2013: ONES TO WATCH

The music world stops for no man, and as we look back on the last 12 months, we must also look forward to the promise of 2013. Here are just a few acts that have tantalised our ears, promising much for the future.

#1 – WILD SWIM

Wild Swim are an Oxford-based five-piece who have already shown signs of an irresistible sound through the release of debut EP ‘Echo’ in late 2012. The band tip-toe in and out of established genre, carrying sparks of electronica, noughties guitar and prog rock on their heels as they go. Frontman Richard Sansom croons and purrs his way through the tracks in a manner that has earned many comparisons to Wild Beasts’ Hayden Thorpe. A debut LP surely beckons and if it is anywhere near the quality of ‘Echo’, we have reason to be very excited indeed.

http://wildswimmusic.com/

#2 – THE PHYSICS HOUSE BAND

Are you sitting comfortably? Good, because once you’ve sat through all 3 minutes and 4 seconds of ‘Titan’ by The Physics House Band you will be pressed back into your seat, hair dishevelled, eyes wide, ears obliterated. The trio describe themselves as “ambient future-prog” and that’s as close as anyone will get to naming this weird and wonderful creature. The band have been keeping busy throughout 2012, DJ-ing as well as playing shows, and as they make their way onto the radar more music, and with it more exposure, must be on the cards for the coming year.

http://thephysicshouseband.tumblr.com/

#3 – THEME PARK

Theme Park have been making some serious waves already this year, releasing a string of singles and supporting Bloc Party on their UK comeback tour. Tracks such as ‘A Mountain We Love’ and ‘Jamaica’ made for the perfect summer soundtrack, with lilting rhythms and laid-back melodies. Record number one is in the can and details for its release will be revealed in early 2013, and the band look set to earn more and more friends once this record is unleashed.

http://www.themeparkband.com/

And that's it for 2012: hopefully 2013 will see these prophesies come to life along with many other musical discoveries and evolutions. For the mean time, make sure you stick some good records on to see the year out. 

2012: TOP TRACKS

Here are my picks for the top ten tracks of 2012, although it's more of a collection than a chart because I am rather loath to order what are all pretty spectacular offerings. Also provided are the accompanying videos in all their (probably) HD glory, ranging from anarchic newsreaders to bedroom fanatics. 

Inhaler – Foals 

You’re Early – 2:54

Echo – Wild Swim

Higher Ground – TNGHT

Gallop – Tall Ships

Hips and Lips – Maximo Park

Ghosts of Holloway – Lone Wolf

Cough Cough – Everything Everything

Arguing With Thermometers – Enter Shikari

The Mother We Share – CHVRCHES

2012: TOP TEN ALBUMS

By now you’ve probably read a fair few end of year pieces reflecting what has been a particularly fast-moving year musically speaking. I cannot possibly claim to round up everything that went down this year, so instead I here present 2012 through my own narrow lens, starting with a rundown of the year’s top ten albums. 

#10: 2:54 – 2:54

Earthy, murky, relentless.

#9: School Of Seven Bells – Ghostory

Soaring, mellow, intricate.

#8: Enter Shikari – A Flash Flood of Colour

Powerful, thought-provoking, DROPS.

#7: Lucy Rose – Like I Used To

Raw, introspective, BEATS.

#6: Two Door Cinema Club – Beacon

Mature, amorous, triumphant.

#5: Jessie Ware – Devotion

Sultry, old-school, irresistible.

#4: Alt-J – An Awesome Wave

Addictive, ingenious, daring. 

#3: The Killers – Battle Born

Expansive, revitalised, nostalgic.

#2: Lone Wolf – The Lovers

Hazy, DIY, personal.

#1: Muse – The 2^nd Law

Indefatigable, intimate, pompous.

LIVE: THE KILLERS @ THE LG ARENA 31/10/12

On a freezing Halloween night the Killers bring their own brand of spooky holiday cheer to Birmingham, opening their set with a ‘Zombie Hands’ music video showing the band suitably attired in Halloween garb. When the band eventually surface, only drummer Ronnie Vanucci is dressed for the occasion, choosing the skeleton onesie as his weapon of choice, but the band nevertheless is in very good form and spirits. They kick off proceedings with ‘Bones’ rather appropriately, and it is clear from the off that the crowd are in for a treat rather than a trick (no more puns, I promise).

