Thank you for the years of reading. I've appreciated every one of you and will continue to love and research music, but for now, I will not be continuing with TLB.
"You've Got To Hear This!"
2009 - 2016
"You've Got To Hear This!"
2009 - 2016
Thank you for the years of reading. I've appreciated every one of you and will continue to love and research music, but for now, I will not be continuing with TLB.
"You've Got To Hear This!" 2009 - 2016
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When an album is so hotly anticipated, it can come as an incredible disappointment when it finally arrives. So Long Forever is the debut album from Palace, and if you've been following us for so much as a year, you'll know that we are huge fans who constantly thrive off of their eclectically peaceful music. Fortunately, they have yet again smashed it out of the park and it is with great joy that we can announce that So Long Forever is very much in the running for album of the year 2016!
The crowd pleasers such as Break The Silence, It's Over, Have Faith and Holy Smoke all appear throughout, with the inclusion of a new version of last year's hit, Bitter (it sounds stupendous by the way) ... but that is just the beginning of the hype, because new tracks such as Blackheath, Live Well and Fire In The Sky all pave the path to greatness for a band filled with class, vigour and underestimated talent. Opening on that note from Break The Silence, you're very aware that you are listening to Palace right from the off-go. They have really taken to a certain style and, whilst we would consider it Peaceful Indie Pop, others have gone as far as to deem is sex music. Nonetheless, it is stunning, wholesome and easily recognisable as some of the greatest music to hit this generation. You'll soon be hit with a new version of Bitter. It sounds as though it has been remastered and reproduced. Subtle though it may be, there is definitely some slight changes throughout, but it comes out just as strong (if not slightly stronger) than before, and fits in more snugly with the rest of the album's cleanliness. Live Well is the first of the new tracks and continues in the slightly more joyous direction they're going with the opening couple. It definitely has a much more major tone than some of their tracks, and edges on the realms of Two Door Cinema Club with Leo's vocal. He is heard here singing at a much higher pitch than normal, but it gives off a very gentle, raw, and passionate performance that will really lull you. Dipping into a slightly more melancholic track, It's Over follows and sweeps across you with infectious gloom. Utterly stunning in its effect, this track is one of our favourites as it grows and grows and really opens up the story of Palace and their roots. Especially when it is paired with Fire In The Sky, a slightly more upbeat track that has twinkles and dashes of mystery throughout to keep the album awash with an effect as though you are listening to this in an intimate space, with the band right in front of you. Family has an almost Hawaiian feel to it. The strings on the guitar are twisted throughout to give it a really beautiful twang. Once again, you'll hear Leo singing about his parents here, and it gives just another insight to the heartbreak and heartfelt words this man has to sing about. Let's be honest, these can't be easy for him, but to make it into such an incredible language is nothing short of a miracle and something we can only stand in wonder of. Next up is Have Faith, and whilst it may not be in keeping with the more downtrodden nature of Family or It's Over, it works as a reminder that the light and shade of Palace's repertoire are what you fall in love with. The single has that glint of excitement throughout it, with a much more layered solution to keep you on your toes. The tiers of vocals and spectacular instrumentation keep this one at the very top of our favourite's list and sweetly bring us on to the album's title track, So Long Forever. Very much in keeping with the vibe you will have more than found yourself comfortable with. The energy consumed throughout the whole album is very low, and So Long Forever epitomises this. There's still that very laidback feel about the song, and it mixes perfectly alongside the likes of Have Faith and Break The Silence. They don't want to push too hard, but their point is very much across and the way in which it sweeps through the ears is nothing more than incredible. Like a rollercoaster in slow-motion, the ending of the album (beginning with Blackheath) once again brushes upon the melancholic side of things, focussing much more on the voice of Leo, and a little less on the instrumentation. The first few bars of the single are very easily taken across, and it's not until the chorus and beyond that you'll hear much of a crescendo, although once it is there, it caresses you, and holds you, and keeps you very very safe until Holy Smoke takes over in what is the most heartfelt and beautiful single on the album. With not much more than a beautiful melody and the musings of Leo Wyndham, Holy Smoke builds upon itself to make it one of the most castle-esque beauties the band have ever offered. Produced to absolute perfection, it gives the impression of utterly dire heartbreak, whilst making you want to sing along forever. Once again singing of his mother and father, this is sure to bring a tear to your eye, right before the end of the album, Slaving On, a dark, mysterious and absolutely perfect way to end a journey. It slowly captures every second of what it is you grow to love about a band. The textures, the sounds, the stirrings, the words and just the way in which the band works. We love it. This is without doubt one of the best albums of 2016, and comes from a band we deeply adore. We couldn't have asked for this to be much better, and find ourselves so glad to have stumbled across them in the past year or so. We've seen them before, and will be seeing them once again when they headline in none other than London town on November 23rd - you'd be an absolute fool to miss it. Check out So Long Forever below:
This week we found a tip from Folktronica band Porcelain Pill, that Lanks latest EP, Viet Rose, was well worth a listen ... and dear God were they right. This utter masterpiece is reminiscent of Fleet Foxes, Bon Iver, but also with twangs of SOHN and Jack Garrett and can only be described as a bit of a spectacle that will suck you in and leave you in awe.
