One of the most eagerly-anticipated albums of the year is here at last, so here's what I thought of Kasabian's 'Velociraptor!'
The bets are off. Oasis imploded to leave the lad’s choice rock band up for grabs, but that title has been taken. No, not quite by Arctic Monkeys, who are still just that little bit to hesitant. No, Muse are too hard-edged, and no, Coldplay aren’t nearly hard-edged enough. Nope, step up Kasabian.
Strutting in with Gallagher confidence, Stone Roses grooves and a healthy dose of rock ‘n’ roll nostalgia, new album ‘Velociraptor!’ sees the Leicester boys rise to that stadium-sized alter. Confident, anthemic throughout, yet experimental, inventive and ever changing, it’s addictive from first listen, packed to the brim with exemplary tunes and shows Tom Meighan and Serge Pizzorno are now at the head of British music.
Arriving full of suaveness and swagger, Tom croons through classic opener ‘Let’s Roll Like We Used To’, which gives a nod in the direction of the Last Shadow Puppets, and the quality doesn’t drop. Storming lead single ‘Days Are Forgotten’ stands as one of their most anthemic songs yet, just as sing-along thumper ‘Re-wired’ and bouncing electro-rock ‘Velociraptor!’ will very soon.
‘Goodbye Kiss’ is a slick, climbing ballad with some piercing lines (‘Run along like I’m supposed/Be the man I ought to/Rock and roll sent us insane/I hope someday that we will meet again‘ is the pick), while ‘Man of Simple Pleasures’ is a slow-paced languid rocker. ‘Switchblade Smiles’ lifts the latter half with a spontaneous Prodigy-esque groove with a hard guitar edge.
But it wouldn’t be recognisably Kasabian if it wasn’t for that neo-psychedelia, and on ‘Velociraptor!’ it has never been better. ‘I Hear Voices’ is a sparse but instantly likeable head-bobber which wins it with the line ‘They hunt for rabbits/Just like Yosemite Sam’, while ‘Acid Turkish Bath (Shelter From The Storm) evolves into a constantly shifting, almost prog-rock six minute wonder. The winner though is ‘La Fee Verte’; Serge with a deliciously-tempting vocal, an undeniable chorus and that spaced-out, drug-fuelled subversion we all know and love, though it almost topped by the chilled and mellow brilliance of perfect closer ‘Neon Noon’.
It’s impossible to pick the best track out of a high-quality eleven, and who would want to? They have all their cards on the table; the shout-‘em-out, grab-the-lad’s anthems, the infectious psychedelia and the mellow come-downs. It’s confident and assured, easy-going but interesting and seals their assent to the summit of British rock ‘n’ roll. Coming to a stadium near you soon.
Great record, and extremely hard to pick a favourite tune, but I've plumped for 'La Fee Verte'.
The happy-go-lucky Kooks are back with their third album and here's what I thought of it:
In that sunny paradise of 2006, The Kooks were at the head of everyone’s summer playlist. ‘Seaside’ slowly strumming on the shore, ‘Naïve’ at your house party and ‘She Moves In Her Own Way’ sung along in that balmy July sunshine. Luke Pritchard’s drone and his band’s bright pop were an essential part of any teenagers’ MP3 players. But five years on, how do The Kooks fit in?
Well, pretty much where they left off to be fair. New album ‘Junk Of The Heart’ doesn’t deviate much from the styling’s of debut album ‘Inside In Inside Out’ and more mature follow-up ‘Konk’; it’s the same simple and smiley guitar pop, and whereas they don’t exactly reinvent the wheel, it’s a welcome reminder of how damn catchy the Brighton four-piece can be.
‘Take A Picture Of You’ is a prime example. Lazy acoustic guitars with that ‘Seaside’ vibe, a lyric loaded with sentimentality (Each time I close me eyes/I can feel you is just a snippet) and a gently soaring chorus complete a simple but instantly lovable indie pop track. It’s what The Kooks do best; just have a listen to the bouncing happiness of opener ‘Junk Of The Heart (Happy), the plush ‘How’d You Like That’ or cheery first single ‘Is It Me?’.
There are genuine attempts to grow slightly. ‘Fuck The World Off’ is of a moodier ilk, almost country in style, while the electro-bobbing ‘Runaway’ and orchestral wonder ‘Time Above The Earth’ show a different side to The Kooks. But for these small and often cute experiments; they still pack their punch with the indie love songs, even if there is enough schmultz to gag a teddy bear.
‘Petulia’ is a sombre and almost medieval acoustic strum, ‘Killing Me’ is a loose and languid tale of a special lover (It’s killing me/The thing that you can do/That no one else can do to me at all – no lyrical surprises here) and ‘Mr. Nice Guy’ is a more industrial and beat driven closer. The best of decent bunch comes in ‘Eskimo Kiss’, evolving from up-beat twangy folk to a rousing ‘la, la, la’ sing-along.
2011 is a vastly different arena to that of 2006, it’s no longer indie sunshine and bliss, but no-one’s told The Kooks about that. Although it’s not as good as their first two efforts, Luke Pritchard still knows how to write sweet hooking melodies and ‘Junk Of The Heart’ has enough cheery summer tunes to seal a solid return.
Worth a listen for sure, and here's my favourite track 'Taking Pictures Of You'.
The funk-rock kings are back with their tenth album and here's what I thought of it:
Not many bands are still going when it gets to the tenth album. Even fewer are considering completing their third decade together, with only two of the founding members. Even fewer still would have recovered from the departure of semi-godlike guitarist John Frusciante. But the Red Hot Chili Peppers just keep on going.
Almost thirty years on from their eponymous debut, the Chili’s are at it again tenth studio record ‘I’m With You’, and it cements their status as their funk-rock kings. After 2006’s technicolor all-consuming 28-song compendium that was last album ‘Stadium Arcadium’, 2011 sees a much more compact 14 tracks and a more restrained Peppers (complete with new guitarist Josh Klinghoffer), and it makes for a very enjoyable listen.
There are moments where ‘I’m With You’ threatens to become very good. ‘Factory of Faith’ is a prime example of the Chili’s infectious funk along the same vein as ‘Suck My Kiss’, while ‘Look Around’ bounces around with a spritely enthusiasm, as does Africa-influenced ‘Ethiopia’. The best comes in ‘Goodbye Hooray’, with an excited performance, a climbing chorus and pacy from the off for the killer track.
Along with this, there are some touchingly heart-rending moments. ‘Brendan’s Death Song’, written after the death of close friend and promoter Brendan Mullen early in the recording process, is chillingly poignant and creates a triumphant mood rather than a downbeat one. The emotional ballad ‘Police Station’ (a story of the L.A. Police) and the apologetic ‘Meet Me At The Corner’ (Meet me at the corner and tell me what to do/Cause I messed up on you) come in just behind.