What is also clear is the polished performance of Brandon Flowers as frontman and master of ceremonies. He embarks on a monologue during the refrain of ‘The Way It Was’, bemoaning the fact that we are distracted from engaging with our loved ones by things like ‘Angry Birds and Fruit Ninja’. Flowers is an utterly compelling performer, whether he is sermonising or serenading, and those who are at the show tonight feel lucky to just be in his presence.

Of course though, this is not a one-man band, and there are stellar performances all round tonight. Dave Keuning knocks out classic riff after classic riff without even breaking a sweat, and the instinctive musical connection spoken of so much between Vanucci and gentle giant Mark Stoermer is evident in their playing. Highlights include ‘When You Were Young’ and ‘Mr Brightside’, songs that will probably never leave the Killers setlist, as well as the spine-tingling ‘Flesh and Bone’. The band finish with ‘Battle Born’, a track made to be a closer; such is its magnitude and magnificence. As Flowers introduces each member of the band, he tells the audience that there are no ghosts that we see, but as the final notes of ‘Battle Born’ drift away there is a sense that something not of this world has just taken place. 

LIVE: MUSE @ THE LG ARENA 30/10/12

Here is a list of things that you will find at a Muse gig that are Not A Big Deal:

• Massive lasers
• An inverted pyramid that moves into different formations during the show and projects businessmen and cartoon men with Pringles-moustaches
• Drummer Dom Howard dressed as a ninja to fight off said businessmen

The band have honed their live show to a fine art, actually toning it down this time after the vertigo-inducing towers that Bellamy, Howard and Wolstenholme played on while touring The Resistance. Running around the back of the stage is a slanted wall of lights that, when it isn’t projecting thought-provoking and sometimes hilarious visuals, transforms into a roulette wheel designed to pick the last song of the main set. This playful suspense has been taken in the right spirit by the fans, who are no longer surprised by anything that happens during a Muse show.

And what of the music, I hear you ask? As the lights go down, the first strains of controversial track ‘The 2nd Law: Unsustainable’ blare out, and as the song reaches its ‘dubstep’ (I use that term very loosely) climax the band appear and thrash out noises never before heard from guitars. The track was written with opening live shows in mind, and it works perfectly, whipping the crowd into a frenzy. The afore-mentioned roulette wheel chooses Stockholm Syndrome tonight, and it is one of the highlights of the night, along with the resurrection of fan favourite ‘Sunburn’.

What is most surprising about the show is witnessing Matt Bellamy, who seems to be a changed man on stage. Gone is the near silence between songs; Bellamy is extremely chatty and interacting with fans, commenting on one fan’s flashing hair “I’ll have to get that done next tour”. For several songs such as ‘Undisclosed Desires’ and ‘Follow Me’ the frontman is unencumbered by guitars or guitar-shaped instruments and takes this opportunity to strut around the stage and venture into the crowd.

This is far from a one-man show, however, as bassist Chris Wolstenholme moves centre-stage to perform ‘Liquid State’, one of two songs written by Wolstenholme on The 2nd Law. His shy thanks to the crowd belies the assured performance of a satisfyingly heavy song, bound to become a live favourite during the course of the tour.  Muse have of late monopolised the ‘Best Live Band’ title at numerous awards shows, but this is not without reason, as even now the band are evolving their live show and adding more strings to their bows.

LIVE: LUCY ROSE @ THE TEMPLE, HMV INSTITUTE 26/10/12

Off the back of the release of debut album Like I Used To, Lucy Rose has embarked on a lengthy UK tour to sing some songs and sell her wares (the Lucy Rose tea and jam is particularly popular). On this chilly night in Birmingham, Pete Roe opened and tried to warm the crowd’s hearts with his pleasant voice and acoustic guitar. You can see why he has been picked to support Rose; he fits a similar musical mould to her, delivering heartfelt vocals accompanied by intricate folk melodies.

Roe set the stage perfectly for Rose, who shuffled into the limelight rather shyly, picking up her guitar and starting the first song without ceremony. It is this unassuming, down-to-earth personality which makes Rose such a well-loved artist right now, as well as the strength of her work. There is a mutual gratification at work throughout the gig; Rose is simply thrilled to be playing to a full crowd, and the crowd reflect her own warmth back at her in abundance. This atmosphere elevates the songs to a new level, buoyed along by a buoyant crowd. Single ‘Middle of the Bed’ gets a raucous reception and an impressive sing-along, while ‘Bikes’ provides a goose-bumps moment as Rose sings “everybody scream out loud” and the crowd obliges with almost religious fervour.

