Enough' and fifth song 'Playing With Fire'. Also make sure you check out country-fied 'The Clock Was Tickin'', 'On The Floor' and 'Right Behind You'. But it is in 'Jilted Lovers and Broken Hearts' where Flowers is at his best; a soaring anthem. Brilliant album.

KEY TRACK: Jilted Lovers and Broken Hearts

2. Belle & Sebastian - Write About Love

My biggest surprise was at how good this album actually was. I'd heard of the Glasgow band before, and that they were an indie outfit, but not much more until I reviewed 'Write About Love'. I gave it praise then, but ever since it has grown and grown with each listen and now I can say it was the second best album of the year. It's a combination of indie angst, lyrical honesty and musical ingenuity. But it's instantly likeable and catchy from the word go with 'I Didn't See It Coming'. It's another one that needs to be listened to as a whole, but while there's a couple of average tracks, the record is more than saved by the highlights. 'I Want The World To Stop', the title track, 'Little Lou, Ugly Jack, Prophet John' sung with Norah Jones and 'Read The Blessed Pages' all fine works. With 'I Can See Your Future' being gloriously uplifting, it caps a simply beautiful album. It's barely made a mark on the best of lists around, but it's more than merited second in this list.

KEY TRACK: I Can See Your Future

1. Bombay Bicycle Club - Flaws

And at the most-coveted spot at the top, it's Bombay Bicycle Club with their fantastic acoustic album 'Flaws'. After the fine debut work 'I Had The Blues But I Shook Loose', the up-and-coming indie band from London released this and I class it as a masterpiece. Some were disappointed to see them move away from their electric side, but for a side project this is a marvellous effort. Each song is a gem in its own way; 'Rinse Me Down' and 'Ivy & Gold' wonderful country-fied toe-tappers, down to the melancholic and sorrowful 'Leaving Blues' and 'Jewel'. The distinctively soft drone of Jack Steadman has picked up many fans so far, and will pick up more. So many of these young guitar bands are built up by the musical press and fail to live up to the billing, but BBC have already shown their talents from two vastly different but equally impressive releases. 2011 is expected to see a return to their amped-up debut style, but 2010 was well and truly won over by their touchingly soulful 'Flaws'.

KEY TRACK: Flaws

Well done to Bombay Bicycle Club, well deserved winners of this most coveted award, and here's my favourite track 'Flaws' for your enjoyment. Thank you 2010, it's been a pleasure.

NWR

John Lennon: The Legend

There's been an awful lot written about John Lennon. From his rebellious early days, to his entrapment in The Beatles' early days, to the drug-hazy Sergeant Pepper, to the peace-protesting house husband, he is a vastly interesting character and one of the legends of the last century. But I'm not going to write about the man himself. There are legions of books out there about the man, both before, during and after his Beatles' career, and recently the musical press has been inundated with accounts of Lennon's life. All of which will be much more in-depth than I could write. So it's why I shall write about what I do know: Lennon's music.

I first heard Lennon, like so many before me, through the Beatles. It was through The Beatles One album I heard the likes of 'Help!', 'All You Need Is Love' and 'Come Together', and was immediately entrapped. Lennon's lyrical talent is something that shines through all of his records, his nonsensical metaphors a delight to listen to. 'Glass Onion' and the brilliant 'I Am The Walrus' are perfect examples of this, who else would have written 'Semolina pilchard, climbing up the Eiffel tower' and 'Elementary penguin singing Hari Krishna'. No-one really, is the answer to that. Well, maybe now after Lennon.

It was in reading more about The Beatles and Lennon that you come to appreciate his music more. George Harrison is a great character, while Paul McCartney has written some of the best songs of all-time. But Lennon's songs are so brilliantly personal, every one reflects a little part of himself in a way songwriters rarely do. The moody 'You Can't Do That' is a bitter warning to a lover, 'No Reply' an accusing finger-pointing and 'Yes It Is' a swooping story of love covering the depths of Lennon's early insecurities around women.

'Help!' is literally a cry for just that, surviving 'Beatles' treatment through Lennon's emotional delivery, while the ploddingly epic 'In My Life' shows him for the first time in a truly autobiographical sense that would later dominate his output. See 'Nowhere Man', 'She Said She Said', 'Yer Blues', 'Julia', 'Don't Let Me Down' and 'I Want You (She's So Heavy)' for his journey while part of the Fab Four. Also, have a listen to 'Tomorrow Never Knows', 'Rain' and 'Being For The Benefit of Mr. Kite' to hear the guy's experimentalism and ingenuity.

Strawberry Fields Forever' however is his crowning glory. Hallucinogenic, twisting and turning, seductive; it is one of the most interesting and fantastically-made songs of all time. Here, Lennon trumps McCartney's 'Penny Lane' and writes his name in history as one of the most supremely-talented musicians ever to come from these shores.

His post-Beatles output is arguably more interesting. Songs like 'God' and 'Mother' are great listens as they are the most personal songs ever heard; it's Lennon airing his most personal hurts for all to hear. 'Imagine' and 'Give Peace A Chance' rightfully go down in history as immense songs which have earned their place in history.

John Lennon is a genius. Pure and simple. His death 30 years ago this year was a tragedy, something on the scale that has only been met a few times this century, and his loss is still being felt and paid for today. However, his music is as vibrantly inspired today as it was when it was written, and that is why Lennon will outlive us all within his songs.

And to finish off, here's my five favourite John Lennon songs you may not know:

The Beatles/With The Beatles - It Won't Be Long - A raucous toe-tapper that stands as one of the best Beatles album openers

The Beatles/ Revolver - I'm Only Sleeping - A drowsily inspired tale of Lennon's legendary laziness

The Beatles/ The Beatles (The White Album) - Happiness Is A Warm Gun - Theatrical rock at its best; from mellow piano to fuzzy mood rock to anthemic release

The Beatles/ Yellow Submarine - Hey Bulldog - Dark piano rock that betters Lady Madonna

John Lennon/ Plastic Ono Band - God - The most honest pop record of all time - '‘I don’t believe in Beatles, I just believe in me’, ‘I was the walrus, but now I’m John’

And just for good measure, here's another great Lennon track - 'You Can't Do That' - with footage from The Beatles.