Past these highlights, the songs slink by seamlessly but not with much impact. Their funk rock is here as that familiar touchstone (bobbing opener ‘Monarchy of Roses’, contagious first single ‘The Adventures of Rain Dance Maggie’ and effortless closer ‘Dance, Dance, Dance’ good examples of this), but on the most part it is easy listening; agreeable, not hooking.
Take ‘Did I Let You Know’ for instance. Gleaming production and extremely poppy, full of luscious guitar licks and with Klinghoffer’s colder falsetto backing to Anthony Kiedis’ expert vocals, it’s pleasing but it’s not ensaring. Substitute in any of the baroque march ‘Happiness Loves Company’, the chugging ‘Even You Brutus?’ or ‘Annie Wants A Baby’. They’re good, not great.
‘I’m With You’ sees a solid if unspectacular return for the Red Hot Chili Peppers. Fine moments and a band with a lot left to offer, but with perhaps more thoughtful experiments than stadium-rocking hooks on their tenth time out. Still, it seems nothing can floor Kiedis and Co. just yet.
Good effort, and here's my favourite track 'Goodbye Hooray'.
Well, I've been talking up the lads from the start of the year, so here's what I thought of Viva Brother's debut album.
So this is really crunch time. The talk has been building up all year, from the word go Viva Brother were the return of guitar music to the charts, the much-heralded Britpop revival that we all desperately needed. But after a delayed release date, a few immeasurably catchy tunes and an enforced name change, does ‘Famous First Words’ walk the walk?
Unfortunately, the problem is we’ve heard all the best songs. ‘Famous First Words’ makes no attempt to hide its influences lie very much in the 90's British heyday and makes no claim to be the smartest album released, it’s about hooking guitar melodies and fist-in-the-air shout ‘em loud choruses. So let’s start with the good side.
The singles from the album are unstoppable and irresistibly catchy. Starting from first track ‘New Year’s Day’, the Blur-esque feel is clear but you cannot deny the jangling riff and euphoric release of the chorus. It’s the same for bright and soaring ‘Still Here’ and the instantaneous ‘Darling Buds of May’, which still stands out as a guitar anthem for the year. Album ender ‘Time Machine’ stands out as the best moment; moody guitars, a brooding riff and swelling chorus from Britpop at its best.
But we’ve heard all of them before. Delving deeper, add ‘High Street Low Lives’ to the must-hear list with a boisterous charge, energetic bounce and the excitable line ‘This is real, and I’m free/This is what I wanna be!’. Then their attempt at a Champagne Supernova-moment, ‘Electric Daydream’, with a slower and more arms-waving-hug-your-mates vibe, and guitars wailing in and out, does hit the spot. After that though, it gets a bit barer and every song starts to sound the same.
‘David’ is their transparent attempt at a Tracy Jacks/Digsy’s Dinner throwaway without as much success, while the latter half of the album all blends into one. Beginning with the lumbering ‘Otherside’ (with possibly the best example of the questionable lyrics throughout with chorus ‘Cos’ I got a job, but I don’t work/And I got a car, but I don’t drive/So I’ll see you on the other side’), ‘Fly By Nights’ attempts to be hooking but by this point, the Gallagher-like slurred vocals are waring thin and the guitars all wail in the same way. ‘False Alarm’ also makes little impression; it all melts into one Brit-rocky mess at its worst points.
So let’s get this into perspective. Viva Brother were talked up to be the best thing since sliced bread, the lads talking themselves up as much as anyone, and unfortunately ‘Famous First Words’ hasn’t lived up to the hype. But that’s wrong; they have written some irrepressible tunes, guitar tracks that are much better than anything in the charts and their live show is one that has to be seen. So, through all the talk, Viva Brother aren’t the saviours of British rock, just a good new band who have made a solid debut album.
Slightly disappointed but you still cannot deny those tunes, and here's the best, 'Time Machine'.
Coming up through the ranks of new music are Wolf Gang, and here's what I thought of the debut album:
In the latest in a long line of spritely synth-laden indie prodigies, Wolf Gang are the latest to put their case forward. Specialising in the gleaming Technicolor pop that MGMT brought to the masses, the project led mainly by Max McElligott have been slowly building up a reputation – supporting Florence + The Machine and Editors, touring extensively on the London scene and playing at the NME Awards Show. Now, ‘Suego Faults’ is the first proper evidence of their talents.
Summery and shimmering, ‘Suego Faults’ is the direct descendent of MGMT’s glittery psych-pop; gloriously symphonic and brilliantly hooking in places and flawlessly produced throughout. In fact, producer Dave Fridmann worked on MGMT’s output as well as Mercury Rev and Flaming Lips, and his kaleidoscopic expertise is here for all to see.
There are plenty of pleasing moments; opener ‘Lions In Cages’ makes for an exciting start, borrowing the beat from ‘Time To Pretend’, pounding electronics and a grand feel to welcome in the record. Single choice ‘The King and All of His Men’ is an instant hit, catchy indie pop with a pulsating rhythm, and a tale of terrorists ‘bringing their fight’ to the UK, and the MGMT falsetto vocals compliment the almost Adele-like piano ballad that is the title track.
The album also finishes on a high note – ‘Planets’ developing into an Elton John or Beatles type meandering piano waltz to see you off. ‘Midnight Dancers’ is a touching tale of two lovers in Paris, while the best moment comes in the sure-bet for the next single, ‘Stay And Defend’. A paranoid expression on modern society – ‘Everybody always seems to talk about/The sun setting in the West/Do we give up, just enjoy the lights?/And say we tried out best?’ – immediately connects with a bright, driven and extremely catchy melody.
But for all the pleasing moments, some just drift by; overflowed with the generous synths and drowned in atmosphere. The wide-eyed bubbling pop of ‘Something Unusual’ is too lightweight; ‘Back To Back’ is more understated and mysterious but trundles a bit too much; whereas both ‘Dancing With The Devil’ and ‘Where Are You Now?’ slide by in the same hi-resolution and shiny way without much impact. These do slightly detract from the finish product; taking it from great to good.
Max McElligott is a talented guy, and has written some undeniable tracks. ‘Lions In Cages’, ‘The King and All Of His Men’ and especially ‘Stay And Defend’ are fantastic and grabbing melodies, but ‘Suego Faults’ sometimes falters from over-production and never drifts too far away from the MGMT formula, despite brief glimpses at Elton John balladry and David Bowie variety. A fine debut effort, but with room for improvement.
Good LP, and here's my favourite track 'Stay And Defend'.
