The Killers - Battle Born - 17.09.2012

One of the biggest bands in the world make their long-awaited return this week, and here's my thoughts on the return of The Killers.

It’s been a rough time for The Killers. Since returning from hiatus, sessions for ‘Battle Born’ have included year-long recordings, numerous producers and the tragic death of long-time saxophonist Tommy Marth, as drummer Ronnie Vanucci Jr. admits the album ‘lives up to its name’. But have one of the world’s biggest bands lost their spark, or have rekindled the magic from their previous work?

Well, ‘Battle Born’ sees The Killers cast off the last of their indie beginnings and strut out towards stadium rock, allowing their inner-Springsteen to fully flourish with touches of U2 and 80’s anthems. An update on the rockier elements of ‘Sam’s Town’ and more distinctly American tales of desert nights, lost loves and nostalgia, it’s their most ambitious effort to date, and in some places recalls some of their greatest work.

They set their stall out with the storming ‘Flesh And Bone’; towering Flowers vocals, swelling chorus and full of bombast, but still unmistakeably The Killers, it all seems to be going swimmingly. Couple that with first single, ‘Runaways’, which recalls the rockier ‘When You Were Young’, with Pete Townshend guitars, stories about teenage rushes and runaway girls that echo Springsteen and stadium-sized sound, The Killers are back, bigger and trying harder than ever.

But in places ‘Battle Born’ struggles to hit those heights. ‘The Way It Was’, a soft ballad with nice lyrics, takes a few too many listens to get along with, ‘A Matter of Time’ sounds like a poorer ‘This River Is Wild’ with some ‘woah, woah, woah’s’ and title track ‘Battle Born’ is pleasant but forgettable. In its worst moments, it’s everything The Killers shouldn’t be; ‘Deadlines and Commitments’ is complicated and absent-minded, ‘Heart of a Girl’ starts slowly and doesn’t gain momentum and ‘From Here On Out’ indulges their love of country to once again disappointing results.

But no Killers album has been without its weak moments, and there are enough good moments to put ‘Battle Born’ respectably alongside their back catalogue. ‘Here With Me’, co-written with Travis singer Fran Healy, is an emotive piano ballad that fits among their finest, and ‘The Rising Tide’ is a pulsing 80’s anthem. ‘Miss Atomic Bomb’ nods heavily to ‘Mr Brightside’, recalling ‘the boy with the eager eyes’ and even featuring that iconic riff, but with the line ‘For a second there we’d won/We were innocent and young’, it again sits on the mantle as one of their most touching lines. The best moment comes in ‘Be Still’; a fragile, touching and at times chillingly poignant and tender, it’s the cherry on the cake.

‘Battle Born’ doesn’t scale the heights of ‘Hot Fuss’ or ‘Sam’s Town’, while is not as varied or inventive as ‘Day & Age’, but is good enough to ensure it is the next step on their journey towards being one of the world’s biggest bands, if not quite their defining work. More sophisticated and stadium-ready, Flowers and Co. maintain their climb the U2 and Springsteen heights they crave. 

HIGHLIGHTS: Runaways, Here With Me, Be Still

Another good (if not great) album from The Killers, and here's my personal favourite track, Be Still, for your enjoyment.

The Vaccines - Come Of Age VS Two Door Cinema Club - Beacon - 03.09.2012

Two of the biggest new bands in Britain at the moment have both released albums in the same week, so it only makes sense to put them up against each other to see which comes out on top.

Taking a tip out of the Britpop rivalry book, music writers have been keen to play up the battle between the country’s two hottest indie bands; the low-fi rock ‘saviours’ The Vaccines and their poppier counter-parts Two Door Cinema Club; as both release their eagerly anticipated second albums in the same week. So, who’s going to take the title as the best new band in Britain?