It would not do to pick out a single highlight, as there was not a weak moment to be seen. ‘Shiver’ was as utterly heart-breaking live as it is on record, ‘Watch Over’ just as bouncy and full of life. An encore performance of ‘Don’t You Worry’ capped off a terrific set which showed all the promise seen on Like I Used To and transformed it into full-blown success. Even with all the superlatives thrown her way, Lucy Rose still has her feet firmly on the ground, still selling her own merchandise and talking to fans after the gig. It is clear, through both her talent and humility, that she deserves all the superlatives she gets. 

LIVE - TALL SHIPS @ THE RAINBOW 14/10/12

To combat the rapidly falling temperatures that are upon us, I headed for the warmth of the Rainbow in Birmingham to see Tall Ships tour their debut album Everything Touching. The first act, Wax Futures, were the musical equivalent of an electric heater, harnessing the pure energy of punk rock and transmitting it in waves over the audience. This Telford trio were a tad unpolished but their set was full of promise, choosing the "fast and furious" mode of delivery which did not go unrewarded by those who watched them. 

Constant Waves, the second act on, took a rather different approach, going for atmosphere instead of in-your-face immediacy. The end result was extremely impressive, with excellent musicianship in all areas combining to make a sound not dissimilar to Mogwai-esque post-rock. The band have an EP coming out in the coming months and it will be interesting to track their progress.

The main support, Dad Rocks!, made for a surprising yet pleasant foil to the loudness that had come before. Albertsson and friends filled the room with a folk-pop hybrid sound, with such poignant tracks as the one about "when I found out that my girlfriend was having sex with Edward Cullen in her head". There is humour in abundance here but it is not just humour for humour's sake; it's the kind that makes you examine yourself and the world you live in. 

Finally it was time for the arrival of Tall Ships, who have been attracting a fair amount of attention in the build-up to the release of their debut record last week. The complexity of the material that they create has the potential to provide a stumbling block in terms of recreating the sound in a live setting, but the trio seem to have overcome this with ease, and as a result they really do pack a punch live. Intricate looping guitars scythed through the air during 'Plate Tectonics' and a lusty crowd sing-along made for a fitting ending to long-time fan favourite 'Vessels'. The new tracks went down just as well; 'Gallop' and 'Oscar' were particular highlights. The band finished their set with the gargantuan 'Murmurations', a nine-minute masterpiece with the most teasing, tantalising build-up transforming into a triumphant crescendo. There was no other way to end the show; Tall Ships started big, and finished even bigger. One cannot help but feel that their fledgling career is on the same trajectory. 

NEW MUSIC: JESSIE WARE - NIGHT LIGHT (WILD BEASTS REMIX)

Night Light- Wild Beasts Remix

OK so this remix has actually been kicking about for about a week now, but I've spent that time listening to it non-stop and purring because of how good it is, and when you hear it you will see why. Wild Beasts are fast becoming the Midas of the remix world; whether it be tackling a Lady Gaga track or paying homage to acts like Jessie Ware, everything they touch shines gold. 

ALBUM: LONE WOLF - THE LOVERS

Paul Marshall is very busy at the moment. He is preparing and sending out the many and various items that pledgers all over the world (including yours truly) have purchased in order to fund the release and subsequent touring of new Lone Wolf record The Lovers, a record that he has been slaving over for the past year or so. The pledge campaign was a clear success with the total set by Marshall being met with more than 2 months to spare, so it will be interesting to see if The Lovers is equal to this success.

The initial signs are very encouraging. A spooky intro gives way to ‘Spies In My Heart’, a song that makes a bold statement about the album as a whole. Gone is the folk sound that pervades previous album The Devil and I: here instead our ears find DIY percussion (most of which were sounds recorded by Marshall on his iPhone), a plethora of electronic peaks and troughs, a sound that can be so big and expansive one minute and then shrinking into itself the next. The guitar has not been completely abandoned; it acts as a soothing counterbalance to the thudding drums of ‘The Swan of Meander’ and pops up on the title track, although here it is overshadowed by a beautiful vocal performance, both lyrically and in delivery.