Back from a while out, but it's the same old drill:
Nirvana - All Apologies
Been majorly getting into Kurt Cobain recently and this ranks among his best - melodic, touching and tortured, it's classic Nirvana. The Unplugged version is out of this world.
Pulp - Disco 2000
One of the bands to see since their reformation and what a triumphant return it has been, this epicly joyous tune the best of their brilliant back catalogue
Foo Fighters - Rope
They have cemented their place at the peak of modern rock and this is why; soaring guitars, powerful vocals and a robust production from Grohl and Co.
The Subways - It's A Party
A taster of their up-coming third album and it's a continuation of their fantastic LA-punk output, fiesty and fun-loving from start to finish
Kings Of Leon - Taper Jean Girl
An oldie from the southern rockers, this happy-go-lucky tune sums up the free-flowing magnificence of album 'Aha Shake Heartbreak'.
The latest single from Beady Eye and the first real development in the Gallagher battle, here's my take on things:
Now Noel Gallagher has come out from his eighteen-month hibernation and a debut solo album is just a few months from release, the spotlight is no longer solely on Beady Eye. Liam has enjoyed sole coverage for the majority of 2011 so far, but now Big Brother is back in town, the competition really begins.
It’s a good move then that new single ‘The Beat Goes On’ was released when it was. When we are all reminded of the talents of Gallagher Senior, it’s a timely reminder of the melodic side of Beady Eye’s debut album ‘Different Gear, Still Speeding’ with one of the highlights from the record. But the real success of the single is the B-side.
‘The Beat Goes On’ is an uplifting, Lennon-style ballad, with a beautiful melody, soaring chorus and plush production. It also contains some of Gallagher’s best lyrics, such as the reassuring ‘It’s not the end of the world, oh no/It’s not even the end of the day’. Add into that the heavenly imagery and the cry of ‘I’m the last of a dying breed’, it’s a great song. Then comes along ‘In The Bubble With a Bullet’.
As it’s the first time we’re hearing anything of this track, we can only assume it’s a new one – and that’s a great thing. Acoustic and wistful, there is a beauty woven into the sentimental tones that is not unlike fellow B-side ‘World Outside My Room’. Touched up by whining electric guitar and a late entry of the harmonica aside cries of ‘we do what we want’, it’s a high-class track.
With Noel back on the scene, early signs are that Liam has no intention of rolling over for his former bandmate. ‘The Beat Goes On’ shows the best of their fine debut effort, but ‘In The Bubble With A Bullet’ shows signs of an improvement from that. Better musically and lyrically, it’s good evidence of a developing Beady Eye – just in time for the competition to really kick off. Like Noel said, let battle commence.
As a side project from one of my favourite bands, The Killers, I had to have a look at Big Talk's eponymous debut album and here's what I thought:
When The Killers went on hiatus and frontman Brandon Flowers announced a solo project that promptly went on to be brilliant, it was easy to assign the main creative force in the band to the ‘Flamingo’ man. But, hold on, now drummer Ronnie Vanucci Jr. has teamed up with long-time friend Taylor Milne for solo project Big Talk and the duo have set about changing that assumption. And they may have just done it.
‘Big Talk’ is a bold and dazzling effort from Vanucci; energetic, driven, bright and fun from start to finish. Brandon Flowers seemed to show he was the main man with solo release ‘Flamingo’ last year, but Big Talk calls for a recount on that matter. Vanucci’s solid vocals even sound like Flowers, or is that sentimental thinking on my part?
‘Katzenjammer’ opens up a strong start, with a soft intro blossoming into soaring guitars, a rising chorus and a powerfully happy tune. From the first line ‘It’s not too early for whiskey/It’s not too early to smoke’ and the fact that ‘katzenjammer’ means ‘disagreeable aftereffects from the use of alcohol’, it’s clear this album is about having a good time and that’s exactly what it achieves.
It’s clear to see how much Vanucci puts into The Killers and how much he has got from it; first single ‘Getaways’ is a melodic and anthemic electro-pop hit, ‘Under Water’ has the same rich rock-driven style and ‘Replica’ is an amped synth-pop anthem that could fit onto any Killers album. The best moment comes with the more acoustic and softer ‘The Next One Living’ – a more touching feel, more a slow-arm-waving anthem and the gentle sense accompanied with the lyric ‘Well cry baby, do it every day/There is no cure without it’.
The strong start is carried on by the sparse country-bluesy ‘No Whiskey’, with the alcoholic’s pledge ‘I don’t need no whiskey/Don’t need no rum and coke/’Cos if I get that whiskey/You know I ain’t coming home’. Coupled with summery toe-tapper ‘Girls At Sunrise’, it’s a fine effort from Big Talk. The quality does however drop slightly for the next few tracks, all pleasant but not grabbing; the synth-led ‘White Doves’, samey ‘Living In Pictures’ and forgettable ‘Hunting Season’ slinking by without much of an impact.
Luckily it picks up for a proud farewell; the more purposeful and anthemic message of spite for a lover ‘A Fine Time To Need Me’ and the empty bluesy-marauding rock of closer ‘Big Eye’ (which mentions whiskey, again) making it an all-round memorable debut from Vanucci.
Big Talk reminds us Vanucci is responsible for some of The Killers’ best hits and their driving rhythm from the back of the stage with a melodic, bright and energetic album. Slightly rockier than his band’s exploits, it shows that there is more than one talented frontman within the vastly talented four-piece from Nevada.
Very good album, and here's my favourite song 'The Next One Living'.
So, we're half way through 2011 already and it's been a great year for music. Guitar bands have made their comeback in force, new bands are making their impact and some titans in the music world have exploded back onto the scene. So, here's my favourite twelve songs of 2011 so far:
1. Bridges Burning - Foo Fighters
The only way that this could possibly open is with this raucous rocker from Dave Grohl, and the opener for album 'Wasting Light'. The perfect way to signal in possibly their finest effort; robust, masculine, bold and driven rock from the five-piece, with guitars wailing and careering throughout and a fine vocal as well.
FIND ON: 'Wasting Light' - Foo Fighters
2. The Ballad of Mona Lisa - Panic! At The Disco
The return of Panic! At The Disco was made phenomenal by this track, classic Panic stylings with a amped buzz and a jubilantly swelling chorus. Bringing back memories of the mid-2000 emo boom, this is the best track on their solid comeback record.
FIND ON: 'Vices and Virtues' - Panic! At The Disco
3. Under Cover of Darkness - The Strokes
Squealing guitars, a bouncing drumbeat and an electric performance show that The Strokes were well and truly back on form for their infectious fourth album 'Angles'. They may have made it in troublesome times but the end product speaks for itself; ten tracks of the highest quality and this breezy indie-rock gem sets the standard.