Very much sticking to their first album aesthetic of grunge-tipped guitars and droning vocals, The Vaccines’ second album in as many years updates their sound to where they are now. They have been placed as the newfound champions of British rock, but have never been truly comfortable in that role; ‘Come Of Age’ showing this perfectly. Lead single ‘No Hope’ sees singer Justin Young stating ‘I don’t really care about/Anybody else when I haven’t got my own life figured out’ in an indie-ditty borrowed directly from the Libertines’ songbook. Second single ‘Teenage Icon’ follows suit; shouting ‘I’m no teenage icon’ and ‘I’m nobody’s hero’ on the catchiest and most anthemic song on show, but one from a band shying away from their mantle.

So, ‘Come Of Age’ updates their sound as a promising band, but not yet fit for placing amongst this country’s finest. ‘I Wish I Was A Girl’ is a suave mid-paced rocker that sees Young envy after the fairer sex, and they’ve never sounded sweeter than on the bright pair of ballads ‘All In Vain’ and ‘Aftershave Ocean’ as Young stretches his sometimes-underworked vocals. ‘I Always Knew’ is a nicely worded if passable tune, while ‘Weirdo’ sees the album hit a low with a slow and repetitive point that threatens a reach for the stop button.

Thank goodness for the moody, grunge-esque punk-rock of ‘Bad Mood’ which blitzes ‘Come Of Age’ out of its funk, and is easily the ‘If You Wanna’ of these songs on show. With these tracks, completed by the bubbly and pacy ‘Change Of Heart Pt. 2’ and swaggering album closer ‘Lonely World’, it makes The Vaccines’ second showing a pleasurable record, not quite at the heights that they are being talked up to but without a doubt full of potential.

So while The Vaccines had a wild 2011 on the festival circuit, it seems that Two Door Cinema Club that appear to be having the better 2012 with roaring success at the Reading/Leeds festivals. Their unique brand of summery indie-disco saw their stock rise as one of the country’s best loved new groups, with debut album ‘Tourist History’ inspiring a devoted following.

However, ‘Beacon’ sees the Northern Irish trio grow up a bit; the fast-paced tracks have been replaced by a more mellow and sombre Two Door that, while arguably are better musically, have lost a bit of their sparkle and the appeal is a lot less instantaneous. Tracks such as ‘Handshake’ and ‘Spring’ are very pleasant, bursting along to a similar beat with bright and intricate riffs lacing in and out, but it’s all very passable without much impact.

It also seems that lead singer and chief writer Alex Trimble is a bit lost, as themes of loneliness and longing are riddled throughout ‘Beacon’. Opener ‘Next Year’ sees Trimble solemnly crying ‘‘I’ll be home for next year, darling’, while ‘The World Is Watching’ may sound cheery but seems to reflect his subdued outlook as he sings ‘Everybody is here except for me’. Add this to admissions on second single ‘Sun’ that he is ‘drawn apart’ and ‘far away’; it’s starting to look like the chirpy red-haired front man of Two Door is nearing depression.

But no matter how much the world may be getting the lads down, they can still produce an indie-disco floor filler, even if the quality or quantity isn’t as high as on ‘Tourist History’. ‘Someday’ could have come straight from the first record; fast, infectious and full of life, it is the first song you can actually envisage flashing lights alongside it. ‘Sleep Alone’ has lead single written all over it, while ‘Settle’ and ‘Beacon’ again keep up Two Door’s reputation for three-minute disco thrillers. But one must still worry about Trimble; the former carry’s the lines ‘This isn’t home/I couldn’t feel less alone’, while the title track offers some sense of hope as Trimble finishes calling out ‘I’m coming home!’

‘Pyramid’ is also a highlight in an album that lacks them; piercing through a malaise of highly polished, fuzzy guitars with a shot of pace and punk, and manages to be interesting over a set of songs that often fail to inspire. ‘Beacon’ therefore falls short of the heights of their first album; pleasing and in some places enjoyable, but overall a passable listen.