Like a rollercoaster, the differences between the likes of Bitter Leaf (the opener of the EP), and April (which features a beautiful newbie called Airling) really will throw you. It seems relatively obvious that all of these songs began in reality with a piano, but the way in which they have digressed and evolved from there is what makes this really quite special. With Bitter Leaf, Holla and Sometimes having much more in the way of electronic/drum n bass/party elements than the likes of Kyneton or April ... yet there still being a constant throughout that reassures you that this does work and that Lanks does know what he's doing. You wouldn't be too far wrong if you were to consider Lanks the love child of Lana Del Rey and Jack Garrett in that he has a whimsicality to his vocal. There is a sincerity and sweetness that will instantly allow you to fall in love with him ... but he has this wild side that is a much bigger party animal than you would have expected to emerge. The constant change in pace and lack of knowledge when heading into each and every song could leave some of you on edge, but somehow, no matter how close to the edge you go, you will trust Lanks and he always brings you back. This is a real triumph and it's this sort of experimentation that will pave the way in the future ... who knows? Lanks could be the next musical pioneer and we're ready to watch him lead the way with Viet Rose. Check this one out below:
AlunaGeorge have come a very long way since White Noise (alongside Disclosure) blew up. Creeping relatively slowly back to the top, you wouldn't be punished for not noticing their comeback over the course of this year. With only one of their three singles having much commercial success this year (WHY ONLY ONE?!), it may come as a shock that their album is full of absolutely glorious hits and is a real contender for album of 2016!
Using Aluna Francis' high vocal to its very limits, this album has a a beautiful tempo throughout. You'll first hear it throughout Full Swing, and from there, the mesmerising nature of the album will take you. Alongside rapper Pell, there is a very mystical element to the electronic duo's talents, and this album really showcases them time and time again. The thing with mystery throughout music, is that it often leads to very dark and dank musicianship, and that has got to be considered some of our favourite. AlunaGeorge have most definitely hit that nail on the head, and I Remember is an absolute spectacle to behold. My Blood, which didn't reach quite the height of I'm In Control (one which we wouldn't consider quite as dark as we'd like), was the first disjointed pieces that offered a ghostly element, something spooky about it, and something that got us intrigued. Just the way in which the beat was constantly breaking and beating, the way in which Aluna's voice constantly had a deep-toned underlay, and the various other vocals throughout give this a very deep bass-like effect that works wonders alongside the voice. Hold Your Head High, albeit a little chirpier, has a similar feel throughout. Despite using a slightly lower tone of vocal too, and a very dusty electronic backing, this has that element of drama behind it, and in a video this could have several different brilliant outcomes, all of which would keep you listening and watching we're sure. Mean What I Mean, Jealous and I'm In Control make up the mid-section of the album, and have to be considered our favourite three tracks of the album. Mean What I Mean has a sassiness to it, and with the help of Leikeli47 and Dreezy, you'll know exactly what we mean when we talk about the empowerment of women and intimidation from women ... we love it! This sets you up nicely for Jealous, where there is a slightly lighter feeling amongst the steel drums. Aluna is in full swing here, and the content calling out fake people, we can't help but dance along throughout ... which then brings us on to I'm In Control. This easily got the most exposure for AlunaGeorge of 2016, and it is clear to see why. It is fun, it's light, and it is so on point. You've been set up for some time throughout the album, and it does not disappoint ... I remember in full, does not disappoint either! Check it out below:
Second albums are dangerous. They have scorned plenty of bands and meant that their careers were no more. Alt-J, The Klaxons, The Hoosiers, Empire of the Sun ... there are several names possible just in recent years to show example of this issue, and so with that we found ourselves a little worried about Bastille's new LP. We have been following Dan Smith and his merry men since 2012 and Flaws originally came out (yeah, that was a re-release) and think their melody making is seconded to none ... fortunately for us, it seems that they have very much kept up their incredible skills and, if anything, honed them to offer an utter beauty in Wild World.