FIND ON: 'Angles' - The Strokes
4. If You Wanna - The Vaccines
The first of a bout of promising new bands comes in the form of the saviours of rock 'n' roll, The Vaccines. Their fantastic debut album has led a revitalised rock scene, and 'If You Wanna' is the heralding track. Honest lyrics, a fast pace and hooking chorus see the newbies take the hottest new band title for 2011.
FIND ON: 'What Did You Expect From The Vaccines?' - The Vaccines
5. A Heavy Abacus - The Joy Formidable
An early album from the Welsh rockers but one that still stands out as one of the best, with 'A Heavy Abacus' being the highlight from their brilliant debut record. Heavy and innovative at the same time, this track sees their punkish side burst through and Ritzy Brian's floating vocals power through.
FIND ON: 'The Big Roar' - The Joy Formidable
6. I Just Had Sex - The Lonely Island (feat. Akon)
The undisputed kings of musical comedy proved they weren't a flash-in-the-pan with this infectiously brilliant number. 'Incredibad' set the standard and new album 'Turtleneck & Chain' has furthered it with this the calling card - jubilant, better R'n'B than most 'R'n'B' stars and the performance of Akon's entire career.
FIND ON: 'Turtleneck & Chain' - The Lonely Island
7. Pumped Up Kicks - Foster The People
Another new band to make an impact this year are Foster The People with their MGMT-brand of synth-happy pop, and 'Pumped Up Kicks' is one of the tracks of the year so far. It may be about a high-school shooting but it's happy, hooking and infectious from first listen and a perfect taster of a good album.
FIND ON: 'Torches' - Foster The People
8. Lippy Kids - Elbow
The melancholies from Manchester may well have written many people's album of the year with their sombre and sorrowful effort, of which 'Lippy Kids' was the best on show. An ode to the chavs on your street corner, Guy Garvey's dulcet tones are the perfect tonic to any sore head and make for a gently soothing epic.
FIND ON: 'Build A Rocket, Boys!' - Elbow
9. Atlas Hands - Benjamin Francis Leftwich
In the over-saturated field of the acoustic singer-songwriter, Benjamin Francis Leftwich ticks all the boxes for perfection - soft guitar, heartfelt vocals and touchingly personal lyrics, and all put together it makes for a brilliant album. 'Atlas Hands' is the best of a good bunch.
FIND ON: 'Last Smoke Before The Snowstorm' - Benjamin Francis Leftwich
10. The Morning Son - Beady Eye
The surprising element of Liam Gallagher's new guise was the touching melodies of some of Beady Eye's songs, with mellow effort 'The Morning Son' the best. Acting as his band's 'Champagne Supernova', the chilled feel and acoustic strums show to everyone that there was more than one talented songwriter called Gallagher in Oasis.
FIND ON: 'Different Gear, Still Speeding' - Beady Eye
11. Time Machine - Viva Brother
The most talked-about new band, alongside The Vaccines, with their infectious and hooking brand of Britpop-esque guitar pop. There are numerous candidates for their best song, 'Darling Buds Of May' runs it close but the immense release of the chorus just about takes the prize for 'Time Machine'. Look out for the up-coming album.
FIND ON: 'Famous First Words' - Viva Brother (due August 1st)
12. That's Where You're Wrong - Arctic Monkeys
There's no other way this collection could end without mentioning the all-conquering return of Britain's finest - Alex Turner and Co. did it again and showed everyone how it is done. Melodic, bright, ranging from raucous sing-a-longs to delicate pleas to lovers, lyrically extraordinary and musically outstanding, it's all in a days work for Arctic Monkeys. And album ender 'That's Where You're Wrong' is the perfect way to end this set.
FIND ON: 'Suck It And See' - Arctic Monkeys
There you go, and we've still got six months to go. That will include records from Kasabian, Noel Gallagher, Viva Brother, Red Hot Chili Peppers, Coldplay and others to come. Boom. And to leave you, here's a little nibble of what's to come - Kasabian with 'Switchblade Smiles'. Tasty.
Another up-and-coming band with a burgeoning reputation are Dry The River and here's latest single 'No Rest' and my thoughts:
Another addition to the ever-growing folk-rock genre that holds the likes of Mumford and Sons, Fleet Foxes and James Vincent McMorrow are new boys on the block Dry The River. The East London five-piece are picking up their fair share of attention in recent weeks, building up a reputation as being the latest folk-rock prodigy to come from these shores. So, does new single ‘No Rest’ live up to the hype?
Well, it starts shakily. Odd lyrics, a lonely voice, soft ambience and a weird-looking bunch of lads laying in what looks like sacrificial pits. But ‘No Rest’ builds, the sweet voices of singer Pete Liddle growing as the song becomes pacier, semi-acoustic and bigger. And then it hits, the swelling folk-rock builds into a liberating release, with the heartfelt cry for forgiveness ‘I loved you in the best way possible’. It’s a fantastic song, one that has justified the attention Dry The River have got.
A quick listen to the rest of their catalogue will show ‘No Rest’ doesn’t stand alone, the more folky ‘New Ceremony’ and ‘Family Tree’ showing that they already have the knack of infectious swelling semi-acoustic songwriting that has propelled the Mumford boys to their current stardom.
Dry The River are entering a saturated playing field that has been inundated with the folk revival of the past couple of years, but they stand tall amongst their peers. An album from these guys will be hugely anticipated.
There's been a lot of good things written about this one and this band, so here's my thoughts on The Horrors new album 'Skying':
The Horrors have always been a bit of a strange band. It hits you from the first look; the ghoulish appearance of lead man Faris Badwan and his black-laden bandmates, and their musical transitions have been slightly odd also. From the gothic punk-fuelled debut album ‘Strange House’, which evolved into the more polished sound of Mercury Prize-nominated ‘Primary Colours’. And now we have the latest development in third album ‘Skying’.
Well, make sure you give it ten listens instead of two. On first exposure, ‘Skying’ washes over in a drab and dreary over-synthesised wave, leaving little to no impact whatsoever with an overuse of the shoegazing aesthetic. Take the track ‘Wild Eyed’ for example. A lazy beat, an over-polished feel, swishing vocals and random moments of melody popping in and out make for an instantly forgettable track.
Throw in ‘Endless Blue’ and ‘You Said’ to this category. Endlessly floating on the periphery, there is nothing really to grab your attention as they heavily put the ‘effects’ switches to use on these, the occasional lyric leaping out but mostly a monotonous experience. On top of this, ‘Moving Further Away’, in an odd 80’s-esque style, labours some more – for over eight minutes.
