Wolf Alice - 'My Love is Cool' - Album review .

I sit (on a train at the time of writing!) here now, less than a week since Wolf Alice released their highly anticipated debut. In these 6 days, they have received acclaim from not only critics, but fellow musicians. The Manic Street Peachers have called it album of the year via social media and Swim Deep and Alt J have both expressed the need to go out a buy it. The former even using part of their Glastonbury set to inform the crowd.

Wolf Alice formed in 2010 in North London. They were named on the BBC Sound of 2015 poll, however lost out to James Bay. Great exposure however, to a band who blend hard hitting 90's rock with contemporary indie. Fronted by Ellie Rowsell, the band have a fairly diverse range of sounds and a front woman with an array of vocal styles.

The album kicks off with 'Turn to Dust', a rather uncharacteristic soothing ballad with Ellie's vocals being at the centre of everything. 'Bros' the single follows. Again, we don't see the band in over drive yet...A summer tune, reminiscent of an Alvvays song from last year. "There's no one, there's no one who knows me like you do".

Two songs in, you'd be forgiven the to think the record is your typical female fronted indie surf rock setup. I'm thinking Alvvays as previously mentioned,  or maybe Best Coast. However, the feel off the album shifts on 'Your Loves Whore'. From the soaring vocals around 45 seconds in and the Smashing Pumpkins esque riff that follows, the band step up a level musically. It's not reinventing the wheel, but it reflects the contrast of intensity that the band can perform. The track features some brilliant vocals and an infectious guitar sound. The highlight so far for sure. 'You're a germ', shifts further away from the opening two with a feedback heavy guitar rip and gritty vocals. Ellie bellows out towards the end with furiosity in her voice. "You're a guilty fucker as well. Yes you are!" It's clear at this point, they can do nicey-nicey stuff but also have a little fire in their belly.

'Lisbon' and 'Silk' come next. The latter being a dark, fairly intimate track and a lyrical highlight. "My love it kills me slowly, slowly I could die". Ellie appears to be singing about dead end relationships and the hurt and frustration it can bring. "No one wants to feel this sad". "If you don't love me, don't tell me. I've never asked who and I've never asked why". A real grower and another sign the band can adapt.

'Freazy' metaphorically puts the ray bans and sea side backdrop back into the fray, with a catchy, sing/dance along chorus. A festival song if there is such a thing... 'Giant Peach' is next, which was initially the first music I heard from Wolf Alice. The intro is a belter (2 minutes long), with a build up of guitar riffs. Simple, catchy and instantly loveable. The vocals are different here and reminded me of Warpaint or maybe even shades of Alice Glass. Dreamy, hazy and post punk.

'Swallowtail' features male vocals. I'm assuming it is either one of the guitarists or the drummer. This track doesn't work as well for me and features a rather random, unexpected jam at the end. 'Soapy Water' enters a new realm once again. Guitars are swapped for keyboards and Ellie perhaps sings of her or a loved ones anxiety and depression."Anxiety's grip is always waiting to take me, it sits in my stomach, I fear it's starting to shape me." The albums penultimate track is 'Fluffy'. The vocals again are really impressive, with a number of styles packed in within 3 minutes. This one lifted the roof off Rough Trade East last Tuesday (23rd June). 'The Wonderwhy' closes up, and perhaps didn't need to be included. One criticism could be the album is a couple of tracks longer than it needs to be. I've always been one for a solid 10/11 track album.

The 30 minute set I witnessed last week showed they're a decent live outfit. Considering the crowd was around 100/150, they tore the roof off, crowdsurfed and left us all begging for more. Brixton in September is when I'll see them next!

Some have criticised the album for being too disjointed and have argued that the band don't really know what they are yet. Whilst I agree they could have ditched a song or two, I think the diverse nature of the album is a strength. Time will tell how far Wolf Alice can go... It's a cliche but the second album will be key to any long term success. I hope they buck this horrible trend of releasing a follow up within 12 months and they actually take their time and build up some anticipation and excitement for future music.

Wolf Alice are ones to watch.

8.5/10

Here is single 'Bros'

Jamie xx - 'In Colour' album review.

Relocation of work, home and everything else in my life has meant it's been over a month since a post... and there has been some seriously good music released since then! Here it goes...

Jamie xx or Jamie Smith as his mother knows him, was born in London in 1988. Most well known for the obvious... his part in 'the xx', alongside his childhood friend Romy Madley Croft. However, despite a good helping of success with the band, he is also known for his remix and dj performances, which includes remixing Adele and Florence. It's this love for electronic sounds that he really homes in on for this record. 5 years in the making, it was often put on the backburner as he focussed on other projects. It is fair to say it doesn't suffer.

