Showing posts with label Album. Show all posts

Temples 'Sun Structures'

Kettering neo-psychedelic four-piece Temples have been on the rise over the past year, now it's their time to unleash the full effect of their glittering, revamped psych vibes on a long-awaiting public. The revivalists debut 'Sun Structures' glitters in a blurred distortion that crawls under your skin, allowing Temples to euphorically take their sound to the next level.
Familiar and previous hits such as 'Colours To Life' and 'Shelter Song' make an appearance on this satisfyingly divine debut. The former being a hypnotic masterpiece that shimmies along as James Bagshaw's blissed out vocals injects dreamy additional layers. Elsewhere, the heavenly 'Mesmerise' is a moment in which Temples' modern rejuvenation of psych sounds comparable to material from The Horrors' 2011 album 'Skying'.
With a fondness for reverb and backwards guitar that serves them well, Temples have gone nuclear as proven by tracks such as 'The Golden Throne' and 'Move With The Season'. Their fondness and familiarity is one that elevates both tracks' retro sounds and has earned themselves a sizeable fanbase in the process.
Title-track 'Sun Structures' conjures a sound that achieves maximum intensity with an unwavering brilliance that drips in psychedelia. It is a psych-inflected gem with acid-soaked riffs - showing there is more to Temples than just mere hype and praise laid on thick by the likes of Oasis legend Noel Gallagher; they have elongated longevity.
Meanwhile, the psych strut of 'Sand Dance' doesn't quite reach Tame Impala standards but it comes reasonably close, Bagshaw's vocals also sound remarkably similar to T-Rex at times, giving the sound of the past a new lease of life. 'Sun Structures' proves itself to be one of the band's greatest moments to date and it is perfectly clear that psychedelia has re-flowered and produced this heavenly band, the finest of the fine with a debut that serves as a timely reminder of their rad nature. Expect more noise.

Words Lauren Wade

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Bombay Bicycle Club 'Carry Me'

London indie four-piece Bombay Bicycle Club have dropped a storming first taste from their forthcoming fourth album, due for release on February 3rd 2014. With a tangible absence from the music scene since 2011's 'A Different Kind of Fix' the band led by Jack Steadman have crafted a percussive, layered number that enlists the backing vocals of Lucy Rose.
Having premiered on BBC Radio 1 DJ Zane Lowe's evening show early last week, the intricate instrumentation of 'Carry Me' slots together smoothly, combining sounds of the past with those of the future. The group have pumped their abilities to full power and thrown in a majestic groove that continues throughout the duration of the sub-five minute track.
Summer may be over, but Bombay Bicycle Club aren't letting us forget the sizzling season in a rush. Their latest effort illuminates hazy memories; you'll almost be able to feel the rays bite at your skin before reality returns in full-force.

Words Lauren Wade
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Haim 'Edge'

After dropping their debut record 'Days Are Gone' a few weeks back, that went on to take the number one spot in the UK album charts, the Haim sisters (hailing from California) are back with a fresh cut, co-written with Twin Shadow (George Lewis Jr).
 
'Edge' holds the same fresh-faced appeal to that of album track 'Forever', whilst middle sister Danielle's vocals delivers to an impressively high-standard on vocal duties. Elder sibling Este, known for her infamous 'Bassface' incorporates bass chords that underline the sound and serve as a driving beat.
 
Haim consistently craft tracks with glossy backdrops and 90s R&B harmonies, with 'Edge' being no exception. Although, this tune stays firmly away from the edge, cowering in the middle of a sound we've become comfortably familiar with. Let's hope they amp up the rock'n'roll on the next offering.
 



 
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Burning Condors 'Round Our Way'

Expect filthy riffs, chest thumping volume and frantic frenzies of instrumentation, on London four-piece Burning Condors' debut album Round Our Way. Recorded entirely at Stainless Sound Studios in Nashville, there is an undeniable American presence spilling out - you could be forgiven for mistaking this as one of Josh Homme's early efforts prior to fronting stoner rock band Queens of the Stone Age.
 
As a group who have rarely missed the mark when releasing singles ahead of this storming album. Its this offering which will see them sink or soar accordingly. The latter appears to be most favourable at this stage. Bookended by an opening number that has the ability to sweep listeners up into a seductive state, with synapse-melting riffs and hooks so good you'll never want to hit play on the next track, Dirty Girl Blues is undeniably anthemic and without pausing for breath, we can already tell this album is shaping up to be epic.
 
The collection of sleazy sizzles ends on a high note with aptly named Bringing Back the Blues, which does exactly what it says on the tin. In just over two minutes the band succeed in what they set out to achieve, taking us down a route of uncontrolled chaos and utter distortion. Other tracks such as Polka Dot Girl we've heard before, but nothing can be subtracted here. The lyrics contain a wealth of wit that will raise a smirk from your lips, whilst a swirling guitar solo is thrown in for good measure. It's clear now - we're falling more and more in love with Burning Condors by the second, and it helps that they sound like the greats.
 
Tunes such as Honey Trap and Killing Time will have critics on their knees worshipping the group, the faults are few and far between. However, these numbers are punctuated with a slow pace before everything is ramped up again, just before the energy dips into dangerous territory. Title-track Round Our Way has plenty of blistering guitar hooks to guarantee satisfaction, whilst Love on the Rocks mercilessly worms its way into your mind; there's no way you're being allowed to forget this track. Beginning with a high-pitched shriek of feedback, Twisted Kind of Bliss feels a little too samey to other tracks, but it's still better than the majority of tunes polluting the charts.
 
It's safe to say the musical climate has well and truly been raised to a supersonic level, with this debut release. If not for tracks like Dirty Girl Blues and Love is Dead, then there really would be reason to worry about the state of guitar music, but we can assure you if Burning Condors keep knocking out albums like these, guitar music will only increase in quality and demand. Give it a listen, add it to your music library and recommend it to all your friends because Burning Condors have created music that begs to be heard.

8/10



 
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Drenge 'Drenge'

It's an all-out ready to attack assault on the ears; listen with caution. Soft by no means, although we suspect that Sheffield-based bluesy-rock duo Drenge tuck their tender moments away, but don't expect to see any make an appearance on their debut self-titled album, one that has the ability to set politicians in a stir. Made up of brothers, Rory and Eoin Loveless the majority of their debut offering feels much like a fumble in the dark, yet they hit all the right places and walk out triumphant.
 
It's difficult to compare Drenge to other artists (not that we'd want to), simply because they exist in a league of their own. However, signed to the same record label as the likes of: Alt-J, Local Natives and The Temper Trap it would be easy for them to switch to the melodious makings of their label mates, however one look at the duo hailing from Castleton tells us this was never going to happen; they rip up anything and everything in their path, which is why it's not hard to see how they've made their way to the tip of everyone's tongues, in such a short space of time.
 
Flirting with sounds beyond their years, Nothing drifts into a direction reminiscent of Arctic Monkeys' 2007 bonus track Matador but Alex Turner is nowhere in sight and they twist it completely into their own. Current single, Face Like A Skull thunders into view with a snarling vocal and keeps listeners in Drenge's heavy-handed grip with ferocious riffs running like an undercurrent throughout the track.
 
Opening number People In Love Make Me Feel Yuck  begins with a deeply unapologetic air, one that foreshadows how the rest of the album will play out. We're enchained from the first crash of the cymbals to the minute the jarring vocals fade out; it's the audio equivalent of watching a car crash, much like that of Boris Johnson at last year's Olympics when he infamously got stuck on a zip-wire - you don't want to watch, but you can't not. Previous hit Bloodsports still proves as popular. It's no frills attached breakneck rock'n'roll. Guitars buzz and blister frenetically in a manner that has riffs spilling out of your speaker here, and vocals landing there.
 
The piss-taking duo shrug nonchalantly in response to the influence of America on I Don't Want to Make Love to You. It's nothing special but the integral drumbeat saves it from drowning in a bluesy blur. Gun Crazy was born simply to be an anthem for moshing to. For anything else, it doesn't hold the same appeal. Whilst, Eoin Loveless greets us with a rasping vocal on I Want to Break You in Half that unsettles and weirdly thrills.
 
Closing proceedings with Fuckabout, it becomes evident that that's all they ever really wanted to do; becoming a huge success was the making of them and saved them from a life of blandness, although listening to tunes like these suggests that greatness was always in the brothers, and they were destined for it - even if they didn't yet know it themselves. The lyrics claim they "waste every single day" but with their new found fame there's no time for lying around idly; there's a second album to be made and only these boys know how.
 
