STEVEN WILSON TO THE BONE Caroline International. Art Pop, Alternative Rock, Progressive Rock. Listening Format: Digital. When it comes to modern Progressive Rock, nobody feels like more of a flag-bearer of the genre than Steven Wilson. Sure the "dinosaurs" of the 70s still hold all the acclaim. Whilst Prog has certainly influenced many artists that came after it, and latched onto other subgenres of music, there aren't as many artists in the music limelight who quite openly embrace the somewhat untrendy term. Steven Wilson is one of the brightest stars. He fully embraces all that is Prog. Wilson has even been integral in remastering classic 70s Prog albums by the likes of Hawkwind and Jethro Tull, fully immersing himself into the history of the genre. The Londoner has been making music since the late 80s in various different forms, but his most famous act is Porcupine Tree. Whilst many of the genre leaders like Yes, Genesis and ELP spent their 80s derailing into Pop music and somewhat leaving behind Prog altogether, by the end of the decade Progressive Rock started to see a resurgence with artists inspired by the likes of 'Close to the Edge', 'In the Court of the Crimson King' and 'Dark Side of the Moon' starting to surface. The likes of Dream Theater, Spock's Beard and of course Porcupine Tree. With Steven Wilson as their main songwriter and frontman, Porcupine Tree were truly a progressive band. They explored multiple styles and subgenres, never making the same album twice, always expanding their sound and making complex, thought provoking music. The band seem to be on indefinite hiatus now, but Steven Wilson has basically carried on a similar sound and ethos into his solo ventures. Wilson's first three solo albums were as Prog as it comes. In particular 'The Raven That Refused to Sing (And Other Stories)' was full of mind-boggling complex instrumentation, different movements, long instrumental jamming and soloing, varying themes and time signature changes, analogue production and mastering. It genuinely felt like it was a lost gem from the 70s heyday of Prog. The album that followed, 'Hand. Cannot. Erase' in comparison sacrificed a lot of those things in order to make a much more cohesive and accessible album in terms of songwriting, combining catchy hooks and soaring melodies, with complex playing and Wilson's fetish for the mellotron! This album also sounded much more personal lyrically and much more modern. Sure there were touches of nostalgia, but it very much sounded like what a modern Prog album should. Not all of the Prog-heads got on board with it, but I personally found it to be his best solo album yet (amongst a mighty fine discography). In a way Wilson's fifth full length album 'To the Bone' takes this direction even further. 'To the Bone' is Steven Wilson's most accessible, catchy, hook-laden and Pop oriented album in his solo discography. There isn't even a song that breaches the 10 minute mark! Has he gone mad???
'To the Bone' sucked me right in from the start, opening with one of the strongest tracks (rightly so since it is the title track of the album). After a Morricone inspired Spaghetti Western style intro, bursts a very upbeat and stripped back sound. Production-wise it instantly feels so bright and colourful, with a slight Funk influence kicking in the chorus, complete with soulful female backing vocals. The second half of the song beautifully opens into a dreamy and uplifting ending, punctuated by floaty synth and mellotron that overwhelms the guitar. Wilson's voice cuts through magically. 'Pariah' is a huge standout on the album which sees Wilson's duet partner Ninet Tayeb return. She stirred up such a massive presence on Wilson's previous album 'Hand. Cannot. Erase', especially with her solo vocal on the outstanding downer ballad 'Routine'. They recapture that magic on 'Pariah' with their voices gelling so wonderfully together that it will be hard to imagine future Steven Wilson albums without her presence. Wilson has just got better and better and working in such strong, overwhelming melodies. Surprisingly the two minute long acoustic ballad 'Blank Tapes' is a wonderful little inclusion on the album. It's not often we hear a Steven Wilson track sounding so brittle and so short, so this was a lovely surprise. 'To the Bone' isn't a complete home-run though. 'Detonation' is the clearest attempt to do something more typically "Proggy" but falls a little short with off tangent guitar soloing and changes in direction that don't quite flow. It begins with an intriguing Electronic beat intro, and ends with funky Talking Heads inspired Funk Rock. In an album filled with more linear tunes, it's weird that the most "typical" Steven Wilson track sounds out of place and overbloated. Even still there are still interesting ideas in this track even if as a whole it doesn't quite come together. The single 'Permanating' is a track I keep going back on forth on. I felt like hearing it on it's own, with the video, it sort of worked, but placing it bang in the middle of the album, it feels so jarring. The record suddenly takes a massive sonic jolt, into