Track of the Week: The 1975 - 'Robbers'

image: thelineofbestfit.com

The 1975 are like marmite- you either love them or you hate them. Anyone who knows me well enough will be fully aware that the Wilmslow four piece are a band extremely close to my heart, having been a fan since the days of them playing under the pseudonym of Bigsleep, and so I find it ridiculously unimaginable how anyone could dislike their witty yet gritty lyrics and unbelievably catchy hooks.

'Robbers,' which was written way back in 2008, is the most recent release from the band's eponymous debut album and they've only gone and made one of the best videos I've ever seen to accompany the track that has become somewhat a cult 1975 fan favourite over the years.

Anyone who has seen The 1975 live before will be aware that 'Robbers' is a love song, given the fact that frontman Matty almost always introduces it with a clichéd "this next one's a love song" speech. However, upon the release of its brand new video, Matty has revealed that the song in question was "inspired by [his] love of the Quentin Tarantino film 'True Romance.'" This not only made me love the track even more, seeing as True Romance is one of my favourite films of all time, but it also allowed me to gain a whole new understanding of the lyrics, which continue to stick out as one of the bands most appealing attributes.

The video sees a modern take on the classic Tarantino film with scenes outrightly replicating it- take the cinema scene for instance, or even Matty's floral shirt and his partner-in-crime's leopard print get up. Although, the fundamental narrative of the video is essentially an armed heist that inevitably goes wrong, as expressed within the lyrics.

So perhaps the track's title was slightly more literal than we presumed, however, this does not take away from the thoughtful nature of the lyrics and the emotionally rife manner in which Matty sings them. Whether you like The 1975 or not, this track is without a doubt one of their best yet and the video most certainly does it justice.

Watch the video for 'Robbers' below.

Review: Damon Albarn - Everyday Robots

Undoubtedly, Damon Albarn is one of the most influential figures in modern music. A Britpop pioneer; who paved the way for a list of bands as long as my arm, a musical innovator and collaborator; as proved by his work with Gorillaz and The Good, The Bad and The Queen, and now a solo artist whose song writing capabilities, much like a fine cheese or a leather jacket, have seemingly got better with age.

Lyrically, the entire LP centres on a sort of autobiographical reflection of Albarn’s 46 years. Whether it’s his childhood spent in Leytonstone, the heat wave of 1976, ‘Hollow Ponds’, or his encounters with baby elephants in Tanzania, ‘Mr Tembo’), almost every aspect receives an in-depth analysis on the album in question.

The album’s title track introduces another recurring theme throughout Everyday Robots; the idea that technology is swiftly taking over our lives. Maybe Albarn is simply showing his age, but with lyrics evoking ideas of our obligation to document even the most trivial aspects of our daily lives on social networking sites, we can only be left to cerebrate “he’s got a point”. ‘Hostiles’ reiterates this idea of technological oppression with imagery of the hostility, surprisingly, and passive aggressive nature of video gaming; whereas ‘Lonely Press Play’ explores similar issues concerning our reliance on virtual symbols in our everyday lives, as expressed in the title.

The overall sound we’re presented with on Everyday Robots remains minimal and understated throughout the entire album. However, spells of excitement do occur from time to time. Take the unusual ongoing violin riff of the title track for example, or the atypical introductory guitar and sombre vocals of ‘The History of a Cheating Heart’. The album’s lack of melody is made up for on ‘Heavy Seas of Love’ which takes a more anthemic turn from previous tracks on the record as a result of its uplifting piano and climactic choric vocals.

So from the Britpop days of Blur to a long-awaited solo album, Damon Albarn has assuredly proved to be a jack-of-all-trades. It’s safe to say that back when Blur burst out of London in 1991, nobody would have expected an output quite like this, but then again it’s certainly not the first time he’s gone out of his way to prove that he is a master of the unexpected.

Written for PostMusicDepression.

Introducing: Only Real

image: barrygruff.com

Niall Gavin, a.k.a Only Real, has been knocking about for over two years now, putting out stellar tunes which are defined by being young and carefree with a summer-infused zest seeping through every chord. His baritone rap/sung vocal style is comparable to the likes of King Krule but it is clear that when it comes to sounds, Only Real is much more focused on creating groovy hooks and laidback basslines which all sound magnificent when bound together by an underlying sense of hip-hop.

He has recently re-released one of his earliest tracks 'Cadillac Girl' which can only be described as one of those songs you constantly go back to after hearing it, without mundanity. It's the hazy, summery guitars and angst ridden lyricism that make this track the masterpiece that it is.

Fans of Jamie T should love Only Real.

Watch the video for Only Real's new single 'Cadillac Girl' below.