 
 
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Joe Symes and the Loving Kind - Album Review

Occasionally a band comes along with so much drive and ambition that it becomes inevitable, word starts to spread. In the case of Liverpool five-piece Joe Symes and the Loving Kind, they are that band. An upcoming rock masterpiece, drawing influence from The Byrds to Pink Floyd and even Noel Gallagher, an aspect which often shines through in Symes' pleached vocal, the promising bunch of rockers have recently released their self-titled debut album. However, individual tracks do not stand out on this first offering, although there are some gems packed away in this bare-bones collection.
 
Thoughtfully crafted, the album hangs heavy due to the lack of variety, which sometimes borders on a lack of originality. The problem the band face is that although talented, the central issue here is that everything is too focused on frontman Joe Symes and as listeners it feels as if we've heard some of these tracks elsewhere, mainly from fellow Northern bands with a similar style. It must be noted, their attempts to put a stamp on their sound are admirable, but it just isn't distinctive enough.
 
Bookended by Fallen Down with its circling riffs and Where do I Belong? an ambitious number operating with a bite, there are many positives to this initial record from the band. With a mid section that slows too much for our likening, Lovers Under Cover is a sweet, tender tune that evokes dreamy and delicate textures. Whilst, Happy When it Hurts and Ready to Ride boast an air of artistic gloom, the latter accessorising with a delightful piano accompaniment, allowing it to stand out for all of the right reasons.
 
At times the group dynamic is near faultless, A World Out Your Window being one of those stripped-back numbers allowing Symes' Liverpudlian lilt to take centre stage, whilst guitarist Paul Hetherington impresses with gentle, pulsating strums and drummer Colin White patters away in the background. Although, the record longs to be more than it is, it is tracks like these and Fine Line which show that success is not out of reach for a band with such a supportive following in their hometown of Liverpool. Their current sound is promising, but often too familiar. Perhaps a bit of experimentation would do them good on their next effort, overall a heartening record that could do with a lick of paint, yet still enjoyable.

WATCH the trailer for their debut album here

 

 
 
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WATCH: Drenge 'Face Like A Skull'

Sheffield's grungy 'fraternal goofballs' are back with their brand new single Face Like A Skull from their forthcoming self-titled debut album. The sibling duo made up of Rory and Eoin Loveless will also be making an appearance at Rough Trade East in London on Monday 19th August at 7pm. Make sure you collect your wristband when purchasing the album from the store. Remaining wristbands will be handed out one hour prior to the stage time. One per purchase only.
 
WATCH the video for their new single Face Like A Skull here.
 
 

 
 
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The Universal 'The Outsiders'

At the heart of each sharp tune by Liverpool four piece The Universal, is a deep-seated love of classic vintage guitar music. The band, consisting of Terry Shaughnessy (singer/guitarist/songwriter), Piet Koehorst (lead guitarist), Dave Ormsby (drums) and Gary Chambers (bass) craft an unfussy take on classic rock. Their latest album The Outsiders isn't perfect by any means and some of the tracks last a tad too long. Although, you cannot deny the potential it contains flowing thinly beneath the surface.
 
As a listener, you hope to be engulfed by an opening number so explosive and mind-altering, that it makes you sizzle in your seat with anticipation for what's to come. Introductory If You Want It, issues out an offering that gives it a go but doesn't quite reach the level we had previously hoped for. Tapping into the same musical tissue as David Bowie's opening number The Next Day, punchy hooks appear to be this band's speciality. Moreover, the fade out effect leaves the song on an anticlimactic note, but for now we can dismiss that.
 
Putting aside the fact that the majority of the material featured on this particular album, feels like something we've heard before, there are some definite and fine highlights to be uncovered. Every Man For Himself revamps the sound we have become accustomed to with The Universal. It's a rare occurrence, but on this sonic track it really is quality over substance and the far out sound speaks for itself. If you're partial to a bit of Britpop, Hanging In Space is your jam. Reworking core elements of Blur's greatest hits, The Universal try them on, decide they like the fit and pass it off as vintage; surprisingly it works very satisfyingly.
 
By the time we reach eight track Superman, its a safe bet to say the latter half of this album is rad. Skip past the first half because, whilst some may find enjoyment in standard rock tunes - there really is nothing to see here (you've heard it all before). On Don't You Be Fooled, its clear their ability to pair wailing guitars with rapacious riffs and a stomp 'n' snarl mentality is like no other - it works in their favour.
 