something really loud and kind of obnoxious. ''Permanating' sounds like a Scissor Sisters song, and genuinely just as camp with pounding piano chords and Wilson's "oh yeah, I'm going full falsetto and you can't stop me!" vocals. It's fun, but I kind of feel like this would have been better as a non-album single. I just don't feel like it fits the flow of 'To the Bone'. So is 'To the Bone' a Progressive Rock record at all? Yes actually. Steven Wilson continues to prove that he is a progressive artist, and even with a discography as vast as his (if you count all his other projects), it is incredible that the man still has so many fresh ideas inside him, good ones too! Don't get me wrong, 'To the Bone' is not for the King Crimson fan, or for those that enjoy listening to Rick Wakeman make mad, violent love to his keyboards, clad in full wizard attire. Wilson has already done plenty of that kind stuff in the past. With 'To the Bone' he has taken risks and proved that he can make compelling Pop and radio friendly music, which still honours the sound, style, production, writing and ultimately the ethos of Progressive Rock. In many ways, 'To the Bone' makes me think of Arcade Fires' latest album 'Everything Now'. Arcade Fire were once a band known for thinking outside of the box, making challenging and thought provoking music. But with 'Everything Now' they decided to make a catchier, Poppier record and it just fell flat on it's face. Steven Wilson has shown us the right way to make more accessible, easy on the ear music, and yet not sacrifice artistic integrity. 'To the Bone' very much has a less is more approach, but it actually channels two of Porcupine Tree's lighter more accessible and Pop-oriented albums 'Lightbulb Sun' and 'Stupid Dream'. What the album lacks in pomposity and pretension, it more than makes up for in strong melodies, hard hitting choruses and well written songs. If anyone else made this album it would be seen as one of the most ambitious and versatile of the year, yet because STEVEN WILSON, has made this album, somehow it might come across as less ambitious and striking compared to his past discography highs. I personally feel like the tipping scale has worked in Wilson's favour. The lack of pure Prog trademarks is more than suitably made up for with the emphasis on huge melodies and strong writing. And in terms of sound and production, this is still a near immaculate effort. Wilson still manages to inject so many amazing textures, soundscapes and atmospheres, playing with a more than suitable team of collaborators. The man very much knows what he is doing and has invited his listeners into yet another unique and distinctive world full of wonders. It isn't as dark as previous outings, and perhaps it doesn't quite hit as hard as his last two records, but it very much stands on it's own merits. Like the album sleeve and title suggest, this is Steven Wilson stripped to the bone. 8/10.
BRAND NEW SCIENCE FICTION Procrastinate! Music Traitors (Self-Released) Emo, Alternative Rock, Post-Hardcore. Listening Format: Digital BRAND NEW Brand New, BRAND NEW Brand New, BRAND NEW BRAND NEW!!!!! DROPPED RIGHT OUT OF THE BLUE!!! NOW IT'S TIME FOR A REVIEW... When you think of the word Emo, it conjurers a lot of images, some of them are perhaps even derogatory or completely misguided. I remember as a teenager hearing At the Drive In, REM, Bright Eyes, Elliott Smith AND My Chemical Romance get described as "Emo"... But if there is one thing I know for sure, when referring to Emo as a music subgenre, Brand New are one of the first bands that should come to mind. This seminal New York formed band really are one of the most important Alternative Rock acts of the noughties. Their first album was released in 2001, and their previous release 'Daisy' bookended the decade in 2009. After that there were a few tours, and a few re-issues and archival releases, but just a week ago, Brand New's fifth album 'Science Fiction' dropped out of the blue, self-released by the band digitally, with physical releases due to follow. Their first album in 8 years! So what can we expect from a BRAND NEW Brand New album in 2017? Recently their fellow peers American Football returned with a new album after a 17 year hiatus, and it was met with a very lukewarm reception from fans and critics. I personally thought it was great, but surprisingly the prospect of a more mature and grown up American Football fell on deaf ears. The Emo kids have now become Emo adults with families and houses... The natural expectation for Brand New's return would put them in a similar scenario. These guys aren't kids any more. They are all grown up and have very much matured, and this is the direction their music will move in too, right?! Their last album 'Daisy' injected more Post-Hardcore elements than ever, and was a rather visceral record, but Brand New have always shown a maturity in their writing too, with some exceptional Folk influenced ballads to their name. "Me Vs. Maradona Vs. Elvis' am'right!? Naturally 'Science Fiction' is by far their most mature and downbeat album to date. Long gone are the silly overlong song titles. Lyrically this is a very introspective record. Musically there are a lot of moments that verge on Indie Folk, with the Post-Hardcore side of the band taking much more of a backseat. 