Saturday 31 May 2014

Best of May 2014

With Summer looming and festival season approaching, I'm sure we are all very much looking forward to getting this month over and done with. After all there is plenty to look forward to; new albums from Lana Del Rey(!!!), Jungle(!), Merchandise, JJ, Banks, First Aid Kit and La Roux(!) imminent and UK festivals such as Latitude and Glastonbury are promising their biggest and best line-ups yet (there's also the world cup if you're into that sort of thing...). But it never hurts to look back once and a while, and May has been an excellent month for new music, just see the epicness below: 

Albums of the month



Sharon Van Etten - Are We There

Following the immense critical acclaim which followed her 2012 LP Tramp, Brooklyn's Sharon Van Etten decided to take the plunge and make something a whole lot more interesting for album 4. This R'n'B style may not have served her too well on the lead single 'Taking Chances', but on the tracks 'Our Love' and 'Nothing Will Change' it works an absolute treat, these tracks are perhaps her most soulful and accomplished to date. Like Angel Olsen's excellent sophomore album earlier this year, with Are We There Sharon accepts and even makes light of the heartbreak which shrouded her past in order to be completely free. Now, without her shyness holding her back it seems that her sonic innovation knows no bounds, making her future work an incredibly exciting prospect indeed.

Full Review here.

Swans - To Be Kind

Speaking of critical acclaim, Swans' 13th studio album has seen plenty of it, most notably a staggering 9.2 from the otherwise stingy-as-hell Pitchfork Media (unless your Kendrick or Kanye, that is). Whilst 'post-punk' is far from my scene, one must commend Michael Gira and co's relentlessness in their approach to this titanic 2 hour record. To Be Kind is certainly not an easy listen, though beneath the shrill vocals and bleak arrangements there is an intense beauty here. 

Lykke Li - I Never Learn

Despite this album's flaws, I do admire Li's boldness; not only is this album raw and powerful sonically, but lyrically this is also the most vulnerable we've ever seen her. In all the sorrow she still manages to maintain her sharp ear for melody and killer choruses (see 'Gunshot' and 'Heart Of Steel'). As much I would of loved another 'I Follow Rivers' and God knows how happy another 'Get Some' would've made me, Lykke Li has stayed true to herself and for that I respect her. As this is 'the last in a sonic trilogy', I have no idea what's next for Li, but whatever happens she can be proud that she has created some of the most honest and powerful pop albums of the last decade.

Full Review here.

Sylvan Esso - Sylvan Esso 

Instead of cramming every inch with beats and effects, Durham's Sylvan Esso have taken a very different approach to pop music. Despite coming from a slightly different angle to acts such as The XX and London Grammar, they are all making interesting and artful pop music. With sounds here ranging from pulsating 'post-dubstep' ('Hey Mami') to simple yet effect skeletal pop ('Coffee'), this is easily one the most fun and infectious debuts I've heard this year.

tUnE-yArDs - Nikki Nack

As much as I wish I loved this album as much as I loved her last album W h o K i l l, I must accept that Merrill Garbus is a ruthless experimentalist and therefore a tUnE-yArDs record could never be perfect. This is far from a bad thing though, as the track 'Real Thing' (a future anti-perfection anthem) rightfully points out, the real thing or perfection is overrated. Just sit back and watch the beautiful madness unfold.

Read the Earbuddy Roundtable review here.

The Rails - Fair Warning

If you read my recent post about my record store day experience at Rough Trade East, you'd know that last month I fell in love with folk duo The Rails and their tight harmonies, intricate guitar playing, strong chemistry and bubbly onstage banter. All these boxes remain firmly ticked on their debut album, which was even hailed by Rough Trade as their 'Album of the month' and deservedly so. If you are a fan of folk music, I recommend you give this a listen.

Little Dragon - Nabuma Rubberband

Despite my prior criticisms about the band, after seeing their recent performance on 'Later...with Jools Holland' I gained a much greater appreciation of what this band does. In a world where less is more and bands tend to favour computer screens over instruments, bands like Little Dragon and Polica take a refreshing stance by keeping the band format alive and exciting. As much as this album isn't perfect, for the most part Nabuma Rubberband provides colourful, catchy and fun electro-soul with sinister nocturnal undertones.

Full Review here.

Fatima - Yellow Memories

Sweden-born London-raised soul singer Fatima presents a new breed of soul music; though her vocals are as rich and skilled as any of her contemporaries, what sets her apart are her flawless production choices. Her voice coupled with beats and arrangements from the likes of Scoop Deville, Flako and Computer Jay creates fresh, colourful and vibrant tunes which are worthy of any summer playlist. 

