Album Review... Only Real - Jerk At The End Of The Line

Barely staggering into his twenties and donning shirts you’d expect to find in a Benidorm sun-setters suitcase. On the surface Only Real’s debut album screams Microsoft Paint and GCSE leftovers. Once inside though ‘Jerk At The End Of The Line’ is everything you’d expect and more from West London’s cheeky chappy.

Only Real has only really released a few tracks before but from those alone you could probably predict what this record might sound like. We’ve become accustomed to Niall Galvin’s quick-wit vocals and fuzzy samples in 'Yesterdays' which bare considerable resemblance to the Jamie T of yesteryear, whilst ‘Pass The Pain’ paints a pastel coloured landscape with licks of Galvin’s tongue in cheek lyrics; ‘You hate mornings, it’s crazy right?’ More often than not though, he’s not pointing the finger at others but turning on himself.

Four songs in and ‘Break It Off’ morphs a glittering self-reflection with Galvin’s restless spits, ‘remember me, I’m the cracks in the glass’. Despite the untouchable youth appearance, at his core grumbles are surfacing and he’s down on his luck. Never more so than in, ‘Petals’; a brooding and haunting late night cruise riddling through Galvin’s troubles.

As far as the spotless production goes, the melancholy melodies in ‘Cadillac Girl’ and ‘Can’t Get Happy’ are tainted in Mac Demarco woosey guitars, where elsewhere the effortless, ‘Cadillac Girl’ and ‘When This Begins’ creates murmurs of King Krule - and not just because of his similarly ginger sprouts of hair.

The song which most reflects Galvin’s journey so far though, ‘Daisychained’, weighs up the pop felt ‘oh-woah’s with agitated jitters of ‘they don’t come around here too much’. It brings together a debut record which ties his vibrant melodies to his tongue-twisting troubles and cements Only Real as more than just a twenty-something dressed in angst and Hawaiian shirts.

'Jerk At The End Of The Line'

Out of 10: 8/10

By Josh Shreeve (@JJShreeve)

Single Review... Swim Deep - 'To My Brother'

It'll take a listen or two just to get your head around the fact this is the same Swim Deep whose debut album was fronted by the lyrics, 'don't just dream in your sleep it's just lazy'; a lethargic approach to a debut which at the time was filled with such promise.

Previous tracks weren't dreadful, no. After all, 2013 saw a lot of attention on Swim Deep, probably only due to radiation of praise towards fellow B-Town mates, Peace. The problem though was that songs with the lyrics, 'Fuck your romance I wanna pretend, that Jenny Lee Lindberg is my girlfriend' are unlikely to stand the test of time and a superficial growing hysteria around the band. After twelve tracks it's been hard to see where Swim Deep could go from debut album, 'Where The Heaven Are We' and progress to a more serious level, until now.

You always knew 2015 was the natural, two-year cycle, return for Swim Deep and here it is. Disguised under a gown of synth-pop, new addition James Balmont has revived the band, with new track, 'To My Brother', crying out to be an early contender for summer indie anthem. Frontman, Austin Williams', vocals are obscured by the greater focus on 80s melodic synth and thicker guitar riffs. It's what The Klaxons latest record should've sounded like and any bullshit lyrics are quickly rid of, with 'All I do is preach for my brother', being the main loop which blissfully echoes through a much richer track which only gets better throughout.

To have moved away from their previous sound is something that'll reinvigorate crowds and some love-lost fans. Quite what the rest of the new album will sound like though is open for debate.

Swim Deep - 'To My Brother'
Out of 10: 8/10

EP Review... As Elephants Are - Crown

As Elephants Are have continued to flesh out their sound since their 'Hand Prints EP', released earlier this year. The bands debut EP could've easily been mistaken for a short collection of their 'best of' hits in a latter career move. Thankfully, what the 'Crown EP' brings is very much the same; another jewel in the metaphorical crown of the heirs to the indie throne.

'Crown' quite rightfully is the sister piece to previously released track, 'Hand Prints' with its naturally uplifting melodies. An evolution has happened behind the mic though, with Ben Stratford's vocals sounding more prominent and brimming with confidence. The sprightly tune is almost instantly juxtaposed though by 'Breathe', which sets off all kinds of haunting alarm bells in a more menacing tone, lending its hand to more serious matters. Lyrics, "Wide awake inside my head, open my eyes and there's nothing left", leaves a disturbing hallucination imprinted by Stratford and co's paranoia.

This is nothing in comparison though to, 'War Cry', which rounds of the EP, despite being the bands first song that drew us towards them. The re-recorded version has been fine tuned to send shivers down the spine with its euphoric and echoey climax to a short but memorable three track record. The only worry for fans now would be them wondering how much of the boys ingenuity will be spared for a debut album.