'Science Fiction' opens with a really ominous, crackling spoken word sample, as if you'd accidentally put on an old Godspeed You! Black Emperor record! It's actually a fantastic way to set the tone, as 'Lit Me Up' evolves into a slow-burning, spacey dirge filled with atmospheric reverb guitar. 'Could Never Be Heaven' is a straight up Folk ballad something (early) Sun Kil Moon might have written. Stand out 'In the Water' combines those acoustic guitar driven verses with loud, explosive guitar choruses, but has this late 70s "Ditch Trilogy" Neil Young kind of swampy feel going on. 'Science Fiction' is very much a laid back, restrained and reflective record, but the whole band still sound incredibly emotive and impassioned. As always, Jesse Lacey's vocals are show stealing, emoting so much raw feeling, and increasing versatility. Though the overall tone of 'Science Fiction' is downbeat, sorrowful, dark and languid, there are still some bright, colourful and energetic moments on the record. 'Can't Get It Out' is a massive uplifting and anthemic song. It almost has that whiff of being a festival flag waver sing along, with this huge chorus punctuated with pounding drums and roaring guitar power chords. It's a simple, radio friendly gem of a song. 'Same Logic/Teeth' is brimming with ferocity, one of the few times where Lacey reaches for those yelping Hardcore influenced screams. Whilst 'Science Fiction' is a fantastically bold and consistent record, it isn't without the occasional stumbles in its hour long run time. "451" is a little too upbeat for it's own good, with this sort of Americana country ramble vibe going on. 'Desert''s falsetto harmonised vocal chorus comes across a little too over the top, but I guess every classic Emo album goes FULL EMO at some points, eh!? The album ends on a breathtaking finale, 'Batter Up'. A slow, dreamy, atmospheric Post-Rock track reminiscent of Mogwai's classic 'CODY'. This beautiful, softly sung gem reads like an epitaph and is such a sad, genuinely tear-jerking and powerful way for such a seminal band to bow out.
'Science Fiction' is strongly hinted to be Brand New's final album, with one last hurrah tour to follow, and not only is this a fantastic and logical way to go out, but it was totally worth that long wait too. Dropping it for free online was a neat little surprise for eagerly waiting fans. Brand New have delivered with a heavyweight album that has enough justified gold on it to be able to pull off that feat. It's no wonder why music fans are going absolutely crazy with joy at the release of this album. Some long time fans may lament the lack of the more fiery side of Brand New - There are is certainly no 'Sic Transit Gloria... Glory Fades' or 'Gasoline' on this record. But what we have hear perfectly reflects where this band are at in 2017, and the personalities of the band members nearing 40 years old. 'Science Fiction' is a deeply spun and involved record that reveals more and more colour and personality with each listen. Brand New have successfully created their most mature, sincere and introspective record in their discography, favouring sadness, beauty, texture and solitude over their more in your face moments of the past. It rings with just as much passion and true emotion as anything they have done prior, perhaps even more so. I personally can't wait to hold a physical copy in my hands. Brand New. 'Science Fiction'. A near perfect way to end a saga. 9/10.
HUNDRED YEAR OLD MAN BLACK FIRE Gizeh Records Sludge Metal, Post Metal, Post Hardcore. Listening Format: CD Fresh from conquering the New Blood stage at Bloodstock Open Air Festival, Leeds based sextet Hundred Year Old Man are looking to conquer the world. The anthemic 'Black Fire' is a hell of a way to accomplish such a feat. Back in 2015, HYOM released their self titled EP, consisting of three very lengthy pieces of incredibly dark and haunting Sludge Metal, faintly soaking in essences of Black Metal and Drone. Though it meandered a fair bit, it remains an impressive and suffocating debut effort. After a bit of a lineup change, including the addition of new lead vocalist Paul Broughton, HYOM have kept the best parts of their original sound, and fused them with a slightly more urgent and Hardcore influenced sound. 