Miguel - Waves (Tame Impala Remix)

Last week, Miguel surprise-dropped a five song collection of remixes of "Waves", a standout (and personal favourite) track from 2015's otherwise hit or miss Wildheart album. Rogue Waves, as it is called, features one version of the RnB number so arresting I felt the need to share my thoughts on both the song and the artist in question.

Opening with a chorus of very dreamy ooh's and ah's, Kevin Parker's interpretation of the track really kicks into gear around the 25 second mark: a pulsing drum fill covered in a thick layer of phaser effects brings in a wave of even more effects-laden guitars and airy keyboards - filling up and tripping out the track in the best possible way. Tasteful synth lines and production tricks are peppered throughout too, and Parker's signature bass lines from Currents return, willing to take their up their role again as a steady anchor-slash-unsung hero to the rest of the song. Through all 4 minutes and 13 seconds of the remix the clarity and precision of the the bass stands out, it contrasts with the hazy wall of sound the rest of the instrumentation has fused into, taking our heads slightly out of the clouds and grounding the production before it becomes overwhelming. 

This heavy focus on instrumentation doesn't detract from Miguel either (even if it does sorta steal the show), his crisp vocals still shine through the cacophonies around him, they've just got a little more reverb added. That alone is proof that this is a masterclass in remixing: as Kevin is able to put his own mark on the product without the original elements which made it great falling to the wayside.

That, essentially, is the beauty of the track, and Tame Impala's music. With Tame Impala, Kevin Parker interprets old musical tropes, genres and cliches - be it Nuggets-era psychedelia or the New Wave music that soundtracked the rise of Reaganomics - and spits them back out as something new, exciting and beautifully produced. His mixing is so good because he understands the history, balance and dynamics of songwriting, he lets every element of the track shine, and he never forgets the basics - and bass hasn't been this cool since Grady Martin plugged one into a fuzz pedal.

I'd recommend everyone check this purely for a blueprint on how remixing should be done, fans of Miguel or Tame Impala are sure to get a kick from this too.

Jack McGlone

August and After - Wolves (track review)

Given that so much mainstream indie folk is drenched in the radiation left behind by the Mumford and Sons shaped mushroom cloud that still pollutes the genre, it’s refreshing to hear a folk trio that play upon emotional and instrumental subtlety the way August and After do. 

Opening with the unaccompanied voice of Vendatha Kumar, the song is instantly captivatingly sombre.  The gentle plucking of Ned Mortimer’s acoustic guitar is understated enough to both support every word and allow for the pizzicato violin parts to be heard.  It’s when Jordan Bergman’s ethereal violin enters in full effect that the layered folk instrumental becomes transcendental, with every staccato guitar note interweaving in a truly mystical tapestry. 

By the time the haunting falsetto vocals and melancholy piano chords fade out, I’m convinced that this trio are every bit as talented in their craftsmanship as some of the heavy weights of indie folk.  I recommend this single highly, and await their EP “Cascades” with baited breath.

Charlie McCartney

Watch the new video for Wolves below

https://www.youtube.com/watch?v=X9ISB4JMS7A

Strangers You Know - Used - Track Review

Adding drum beats and synths to your music is by now a staple of the group that has run out of ideas. Many see that by plugging their guitars or violins or digeridoos into a computer their music will immediately scream cutting edge. This is very rarely the case with most coming off as out of touch. You can always tell who had the synth on the table from day one and who added it in later.

Strangers You Know are certainly a group who knew their intentions from the start.

The orchestral introduction and the bouncy guitar beat to this single “Used” may have you confused at the start thinking you are listening to some horrible bro-country but slowly as the elements are added to the song what is revealed is a well-produced, groovy composition in which no elements feel less important than another, with the violins, drum machine and guitars corroborating to reveal a clean melody that at points hits a nice head bopping groove.

The violins in particular continue a trend started by the likes of Clean Bandit of incorporating and highly featuring traditional classical music with an electronic, 21^st century feel. I can certainly feel this style chosen here and it is one that, although reaching some success, could still use someone like Strangers You Know bringing more attention to the sound.

However, the one element in the composition which I find lacking is the vocals and lyrics. They simply don’t stand aside the other more grandiose elements in the song and a lot of the time it feels like they fade into the background a great deal. I feel like the best of Strangers You Know will be seen if they team with a more commanding vocal that can stand aside and use the composition to help sculpt an excellent all round song both musically and vocally.