Track of the Week: Bombay Bicycle Club - 'To the Bone'

image: theguardian.com

Earlier this year, Bombay Bicycle Club released their fourth studio album. Much like its predecessors, So Long, See You Tomorrow saw the London based quintet undergo yet another reinvention in sound as they entered seemingly more electronic territory. However, ‘To the Bone’; a B-Side released by the band as part of Record Store Day, wouldn’t sound out of place on their sophomore album, Flaws.

The unmistakeably folk-style intro sounds awfully reminiscent of the acoustic overload we heard on 2010’s ‘Flaws’, with emphasis placed on the guitar and Jack Steadman’s melancholic murmurs. The sparse nature of the track seems to completely contradict the band’s recent revamp- take ‘Carry Me’ as a prime example, with its garish electronic undertone and brash drums- though this is by no means a bad thing. The band have already acknowledged the fact that they “weren’t sure how to fit (‘To the Bone’) on the album,” so it seems as though Record Store Day was the perfect opportunity to release the beautifully minimal track to their adoring fans.

So, for those who weren’t overly keen on Bombay’s most recent venture, you only have to give ‘To the Bone’ a listen to realise their alt-folk alter-egos haven’t been abandoned just yet.

Written for PostMusicDepression.

Album of the Week: Foals - CCTV Sessions

image: foals.co.uk

Foals. A band I have had a pretty unnerving obsession with since my pre-teenage years. From the math-rock pandemonium of 'Antidotes,' made to be played to a bunch of wired, barely legals shuffling at an Oxford house party, to the matured, momentous and slightly vulnerable instrumentals of 'Total Life Forever' which seemed to completely contradict its predecessor. Then came 'Holy Fire' which saw the Oxford quintet put their O.C.D to rest, ditching the clinical, over-analysed instrumentals and elaborate metaphorical lyrics- resulting in possibly their most credible pursuit to date. Now, headlining festivals and the Royal Albert Hall, it is clear that Yannis & Co. have successfully nestled their way into the hearts of the people, but there is one Foals endeavour in particular that I feel is astonishingly overlooked...

In the run up to their highly anticipated third album, Foals recorded a CCTV video series of themselves performing six album tracks and later released a limited number of these in vinyl format as part of Record Store Day last year. The outcome is nothing short of outstanding. From the minimal, sparse guitars of 'Milk & Black Spiders' to the uplifting tenor of Bad Habit' with it's incredible lyrics of self-loathing- each and every track beholds a certain air of preciousness and delicacy that wasn't necessarily encapsulated on the finished LP. 'Bluebird' a track that (oddly) doesn't make an appearance on 'Holy Fire' itself, sounds exquisite on this rarity, with a stunning introductory guitar line and enchanting sparse chords that oscillate beautifully throughout the entire track. 

I am aware that this isn't an 'album' as such, but it's all I've been listening to lately after rediscovering it on one of my procrastination sprees. If you haven't already done so, get listening to the whole series of tracks and prepare to be dazzled by a blur of haunting instrumentals and Yannis's dreamy vocals

Watch the 'Milk & Black Spiders' CCTV session below. 

Track of the Week: Peace - 'Money'

image: thisisfakediy.com

If 2013 taught us one thing; it was that there is assuredly something jubilant in the depths of Birmingham's water supply. A prime example of B-town's triumph in breeding up some of the most exciting newcomers in the world of music? Peace. From the moment we heard Bloodshake it was crystal clear that we were onto something. The audacious tribal-style drums, the riff of all riffs, the ridiculously catchy chorus and all those 'oooooh's.' Over twelve months later, with a sophomore album on the way, the unlikely Brummie four piece have surpassed all expectations and it's safe to say they are now sounding like mainstage material.

Greeted with an unusually sophisticated guitar hook, we're immediately swept away by Peace's brand spanking sound that's certainly had a revamp on the maturity front- but do not fear, those signature Britpop inspired drums that we heard on 'Waste of Paint' and 'Follow Baby' haven't gone walkabouts and despite the cultivation in sound, Peace have definitely not lost their mojo when it comes to conjuring up the catchiest of choruses. Frontman, Harrison Koisser has certainly upped his vocal game as he croons, in a kind of sung-speech manner, witty lyrics of consumerism and the materialistic nature of the twenty-first century- proving particularly high pitched as he quips "find me something new to chew on."

So, to say Birmingham's finest have raised the bar would be a slight understatement. With tracks like this alongside World Pleasure which was released earlier this year, expectations of the upcoming album couldn't be any higher...

Watch the video for Peace's new single 'Money' below.

Peace's new single, 'Money,' is out now. 

Details of their second album are yet to be confirmed.