Although, they draw too heavily on their influences, The Universal steer towards the finish line with This Is A War and The Outsiders. Contrasting dramatically, the title track is a stylish, mellow ballad. One, which allows Shaughnessy's vocals to croon over in a tender fashion. The Universal are a band who know what they're doing, however sometimes they stray and make tracks less anthemic and enduring than we'd initially expect. We can ignore the fact that sometimes songs last longer than need be, because what they lack in memorability, they make up for in raw energy and ambition. Nitpicking aside, The Outsiders is an album that proves The Universal achieved what they set out to accomplish; by our standards, they are very much insiders.
 
 
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Miles Kane 'Don't Forget Who You Are' Album Review

90568Voyaging on a full spectrum of influences, the follow up to 2011's Colour of the Trap, Don't Forget Who You Are sees Miles Kane pair anthemic tunes with equal parts 60s beat infused pop, 70s glam stomp and 90s Britpop. Cranking up the style factor, his most glam record to date sees Kane fashioning sassy tunes paired with razor sharp song writing (and the odd cliché thrown in here and there). Old pal and music icon Paul Weller lends a hand for good measure, displaying further evidence that Miles is more than just the man of the moment; he's the future of music.
 
With mind blowing texture, kooky hooks and retro riffs, Taking Over bleeds perfection and serves as another reminder of the exhilarating atmosphere only Kane can craft live. This elation is hard to come by in an ocean of mundaneness, but in recent years the Wirral riddler has felt like he has something to prove, that he's more than just Alex Turner's mate - this is where his top quality work originates. Flowing directly into title track Don't Forget Who You Are, listeners uncover three things: Miles' determination to shine is unrelenting "I'll shine so hard, I'll stand apart", being stylish scores you serious brownie points in Mr Kane's book "I like your style, you make me smile" and finally Kane tells us that although we may be "tongue tied and breathless". We shouldn't let our worries "dictate who we are".
 
The inspiration Miles vibes is undeniable. He really goes for it on Better Than That, exporting hard-hitting stomps, blasts of confidence and carpe diem mentality. Tender Out Of Control instructs us to "rock as we roll", whilst also bubbling with an impressive string arrangement. Cue all comparisons to Lennon. Returning to his overzealous, puppy dog excitement ways Bombshells and Tonight kick the record up a notch, both containing a thrilling intensity. The snarling vocal delivery is an aspect that makes these tunes unforgettable.
 
Dripping in skiffle beats and fuzzy guitar lines, What Condition Am I In? finds Kane in a lively state, never losing sight of his ability to pen catchy tracks. Slowing the pace down once more on Fire In My Heart, the tune unintentionally balances in the same vein as Oasis' song Half the World Away. Stand out moment featuring former Jam member Paul Weller, You're Gonna Get It sees Miles' sticking true to his word when he tells us he's going to raise his game. Soaked in riffs so hardcore it makes the listener tremble, Miles asserts himself as no longer the one to watch, but one other artists should be taking tips from, and normal folk should note how he conveys a sea of cool into everything he does.
 
Normally, approaching the end of an album would see musicians slow it down; not this artist. Kane flirts with frazzling riffs and sauntering slices of rock. Addressing the sore subject of ex-Girlfriend Suki Waterhouse on Give Up, he states "you're pretty, good looking. But I'm looking for a way out" whilst ordering her to "give up control". Ouch! Closing number, Darkness In Our Hearts urges us to be ready for it, whether it is the domination Miles is casting over the music industry, it remains unclear.
 
Miles Kane is always good at impressing with whatever he comes up with, whether it be co-fronting projects with famous pals or striving vigorously to claim the title of most stylish musician. His eager to please nature rubs off well, leaving a lingering impression that he's worked his way to the top, and now it's time to bask in the glory that Don't Forget Who You Are will undoubtedly bring.



 
 
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Arctic Monkeys 'Do I Wanna Know'

Last night (22nd May), Arctic Monkeys marked their glorious return in Ventura, California by playing brand new song Do I Wanna Know? With this being their first live show of 2013, anticipation was high, especially considering their fifth album (dubbed AM5 by fans) is expected for release sometime in the latter half of the year.
 