As Elephants Are - Crown
Out of 10: 8/10

By Josh Shreeve

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EP Review… Wilhelm Tell Me "A Short Story for the Road"

I guess we can all agree on the fact that road trips are exciting and fun - provided you have the right soundtrack to accompany you. Hamburg band Wilhelm Tell Me may well have provided just that. Their EP "A Short Story for the Road" was described by singer Henning Sommer as an EP produced with wanderlust and memories of past trips firmly in the band's minds. (You can read our interview with the band here).
The EP kicks off with a 43 second long intro. "Where are we going?" asks a female voice. The first stop on the journey is "Let Me Take You Away". The song kicks off powerfully with Henning's verses leading up to a sing-along chorus with him telling us listeners that he wants to take us away.
Up next is "The Cool Kids" which was the first single from the EP to be released and sports a tremendously catchy tune. A slow, looped build up gives way to yet another sing-along chorus.


"Growing Younger" is next on the list, with a tune that will instantly have you whistling along and will stick in your head for hours to come. This song doesn't focus on love, as the previous ones have, instead celebrating youth and the act of feeling young.
My personal highlight fromthe EP is "Tourists". "All these roads we drove together / Tracing state-lines with a finger / Promises of places made of gold", perfectly sums up the EP's road trip feel. The synthesiser sounds push the listener on and on through the journey that is "A Short Story for the Road".
The final stop on the trip is "Crashing Planes" which is by far the quietest and most melancholic track on the EP. It's a very untypical song for Wilhelm Tell Me, as it doesn't contain their usual catchy, light pop sound.

All in all "A Short Story for the Road" won't go down in history as one of the deepest or most complex EP's of our time, but then again it doesn't have to. It showcases what Wilhelm Tell Me do best: catchy, light, feel-good pop songs.

Out of ten: 8/10

Benjamin Brown

Album Review... Ben Howard - 'I Forgot Where We Were'

It's easy enough to forget where Ben Howard's been. After an illustrious eighteen-months that followed his mesmerising debut album, 'Every Kingdom', the gentle pitter-patter lead up to his second, 'I Forgot Where We Were', has gone almost un-noticed.

The pace was set by 2012's single 'Oats In The Water'; a disturbing and trembling alteration in sound, flattening a new landscape to lead smoothly into this latest album which instantly oozes even more intriguing, thicker twangs from the guitar in 'Small Things'.

Much like the album artwork itself, 'I Forgot Where We Were' sheds the light and darkness upon Ben. With that said, 'Evergreen' is not exactly what it suggests, containing the bleakest and most sombre moments of the album rather than an ever blossoming nature that we've become accustomed to. 'Rivers in my Mouth', tries to keep up the momentum behind 'Keep Your Head Up', but gracefully inverts back into a spiral of nostalgic obscurity. 'She Treats Me Well' on the other hand, wields a catchy riff with a straight cut blues edge to it, likening to the work of fellow British triumphant, Paolo Nutini. 

Slipping away from the moral preacher and chanter of 'keep your head up', he's decided to rid himself of his worries on this record. From the opening cries of 'has the world gone mad, or is it me?' to 'The End Of The Affair's harrowing tale of forgotten love and climaxing yells of 'what the hell?' are the most powerful segments of Ben Howard to date. Whilst these firework finales verge on breath-taking, the more fragile ending moments, such as the final strums of 'Conrad' are modest and also quintessential to the makeup of the album. 

Where ‘Every Kingdom’ could be accused of portraying everything through rose-tinted spectacles, this album pushes the boundaries to the polar opposite. It’s a slow and honest process of peeling away the human layers, backed up by a refined grip of the guitar. Add in the more serious undertones from lamenting strings and shuddering drums and it's an album befitting to pour into the grandest settings around.

By Joshua Shreeve

Ben Howard - I Forgot Where We Were
Out of 10: 8/10

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Album Review... Jamie T - 'Carry On The Grudge'

'Carry On The Grudge' is doing just what you'd expect after a five-year gruelling wait for another album from one of Britain's most upfront indie-poets. Half a decade on from his last album, and Jamie Treays, now a slightly more matured 28 year old, has barely budged; still a frustrated, angst ridden individual whose more refined view on life has produced an album worth waiting for.

Opening track, ‘Limits Lie’ is the re-awakening from the five-year long grudge, of which Jamie is about to lump onto his back again for another twelve track journey down some of London's bleakest streets, exposing more insecurities and grit than ever before. Lyrically, the album is undeniably Jamie T, but they expose a more decayed, self-loathing state; ‘I’m sweating in a carcass, I’ve given up on me’ is a more broken and deteriorated soul than the sprightly youth we’re used to. His song-writing too has delved much deeper beneath a potentially tormenting few years with comeback song, ‘Don’t You Find’. Creeping right out of a tattered, cigarette stained sofa, its brooding nature is far removed from merry days of ‘drinking under age’ and ‘lightweight pricks’. 