NWR

Beady Eye - Bring The Light

As a huge Oasis fan, I'm with the others in anticipating the return of the Gallagher brothers in their separate forms. And while Noel is taking a long break from the business, Liam is back already with new band Beady Eye. Here's what I thought of their first release:

The music world is an odd place in this post-millennium world. Dance, R'n'B and pop music has taken over the charts thanks to Simon Cowell, Lady Gaga, Will.i.am and Co., while a lot of indie/guitar bands are left to fight their way through from the underworld of sweaty venues, demo tracks and Facebook pages. It seems like an age since we had a genuine rock star in our midst. Alex Turner is extremely talented yet too quiet to truly be a rock star, Matt Bellamy is in the same boat and don't even get me started on Pete Doherty. It seems Tom Meighan of Kasabian is the closest we have nowadays, as he is the lead singer of one of the biggest bands we have. And who's mantle is that taking? Why, that would be Oasis.

Say what you want about the Gallaghers, but there has been nothing like them to hit the music scene in the 20 years since 'Definitely Maybe' came out. Don't get me wrong, there have been good bands and there is some quality music out there from many different sources; The Strokes, Arctic Monkeys, Muse, Coldplay to name but a few examples, but none quite had the same impact as Oasis did. And it was Liam Gallagher at the forefront of that boom. Armed with the anthems Noel wrote, Liam combined the best parts of Mick Jagger, John Lydon and John Lennon to write himself into the history of British music. And with Beady Eye, he's back. And it's as if he hasn't been away.

Exploding in with Jerry Lee Lewis piano, 'Bring The Light' is a raucous rocker that already makes Beady Eye one of the most eagerly anticipated bands of 2011. It may be on the simple side, Liam's lyrical talent has developed more but not yet fully, but the 3 and a half minutes are full of pace, power and attitude that we have come to expect from a Gallagher. Complete with an infectiously pounding beat, luscious soul backing vocals and a Beatle-borrowed guitar solo, Liam snarling in his instantly recognisable way 'Baby, come on, Baby, come on' is up there with anything in the charts at the moment. Add in a 'Hindu Times'-esque video, it's a nice little package for Gallagher, Archer, Bell and Sharrock to return with.

It's only a small snippet of 'Different Gear, Still Speading', but if the rush to get the 'Bring The Light' as a free download from the Beady Eye website is anything to go by, they're not short of early fans. Many, myself included, descend from Oasis and are not disappointed with this first taste of Gallagher Part Two. Again, like many, I eagerly await what Noel has to offer but Liam has got their first; bursting back onto the scene with this rocker along the lines of his Oasis songs 'Better Man', 'Meaning Of Soul' and 'Ain't Got Nothin'', with a little extra quality thrown in there.

Beady Eye's first release was always going to battle between my heart and my head. Liam is a talented man, but any brother to Noel Gallagher is going to be slightly in their shadow, so this has given Gallagher Junior the chance to strut his solo stuff. My heart yearns for it to be good, for it to rewrite the history books of British rock with some legendary anthems. My head just wants it to not be humiliating, for someone who relies so much on ego to release an awful album would take a huge chunk out of the bravado, the reputation the frontman brings. Luckily, 'Bring The Light' falls somewhere in the middle.

It's a good little song. A bit of a toe-tapper, gets stuck in your head and has a decent swagger about it. It hasn't uprooted any trees, re-set the record books but it is just what Beady Eye needed; to break out in their own right. It's just different enough from Oasis, but it's still well worth a listen, and sets a good precedent for the upcoming album. And that will do just fine for now. It's good to have you back Liam.

And coming very soon is what I think of their second song, 'Four Letter Word'. But for now, here's Beady Eye with 'Bring The Light'.

NWR

Paul McCartney & Wings - Band On The Run

Admittedly it's late, but here is the review of Sir Paul McCartney's re-released solo album 'Band On The Run', which made a reappearance earlier this year.

The Beatles were huge. It's a statement that is no longer personal opinion or general consensus, but now fact; the Fab Four were massive. Their legacy is still being felt today, no other band could quite create the stir that the Beatles did in the past couple of years with the release of their own RockBand game, the remastering and releasing of their albums and the availability of their music on iTunes. Huge. But it's odd to think that they were only really in the public eye as a group for nine years. So what did they do after that?

John Lennon was famously involved in protests, house-husbanding and visited music only in self-confessional pieces of genius, such as 'Imagine', 'God' and 'Mother'. George Harrison also stayed in the music business, with his personal masterpiece coming in the form of triple-album 'All Things Must Pass'. Even Ringo had success in the music world, releasing numerous albums and travelling in 'Ringo's All-Starr Band' to worldwide joviality. But for someone who was blamed for the breakup of The Beatles, the departure hit home more than with the others.

Sir Paul McCartney, as has been written thousands of time, took the breakup of the Fab Four harder than others, disguising the grief he felt from the tearing of the Lennon-McCartney partnership by rush-releasing 'McCartney', just days after The Beatles confirmed they were no more. And in his depressive faze, he released many questionable records that shook his once unshakeable reputation, the cheeky sweet-faced Beatle image straining under the weight of failing productions. But in 1973, his luck changed.

In the dangerous and hectic surroundings of Nigeria, McCartney had just recorded his latest albums with his new band 'Wings' and it was to change his fortunes. Despite losing half of the original recordings and narrowly missing being attacked in the street, Nigeria saw Macca produce his own personal masterpiece; the album that became his solo calling-card and is still playing the majority of to this day.

Kicking off with title-track 'Band On The Run', McCartney exhibits the musical expertise and lyrical talent that people had come to doubt. From the lounging breeze of guitar licks, to the gloomy cry of entrapment, and blossoming into the cacophony of customary McCartney balladry, the first song sets the tone for a record that spawns classics so effortlessly. 'Jet' is a fuzzy rocker with a pumping beat, while 'Mrs Vandebilt' is a head-bobbing, toe-tapping tune built for rampant stadium crowds.

And with McCartney's large-scale anthemic tunes, of which the belting 'Let Me Roll It'; with its stunted guitars, bellowing chorus and simmering beat; sits up alongside his best, he brings his delicate melodic genius. 'Bluebird' is a touc

hing, jazz-tinged tune that floats along with his best vocals on show, while 'Picasso's Last Words' drifts in a similar mood; relaxing to the tip and with the heartfelt touch only Macca can truly give it and develop it into a great song. Even the dewy 'Mamunia' and the slowly-twisting 'No Words', which aren't fantastic songs, make what is an exceptional album.