Review: Haim - 'If I Could Change Your Mind'

image: clashmusic.com

2013 saw Este, Alana and Danielle Haim release their debut album ‘Days are Gone‘; full to the brim with shimmering summer anthems with a lingering Californian zest and a pungent sense of girl-power. Six months later, the Haim sisters are onto the release of the fifth single from their critically acclaimed LP and it proves to be just another nod at the LA based trio’s impeccable versatility.

Unlike Haim’s back catalogue of sun-kissed guitar melodies, ‘If I Could Change Your Mind’ greets us with nostalgic synths and a distinct staccato baseline- showcasing the band’s ‘old-meets-new’ pitch perfectly. With an unmistakably 80’s, soft rock sound and an underlying sense of old school R&B, the girls have managed to encapsulate their ‘female-empowerment’ streak without losing that California coolness we witnessed on tracks like ‘Forever’ and ‘Don’t Save Me’. If this track doesn’t leave you with an irrevocable longing for a sun-drenched beach holiday I don’t know what will.

Written for PostMusicDepression.

Review: Mac DeMarco - Salad Days

That’s right, the king of easy listening, Mac DeMarco, is back with album number three and it seems his level of maturity has been sufficiently upped. From the slightly ominous back alleys of his 2012 LP, ‘Rock and Roll Night Club,’ characterised by its barbarically baritone vocals, to the imaginatively titled ‘2,’ in which DeMarco had explored resolutely more melodic territory- it is clear that the Brooklyn based songwriter has upped his game on his third pursuit ‘Salad Days.’

On the surface, ‘Salad Days’ offers a romanticised, summer-infused perspective on that bluesy-stoner-rock genre the Canadian musician has seemingly got down to a tee. His laid back, “slacker” style is instantly addressed on the LP’s title track, with its quirky central riff and equally as wacky vocals in a track that owes much to that of the fifties rockabilly era, juxtaposed by angst ridden lyricism. ‘Jonny’s Odyssey’ corresponds, in a bluesy blur of lazy drums and a very vintage guitar line that oscillates throughout. Aside from the jerky instrumentals that are heavily apparent on the album, ‘Salad Days’ certainly beholds its fair share of romantic slow jams. Take ‘Brother’ for example, with its seductive opening guitars, steady drums and thoughtful lyrics. ‘Let my Baby Stay’ sounding equally as thoughtful, with a sparse instrumental paired with enough “ooh ah’s” to reduce the most robust of men to tears. Whereas ‘Treat her Better’ sees the British-Columbia native take on the role of a marriage councillor, with lyrics evoking that of a drippy love song- though the incredible choric guitar riff prevents the track from becoming too cynical.

Though DeMarco is primarily a master of the good old-fashioned guitar track, it appears he has been embracing a wider range of musical elements on certain tracks within this album. Such tracks include ‘Chamber of Reflection’ which could undoubtedly put up a good fight for the most credible four minutes of the entire LP. With a relatively simple keyboard sequence that sounds lavishly remarkable amidst the slow paced drums and superior, polished vocals compared with the majority of DeMarco’s easy-going, rough cut back catalogue. ‘Passing out Pieces’ also sees DeMarco stray from that predominant guitar sound, with chintzy synths and a vocal style claiming resonance of raw, nineties Britpop.

On the whole, I thoroughly enjoyed Mac DeMarco’s third helping of self-loathing and half-hearted love songs, though the LP is not something I would choose to listen to all in one go; unless of course I was looking for a soundtrack to my occasional teenage sobbing outbursts. Although no one can deny his capabilities when it comes to honest lyricism, and that beloved seven year old guitar he supposedly purchased for thirty dollars.

Written for PostMusicDepression.

Review: The Orwells - 'Let it Burn'

image: cincymusic.com

Chicago’s very own garage rock pundits, The Orwells’, most recent endeavour comes in the form of the third new cut to be taken from their upcoming sophomore album ‘Disgraceland’- and boy does it bite.

‘Let it Burn’ is the perfect encapsulation of what The Orwells’ are about. That scuzzy sound that dominated their 2012 debut ‘Remember When’ is assuredly paid homage to on this hard-hitting track. With a heavy yet melodic three chord intro that runs through the entire three minutes or so, making for what I imagine to be an impeccable crowd pleaser- given the masses of festival appearances and tour dates the band are set to play over the next 12 months.

That rough-around-the-edges charm that has become somewhat an Orwells’ trademark has certainly been adhered to on this punchy, riff-ridden track, resonant of late nineties-early noughties grunge pandemonium. Who’d have thought a song about the perils of Gonorrhoea would be so very remarkable?

Written for PostMusicDepression.