Having had rumours of his death circulating over recent years, it’s amusing or maybe essential that ‘Zombie’ should rekindle an aura not felt since 'Sticks 'n' Stones'. Although it reveals some of his poorer lyrics, it's able to resurrect the cheeky chappy within him, as if it'd never left him. The ashes still lingering around from his past two albums are evident too, particularly halfway through the record. Those unimpressed with Jamie’s more laid-back approach on parts of the album, will be more than sufficed with an almost familiar trio of tracks. 'Trouble' is where 'Kings and Queens' left off with quick wit, nonsense lyrics, ‘doop de doop, doop doop doop, it’s trouble’. He’s clearly not had trouble thinking of more catchy ditties which ‘Rabbit Hole’ also attains, leaving you dizzy in its bullish trails. Elsewhere the scratchy ending to ‘Peter’, a snarling track about Jamie’s filthy alter-ego, is almost parallel to the jittery climax of 2009’s ‘Castro Dies’. 

The tender moments are a step away from the upbeat anthems of Jamie's yesteryear but the wailing backing vocals, provided by his new band, are still about. 'Turn On The Light' and 'The Prophet' peel back the layers and deliver lullaby chorus’ befitting for Jamie’s more heartfelt tales. These tales of course, would not be complete without their characters. In 2007 it was Sheila and Stella, 2009, Emily and Jilly and now Jamie’s having a pop at Mary Lee and Marcus.

It’s an album which although slightly altered in its sound, still addresses the real people and situations of Jamie's blurry world. Five years was a long time to wait, but he must be praised for returning with a record that’s as realistic as his last and firmly establishes him back in the game.

Jamie T - 'Carry On The Grudge'
Out of 10 - 8/10

By Joshua Shreeve (@JJShreeve)

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Album Review... Catfish and the Bottlemen - The Balcony

It's been a busy year for Catfish and the Bottlemen. The band have exceeded the expectations of their record label and have gone on to become one of the biggest breakout bands of 2014. Now, they're gearing up for the release of their debut album, The Balcony, which is about to blow things even wider for the four lads who are just getting started.

The record doesn't shy away from being a ballsy, no fucks given kind of release and it's demonstrated perfectly through the authentic lyrics of every song on The Balcony. Nothing is hidden from us, it seems, and it's because of the way they work that it's easy to feel a connection between us and McCann while he fronts the band.

It seems fitting that the single that got the buzz started opens the album and returns as a reworked anthem - although it's not the only "banger" on the record. Homesick is a familiar track to any fan of the band but is perfectly suited as a calm before the storm kind of song as the attitude in Van McCann's vocals take lead from the beginning, right to the end of the debut. The crisp sound of guitars and their riffs battle against the heavy roars of the drums at points, but together they pierce the air around you and cause an almost catastrophic blow to a lot of the modern music we're forced upon.

Although this becomes a continuous theme right until the final track, Tyrants, there's an almost magical moment halfway through when we're subjected to a rare, stripped back Hourglass which sees McCann's vocals backed by almost nothing except an acoustic guitar. What matters though is that this doesn't seem like a break from a riot of sound, but a case that is made of talent that we have not yet seen from any of the singles already released. I'm craving your calls like a soldier's wife he sings - it's almost a plea to someone out in the world to see a different side to the young front man. Luckily we're able to witness it too and realise that although they don't things to seriously, there are times when they can show the importance of music and it's real meaning.

Two minutes of a luxurious realisation that Catfish and the Bottlemen could be one of the best UK bands at this moment of time, we're then suddenly thrown back into superbly crafted guitar music. Business backs the argument that every song on their first album is an anthem - and a big one at that. From a listen to this, without knowing the band or anything about them, you could say they're stadium ready. Their sound could fill huge spaces and hundreds of thousands of people would shout every lyric back. It's that kind of album.

It's at this point somebody encourages you to buy this incredible album that is definitely worth every penny, but it's the songs like Kathleen, Fallout and Cocoon that do the talking and push you to fall in to that trap of addiction to the band. This could be one of the best debuts released this year and it sets them up for a huge headline tour which they embark on in the coming months.

The Balcony is out on September 15th. Stand out tracks on this record are Cocoon, Hourglass, Business and Sidewinder.

Rating out of 10: 8/10

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EP Review... Birdcage - OVO

As we continue to slip uncontrollably into the sounds of 2014, Birdcage, the South Wales 4-piece, manage to tame us by reeling us in with their alternative rock sound. Their rebut EP, ‘OVO’, presents a handful of great influences ranging from Dinosaur Jr to the timeless Neil Young, and it’s enlightening to hear such influences being thrown into this 5 track concoction that soars from fuzz filled songs to a more ambient, acoustic number that gives the EP the perfect balance.

‘OVO’ is the opening track, and what an introduction it is. The intricate guitar melody is shoved to the side by baggy basslines, battering percussion and the swirling, fuzz-filled guitars. The vocals are handed over to Liam, one of two brothers in the group. It’s hard to believe that that Birdcage are from a quiet welsh town as their songs are jam-packed with Seattle grunge that hasn’t been revived fully as of yet. Liam’s voice keeps the pace strong, allowing key changes to happen among the instrumentals, as well as the lo-fi goodness of their influences to shine brighter than the Northern Star. It’s certainly a wake up call, and a fantastic start to a great EP.