The album's highlight however is it's finale. In the moody piano-rocker 'Nineteen Hundred And Eighty-Five', McCartney hits his best since Abbey Road. With a thumping beat, constantly-moving keys and a tortured Macca vocal, it acts to round off what is a truly brilliant effort from someone who's talent should never has been questioned. It still today stands up as the best solo album from a Beatle, although others' efforts are not to be ignored.

Save for 'Maybe I'm Amazed', 'Live And Let Die' and 'My Love', 'Band On The Run' is the compilation of McCartney's best work as a solo artist and should be an essential part of any music-lovers' collection. It's what is good about the big man; huge balladry, well-built luxurious records and grabbingly addictive chorsuses. The exact opposite to Lennon's solo work in terms of feel and style, but it shows what each of them bought to the greatest song-writing partnership of all-time.

And although it has the questionnable motive of releasing it to coincide with the remastering of Lennon's solo works, it does help us to remember the two beyond the Fab Four. The Beatles formed what music is today, but John Lennon and Paul McCartney should be remembered for what they did throughout their careers. And it doesn't get much better than 'Band On The Run'.

Great album, must-own for most music fans, whether you like McCartney or not, and here's my favourite song 'Nineteen Hundred and Eighty-Five' for your enjoyment.

NWR

Guess Who's Back ...

Sorry for the big gap since the last post guys, University lived up to its promise by taking over my life for the last two months or so, and strictly speaking it is still going to take up large portions of my time over the next month or so, but as I'm sure you will all be glad to hear I am back in blog-writing mode. Boom.

So not alot's happened since I left you ay? Just some small skuffles in the capital over poor old students paying more money, snow once again grounding poor old England, the England cricket team still struggling to beat 'the worst Oz side ever' in the Ashes. And this is without mentioning the biggest news of all; Liam Gallagher is back with Beady Eye. Boom.

Well over the coming weeks I shall be putting up promised reviews of Sir Paul McCartney's reissued Band On The Run album, a piece of John Lennon as we pass through the 30th anniversary of the great man's death and of course, my views on 'Bring The Light' from Beady Eye. Also, watch out for my highlights of 2010 and my favourite albums from the past 12 months.

To look forward to next year, well there is of course a return to the weekly supply of album and single reviews, with the occassional gig thrown in there. Big highlight at the moment will be the Isle of Wight Festival, for which I am attending for the fourth year in a row, and with Kings of Leon, Foo Fighters, Pulp, Kasabian and Beady Eye confirmed already it promises to be a cracker. Stay tuned.

Where it may be until mid-January that I return to regular posting, I will do my best to keep up over this busy Christmas, New Year and Uni deadline period. For now though, here is the legend himself John Lennon, with one of the greatest Crimbo tunes of all time, 'Happy Xmas (War Is Over) to a superbly seasonal background.

It's good to be back people.

NWR

Cheryl Cole - Promise This - 25.10.10

In the second installment of this pop-filled week, I looked at Cheryl Cole's new single 'Promise This' and here's what I thought.

I think Cheryl Cole is better than her music. Since shooting into the public eyeline with Girls Aloud in 2002, she has become one of the nation’s biggest celebrities as a judge on X Factor and is now Britain’s leading style icon. But whereas she has rocketed to fame, it has been due to her celebrity marriage to Ashley Cole and their subsequent divorce, and not her music. ‘Promise This’ won’t change that pattern.

Heralded by strange but interesting calls of ‘alouette’ (French for skylark), it is a fast-moving pop tune with a Gameboy-esque backing, it’s a recognisable Cole vocal with a more dance-fuelled approach. In the modern chart, it’s a pretty formulaic dance track; the club-ready beat, a semi-big chorus and odd moments we might link to Lady Gaga.

It will sell loads and will almost inevitably be a number one track, as will up-coming album ‘Messy Little Raindrops’. And whereas it’s catchy enough and will fit in easily with any club DJ’s playlist, it is very similar to a lot of other dance songs out there. Whereas ‘Fight For This Love’ was a bit different to what was out at the time, ‘Promise This’ just falls into line with other songs in the charts, only mildly more interesting than the last number one.

But it won’t really matter. ‘Messy Little Raindrops’ is almost guaranteed to hit the top spot; the continuing story of the ‘Geordie Lass’ becoming the nation’s sweetheart assures that. And she will continue to be an integral part of making the X Factor one of the country’s biggest programmes. But ‘Promise This’ promises only one thing; Cole has become the X Factor judge who sings, not the singer who judges on X Factor.

As always with Cheryl Cole, the video is well worth a watch and here is the video for 'Promise This'.

NWR

Taylor Swift - Speak Now - 25.10.10

Another slow week in terms of albums I would be interested in, so instead of fighting against the 'pop' tide, I've decided to join it. Here's what I thought of pop princess Taylor Swift's new release 'Speak Now'.

There are a lot of things that come to mind when you first think of a Taylor Swift album. It’s the country-fied image of the ‘Love Story’ teen idol, crying over an acoustic guitar waiting for the love of her life to come and rescue her. And if you’re anything like me, that picture doesn’t make me go out and buy the album. Fortunately, ‘Speak Now’ sees a more mature Swift come through.

All the fans of Swift out there needn’t worry. It is the same style of country-influenced ballad pop that is unmistakeably Swift, with the similar romantic feel and big choruses of previous efforts ‘Taylor Swift’ and ‘Fearless’. But she shows lyrical talent past her twenty-years, even if it is all about the same thing.

‘Mine’ sets the tone for the next hour and a bit; upbeat pop with a well-built chorus and the same themes of love, regret and sentimentality that run throughout. ‘Sparks Fly’ and the sorrowful ‘Back to December’ follow the ‘schmultzy’ feel, while the delicately delivered and regretful ‘Never Grow Up’ is a touching moment. ‘Speak Now’ is another song that could well have been sung by Miley Cyrus.

The bluegrass-tinted ‘Mean’ and dance-beat fuelled ‘The Story Of Us’ offer a welcome break from the lovey-duvey ‘Love Story’ tracks, and some of Swift’s best moments come as she moves away from the idealistic tales of love. ‘Haunted’ is a dramatic orchestral tale of infatuation and obsession, while ‘Better Than Revenge’ sees a rocky side of Swift that almost touches on Avril Lavigne or Paramore. Almost.

But ‘Speak Now’ is a tiring album. Swift’s necessity for a big, all-encompassing chorus means every song feel like a long journey within itself, and the Disney-fied pop style wares thin as it goes on. The lumbering ‘Dear John’ and sombre ‘Last Kiss’ both go over six minutes and that feels too long. ‘Innocent’, the olive branch she gave to Kanye West after their MTV VMA incident, doesn’t go anywhere and big finale ‘Long Live’ comes at a point where you’re tired of hearing ‘will you take a moment, promise me this/that you’ll stand by me forever’.