'Black Fire' may breach the ten minute mark, but it genuinely is about as immediate as Post-Metal, Atmospheric Sludge gets these days. The Sludge behemoth burns into life with some massive, pounding, slow atmospheric riffs. The lead vocals of Paul Broughton really kick you in the face with these utterly ferocious screams, over a chugging riff that Amenra would be proud of. The song gradually ebbs and flows through teasing restrained motifs, and back into full on explosions of chaotic fury. At some points there are up to three different vocal screams trading off, dense arrays of textured electronics and colossal guitars, all coming together to create something truly earth shattering. Just after the nine minute mark, the song picks up to an almighty crescendo that gave me chills down my spine! Aside from the lead single, there are two more tracks on the disc. The first is a surprise cover of Pink Floyd's cult classic 'Welcome to the Machine'. The slow, atmospheric dirge kind of seems perfect for an Atmos-Sludge re-invention, and HYOM have taken a fair stab it. Their attempt is suitably just as slow and spacey, allowing them to reel out textures even further, sounding like the electronics and possibly some synths have taken the forefront over the guitars in the mix. The half clean, half screamed kind of vocals don't quite fit, sounding much more restrained and uneventful than the sheer force of 'Black Fire'. HYOM show their versatility and stretch their abilities here, but ultimately this cover doesn't quite represent just how good this band are. The disc finishes with a demo track, 'Disconnect'. This track sits somewhere between the urgency of 'Black Fire' and the sedated sorrow of 'Welcome to the Machine'. Being a demo, the mix isn't quite as fleshed out, but it is certainly a teaser for great things to come, a track I'd like to hear expanded upon. If you are just here for the title track, then 'Black Fire' is an exemplary statement of how exciting Sludge Metal is sounding these days. Post Metal (or Atmos-Sludge) is certainly in a resurgence, oddly in a tangent with the fading and meandering sounds of Post Rock. Hundred Year Old Man honour the masters such as Neurosis, Isis and Cult of Luna, but inject something fresh, modern and cutting edge into this formula. 'Black Fire' is a tremendous achievement from a band in transition, and I can't wait to hear their full length debut. The two "b-sides" don't quite hold the same power, but I would say 'Black Fire' should be essential listening for fans of the genre. 7/10.
ONEOHTRIX POINT NEVER GOOD TIME: OST Warp Records Original Score, Progressive Electronic, Synthwave, Ambient. Listening Format: CD & Digital. NOTE: I have not seen the film yet, so I will be reviewing this from the perspective of a new Oneohtrix Point Never record. Oneohtrix Point Never is the recording alias of American Electronic producer and composer Daniel Lopatin. The man is one of the most critically acclaimed Electronic musicians of the past 10 years, revered not only for his works as OPN, but under his own name. Lopatin is also credited to being the pioneer of the entire Vaporwave subgenre, after the release of his album 'Eccojams Vol. 1' under the alias Chuck Pearson. Oneohtrix Point Never's previous full length album 'Garden of Delete' earned widespread critical acclaim. Personally, I found it to be a real trip with excellent, distinct sounds, production and off the wall ideas, but the album completely lacked cohesion. It was a mess, but an enjoyable and intriguing mess. OPN's music has always been challenging and ADHD levels of crazy, full of versatile ideas and sounds. For this project, OPN has composed an original score for the 2017 film Good Time, which has already won the revered Palme d'or prize for best original soundtrack at the Cannes Film Festival. 'Good Time' very much puts Oneohtrix Point Never into soundtrack mode. Even his previous works have shown strong conceptual ideas and soundtrack influences, so this move into writing an original film score is completely natural and fitting. For most artists that venture into soundtrack work, it is usually a chance to deliver their wildest, and most experimental works yet. Film scores can tend to lack cohesion when listened to separated from the film itself, and one of OPN's biggest weaknesses (or perhaps a strength, depending on how you look at it), is a lack of cohesion, especially on some of his most recent projects. Interestingly OPN composing a film score seems to have had a reverse effect on him, as this album is one of his most cohesive and flowing works yet! When I say Oneohtrix Point Never has fully immersed himself into soundtrack mode, it is because this ticks off a lot of those original score boxes. There are just as many nods to synthesizer pioneers Tangerine Dream on this album, as their are to current original scores such as Stranger Things. Whilst OPN has certainly explored synthesizers many times in the past, 'Good Time' is very much a full blown love letter to the synthesizer. There are nods to legendary synthesizer film score composers such as Vangelis, John Carpenter, Giorgio Moroder, Clint Mansell and even Cliff Martinez. The album is full of spacey atmospheres and strong melodies as layers of modulated synths shrink and expand explosively all over the record. OPN's icy and frantic sounds and production really shine on this record, and many of the tracks have a great urgency. In particular 'Hospital Escape' conjurers exactly what the title suggests. The pounding percussion and waves of frantic synth modulation very much feel like a chase scene. 'Flashback' has this wash of galloping synths that pitchshift, fade and morph. The production is busy, yet the hook and strong synth melody keep everything grounded. Again this track has a really urgency to it, and the production is so bright and colourful that it will practically bounce around your brain. 