Track number three, ‘Settle Down’, acts as the centre point for the EP, and it certainly gives Birdcage a strong profile when it comes to their range of sounds. The heavy, fuzz-filled riffs are dropped for a stripped, raw, acoustic track that is led by the second brother, Alex, on vocals. The layered guitar melody is delicate for these lads, and swirls beautifully in and out of vast chasms, completely dissolving their pedal driven sound to a heartstring pulling, tender sound that is completely unpredictable given their previous tracks. Alex’s vocals gently whisk away the listener to a clean space, giving the EP a perfect balance that showcases the Welsh band in a secure, luminous way.

‘Be Again’ is my personal favourite of the EP. After experiencing Birdcage’s delicacy, it’s inevitable that their fierce fuzz is due to make an appearance. ‘Be Again’ wastes no time in throwing vigorous drum sounds out there, as well as resolute guitars that send the listener into a head banging haze. The chorus is certainly a strong point thanks to the brothers harmonies. They interlink perfectly, emphasising their grunge-filled, fuzzy sound that is undoubtedly compelling.

Birdcage are great at what they do, and their 5-track EP highlights their determination, and dedication, towards the revival of the timeless grunge sound that some say was destined to be created and buried in Seattle. Birdcage have created a brilliant EP, and I’m sure everyone can see how brilliant it would be translated to a stage in front of a live audience. Make sure to protect your eardrums though, this four piece like it loud!

Birdcage - OVO
Out of 10: 8/10

Written by - Cerys Kenneally

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Album Review... Klaxons - Love Frequency

Who swallowed up half the Electro genre and shat it out in the form of a carefully crafted record? Klaxons did.

“They're not indie anymore!?!?!” are the comments that are going to flood social media sites when this album is released. No, they're not (have they ever actually been?), but who cares when the band are offering this to us. The intense and fiery attitudes that have always existed through their back catalogue continues through the reinvention of their sound which keeps up with the ever-changing industry.  

Opening the release and offering a different outlook on life and music is A New Reality. “We're the masters of illusion, in a time of confusion” they sing, confirming the idea that they're able to hide the bad and the ugly with this return. Diluting their sound could have easily happened, as it so often does with many bands who make a comeback such as this, but the complexity of sounds and lyrics merging together makes an incredible listen.

Love Frequency is a simple concept but a different approach is taken towards it through every spin. There's guarantees of hearing something fresh whenever you refer back to tracks such as Invisible Forces and Rhythm of Life – two stand out tracks. At the climax of each song, an unimaginable sense of escapism is released. The songs hold you tight and suddenly catapult you out of a, what feels like, very confined space.

What isn't covered within the 11 tracks? Funk, Disco and Electro are all continuing themes and, to our delight, converge together at points – backed by heavy drones, adding further layers of depth in to the equation. An instrumental, titled Liquid Light, makes an appearance and forces a breather upon you, allowing you a take a moment out of Klaxons' world and back in to your own. All before you're dragged back in to a more laid back vibe. The Dreamers imitates a stereotypical sound of tribal groups and a sense of unity, which is balanced out with a extra terrestrial focus. It's a mix of two very different worlds, another theme that seems to pop up through each song.

There's no doubt that this album could divide opinions but with the intense reinvention of their sound and a heavy focus on experimenting with various things at once, Klaxons have returned with a fierce record to be reckoned with. If there's one thing we can definitely confirm from Love Frequency, it's that the live shows are going to become even more out of control.

Rating out of 10: 8/10

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Single Review... Jaws - Think Too Much, Feel Too Little

Jaws last year were one of the finest bands to emerge from Birmingham that didn't release an album, however they did release an EP that we loved! The boys are now back with a stunning new summer laden anthem "Think Too Much, Feel Too Little".

The track is out on Record Store Day, but sadly only via iTunes. However, don't let that dampen the awe of the song. It's a slower track compared to what you'd be use to from them but the relaxed approach is something that you can really connect with. The smooth bass lines and the sweet guitar tones bring a touch of Surf to your world, watch out Hollister these lads want to soundtrack your stores! A wonderful return from the four piece, may 2014 be the year!

Jaws - Think Too Much, Feel Too Little
Out of 10: 8/10

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Tech Review... Technics RP-DH1200

With Christmas around the corner we're testing some headphones out. The Technics RP-DH1200 boast a stylish look, extras such as a DJ headphone jack (as well as the usual 3.5mm jack), a leather carry bag, and on the box it says it gives you "A true sound experience" -  lets see!

{OFFICIAL SITE}

The good:

• VERY good quality bass
• Great highs and lows - just as good listening to an acoustic song as it is a harder track
• Great grip - I was rocking out and they didn't fall off!

The bad:

•  They're a chunky pair of headphones - some may not like

Things to consider ... The price may be around the £80 to £150 mark, but you are paying for quality not the knock-off Beats headphones you find all over place. Honestly, what would you prefer, to spend an extra £30 on something that will last and has some amzing sound coming out from it, or to be a cheapo and buy some crackly headphones that'll last as long as a Tokyo Police Club song? Easy right!

The Technics RP-DH1200 have really impressed me today, shame I have to post them back, I'd rock them the whole time if I had a pair!

Out of 10:
8/10

Tracks I listened to while reviewing

• Lucy Rose - Shiver
• Bloc Party - Positive Tension
• Bombay Bicycle Club - Carry Me
• Digitalism - Forrest Gump
• Dive In - Let Go (Lovelife Remix)

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Album Review... MGMT - MGMT

Describing MGMT's new self-titled album as a psychedelic masterpiece would be fitting. But two words cannot even start to describe this complex and trippy album. The songs on the album really giving the impression that a wave runs through each song connecting it to the next, makes it easy to forget where one song starts and the next ends since the colourful wave runs on.

Combining quiet, thoughtful songs such as "I Love You Too, Death" with happy, powerful songs like "Alien Days" and even a song sounding like a spaceship taking off ("A Good Sadness") makes listening to the album a voyage through different spheres of MGMT's sound.

The song "Plenty Of Girls In The Sea" will no doubt be a big sing-along during the chorus at the US band's live shows. This may also be down to this song sounding like what I imagine the Beatles would have sounded like had they been tripping out on acid with modern technology around them.
Although with many different layers to discover and each listening experience providing new elements to each piece, the album lacks the sort of song that sticks in one's mind and opens up the treasure that is MGMT's music to listeners from other genres. This obviously isn't bad, but shows that MGMT have moved on from electro-pop hits from their first album "Oracular Spectacular". The new album also sounds a lot securer than their second album "Congratulations", with the band stating that they felt more at ease when recording the new album.

This album isn't in any way about individual songs, though. You get the feeling that with "Oracular Spectacular" you could just pull out your iPod and press play for any song. This album requires you to get your record player and listen to the album from start to finish - just as Andrew and Benjamin would have wanted you to. In hindsight "psychedelic masterpiece" is probably an understatement.

Written by - Benjamin Brown
 
MGMT - MGMT
Out of 10: 8/10

October: UK TOUR
12th Glasgow, UK - ABC1
13th Wolverhampton, UK - Civic
14th Manchester, UK - Apollo
16th London, UK - Forum

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Single Review... Phosphorescent - A Charm / A Blade

Matthew Houck fronts this week’s track of the week as the sole member of Athens Georgia folk group Phosphorescent. Their track “A charm / A Blade” of their 2013 album “Muchacho” offers a supreme example of “doin’ it right” in the modern folk scene.

Much like their contemporaries (Fleet Foxes, Iron and Wine etc…), Phosphorescent offers hymnal-esque melodies that quickly reveal their Athens roots. With its timely and sing-song-y chorus, “A Charm / A blade” will have you joining your local choir in hopes of replicating Houck’s illuminating tonality.

Phosphorescent - A Charm / A Blade
Out of 10: 8/10

Written by - Jake Koch

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Album Review... Babyshambles – Sequel to the Prequel

Babyshambles are back and they bring an intelligent new album with them after six years of abstinence. The London based band around lead singer Pete Doherty released “Sequel to the Prequel” on September 2nd and herald autumn with a colourful mix of all kinds of genres. After the leaving of drummer Danny Goffey they could win Stereophonics’ ex-member Jamie Morrison who contributed some amazing drum beats. Recorded in Paris and mixed in London there is a smoky, exciting love affair of a French café and an English pub which is audible in every track. By the way, the beautiful psychedelic-looking cover is by artist Damien Hirst.

Their latest record opens directly with the most punky and hectic track. Fittingly called “Fireman” you get one minute forty full of burning guitars and a red-hot chorus resulting in a burnout of fading rock riffs. Functioning as an impressive vital sign it seems to say forthrightly ‘We’re still alive and we’re ready to rock!’, but is at no point overburdened or surcharged.

This is followed by the first single “Nothing Comes to Nothing” which admittedly is a nice indie rock track with quite a catchy chorus but it is compared to its company on the record little more than a typically composed fill-in song. Further listening pays off! But that album also can grunge. “Farmer’s Daughter” proves this in its twenty second-intro slowly transforming into an acoustic rock stanza. The refrain lets Doherty’s voice sparkle in long anthem-like harmonies underlined by additional choral singing.

The title song “Sequel to the Prequel” opens with a rustling melody tootling from an old radio which kind of describes the whole piece perfectly. Here we get an amazing indie/rockabilly tune containing everything necessary to be labelled as neo-vintage. There is a fifties-like piano theme combined with country bridges and modern lyrics. This is cross-over concerning both genre and style in its perfection.

Another great track “Dr. No” begins with a catchy use of bass which apparently cannot decide between reggae and blues. The result is an amazing ska tune whose strange mix absolutely makes the quality. Now and then you notice a harmonica playing one time the well-known tune from Once Upon a Time in the West and creating another time the creepy atmosphere of a dark cabaret song. All this is completed by Pete Doherty’s versatile singing which adapts perfectly to the swinging, head banging mood of this track.

“Sequel to the Prequel” closes with its definite highlight which brings the Babyshamble’s comeback to a worthy end. “Minefield” begins rather quiet with an exciting use of bass. It almost comes along like a Bond song with a lot of tension in the stanzas only to explode in a great mix of clever guitar use and great vocals. The bridge resembles in its intensity both vocally and tonally an interlude by late musician Jeff Buckley whereas some passages camouflages as blues or alternative tracks. An absolute must hear!