But then you give ‘Skying’ some time. Give it that couple of listens, and the good moments begin to seep through the synth-drenched tapestry. Opener ‘Changing The Rain’ is pleasant enough, interesting from the off and the first example of some brilliant Badwan vocals spouting the spiritual moral ‘Open your eyes’. ‘I Can See Through You’ bounces along with a bit more purpose and hooking intent, while ‘Monica Gems’ sees The Horror’s return to that guitar sound, if at a slower pace.
Then suddenly, moments of beauty ooze through the thickly layered ‘Skying’. ‘Dive In’ is an almost Britpop-esque catchy number, and where for once they get the ambience right and the outcome is finally a memorable instant, and lead single ‘Still Life’ is a good indie anthem that shows the progression of this band. But undoubtedly the finest moment comes in album closer ‘Oceans Burning’. Long but for the first time worthwhile, it touches a sombre and poignant nerve, mellow but touching, and Badwan’s soothing voice comes in and out, heralding ‘It’s a joy to know you’re waiting there’ as ‘Skying’ finally connects properly.
On the whole, ‘Skying’ does make for an atmospheric and intellectual album with good moments, but it mostly makes little impact. It gets better as you listen more but there are too many synths and odd noises to really connect and leave its mark, with – barring a couple of brilliant moments – would be left to gather dust on the shelf. The Horrors are progressing to something better, their stranger beginnings have tried to become more accessible, but this isn’t their best yet.
Not really seeing what the fuss is about, but definitely loved 'Oceans Burning'. However, there is nothing on YouTube, Soundcloud or the rest of the internet with this song on, so instead here's lead single 'Still Life'. Brilliant (but only if you get my sarcasm there).
Also heard a bit of buzz about this lot, so I thought I'd see if it was justified:
Yess, guitar music is making that promised comeback to our lives. Anyone who keeps up with this blog or keeps a keen eye on music outside of that infected Top 40 Official Charts will now that rock and indie are making an eagerly-anticipated return to our ears, and what’s even more pleasing is the influx of new bands to this. Viva Brother herald this alongside The Vaccines, while The Joy Formidable and The Naked and Famous are prominent names on that list. And it may soon be time to start talking about All The Young aswell.
‘Welcome Home’ bursts out like a statement of intent; instantaneous industrial indie-rock, guitar heavy and crashing drums. With a confident riff and a chorus that makes you want to shout out, the Stoke lads are clearly on a mission. It’s got power, swagger and pace; lead singer Ryan Dooley leading the charge with silky yet full-forced vocals. And it gets better and better; lyrics like ‘This future’s ours for the taking/Our time has come’ and ‘A chance is all that I ask for/To change the world’, and then just as you think it’s winding down, it kicks in again with a brilliant guitar solo outro. It’s phenomenal.
Couple this with the even more anthemic ‘The First Time’, and this band start to stand out a bit. Others have clearly thought so aswell; the four-piece have been touring the sweaty venues in between supporting the likes of Viva Brother, Pete Doherty, The Courteeners and Morrissey. But it’s still early days – no debut album is yet announced and the band don’t even have a Wikipedia page for goodness sake.
However, that will not last long with tunes like ‘Welcome Home’ behind them. A powerhouse anthem, guitar-wielding indie rock, forward-thinking lyrics and a real Manchester feel, it’s a fine song from a gem of a new band. Watch this space.
I've heard good things about this guy, so I thought I'd give his album a listen and here's my view:
Bon Iver. Ryan Adams. Joshua Radin. Damien Rice. James Vincent McMorrow. Even Jack Johnson, Laura Marling and Rumer. Add Benjamin Francis Leftwich to that list. That well-worn genre of singer-songwriter sombre acoustic strums is abundant these days, and ‘Last Smoke Before The Snowstorm’ is no break from the norm. However, while Leftwich isn’t breaking the mould, he is getting near to perfecting that formula.
First track ‘Pictures’ is that slow finger-picking style of guitar play that brought success to Jose Gonzalez, singing in a soothing and dreamy tone that falls somewhere between Bon Iver and Ryan Adams, complete with the chorus ‘Take a picture of them’ relating to heartfelt personal memories seemingly one step away from a sun-drenched phone advert. It’s not ground-breaking and once you’ve heard the first track you’ve got them all really.
That repetitive sound continues throughout, and by the time you’re hitting the paceless ‘Snowship’ and the almost dreary title-track towards the end, it’s wearing a bit thin. In its most questionable places, it sounds like the O.C. soundtrack, especially with the beach acoustic feel of ‘Butterfly Culture’, and the brighter but schmaltzy ‘Shine’ – with just the line ‘I hope you find what you’re looking for/So your heart is warm, forever more’ having me reach for the bucket.
And there’s no hiding where this guy gets his influences from; the Ryan Adams - Bon Iver – Joshua Radin theme shines throughout, take note of ‘Stole You Away’ and the slightly mysterious finale ‘Bottle Baby’. Add in the promo shots of an indie-fied 20-something male, complete with the forlorn look in a corn-field, and it’s the classic acoustic singer-songwriter stereotype.
But for the times when it’s repetitive, one-paced and non-original, it’s equally bewitching and beautiful in places. ‘Don’t Go Slow’ lifts the latter end of the album with a mellow and summery ode to a lover, while ‘1904’ almost gets Arcade Fire-ish and is a delightful track. Then there are those couple of songs are quite stunning in their way.
‘Atlas Hands’ shows Leftwich still sewn to his guitar and with the same wishy-washy vocals that play throughout, but it’s a gorgeous song heralded with the chorus ‘I will remember your face/’Cause I am still in love with that place/When the stars are the only things we share/Will you be there?’. And tussling with it for the album highlight is ‘Box Of Stones’, equally slow but brilliant nonetheless, with ‘You said I’m young, but I’m yours/I am free, but I am flawed’.
‘Last Smoke Before The Snowstorm’ may at times go a bit close to an O.C. vibe, and look up any of the artists mentioned previously and you will find similar stuff, but Benjamin Francis Leftwich has crafted an album that is as good as any of his peers have. We made be being flooded out by singer-songwriters, but in terms of quality, few get as good as this.
A good album in its field, and on balance between my two favourite tracks, here's my top one 'Atlas Hands'.
The newly-crowned 'Viva Brother' are back with latest single 'New Year's Day' and here's what I thought of it:
The Viva Brother train seems to be losing that slightest bit of momentum. The Britpop revival was first heralded at the start of the year seems to be taking its time to get here, with the album being delayed by a month and the name change being extra obstacles as the Slough four-piece aren’t blitzing the music scene as some over-eager PR men said they would.