Somewhat sheepishly coming back onto the scene they released Good Grief as the leading single. Whilst it doesn't have quite the same powerhouse effect that Pompeii did, it still held more than enough for us to get pretty excited. This was then followed by Fake It, another beauty, but still lacking quite that punch we so desperately dreamed of. Finally, Send Them Off turned up, and this secured for us, a little more faith in the English boys, storming the world! The entrances to each of the songs featured snippets from various locations. We can't be sure where they are from, but these extracts are not new to Bastille, who used them before quite frequently on their Other People's Heartbreak EPs (RIP!). This had a little more vigour, a little more angst, and a lot more punch. The musicianship was much more palpable and we really did get sucked in alongside the brass, the percussion and the vocal that lunged at you with each second!! So with little hesitation, we listened to every single track of Wild World come Friday, and thank the heavens, it is utterly gorgeous. We noticed a few slower songs throughout the middle that could be considered filler, but to the contrary, we really believe these to be heartfelt and beautiful little sentiments that you may not have heard had the record label got too much involved. Our favourite tracks though, have got to be: Power; a little number that sounds as though the likes of London Grammar got heavily involved. It starts slightly, build to a beautiful crescendo, and stuns from the get-go with a plucked effect. Lyrically, this has a lot of mystery about it, and it's not until the chorus that you feel the force that Bastille have to offer. They may be considered a bit cheesy from time-to-time, but this really gives them a personality and we adore them! The Currents; That dirty, dirty, dirty distortion, mixed alongside those strings are utterly barbaric, but incredibly infectious!! We can't help but love this one and feel as though this could have been a leading single. There's a lot kicking around in this ... but the light and shade has not been forgotten and really takes control of you! Way Beyond; Another single. This, again, starts with a snippet/extract from somewhere but soon comes in with a much more upbeat and consistent beat. It has the science of a real hit behind it. There is plenty for anyone to enjoy and feels as though it has enough depth to it, but plenty to keep a smile slapped on your face. Glory; This feels as though they have gotten their hit-maker hats on. It has that prettiness about it, that gives a delicate essence surrounding the song, but it soon picks up, offering plenty to join in with. This is very much the sort of track to get a crowd pleased. We can see a pretty special video accompanying this and plenty of live performances with strings and mystery attached. Shock of all shocks, we love this, and find ourselves overjoyed (check the reference), that they have nailed it - have a listen below:
Posthumous albums can be somewhat bitter-sweet when it's an artist that you like, we understand that this could be the final piece of music that you'll get to hear from them, but the connotations behind those pushing it really get our backs up. We refused to listen to Amy Winehouse's for a long time, for example, as we felt that it was a money making machine for the likes of Mitch Winehouse and the record label to prosper from. Viola Beach met their untimely ends in a horrific car crash in Sweden, and since then there have been many tributes to the emerging band. With their album on its way, it seems as though it has now come to fruition on the back of their own label, Fuller Beans records and was met with a statement from their families who can be full of pride for their beloved boys.