I have a lot of respect for Swift after this album. She wrote every song on ‘Speak Now’, a rare thing for pop stars these days, and she shows herself to be very talented at writing and building her songs. The atmospheric story of love at first sight ‘Enchanted’ is a guilty pleasure: ridiculously romantic but momentarily captivating.

And that’s the problem with the album; a little too much about idealistic love for my taste and the constant stream of ‘anthemic’ choruses is exhausting. An overall much more mature effort from Swift, and future releases should be more interesting.

And here's what is probably my favourite song 'Better Than Revenge', and here it is backed by the now infamous image of West and Swift. In the words of Barack Obama, what a jackass.

NWR

At The Moment

Here's a new feature for the blog; just simply a list of the songs that I can't get out of my head at the present moment and recommend anyone to check out:

Muse - Hysteria : A titan of stadium-sized rock

Oasis - Gas Panic : A transition-period Noel Gallagher masterpiece

Brandon Flowers - Right Behind You : Can't stop listening to this perfect piece of soulful pop

Blink 182 - Going Away To College : Some say all Blink songs sound the same, but to me that is no bad thing; this is them at their fast-paced best

The Strokes - Ize of the World : A later classic from Casablancas and Co. that makes me want their new album to come out tomorrow

And here's Muse, with 'Hysteria'. Enjoy :)

NWR

The Beatles - Red & Blue Albums - 18.10.10

Taking into consideration their impact on popular music, here's a special entry on The Beatles, as Apple release the remastered versions of '1962-1966 (The Red Album)' and '1967-1970 (The Blue Album).

Anyone who doesn't know The Beatles well should have these albums. In fact, anyone who has an interest in music should have these albums. The Red and Blue Albums not only summarise the career of the Fab Four, but capture brilliantly the Sixties and show us why these four lads from Liverpool influenced almost every band that has been formed since.

'1962-1966 (The Red Album)' encapsulates what John Lennon called 'the fun Beatles'; the early records up until Revolver. From the sparse but romantic beginnings of 'Love Me Do', it still surprises how quickly The Beatles develop into a quality band and how the Lennon/McCartney partnership grows alongside this. 'Please Please Me' through to the brilliant 'Can't Buy Me Love', you see why this band shot to nationwide fame overnight.

The Red Album is worth buying for the songs that weren't released as singles; 'And I Love Her' was one of the highlights from the 'A Hard Day's Night' album, while not enough people have heard 'You've Got To Hide Your Love Away', the hip-shaking 'Drive My Car' or Lennon's first masterpiece 'In My Life'. Of course, you've got all the early classics; the jubilant 'She Loves You', hook-heavy 'Day Tripper', sing-a-long extraordinare 'Yellow Submarine' and the most covered song of all time 'Yesterday' all make an appearance. Also, look out for what many call the greatest Lennon/McCartney piece, 'We Can Work It Out'.

There is a huge difference between the simplistically pretty 'From Me To You' to the sinisterly dark 'Eleanor Rigby', showing the vastly improving skills of The Beatles. By the time you reach '1967-1970 (The Blue Album)', you see a band truly on top of the world.

The sheer brilliance of 'A Day In The Life', the definitive Lennon/McCartney collaboration, the lyrical nonsence of 'I Am The Walrus' and the wonderful weirdness of Lennon's finest moment 'Strawberry Fields Forever' show The Beatles' highlights, save for perhaps their most far-reaching track, the triumphantly euphoric 'Hey Jude'. But again the Blue Album is a must-have for the non-singles from the four-piece's back catalogue.

'Ob-La-Di, Ob-La-Da' is brilliant which ever way you look at it, 'Come Together' is seductively enticing and 'Sergeant Pepper's Lonely Hearts Club Band' is one of the defining moments of modern history. As The Beatles went on, the styles of John Lennon and Paul McCartney began to differ and the Blue Album shows this. Lennon shows his lyrical and logical absurdity in 'Lucy In The Sky With Diamonds', while also exhibiting his touching talent in 'Don't Let Me Down' and 'Across The Universe'. Paul went in the other direction, writing some of the biggest hits of the sixties with 'Lady Madonna', 'Back In The USSR' and 'Get Back'. Don't forget George Harrison either, who shows his extraordinary skills in 'While My Guitar Gently Weeps', 'Here Comes The Sun' and 'Something'. Even Ringo gets in on the act with 'Octopus's Garden'.

The Red and Blue Albums are terrific compilations of The Beatles' skills. Comprehensive, chronological and cleverly chosen, they are a must-have for anyone interested in seeing why most of their favourite bands picked up a guitar.

So you know what I think of them, and here as another treat is The Beatles in their last ever performance, with 'Get Back'.

NWR

The Wanted - Heart Vacancy - 18.10.10

This is a bit of a slow week for singles, so I've decided to go a bit outside my usual listening and here's what I thought of The Wanted's new release, 'Heart Vacancy'.

Well there is one thing you can give The Wanted a bit of credit for. No, it’s not their incredible musical ingenuity, and no, it’s not their unbelievable musical skills either, funnily enough. But for a boy band, that isn’t JLS or a nineties’ returning ‘wonder’, it’s very difficult to stay around for more than your five minutes. But The Wanted may just do it.

It is stereotypical boy band crap. Sung with the generic whiney male pop voice, it lumbers along with a computer-generated beat, the odd piano note and starts with the same guitar that the Backstreet Boys used on ‘I Want It That Way’. The lyrics are as dumb as they sound; it’s a song about a metaphorical hotel in a girls’ heart, with my favourite line – ‘If loneliness would move out/I’d fill that vacancy’.

The video is again exactly what you would expect; five airbrushed lads walking along a rustic-style street, jovially jostling each other with plently of heartfelt close-ups. The track is actually worse than debut release ‘All Time Low’ and that’s saying something. But this song isn’t really for me to judge.

Bands like The Wanted and JLS aren’t around to impress me; a nineteen year-old lad. They are purpose-built for the young teenage girl genre, and if the comments left on the YouTube/iTunes/Facebook pages are anything to go by, I’d say it was working. It is purely boy band pop music, and I’ll leave it for the twelve-year old girls to enjoy.

