ALBUM REVIEW: Bastille - Bad Blood

Originally published at Gigwise: http://www.gigwise.com/reviews/79951/bastille---bad-blood-virgin

Having recently scored a huge hit single with 'Pompeii' and currently on a hugely succesful UK tour fans can breathe a sigh of relief - debut Bad Blood is every bit as thrilling and unique as everyone had hoped for.

For those who aren’t acquainted with the bands back-story, they haven’t miraculously appeared from nowhere as it may seem on the surface (having shot to mainstream fame in the past six months), having actually formed in 2010. Their sickly sweet (but loveable) tune ‘Flaws’ was born then but was only widely recognised after the music video went viral. (Over 1 million views on YouTube) resulting in it peaking at 21 in the UK last year.

Opener and second single ‘Pompeii’ closely lost out on this week’s number one spot to Justin Timberlake’s ‘Mirrors’ The track is hyper-infectious, energised and quite unusual with its choral opening, and let’s be honest, coming second to JT was inevitable and unavoidable.

Bastille are heart-on-sleeve, raw, and however much you try and resist them (and the cynic in you wants to wince at their twee romanticism that teeters on the edge of corny at times) you will no doubt succumb to their charm.

‘Things We Lost in The Fire’ is another emotionally charged, anthemic beauty, with bright metaphorical lyrics and swooping vocals. Title track ‘Bad Blood’ is crisp and lovingly constructed and is yet another residing sonnet to a lost love, a recurring theme throughout the album, with ‘These Streets’ also following suit.

What’s acutely refreshing about Bastille is that their brand of catchy, neo-synth pop is coming from somewhere real. The heartache and emotion Smith sings of are all his own. While the One Directions and Taylor Swifts of the pop world are mere puppets to a corporate machine, Bastille have bought something new to the table, managing to resuscitate the mainstream with some authenticity and creativity, and do so with the most catchy and experimental approach possible.

Of Monsters and Men - Bristol's O2 Academy 27/02/13

Last night I had the pleasure of watching these guys perform. 

It was SENSATIONAL. Review to follow...

LIVE REVIEW: Everything Eveything @ Thekla, Bristol 09/02/13

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/live/live-everything-everything-thekla-bristol-90213

Everything Everything have finally cemented themselves within the currently thriving indie/electro popular music scene with their extraordinary follow up to their 2010 debut Man Alive. With Arc in tow, the world is at this bands feet.

 It must have been surreal for the quartet, going from major support slots at arenas with the likes of Muse and Snow Patrol, back down to academies and smaller music venues including Thekla Bristol, which is a music venue parked on the river in the artsey and cultural city of Bristol.

This is however, a wise choice and one they have publically spoken about being more comfortable with. The dingey and intimate setting did wonders for them, keeping their image, sound and the music’s soul intact. For a sold out show, as part of a sold out tour, the venue didn’t seem anywhere near capacity. For huge fans of the band, this would no doubt have been a real treat.

Starting with their current single ‘Kemosabe’ and being greeted with what could only be described as a wave of hype and elation from the audience. They sounded as they do on record, even down to the placements and delivery of the vocals, it was wonderful to behold these four young northern lads doing so bloody well for themselves. The audience recited every line, even from Arc’s lesser-heard album tracks.

They played a well-placed set consisting of their debut and second album, each track going down an absolute storm with the excitable crowd. The set lasted 75 minutes, and was short, neat and sweet. They did however fail to play their monster track ‘Final Form’ and during their en-core, the crowd screamed for it, but it was to no avail. They finished with ‘Don’t Try’ an absolute blinder from their current album. As they left the stage, it was clear to see the audience hadn’t quite had their Everything Everything thirst anywhere near quenched.    

ALBUM REVIEW: Flume - Flume (Future Classics)

Originally published at Gigwise: http://www.gigwise.com/reviews/79660/flume---flume-future-classics

21-year-old Harley Streten, or Flume as he likes to be called, is a Sydney based producer who recently beat One Direction to the top of the Australian iTunes chart. Wow, already a hero to anyone in the world who isn’t a pubescent girl. His self-titled album is rich in self-assurance, panache and ability.

Citing artists Moby, M83 and Flying Lotus as key influences, the producer still manages to sound like all of the above, whilst carving out his own very strong sense of identity, and a chiselled quintessential sound.

The 15-track- long album is bursting with hip-hop percussion and spacey synths along withsamples from the likes of Sam Cooke’s ‘I Can’t Turn You Loose’ on ‘Holdin On’ and bloggers favourite Chet Faker on ‘Left Alone’.

‘Sleepless’ - his stunning debut single is a low-fi gem, sounds a lot like witch house pioneer Grimes fused with elements of Totally Enormous Extinct Dinosaurs. This track managed to clock up an astounding 1 million views on YouTube. ‘Insane’ is another of his most wondrous moments, mixing ghostly vocals with a thudding, multi tonal baseline.

What Flume has seemed to effortlessly master is the ability to expertly predict the popular music forecast – and in doing so, used it to his full advantage. His musical journey began at the tender age of 13 after winning music producing software on the back of a cereal box.

So from the most humble of beginnings to a literal worldwide buzz, (especially in America) there seems to be no stopping Flume, the new electronic music whizz kid.

ALBUM REVIEW: Lord Huron - Lonesome Dreams (PIAS)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/albums/lord-huron-%E2%80%93-%E2%80%98lonesome-dreams%E2%80%99-pias

Ben Schneider is the think tank behind his beautiful band Lord Huron. Lonesome Dreams is the title of their debut LP, and is much more than just music, with an accompanying artistic package comprised of ‘imagined novels’ by fictional author George Rayner Johnson and a number of short films. In Schneider’s own words he has used these extra components to create, “a world with its own mythology.”

The record pays loving homage to dusty deserts and cowboy melancholia. Each song unfolds into an almost screenplay type format, remaining retiring and ever so heartfelt throughout. ‘Ends of the Earth’ is a steadfast opener, overflowing with an innocent longing for life’s simple pleasures and rural reclusion accompanied with Technicolor harmonies. “To the ends to the ends, would you follow me?”

‘The Ghost On The Shore’ and ‘Lullaby’ swoon through with their sweeping Americana styled sound, and Schneider’ Michigan twang only compliments the overall package further. Lord Huron’s sound is very similar to that of Fleet Foxes, but overall with a bit more umph and is slightly more relatable lyrically. 

As the albums artwork denotes, what you see is very much what you get: a fleeting moment in time, where the very essence of a feeling is encapsulated from a very personal place. You can almost smell the heat, and feel the wind as you listen. Lonesome Dreams is a truly magical album from not just a musician or a band: but true artists in every sense of the word.

ALBUM REVIEW: Darwin Deez - Songs For Imaginative People (Lucky Number)

Originally published at Gigwise: http://www.gigwise.com/reviews/79487/darwin-deez---songs-for-imaginative-people-lucky-number

Darwin Deez is the brainchild of frontman Darwin Smith. First emerging on the cult scene in 2010 with their critically acclaimed self-titled debut album, now three years on and with a shift in line-up, Smith and co. are back with Songs For Imaginative People.

The record is self-produced by Smith; a bold move, there would have been an abundance of producers at his disposable. The album does subsequently sound a little bit messy, like an almost scrapbook effect off beats and riffs.

Darwin Deez’s overall charm would fall on deaf ears to those who aren’t overly sentimental. It’s unapologetically twee, romantic (at times) whilst being rather child like in its simplistic nature.

Smith’s back-story only adds to his allure, once a psychology student in his native New York who gave it all up to pursue a music career. He found the science of human emotion and the way it can be broken down far too clinical and depressing. A response that has been carried across both albums.

‘(800) HUMAN’ is a strong and characterised opener. Lead single ‘Free (The Editorial Me)’ is brilliantly slapdash, refusing to stick to a conventional song structure, much like the rest of the album.

Smith is however, treading a very fine line. It’s exceptionally unappealing when an artist tries to be overly ‘kooky’. Much like when somebody describes themselves as ‘quirky’, it can often appear trite and forced. Fortunately, Smith is very much a creative and imaginative person, and so (for lack of a better word) his ‘kookiness’ is backed up.

The record has a pure sentiment, unthreatening and honest. For fans of the first album, you will not be disappointed. If anything, Songs For Imaginative People is a buffed up, sunny and colourful progression from their debut.

ALBUM REVIEW: The Courteeners - 'ANNA'

Originally published at Gigwise: http://www.gigwise.com/reviews/79318/the-courteeners---anna-v2

So it’s that time again when footy fan favourites The Courteeners unleash a new album upon the world, with more bravado and pride in its build up than the last. Their last album, Falcon was released almost three years ago, and with ANNA’s leading single ‘Lose Control’ sounding good, we can only hope that front man Liam Fray’s unrelenting mouth will have been accurate.

Fray regularly gets into public slanging matches with other bands, much like the Gallaghers, both of which hail from Manchester. It’s obvious Oasis are a BIG influence for the band.

However, The Courteeners are in the running as one of the best contemporary Britpop bands, this is not art-rock, it’s man-rock. A belief Fray is very verbal about. Opener ‘Are You In Love With A Notion’ instantly resonates and wows, and ‘Van De Graaff’ will be a wonderful breath of fresh air for Britpop fans.

Each of the first five tracks has its own charm. The lyrics are so relatable (so many are not these days) that they carry a very strong sense of story and sentiment. It’s anthemic, stadium sized rock n roll, something the band seem relentless to conquer. ‘When You Want Something You Can’t Have’ is the closest ANNA gets to a ballad, and the beauty of the lyrics is touching.

After the first five tracks however, the album does take a bit of a nosedive. It’s bizarre - like a straight split, and one wonders if they had just changed the tracks around a bit, maybe we wouldn’t have noticed as much. The soaring of Blur and Oasis has for the most part, been completely present in The Courteeners’ last three albums so they can be forgiven for having a couple of dud tracks. Maybe stadiums won’t be on the cards this time guys, but sold out academys will no doubt be yours.

ALBUM REVIEW: Everything Everything - Arc (Geffen)

Originally published at Middle Boop Mag: http://www.middleboopmag.com/music/arc-album-review/everything-everything-arc-geffen

The northern dizziness of Everything Everything has at last returned with their greatly anticipated second album, Arc. With two standout singles including ‘Cough Cough’ and ‘Kemosabe’ already receiving critical acclaim and heaps of airplay, Arc already promises to be even more superior that their 2010 debut, Man Alive.

It seems the four piece has taken the best from their debut, refined and tuned, panned for gold if you will to which they have achieved astounding results. They have finally found their feet, binning the desperation to standout and constantly wow and concentrating on what they do best. Sonically and lyrically, Man Alive (bar the amazing Schoolin’, MY KZ, UR BF and Final Form) was a little overwhelming, with too much happening and far too much going on. Fortunately, the potency of the previously mentioned tracks has pulled the band through and given them the kudos they deserved.

As Arc unfolds, it goes from strength to strength, with diverse and interesting influences, sounds and obscure lyrics. ‘Choice Mountain’ is a feast of imagery and emotion while ‘Torso of the Week’ has hints of northern humour and humility. ‘Feet For Hands’ showcases front man Jonathan Higgs’s ability to convey heart wrenching vocals in perfect harmony with their busy and almost avant-garde approach as musicians.

If Everything Everything hoped for an astounding comeback, they have more than reached that goal.  Their genre deifying experimentation and belief in what they are doing and their own unique style is sufficient to confidently hail them as one of Manchester’s finest exports, possibly one of the greatest compliments for any band to hear.

ALBUM REVIEW: Villagers - 'Awayland' (Domino)

Originally published at Gigwise: http://www.gigwise.com/reviews/78818/villagers---awayland-domino

The Irish born Conor O’Brien and Co, formerly Villagers have shrewdly bided their time since their multi-award nominated debut album Becoming a Jackal. It has been three long years now and for those who have waited with baited breath for their return, prepare to be blown away.

The first taste of Awayland emerged late last year with leading single 'The Waves', an inimitable and almost avant-garde voyage of a song, reminding us of their artistically poetic and surrealist tendencies.

Villagers have delicately refined the best of their previous style, yet honed in even deeper taking larger risks whilst keeping their original aura intact. Awayland floats in and out of delirious and almost alienating obscurity right back to poignant and relatable storytelling, to which sole songwriter and vocalist O’Brien is a master of.

From the drama of 'Earthy Pleasures' to the warming of 'Judgement Call', strained yet concise vocals are set against folk guitars and at times an almost techno enthused bass line.

An obvious comparison would be with Bon Iver, but without the drear. They have managed to craft the right blend of guitars, strings and emotion, but kept optimism and escapism at the records core. 'Grateful Song' is just lovely and entirely refreshing. The album finishes on a high with the delightful 'Rhythm Composer', a jaunty and fun ending to an extraordinary LP.

It’s very early days with regards to album’s of the year, but this no doubt be amongst them. It’s intelligent, imaginative and truly unique and as second albums go, a confident promise of longevity to their fans.

The beauty of this record is that it requires no work, no ‘right mood’. As it unfolds it is every bit as captivating its predecessor, if not more so. It will immediately grip your undivided attention and beg for repetition and further exploration.