Swings and Waterslides, their lead single, opens up the album and really puts their talents into perspective, setting you up for the rest of the album. They were always focussed on having a good time and making the sort of music that you could do just that to. It seems very timely that their album has been released around Summer, because we suspect this was indeed their favourite season, and something they would have wanted. Much of the album has this sun-drenched feeling surrounding it, with the guitars given an effect which makes the sun want to creep out without trying. There always seems to be some sort of catchy riff, as though they were next in line to take over the Indie scene from the likes of Two Door Cinema Club or maybe Foals. From Like A Fool, to Go Outside, Cherry Vimto and Drunk, these were four close friends who were just having a good time and making some music for the right generation and it seems as though this album, which could reach the no.1 spot this weekend, were taken way before their time. On a more emotive note, the seventh track of the album takes a slightly more delicate turn, there seems to be something much more upsettingly beautiful in the track now. Much slower in its posture, Call You Up is a modern-day ballad by an Indie band who plenty never knew that they loved. The vocal of Kris Leonard resonate when words like "You seem to be the air that I breathe, and the last thing I think of as I fall asleep" are sung. It is an utterly gorgeous track that seems to have a bit more of a spark in the tragic end to this story. The end of this album is held by their second single, Boys That Sing, and offers yet again an incredible reason to hold these boys in high regard. Summing up their time in the industry, it has that element of joy surrounding its existence and really gives you an insight into what it would have been like to go out and enjoy a night on the town with these lads. They were young, exciting, calming, loved, and brilliant young guys who had the whole world in front of them ... and we're listening.
We have considered Honne a one to watch for some time now, so it is with great joy that they released their debut album this week. With beautifully fresh tracks such as Warm on a Cold Night and Someone That Loves You being released earlier in the year, they have slowly but surely amassed a loyal crowd, but with the album (also named Warm on a Cold Night), there's every reason to believe that they will elongate that growing list of fans.
They've definitely considered their style in every aspect of the album, and never really go much further than the cool and collected demeanour they have created for themselves. Even in slightly more up-tempo numbers such as Til The Evening and Treat You Right, the vocals of Andy almost always control the way in which your ears perceive the piece and, the incredible production of James can be swayed in whatever direction he wishes. It's a massive breath of fresh air, to say the least. With consistent lyrics that compliment the listener and the simplicity of linguistics, they never manage to patrionise, something which is becoming more and more common when lyricists give it a go. We're humans, we speak like humans, let's not mix it about too much, yeah? Well, that's where Honne come in and make sure not to piss you off. Lines just as simple as "You're a good girl and you're smart, yeah, you're going far, you don't ever need to put yourself down" are actual things that people genuinely say whether it be on the Internet or in person, but to uplift someone else and make a selfless and personable piece of music is something these guys have mastered. Another snippet you'll notice throughout the album, and indeed in Honne's style, is that they love the use of seemingly theatrical sound effects throughout. Though this isn't something we've not seen before (Bastille are huge fans of this too), it still manages to encapsulate whatever notion it is they're trying to portray and one of the greatest examples throughout is the car radio effect throughout their lead single, Warm on a Cold Night - that will always epitomise what it is they are looking to do to you. In short, if you want something that can only be considered Chill, then this is most definitely what you're looking for. So in the Summer sun, when you can't help but sweat ... this could be what you're looking for to keep you cool. Check out the deluxe album below: Ady Suleiman has slowly and surely been making traction in the industry over the last year or so and with a new EP out and about, it is no wonder that he is making waves. We're all a little adverse to a vocal like Plan B or Daniel Merriweather, a touch of modernised Jazz or reggae, and definitely a touch of Jack Johnson ... so it's no wonder that with his concoction of all of the above, he is on to an absolute winner.
Beginning on his incredible single, Running Away, you'll soon see where people have found love for this guy. The production meets all of your needs, with that acoustic guitar plucking making the head of the track. He soon sings with that slight reggae twang, and the steel drum coming in before the crescendo of the chorus which throws in a plethora of other instruments all from this genre. The modernisation of this genre though is what makes Ady really important. It's very subtle, but the percussion is slightly different in its tempo and gives a new edge on an absolute classic. The comparison to the likes of Plan B comes in the form of Wait For You and Need Somebody to Love. These are the more heartfelt tracks on this six-track masterpiece, but the vocal has a slightly higher pitch to meet with this criteria and offers a Ben Drew-esque wave. The piano throughout Wait For You is a fresh new beginning too from the guitar we heard in Running Away, but the latino style backing in the heat of Need Somebody to Love is what we're living for. The way it makes you feel could melt anyone and is absolutely the recipe we want for song-making! State of Mind has yet another element to Ady's talents. Probably a touch more in the realms of Running Away, he shows a bit of a rapper throughout him ... but you can tell at heart he is a singer though. Even so, the music, as per, is brilliantly crafted with not much but a guitar and some percussion and we bloody love it. We're not sure how he came about this EP, but we think it is a testament to his talents and showcases exactly why it is that Ady Suleiman will be a household name before long.