This album is as accessible as the xx's albums are. It's quite an art to create albums which are pure and serene yet appeal to a wide audience. Essentially, this plays as an xx album (Romy does appear several times) but with a electronic foundation at its core. Gentle guitar hooks, african beats and atmospheric synths are all married up with beautifully simple yet engaging beats. 

'Gosh' took me surprise on first listen. Probably because it featured the voice sample 'UK Massive' and I actually enjoyed the track. A first for everything! The garage opening is partnered beautifully in the second half of the track with deep and low synths. There is nothing complex here, but it works so well. 'Sleep Sound' follows which is a personal highlight of mine. A track which he has played round with for many years, but edited to perfection for the album. A track which shows the beauty of vocal instrumentation but also the art of a good grove is often relatively simple. 

'SeeSaw' and 'Loud Places' see his pal Romy head up the vocals. We already know her voice compliments his musical style. The latter of those tracks is a real beauty. The guitar outro playing out over the vocals towards the end is highly satisfying. Which is a word you use a lot when describing Jamie's music. He can just strike a chord with you musically. This happens again on penultimate track 'The Rest is Noise". Atmospheric, soaring snynths with nicely timed bass beats, a gentle piano solo and a hell of a lot more. Yet it doesn't feel too much. The art of a lot going on but being gentle on the ears is pure musical talent. 

This album is strong throughout and is perfect for the electronic sceptics out there. The more I hear from him, the more clever and impressive he becomes. He is no stranger to critical acclaim and has already won a mercury prize with the xx. He's already the bookies favourite to pick up another with this effort. 

9/10

Here is single ' Loud Places':

Wolf Alice review to come!

Alabama Shakes - Sound & Color - Review

Firstly, just to get it off my chest. I can spell Colour. The Americans can't. Anyway...

Alabama Shakes first got my attention back in 2012 when I first heard 'Hold On'. A refreshing track, which featured beautifully stripped back contemporary blues and soul to compliment the husky vocals of Brittany Howard. It was a single which promised so much for the rest of the album, especially as the album opener. However, the proceeding tracks never reached the same heights, leaving all in all a disappointing effort. Still, a breath of fresh air I felt. Modern day blues/soul/country usually leaves a very bitter taste in the mouth, accompanied with scratching of the head and ultimately blocking of the ears.

An unwritten formula for modern day music features a number of artists who release a decent first album, but struggle to keep up the momentum in the 2nd. Alabama Shakes have done the rare opposite. 'Sound & Color' is bold, stylistic and at times surprisingly hard hitting. Unlike its predecessor, it maintains a strong and self-assured feel. This is a band sure of what they want, and do it with a confidence which only enhances their sound. The ideas are flowing here, with the songwriting in particular improving immensely.

'Don't Wanna Fight' is as good a single as 'Hold On'. It's gritty, catchy and the vocals are sublime. Brittany Howard is the cornerstone of everything for Alabama Shakes. This might sound obvious, but without her they wouldn't exist. She couldn't be replaced.

'Gimme all your love' demonstrates this perfectly. Again, the vocal delivery is what crowns the track, yet it is so much more than that. A contender for song of the year so far. It soars, soothes and then soars again with some incredibly clever instrumentation in between. A track I didn't think they were capable of if I am being honest. Truly brilliant.

The charm of the album continues throughout with the energy exploding and settling several times. It's this change of tempo and musical innovation which separates this album from the debut. The very serene and tranquil tones of 'Guess Who' is followed up with the fast paced, guitar and drum jam of 'The Greatest'. Closer 'Over My Head' boasts the soulful core of the band, just adding another string to their ever growing bow.

It is this wide stylistic spectrum that makes Alabama Shakes niche . A contemporary, yet old fashioned sounding mix of soul, rock and roll and blues. It is a rare combination these days, especially when you consider each genre taken on it's own has effectively had it's heyday.

Alabama Shakes have written better songs, experimented musically and are bellowing out their lyrics louder. A winning formula.

8/10

Here is the single 'Don't Wanna Fight':

Drenge - 'Undertow' Review

Drenge... the post-punk, grungy duo who insist their music is played loudly. Their first album was raw, gritty and a metaphorical two fingers to keyboard indie. Guitar music was officially not dead.

'Undertow' is much more thought-over album and the production is smoother, with the majority of the album having a darker feel to it than its predecessor. The first four tracks get the album off to a flyer with 'Running Wild' being a highlight of the entire record. The deeper sound is noticeable straight away and for some time it works a treat. 'Never Awake' follows, with another stellar drum beat and head bopping guitar hook. The vocal delivery is more refined too, but you never feel like Eoin Loveless is holding back.

"How about twisting the knife, after you stick it in"

On the lead single and 4th track 'We can do what we want', the band let loose a little. A libertines-esque intro leads into a track which defines Drenge. The drums are hit hard, the vocals are belted out and the guitar is loud. The theory comes to life here...the louder you play this song, the better it sounds. Laptop speakers are not an option according to the band! The added bass (yes, they are actually a trio now) gives the catchy riff a bit more bite, as it does throughout.

