by Ollie Rankine EDM’s struggle to find an appropriate balance between innovative songwriting and the pursuit of commercial viability has plagued the genre’s potential artistic growth since the early days of its existence. Harley Streten, or as he’s better known to his ever extending fan base, Flume, carries little association with this view. The 24 year old Australian beat master’s latest record, Skin may be slightly less digestible than his self-titled
Continue reading…
by Ollie Rankine Earlier this year, Band Of Skulls fans were left in state of eager anticipation after guitar and vocalist, Russell Marsden labelled their upcoming fourth record, By Default “a new era”, having spent the best part of decade dwelling in the hinterlands of British rock. Choosing the unusual setting of a central Baptist church to facilitate the Southampton trio’s busy rehearsal schedule, the forecast for By Default appeared to
by Ollie Rankine Historically speaking, Australia has never fully been able to keep hold of its reputation of being a regular breeding ground for quality popular music. Recently going to spectacularly impressive lengths to prove us wrong, it seems the Aussies have finally got their act together by giving birth to Tame Impala, Courtney Barnett, Pond and Jagwar Ma to name just a few.
by Ollie Rankine It’s taken six years and 14 home-recorded albums for Car Seat Headrest’s Will Toledo, a bedroom artist par extraordinaire, to finally step into a recording studio. Previously managing to turn a handful of heads with 2011’s Twin Fantasy, fans waiting patiently for Toledo’s studio scepticism to subside finally have something to cheer about with Teens Of Denial, the release of his first ever professionally produced studio album.
by Ollie Rankine It appears Twin Peaks are in the process of parting with their adolescence. In typical high school band style, the Chicago quintet released their lo-fi, angst-propelled debut mini-album Sunken in 2013 in an attempt to stimulate interest from America’s petulant and apathetic youth. Since then, much has changed. Having embarked on their quest in the search for musical maturity via 2014’s Wild Onion, Twin Peaks’ new record Down In Heaven
by Ollie Rankine We can all remember Alex Turner’s triumphant, mic-drop acceptance speech following AM’s Album of the Year victory at the 2014 BRIT Awards. “Rock ‘n’ roll will never die” was his ego-encased message to the watching world. Two years later, it seems fitting that his choice of support act to accompany The Last Shadow Puppets’ latest venture reinforces his statement’s sincerity accordingly.
by Ollie Rankine White Lung frontwoman Mish Way is fast becoming the driving force behind girl power in modern punk rock. Having been greatly influenced by ‘90s punk icon Courtney Love, Way is practically her purified artistic reincarnation, retaining Love’s wit and articulation but ditching the drama and controversy. Churning out four studio albums since White Lung’s formation in 2006, Way’s fondness for fast-paced fury has been obviously apparent from the
by Ollie Rankine Australian psychedelic rockers King Gizzard & The Lizard Wizard don’t have an off switch. Since forming in 2010, the band have managed to release eight studio albums, four of which being in just the last two years. From their Thee Oh Sees inspired debut 12 Bar Bruise in 2012 to the jazzed-up, prog-infused tones of Oddments, King Gizzard’s rapidly expanding back catalogue lacks any predictable development. Constantly succeeding
by John Tindale and Ollie Rankine Live At Leeds is now in its 10th year, and has already built a strong reputation for itself as being the best inner city festival in the UK. But after creating a certain degree of excitement, the news of headliner Jess Glynne pulling out mere hours before the festival’s start the day hardly begins on a strong note…
by Ollie Rankine Many were slightly taken aback in November last year following exposure to Parquet Courts’ second studio EP Monastic Living. Although it was clearly audacious, the New York punk rockers’ attempt to fashion an idiosyncratic work of art was revealed to be nothing more than an experimental write-off and was consequently battered by critics across the board. With this information in mind, it’s easy to place Parquet Courts back