And here is the song 'Heart Vacancy', but you honestly don't have to listen to it unless you are a teenage girl - or just one at heart.

NWR

Kings of Leon - Come Around Sundown - 18.10.10

Kings of Leon are back with one of the most eagerly anticipated releases of the year, 'Come Around Sundown', and here's what I thought.

I’m going to give the Kings of Leon a chance. I was never a big fan; I thought ‘Youth and Young Manhood’ was a good album, but there was something about their style that I never really bought into. ‘Only By The Night’, however, got a reaction from me. I hated it; especially the singles, and they’d obviously sold out for fans. But with new album ‘Come Around Sundown’ out, I’ve decided to give them a chance to win me over.

‘Come Around Sundown’ has some promising tracks. There is none of the triumphant but vacuous style stuff from ‘Only By The Night’ and a return to an older Kings of Leon sound – at least to a point. Lead single ‘Radioactive’ is the most arena-ready song on show and has the same echoey sound as ‘OBTN’, but with a more hooking guitar riff and a return to home values for Caleb Followill and Co.

Opener ‘The End’ has a mellow feel with rumbling drums that draw you in further, and ‘Pony Up’ has an interesting and enticing guitar riff that keeps you riveted. ‘The Immortals’ is also appealing with an almost euphoric chorus and ever-evolving bass line, while the gritty ‘Mary’ deserves a listen. The highlight however is ‘Pyro’; delightfully tormented Followill vocals, a touching performance and one of the only songs that builds well.

However after that, it begins to run a bit thin. ‘The Face’ sets the tone; lumbering pace and a lack of real direction see it not really go anywhere. Drummer Nathan Followill promised a ‘more chilled out’ and ‘beach-y’ album, perhaps mirrored in the choice of album title and artwork, and that’s what we get. But the problem is shown in ‘Mi Amigo’; which plods along without any real energy and almost a lack of willpower.

‘Back Down South’ has the feel of lo-fi bluegrass ‘hootenanny’, and ‘No Money’ has a punky start but just flounders within itself with the telling lyric – ‘give me something I can believe in/Give me something to walk me away’. ‘Beach Side’ is sparse and doesn’t evolve into anything and the bright-sounding ‘Birthday’ has a good chorus that fails to lift the song out of its malaise. And by the time you’ve hit final track ‘Pickup Truck’, the nonsense lyrics and deteriorating drive of the album wear very thin.

‘Come Around Sundown’ is an album unsure of itself. Kings are stepping back from the bold bravado of ‘Only By The Night’, having learned the lessons of commercial success it taught them, but this release is not a return to their old style. I gave it a chance and it has impressed me to a point; it’s much better than ‘OBTN’. But it has no real pace and until the Followills know what band they want to be; the bluesy Kings of old or the band that wrote ‘Sex On Fire’; their records will suffer.

A definite improvement if not a wholly enjoyable album, but here's my favourite track 'Pyro'.

NWR

The Ting Tings - Hands - 11.10.10

The Ting Tings have returned with new single 'Hands' and here's what I think of it:

The Ting Tings are back. We were all overwhelmed with monster number one hit ‘That’s Not My Name’ and similarly addictive follow-up ‘Shut Up And Let Me Go’, and anyone who had the pleasure of seeing them live would agree they put on a good show for just two people. And new single ‘Hands’ sees them return to a recognisably hooking single.

‘Hands’ sees Jules De Martino and Katie White get even more poppy; a beat made for the nightclub, keyboard driven throughout and with the simple chorus asking ‘clap your hands if you’re working too hard’. But it is as addictive as its predecessors, if not more so, the heavy synths and simplicity guaranteeing it is readymade for the dance floor.

If the track is a summariser of forthcoming album ‘Kunst’, then we are in for a couple more months of being inundated by annoyingly brilliant modern pop classic from the Ting Tings. But I’m sure I’m not alone when I say I hope there’s more guitars on the album. I preferred ‘Great DJ’ and ‘Be The One’ from indie-pop debut album ‘We Started Nothing’; it was what separated the duo from other more forgettable bands of 2008.

It is a slightly selfish demand and it shouldn’t be taken as a massive criticism of ‘Hands’. It is as seductive as earlier Ting Tings hit and I challenge anyone to not dance to this if it comes on in a club. It would be brilliant to hear the pop-rock Ting Tings sound on ‘Kunst’ though, and not just the dance-pop side of their talents.

Fantastically addictive and here it is for your viewing pleasure, 'Hands'.

NWR

Belle & Sebastian - Belle & Sebastian Write About Love - 11.10.10

I hadn't heard too much of Belle and Sebastian, so decided to have a quick look through their back catalogue and listen to their new album. Here's what I thought:

Belle and Sebastian have always been one of those bands who are critically acclaimed, if not overly successful in the charts. The Glasgow band have won over plenty of writers with their brand of so-called ‘wistful pop’, but have maybe not cracked it commercially; their best-selling album reaching eighth. But as you and I know, chart sales aren’t everything, and whereas their latest release ‘Belle & Sebastian Write About Love’ probably won’t break that tradition, it is a fine piece of work.

They have carved their place in the world of music with a multi-instrumental bright style of indie pop, sort of a happier update on The Smiths, and ‘Write About Love’ is a great example of their talents. ‘I Didn’t See It Coming’, as the album opener, is brilliant at this. Atmospheric from the off, Sarah Martin’s dreamy vocals and a catchy beat build up to a euphoric end – ‘Make me dance/I want to surrender’. And the tracks follow in suit.

‘Little Lou, Ugly Jack, Prophet John’ sees singer Norah Jones and Stuart Murdoch speak of a love destined to fail, and the most relaxing moment comes in the chilled and seductive ‘Calculating Bimbo’. Lead single ‘Write About Love’, featuring vocals from actress Carey Mulligan, is the most radio-friendly track with a bold riff, followed by ‘I’m Not Living In The Real World’; with an almost irresistible modern guitar pop feel and school choir backing.

It’s quite hard to pick a favourite from a set of beautifully constructed songs. ‘I Want the World To Stop’ makes a good case; instantly catchy, full of momentum and an enticing lyric to build into an intelligent pop tune. ‘I Can See Your Future’ evolves into an optimistic epiphany with deceptively dark words, and ‘Read The Blessed Pages’ is an acoustic wonder with soothing Murdoch vocals and a medieval-esque instrumental. ‘Sunday’s Pretty Icons’ is the upbeat yet melancholy album ender that perfectly seals an endlessly interesting record.

As with most releases though, there are a few dull moments. ‘Come On Sister’ is one of the more forgettable tracks, almost saved by an appealing keyboard driven beat but it falls behind the better musical moments on show here. ‘The Ghost of Rockschool’, with all its religious imagery, lumbers along and gets lost in itself. But these don’t detract from what is a very pleasing album.

The critics will no doubt enjoy ‘Belle & Sebastian Write About Love’, with the Glasgow septuplet producing another well-built and intelligent record. Every track is lovingly produced and beautifully delivered and it makes for an extremely pleasurable listen. Some may consider it boring, falling straight back into the category of boring indie crap, but this inventive album deserves more than that.

I gave it a chance and really enjoyed it, you should give it a go too. Here's probably my favourite track 'I Want The World To Stop' for your enjoyment. (P.S. Ignore the boring Scottish guy at the start).

NWR

Badly Drawn Boy - Too Many Miracles - 04.10.2010

Badly Drawn Boy have one song on my iTunes, and I've always almost felt bad because of that. So I decided to give new single 'Too Many Miracles' a listen and here's what I thought.

It is now ten years since Badly Drawn Boy won critical acclaim and the Mercury Music Prize. The singer-songwriter from Bedfordshire beat Coldplay, Richard Ashcroft and Doves to win that award with album ‘Hour of the Wilderbeast’. But as it widely reported that prize can have mixed consequences. In recent years, it has done Dizzee Rascal, Franz Ferdinand and Arctic Monkeys no harm. But the reputations of Antony and the Johnsons and Speech Debelle have taken a hit after their respective awards. And Badly Drawn Boy has unfortunately gone that way also.

Damon Gough, the Badly Drawn Boy himself, has faded into the background of the alternative British scene, seeing himself surpassed by the likes of Jamie T in the music world. His last five studio albums have gone largely unnoticed by the masses, and this single doesn’t give the impression that is going to change much.

‘Too Many Miracles’ is a good song, don’t mistake me on that. Lusciously built up, it has a kind atmospheric feel with swirling violins and a bright guitar riff that is very pleasing. All the elements go together well to form an appealing melody and make for a good listen, but it’s not going to uproot any trees.

‘Hour of the Wilderbeast’ was a great album, and his releases since deserve more than the public indifference they have been met with. Gough shows his talent in the happily pleasant ‘Too Many Miracles’, for this the latest album ‘Its What I’m Thinking Pt. 1 – Photographing Snowflakes’ should be given a chance to impress. But I get the feeling it won’t win next year’s Mercury Prize, and maybe Gough will see that as a blessing in disguise.

Worth a listen, if only one, and here's the song with a fittingly autumnal video.

NWR

Fran Healy - Wreckorder - 04.10.2010

I'm a fan of melancholy masters Travis, and as I'm sure other fans were, I looked forward to frontman Fran Healy's debut solo release and here's what I thought of it:

Solo projects can be a chance for someone to break free from the restraints of their band. Robbie Williams succumbed to his Britpop urges in his decision to leave Take That, and Carl Barat is seeking new pastures with his post-Libertines releases. Much further back, Michael Jackson and John Lennon left their respective bands to change their respective styles. From this debut solo release, Fran Healy’s name can’t be added to that list.

Healy will always be tragically stereotyped by the image of the melancholy frontman of Travis, and ‘Wreckorder’ does nothing to break away from this. In fact, casual listeners could mistake this for Travis’ first release since 2008’s ‘Ode To J. Smith’. The only difference though is the fact Healy features almost independently, save for a couple of contributions. And it is wonderfully built and produced.

‘In The Morning’ builds the momentum as a piano-driven opener, and ‘Anything’ sees Healy combine heavy violins and acoustic guitars to create an atmospheric ballad about love. ‘Fly In The Ointment’ is a wonderfully seductive lyric-based song, enticing from the off with a thought-provoking undertone and one of the highlights.

American singer-songwriter Neko Case duets with Healy on ‘Sing Me To Sleep’, with their dreamlike vocals combining well to give an alluring feel. And in a musical coup, Paul McCartney features on bass in ‘As It Comes’, a morbidly merry tale of a failing relationship. Healy reaches his most sombre mood in ‘Rocking Chair’; a story of grandchildren and memories, summed up by the lines ‘staring at the rising tide/where did all the time go by?’.

But as any hater of Travis will say, the style doesn’t change much and as you get to ‘Shadow Boxing’, a busy piano pacesetter, the soft-rock feel of the album is beginning to wear thin even for the most ardent Healy fans. Lead single ‘Buttercups’ could be a Travis single; the most radio-friendly song on the album but with sickly lyrics and a romantic rejection story behind it. ‘Holiday’ will probably follow as the next single, but again the bright and breezy chorus make it a little too radio-friendly and some of the album’s more intelligent songs should instead be released.

‘Moonshine’ serves brilliantly as an album-ender; a Healy song with a bit of a groove, it’s the only beat-driven toe-tapper on show and the atmospheric sing-along serves as a bit of relief after some enjoyable yet involving tracks.

Fran Healy is an underrated songwriter. With each song beautifully constructed and soulfully delivered, ‘Wreckorder’ is a very enjoyable listen and Healy once again shows himself to be a talented lyricist and musician. But the similar style of each track begins to tire towards the end, and anybody who doesn’t count Travis as one of their favourite bands, this one won’t be for you.

Enjoyable album, and I'm tied between two songs for my favourite track. 'Moonshine' is well worth a listen, but here's 'Fly In My Ointment' for your enjoyment.

NWR

The Wombats - Tokyo (Vampires & Wolves) - 27.09.2010

I was a big fan of The Wombats around 2007-2008, and they have returned with a new single, here's my take on it:

It seems like an age ago since we last heard of The Wombats. It is now almost three years since we were treated ‘A Guide to Love, Loss and Desperation’; a vastly entertaining indie rock record that brought the band to the country’s attention. Their latest release, single ‘Tokyo (Vampires & Wolves)’ shows the Liverpudlian trio adding to their reputation though.

Their style was characterised by the alternative guitar rock feel and energetic performances, both of which are there in abundance in the new single. Matt Murphy’s triumphant vocals take me back to The Wombat’s bouncing display at Isle of Wight two years ago. But this time, we hear the undeniable melody with a catchy keyboard backing, giving it more of a club dancefloor vibe.