The more you delve into this offering, the more there is to find and delight in. ‘Ghosts of Holloway’ is haunted by the ghost of a long-ago Depeche Mode sound which adds to the track’s irresistible allure, while ‘Butterfly’ can fool you into thinking that you’re catching some rays during the height of summer, before you open your eyes and realise that it’s October and bloody freezing outside. At every turn, this record provides similar moments; carefully constructed walls of noise that can overwhelm and transport the lucky listener.

It is hard to see how any pledger could be disappointed with The Lovers, such is the care and attention put into it. The album is a fantastic advert for the Pledge campaign route, showing that the artist can take control of their medium and connect directly with fans, and Marshall has taken full advantage of this. The non-pledger release of The Lovers is on 12^th November, and quite frankly you’d be a fool to deny yourself this 34-minute slice of joy. 

8/10

Preorder The Lovers here

ALBUM: TALL SHIPS - EVERYTHING TOUCHING

If for some reason you haven’t heard of Tall Ships yet, then shame on you. Ric, Matt and Jamie have been kicking about for a while now, supporting great acts such as We Are Scientists, and they have been concocting their debut LP throughout 2011. After whetting our appetite with lead singles ‘T=0’ and ‘Gallop’, we can now find out if the band have built on the promise of their first two EPs.

And in fact this hope is fulfilled, in quite a literal way, by ‘Ode To Ancestors’ and ‘Books’, tracks that have already appeared on the There Is Nothing But Chemistry Here EP and Tall Ships EP respectively. What were once rough diamonds have now been polished to the max, and they are all the better for it. ‘Ode To Ancestors’ starts off softer than its predecessor and by the end of track is much, much bigger, with pounding drums adding to the cumulative vocal harmonies and dancing melodies. On ‘Books’ the band enlisted the help of any fan that could make it to a primary school near their Brighton base to create a mammoth of a vocal track, with quite possibly the biggest chorus in the world ever.

The DIY choir also feature on closing track ‘Murmurations’ which is a real masterclass of songcraft. The song starts with a pitter-patter of electronic beats which turns into a thudding metronome which is joined by a single guitar which is then joined by … you get the idea. This painstaking layering eventually erupts into a vibrant chorus urging the listener to “stay with me, for just a while, hold me close, confirm my denial”.

And there is vibrancy and warmth all over this album, even down the samples of young children frolicking and singing in between tracks. ‘Best Ever’ is a playful instrumental and makes for a particularly satisfying intro into ‘Phosphorescence’ (yes, that is the correct spelling … I think). ‘Idolatry’ provides a break from the euphoria, with its tender vocals and mournful strains of guitar. It is to the credit of this record that it can incorporate such diverse moods without any sign of discordance whatsoever.

Some have likened Tall Ships to a young Biffy Clyro, and there are snatches of glimpses where this may appear to be true, especially in the raw guitar work. However, Tall Ships are not a band that need the piggyback such comparisons give. Everything Touching is as bold a statement as the band could ever possibly make; rarely does one come across such a confident debut. The band start their UK tour on Wednesday, and if indeed there are people who haven’t got the Tall Ships memo yet, this will be rectified soon enough.

8/10

Buy Everything Touching here

ALBUM: MUSE - THE 2ND LAW

A new Muse album is an event in every sense, whether you like them or not. Each new offering is heralded by an audacious and daring teaser; for Black Holes and Revelations it was the super-groovy ‘Supermassive Black Hole’, for The Resistance the outlandish and outrageous ‘United States of Eurasia’. The 2^nd Law is no exception here; the album trailer released in June, containing part of ‘The 2^nd Law: Unsustainable’, had fans and critics alike utterly bemused as to how and why Muse had ‘turned dubstep’. Today, they will find out if this is the case.

It turns out that dubstep is not where Muse are headed, despite their experiment to make “Skrillex but with real instruments”. ‘Follow Me’ is the only other track that is even remotely in this vein, as Nero electrofies a tender ode to fatherhood driven by the beat of Matt Bellamy’s son in utero. These explorations are relatively successful once the shock has worn off.

And there are a lot of shocks on this album. Where to start? There’s ‘Panic Station’ where Muse succeed in out-Princeing Prince, ‘Save Me’ where bassist Chris Wolstenholme steps up to the mic and delivers a stunningly gentle performance amid some nice guitar work by Bellamy, and ‘Animals’ where, god forbid, Muse actually do sound a tiny little bit like Radiohead! But don’t let the 5/4 time signature fool you: this track is Absolution-era Muse taken to a whole new level.