The Babyshamble’s third work “Sequel to the Prequel” convinces with meaningful lyrics and a fusion of different styles all combined to one complementing oeuvre. It would have been easy to arrange everything just around Doherty and sell him as the figurehead of the comeback, but instead his voice is ‘just’ another equal instrument with an incredibly high level of quality and manifoldness. This record offers something for every taste may it be indie, rock or blues.

Babyshambles – Sequel to the Prequel
Out of 10: 8/10

Written by - Sarah Beicht

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Free Mp3 / Babyshambles - Picture Me In A Hospital

EP Review... Bloc Party - The Nextwave Sessions EP

We're massive Bloc Party fans here, and it's safe to say that when they went on hiatus back in 2009 we started the blog. Coincidence? Well no, I wanted to find the next Bloc Party before anyone else did, and since it's snowballed into this! So I am very excited to bring to you a fans' review of the EP. Written by myself (Fred).

Ratchet:
The EP opens with the rather dance and radio friendly "Ratchet", after being in their set for nearly 8 months fans have been rather eager to hear a fully recorded version, and when it dropped in June we were shocked how well we warmed to it. "Make it loud, make it proud, just make it count!" - You certainly make it count, this song has seen them re-capture their fans imagination, especially with the help of the rather awesome video! A dance-floor filler for any Indie club-night!
Out of 10: 8/10

Obscene:
The EP then takes a turn away from the dancey Indie-Rock, "Obscene" is more of a Kele solo-track rather than a Bloc Party track, with gentle vocals caressing the slow drum beat and wobbly bass you may think that this is a cut from "The Boxer" (Kele's solo album). But with Russell playing away with some slow guitar in the background you may be also forgiven to think this is a track off their third album "Intimacy" - it's got that vibe towards it, mainly synth, Kele and electronic beats.We're not hating on it one bit, if anything, one of the best Bloc Party tracks we've heard in a long time!
Out of 10: 9/10

French Exit:
Back to the good old days, just four guys and their instruments, no flim flam! "French Exit" starts off with a bang, Russell's guitar, tight drumming from Matt and Kele verging on rapping over the top. When the bridge comes in towards the end it really reminds us of "Hunting For Witches". This whole song shouts "A Weekend In The City" - slightly electronic but not shying away from the four instruments that made them who they are. By far my favourite song on the whole release. When you hear it you'll know why!
Out of 10: 9.5/10

Montreal:
A slow track once again, breaking the release down once more. Some lovely moments happen in this track. The duel between Russell's guitar and Kele's vocals throughout the track is just amazing, really shows anyone who hasn't listened to the band before what can be done with conventional instruments. The slow track has one problem in my eyes, it doesn't go anywhere, it has a small crescendo towards the end, but that is simply more effects on the guitar. Easily a track you can listen to over and over again and not get bored over, it's the love track of the EP.
Out of 10: 8/10

Children Of The Future:
The track that started the whispers of new material, origionally on set-lists as "Little Red" - which turned out to be a red herring - this is the closer of the EP, and it leaves a bitter-sweet taste for me. Not the song I would've picked as the closing track, simply because it doesn't really sound like Bloc Party. However, that doesn't mean that it's shit, they've taken on-board some key influences here, I can hear early Smashing Pumpkins and a bit of Ash. This is the closest thing you can you'll be able to get to the 'Union' and 'The Angel Range' days, a delicate guitar track for the fans to love for years to come!
Out of 10: 7/10

Bloc Party - The Nextwave Sessions EP
Out of 10: 8/10

This ISN'T the end of Bloc Party, but just an interval, a stop-over, a rest. Call it what you want, I don't see this being the end, god no! I can see the EP being a huge success, more than "Four"? Well with the diversity of the tracks included in the release I can safely say I enjoyed this a lot on the first listen! The EP shows the band doing what they do best, danceable Indie-Rock, slow jams, love songs, guitar driven anthems and possibly the closest song we're going to get to the 'Union' demos. Pick a copy of this up if you've got any love for the band!

If you impatient for the EP, head over HERE to check out live versions of the new tracks!

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Album Review... Peace - In Love

Debut albums are often perceived as the judgement day for many much-hyped bands; Peace being one of them. In the last year or so, the Birmingham boys have helped stamp their foot on the map alongside bands like Swim Deep and Jaws; expanding out and creating a whole new music scene there. After signing to major label Columba and releasing their debut EP ‘Delicious’ in 2012, Peace have brewed up a big following and gigged their way to the top of the new music pile where they have been hotly tipped for big things.

‘In Love’ has received mixed opinions as the band change their sound more and more. The storming opener ‘Higher Than The Sun’ sets a high standard and overall summary of the album; a romantic nostalgia-sodden feel good dream full of big guitars and easy chanting choruses.