Thanks to the incredible producer that is Jake Gosling, we have this week been introduced to Nuuxs, and her new EP, The Cry, is utterly stunning. Whilst we presume that Jake may have something to do with the production of the EP, much to our joy, he also features on one of the tracks and actually sings ... who knew that people could be multi-talented these days? Nonetheless, this is a very special introduction to Nuuxs and we expect huge things to come from her, with a consortium of different female frontrunners coming to mind when we listen to her music.
Stylistically, there are plenty of similarities to be made here to Lana Del Rey. There is a definite sophistication surrounding this EP, from the kitsch and stylish art sleeve, to the beautifully mellow instrumentation. Further to this, and quite particularly in Glory, there are similarities in the vocal department too. There's a whimsicality about Nuuxs that wreaks of our love, Lana. However, drops of Gwen Stefani also seep through here too and they are not to be missed out. The way in which she connects with the songs, particularly in Glory once again, really give out that sincerity which you can't put a price on ... which quite poignantly reminds us of Gwen in the track Don't Speak. The lead single, Cry, seems to have far more about it commercially. There's a real force behind her words and much less of this timid nature that you might here in some of the latter tracks. We feel that there is a likeness to Paloma Faith here too. We know Paloma has one of the most distinctive voices in music, but every now and again you'l hear a glimpse, particularly in the crescendo of the chorus, where Nuuxs repeats "cry, cry, cry". It's utterly beautiful though, and very much worthy of your playlist as an introduction to the singer, who we beieve will be making some waves in the industry very shortly. As we've only ever known him as a producer, it seems a little strange to be reviewing the vocal performance of Jake Gosling. But in Stolen, a track that opens on very similar chords to Adele's Hello, he has the underlying tones of the song to a tee. The depths that his voice reaches lift Nuuxs performance even higher and gives the contrast of the song something very special indeed. Slower songs can often leave the listener uninterested, but this dynamic gives a new element to the EP as a whole and, as debuts go, has really impressed us. We'll be keeping an ear out for Nuuxs in the future as this is something really quite impressive. Having names like Paloma Faith, Lana Del Rey and Adele thrown around when your spoken about can only be a good thing and we hope that this deep and dark pop is the direction that she keeps striding in. Check out The Cry EP below: Hailing from Des Moines, Iowa in the states, Max Jury is one of the most important new talents to face the industry. Utterly effortless in demeanour, and singed with a country-esque glow, his self-titled debut studio album is an important plethora of music for your heart to weep to. In true Americana form, the depth at which Max has dived offers a truly incredible look into his self-admittant obsession with influential folk musicians such as Gram Parsons and Emmylou Harris.
With a mixture of tempos, dynamics and instrumentation throughout, it seems that Max's vocals are capable of enjoying the realms of every and any music formation. There is a sweetness to the way he sings, with a smoothness that is very much unlike anything we know and love nowadays. The closest thing we have currently is the likes of Fun. frontman, Nate Reuss, but even still his bravado is far too much and the sheer simplicity and relaxing tendencies that Max has really offer something ... dare we say it ... new for this generation. With tracks like Ella's Moonshine, you'll hear something similar to young guns like Jake Bugg or even veterans like Seasick Steve. However, in leading singles like Numb, there's a much more anthemic feel ... and a real influence from Southern American music. A soul element reigns throughout with the murmured humming backing up the entirety of the song. But even still, the whole way through there is a likeness to incredible artists like The Byrds or, more recently, Du Blonde. It is clear that this is a wonderfully mastered album, and with each track you'll find something more exciting than the last. Turning an obsession into an art can be one of the mesmerising evolutions, and we feel as though Max Jury has captured the very essence of his utmost favourite genres. This is a real triumph of an album, and allows us to hail him as one of the most exciting and important new acts in music. Do not miss out on Max's reign. |