Following on from where previous release R U Mine? left off, the Sheffield four piece have delivered once again with a track steeped in badass riffs, smashing drums and Alex Turner's distinct vocals tearing it up in a way only he can. That riff progresses the Monkeys forward in a direction they have been edging towards for a while. It's clear all the time spent in the desert with Queens of the Stone Age frontman Josh Homme has paid off remarkably well. Do I Wanna Know? strikes a balance between third album Humbug's fantastically experimental side and R U Mine's slice of snarling rock.
 
The fifth era is set to be an explosive one for the band, and so far all we have is Do I Wanna Know? to serve as an indicator of what's to come. Two things must be kept in mind though: Without Blake Puente of Arctic Monkeys US the videos of the new song may not even exist, secondly there's no point even questioning whether the band will dominate during their headline slot at Glastonbury next month - of course they will, they always do.
 
 

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Thom Morecroft

Joining the crop of Liverpool's finest young musicians is Thom Morecroft - a reputable songwriter originally from Shropshire (now based in Liverpool). Often backed by the Full Moon Band, Morecroft has performed in impressive venues such as the Zanzibar and has had tracks played on BBC Radio Merseyside and BBC6. With his distinctive, velvety vocal range and authentic tunes - Thom Morecroft is bound to catch attention in all the right places.
 
Listening to his track Daisy reveals a mellow and doughy side to the twenty two year old musician. An appetising blend of catchy lyrics, punchy hooks and sleek, sophisticated riffs mould the song together, formulating a tender track that is earth-shatteringly awesome. It is definitely one of those songs you will have on repeat.
 
As well as original recordings, Morecroft has a wide selection of inventive covers, that demonstrate his ability to take on a challenge and craft a piece as his own with a particularly unique and sensual approach. Take his latest cover of Fleetwood Mac's Big Love, for example. The acoustic approach works well and adds emphasis to his plush vocal delivery; it's a credit to Morecroft how polished his music always sounds.
 
Moon Moon Shake It, the title track from his latest album is an absolute delight to listen to. In the same vein as Ben Howard, the tune is propelled by folksy riffs and spine tingling moments. The self-confessed 'scruffy' songwriter delivers with candy sweet vocals and chilled beats that contain a circling chorus and tranquilising after taste. 
 
Hailed by Paul Du Noyer (former editor of NME, Q, MOJO and Word magazines) as "Very powerful", Thom Morecroft is looking to conquer and he couldn't have chosen a better time. Morecroft provides that much needed dose of folksy rock that will ensure his success.
 

LIVE SHOWS
 
18/05/13 - Leaf Tea Shop, Liverpool
 
15/06/13 - The Zanzibar, Liverpool

 21/03/14 - Unity Theatre, Liverpool




 
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Daft Punk 'Get Lucky'

 
With the striking falsetto of Pharrell Williams and recognisable guitar riff from Nile Rodgers, electronic duo Daft Punk's latest offering is a chilled delight with tumbling grooves and resurgence of the 70s seeping from its core. It's hardly a transitional record, yet the french duo have constructed a devilishly catchy tune, especially with lyrics such as "We're up all night to get lucky".
 
In the same vein as previous efforts, Get Lucky has disco funk vibes glinting through and the track's crisp production enables them to take it to the next level. This may be the first song Daft Punk have released in eight years, but this breezy jam will certainly see fans aching for more. All will be revealed with the release of their next record Random Access Memories on 21st May.
 
 
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Miles Kane 'Don't Forget Who You Are'

Once again, Miles Kane has delivered on top form with title track from his widely awaited second album Don't Forget Who You Are. The album (out 3rd June) follows 2011's Colour of the Trap, the scouser's boundary shoving debut release. Since, we have seen Kane land a slot on NME's Awards Tour (2013), various festival performances throughout 2012, release of EP First of My Kind for Record Store Day (2012) and single Give Up which will also feature on the forthcoming album.

Produced by Ian Broudie (The Lightning Seeds) the track opens with a fired up mentality and foxy riffs, before launching into euphoric chorus stating "Although we're tongue tied and breathless we won't let our worries dictate who we are" following a few "la la la's" the tune implodes into an intoxication of sound, that really does leave you tongue tied and breathless.
 
With traces of Britpop lingering beneath the surface, Kane's latest offering sticks with the slinky rock noise only he can get away with. It must be great to be Miles Kane right now, as when the album drops in June he will be an inescapable presence ready to dominate the British music scene.
 
 
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