Don’t get me wrong, they still have some undeniably hooking tunes, their live show is epic and a must-see this year and they are finally trying to bring some guitar music back to the mainstream. Healthy turn-outs at both the Isle of Wight and Glastonbury festivals shows they have a good fan base, but new single ‘New Year’s Day’ has been strategically placed to keep their charge going.
And it’s exactly what you would expect from Lee Newell and Co.; it’s instantly catchy, guitar-driven and it sounds like a mid-90’s Blur track. ‘New Year’s Day’ brings plenty of ‘woah, oh, oh’s’, a jangling riff and some questionable lyrics – ‘I’m feeling closer to hell/And it’s burning like a big space rocket’, ‘We fell asleep top and tails/On the carpet, it was so uncomfortable’ to name two – but then the chorus kicks in. There’s that euphoric release that is Brother’s – sorry, Viva Brother’s calling card, and it’s another fine track.
Now we have all been exposed to the instantaneous ‘Darling Buds of May’ and the swelling ‘Time Machine’, which along with others add up to almost half of up-coming debut release ‘Famous First Words’. It’s all been hooking and catchy stuff up until now, and again live the set sounds phenomenal, but there is just a sense from some quarters that this ‘mouthy bunch of lads’ are faltering slightly in their ambitions.
They have been heralded since the start of 2011, and still are one of the most eagerly anticipated new bands of the past few years, but August 1st just needs to come around a bit quicker.
And here to remind some of you of this band's talents, it's a live version of 'New Year's Day'. Viva Brother!
The Kaiser Chiefs have returned with an inventive if annoying way of selecting your own album, but have decided to give us an official release and here's what I thought of it:
I’m guessing that you will know by now that the Kaiser Chiefs have returned. Fresh from a three -year break, it seems Ricky Wilson and Co. are looking to make up for lost time. They’ve ‘revolutionised’ the music industry with a unique pay-for-the-songs-you-want-to-make-your-own-album system that they themselves developed, and have hit the festival circuit hard (Isle of Wight, Hard Rock Calling, Glastonbury and V in England alone). Now, they’re back with fourth album ‘The Future Is Medieval’. And it’s definitely the Kaiser Chiefs.
From the word go with sharp lead single ‘Little Shocks’, it’s that jaunty indie that we’ve grown to love from the Leeds quintet with very little in way of a new style. Many of the tracks could have been lifted from their previous efforts, but after the tepidly received ‘Off With Their Heads’, the stronger songs do represent somewhat of a return to form.
‘Coming Up For Air’ is possibly their finest hour since ‘Modern Way’; poignantly melodic, a swelling chorus and brilliant Wilson vocals make for a phenomenal modern ballad. ‘Child Of The Jago’, with the opening air of ‘I Predict A Riot’, is dark and brooding, while ‘Man on Mars’ sees drummer and chief songwriter Nick Hodgson take centre stage in an greatly pleasurable and dreamy guitar quest.
‘Long Way From Celebrating’ and ‘Dead Or In Serious Trouble’ remind of us of why this band became big back when ‘Employment’ was revealed; short, snappy and witty indie rock with that intangible yet moreish English feel, if not quite with the hooking brilliance of ‘Oh My God’ or ‘Na Na Na Na Naa’. ‘Out of Focus’ is a dazzling electronic meander, then the sombre acoustic and strings afterthought 'If You Will Have Me' and the David Bowie-esque ‘Things Change’ make for a pleasing if not ground-breaking record.
Unfortunately, there are a few tracks that kind of detract from the general satisfaction of the rest of ‘The Future Is Medieval’. ‘Starts With Nothing’ is a dull and repetitive bore, with the chanted mantra ‘You start with nothing/And you’ll end with nothing’ in reality as depressing as it looks on paper. ‘Heard It Break’ is the example of when the Kaiser’s quickfire Britrock goes wrong, and ‘When All Is Quiet’ is a failed attempt at a Beatles tribute song. It’s an effort that could have maybe done with the drum-driven ‘Cousin In The Bronx’, eerily resounding ‘Back In December’ or spontaneous flirter ‘Kinda Girl You Are’, but alas they fell prey to the album selection process.
But all in all, it’s Kaiser Chiefs-by-numbers. It ticks all the boxes; witty in places, endlessly jaunty and pokey indie pop and you just don’t mistake a Ricky Wilson vocal. And it reminds you of how much you miss that undeniably British Kaisers sound. It may not measure up to the instant catchiness of ‘Employment’ or ‘Yours Truly, Angry Mob’, but it’s good to have them back.
A good effort from the Leeds boys, and here's best song 'Coming Up For Air'.
Ticking off another one of the bands I had to see before I die, I caught The Killers at Hyde Park this weekend and here's what I thought:
Not even a miserable London night could sour the mood as The Killers provided the perfect comeback to English soil with a triumphant show. They powered through a greatest hits set at the opening night of the Hard Rock Calling festival, and were in exceptional form throughout.
It was an overcast day at Hyde Park with the warnings of later downpours, so waterproofs and ponchos were out on force as the crowd were treated to the pleasing early sets from Wolf Gang and Michael Kiwanuka. However it was the introduction of James that first got people going, a full-blown version of ‘Sit Down’ and some acid-esque grooving from frontman Tim Booth getting the first jumps from a dampened crowd.
Kaiser Chiefs kept the mood going; with new songs and old classics furthering their return to form. Of the new tracks on show, ‘Kinda Girl You Are’ goes down best, but it’s the well-known tunes that really kick the show off. As the rain started coming down, ‘Everyday I Love You Less and Less’, ‘Ruby’ and ‘I Predict A Riot’ all start up mania, capped off by show-stopper ‘Oh My God’. But whereas Wilson and Co. sounded good, Brandon and Co. sounded phenomenal.
Opening with the jubilant ‘Glamorous Indie Rock ‘N’ Roll’, The Killers were start to finish amazing and treated the adoring crowd to an epic set packed with hits. Superlatives quickly ran out as the high quality was set from the off; Brandon leading mass sing-a-longs as they reeled off the bouncing ‘Spaceman’, indie pop perfection in ‘Somebody Told Me’, rock-fuelled ‘For Reasons Unknown’ and keyboard bliss ‘Smile Like You Mean It’.
In their first UK show in two years and with the four-piece currently involved in individual projects, they showed no signs at all of rustiness as they drove on with their expert performance. It was a pretty even collection as well; five tracks from each album; and it was clear the band were on a mission. ‘Bones’, ‘Bling (Confession of a King)’ and brightly lit odyssey ‘Human’ especially drawing thrilled responses, with the cover of Joy Division’s ‘Shadowplay’ the only possible chance for a toilet break.
