Review: The Neighbourhood - Wiped Out!

image: coogradio.com

Defined by their remarkably well received debut album, 2013's I Love You, The Neighbourhood had big boots to fill on their sophomore pursuit. The sun-drenched introductory chords of 'Sweater Weather' instantly sprang to mind. But it seems, after spinning Wiped Out! a couple of times, that it certainly wasn't just a lucky fifteen minutes.

I have to say, after hearing 2014's '#icanteven,' I sincerely doubted the band's new direction. Although Jesse Rutherford's vocal has always swerved more towards R&B territory, juxtaposed by the band's alternative aesthetic and instrumental style, I thought sticking a hashtag at the beginning of a track title and roping in French Montana was a step too far. Luckily for me however, Wiped Out! reverts back to their much loved debut, although it does come off much more melodic and a bit poppy... But I like it...

The album kicks off with 'A Moment of Silence.' Which literally is 30 seconds of silence. Not entirely sure if that was a production fault or what but when track two, 'Prey,' kicks in, it's pretty clear that The Neighbourhood are back with their laid-back Californian catchiness. The hook seems much more commercial than anything they've ever done before but the slow-building outro almost reminds me of one of my favourite tracks from their debut, 'Float.'

That commercialism is reiterated in 'Cry Baby' which almost sounds like, minus a few guitars, it could be sang by a pop princess and be at the top spot for a good 10 weeks. However, The Neighbourhood's effortlessly cool demeanour and their way with laid-back guitar lines stops the track from coming off as cheesy. It could even be one of the most credible moments on the entire LP.

While the album's title track is a bit of a let down, bar it's guitar solo a few minutes in, there are plenty of tracks that follow that manage to salvage the album's back end. 'Daddy Issues' a hazy, electronic summer-infused slow jam, touching on the recurring theme of heartache and angst, maintains that refreshing summer sound they became renowned for back in 2013. 'Single' follows suit and is possibly my favourite moment on the album, despite the fact that it is probably the most radio-friendly, commercialised pop tune on the record, it just works really well when accompanied by loved up lyrics ("can you let your baby be my girl?"). I'm also a huge fan of the unforeseen drop 2:12 minutes in.

The LP comes to a melancholy yet undeniably cool culmination with 'R.I.P. 2 My Youth.' A sassy balladry track with angsty lyrics all on that oh so familiar subject of losing grip on the good old days and, regrettably, growing the fuck up. You know it's definitely The Neighbourhood when Rutherford croons "wrap me up in Chanel inside my coffin." #Sass.

Wiped Out! is certainly an impressive comeback. I can't really name one track which really lets the LP down - which is always a good sign. Although The Neighbourhood aren't doing anything particularly innovative or exciting for the music scene, they're certainly consistent in delivering their own brand of ridiculously cool guitar R&B; a genre that is very often far from cool.

Review: Foals - 'What Went Down'

image: diymag.com

 Around seven years ago, Oxford four piece Foals implemented a brand new twist on alternative music as we knew it. Transforming the guitar focused monotony of bands like The Kooks and Snow Patrol and hitting us with their own brand of jerky experimental math-rock that went against all commercial frame-works for the 'indie' genre that once seemed so limited and just plain boring. Elaborate metaphorical lyrics touching on tennis and Greek airlines set them apart from any band we'd ever heard before. It's unusual for bands to sound so original and so far away from their influences but Foals certainly managed that with ease.

Total Life Forever was a total transformation, with much more sophisticated and demure sounding instrumentals and much more matter-of-fact lyrics. Holy Fire expanded this newfound air of sophistication yet it still felt like a huge progression, and if the title track of their upcoming fourth album is anything to go by, this one will be too.

A tense keyboard drone opens the track before Yannis Philippakis murmurs "I buried my heart in a hole in the ground," suggesting yet more primal, ritualistic themes await us on their highly anticipated fourth pursuit. The true extent of the track's almighty grit isn't immediately apparent but as soon as you hear the scuzzy riff that accompanies the hard-hitting chorus amidst hostile lyrics, "when I see a man I see a liar,' Foals' new identity becomes crystal clear. Philippakis revealed in an interview that he has embraced his "inner madman" on this record and this track is the embodiment of a man brimming with pent-up aggression and hostility. The vocals are unrelenting and belligerent- almost a man possessed; a complete antithesis from the restrained coos of 'Late Night' and 'Bad Habit.'