'Romance Apocalypse' is full on Blade Runner worship, with these bendy, cool as ice synth melodies backed with these slightly cheesy (yet in that perfectly nostalgic way) tribal beats, sounding somewhere between Rustie and Perturbator. The epic 'Leaving the Park' is just a masterclass in production and layering, with these fantastic synth sounds just bouncing off each other. The album ends with the most striking and original piece of music of all. 'The Pure & the Damned' is a slow burning piano ballad with excellent vocals and lyrics from none other than Iggy Pop. An utterly fantastic climax, that I bet holds a much more emotional impact in the film. Oneohtrix Point Never has presented his fans and critics with an interesting quandary with 'Good Time'. In some ways it is one of his least distinctive works yet. Even if one of his fans walked into a record store and heard this playing, they wouldn't assume it was the new OPN record. Sonically it is very much a love letter to the synthesizer pioneers and soundtrack musicians that came before him. A full on modulated synth showcase. However, Lopatin still injects much of his personality, as well as signature production techniques and skills into these compositions. Unlike his previous record, OPN has presented us with one of his most direct, flowing and well rounded records since his 2011 classic 'Replica'. By stripping away some of the madness and overload of ideas and sounds, Lopatin has only become stronger and more focused at what he does. 'Good Time' is an immaculately produced effort, full of strong melodies, mesmerising layers of sound, and a true urgency. Film score lovers as well as Electronic music fans owe it to themselves to hear this album. Even without seeing the film, it will make you want to see it, and it totally stands as a great OPN album in its own right. Oneohtrix Point Never has ventured into the art of film soundtracks and absolutely nailed it. I would love to hear him do more of this! 8/10.
DEAD CROSS DEAD CROSS Ipecac Recordings Hardcore Punk, Thrash Metal. Listening Format: Digital & CD Dead Cross is a brand new "supergroup" featuring Mike Crain, Justin Pearson, Dave Lombardo and Mike Patton. So that's members of Faith No More, Slayer and Retox to say the least. This self titled debut album is packed with 10 very short and fast songs that are loud, crass and showcase a blend of Thrash and Hardcore. It very much sounds like these gentleman took a fun little vacation inbetween all their other bands and just decided to go mad and have some fun. The album is indeed a lot of fun, in fact it is an absolute breeze to listen to and probably has some replay value in there. Dave Lombardo definitely channels the kind of performance he put in for Slayer's classic 'Reign In Blood', with fast and unrelenting speed metal drumming. Even the riffs occasionally reference Slayer with a mixture of straight up Punky power chords, and twiddlier fret shredding. But in all honesty it is Mike Patton's diverse and eccentric vocal performance that really makes this album come to life. I get this nagging feeling that, without Patton on board, this would sound like a fairly generic and outdated affair instrumentally, that doesn't quite keep up to the insane standards of the newer younger Hardcore/Thrash crossover acts such as Municipal Waste, Power Trip and Havok. And although Mike Patton does pull out all of the stops, with crazy howls, chants, screams, shouts... Well you name it... What CAN'T this man do with his vocals?!?! But he doesn't quite do anything he hasn't already done better many times before in his vastly exciting discography! 'Shillelagh' is a huge standout with this weirdly catchy chanting chorus, but this kind of sounds like Dillinger Escape Plan crossed with Tomahawk only not as abstract or fleshed out. A cover of Bauhaus' classic 'Bela Lugosi's Dead' is the only true sore thumb on the album. The classic original is a slow 10 minute Goth dirge, whilst this version is two and a half stuttering minutes of nothingness. No matter how hard Mike Patton tries to be wild, abstract and straight up crazy on this album, it never seems to quite come together for Dead Cross. Instrumentally it just isn't that crazy. In fact it's pretty standard and even inoffensive at times. So no matter how barmy Patton gets here, it just seems like he is trying too hard to be eccentric and it comes off very forced and flat. Dead Cross is certainly enjoyable on some level, and an easy listen, but it feels strangely "normal" in the bizarre canon of Mike Patton. And if you are coming at this as a Slayer or Retox fan, there is even less that is going to really strike you here. Even Patton's more accessible projects like Faith No More and Peeping Tom have gone far deeper, wilder and stranger than what is presented here. 'Dead Cross' is an admirable bit of fun, but all the players efforts here are so vastly overshadowed by their previous discography highlights that this one will barely scratch the surface. 6/10.
