I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It (6:25)
The Sound (4:11)
This Must Be My Dream (4:11)
Paris (4:53)
Nana (4:00)
She Lays Down (3:38)
Review: That title is an eyebrow-raiser, yet still more surprising about this second album are the chances that cocky, controversial 1975 frontman Matt Healey has been prepared to take with the sound that his band rode to enormous success on via their debut. Certainly this album may largely sound custom-designed for radio airplay, yet within this framework Healey has moved from the guitar band swagger of yore to a more emotionally charged reinvention that throws '80s-style hooks, innovative production trickery and his mixture of chutzpah and charm into the fray to create a vibrant and unexpected art-pop melange.
Review: There's certainly plenty to talk about here. British chart-topping and stadium-filling enigmas The 1975 return to prove you really can't predict what the troupe will do next, delivering what would be their most divisive and explorative album if it weren't for the fact they command so much loyalty from fans you could be forgiven for thinking dark forces were at play. 'Notes On A Conditional Form' is easily the furthest we've wandered from the formative years of a band that cut teeth doing teen-punk covers, and it's hard not to notice the subtle theme here. From 'Having No Head', which rides on a sharp house groove, through the garage breaks of 'Yeah I Know', low slung dub of 'Shiny Collarbone' and the shoegaze of 'Streaming', it plays out like a celebration of the breadth and diversity of UK pop culture.
Review: During recent interviews, James Blake framed Playing Robots Into Heaven, his sixth album, as a kind of return to his club roots - an idea borne out by his decision to structure the album as a kind of imaginary "night out raving". Of course, this is Blake we're talking about, and while the album does lean heavily on the post-dubstep sound that made him famous (which itself drew as much from experimental electronica and outsider pop as dubstep, house or techno), it's not like he's suddenly turned into Ben UFO, Scuba or Mala. It's a highly enjoyable album, though, and one that combines his most familiar and cherished elements - heavily treated, emotive vocals, piano motifs, woozy electronics and ghostly chords - with grooves rooted in techno, house and UK bass. If you're a fan, you'll love it.
Review: Maintaining his trajectory into the upper echelons of alt-pop with carte blanche to do as he pleases, James Blake returns with his sixth studio album Playing Robots Into Heaven. From his brief dalliance with the post-dubstep underground into his sombre strain of electronic indie songwriting, Blake has confounded expectations at every turn and the drop of lead single 'Big Hammer' should maintain that trend. There's no big vocal turn from his delicate voice, but rather a twitchy, sub-loaded beat somewhere on the outer edges of trap with some diced up MC samples, pointing to an exciting foray into unpredictable waters from a truly gifted major league maverick.
Review: Lloyd Cole & The Commotions - Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine - were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University. A paragon of 'well-read pop music', this might be considered an form of art pop, being the debut that cemented Cole's intellectual reputation, and perhaps a prototype of the popular 'softboy' trope from the early 80s. Crisp soft proto-indie rock and haunting, near gothic synths underlie hits such as 'Forest Fire', sure to rouse emotions even in the coldest and most book-shy of listeners.
Review: Songs Of A Lost World is Robert Smith and co's first studio record since 2008. In the lead-up to the release, the band dropped cryptic social media hints, mailed postcards revealing the album's title and release date, and even placed a poster at the pub where they played their first show in Crawley. Recorded at Rockfield Studios in Wales, this album is the band's 14th, featuring the core lineup of Robert Smith, Simon Gallup, Jason Cooper, Roger O'Donnell, and Reeves Gabrels. Smith, together with producer Paul Corkett, oversaw the arrangements, while long-time collaborator Andy Vella designed the album's artwork, which showcases Janez Pirnat's 1975 sculpture Bagatelle. Smith has stressed that identifying the opening and closing songs is crucial for the album's development. A record that digs deep into darker, more personal themes, echoing the intensity of their earlier work, the release also includes two live tracks, 'And Nothing Is Forever' and 'I Can Never Say Goodbye', from their Shows Of A Lost World tour.
Review: After a 16-year hiatus since 4:13 Dream, The Cure returns with the anticipated Songs Of A Lost World. The first single, 'Alone', marks a powerful resurgence for the band. Unlike the somewhat unfocused production of their last album, 'Alone' brings back the bold, expansive sound fans have longed for. It's a stunning track, filled with emotional depth and lush instrumentation, blending synth strings with chiming guitars. Robert Smith's voice remains as poignant and expressive as ever, defying time with its raw, emotive power. The song feels like both a return to form and a bittersweet farewell, hinting that this may be the band's swansong, while the five album songs trailed live in recent years, as swansongs go this is a hugely impressive one.
Review: This live album captures the raw energy and emotional depth of a legendary goth band's performance, showcasing their latest work in its full, unfiltered glory to an intimate crowd (albeit with a massive global streaming audience). Debuting the entire new album for the first time to an eager London crowd, the band delivers a powerful, immersive experience. Tracks like 'Alone' and 'End Song' stand out as some of the most hauntingly beautiful and intense pieces in the band's catalogue, with the live setting amplifying their emotional weight. The band's iconic sound, a blend of atmospheric melancholy and brooding intensity, resonates deeply, drawing the audience into every note and lyric. The live rendition of these songs adds a new layer, with the crowd's energy and the band's commanding performance elevating the material. Since its release, the accompanying live album has been met with widespread acclaim, charting in the top five across numerous countries, proving that the band's impact remains as potent as ever.