Despite this I can hear a lot of potential in Strangers You Know and remain excited for their EP on March 11^th.

Listen to the single “Used” here : https://soundcloud.com/strangersyouknow/used

Dominic Allan.

Death Grips - Hot Head - Track Review

Reviewing anything by Death Grips is a difficult task. Are they good? Are they bad? Are they music?

A new track from the only group to stretch LCD Soundsystem's definition of a breakup even further and a typical jutted out release from the group that stretch what it means to create music for commercial release.

 

Presumably the first single from their upcoming album "Bottomless Pit" the track "Hot head" unsurprisingly does not see the band explore some latin soul. Death Grips know exactly what they are great at which is making the undisputed most unique, innovative and exciting music out today.

 

This track has a couple of elements in its stramash that on the third or fourth listen show you how great they are if you weren't already aware. That guitar which weaves its way through this track coupled with the oscillating beat throughout create a sound which challenges and battles with the crass, foreboding vocals of MC Ride.

 

There is however a bit of a same old feel from this track. It would be even more exciting to see them expand their horizons even further, sure MC Ride will sound like a homeless man screaming at society and the music will sound like a synthesiser getting kicked down a flight of stairs but that doesn't mean that there couldnt also be something else occuring. Although saying this I really don't know if I want something else from Death Grips. They are a constant and before their branch of mayhem is discovered by the genre of music that so desperately needs a shot in the arm from hearing it (cough...metal...cough) I would be so happy to see them ride their glorious chaotic wave.

 

So to answer my questions, are they good? Yeah of course. Are they bad? Probably that as well yes. Are they music? Who gives a fuck?

 

Dominic Allan.

The 1975 - Love Me & UGH - Track Reviews

The 1975 arrived in 2013 under the perfect storm with anything else almost surely not allowing their perplexing popularity to take place. The British public had decided that after four albums of game-changing, lyrically dexterous and truly dynamic Artic Monkeys records that the one that would spiral them into being the biggest British band since Oasis was…AM. Despite lacking everything that made the first four Arctic Monkeys albums great, the lyrics, rhythms and (most importanty) the grounded subject matter that allowed many to empathise and sympathise with them AM towered above these albums in terms of popularity. On the coattails of the Arctic Monkeys infatuation with being from anywhere but Britain came the 1975, clad in the same leather and having even less of the lyrical and musical ability of the boys from San FranSheffield. A strange universe that allows this to be the case is also the same universe in which the 1975 can become popular. 

The 1975’s main conversation point is sex. It’s the title of their first EP and the subject matter of pretty much the entirety of their first album. And like a teenager in a 90s chick flick I don’t think I believe it. That was always the main problem with the 1975 for me. They just sound like pure bullshitters and their songs blatantly aren’t that sexy. 

This opinion was not the minority and the 1975 were one of the critical jokes of the year. Even places that saw AM as genius saw through their weak spectacle. Yet the 1975 are back and their first single, Love Me, received praise from many of the establishments which had shunned them.

And as easy as it is to criticise them it is hard to disagree why. Musically this song is catchy, infectious and properly good. This is proper radio material, from its first instant those chords and hooks grab your attention and they are good for it the whole way through. Even the chorus has a groove to it that is undeniable and great. 

However, the message of this song is so cheap, lazy and abysmal that the first time you look at the lyrics or especially, when you view the video which is one of the most shameless attention grabbing things I’ve seen all year you are forced to view the song for what it is. The 1975 trying to get back into everyone’s good books by bashing the easiest targets in the world, popular music. This is not a new tactic with people like Jake Bugg, Catfish and the Bottlemen and most especially Oasis making a career out of appealing to the kind of people that are actually angered when someone listens to pop music. For this reason and this reason alone I cannot recommend this song as this practise is laughable and every band which tries and fuels the “popular music is terrible” cliché needs to have a long hard look at themselves, especially a band which exist only on the back of one of the biggest popular bands in Britain.