The album’s 1990s influence is strong throughout the album whether it’s the grungy dark ‘Follow Baby’; their first single which was re-recorded for a re-release, ‘Lovesick’, which could easily feature on a 90’s teenage rom-com, or ‘Waste of Paint’ which demonstrates the albums heavily percussive Madchester influence, the band have mixed these together to create something unique and very current. There is also psychedelic influences later in the album with dark surf-rock tunes like ‘Step A Lil Closer’, ‘Toxic’ and ‘Scumbag'.

‘Float Forever’ takes the more fragile guitar tones of Graham Coxon from Blur and is nearly always compared to ‘California Daze’ in its style and vocal phrasings. Peace show off what they’re all about lyrically in this song. Harrison sings ‘If you’re not happy wearing denim, you’re a devil in disguise’ and ‘If there’s dew drops in the darkness they’re hiding from your eyes’. I get the nostalgic feeling of petty happenings within friendships and relationships becoming the most important things in life.
‘Wraith’, their biggest single to date, boasts the interesting topic of falling in love with a prostitute; which is obviously extremely relatable – the video even more so. It was released around the same time as Foals’ ‘Inhaler’ and I always thought this song could slot in nicely to Holy Fire. The lyrics of this song are similar to that of ‘Waste of Paint’ (‘Waste of Paint’ has ‘’you’re electric honey you blow my brain’’ where as Wraith has ‘‘you could be my ice age sugar, lay me down and make me shiver’’). It grooves well and is extremely catchy with great production. The lounge MIDI ending is a great little bonus and reminds me of Flight of the Conchords.

‘Drain’ is also another one of my favourite songs on the album, even if the riff reminds me of Losing My Religion by REM. The conceptual crazy orchestra modulation which decides to take front saddle twice during the song is highly memorable and something not many songs could get away with, very similar to A Day In The Life by The Beatles in that respect. The breakdown consisting of gated drums and guitar FX works brilliantly.

‘California Daze’, voted no.13 in NME’s Best Tracks of 2012 is one of the most anthemic, dreamy songs on the album. When it first appeared on debut EP ‘Delicious’, it showed clear contrast to the three other indie/alternative songs. It instantly oozes nostalgic summer vibes. It’s ambitious given the rest of the album’s sound but works really well against it. The imagery lyrics of ‘she tastes like sunlight’ and ‘forget and forgive there’s a place you can live’ make my mind sink away in to some nice little dream.

‘Bloodshake’ was the song which got all the initial fans in to Peace. It used to be named ‘Bblood’ but was re-recorded and renamed for release with Columba. It spits out afro-rhythmic percussion and guitar lines which you’ll find in nearly every new indie band at the moment.

Peace have subtly pushed things forward in style and trend this year. Their 90s influence couldn’t be timed any better as the dance music scene is rekindling it’s love for 90s soul and garage. The more I listen to ‘In Love’, the more I realise how much I’m addicted to it. The band has a signature song-writing style and image and I can only see them progressing positively.

Peace - In Love
Out of 10: 8/10

Written by - Courtney Askew-Conti

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Album Review... Wavves - Afraid Of Heights

Two years since the San Diego surf rock group's last record, self-released EP Life Sux, Afraid Of Heights bears no comparison to the early raucous recordings of vocalist Nathan Williams. It seems no surprise that 2009's Wavvves and King Of The Beach in 2010 bore such an accumulation of gritty tumultuous fracas as Williams was busy living up the reputation as a bleary-eyed surf hero. After a gruelling public meltdown during the band's set at Primavera Sound, Barcelona, in 2009, which involved an onslaught of shoe and bottle missiles as well as drummer Ryan Ulsh decorating Williams in a full glass of beer, it looked as if the front-man was heading for the murky depths of alcohol and drug induced aloneness. A few grimy instances can't be held against Williams though, as Life Sux managed to boast a collaboration with Best Coast and an inevitably audacious number with Toronto punk band Fucked Up.

Afraid Of Heights boasts a cleaner production and gloriously richer sounds but still hangs on to traces of classic Wavves' rough-cut grungy vibes, a reminder that Williams isn't a fully converted sweetheart just yet. A deceivingly serene introduction to opening track Sail To The Sun is soon invaded by familiar driving guitars which give way to a hopelessly upbeat number. Lyrically, Williams is still in a vacuum of weed smoking and not caring about much yet hating a lot, including himself. "First we gotta get high" is an obvious starting point.

The Californian boys have enriched their lo-fi, couldn't care less sound into an ambitious entourage of organised instrumentation; Williams gives off an attitude of Alex Turner tinged smoothness whilst still attaining his scabrous edge.

Wavves can easily be compared to FIDLAR or Metz or another one of those surf-rock groups, what with all the grungy guitar uproar and talk of getting wasted on "cheap beer" amongst other risqué shenanigans, but Wavves succeed in bringing the merriness down a notch. Lunge Forward oozes oppressive angst, Lyrics such as, "I hope he kills us all" hang out of place amongst the infectious high tempo 4/4 beat. As if to disorientate any Morrissey craving listeners, Dog suggests traces of The Drums' trademark slurring percussion alongside melodic vibraphone phrases, evoking a refreshing break from the resident ear-bashing guitar brawl.