Review: If there's been one defining element of 2017 so far, it's been the stress that it's put a good proportion of the Western world under, and with this in mind it seems that there couldn't be a better time for a new Elbow album, and for the always mildly world-weary yet magnanimous and uplifting strains of Guy Garvey and co. to offer succour. Just as well then that it's perhaps their most richly crafted effort to date, offering warm optimism, a widescreen sweep of sound and their mainman's plangent croon in full effect, amidst an aural landscape that will do more than satisfy long terms fans of their elegiac art, rather something of a balm for these afflicted times.
Review: Elmiene's latest offering presents a smooth, immersive listen, blending soulful electronics with subtle, emotive melodies. Opening with the tender 'TLC,' the release quickly establishes its intimate mood, which is carried through tracks like the lush 'Light Work.' 'Crystal Tears' shifts to a more ambient space, while 'Ode To Win' builds a contemplative, understated momentum. The release really comes alive on the second side with 'Sweetness' and 'Until It's Dust,' where the production deepens into something atmospheric and hypnotic. 'Dark Out (Season of Thieves)' adds a touch of brooding intensity, and 'Anyways' closes on a contemplative note.
Review: 'Marking My Time' is the second EP from Elmiene. The six-track EP includes the title track 'Marking My Time', which first debuted on Later... With Jools Holland, 'Mad At Fire' (co-written by Syd and produced by Lil Silva), and 'Mama' (produced by Sampha), along with the current single 'Someday'. The follow-up to Elmeine's debut EP 'El-Mean', released earlier in 2023, this one hears a worthy continuation of the Oxford-born soul singer's growth, sprouting outwards from his influences and into his own true niche.
Review: The new candidate for the nicest guy in rock, Sam Fender has built a reputation for writing about touching subjects. And his new album, produced by none other than The War On Drugs' Adam Granduciel, doubles down on that approach. The chamber rock ballad 'Remember My Name' is written from the perspective of his late grandad, nursing his grandmother, who was suffering with dementia. It's a real tear-jerker thanks to the ornamentation in the arrangement and Fender's soaring vocals. The title-track is a another stand-out here and much more upbeat - like light and day compared with the harrowing feel of 'Remember My Name'. You can hear Adam Granduciel's influence here and in some ways, it sounds like a sequel to The War On Drugs' 'Under The Pressure', which is no bad thing.
Review: I Love You So F***ing Much is the fourth studio album from English indie rock band Glass Animals. It comes almost four years after their epic 'Heat Waves' single rose to the top of the charts and was partly inspired by frontman Dave Bayley's experience of becoming a global sensation. Because that success came in the pandemic, the band were forced to miss the 2022 Grammys at which they had been nominated for Best New Artist cause they tested positive for COVID-19. The record is another surefire success that addresses the pitfalls of fame and will likely take the band to all new levels.
Review: Life has been a bit of a slow burner for Oxford-born Glass Animals. The four-piece first began to garner 'real' attention in the run up to their 2014 debut album, Saba, with the single 'Gooey' doing them no disservice in the popularity stakes. Follow up How To Be A Human Being found itself on the Mercury Music Prize shortlist, but it was only really when LP three then hit number two in the UK albums chart and seven in the Billboard 200 that we can say they really reached the heights of fame, almost a decade into their story. That was then, though, and this is now. Four years, and one pandemic later, Glass Animals drop I Love You So F***ing Much, a record that fully commits to mainstream pop discourse, moving the outfit away from their psyche and electronic indie roots. The formula certainly suits, with the record a rich and largely joyful trip into a world of arena tours and anthems.
Review: Glass Animals' fourth studio album, I Love You So F***ing Much, arrives in both vinyl and CD formats, with this being the latter. It marks a welcome return almost four years after their chart-topping single 'Heat Waves' which took them to all new levels go global game as the best-selling single of the year. Frontman Dave Bayley's global rise during the pandemic inspired the album but despite the success, testing positive for COVID-19 meant they missed the 2022 Grammys ceremony after being nominated. The record delves into the challenges of fame and is poised to elevate the band to new heights.
Review: Repeatedly mispronounced Los Angelean sister act Haim return with 'Something To Tell You', an upbeat and optimistic tale of making amends to a lost love, moving forward and letting go. The trio channel a Rumours-era Fleetwood Mac style of love song into a modern pop context that sounds as fresh as it does respectful to their influences. Furthermore, building on 2013's critically acclaimed 'Days Are Gone', their sophomore set proves that Haim's prowess as high calibre songwriters, vocalists and multi-instrumentalists continues to demand respect.
If I Could Change Your Mind (Cerrone Funk remix) (3:59)
Review: The mega successful debut album from indie-pop sister trio HAIM celebrates its ten year anniversary this year with this deluxe reissue. Featuring hit singles such as 'Falling', 'The Wire', and 'If I Could Change Your Mind', as well as a batch of funky remixes from the likes of Cyril Hahn and Giorgio Moroder, this 2xLP is the ultimate edition for fans of the Los Angeles sisters, who've gone on to collaborate with the likes of Vampire Weekend and star in Paul Thomas Anderson films in the decade since. Days Are Gone was one of those albums that was seemingly everywhere in 2013, and the staying power of these Californian soft-rock tinged pop bangers has aged like the snifters offered at a San Fernando Valley wine country tasting.
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