by John Tindale When The 1975 released their eponymous debut LP, they set themselves on a fast track to the mainstream; here was a band releasing catchy, if earnest, indie-pop that resonated with the masses. However with all the successes there were a fair few people (myself included) who questioned whether they had earned it. For all the singles and hype there was no back-bone to support it over an agonising
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by Ollie Rankine Few artists have experienced the spectacularly unique fall from grace demonstrated by Seattle hip-hop duo Macklemore & Ryan Lewis. It’s not unfair to say that most of us were left a little bemused following The Heist’s controversial victory at the 2014 Grammys when it claimed the title of Best Rap Album while in the same category as both Kendrick Lamar’s Good Kid, m.A.A.d City and Kanye’s Yeezus, two
by John Tindale In case you weren’t already aware, Animal Collective are a bit of an odd case. Featuring an ever-changing line-up and an alternative approach to electronics, their only consistent characteristic is their ability to command the listener’s attention, it is no wonder that tenth studio album Painting With was so highly anticipated by the masses, after the slight disappointment that was Centipede Hz in 2012.
by Ed Biggs Unquestionably one of the definitive acts of the noughties, Soulwax seem to have always been around, and yet have not really done anything for a very long time. During the second half of the noughties, Stephen and David Dewaele toured across the world on a punishing, relentless schedule that saw them play roughly five times a week, every week, for half a decade, delighting fans across the world
by John Tindale When the most divisive man on the planet announced he was going to be releasing a seventh studio album in 2013, a mere five months after the release of the almost-experimental Yeezus, many heads were turned. Now two and a half years and no fewer than three title changes later, The Life Of Pablo has finally arrived and the media storm with it. Part of Kanye West’s brilliance is
by Matthew Langham It’s been a frustratingly long wait for DIIV’s follow-up album to their 2012 debut Oshin. In the time that has passed a lot has happened to the quintet, inclusive of but not limited to drug busts, addiction and rehab cycles and multiple failed recording sessions. It seems that lead singer Zachary Cole Smith’s heroin addiction is replicating that of his musical hero, Kurt Cobain.
by Ed Biggs Emerging from the hotbed that was the Bristol scene nearly a quarter of a century ago, Massive Attack were responsible for at least two of the greatest British albums of the ‘90s, maybe even three depending on how favourably you view Protection. 1991’s sublime Blue Lines, celebrating its 25th anniversary later this year, belongs among the all-time greats, filtering jazz, dub, reggae and rap into quintessentially British mixture
by Matthew Langham Recorded in their hometown of Sunderland, Field Music, consisting Peter and David Brewis, return with their sixth studio album looking to capitalise on the Mercury-nominated Plumb, and is considered to be one of their most accessible records to date. The duo have previously been compared to the likes of XTC, Talking Heads and Hot Chip – and Commontime perfectly highlights how Field Music are as far removed from
by John Tindale Adele, Beyonce, Shakira and Rihanna: what do they all have in common? They all rejected tracks from Austalian writer-for-hire Sia that eventually made it on her sixth album This Is Acting. Sia Furler has long prided herself on being able to adopt the persona of any given pop-star and write a hit in an instant; Rihanna’s ‘Diamonds’ was written in 15 minutes, while Sia’s David Guetta collaboration ‘Titanium’
by Matthew Langham Savages’ focussed, demonic Silence Yourself was amongst one of the most critically acclaimed albums of 2013 with its confrontational approach to experimental rock and punk. With a Mercury Prize nomination in their back pocket, the all-female foursome return with the follow-up to their debut record, Adore Life. Aesthetically the band borrowed liberally from their post-punk influences, including Joy Division and Siouxsie & The Banshees, and they ran away