In fact the only songs that don’t surprise are ‘Survival’ and ‘Supremacy’, the band mashing together every element that makes up the essence of the Muse sound. ‘Survival’ is packed with ridiculous (in a bad way) lyrics and even more ridiculous (in a good way) vocal gymnastics from Bellamy, and the riffs-and-strings combination in ‘Supremacy’ makes you wonder why this isn’t the new Bond theme instead of Adele (‘Supremacy’ even finishes with a classic spy-thriller chord, for god’s sake).

With such apparent discordance, it’s easy to forget that there is a theme here; a scientific spin on current economic events is put forward and littered throughout the record, climaxing at the 2-part album closers. Even these two tracks are rather odd put next to each other, but can easily stand alone as solid offerings. ‘Isolated System’ is perhaps more effective than its companion, as layer upon layer of haunting keys is painted onto an aural canvas, joined by recordings of news reporters documenting our current doom. The infant heartbeat used earlier in the album reappears and then makes way to an almost trance-like beat, and just as real drums phase out the electronics – it ends. The song shuts down slowly and completely, like a machine that has run its course and run out of energy because of entropy. Or something like that.

Luckily, your science knowledge doesn’t have to be top-notch to enjoy The 2^nd Law. And it really is to be enjoyed; there is a playfulness here that was sadly lacking on The Resistance. Of course, this means that the band are more Marmite than they have ever been, but for people on the ‘love’ side of the divide this record is a joy to listen to. 

9/10

Buy The 2nd Law here

ALBUM: MUMFORD AND SONS - BABEL

Grab your banjos and get your feet a-stamping, the new Mumford and Sons album is here! After the success of Sigh No More, second offering Babel is arguably the most anticipated album in ... well, ever. Three years have passed since the Sons' debut hit our ears, and it is clear to all that listen to Babel that the band have taken their time over the 'tricky second album' and lovingly crafted it to their own liking and nobody else's. This is evident from their statement as they released the album to the masses: "Whether it's what you expected, what you hoped or what you dreaded, or none of those things, we're happy with it so here it is." It is refreshing to see a band make music for themselves rather than making what sells.

It turns out, though, that what worked for Mumford and Sons last time around and what they have made this time are still fairly similar, with a few additions. This will not come as a surprise; lead single 'I Will Wait' confirmed as much, but this does not lessen the effect of the songs composed here. The forceful kick drum rhythms are still present, but some tracks encompass a fuller array of percussion. One of these tracks is 'Lover Of The Light', a possible pinnacle of the album; a song already extensively travelled in a live setting, its potential is fully realised on record. The overexcited banjo is also still an ever-present, weaving its way throughout the album and pleasantly tickling the eardrums. 

The main change here is the manifestation of a self-assurance that was present in spurts on Sigh No More  and is now vindicated after widespread critical acclaim. Every song sounds just that little bit bigger; every chorus swells higher, every strum of the guitar that bit more defiant. 'Below My Feet' threatens to break right through your speakers, the title track pulses with infectious energy, and 'Lovers' Eyes', tender to start with, eventually bursts like the hearts it describes. If you were expecting some sort of reinvention from this album, then you will be disappointed. Babel is Mumford and Sons doing what they do best, and I for one wouldn't want it any other way. 

8/10

Buy Babel here

ALBUM: LUCY ROSE - LIKE I USED TO

Lucy Rose has spent most of the last year touring with good pals Bombay Bicycle Club, and now she takes centre-stage with the long-awaited release of her debut album Like I Used To. The beginning of the record is familiar to those who have been following Rose’s progress; the first three tracks have gone ahead of the album as successful singles. ‘Red Face’ is a strong opener with its well-paced build up to a pleasantly chaotic crescendo and ‘Middle Of The Bed’ is defiant and irresistible. ‘Lines’ introduces the innovative rhythms that permeate this offering; it snakes in and out of several time signatures yet never once feels disjointed.

A solid start is built on by ‘Shiver’, arguably the high point of Like I Used To. The raw minimalism of a lone acoustic guitar and Rose’s heart-breaking vocals would touch the nerve of even the most hardened listeners; the simplicity of it is stunning. ‘Night Bus’, in contrast, has a much more upbeat and triumphant tone; it’s the kind of song you wish was a person so you could give it a big hug. ‘Bikes’ is much in the same vein, and includes a plea for people to “Listen up, listen here, everybody scream out loud” which no doubt will be answered in a live setting. Elsewhere, ‘Watch Over’ is filled with afrobeat influences, perhaps a happy side-effect of hanging out with Bombay Bicycle Club.