Two of the country’s biggest new bands and two new albums out in the same week and both reap similar results. Both are continuing their respective sounds, with signs of development and progression but ultimately producing two albums that fall short of their predecessors. Of the two, The Vaccines take the title of the victors of this British pop battle, but it’s not quite at the Blur-Oasis height of the mid-1990’s. Promising however, from two bands that could be one album away from stardom. 

HIGHLIGHTS: Vaccines - Teenage Icon, Bad Mood, I Wish I Was A Girl / Two Door - Someday, Sleep Alone, Pyramid

Well done to The Vaccines, coming out on top of the battle of the Brit bands of the moment, and here's my favourite track, Bad Mood. Enjoy.

The Three Top New Bands To Look Forward To In 2012

Viva Brother, The Vaccines and The Joy Formidable were my tips for 2011; The Vaccines promptly became well-known as the best new band of the year, while The Joy Formidable continue to pick up fans along a steady year. Viva Brother, through an enforced name change and unfulfilled expectations, stalled along the way, but have higher hopes this time round. So after the unprecedented success of last year's suggestions, who are my three tips for 2012?

LANA DEL REY
If you haven't yet heard 'Video Games', where have you been? If you are yet to here this stunning piece of heartfelt 'Americana' (whatever that is), it's brilliant and a beautiful first calling card of this exciting new artist. And for those that are familiar with her, you want the good news? That's not her best. The twisted R'n'B of 'Off To The Races' and the anthemic indie of 'Born To Die', title of her up-coming debut album, show Del Rey to be anything but a one-trick pony. Keep an eye out for her in 2012.

DRY THE RIVER
Already having supported Bombay Bicycle Club, Dry The River are another of the year's hot tips, popping up in all the usual places that buzz bands do (BBC Radio One and NME to name two). But links to Mumford and Sons and Fleet Foxes are slightly unfair, they may be better. For one they know how to rock out, with their infectious tracks evolving from acoustic wonders to rocking stunners, all in the space of three minutes. Songs 'No Rest', 'New Ceremony' and 'Family Tree' borrow from folk, rock, indie and country, but meld together to form a unique sound that you recognise - the sign of a good newcomer. A good live show also.

HOWLER
The big hopes for 2012 and already being hailed as the year's saviours of rock 'n' roll. Playing very much on the garage rock traditions of The Strokes and shaping up to be this years' The Vaccines, they have some already immaculate indie-pop-rock tunes that are welcome on any sweaty dancefloor. 'I Told You Once' will be their lead single (their 'Last Nite') but they released EP 'This One's Different' last year to get that exact response; these are different. Five instantly hooking melodies and a raspy vocal from singer Jordan Gatesmith, but extremely tight musicianship and the kind of grainy production that shot The Strokes to fame; this five-piece from Minnaepolis are definitely one to watch as they hit these shores in March.


Three big hopes for the year ahead, and here's Lana Del Rey with 'Video Games' - one of the biggest songs of last year and bound to take this one by storm. Enjoy.

NWR

The Best Of 2011: My Top Ten

It's been a stellar year for music; the return of rock 'n' roll may not have impacted the charts but it has been felt across the nation, as the likes of Coldplay, Arctic Monkeys, The Strokes, Kasabian, Red Hot Chili Peppers, Foo Fighters, Beady Eye and Noel Gallagher's High Flying Birds hit our ears in the last twelve months. But who has made the cut for the best ten? Here's my definitive list of my favourite albums of the last year, with a couple of extra awards at the end. So without further ado...

10. Elbow - Build A Rocket Boys!

The everyman's band were back, and carried on the beauty from their all-conquering Mercury Prize-winning previous effort 'The Seldom Seen Kid'. In contrast, 'Build A Rocket Boys!' is softer, more introspective and quieter, but loses none of the beauty and innoncence of its predecessor. 'Lippy Kids' is a sombre, reflective ode that harks back to the band's youth, as does epic opener 'The Birds' and the delicate 'Dear Friends'. The best moment comes in this album's 'One Day Like This' - the warm 'Open Arms', with the chanted 'We've got open arms/For broken hearts' the top moment. Guy Garvey and Co. seal their place as one of the country's best-loved bands.