A very enjoyable song, the same Wombats pace with a dash of maturity and the new album promises to be an anticipated release. Murphy, drummer Dan Haggis and bass player Tord Overland-Knudsen made a big impact with the impressive ‘A Guide To Love, Loss and Desperation’, which spawned many indie anthems such as ‘Moving To New York’, ‘Kill The Director’ and the brilliant ‘Let’s Dance To Joy Division’, and it’s good to hear them back.

The new album, scheduled for a late November release, will have to be hugely remarkable to beat its predecessor, but if ‘Tokyo’ is just a taster of what’s to come, we could be in for a treat. Watch this space.

Look out for the new album, and here's the entertaining video for 'Tokyo (Vampires & Wolves).

NWR

Mark Ronson & The Business International - Record Collection - 27.09.2010

I'll admit there's not a lot of people I despise, but 'super-producer' Mark Ronson is one of those people. Here's what I thought of his latest release:

I’ve never been Mark Ronson’s biggest fan. I am part of that select group that believe he ruined The Zuton’s Valerie and Kaiser Chief’s Oh My God with his over-production ‘skills’ and took all the glory for it. It made me smile to see Amy Winehouse’s recent comment about Mr Ronson, claiming he is ‘dead’ to her after taking the credit for her album for himself, the first time I’ve ever agreed with her. So I made sure I had a listen to his latest release, mainly to slate it. But I must say I was a little disappointed, finding myself even liking parts of it.

Under the guise of ‘Mark Ronson and the Business International’, Ronson’s third album ‘Record Collection’ once again sees him link up with a number of collaborators. Amongst these, Boy George and Duran Duran singer Simon Le Bon feature, alongside the likes of rappers Wiley, D’Angelo and Q-Tip. And the result is a slightly disjointed record that gets stuck deep in your head.

Lead single and first track ‘Bang Bang Bang’ is the perfect choice to introduce the album. Featuring an almost undeniable hook and happy 80’s synths, it is one of the highlights on the album. Follow-up single ‘The Bike Song’ fails to live up to its predecessor, with a simple but uncertain melody, but nonetheless you find yourself singing it an hour later.

Boy George’s contribution on ‘Somebody To Love Me’ makes it more than it would be without his passionate vocals, and Le Bon’s chorus on ‘Record Collection’ fit in well on a well-worked melody. The sinister ‘Introducing The Business’ sees the album takes a more R’n’B twist; with an inticing chanted chorus, rapper Pill’s forceful vocals and an atmospheric involvement from the London Gay Men’s Chorus.

Ronson himself actually takes to the microphone this time; supplying some skilful vocals to ‘Record Collection’ and the chorus of the record’s highlight ‘Lose It (In The End). His downbeat and wistful voice contrasts well to the powerful Ghostface Killah rapping, and coupled with a faster pace, make for the album’s best track.

But the highs are matched by the lows. ‘The Colour of Crumar’ is the best of four forgettable instrumentals, with ‘Circuit Breaker’ sounding like a poor GameBoy soundtrack on a loop. ‘Hey Boy’ has too much going on by the end of a tough few minutes of confused keyboard pop, and ‘Glass Mountain Trust’ isn’t saved by a good performance from rapper D’Angelo.

‘Record Collection’ is an apt name for this album. It is a collection of different artists singing on songs that have little link, the only similarity being the hybrid synth-rap-R’n’B style of the record. There is a very disjointed feel to parts of the album, and a few instantly forgettable songs thrown in. But I can’t loathe it as much as I hoped I would, there are four or five enjoyable moments where Ronson’s ability shines through. He has got rubbish hair though.

The blonde hair is terrible Mr Ronson, but the album is okay. Here's my favourite song, 'Lose It (In The End).'

NWR

Bombay Bicycle Club - Rinse Me Down/Dorcas - 20.09.2010

One of my favourite bands of the moment, Bombay Bicycle Club, have a new single out and here's my opinion:

Bombay Bicycle Club are an impressive band. Their first single ‘Evening/Morning’ was released just over two years ago, and they have accomplished a lot in that time. They have released two studio albums; firstly the impressive ‘I Had the Blues But I Shook Them Loose’ and the second the extremely impressive acoustic ‘Flaws’, while also winning the Best New Band award at this year’s NME Awards and gaining a small but loyal group of fans.

Their distinctive sound is heralded by the indie vocals of Jack Steadman, but they added to their blossoming reputation by adding the folksy-acoustic ‘Flaws’ to their back catalogue. A quite brilliant album, and latest single ‘Rinse Me Down’ is the lead single from that modern masterpiece.

Upbeat from the first note, ‘Rinse Me Down’ bounces along happily, with a light-hearted indie-folk feel, full of momentum for an acoustic number and good cheer for Steadman’s low voice. A fine choice for the album opener and a decent choice for a single which, along with the slightly sinister instrumental ‘Dorcas’, will hopefully add to the hype surrounding the London foursome.

In an age when a lot of indie bands come and go, I for one hope that Bombay Bicycle Club are here to stay. Their two releases so far have stood head and shoulders above other similar releases of the past year or so, and if they continue to pick up followers as they have been doing, we should be hearing a lot more about them.

Probably my hottest tip of the moment, and here's the song.

NWR

Manic Street Preachers - Postcards from a Young Man - 20.09.2010

I'm going to see the Manic Street Preachers later next month, so here's my review of their latest album 'Postcards from a Young Man':

Not many bands make it to their tenth studio album. Manic Street Preacher’s first attempt was 1992’s ‘Generation Terrorists’, and their unique brand of modern rock and political angst is still with us almost two decades later. This is no mistake as the Manics have built a loyal following for their music, and they have branded ‘Postcards from a Young Man’ as their ‘one last shot at mass communication’. You know what, they may have just pulled it off.

You instantly know when you’re listening to the Manic Street Preachers. Whether it’s the powerful vocals of James Dean Bradfield, the intelligent lyrics of Nicky Wire or the theatrical rock sound of the Welsh trio, it hits you early on in a track before anyone needs to tell you that it is in fact the Manics. And that is the case with pretty much the entire album.

Lead single and album opener ‘(It’s Not War) Just The End of Love’ is a well-built guitar pop song with a memorable chorus that will stick in your head and a sweeping grand feeling that covers the entire record. The song ‘Postcards from a Young Man’ opens to an orchestral epiphany and develops into a far-reaching melody, as does the jubilant ‘Some Kind of Nothingness’ and the bright ‘Hazleton Avenue’.