Sadly though, all good things must come to an end and the close of Like I Used To falls away into mediocrity. There is no discernible change in what we are hearing; it just seems that by the time we get to ‘Don’t You Worry’ and ‘First’, Rose has run out of steam. ‘Be Alright’ is pleasant enough but falls flat as an album closer, leaving an initial sense of disappointment. However this disappointment must be rationalised and a flat ending does not erase the brilliance that came before it. Like I Used To has been a long time coming, and bar a few hiccups it exemplifies everything that makes Lucy Rose such an intriguing prospect. 

8/10

Listen and buy here

ALBUM: THE KILLERS - BATTLE BORN

It’s been a long time since 2008’s Day & Age, a hiatus which has yielded solo efforts from three of the four members of the Killers. This literal and musical space sets the stage for an intriguing moment in the career of the band; a crossroads, to dip into American imagery. Which way do they turn? What happens next? To answer this question, Battle Born takes to the stage.

And indeed it takes to the stage in devastating fashion. ‘Flesh and Bone’ starts slow and small and erupts into a triumphant chorus, with Flowers challenging the listener with cries of “What are you made of?” It is everything an album opener should be; it instantly grabs your attention and holds it unswervingly. As this beginning is perfectly crafted, so the eponymous final track follows the example of ‘Flesh and Bone’. ‘Battle Born’ is a behemoth, flitting from acoustic verses to choruses stuffed with power chords and massive layered backing vocals, a refrain full of battle cries and fully loaded guitar riffs from Dave Keuning to a stunningly gentle coda filled with arpeggios that dance in and out of each ear. It should be disparate and jarring but it sounds like the most natural combination in the world.

So the bookends are taken care of, but what of the meat of this record? What is unearthed here is much more of a mixed bag. The problems where they arise tend to be problems of unfulfilled potential, and nowhere are these more evident than in ‘Miss Atomic Bomb’. All the trademark Killers touches are here, but there is nothing to elevate the song or give it any kind of distinction. It begins to redeem itself towards the end of the track but then fades out inexplicably, quashing any excuses made for the poor beginning. Elsewhere, ‘The Rising Tide’ and ‘From Here On Out’ descend into full-scale Americana without any real stamp of individuality on them, and on ‘Heart of a Girl’ the band very nearly achieve a successful mellow sound that is spoiled only by the discordant gospel presence.

Hidden in amongst these near-misses, however, are some real gems. ‘Deadlines and Commitments’ is a pleasantly murky song with a strong 80s influence, driven by the hypnotic rhythms provided by Ronnie Vanucci and Mark Stoermer that culminate in a breakdown full of tribal drums and a throbbing bass solo (and really, who doesn’t love a good bass solo?). ‘Be Still’ sees the band veering towards the electronic edges of their creative mind and, combined with Flowers’ particularly excellent vocal performance, makes for a poignant offering. The rule for this record seems to be that when the Killers get it right, they really get it right.

Battle Born is many a mile away from the band’s lauded debut Hot Fuss, and many fans may lament this fact, but change should not be lamented because it is inevitable. The Killers have changed and matured, and throughout their career they have sought to try new sounds on for size. Although they may not always be successful in this endeavour, they should at least be given credit for trying.

7/10

Buy Battle Born here

NEW MUSIC: LONE WOLF - GOOD LIFE

Check it out here

Paul Marshall seems to be on to a good thing here. After a successful pledge campaign to fund the release of forthcoming Lone Wolf album The Lovers, he provided this offering in between writing lyric books and Skype-gigging for some very dedicated fans. It's the perfect teaser for the album; the door into Marshall's masterpiece was already slightly ajar with the release of 'The Swan of Meander' and 'Good Life' gently pushes it open a little bit more, revealing particularly satisfying DIY percussion and simple but effective guitar work. The Lovers is released on November 12th (but if you pledge/have pledged you can get hold of it much earlier).

Lone Wolf
Pledge Campaign

VIDEO: EVERYTHING EVERYTHING - COUGH COUGH

Check out the video here

Here's the first offering from Everything Everything since 2010's Man Alive. It takes a few listens to fully dissect this mammoth but it is well worth the effort. Irresistable beats and trademark eccentric vocals mean that this track will stick in your head for the foreseeable. 