ARCADE FIRE EVERYTHING NOW Columbia Records Alternative Rock, Art Pop, Electro-Funk, Disco-Pop. Listening Format: CD Arcade Fire are genuinely one of my favourite Alternative/Indie Rock bands, especially of the past 10 years. I was fortunate enough to hear them right from the start when their self-titled EP first came out, and I remember the video premiere of 'Power Out' back in the pre-YouTube MTV2 days. I've enjoyed following this band throughout my twenties and I feel like they have always been flag wavers for forward thinking, grand, majestic, bold and ambitious Rock music. Their first three albums in particular are already classics of the genre and era in my eyes. I actually really enjoyed 'Reflektor' for the most part too. Previous album 'Reflektor' saw a step into a more Electronic direction, with influences of Disco and Funk popping into their sound. I guess the whole Daft Punk and Pharrell Williams thing made a huge impact around the time. Arcade Fire also enlisted James Murphy of LCD Soundsystem fame to add his magic touch. Though the album received mixed reviews from fans and critics, Arcade Fire have decided to delve even further into the realm of Electro-Pop, Funk and Disco with their fifth full length, 'Everything Now'. Even before this album came out, a big chunk of their fanbase seemed to let out a collective groan, but surely such an innovative band can't sink that low... Right!? From the first listen it is obvious that Arcade Fire have been listening to a lot of Abba, Talking Heads, Bowie's 'Young Americans' and even more LCD Soundsystem. 'Everything Now' is their most overtly Pop-centric, commercial and radio friendly album to date. In particular it sounds worlds away from the band who made the dark and brooding 'Neon Bible' album. Regardless, I think 'Everything Now' gets off to a fairly good start. The title track and lead single is so uplifting, boombastic and catchy. The chanted chorus will get stuck in your head, and the production is fantastically layered. Certainly Arcade Fire doing what they do best. The funky as hell Disco grooves on 'Signs of Life' actually work really well. There is such a strong influence of Abba, Chic and even Donna Summer on this track. There are even FREAKIN' AIR RAID SIRENS in the mix! Perfectly nostalgic, and yet refreshingly modern too. Second single 'Creature Comfort' kicks off with an infectious Goldfrapp-esque Electro groove, but is sadly let down by some really cringey lyrics. "She dreams about dying all the time / She told me she came so close / Filled up the bathtub and put on our first record"... Ugh really Win Butler? That is some bad self-congratulatory fourth wall breaking. The whole song's lyrics about self harm, suicide, depression and body dysmorphia just come across so obnoxious and over the top when paired with such a happy, bouncy melody. The song also suffers from adding too many layers. The amazing Electro-Funk groove of the intro could have easily have carried the song, but the layers of synths, Regine Chassagne's high pitched backing wails, and a glockenspiel melody that makes it sound like an '80s Christmas song... It's just loses any sense of subtlety. 'Chemistry' has to be the worst song this band have ever recorded. Like... What even is this?! How did it make the final cut of the album??? It's a proper cat-sat-on-the-mat happy little ditty that makes MGMT sound like Pink Floyd. 'Infinite Content' is another painfully underwritten song that suddenly brings in these Punk-influenced guitars sounding absolutely nothing like anything else on this album, and it just sounds so amateurish and far too polished, with all the edges rounded off... 'Electric Blue' is the token song with Regine Chassagne on lead solo vocals (there's at least one on every Arcade Fire record) and this is one of the better songs here. The funky disco grooves are back and actually suit the shiny production style they are going for, unlike the horror of 'Infinite Content' (which lasts less than two minutes long by the way). 'Electric Blue' has a catchy stomp with an icy high pitched wail that works really well, I could see this being a hit in Indie Rock club nights. Again it reminded me of Goldfrapp. What happened to Arcade Fire only sounding like Arcade Fire eh? I don't want to go on describing every track on this album. What we have here is an incredibly mixed bag of songs. There are tracks that I genuinely enjoyed and feel fit in with the aesthetics and vibes that Arcade Fire are all about, but for the first time on an Arcade Fire, I'm hearing tracks that are genuinely terrible, underwritten, amateurish and directionless. A big surprise from such an accomplished band five albums into their journey. Arcade Fire are lucky enough to be in one of those rare positions, where they have complete creative control of their sound, have headlined Glastonbury Festival, and continue to have strong album sales. They've had a similar amount of critical acclaim and simultaneous chart success as Radiohead before them. A band in this incredible position should not at all be simplifying their sound and aiming to make their most radio-friendly, Pop and commercial sounds yet. This is the exact point where Arcade Fire should be dropping their most experimental, abstract and challenging material yet, like what Radiohead continued to do after the success story that was 'OK Computer'. I'm pretty sure that no Arcade Fire fans wanted them to make this kind of record. And whilst the final results are far from being horrible, in fact I've enjoyed a good chunk of this record on a superficial level, but Arcade Fire have such a strong reputation to uphold. I really feel like Arcade Fire have just sold themselves short with this record. We all know they are capable of SO MUCH BETTER, they've proved it again and again in the past. 'Everything Now' is pretty mediocre, forgettable and just way too simplistic and middle of the road for a band of this stature. An absolute missed opportunity and a lack of ambition or direction completely haunt this record from start to finish. It's not bad, but it is also so far below all of their previous efforts that it is almost painful... 5/10.