Like all of Wire’s words, there is a message amongst the guitar hooks. The title track ‘Postcards from a Young Man’ assures fans ‘this world will not impose it’s will/I will not give up and I will not give in’. Elsewhere, ‘All We Make is Entertainment’ shouts ‘we were part of the grand illusion’, while the boldest statement song ‘Auto-Intoxication’ proclaims ‘disaster isn’t coming/It’s already arrived’.

The latter is probably the most different song on show; dreamlike vocals are met with an angrily heavy chorus and a powerful statement making for the most varied melody on ‘Postcards from a Young Man’ and therefore probably the most appealing. ‘The Future Has Been Here 4 Ever’, heartfully delivered by Wire, has odd arrangements and ‘I Think I’ve Found Out’ has a distinct mandola opening, but the style of the album is set as grand guitar pop from track one.

The theatrical rock theme is at its best in the anthemic ‘The Descent (Pages 1 & 2), while ‘Golden Platitudes’ is a thoughtful ballad and ‘A Billion Balconies from the Sun’ is a fast-paced rock number. It is an older sister of ‘Send Away The Tigers’, the old Manic sound with a mature vigour from a band now nearly twenty-five years into its career, and with arguably their best release since ‘This is My Truth Tell Me Yours’ in 1998. Album ender ‘Don’t Be Evil’ thumps this home; a confident flashy guitar rock song to seal a bold record.

Pure and simply, Bradfield, Wire and drummer Sean Moore are the masters of the theatrical rock sound and it doesn’t seem to tire, even twelve songs in. The Manics are back on form on the enjoyable ‘Postcards from a Young Man’ and should gain plenty of fans for the effort. It seems their claim of ‘big radio-friendly hits on this one’ has been validated, and it doesn't look like Bradfield & Co. are done just yet.

A great album from the Welsh trio, and here's leading track and first single '(It's Not War) Just The End of Love' for your enjoyment.

NWR

Feeder - Renegades - 13.09.2010

I'm a big fan of Feeder ever since my mind was blown by their Isle of Wight Festival 2008 performance, and here's what I think of 'Renegades', the second single from the album of the same name.

It has always been a bit of a mystery how Feeder have never truly broken into the mainstream of music. They have got some of the essential modern rock songs in ‘Just A Day’ and ‘Buck Rogers’, while have also written some truly epic indie anthems in ‘Just The Way I’m Feeling’ and ‘Tumble and Fall’. It may come as a surprise that the trio have never scored a number one album or number one single, and ‘Renegades’ is not going to break that tradition.

Returning to the earlier, heavier and less commercial Feeder sound, ‘Renegades’ thunders along well; very catchy, full of momentum and with a rousing lyric about rebellion and revolution – ‘things can be different, we can belong’. Much like most of frontman Grant Nicholas’ work, it is the recognisable metal-pop style that we immediately associate with the Welsh band, with a typically Nicholas vocal.

After their brief side-project as Renegades, the return of Feeder was a relief for the die-hards, but the album has only sold respectively. In fact, it was their first effort since the grungy ‘Polythene’ in 1997 not to make the top ten, and neither this single or the similarly rocky first release ‘Call Out’ received much airplay. But they are Feeder songs, another good addition to their collection and will form another part of any big fan’s back catalogue.

In an ideal world, ‘Renegades’ would be on Radio One, it deserves to be for its sheer difference in a world dominated by Jason Derulo, Taio Cruz and Roll Deep and could probably attract a new legion of fans. But for now, us Feeder fans can enjoy it in our relative seclusion.

And here for your listening pleasure, is the song 'Renegades'.

NWR

Weezer - Hurley - 13.09.2010

I was lucky enough to see the very entertaining Weezer live show at this year's Reading Festival, so was eager to hear the new album and here's what I thought of it:

Thank God for Weezer. They will never be a band who philosophize, offer their musings on the purpose of existence or even give much of a political stance in the state of world affairs. But what they will do is give you a laugh and a catchy song about the life of a young nerd in America. And they’re blooming good at it.

The pioneers of geek rock, Rivers Cuomo and Co. have always been about hook-heavy melodies that are light-hearted and pure fun to listen to, and ‘Hurley’ is pretty much that. Just from the choice of lovably innocent ‘Lost’ character Hugo ‘Hurley’ Reyes as the album artwork shows that this record isn’t that serious. It’s just about what Weezer have always been about: the life of a Californian nerd, and it's very hard to find faults with it.

Lead single and first track ‘Memories’ is a retrospective catchy sing-a-long, with Cuomo reminiscing about the band’s early experiences and a touchingly anthemic ‘how can we make it back there?’. Quite an honest message, and there are more hidden in the pleasing guitar pop riffs. ‘Unspoken’ contains one of the angriest ever Cuomo lyrics about a chance being taken away, while the deceptively solemn ‘Run Away’ shows a thoughtful reluctance to an inevitable change much like the more optimistic ‘Brave New World’.

‘Hang On’ is a well-dressed reassurance to a dear friend, while the lo-fi country-esque album ender ‘Time Flies’ shows Cuomo at his most sensitive; and wistfully looking back – ‘time flies when you’re having fun’. They may be set to a back-drop of instantly-recognisable alternative guitar tunes, but they speak the fiercly loyal fan base that the LA foursome have built up.

It’s not all looking back and moving on though; ‘Ruling Me’ and ‘Smart Girls’ are upbeat indie rock toe-tappers and are immediately pleasing, while ‘Trainwrecks’ is a marauding rebellious tale of juvenile laziness. But the ultimately fun and faultlessly ridiculous ‘Where’s My Sex?’ sees Weezer at their brilliant best. The heavy yet immediatley lovable pop-punk track is recognisable instantly with the band, and Cuomo is now a personal hero for getting the lines ‘gosh dang’ and ‘prehistoric screwball’ into a song.

It was never going to be a shining beacon of musical brilliance and variety has never been Cuomo’s thing, but it will draw critical and commercial praise and is a fun album from a very talented band. From the front cover, to the fact the stars of Jackass sang backing vocals to ‘Memories’ and comedy actor Michael Cera did the same on ‘Hang On’, it’s all about being immature and although it's not their best work, it is a fitting advert for who Weezer are. For die-hard fans, it’s another first-class record for the collection. For others, it will hopefully make them go look back at Weezer’s previous exceptional work. And compared to some of the music out at the moment, what a welcome break this is.

Well worth a listen, and here's the video for lead single 'Memories' with the cast from Jackass here. This just about sums them up. Brilliant.

NWR