The second single from The 1975 on this record does again enter new territory and admitting that they aren’t actually sex gods with lyrics like “I don't have the capacity for fucking” showing that The 1975 do have a bit of self awareness. The rest of the song adds little. Although again some of the musical elements please, especially the electronic blips at the beginning but the song’s story doesn’t interest me at all and they show again for the second time a lyrical weakness. Musically however this song does prove that whoever is making up these riffs and beats actually does have a lot of talent and I can genuinely see The 1975 growing up into being a genuinely good band.

For now though they will be lucky to gain the same knee jerk applause that people like NME get whenever a band has something negative to say about pop and this album will likely come and go with The 1975 continuing to be that band your sister likes.

Don’t bother. Really.

Dominic Allan.

David Bowie - Blackstar (track review)

I've never subscribed to the idea of anyone being exempt from criticism.  However, if there was ever a candidate for this prestigious honour, I can’t think of any more obvious than David Bowie.  

Boasting a career that spans decades and genres, as well as defining them, Bowie has remained as creative, culturally significant and subtly controversial as I feel it’s possible for a musician to be.  Fortunately, whether or not he should be exempted from criticism isn't an argument that needs to be discussed in this review, as “Blackstar” is absolutely astounding in its ambition and solid in its tone.

Bathed in Eastern sun, drenched in occult symbolism and twitching in syncopated discomfort, “Blackstar” may be the only 10 minute song that isn't long enough.  Bowie’s vocals are an unnaturally immaculate falsetto for a man of his age, and the harmonies only add to the nauseating sense of dread that accompanies the first several minutes of the track.  Hunky Dory era Bowie suddenly appears from the sandstorm to give the listener a brief respite, before the harmonies signal another plunge into the murky desert. 

The woodwind instruments play tormented, schizophrenic improvisations, along with the esoteric bleeping of some futuristic machine, probably the one that brought Bowie here from whatever desert planet inspired this absolutely glorious piece of Lovecraftian horror.  I can’t recommend this song highly enough, download it for yourself.

Charlie McCartney

One Direction - Perfect (Track Review)

The reaction to losing a band member is something which varies wildly. An implosion usually follows soon after following a few failed singles and a distinct feeling of a missing piece. Some bands transform totally, essentially becoming a new band but the choice that One Direction have taken is, smartly, one of ignorance. For those that care enough to miss Zayn Malik their love for One Direction as a group surpasses that of a single band member and those that aren’t particularly interested simply still enjoy the incredibly solid works they have been releasing as of late.

The post Malik years of One Direction are seemingly going swimmingly.

Despite the loss of probably their most likable member they are still filling arenas, at the forefront of media attention and most importantly still releasing always solid, sometimes excellent pop songs. So far their content certainly peaked with their last album “4” which disappointingly was also their least successful being their only album not to clock a number one. Despite this “Steal My Girl” remains by a good margin their best song with its powerful, anthemic rhythms seeming to be a statement of intent from the band that, with the departure of Malik, sadly will likely never come to fruition.

The post Malik era’s third song “Perfect” sees a return to the more “Classic” One Direction sound, a contrast to the hugely popular “Drag Me Down” which was a major departure. The song itself will almost certainly be a massive hit. It’s promising synths throughout never really lead to anything and it doesn’t add anything really new unlike most One Direction songs as of late. This is a disappointment but there is still very little to actually dislike about this song.

Its lyrics show a humbleness that although being ever present in their material is something which is not focused on in the slightest and is greatly shown here and some of the irony in the song “And if you're looking for someone to write your breakup songs about, Baby, I'm perfect” is clever and a welcome addition to an almost painfully optimistic pop scene.

Despite this some of One Direction’s bad habits have started to slip in. The acoustic guitar from the abysmal “Little Things” returns as does the annoyance of never referring to this “perfect” girl by name instead opting for catch all terms like “baby” to of course allow girls to fantasise them singing about them.

This song is alright but with the heights that One Direction have reached in the past they can be doing better than this however I remain excited for their fifth record “Made in the A.M” and would recommend you give this one a stream.

Dominic Allan.

Emporium - Gloomy Shadows (track review)

Diverse (definition): Showing a great deal of variety; very different. Emporium’s optimistic record label describe their music using words such as ‘eclectic’, ‘kaleidoscopic’ and most heinously: ‘diverse’.  
 