HIGHLIGHTS: The Birds, Lippy Kids, Open Arms

9. Bombay Bicycle Club - A Different Kind of Fix

One of my favourite bands, they continue their red-hot streak. From the indie-guitar debut of 'I Had The Blues But I Shook Loose' to the brilliant folk strums of 'Flaws', their latest jump took them higher up the festival bills and up to third in the UK charts. 'A Different Kind of Fix' sees their ever-expanding horizons expand even further, with a new mixture of influences and sounds making up their most ambitious effort yet. From the folky opener 'How Can You Swallow So Much Sleep' to the heart-breaking piano-closer 'Still', it's a wonderful journey. And who ever thought you would dance to Bombay Bicycle Club? 'Shuffle' and 'Lights Out, Words Gone' beg to differ.

HIGHLIGHTS: Shuffle, Lights Out Words Gone, Still

8. Blink 182 - Neighbourhoods

The masters of pop-punk are back and their eight year break ensured one thing; they've grown up. The band have been through a lot in their hiatus; after the ugly break-up came three new bands, deceased producers and a near-fatal plane crash for drummer Travis Barker; and it comes through on their darkest effort yet. Themes of death, religion and family breakdown are clear in 'Ghost On The Dancefloor', 'Kaleidoscope' and 'Snake Charmer', but the Blink we all now and love are still there. It's almost a mix of their previous five records, from early punk spirit in 'Heart's All Gone' to their later stylings in 'Love Is Dangerous'. 'Natives' and 'Up All Night' show the magic is still there though.

HIGHLIGHTS: Natives, Up All Night, After Midnight

7. The Vaccines - What Did You Expect From The Vaccines?

2011's undisputed best new band as they blitzed past all expectations; one of the top albums of the year, coupled with one of the show you had to see in the last twelve months. Drawing on The Strokes, they rejuvenated guitar rock just as people were again doubting its future. The album is a perfect example of their talent; their balladry in 'Wetsuit' and 'All In White', their anthemic brilliance in 'Post Break-Up Sex' and their instantaneous blitzkreg guitar-pop in 'Wreckin Bar (Ra Ra Ra)' and 'Norgaard'. 'If You Wanna' sees all these qualities rolled into one. Now hitting the big arenas supporting the Arctic Monkeys, expect to see these lads continue growing in 2012.

HIGHLIGHTS: If You Wanna, Blow It Up, Post Break-Up Sex

6. Beady Eye - Different Gear, Still Speeding

The post-Oasis feud lit up yet again in 2011, and it was Liam that struck the first big blow in the Gallagher row. While everyone expected an album full of simple raucous rockers, Little Brother surprised us with a melodic and, in places, beautiful record. That's not to say he didn't break out the guitars; 'Four Letter Word' is as good a rocking opener as they come, while 'Wind Up Dream', 'The Roller' and 'Standing On The Edge Of The Noise' are top-drawer tracks. 'Bring The Light' is a 50's-style piano rocker to add to the list, but the album startled with his delicate and pretty side; 'For Anyone' is as soft as Gallagher's been since 'Songbird', while 'The Beat Goes On' and 'The Morning Son' are ballads that would grace Oasis' catalogue. Beady Eye surpass the expectations.

HIGHLIGHTS: Four Letter Word, The Beat Goes On, The Morning Son

5. The Strokes - Angles

Another of the year's hugely anticipated returns came in the form of The Strokes, and 'Angles' wasn't as instant as their previous effort. Sure, lead single 'Under Cover of Darkness' was the most catchy song of their considerable collection, but the rest sees a varied and interesting listen. Ten songs, no weak spots and a new direction for the indie rock starters, the likes of climbing opener 'Macchu Pichu', 80's-influxed 'Two Kinds of Happiness' and the bouncing 'Gratisfaction' make it a very pleasing return from the New Yorkers. They may not get on in real life, but there is an attraction to The Strokes that means the five-piece remain at the head of the rock game.
HIGHLIGHTS: Macchu Pichu, Under Cover Of Darkness, Life Is Simple In The Moonlight