ALBUM: TWO DOOR CINEMA CLUB - BEACON

 On Friday, Two Door Cinema Club put up a stream of their eagerly awaited second album on Facebook for the ears of everyone who had not previously found their way to the leak which had surfaced at the beginning of August. After the success of their debut effort, this record represents a crucial moment in the band's development - would they push on and evolve their already successful sound or just make Tourist History 2.0?

Of course, the mantra "if it ain't broke, don't fix it" may well apply here, and opening track 'Next Year' is definitely a continuation of the sound that gained Two Door Cinema Club such a large and sprawling fanbase over the last few years, albeit with some pleasing electronic touches. 'Handshake' is Tourist History multiplied by 10, combining a signature bassline with a truly anthemic singalong chorus, a nailed-on future single. Here, though, is where the resemblances end.

The highlights of Beacon are the instances where the boys from Northern Ireland stretch out their limbs and feel for new territory. 'Sun' sees the band slow things down and grooving things up, even daring to throw in a smattering of trumpets. 'Someday', previewed in the album trailer, is an absolute juggernaut. Sure to become a fan favourite, it sounded flawless at the band's Reading set last weekend and can only get better as the band become more acquainted with it in a live setting. Elsewhere on the record, 'Pyramid' is by far the rockiest track on the album with its galloping drums and incessant driving guitars. 

If there is a weak link on Beacon then perhaps it is 'Sleep Alone', the first single taken from the album. At first it is hard to pin down why; it has all the ingredients for a classic Two Door Cinema Club track. Perhaps it is the song's positioning within the album; it is unfortunately sandwiched between 'Someday' and 'The World is Watching (with Valentina)', a gorgeous, gentle track layered with strings and electronics. As a result of this, a song that would have seemed strong at any other time comes across as extremely flat. 

Thankfully, this disappointment is short-lived. The latter half of the album hammers home the message that this is a more experienced, more mature Two Door that we are witnessing. 'Spring' is a real charmer of a track, carried along by sugar-sweet guitar and Alex Trimble's much more amorous tones. The title track is a magnificent closer, a carefully crafted piece which builds up texture upon texture and culminates in an explosion of expansive melodies. The triumphant tone which results is indicative of the confidence that radiates through the whole of Beacon. Here is a band that are not concerned about the tradition vs. progress argument; Two Door Cinema Club have at once honed their unique and successful formula and added to this formula, like a painter building up a masterpiece stroke by stroke. 

9/10

Buy Beacon here

NEW MUSIC: MUSE - MADNESS

Check it out here

So the first official single from Muse's upcoming album The 2nd Law is finally here, after having been put back a week. And 'Madness' is, in a word, bonkers. It opens with slick, sticky synths and a vocal loop treated with the appropriate amount of auto-tuning for a 21st century pop track. It's the most minimal and straightforward track to come from the band in a long, long time, an effect compounded by Bellamy's simple lyrics about having a fight with Kate Hudson (as you do). By the time you are finally convinced that there really is such a thing as a minimal Muse song (although the Queen-esque vocal layering may have fooled you), the soundscapes return and a moving chorus kicks in. The skill of this song is in its ability to both make you laugh and become serious in the space of 4 minutes. The 2nd Law is released on 1st October. 

Muse

NEW MUSIC: MUMFORD AND SONS - I WILL WAIT

Check it out here

'I Will Wait' seems an appropriate title for the first single from Mumford and Sons' new album Babel, as I have been waiting for what feels like forever to hear new material. The song sounds like it would fit right in on Sigh No More, but this familiarity is by no means a bad thing. By the end of the song I was singing along to the infectious chorus, playing air-banjo and stamping my foot like a good'un. Babel is released on 24th September, and you can preorder it from here.

NEW MUSIC: MUSE - THE 2ND LAW: UNSUSTAINABLE

Yesterday (09/08/12) Muse announced a series of special preorders for their upcoming album The 2nd Law, which included a download of a video for 'The 2nd Law: Unsustainable' as a preorder perk. This is the song from which the music for the controversial album trailer was taken, and while the full song does not contain an awful lot more than the trailer already gave us, there is a stunning middle section in which the classical and "dupstep" elements are combined and accompanied by wails of despair from frontman Matt Bellamy. Reaction to this, as to all of Muse's work, appears to be mixed but overall the signs for The 2nd Law are very encouraging. New single 'Madness' is due to be released on August 20th.