Many words can be used to describe Emporium but the use of ‘diverse’ genuinely confused me. Don’t get me wrong, if you actually like this song chances are you’ll like their other material. In fact you’ll have over a decade of monotonous music to wade through to your heart’s content. If, however, you require music to stimulate you in some way to get an inkling of enjoyment out of it I’ll recommend you don’t waste your time. 
‘Gloomy Shadows’ shows a shocking lack of creativity. I could excuse this as a minor flop in such a long career if their entire career didn’t sound like a phone call stuck on hold. Due to this, though, I feel like it would be a sensible move to simply hang up the phone and try elsewhere. Because if the sixteen years since the release of their debut album shows us anything, it’s that if anyone was actually interested to begin with they’ve long since forgotten the phone was ringing.

Searching through their back catalogue looking… no… hoping for something to stand out against the beige sea of basic drum beats and repetitive keyboard melodies; I did find the odd song that lured me into the belief that it could be interesting before the familiar vocals slithered in with the same up and down tone of disinterest. Unfortunately, this song in particular has no redeeming features and the disinterested vocals, which simply remind you the song’s still playing when your brain bothers to tune back in, fade out towards the end of the song foreshadowing the fate of a band that unless they actually take a risk and do something drastic for once will fade deeper and deeper into obscurity.

I cannot recommend you buy this song as it’ll only encourage them. Nathan Beck

F l o w e r b 0 y - RAVE II (track review)

Blossoming, layered electronic melodies open “RAVE II”, and there has clearly been serious work poured into making them as catchy and accessible as possible.  It works extremely well, even when
the glitched out drum machines threaten to briefly derail the tune.  This makes the gradual lapse into twisted carnival style horror all the more jarring, like being on a carousel that’s suddenly started to melt.  As abrasively experimental as this passage is, with its dissonant chords and esoteric beats, I imagine that was the intention, so it’s hard to criticise really.  And in all honesty it was an extremely creative section. 

The main tune briefly re-emerges from the gnarled foray, before relapsing into a slower and more discordant version of itself. 

If the main thing you desire from dance music is to make you dance, then the first minute and a half of F l o w e r b 0 y’s “RAVE II” has you covered, give it a download.  If you’re looking for the musical equivalent of a kaleidoscopic descent into madness and depression facilitated by the consumption of illegal drugs, then the rest of the song should please you immensely, you freak.  

Charlie McCartney

KID NORTH - Rip Tide (track review)

KID NORTH are connoisseurs of French electronic music.  They’re very clearly steeped in the genre’s intricacies, resulting in their music being as artfully crafted and stimulating as any synthpop I’ve heard all year (I’m looking at you Purity Ring).  However the clearest influence here is danceable indie pop of Phoenix, and given their lack of output of late, Kid North are an extremely welcome substitute. 

From the immaculate, driving electronic bass to the palm muted guitars reminiscent of the latter Strokes releases if they were good, “Rip Tide” is a perfectly organised piece of pop.  It’s depth is fully displayed by the forlorn, Depeche-Mode style vocals, and the exuberant bursts of rapid synth notes that lead into the infectious chorus.

This single does it’s job pretty much perfectly.  KID NORTH’s upcoming album “New Waters” is certainly worth getting excited for, and I recommend streaming this song.

Charlie McCartney

Beach For Tiger - Coco (track review)

From the very first second the guitar tones on “Coco” drift wistfully into your ear, the comparison between Beach For Tiger and Mac Demarco is perhaps too easy to make.  That is of course, after you’re done comparing the synthesizer surge that opens the song to MGMT’s “Electric Feel”, Tame Impala’s “Let it Happen” and a plethora of other psychedelic pop songs.  However everything there is to love about all these bands is present on their debut single.  It’s catchy, syrupy guitar is as infectious, as is the upbeat melody.  The bass is sludgy and absorbing, the vocal harmonies lush and textured.

Even when the song gets slightly carried away with itself when the brass band appear on the scene, they show the maturity and insight to keep it in the background. 

Beach for Tiger might not be doing anything revolutionary, but they’re certainly reminding me of all the right bands, and doing them justice in every sense.  I recommend downloading this single to hear for yourself, especially if you’re a fan of any of the bands I’ve listed.

Charlie McCartney  

Bloc Party - The Love Within (track review)

Bloc Party have always been at their best when embracing the electronic elements of alternative dance.  So upon hearing the gradual build of the seething synthesizer bass and kick drum on “The Love Within”, I was instantly reminded of the fast pace and intensity of Intimacy, my favourite album of theirs.  