Pulp Culture - What Do You Want?


One of the best thing about doing this blog is the opportunity it presents to talk to bands and artists from all across a broad range of genres and scenes. This month I was sent the latest release from Detroit's Pulp Culture. Don't let the word(s) 'Math-rock' put you off, what these present is experimental, progressive and ambitious rock music, though the rhythm section has a pop sensibility which could spark the interest of a far more mainstream audience (if they wished to do so). 

Hear more on the band's official website.

EP of the month



Hockeysmith - But Blood

Sisterly duo Hockeysmith have come a long way since I featured them in my Ones To Watch post back in December, back then they were virtually unknown and mysterious with a mere two tracks to their name, now its all a very different story. Since dropping the Davy Evans-directed video for the very excellent title track back in February, their status has been gaining momentum hugely, making them one of the most exciting new British acts around. They have certainly delivered the goods here; in a broad range of ambient soundscapes they have created a sound best described as avant-garde dream-pop meets shoegaze. With the track 'Hesitate' the band step into an almost acid-house territory with it's infectious baseline. Between this and the sparse bliss-pop of their earlier tracks I have no idea what to expect from their debut album. The plot thickens...



Songs of the month (see playlist at the end of the post to hear the tracks)

Lone - 2 is 8/Aurora Northern Quarter

Perfection is wholly subjective. To some people perfection is the smell of freshly cut grass (that's an assumption), while others think there is nothing more perfect than an evening in watching rom-coms and eating their body weight in Ben and Jerry's. I for one believe that perfection is a perfectly produced, perfectly executed piece of music. Not only did Mancunian producer Matt Cutler A.K.A Lone achieve this with '2 is 8' but he also achieved it a couple of weeks later with 'Aurora Northern Quarter'. Both of these tracks are an ode to the golden days of the Manchester dance music scene with nostalgic synth melodies whilst still sounding fresh and current, if not, forward thinking. His forthcoming 5th studio album Reality Testing (due June 17) is already my tip for album of the year.

Lana Del Rey - Shades Of Cool 

As much as I liked 'West Coast', it didn't hit me as hard as the singles she put out prior to the release of Born To Die such as 'Video Games' or 'Blue Jeans'. This got me slightly concerned about how much I'd like Ultraviolence (especially bearing in mind I just invested in a £40 boxset version). But thankfully Lana took the hint and got her ass into gear and (short of) put out 2 new tracks from the up and coming LP (+ a teaser  for the track 'Brooklyn Baby'). 'Shades Of Cool' is a grand serenade which recalls some of her earlier tracks like 'Blue Velvet' and 'Million Dollar Man' with added guitars in the form of a massive fucking solo . Consider my faith restored.

Parquet Courts - Instant Disassembly

Unlike their last record Light Up Gold. Parquet Courts' new album Sunbathing Animal is a little bit hit-and-miss for me. I do however like it overall but this track is the complete standout. At over 7 minutes it is the longest track on the album yet it still manages to be one of the most engaging. Here, frontman Andrew Savage adapts a vocal style similar to that found on the still incredible 'Stoned and Starving'. The persistent and infectious guitar riff is what makes this track on of the most memorable on the record - good luck getting it out of your head.

JJ - All White Everything

As decent as their debut album was, there has always been something off about JJ (formerly known as Jj), perhaps it was the annoying inconstant capitalization of their name? Or maybe because I've always seen them as an inferior Beach House? (one of my favourite bands of all time). But now they have reemerged after their rather crap sophomore album with a fresher more sparse sound and it suits them well. 'All White Everything' isn't catchy nor is it instant but there is something about it that I cannot for the life of me get out of my mind. The slow-building and masterfully arranged production and the feeble-yet-resilient vocal delivery bodes extremely well for their forthcoming LP V, which is due in August.

Alvvays - Archie, Marry Me

Anyone who follows my post regularly will know that I am a sucker for an indie-pop band with a female vocalist. Whilst there is nothing particularly revolutionary about Alvvays' sound, there doesn't really need to be. At the end of the day they are crafting warm, melodic and catchy power-pop and they are damn good at it.

Naomi Pilgrim - House Of Dreams

You know that moment when you hear the first 3 seconds of a song and just think to yourself 'hell yes'. That right there is a special moment. I felt this when I heard the latest track from R'n'B newcomer Naomi Pilgrim. Here she uses samples of her own voice alongside rolling keys and throbbing synths to create a sense of euphoria in the imagery she is creating through her lyrics. Her sultry vocals are simply the icing on the cake.  