But from the snyth-ballad brilliance of ‘Read My Mind’ onwards, there was no leaving your spot as they roared through their biggest songs. Following swiftly after was their calling card, ‘Mr Brightside’, met with a typically euphoric reaction, then it hits almost angelical levels as Brandon leads the heavenly ‘All These Things That I’ve Done’. But they are not done just yet; the encore brings the cheery ‘This Is Your Life’, a dirty-bass take on ‘Jenny Was A Friend Of Mine’ and the final bow of ‘When You Were Young’, complete with fireworks and all. Job done.
It may have been wet and windy throughout, the sound could have been turned up a dash or two, and there were the usual drunken idiots who seem to try to ruin every gig, but it didn’t matter at all. The Killers return was all-conquering; their hits were there for everyone to see, they were on spectacular form and successfully reminded us that on their day, they are one of the most formidable bands around.
One of my favourite bands from the c2005 indie boom were Hard-Fi, and guess who's back with a new single out this week?
Hard-Fi are a good band, okay? The lambasting that the Staines group got for their second album was unfair; I’ll admit the album artwork was a bit questionable to put it nicely but it still featured some fine songs. ‘Suburban Knights’ and ‘The King’ are two of the best songs Richard Archer has ever written, but the break the band took following ‘Once Upon a Time in the West’ has been unfairly viewed as a chastised retreat rather than a well-earned rest.
So finally now, Hard-Fi are back after three years in the musical abyss with new single ‘Good For Nothing’ and it’s very good. Paying homage to their self-proclaimed roots within soul and dance especially with the ‘Crazy In Love’ opening, it’s a moody and heavier track that promises much from up-coming album ‘Killer Sounds’. A catchy riff, easily memorable chantlike chorus and typically industrious Hard-Fi feel, it should appease the fans who so readily criticised the second album.
People are far too quick to write off the band who brought us the exceptional ‘Stars for CCTV’, but it is hard to forget the indie rock four-piece amongst their contemporaries. The likes of Arctic Monkeys and Kasabian have gone from strength to strength, while others such as Kaiser Chiefs and Franz Ferdinand are now completing their fourth albums. Archer and Co. were one of the biggest casualties of the mid-2000’s indie boom, but this shows much intent and promise to get back to where they belong.
‘Killer Sounds’ will be well worth a listen, as has their back catalogue to this point, and will hopefully put Hard-Fi back towards the top. They have some cracking songs behind them and ‘Good For Nothing’ shows they aren’t done with making them yet. Just stick to a normal photo shoot for the album cover, yeah boys?
A good start to rebuilding their reputation, and here is 'Good For Nothing'.
I'm finally back to an album and single a week guys, and here's the first one; Bon Iver's eponymous second record and what I thought of it:
Leaving Emma’s all over the world swooning, Bon Iver’s debut album was a masterfully sombre triumph. Recorded in almost solitary confinement in the woods in Wisconsin, ‘For Emma, Forever Ago’ was the document of a bearded soul lost and lonely with just his guitar for company. However, Justin Vernon is not alone this time. Bon Iver’s eponymous second album sees him joined by a whole host of musicians for a different landscape all together.
Whereas the debut’s brilliance was found in its unrefined touching emotion, ‘Bon Iver’ finds a new bolder direction with the same veins of indie folk running underneath thick layers of musical accompaniment. It’s not so much the lone man and his guitar in a miserable winter, but a slowly warming summer morning heralded by lavish percussion and a well-polished atmosphere. But it loses little of the beauty of the first effort, and Vernon is in distinctively exceptional falsetto form.
‘Wash’ is probably the rawest track on the record; slow pianos and simple lyrics make for a exquisite track, backed only by strings and swoons and proclaiming ‘Home, we’re savage high/Come, we finally cry’, but ‘Bon Iver’ as a whole paints a different picture. First track ‘Perth’ is a fine example of the album’s feel; marching drums, floating backing synths and a dreamy atmosphere that encompasses everything.
This is used to both good and bad effect. For the good, you need only look at the meandering yet touching ‘Michicant’, classic Iver with the telling line ‘searching for an inner clout/May not take another bout’. For the bad, note the pleasantly bright but instantly forgettable ‘Towers’, and the unremarkable ambience of instrumental track ‘Lisbon, OH’, but all together it makes for a rich and lavish effort that still tells us of Vernon’s brand of hopeful gloom.
Add in the almost bouncing ‘Minnesota, WI’ and the arching ‘Hinnom, TX’; complete with a joint baritone lead vocal; and it adds up to an elegantly lavish set of songs. The names compliment the feel of the record aswell; from warm Perth, Australia, to cold Calgary, Canada, the track listing reads like a journey and that’s what ‘Bon Iver’ feels like. Ever-changing and inventive, it’s a dreamlike trip with Vernon through his personal melancholy to something a little brighter.
The best example is album highlight ‘Holocene’; Vernon shows he is still the master of melancholy, a soft and poignant delivery, a slow guitar crescendo and the release of ‘And at once I knew I was not magnificent/Strayed above the highway aisle/Jagged vacance, thick with ice/I could see for miles, miles, miles’. Full of emotion and epic in its way, and coupled with the synth-fuelled ballad ‘Calgary’, stands as some of Vernon’s best work. Even the odd 80’s-influenced closer ‘Beth/Rest’, either a charming Phil Collins-esque number or a cheesy sitcom theme tune depending on your taste, fits in with the feel.
‘Bon Iver’ is a musical departure from the debut effort, but is still packs that sombre punch that ‘For Emma, Forever Ago’ triumphed with - as long as you search for it amongst all those sounds. An endless ensemble of weird and wonderful instruments propels the album into new realms, while Vernon’s exemplary and distinguishing voice pierces through the sound to really connect. It may not have the simplistic and raw beauty of the first album, but ‘Bon Iver’ is a first-rate effort.
A very good album, and here's a fantastic live version of my favourite track 'Holocene'. Enjoy.
I've managed to have a sneaky listen to the Arctic Monkey's new album 'Suck It And See' a week early and here's what I thought of it:
Arctic Monkeys are back, but which way have they gone? Last album ‘Humbug’ lost them some of their well-earned fans; the dry, desert rock influenced by Queens of the Stone Age distanced them from the indie tales of dirty nights out in Sheffield. So is the return of the cheeky, awkward Alex Turner of ‘Fake Tales of San Fransisco’ and ‘Still Take You Home’? Or is it a further descent into the mystery and distance of ‘Dance Little Liar’ and ‘Potion Approaching’? Luckily, it’s a little more like the former than the latter.
New album ‘Suck It And See’ is an audible sigh of relief; the sun has risen again on Turner and Co., and they’ve let a bit of light-heartedness seep back into the music. In a high-class twelve songs and forty minutes, Arctics are arguably at their brightest and most melodic, while Turner’s lyrical tumble into Lennon-esque nonsense shows no signs of slowing up just yet. Not that it’s a bad thing.