However this song is, for the most part, uninspired, lazy and generic.  The stripped back instrumental could’ve been an interesting approach to production but the lack of sounds on display leaves the first half of the song feeling shallow and lifeless.  The bass guitar and impassioned vocals salvage some level of thrill in the chorus, as the instruments finally surge and build to a point where they carry some level of impact.

I would say this is one of the weaker songs in the Bloc Party discography, and I hope the upcoming album is far better.  I can’t recommend that you listen to the song unfortunately.

Charlie McCartney

Ryan Adams - Bad Blood (track review)

Since announcing his plans of covering Taylor Swifts 1989 album in its entirety, Ryan Adams has teased the record through a series of 15 second Instagram videos, building massive hype from his moodier, and much darker snippets of the biggest selling album of 2014. Now the ever endearing Alt-Country star has premiered the first full cut off his upcoming release - "Bad Blood" - and it's actually pretty great.

Adams turns what was one of 1989's most lackluster songs into almost four minutes of sad, sprawling janglepop goodness. Polished bass heavy beats are swapped for chiming guitars; Swift's self-assured vocals are replaced with Adams' particularly somber voice full of melancholy; and Kendrick Lamar's guest verse is unsurprisingly nowhere to be seen. There is almost no trace of Bad Blood's previous incarnation, pretty much everything short of the lyrics has been scrapped, and the song sounds more like an obscure Nebraska-era Springsteen track than a chart topping pop single.

These changes pay off. Not only does the new sound fit the song, it adds a whole new depth to its subject and lyrics, providing a new dimension to what was previously a pretty surface level chart hit.

I really like what Ryan Adams has done here, and fans of either artist are sure to enjoy it too. Keep an eye out for this album when it drops - it's sure to be a good 'un.

Jack McGlone

Chvrches - Clearest Blue (track review)

If either of the previous singles released in the wake of 'Every Open Eye' were considered somehow underwhelming or inferior to previous songs, 'Clearest Blue' is likely to be the song that quells any fears and silences critics in one pristine, electronic haymaker. While it still draws heavily from the sound and production of 'Bones of What You Believe', with sparkling synth tones cascading over one another and Lauren Mayberry's vocals slicing through them, what 'Clearest Blue' achieves is to develop this approach effectively. The bassline is so subtly overwhelming and bombastic, the synth parts so numerous and important, and the vocals so triumphant that I can't help but describe this song as one of the best Chvrches have ever liberated into the world of pop music.
The rhythm is infectious and danceable, driving and experimental, more so than on other Chvrches songs. It is exactly the harbinger of the upcoming album that Chvrches fans were crying out for. 'Clearest Blue' has finally convinced me that 'Every Open Eye' will surpass the debut, which would be no mean feat in itself. I recommend that you give this track a listen and I would say it's definitely worth downloading for Chvrches fans.
Charlie McCartney

Disclosure - Hourglass Track Review

Hourglass is the 4th song from Disclosure’s upcoming record “Caracal.” It places the band in similar territory to the previous songs released for this record and indeed the songs on their first record “Settle” with a strong bassline beat and an eclectic choice of featured artist.

 It is interesting to note that possibly the two brightest most innovative talents of British electronic music in Chvrches and Disclosure have both decided to retain much of the sound and aesthetic which gave them fame. Disclosure’s sound however remains fresher due to an almost brand new range of collaborative artistic talents which let the band explore genres like Jazz and Soul that were not present on “Settle.”

 On this record “Hourglass” the group pair themselves with soul group LION BABE. This addition of the exciting neo soul pair give the Disclosure boys yet another sound to mold and add their own touch to and this is one of the most successful attempts we have seen from those released thus far.. The house beats pair excellently with the soulful vocals and give the songs a sound that only this team could create and what many people have tried to imitate ever since 2013’s groundbreaking “Settle.” 

 It may be one of the Disclosure songs that is more suited to a careful listen rather than one that will be heard on many dancefloors but that is one of the rarest talents this band have, the ability to mold records that are enjoyed both by the critical world and by the general public. Disclosure’s Caracal looks so far that it will show very little dip in quality throughout its duration and this could leave us with one very special album indeed. 

 Stream this song and get prepared for “Caracal” on the 25th of September.

Dominic Allan.

Joanna Newsom - Sapokanikan (track review)

Joanna Newsom's latest offering to the indie-folk world comes in the form of Sapokanikan - five minutes of solemn baroque pop splendor. A continual piano trill accompanying Newsom's distinctive voice gradually builds to a subtle crescendo full of muted pipes and stirring string couplets, and as Joanna's wailing vocals reach higher it begins to sound like a tiny, scaled down opera, scored by a pint sized orchestra of talented Lilliputian virtuosos.

(Honestly this is the best possible way I can describe the sound of this track)

The beautiful instrumentation is also combined with intelligent lyricism packed full of scholarly, historical and geographical references - there are enough obscure literary shout-outs here to leave one annotating each line for days. This makes for an incredibly satisfying listen.

There is no doubt that this is an excellent song, and I recommend you get a hold of it in hard copy - especially if you are a fan of similar artists such as Beirut or Sufjan Stevens.

Jack McGlone

Chvrches - Never Ending Circles (track review)

The Scottish synth-pop revivalists have shared the third (and most underwhelming) inkling of their upcoming sophomore album, Every Open Eye.

Mix a resilient drum machine beat; typically energizing retro synth lines; and a touch of Lauren Mayberry’s empowered vocals – this time exploring new-found independence after breaking free from a particularly stagnant or repetitive relationship – and you have the formula for a quintessentially Chvrches song.

This new track follows this recipe to a T, and that’s the problem.

Unlike "Leave a Trace" and new-wave inspired "Clearest Blue”, which showcased a fresher more composed Chvrches sound; the sound of a band confident in their place as indie-pop titans. “Never Ending Circles” brings nothing new to the table, in an uncharacteristically safe play which only leaves one longing for more.

This is not a bad song by any means, but I just felt the band were capable of more. Regardless, Chvrches fans will adore it, and it is deserved of a download from pretty much anyone who’s into synth-heavy electronic music.

Jack McGlone

ILoveMakonnen - Trust Me Danny (track review)

The latest track from Atlanta trap artist ILoveMakonnen will likely further fuel already massive divisions in opinions on him. He took the leap in 2014 from his bedroom to the world stage in what has to be solely attributed to Drake's massive influence. Tuesday was by all accounts a smash hit, being the talk of both critics and the dancefloor.

His presence is undeniable and his beats infectious and this is no different on latest track "Trust Me Danny."

There is something about Makonnen that makes it hard to really criticise him. Every song he creates has an energy that many rappers struggle to achieve, a genuine enjoyment of every word he is saying. Now it has to be said that pretty much every word is terrible, lyrically Makonnen is atrocious. He has one story to tell about acquiring and selling his drugs and it would be great to see him talk about pretty much anything else.

It must be said though the song is built around an annoyingly good hook. The lyrics are weak and every time he wails "Trust Me Danny" in a strange hybrid Jamaican-Indian accent you feel like you should hate it a lot more than you do but with every time he says it (many,many times) it becomes more and more fun and the urge to join in its potentially racially insensitive slogan becomes more and more appealing.

With great production from Danny Wolf and an annoyingly good hook this is a song that shows that Makonnen is firmly prepared to become a trap superstar under the wing of Drake and his OVO label and I eagerly await his debut album.

It's absolutely terrible, but it's a great terrible.

Dominic Allan

Justin Bieber - What Do You Mean? (track review)

In his first release since 2012 Justin Bieber has headed in a more R&B oriented direction, like he heard Sam Smith being played on the radio of a car speeding past him and decided he wanted to sound like that.  The piano chords are as basic and uninspired as it’s possible to be, offering nothing new to set itself apart, but a respite is granted in the form of fairly creative production and instrumental parts, courtesy of Skrillex and Cali the Producer.

Cali the Producer, of course, being hot off the heels of writing and producing the fantastic Carly Rae Jepsen single “Run Away with Me”.  All I can suggest when listening to “What do you mean?” is that you do yourself a favour and listen to Carly Rae Jepsens entire album “Emotion” if you’re in the market for concise, memorable pop music.

I can’t recommend that you waste your time with this single unless you’re already a fan of Justin Bieber, in which case it’s a waste of time suggesting anything to you because you probably already own this song in every format in which it exists.

Charlie McCartney