SODEN LED BY FOXES... Self-Released. Sludge Metal, Post-Rock. Listening Format: CD Soden are an instrumental Metal trio based in Worcestershire, England. After putting out a couple of well received EPs over the last two years, the band have written, self produced and DIY released this debut full length CD, 'Led By Foxes...' Soden also continue to be a strong force playing live across the UK, and this album very much captures their live essence and sound. One of the most obvious bands to compare Soden to would be US Post-Metal icons Pelican. Not only do Soden bring crushing Doom riffs, but their understanding of dynamics is fantastic. Across the whole of 'Led By Foxes...', Soden take you on a real journey, telling a story without any lyrics. Opener 'Sleep Paralysis' is not only a fantastic live number, but it is such a great mission statement for the band. The song is a real showcase of melodic, twiddly bass licks, that ebb and flow like tidal waves. So much fuzz and atmosphere is created that you begin to wonder how just three players can make such massive, textured sounds. In particular the use of different pedals creates noisy atmospheres, and the tribal influenced drumming gives such a lively sense of rhythm and groove. The technical abilities of the band really shine, with so many exciting fills and transitions. It's the lengthier tracks that win on this album, with the title track having even more irresistible grooves. Some of the shorter tracks like 'Beyond the Mountain' are awesome balls out riff machines, but it is epics like the teasing stop/start 'Oneireophrenia' and fuzz worship finale 'Trip to Pluto' that excite me the most. Soden are a band that make the clean, softer sections count as much as the crushing riffs. The trio sound even better when they are crafting these lengthy journeys of sound that take the listener on a sonic trip of peaks and troughs, louds and quiets. The Worcestershire trio are storytellers of sound and this is a fantastically realised debut effort. Some of the tones expressed are beautiful and the drums snap hard. I'd love them to continue to go even further in the future and make their tracks even longer and more progressive! 8/10.
LANA DEL REY LUST FOR LIFE Interscope Records Dream Pop, Alternative R&B Listening Format: CD I'm not going to lie, when I first looked at the album sleeve (she's... Smiling!?) and the tracklist for this album, my first thought was "oh lord... This is gonna suck, this is gonna suck so hard!" The thought of Lana Del Rey pairing up with A$AP Rocky and The Weeknd felt so benign to me. And the reason I made this assumption is because I enjoyed her last album 'Honeymoon' so much. I always think of Lana Del Rey as being a forward thinking Pop singer and musician. Many of the artistic decisions she has made in the last few years have set such a high standard compared to most of her peers. Just about EVERY Pop artist, male or female, these days are cramming their albums with unnecessary guest rappers, and Trap influenced R&B beats, because it is trendy and it boosts sales. I've always thought of Lana Del Rey to be outside of doing what is considered "trendy". The more she sings over these earthy, string-laden, dreamy soundscapes the better she sounds. In return, by avoiding doing what all of her peers are doing, she ended up being a trend-setter in her own right. With this being the case it was very much wrong of me to make the assumption that 'Lust For Life' would suck, especially coming off of 'Honeymoon', which I feel was her best and most accomplished full length yet. I guess I looked at that tracklist, the featuring and producer list, and hit the panic button, assuming she was about to undo exactly what makes her stand out so well. So how DOES the album fare? Right off the bat, Lana Del Rey is sounding in fantastic form. 'Love' is a huge track to open with. Her voice is just sounding better and better with each release, and she absolutely soars across the chorus. Title track and single 'Lust For Life' is utterly sublime... The production on this track from Max Martin is outstanding. It captures that Twin Peaks Dream Pop style perfectly. There is a definite throwback to the '50s Spector girl group sound in the verses, and then the knockout "Take off all your clothes" chorus with The Weeknd is one of the most majestic things you'll hear all year. The way the two vocals combine is magical and the song is utterly catchy. It's goes from sounding nostalgic to cutting edge and modern all in just a verse to chorus transition. Without a doubt one of the best Lana Del Rey songs ever. Though 'Lust For Life' starts incredibly strongly, we are still talking about a 70 minute long opus here. In the middle stretch of the album we start to hear the Trap beats coming into the production, though thankfully they are mixed fairly low. That earthy Dream Pop sound still manages to be a dominant force, and the use of strings and moody suspended chord synths absolutely still shine through, along with Del Rey's powerful, diverse and haunting vocal delivery. The two songs that I feared featuring A$AP Rocky are lumped together. 