Williams begins to show his tender side throughout the album, if only slightly. A minimalistic acoustic guitar and chipper whistling introduces Cop, the most simplistic track of the record but one which stands out as reaching the heights of being an uplifting song. Combine the whistling and the hints of a somewhat distorted love song and once again, The Drums join the party.

Although it may feel like Wavves have dropped their low fidelity, deranged surf-grunge for a systematically produced sound, it's welcoming to see Williams performing listenable and catchy numbers instead of volatile outbursts. Managing to make bleak clamours captivating, Williams has made his comeback strong as youthful grunge rock is all the rage.

Written by - Emma Storey

Wavves - Afraid Of Heights
Out of 10: 8/10

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Single Review... Strangers - Something New

Strangers are; David Maddox-Jones, drummer Raife Hacking and synth player Piers Sherwood-Roberts and they release their début single aptly entitled ‘Something New’ for brand new label Just Off Pop on 13th May 2013.

Something New:
Strangers are no strangers to big hits, their last song ("Safe / Pain") was a stormer and this latest effort we've been sent is just beyond amazing! "Something New" has got that ever so delicate balance of epic electro combined with the raw Indie talent they behold, just gotta love it!
Out of 10: 8/10

If you like this then come and see them at The Nest on 20th April, they're headlining our Record Store Day party!

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EP Review... Rae Morris - From Above EP

Rae Morris is one of the North’s budding new music sensations. Recently coming off the back of supporting Lianne La Havas and previously Bombay Bicycle Club on tour, the Blackpool songstress releases her third EP – "From Above".

From Above:
The first of three songs on this EP carries Rae’s notable structure of lyrical optimism and a simple but strong piano line which does not draw attention away from her elegantly raw vocals. The to-the-bone lyricism gives this song an advantage which will attract to both young and old; this is down to her youthful purity exterior covering a darker inner sensitivity. The humbly fading drum beat and percussion towards the later stages gives the song edge and opens up many routes for further production – maybe an album?

Wait A While:
‘Wait A While’ is Rae at her best, a stimulating ballad underlining her impeccable falsetto and the grand atmospheric piano (for which until now has been seemingly difficult to transfer to record from her live show). This grander force is blended with soft moments which enhance her unmistakable voice, adding control and character to her ethereal style.

This Time:
The final piece shows signs of Joanna Newsom for which Rae has taken influence – with quicker and wider ranging scales. Here, a balance is drawn between her confessional melancholy and soaring layers, with at points there being a surge of drums and varying electronics. There is no doubt, that this song would reach out to the audience further on stage, but nonetheless it’s a top effort which emphasises Rae’s talent and writing capabilities.

At such a young age, it is an obvious conclusion that Rae Morris has a long way to go, but with now three EP’s in the bag, she has built a very strong back catalogue and has the capabilities of going far and with a sound like hers it won’t be too long before she’s found a radio spot akin to similar artist Birdy. Overall, ‘From Above’ is a grand and searching record with all the songs building up a simple but majestic sound which wouldn’t look out of place on a Feist record.

Rae Morris - From Above EP
Out of 10: 8/10

Written by – Richard Maver

Album Review... Bastille - Bad Blood

After seeing Bastille play The Horn in St Albans last year we just had to jump on the band-wagon and follow Dan's progression into super-stardom. A blistering set at both Reading Festival and Underground Festival in Gloucester I knew that his album would be just as electrifying as his live sets.

The album opens with the latest single "Pompeii", this track is filled with tribal-esque chanting along with some great lyrics to sing along to and to have inked upon your torso such as "Oh I'm going to be an optimist about this", Dans optimistic approach to this song is well played as you enter the album on the strongest track possible. Next up is arguably one of his oldest tracks and another old single, "Things We Lost in the Fire" has been jazzed up since the EP but that doesn't mean that it's lost any of it's DIY dance feel, the tropical beats are still there winning us over once again. The same can be said for the album title track "Bad Blood", this also has got that summer festival feel good vibe about it, just bringing the album to life just a tad more!

The next couple of tracks are a bit of a slow down, "Overjoyed" and "These Streets" give you an insight to the mind of Dan and past regrets and heartbreaks. As you may know, "Overjoyed" is a sad song that the fans just adore, and this version is the same as the single version released a few months ago, yet it's still not lost that sparkle. "These Streets" is a new song to me that I instantly fell in love with, the same can go for "Weight Of Living, Pt. II", both confirmed to me why Bastille is going to be a great act for the future, the upbeat summer feeling you get from both of them is something you have to adore.

The second half of the album is filled with past favourites of mine including "Icarus", "Flaws", "Laura Palmer", "Get Home" and "Daniel In The Den" But before all of those songs you again you're treated to the simply sublime "Oblivion". A lovely slow piano based track, this gives Dan a track to go back to his roots with. Overall I can safely say that this album is one of the finest débuts of the year, I can see Bastille wowing more people into their world and gaining more fans at shows and playing bigger venues.

Bastille - Bad Blood
Out of 10: 8/10

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