Opener ‘She’s Thunderstorms’ immediately sets the lighter feeling, a free and jangling performance of the highest order and a sweet melody that leaves the rest of the album to just smoothly run through. ‘Black Treacle’ in its bouncing happiness, ‘Reckless Serenade’ in its soft and almost soppiness and title track ‘Suck It And See’ in its soothing tunefulness all optimise the sunnier outlook. ‘The Hellcat Spangled Shalalala’ is the best of these; as the title suggests, lots of ‘shalalala’s’ within, lots of swagger and is a simple anthem unseen from the four piece since ‘Flourescent Adolescent’.
There’s also opportunity for the band to let their collective hairs down a bit. First taste ‘Brick By Brick’ lifts the record with its sheer spontaneity, and the moody rock ridiculous-ness of ‘Don’t Sit Down ‘Cos I’ve Moved Your Chair’ is the sign of a band looking at the glass-half-full again. They may not have totally abandoned the darker stylings of their previous album (Humbug producer Josh Homme even ghosts in on the harder ‘All My Own Stunts’), but there’s a far more instant affect from this album.
‘Library Pictures’ is the perfect example and the best track on show; fractious, fast-paced, ever-changing and hooking from first listen. Matt Helders, on reserve for most songs, is finally released and only Alex Turner can pull off ‘Give me an eeney, meenie, miney mo/Or an ip dip dog shit rock ‘n’ roll’. ‘Piledriver Waltz’, in its slow dance daze, is another fine example of his now-formidable lyrical prowess.
If there’s one weak link, it’s the brilliantly titled ‘Love Is A Lazerquest’, which despite a dynamic title is static and the only track that slides by without an impact. But, it doesn’t matter, Arctic Monkeys have rediscovered the good side of life and where ‘Certain Romance’ saw them stroll off cheekily into the night on their debut album, ‘That’s Where You’re Wrong’ sees them drive off triumphantly into the sunset.
Humbug was unfairly criticised, but this new effort reminds of how effective Arctic Monkeys now are as a rock group. Effortlessly magnificent musically, lyrically inventive and catchier, Alex Turner may not write about dancing shoes and girls in green dresses anymore but he and his band don’t half know how to make an infectious album, although it’s better on fifth listen than on first. But don’t just take my word for it. Suck it and see.
Great effort from the lads, and here's my favourite track 'Library Pictures', live on Jools Holland no less. Enjoy :)
Arctic Monkeys - You Probably Couldn't See For The Lights But You Were Starin': An extraordinary 2-minute odd piece of indie rock about getting the courage to talk to that girl in the club. Vintage Monkeys
Brother - Shoot Like Lightning : This Stone Roses-influenced number is another string to the bow of Brother, their danciest release yet and if it's a B-side, the album must be good
The Lonely Island (feat. Michael Bolton) - Jack Sparrow : The boys are at it again and along with Michael Bolton, here's a perfect example of why they are the best comedy musicians around. Not a bad song either.
The Killers - Change Your Mind : Early Killers at their sweetest; a guitar-driven ballad, a fine Flowers vocal and a catchy backing riff. The best adulation I can give it is if it was included on 'Hot Fuss', it would still have been as good
Foo Fighters - Long Road To Ruin : Now truly one of the biggest bands in the world and this is a great example why; soaring chorus, squealing guitars and a great lyric. Isle of Wight 2011 will be goooood...
Okay, it's HOMTA time and here are the top five albums of my time away from this blog - so the best of the best from late March through April and May. Enjoy :)
5. Alex Turner - Submarine EP
In fifth place only because it's a short EP, Alex Turner delivers
another reminder of his genius with this scoring of Richard Ayoade's film Submarine. Five brilliantly sombre and fantastically written slow-ones, the highlight of which is the dreamy ballad 'Glass In The Park'. Also, look out for a slightly faster version of 'Piledriver Waltz' on the up-coming Arctic Monkeys album. This sees Turner grow fully from the sharp delivery of early Monkeys songs to a magnificent crooner.
KEY TRACKS: 'Glass In The Park', 'Piledriver Waltz'
4. Avril Lavigne - Goodbye Lullaby
A guilty pleasure I'll admit, but the Queen of punk balladry is back in fine form. Lead single 'What The Hell' is a bit of Red Herring as the rest of the album is stripped back to old-style Lavigne; a guitar, a bit of atmosphere and a cracking ballad about love. It's been a long time since 'Complicated', the pop princess' powers show no sign of diminishing just yet.
The kings of theatrical emo rock are back after a long hiatus, and again they show no sign of slowing just yet. Although not as instant as debut effort 'A Fever You Can't Sweat Out', Vices is a fine example of their lyrical and musical talents. First track 'The Ballad of Mona Lisa' is the stand-out; a brilliant, er, ballad that is one of the songs of the year; and the rest of the album works well as a collection of good, solid and inventive tunes.
KEY TRACKS: 'The Ballad of Mona Lisa', 'Memories', 'Nearly Witches (Ever Since We Met)'
2. The Lonely Island - Turtleneck & Chain
They ain't no one-hit wonders. The three lads that brought us 'Jizz In My Pants' and 'I'm On A Boat' are back, and with a possibly even bolder set of songs. Proclamations of joyous intercourse with Akon ('I Just Had Sex'), agreements to swap mothers for sexual relations with Justin Timberlake ('Motherlover') and sipping light beer in your favourite attire with Snoop Dogg ('Turtleneck & Chain') are just a taster of the delights that await. Not one bad song.
KEY TRACKS: 'Jack Sparrow (feat. Michael Bolton)', 'No Homo', 'I Just Had Sex (feat. Akon)'
1. Foo Fighters - Wasting Light
The elder statesmen of rock returned with their seventh album to reassert their place at the head of the music world. A exceptional bold and robust record, each song could be a single and is probably Dave Grohl's best one yet. Lead single 'Rope' sets the tone, then opener 'Bridges Burning' and 'Arlandria' push it through the roof. Also, we see a moment of sentimentality as Grohl aches through 'I Should Have Known'. Foo Fighters doing what they do best; guitars with soaring choruses, and it's exemplary.
KEY TRACKS: 'Bridges Burning', 'Arlandria', 'I Should Have Known'
So, there's my top five, and there were a few good'uns that missed out; with Noah And The Whale's 'Last Night on Earth', Wild Beasts' 'Smother', Fleet Foxes 'Helplessness Blues' and Gorillaz's 'The Fall'; just a couple of the names, and I'm sure there's many more. But here for your enjoyment, 'Arlandria' by the Foo Fighters.