4. Kasabian - Velociraptor!
Kasabian made their claim to the stadium-sized Best British Band title with a superb fourth album - all the hallmarks of a Kasabian album but bigger, better and catchier. 'Days Are Forgotten' is an anthem of the highest order, while 'Goodbye Kiss' is a genuine heart-break song and 'Re-wired' is a bouncing thumper that is already a staple of their live show. But it's still delightfully weird in places; the subvertive Serge shows his best in 'La Fee Verte', The Prodigy meets hard guitar riffs in 'Switchblade Smiles' and 'Neon Noon' rounds it off with an irrepressibly chilled and mellow high. 

HIGHLIGHTS: Days Are Forgotten, La Fee Verte, Neon Noon

3. Arctic Monkeys - Suck It And See

Arctic Monkeys continue their drive to the heights of British rock with their most melodic effort to date on their fourth album. Alex Turner's lyrical talents remain undiminished (don't let the rock-by-numbers teaser 'Brick By Brick' fool you) and perhaps even sharper than ever - 'Love Is A Lazerquest' and 'Reckless Serenade' are testament to this. Moving away from the night-time vibe of 'Humbug' but keeping that hard rock edge ('Don't Sit Down 'Cos I've Moved Your Chair', 'All My Own Stunts'), the Monkeys again remember how to have fun ('The Hellcat Spangled Shalalala', 'Library Pictures'). Currently the nation's best band.
HIGHLIGHTS: Don't Sit Down 'Cos I've Moved Your Chair, Reckless Serenade, That's Where You're Wrong

2. Foo Fighters - Wasting Light
Narrowly missing out on top spot, Dave Grohl thunders into second place with arguably the Foo's best album to date. Gone is the acoustic touches seen on the two previous efforts, 'Wasting Light' is all about screaming guitars, storming drums and soaring choruses. From the thumping opener 'Bridge Burning' to the delightfully optimistic closer 'Walk', it's the best collection of songs the seemingly-inflappable Grohl has come up with for over a decade. The jagged 'Rope' is the rock song of the year, 'White Limo' is as pure scream-punk adrenaline while 'Arlandria' and 'Dear Rosemary' are oustanding guitar anthems, but the album X-factor goes to the poignant 'I Should Have Known' - complete with a swirling bass cameo from ex-Nirvana bandmate Krist Novoselic. Superb.

HIGHLIGHTS: Bridge Burning, Arlandria, Walk

1. Noel Gallagher's High Flying Birds - Noel Gallagher's High Flying Birds

In a stellar twelve months of music, the Chief takes the title of best album with a stirring collection of alternative-rock anthems. Noel Gallagher may have done it all before, but still 'High Flying Birds' feels like a clean break and new start from Oasis, with more moments to build on the acoustic/rock gems that have made Gallagher one of the country's best ever songwriters. Epic opener 'Everybody's On The Run', the thumping 'Dream On', folksy twanger 'The Death Of You And Me' and anthem 'If I Had A Gun...' are all outstanding songs, while the groove-heavy 'AKA ... What A Life!' and tender ballad 'AKA ... Broken Arrow' complete his best rounded set of songs since the early 90's. Still the master of British rock 'n' roll, Noel Gallagher shows no signs of slowing, and appears to have taken to this solo malarkey like a duck to water.
HIGHLIGHTS: If I Had A Gun..., AKA ... What A Life!, AKA ... Broken Arrow.

So, there it is, another prestigious award for Noel Gallagher to add to his collection. In truth, it was extremely close in what has been an exceptional 2011 in music terms, with many worthy winners just missing out. But, Gallagher takes the title, and here's the Chief himself with an acoustic version of AKA... What A Life! Enjoy.