Preorder The 2nd Law here

NEW MUSIC: BIFFY CLYRO, LUCY ROSE

Zane Lowe had first plays of both Biffy Clyro's 'Stingin' Belle' and Lucy Rose's 'Bikes' tonight (31/07/12) on BBC Radio 1. I made notes while I listened because a new Biffy single is a big event and note-taking is very important. Here are those notes:

• heavy yet triumphant, much like 'The Captain'
• trademark blunt Biffy lyrics
• is that a bagpipes solo?

Simon Neill also dropped the name of the double album out in the near future, entitled Opposites. On the evidence of 'Stingin' Belle' we will not be disappointed.


I didn't take notes during 'Bikes' because I was too busy basking in the loveliness that is Lucy Rose. 'Bikes' has everything we have come to expect from her work: beautiful lyrics and vocals and compelling acoustic guitar work. Her debut album Like I Used To drops on 24th September. 


Biffy Clyro
Lucy Rose

VIDEO: THE KILLERS - RUNAWAYS

Check it out here

A slow burner of a video, this builds up to a suitably epic ending for a song that sounds like the love-child of "Sam's Town" and Flowers' solo record "Flamingo". It gets better every time I hear it.

SBTRKT - GLOSS

SBTRKT - GLOSS

SBTRKT are very, very, very good. This new track is full of quasi-marching-band snares and elephantine synths, a perfect companion to the drowsy summer weather. 

LIVE - WILD BEASTS @ THE HAUNT, 14/07/12

Having been unable to make it to Latitude festival, my Bastille Day was spent travelling to Brighton to see Wild Beasts play a warm-up show at The Haunt in preparation for their headline slot the next day. I had no idea what the venue would be like - Google Maps didn’t even want to show me where it was – but when I did eventually find it I was thoroughly impressed. Despite the slightly awkward seating area, the space was intimate without being claustrophobic, and my first thought upon entering was HOLY COW THERES NO BARRIER WE CAN GO STAND RIGHT. IN. FRONT. OF. THE. STAGE.

I had just about become accustomed to this fact when Luke Sital-Singh shuffled on stage, bringing with him a soothing selection of semi-acoustic ditties driven by a strong vocal, arguably his best weapon. He was also armed with a sense of humour (recalling how a reviewer thought one of his songs was about having sex with a whale) and good looks (acknowledged by Tom Fleming later on) and I hope that he gets the attention that his music deserves. Incidentally, if you visit his website you can get a free download of ‘Fail For You’ and who can say no to a great free song?

It was soon time for the first strains of Smother’s ‘Burning’ to radiate through the room, a perfect teaser for the crowd and an indicator of where Wild Beasts are at right now: sparse, electronic, yet tugging at the heartstrings more than ever. The band arrived and launched straight into ‘Lion’s Share’, promoted from its usual position of encore-opener. The bass frequencies pulsated like a second heartbeat, and this façade was kept up by the thudding drums of Chris Talbot, joined by Sky Larkin’s Katie Harkin, now a long-time companion to the Wild Beasts live set-up. Their first album Limbo, Panto has largely been left behind now but despite this, fan favourite ‘The Devil’s Crayon’ does not feel out of place at all, providing a light interlude between ‘Albatross’ and ‘Fun Powder Plot’.

Via the emotionally charged ‘Loop the Loop’ and the yearning ‘This Is Our Lot’, the main set was concluded with ‘Reach A Bit Further’, a particularly satisfying marriage of Hayden Thorpe’s scintillating falsetto and Tom Fleming’s grittier tones communicating pleas rewarded with promises. In the break between the main set and the encore a Wild Beasts chant filled the air which was extremely well-received. “I’ve never heard a Wild Beasts chant before,” Hayden cheerfully acknowledged, before adding “Needless to say, I fucking loved it.” Even a microphone malfunction during Hooting and Howling couldn’t ruin the buoyant mood and by the time End Come Too Soon rolled around, we were not yet reconciled to our inevitable fate. It really is a stunning closer, both on Smother and live; out of nowhere and virtually from scratch the band build to a devastating crescendo capped off by the echoes of Thorpe’s mournful cries. Apart from a scattering of festivals, Wild Beasts are taking it easy at the moment and will soon start thinking about LP number 4. On the evidence of this show, we have much to look forward to.

Luke Sital-Singh

Wild Beasts

The Haunt