Lyla Foy - Cornflake Girl

Say what you want about Tori Amos but you cannot deny that Cornflake Girl is a cracking tune. Even if piano-pop isn't your cup of tea I'm sure we can all agree that Tori's vocal delivery and the piano melody in this track are absolutely glorious. Now enter Lyla Foy, the fresh-faced British songstress who just released her debut album for Sub Pop in March. I always knew that beneath her light and cerebral pop was a darkness, and this confirms it. Brittle guitars, eery vocal layering, pounding drum beats; this has to be the most haunting cover I've heard all year. More like this please, Lyla!

Quirke - Break A Mirrored Leg
As I continue to rediscover my love for electronic music, my mind is constantly opening as I desire to push the boundaries of my own taste. This extremely difficult piece of music from mysterious producer and recent Young Turks (The XX, FKA Twigs) signee Quike is certainly mind opening. From the immense speed of the track to the haphazard sample arrangements this track certainly pushes you, but once you get it, boy is it incredible. 

La Roux - Uptight Downtown/Let Me Down Gently
After 5 years of waiting, I was starting to loose faith in La Roux. But just in the nick of time, the glorious slow burner that is 'Let Me Down Gently' came into my life. The track starts of as a simple yet powerful ballad, with Elly Jackson (now a solo artist) demonstrating a more matured vocal, the track then erupts into a post-disco breakdown and reminds us all exactly why La Roux dominated 2009. Then, since Elly is clearly guilty about the ridiculous length of her hiatus she treated us to yet another new track; 'Uptight Downtown' (the official lead single from Trouble In Paradise), not only is this her funkiest track to date but it's one of her catchiest too. This album cannot come soon enough.

Alice Boman - Over
Eery folk songstress Alice Boman releases her second EP II next month. Judging by how incredible this/she is, it is hardly surprising to me that she is in fact from Sweden. They must have something in the water there because they have been churning out some incredible talent in the past few years (Lykke Li, Robyn, the girl who sang Euphoria at the eurovision that time, etc). The melody here is subtle yet wholly effective, with a distinct pop sensibility to top it all off. 

The Antlers - Hotel
The Antlers' Hospice is easily one of the most sad/beautiful/wrist-cuttingly-depressing albums I have ever heard. It was concept album based around the love affair between a hospice worker and a cancer patient. So yeah, happy happy happy. 'Hotel' is no EDM banger neither, instead it is a melodic piece of chamber pop, complete which modest yet powerful horn arrangements.

Braids - Deep Running
Quite the departure from their last album Flourish//Perish; 'Deep Running' is a full on pop song, though it is edged-out with menacing synth blips and constantly shifting instrumentation, making it their most dynamic song to date. 

Allie X - Bitch
Following the very excellent singles 'Catch' and 'Prime', Allie X scores a perfect pop hattrick with her latest track 'Bitch'. Drowned in reverb; 'Bitch' is quite the departure from the sheen of her earlier tracks. Here Allie appears to be living in a sort of Stepford Wives-esque parallel universe in which her man 'brings home the bacon' and she cook[s him] dinner', the sense of abnormality is echoed through the distortion of her vocals in the chorus. 

Jungle - Time
Usually, calling a band's new track 'their worst yet' is bad thing. Unless your Jungle, that is. The melody isn't as interesting and the hook is nowhere as sharp as previous singles such as 'Busy Earnin'' or 'The Heat'. Never the less, it is still a pretty great tune and I am still very excited about their forthcoming debut album this July. 

Beverly - You Can't get It Right
One word: harmonies. Those fucking harmonies, man. (This track isn't available on Soundcloud so I put their other very good song 'Honey Do' in the playlist.) The latter also features pretty great harmonization too. Keep it up girls.

You can hear (nearly) all of my favourite tracks of the past month in the rather convenient playlist below:

Sunday 25 May 2014

Sharon Van Etten - Are We There Review



Brooklyn based singer-songwriter Sharon Van Etten's assent to prominence wasn't instant, it took 2 records before her sound began to register with me and the critics seemed to agree; her third album Tramp was universally adored and deservedly so. Lyrically, Tramp was clouded by stirring tales of Etten's long-term abusive relationship. Conversely, the instrumentation was often light and melodic which balanced out the darkness of the lyrics enough to make it a thoroughly enjoyable listen. Though Etten's sound remained very much in the 'folk' bracket she still managed to experiment stylistically; sounds ranged from raw indie rock on the opening track 'Warsaw' to cerebral guitar/vocal progression on standout track 'Leonard'. Lead single 'Serpents' is what truly elevated her from 'bubbling under' to 'blowing up' in terms of her reach, soundtracking several intense moments on US TV, most notably on The Walking Dead. After emerging from what seemed to be a rather dark chapter of her life, it is wonderful to see Sharon continue to blossom as an artist, she produced Are We There herself alongside Stewart Lerman and the results are outstanding.

The title Are We There itself is very telling, the lack of a question mark may seem annoying to grammar freaks like myself but as The 405 stated in a recent interview with Etten "the phantom question mark in the title becomes even louder due to its absence", which is true, it makes it less of a question and more of an assured statement. This assurance translates into confidence as far as the music itself  is concerned; on Are We There Etten embraces soulful R 'n' B flavours alongside her normal folk sound, with mostly successful results. I felt the drums on lead single 'Taking Changes' were a tad out of place, though this seems far less apparent within the context of the album. Elsewhere, the opener 'Afraid Of Nothing' starts wonderfully with angelic string arrangements before falling apart somewhat once some poorly-judged drums emerge in the second chorus.

Apart from these minor points, the album's 9 other tracks are pretty much flawless; 'Your Love Is Killing Me', the album's longest track at 6 minutes is a relentless and bleak  assault on her ex-lover. Here we she Sharon at her most venomous as she spits "Break my legs so I won't walk to you/Cut my tongue so I can't talk to you/Burn my skin so I can't feel you" over clattering guitars. The angst with which she delivers these lyrics makes it empowering rather than draining or depressing. Though the real standout for me is the soulful mid-tempo 'Our Love', easily the most R 'n' B influenced track on the album it is a real testament to Sharon as a producer as well as a vocalist.  "I'm a sinner, I have sinned" she confesses over a dreamy guitar arrangement and subtle drum beats, this is perhaps the most innovative and current we've ever heard her sound. Other triumphs in the production include the horns on the stunning track 'Tarifa' and the woodwinds on the brazen 'Nothing Will Change'. 'Every Time The Sun Comes Up' provides some light relief to tie the record off ; on this track we see Sharon at her most candid as she sings "I wash your dishes but I shit in your bathroom", celebrating mundanities of life with finesse.

Elsewhere, Etten showcases her gorgeous voice on stark and intimate ballads such as 'I Know' and 'I Love You But I'm Lost', both sporting simple yet effective piano-led melodies.  Like on Tramp, the songs on Are We There lyrically dark yet are elevated by intricate instrumentation and the occasional backing vocal, take 'Break Me' for example, "He can break me with one hand to my head" she falsettos over guitar/organ-led production. Her voice is powerful and raspy at points, yet it has a vulnerability which allows the listener to feel every word she sings, especially as she delivers them with such conviction.

Though part of me misses the ramshackle charm of her earlier work, the other part is reveling in Sharon's new found confidence, and I'm sure she is too. Instead of staying with the style which gained her critical praise, she decided to take the plunge and make something a whole lot more interesting. This R 'n' B style may not have served her too well on the lead single, but on the tracks 'Our Love' and 'Nothing Will Change' it works an absolute treat, these tracks are perhaps her most soulful and accomplished to date. Like Angel Olsen's excellent sophomore album earlier this year, with Are We There Sharon accepts and even makes light of the heartbreak which shrouded her past in order to be completely free. Now, without her shyness holding her back it seems that her sonic innovation knows no bounds, making her future work an incredibly exciting prospect indeed.

9.0/10

Key Tracks: 'Your Love Is Killing Me', 'Our Love', 'Tarifa', 'I Love You But I'm Lost', 'Break Me', 'Every Time The Sun Comes Up'

You can discover the wonder that is Sharon Van Etten in a handy little playlist I created below:

Monday 12 May 2014

Little Dragon - Nabuma Rubberband Review



I'll be honest with you, up until this point I wasn't really a fan of Little Dragon; whilst I've always felt they've had potential, their previous three albums failed to really grab me.  To avoid the disappointment this time around I decided (rather foolishly) to boycott this album campaign and ignore the critical buzz surrounding the wonderful lead single 'Klapp Klapp'. I eventually gave in and listened out of curiosity, and then I fell in love. What a song. Perhaps this delectable synth-led dance-pop delight was a fluke? I thought, but to my further surprise, second single 'Paris' was just as good if not better. And by the release of buzz track 'Let Go' I was fully on-board. I then decided to listen to this record with a completely open mind and as a result I found one of the most enjoyable and surprising albums of the year so far.



In the context of the album, 'Klapp Klapp' still burns bright, with it's piercing opening bassline hitting just as hard. 'Paris' also provides further pop relief from the nocturnal slow jams which dominate Nabuma Rubberband, 'I'm changing my next flight to Paris' declares front woman Yukimi Nagano with her signature sultry delivery. The best track on here by a mile is 'Underbart' with it's pulsating synth beats and hookladen chorus, it is surprising to me that this hasn't been released as a single. The album finishes strongly with the recent buzz single 'Let Go', reminiscent of 'Help Me Loose My Mind' from Disclosure's Settle; it's sparse synth arrangements provide a luscious and soothing closer to what is an otherwise dense and punchy record.



The albums downfall is its consistency; whilst the uptempo  moments are strong and varied, the slow jams are not quite as good. The production on all tracks is solid but the melodies tend to fall flat with the lack of memorable hooks which dominate tracks like 'Paris' and 'Underbart'. The one exception is the throbbing 'Killing Me', melodically it even recalls Michael Jackson's 'The Way You Make Me Feel'. Lyrically, it's all about escapism; 'I'll take my rocket ship and get the hell outta here', a sentiment which sums up the unworldly spirit which lingers throughout the record.

Despite my prior criticisms about the band, after seeing their recent performance on 'Later...with Jools Holland' I gained a much greater appreciation of what this band does. In a world where less is more and bands tend to favour computer screens over instruments, bands like Little Dragon and Polica take a refreshing stance by keeping the band format alive and exciting. As much as this album isn't perfect, for the most part Nabuma Rubberband provides colourful, catchy and fun electro-soul with sinister nocturnal undertones.

7.0/10

Best Tracks: Klapp Klapp, Underbart, Paris, Killing Me, Let Go

Monday 5 May 2014

Lykke Li - I Never Learn Review



In 2008, fresh-faced Swede Li Lykke Timotej Svensson Zachrisson (better known as Lykke Li) was making waves with her dreamy yet powerful electropop singles 'Little Bit' and 'I'm Good, I'm Gone'. The hype was truly justified by her phenomenal debut album 'Youth Novels' which followed shortly after. Then, in 2011 she avoided the notorious ‘second album slump’ with the primal stomp of the single 'Get Some' in which she offered to be 'your prostitute' and the huge European hit and festival anthem 'I Follow Rivers' from her equally brilliant sophomore record 'Wounded Rhymes'. After some time away from the spotlight, Li returns with a much darker yet equally melodic approach in form of I Never Learn.


'I rather bake a pie than make a happy song', Li told Fader TV in a recent interview, I kind of got this impression from the crushing sadness that clouds I Never Learn. But one must remember, to her sadness is a blessing (as well as a curse). Li doesn't wallow in self-pity for too long though, she doesn't really have time; the album is only 33 minutes long. Whether this was bold or simply pretentious on her part, it pulled the record away from the brink of total despair and makes it easier to enjoy as a whole. The clear standout is the recent single 'Gunshot'; like the title suggests, the theatrical blow of the chorus hits you, well, like a bullet. I can't say I wasn't slightly apprehensive when Li earlier described the tracks on here as 'power-ballads', I was honestly expecting cheap, dated piano-rock a la Celine Dion. Thankfully this wasn't the case, lead single 'No Rest For the Wicked' is elegant piano pop at it's very best.

A slight issue I have with this record however is Li's diction, which at times is pretty awful bearing in mind she speaks perfectly good English with only a hint of a Swedish accent. On powerful mid-tempo tracks this isn't such an issue but on the ballads, it can be quite aggravating. The subdued vocal delivery on the track 'Silverline' almost translates as mumbling. The reverb doesn't help in this case, but elsewhere, like on the track 'Love Me Like I'm Not Made Of Stone' it adds a certain warmth to the cold and desperate lyrics. 

Despite this album's flaws, I do admire Li's boldness; not only is this album raw and powerful in sound, she really does bear her soul in the lyrics. In all the sorrow she still manages to maintain her sharp ear for melody and killer choruses (see 'Gunshot' and 'Heart Of Steel'). As much I would of loved another 'I Follow Rivers' and God knows how happy another 'Get Some' would have made me, Lykke Li has stayed true to herself and for that I respect her. As this is 'the last in a sonic trilogy', I have no idea what's next for Li, but whatever happens she can be proud that she has created some of the most honest and powerful pop albums of the last decade.

8/10

Best Tracks: I Never Learn, No Rest For The Wicked, Gunshot, Never Gonna Love Again, Heart of Steel