Unfortunately though, the album can't quite keep up the quality for the next couple. 'Favourite Son' and 'The Snake' aren't necessarily bad songs, but they don't have the same punch as the openers... Nor the lyrical conviction. The Nirvana influence is strong here, to the point that it sounds like they wrote and recorded it directly after listening to 'Nevermind'. Some would say an influence, some would say it's a rip off. Much like Muse - United States of Eurasia with Queen.

The rolling bass of 'Side by Side' is another 'nice', so-so track. But I'm not sure Drenge would appreciate that half compliment. At the same point in their debut, 'Face Like a Skull' appears. I think most Drenge fans would prefer the rawness of the latter, than the relative calmness on 'Side by Side'. Again, it isn't bad, but it's a little middle of the road for me. 'The Woods' however, breaks the trend of smooth production. but no 'tune' to tie it with. The second half of the song boasting a pleasing guitar, bass groove out (is that a phrase?!) before the chorus kicks back in with a clever little harmony.

"Lead us not into temptation but deliver us from evil"

The title instrumental 'Undertow' is next, which is as uneventful a Drenge song as you could imagine. I don't have a problem with it other than it doesn't grab my attention, which for Drenge is a strange concept. 'Standing in the cold' is another dark, hard hitting, howling song with desperate vocals and a roaring guitar solo mid way through. The formula works again here before it falls down again with 'Have you forgotten my name', which rather lets the album peter out.

It is in those closing moments you doubt Drenge's obvious conscious decision to refine, polish and focus their sound. However, for most part I think it pays off, developing and improving them as a band. Their debut was a breath of fresh air, but I don't think that style is sustainable long term without becoming stale quite quickly.

Drenge have been bold and that is exciting. They are on the verge of brilliance.

8/10

Other album scores:

Sufjan Stevens: 8.5/10 - I may do a small post on this at some point! Amazing piece of music.
Waxahatchee: 7.5/10
Say Lou Lou: 4/10

Here is the band on David Letterman performing 'We Can Do What We Want':

Is "Psycho" - Muse the worst song they have ever made?

"If you do not do what you're told to do when you're told to do it, you will be punished. Do you understand?
(Aye, sir)"

As the drill sergeant and corporal wail back and forth to one another, it's hard to comprehend what has happened to a band who in the mid 2000's had the crown of best British rock band cemented for what seemed, years to come. 

Muse are obsessed with being grand. But it has now gone to the point of stupidity. Lyrically they have never been exceptional but the instrumentation was always what carried them. The last two albums have sucked that prowess away dramatically leaving wishy washy pop-rock ballads and electronic pop to contend with. So, Muse fans might have been excited when it was made clear the riff-heavy style was returning for their new album 'Drones.' 

"Psycho" has a guitar riff that defines "cock rock" if their ever was such a thing. Unoriginal and cringe worthy. The drumming is tight as always, but very, very familiar (Uprising?). The bass, well... this is supposed to be Chris Wolstenholme, yet I'm pretty sure I could write and play the part. 

I struggle to understand how a trio who conceived 'Citizen Erased' & 'Hysteria' have stooped to this level. The more desperate the music and ridiculous the lyrics, the more Muse's political messages & metaphors become less credible. You used to buy in to Matt Bellamy's ideologies and theories, probably because he was the like-able geek. Now, his falsetto at the end of this track is the musical equivalent of raking your nails along a chalkboard until death. That's unless you haven't drowned in your own vomit and tears first.

When the musical invention of Muse involves guitars and you label it uninspiring and predictable, you know something has gone terribly wrong. Muse have out done themselves. 

"Your ass belongs to me now"

No, it doesn't.

Courtney Barnett - 'Sometimes I Sit and Think and Sometimes I Just Sit' Review

'Put me on a pedestal and I'll only disappoint you'. A modest metaphor perhaps for Courtney Barnett's new found stardom, and claims from some quarters that she is one of the best young song writers around. One thing is for certain, she doesn't disappoint!

One of my favourite albums from last year was Sun Kil Moon - 'Benji'. Mark Kozelek has an incredible story telling ability, with his work creating beautiful imagery. I found that album to be like nothing I had heard before. Like reading a book... where the words you read create a constant flow of images in your imagination. Of course, Mark Kozelek is a lovely guitar player too, with his melodies complimenting the stories he told so perfectly.

Courtney Barnett musically is a million miles away from Sun Kil Moon, yet she shares the deadpan, self-conversational style. 'Pedestrian at best' represents this best, with Courtney Barnett ranting in what is essentially a passionate monologue of dis contempt of the life of a female twenty-something.