'Summer Bummer' is actually a good song in it's own right, and just about manages to fit within the flow of the album, but 'Groupie Love' is a particular lowlight. It feels more like an A$AP Rocky song where Lana Del Rey is the guest on the track. Admittedly, I expected much worse from these two tracks, but they do sort of work in the context of this album. I do get that such a long album needs to throw in some curveballs to keep things interesting, so it just about gets a pass from me. Sadly though, the album is rather front loaded. The last twenty minutes in particular does start to run out of steam. Even though the Stevie Nicks and Sean Ono Lennon collaborations appear, I feel like most of the best ideas had already been spent by this point. Ultimately, when it comes to listening to Lana Del Rey, I like her to be selfish. I genuinely think she is at her best when she does her own thing, singing her heart out over nostalgic, dreamy ballads. I have to wonder whether it was her decision to bring in Trap beats, guest rappers and features, or is it a product of being on a major label? Regardless, she has still managed to turn out a mostly very strong album. I don't think A$AP Rocky gelled with her at all, but it was nowhere near a disaster like I had wrongly assumed. And the duet with The Weeknd is absolutely inspired. In fact in many spots on this album, Lana Del Rey sounds at the top of her game. I think this is her best vocal performance to date, and in terms of writing and production, she still stands miles ahead of other Pop vocalists. She can genuinely go toe to toe with the likes of Beyonce, Rihanna, Sia and Katy Perry, and often come out as the most forward thinking and interesting to listen to. Personally I think the 'Paradise' EP she released back in 2012 is her most groundbreaking release that just felt 100% Lana, but 'Lust For Life', whilst flawed, is still a very strong release that far exceeded my expectations. 7/10.
NICOLAS & THE SAINTS GOODBYE TO BRIGHTON Self Released Singer/Songwriter, Blues Rock, Jazz Rock. Listening Format: Digital 'Goodbye to Brighton' is the second full length album by songwriter Nick Lewis, lyrically documenting his fears about turning 30 as well as moving away from his hometown and moving onto new plains in life. Musically the album is very much a transitional phase, as his first album had more of an Electronic influence. For 'Goodbye to Brighton' he has expanded to a five piece band. The album was recorded in just two days, favouring raw and improvisational performances. Sonically, the album takes elements of Blues and Jazz, with saxophones, clean guitars and female vocals. There is a strong influence of Tom Waits, especially in Lewis' croaky vocal delivery and storytelling lyrics. 'Goodbye to Brighton' experiments with both lively, Jazz influenced cuts, as well as slow burner ballads. The album opens with 'One Year', sounding like Lewis is slumped over a guitar in the corner of a seedy jazz club, the audience only half paying attention as he pours his heart out, "I'm sitting here all alone, drinking bourbon on my birthday". The album then shifts drastically into a roaring upbeat number punctuated by screaming sax and half-rapped vocals. There are mid paced radio friendly cuts too like 'Red Wine In the Morning' and 'Call My Own' lead by sharp drumbeats and catchy hooks. 'Heroes' is a straight out Rock song lead by distorted guitars. It is obvious there is a strong sound pallet mix throughout the record with plenty of ideas on show. Whilst Nicolas & The Saints have delivered a rather diverse album in terms of writing, the actual flow of the album suffers because of it. Having one or two curveballs is always welcome, but I feel like the lyrical concept of 'Goodbye to Brighton' is far more suited to the slow burning ballads. Single 'Molly' in particular nails the style, letting the emotion of Lewis' voice really shine through. The same can be said for 'One Year' and knockout track 'Too Young'. The more this album attempts to be ragged and wild, the more it falters. 'So It Goes' is a sonic mess, the fast shouty, rapped vocals do not sit well upon the screaming saxophones, and it sounds like Lewis is running out of breath. Too many layers in the mix lead to a sound that just doesn't gel. Other tracks like the aforementioned 'Red Wine In the Morning' and 'Call My Own' suffer from being too clean and polite. The darkness, loneliness and bitterness of the lyrics start to lose their impact with an overly ear friendly sound. The album just doesn't manage to portray the true grit and heartache that the vocalist and primary songwriter is feeling inside. Ultimately, Nicolas & The Saints sound like they would be a blast to see live. Musically they are accomplished, with Nick's vocals especially being a force to be reckoned with. But he doesn't always gel emotionally and sonically with his band here, especially with the female vocalist who tends to clash more than compliment his voice. 'Goodbye to Brighton' is a case of ambitious and sometimes brilliant ideas, presented awkwardly and haphazardly. 6/10.