'What Went Down' in some ways comes as a surprise when compared to Foals' stellar back catalogue but when you listen closely, its clear that tracks such as 'Providence' and 'Inhaler' were building up to this heavy, bruttish moment which the boys have always had in them. This track captures the energy and endearment of their live performance perfectly and I predict a few broken bones as they embark on their next UK tour which is yet to be announced.

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Review: Slaves - 'Cheer Up London'

image: theguardian.com

Famed for their rash, unadulterated punk sound, Slaves' brand new single 'Cheer up London,' fits into their growing back catalogue perfectly. Opening with an evil cackle and a signature Slaves guitar line, their angsty sound is instantly addressed. Even more so when the lyrics come in; "put another 0 on your paycheque, are you done diggin' your grave yet?" spoken in an unmistakable Tunbridge-Wells accent. Emphatically reiterated as Isaac Holman and Laurie Vincent repeatedly screech "you're dead already" in unison. Such a pleasant track.

Slaves' dark, almost humorous sound certainly sets them apart. Take when Holman tells London to "cheer up" and "mind the gap" towards the end for example. Slaves are certainly a band who aren't taking themselves too seriously or sticking to any strict rules. A refreshing change in my book.

Track of the Week: Tall Ships - 'Will to Life'

image: diymag.com

Having been off the radar for the best part of three years, Tall Ships are back with a succession of incredible new material in the run up to the release of their sophomore album. The newest addition to their repertoire: 'Will to Life.' 

This track is a busy concoction of jaunty post-punk drums and melodic guitars. When paired with powerful yet restrained vocals telling wonderful lyrics, the outcome is nothing short of superb. It's a real feel-good track with a sing-alongable quality that doesn't come naturally to a lot of musicians. Tall Ships, however, make it sound effortless.

Review: Circa Waves - Young Chasers

image: hitthefloor.com

In a world where guitar-pop only comes diluted with reverb-soaked psychedelia or synth-driven R&B slants, Circa Waves are a much needed antidote to the mix-and-match genre generation. It's surprising how good a simple, whole-hearted pop song played on a guitar can sound without boasting any gimmicks- and Young Chasers provides us with plenty.

'Get Away,' The LP's opener and their very first single as a band, puts forward their no-nonsense, fun-filled, summer-sounding ethos perfectly; suspenseful guitars exploding into an exasperatingly infectious chorus that was made to be played as loud as possible as the sun beats down your neck. 'T-Shirt' weather is another one we can expect will go down exceptionally well on this year's festival circuit, with more classic guitar melodies and an even catchier chorus; expect to have "I remember T-Shirt weather" ringing in your ears if you're hitting up R&L, Glasto or one of the many other festival appearances the Liverpudlian four piece will be making later this year.

'Deserve This' provides brief respite from the fast-paced, jaunty instrumentals and hard-hitting choruses but it isn't long until the album's title track kicks off with relentless guitars and choric lyrics you won't be able to refrain from uttering. 'Stuck In My Teeth,' however, is possibly my favourite 3 minutes on the entire record. A childlike guitar line that takes me back to the early days of the Wombats and the like provides the basis for the track, along with lyrics we can all relate to ("I'm a little too young with not enough time"), the track soars from its poppy intro to its powerful chorus.

'Talking Out Loud' brings things to a close and it's another truly credible moment on the LP. "Can you come on come on now? It's not like you're talking out loud" persists your brain after hearing it once.

Overall, I've been really impressed by Circa Waves' debut album. Some tracks sound as if they've been taken straight from the Strokes' discography, a la 'The Luck Has Gone,' but who cares? Circa Waves may be a product of their influences but that doesn't take away the fun of their debut album which, in my opinion, is epic in its own right. I expect a Catfish & the Bottlemen style rise for these boys over the next 12 months.

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