'I like you, despise you, admire you, what are we gonna do when everything all falls through?
 I must confess, I've made a mess of what should be a small success, but I digress, at least I've tried my very best I guess'.

Courtney Barnett talks, sings, bellows, shouts her way through the record.

This style of songwriting does require a subtlety. We seem to be in an age where spoken word, or even open-mic style singing and performance is more popular. However, I find the majority hugely cringy. Partly my reason for not liking popular artists like Ed Sheeran, who even takes it one step further and raps *vomits*

'You should never cut your hair, because I love the way you flick it off your shoulder'

'And I know you love Shrek, cause we've watched it twelve times'.

Wake Me Up - Ed Sheeran.

Courtney Barnett has these moments of somewhat mundane thoughts spiraling out of her mouth and I guess you could aim the same criticism at her. I suppose I feel her lyrics are more witty, or if not witty then clever, building imagery or reflecting on something wider. Perhaps like early Arctic Monkeys and Alex Turner. But it is fair to say, it is a fine line.

"Jen insists that we buy organic vegetables, and I must admit I was a little skeptical at first. A little pesticide can't hurt"  - Dead Fox, Courtney Barnett

My favourite moment of this album is the deeply sentimental 'Depreston'. A story of house hunting in the suburbs, in a place she doesn't want to be. A tale of growing up, flying the nest and financial strain. She picks out the details of a bungalow she is viewing, perhaps mocking materialistic obsession and petty characteristics that she questions the importance of.

"I can't think of floorboards anymore, whether the front room faces south or north."

Musically like Real Estate and lyrically like Conor Obest, I have read elsewhere. I couldn't put it better myself...

There is some musical prowess on the album too. Seven minute long, reverb guitar solo heavy 'Small Poppies' is a post break up self examination with Courtney Barnett bellowing out "I used to hate myself, but now I think I'm alright". Other catchy hooks appear on 'An Illustration of Loneliness (Sleepless in New York)' & 'Dead Fox', but I do feel it's the lyrical content which offers the most pleasure.

A pyramid stage slot at Glastonbury will expose Courtney Barnett to the UK later this year and I believe she'll be far more known come July.

8/10

Here is the the punchy single 'Pedestrian at Best':

Father John Misty - 'I Love you, Honeybear' Review

'Father John Misty'. The name is possibly the worst thing that Josh Tillman has created. Everything else is gold...

Josh Tillman, the ex drummer of Fleet Foxes, created Father John Misty back in 2012 after an array of solo releases in his own name. A folk-inspired singer songwriter, from Maryland, USA. His music is as bold as his lyrics are witty and at times, hysterical. They say the best works of art evoke a variety of emotions and this album does just that.

'I love You, Honeybear' the album's opener, is a stunning track that sums up the strength of the vocals throughout. Tillman's voice is layered with his own harmonies, with on-point 'ooh's' and 'ahh's' complimenting the warm melody.

The lyrics are where this album comes to life the most, however. He sounds bitter, angry and self-loathing throughout, with any positive outlook on life or compliment of another smothered in satire,sarcasm or humour to balance it up. At times, the lyrics come across as a stream of thoughts just passing their way through his head, with no process of filtering out the stuff you think, but don't say.

"I've brought my mother's depression
You've got your father's scorn and a wayward aunt's schizophrenia"

His lyrics have the habit of making you smile or think deeply before making you chuckle. A hard skill; as most attempts to be funny yet respected as a musician go horribly wrong, or just cannot be taken seriously at all. 

"The Night Josh Tillman Came To Our Apt." & "Nothing Good Ever Happens At The Goddamn Thirsty Crow" take one night stands and relationships and give comical, but relatable lyrics. The former begins with three lines of admiration and appreciation for his temporary lover, before the inevitable guilt and resentment kicks in with cutting, harsh jibes at the woman he spent the night with. Suddenly, he can't stand everything about her.

"And now every insufferable convo
Features her patiently explaining the cosmos"

"Strange Encounter"touches on these ideas too, with desperate, passionate vocals of self-hatred and self-despair, bellowing: " I swore I would change". "The Ideal Husband" follows with yet more admissions of mistakes and regrets.

"Bored in the USA" is sad, honest, thought provoking and beautifully sung.

"Now I've got a lifetime to consider all the ways
I've grown more disappointing to you
As my beauty warps and fades
I suspect you feel the same"

Every song here has a sentiment to dwell on, whether you laugh, cry or both. It delivers the honest and bitter self- realisation of life's disappointments, worries and fears but also things that just really grind your gears in 21st century America. It's from this, Josh Tillman brings the laughs and jokes and metaphorically shrugs his shoulders through life with a smirk on his face.

Josh Tillman has made an album which is as impressive as his beard and that takes some serious patience and ultimately, talent and skill.

9/10

Other album reviews:

Will Butler - Policy: 7.5/10

Here is the album opener: