Crystal Castles Live Review

Crystal Castles at the HMV Institute, Birmingham

Group vocals, souring choruses and head banging guitar solos can all be expected from talented London trio Luls. Favorable singles ‘Young’ and ‘Swing Low’ prove to be hits amongst the approving crowd at the HMV tonight, showing off the bands potential and already existing success.

The audience tonight displays an overwhelming (and slightly manic) excitement towards the Toronto twosome on tour with new album (|||). Demonstrating their admiration with restless chants and giant grins; by the end of the night, it isn’t hard to see why.

Setlist opener ‘Plague’ spells the room with a demonic air as the menacing thumps and shrieking- high vocals cut through the venue by lively front woman Alice Glass. Crawling on all fours cloaked in black, Glass resembles that of an exorcist- yet fans approvingly pump their fists, fixating their glance onto the petite silhouette camouflaged by smoky red flashlights. The effect is utterly thrilling.

The energy remains perfectly unrigged throughout the performance and radiated with higher intensity by band partner Ethan Kath; who coolly plays his keyboard, barely lifting his head to acknowledge the chaotic surrounding. Glass endlessly dives into a sea of arms, drinks and smokes freely onstage clearly stating she enjoys doing exactly as she pleases.

Crystal Castles eminent mixture of goth-dance and spacey electric, lo-fi triggers emotional boundaries that dance music has failed to accomplish in the past. Although the live shows aren’t for everyone, they are undoubtedly hard to forget.

Good Kid Mad City

Pocketing numerous Mixtapes, successful EPs, a staggering number of hits and collaborating with some of the biggest names in music, Kendrick Lamar has now stunned the hip-hop scene further with one of the finest albums of the year. Compton bred rapper carves out a breakaway style of his own with Good Kid M.A.A.D City; making the lingering wait for the debut album unquestionably worthwhile.

Subtitled as ‘A Short Film by Kendrick Lamar’, listeners are taken on a journey through the city that raised him. Layered with storytelling lyrics and nourished thickly with bedroom kickback beats, the talented rapper fails in hesitating or shying away from any personal experiences, throttling fans head first into his history with the tellingly, unfolding series of his formative years.

The adequate 15 track album begins with somewhat haunting ‘Sherane A.K.A Master Splinter’s Daughter’ that opens with a recited prayer by Lamar’s friends, before Lamar himself tells of a love story with Compton sweetheart Sherane. ‘Bitch Don’t Kill My Vibe’ embraces his development and changing mind, backed again with mellow, electric guitar riffs complimenting his swift and slick wordplay and revealing his impeccable, deeply thought-out lyrical strength.

‘Backseat Freestyle’ produced by Hit boy is one of the more upbeat tracks of the album, offering a more aggressive and party- dynamic ambience constructed with fun, bold spits fans will enjoy on a night out- whilst ‘The Art of Peer Pressure’ invites us into his gang activity, as he luckily escapes a police chase with friends. ‘Poetic Justice’ is composed around Janet Jackson’s classic hit ‘Anytime Anyplace’ with input from fellow elite lyricist, Drake. A smooth and sultrily sexy vibe is fashioned, highlighting it as an album favourite before it ends with a confrontational gang argument first heard in opening track, outside Sherane’s home.

The last quarter of the album introduces supplementary likely favourites with ‘Swimming Pools (Drank)’, ‘Sing About Me, I’m Dying of Thirst’ and ‘Real’ that finishes with a voicemail from his parents who define the meaning of realness, before accepting the advice and teaming up with Dr. Dre to proudly sing about his city ‘Compton’ self pro-claiming; ‘aint no city quite like mine’.

Although the album is assembled in an un-chronological order and the communication between his family and friends is sometimes indistinct, Good Kid, M.A.A.D City provides a clean and apparent account of who Kendrick Lamar is and how his hometown has shaped him- making it a cinematic success and more importantly- a refreshing breakthrough in hip-hop, adding classic depth back into the substance and hailing it undoubtedly worthy of its critical attention, ability and success. 

Azealia Banks Live Review

Hip Hop’s ever changing mores were taken a step further last September when fiery Disney princess-like character, Azealia Banks rocketed charts worldwide. Yet her self-given nicknames ‘Yung Rapunzel’ and ‘Bambi’ are a distant fairy-tale truth in comparison to her playfully crude wordplay and aggressive hip-hop spits. Judging the thriving crowd at Birmingham’s HMV tonight- this is exactly why they adore her.

Zebra Kat’z attentive presence teamed with Njena Reddd Foxxx’s sassy swag, breezily vamp up the crowd with a humorous and somewhat raunchy performance. Exotic gymnastic moves, catwalk mimics and mouthfuls of colourful language, the fierce New York rappers successfully finish their set with notable single 'Ima Read’. DJ Cosmo presents a vibrant half-hour set until the Harlem rapper takes to her stage.

Bouncing from track to track sporting her million dollar smile and Swarovski glowing bra, Banks thrust’s herself into a throttling flow that seemingly paces at a hundred miles per hour. The compressed 40-minute show switches from Fantasea mixtape and 1991 EP, highlighting Liquorice, Esta Noche and 1991 itself as crowd favourites.

‘This song may be the reason you all came out tonight’. Sparing no time, the crowd are launched into a sky-high frenzy as breakthrough single ‘212’ begins and fans thrillingly grasp the opportunity to chant the most offensive yet enjoyable lyrics in music so far.

Goodnight Lenin Live Review

The excitement bustling in the crammed room of the Hare and Hounds is hard to snub as Birmingham band, Goodnight Lenin are back in their hometown for an exclusive one night only gig. Gushing fans bearing cheesy grins and cold pints know they’re in for a treat as they gather to the front of the stage for the special evening.

Support act Mellow Peaches bring warmth to the room performing wholesome and hearty acoustic tracks to the brimming audience. They respectfully settle their enthusiasm and display gratitude to the duo’s efforts till their headlining heroes appear.

 A note is yet to be played but the delighted audience cheers regardless as Goodnight Lenin take to the stage with a thriving track list of past EP favourites, as well as introducing latest material from upcoming album with opening track; Laughter from a Younger Age.  The golden five some happily chat to fans with grounded confidence, charming everyone with plenty of between-songs banter and appreciative ‘thank yous’.

A tightly polished and high-spirited performance is dished out, reminding the audience how much the down-to-earth Brummie lads have blossomed since their YouTube kitchen kickback days, surging them head-first into unstoppable folk-fanatic success.

Goodnight Lenin Interview

Goodnight Lenin

Birmingham band GOODNIGHT LENIN make a welcome return in their home city this weekend with a headline show at the Hare & Hounds. With a new single, EP and their debut album in the pipeline, frontman John Fell tells Ivy Photiou why the time has come to show what they are really about.

“We were going out on the road ourselves and it was slowly spreading around the country, but to go on tour with someone like Beth [Jeans Houghton & The Hooves of Destiny] and performing in front of 400 people just after her album release and appearance on the Jools Holland show was an amazing expe- rience,” says frontman John Fell, reflecting on their numerous musical highlights from the past couple of years. “We did Moseley Folk festival in 2010, so going back this year to hopefully play on the main stage is a great pleasure, especially at an event like that.”

Squeezed into their bustling and seemingly never-ending touring schedule is an exclusive, one night only gig at the Hare & Hounds especially for their hometown fans. As Birmingham’s music scene flourishes with national acclaim greeting the likes of Peace, Swim Deep and Troumaca, John insists coming back to perform in Birmingham is more exciting than ever.

“It’s the most enjoyable thing,” he says. “We don’t play so often in Birmingham and we’ve done it on the basis of making sure each show is special, such as playing at the cathedrals and churches at Christmas [Goodnight Lenin performed sell-out shows at St Paul’s Church in 2010 and Birmingham Cathedral in 2011]. It’s great that Birmingham has these bands with different sounds and when you throw us into the mix as well it shows that there’s diversity — which is what this city is all about.”

Even between all the touring and EP releases, John takes great pride in revealing that the long talk of a debut Goodnight Lenin album is finally true, which thankfully seems to be just in the nick of time as he confesses fans were beginning to feel frustrated (“Which is why we chose to do the Hare & Hounds too, before we get shouted at!” he jokes).

“In October we’re releasing another single and video, December we’re releasing a winter type EP and between all that we’ll be recording our album which should be out in March next year. We’ve finally found the way we like to record now, based on a 1970s ‘playing live’ style. It will be a thicker American sound like Garfunkel and not really anything like our EPs. A lot of thought has gone into it so it will be interesting to see the reaction.”

For John, the full length album will also be a chance to carve out a breakaway sound all of their own, hopefully free from the lazy folk comparisons which have inevitably followed them, due in no small part to their emergence at the same time as the rise to stardom of modern folk sweethearts Mumford & Sons. Despite their own insistence on being more closely aligned with the likes of Elvis Perkins and classics such as Bob Dylan, John says their own album will be a chance to show what they are “all about.”

“Yeah, I think when a band is playing live and releasing the odd track, people aren’t going to get the full picture of what they’re all about. We ended up shooting ourselves in the foot by releasing the most Mumford & Sons-type songs. For some unknown reason we’ll listen to our music in the studio, agree on what we sound like and then end up not releasing it! But that’s exactly what the album is going to do. It will be a collection of songs that are exactly all about us and hopefully stop any more misleads.”

Their live shows, dashed with humour and plenty of between-song banter, and down- to-earth manner leave audiences relaxed and engaged and behind their fruitful success so far still lies an honest, earthly manner about Goodnight Lenin as they continue to set their standards high with admirable future goals, ensuring that more harmony-soaked, toe tapping, folk fun goodness can certainly be expected.

“The perception of us is quite strange sometimes; I think people think we’re a lot bigger than what we are,” John says. “Nothing but hard work goes into what we do with 14 to 15 hours a week outside work. We put a lot of effort into what we do. In terms of where we are now, I don’t think we’ve even started yet. We’ll always be trying to change and improve ourselves. Our goals next year are to mainly get the album out and just be happy with it, to play a sell-out show in Birmingham and hopefully push ourselves further into bigger festival slots with the help of the album. Just writing good music too.”

Mac Miller Live Review

Mac Miller Live at HMV Institute, Birmingham

Seven mix tapes deep and a freshly released studio album; Mac Miller has radically blossomed from small town local sensation to internet extraordinaire, pocketing impressive eight figured views on YouTube and an extremely adoring fan base along the way.

Miller explodes onto the stage with opening song ‘Blue Slide Park’. Taken aback by his incredibly energetic stage presence, hysteria is caused amongst the overexcited young crowd as Miller continues cascading them into a high tempo, dumb fun, party frenzy.

Even with a slight sound glitch that unluckily occurs in the middle of hit single ‘Loud’, Miller coolly controls the dislike by playing classic audience games and entertaining them with his zesty wit, until the technical fault is overcome and cleanly forgotten.

Demonstrating his diversity and impressive knowledge of the Hip Hop genre, Miller pays tribute to declared childhood inspiration- late Beastie Boy member MCA, adding a feel of togetherness in the room whilst K.I.D.S. mixtape favourites; ‘Nikes on my Feet’, ‘Kool Aid and Cold Pizza’ and ‘Knock Knock’ contextualizes the astounding success the youthful twenty year old already possessed barr an album.

As the show comes to an end, it isn’t difficult to acknowledge why the clone-like fans are so admirable of the street wearing, tattoo sporting, grin bearing kid. Though his music isn’t for everyone with much room for improvement, his electrical stage presence, love for performance, music and his fans are all unmistakably, first class.

The Temper Trap Live Review

The Temper Trap Live at HMV Institute, Birmingham

Touring with a set list full of unreleased material has never been a strategy that can guarantee rewarding results- but Australia’s The Temper Trap has never been a band to shy away from these kinds of risks. In a long shot, it seems to be the band’s motive in finally moving forward from their unbinding label that has lingered around extensively as the ‘Sweet Disposition’ band.

Yet, as their sell out show at the HMV Institute begins to fill with excited fans, it becomes lamentably clear that the highlight of their night will be the band’s long-tail single that has graced TV entertainment since 2009.

Blood red strobe lights swamp the venue as ‘Repeater’ begins averagely. ‘Need Your Love’ also fails to glitch the crowd’s enthusiasm. Third song in and fans are finally able to take pleasure in a song they are familiar with, gleefully clapping in sync to Dougy Mandagi’s fist clenching and heart wrenching sincere vocals to ‘Love Lost’.

Tactically placed older material conjoined with the band’s enchanting and effortless charm kept the set flowing.  Though the new album seems promising, the goofy grins that were triggered by the gig’s final song marking the band’s sweetest days, is yet to be outshined, proving that perhaps their ambling pegged name isn’t such a daunting affair after all.

Florence + The Machine Live Review

Florence + The Machine at the LG Arena, Birmingham

First support band, Spector, opens Florence + The Machine’s tour swimmingly well with familiar singles ‘What You Wanted’, ‘Chevy Thunder’ and ‘Never Fade Away’. Handsome, front man’s, Fred Macpherson’s witty banter, teamed with the band’s professional enthusiasm, demonstrates their effort to entertain and satisfy. The full audience participation establishes the bands great stage presence and already impressive fan base, asserting that they undeniably ones to watch out.

Draped in a demonic, black cape, barefooted Florence Welch takes to her very simple stage set and steadily approaches her mic. Her striking presence adds to the already gripping atmosphere- as if a curse was about to strike the venue, casting each individual under a spell that would have them helplessly magnetized under Welch’s control. 

And then it begins. Eruptions of mighty vocals are prodigiously belted out of the singer’s tiny frame, as opening song ‘Only If for a Night’ surmounts the venue. Hair raising goose bumps and spine tingling sensations are swept across the entire arena and sustained into following song, ‘What The Water Gave Me’.

The radiant, red-head finally greets her beloved fans with a gracious smile and a very shy ‘hello’. As she embraces the rapturous reception, her confidence is eventually boosted and the swallowing cape is abandoned in order to do what she does best..

Spinning, swirling and galloping across every inch of the stage, eyes are latched onto her dainty physic as she loses herself in the music like a drugged ballerina.

The crowd jump, sing and cheer to classic favorites, ‘Cosmic Love’, ‘Rabbit Heart’ and ‘Dog Days’- until the tempo slows down for successful, acoustic performances; ‘Heartlines’ and ‘Leave My Body’. Tribal drumming and rich, harp rifting, ‘No Light, No Light’ ends the gig without a glitch, leaving fans dumbstruck and totally blown away, reminding us all just how beautiful and magically moving music can be.

Outfit Live Review

Ending their seven-date, UK tour beneath the roof of Birmingham’s, Rainbow Warehouse, Outfit inconspicuously take to the stage in a smouldered, purple lit room. Resembling The Beatle’s, boy band charm, Hot-Chip’s, quirky eruptions and Steve Morrissey’s, hair raising vocals, it is vital to address that despite these correlations- this band is not to be categorised.

From the pleasant constraint of internet information, to the unpretentious and effortless performances, it is clear to see that this band ask for their audience to examine them with honesty, optimism and an open mind- creating opportunity for nothing other than sweet success.

Opening song, ‘Vehicles’ has no trouble owning the crowd’s whole attention, even those lingering aimlessly around the bar. They then hurl into second song, ‘Every Night I Dress Up As You’ before the rest of the soundtracks loop, swirl and intertwine gracefully into one another. The flawlessly synced, melodies and hypnotic, escapism atmosphere, allures the audience’s interest further. Soon enough, the entire room is completely engrossed.

The disparity between Outfit and other rock contemporys, is their refreshing approach of being themselves-nailing the entertainment factor without exerting. It’s clear to see why five piece Liverpudlians are quickly becoming the nation’s new found favourites. And the exciting part? It’s only a taster of what they’re truly made of.

Pulled Apart By Horses Interview & Review

Left to right: Lee, James, Tom and Rob

 

‘Describe yourselves in three words.’ (Pause)...‘nearly, a, band’. Laughter erupts backstage of the HMV Institute as Pulled Apart By Horses take a dig at themselves and provide an answer that was expected the very least. Yet, these three simple words also say a lot about the new poster boys of rock and roll. They are grounded, playful, humble, witty, and entirely unaware of how awesome they truly are.

Over the years, Rock music has had its fair share of highs and lows. Right now, when you think of Rock, there aren’t many bands that fully embrace that authentic, raw, hardcore sound.  Ripping guitar riffs, gravitating, burdening choruses and ear shattering vocals, seem almost, none existent. That is of course, before the release of second album, Tough Love, as Pulled Apart By Horses accidentally found themselves labelled as the latest and coolest rock band to date. Greeted by firm handshakes and beaming smiles, I sit down with Tom, Rob and Lee to find out how they felt about their new tag.

The only thing that we’ve ever called ourselves is a rock band. There aren’t many of them around anymore so it’s almost like a responsibility to keep it going. We have the opportunity to do it so were just trying as hard as we can to keep it going. Edging our way into radio is also a big deal for us because you never hear rock music on stations anymore. For us, its weird that were the only rock band that gets played on Radio 1 at four in the afternoon. Few years ago there used to be loads of rock music playing. It definitely not dead, it just goes in different cycles.

Although Tough Love was the bands second album, it has been self- described as the album that felt most like their first.

I think primarily that came from the writing of it. The first one was never written in the idea that we were ever going to record an album, we just did it to get together in a practice room to play a few shows and enjoy it. This time round it was properly thought about and we figured out what we wanted to do. We put a lot of time and effort it demos so we could figure out what it would sound like before we gave it to a producer. With the first album we were still experimenting with our gear and performing at any gig we could get our hands on. It was a short, snap document of who we were and the second one has given us a benchmark of finding out who we really are.

While the success of Tough Love seems to have given the band a more respected and appreciated status of skilful recording artists, the magic in this band will always lie within their live performances. Blood, sweat, vomiting, severe injuries and apparent fish frying, can be all expected when Pulled Apart By Horses are on tour. Their famous stage behaviour has undeniably created an out of control and reckless reputation that their fans so evidently adore and admire, but how enjoyable can injuries and throwing up really be? Tom quickly protests.

It’s not enjoyable at all! It’s really embarrassing! Before we play I always get really nervous and phsyc myself out and as soon as we start playing, the adrenaline buzz and excitement kicks in. I’ve just pushed it too hard in the past, jumped around too much to the point of no return but the crowd just cheers. We just completely loose ourselves when were playing.

Rob chips in. Whenever he does it though he goes in the corner and starts going- uh I’ve been sick all over the carpet!

So...it’s not on purpose then?

Doing stuff on purpose to get the crowd going doesn’t work. It’s all spontaneous, we don’t think about anything when were up there. We completely loose ourselves in the moment.

And the best part about touring?

We’re all loving the UK tour at the minute but we all love the European touring too. It’s a total adventure. There’s more you can get away with as well. We do go out and party a lot more when were in Europe. You need to seize the moment, it’s like a quest!

The interview breaks into more laughter as Tom babbles on about being on a real life quest and Rob jokes about not taking any clothes on tour, instead, just a suit of armour and a sword. After a few more giggles about whom the biggest prankster is (James likes to run around Hotels hiding his downstairs area with nothing but shaving foam. Tom likes to think of himself of the next Ashton Cutcher) and silly debates of who pulls the most girls, (Lee is a big hit with the slightly larger females), the not so professional interview draws to an end as it’s time for them to take to the stage in order to do what they’re known to do best.

Opening classic and all time favourite ‘I Punched a Lion In Throat’ tears the venue apart as the thrilled and over-excited fans begin to mosh wildly, lapping up the band’s powerful energy, enjoying every beating minute possible.

The energy persists right through to the very end, a very polite Tom exclaiming ‘Cheers!’ after every song and chatting to the audience as if each individual was an old pal. Without a doubt, there lies something very special and profoundly unique about Pulled Apart By Horses. They love what they do and never fail to do it at its very best, whether on a stage or in a recording studio. It pays off- taking into account they’re extremely loyal fan base and ever-growing fame. A band that adores rock music and delivers talented, real, feel-good, rock music the industry was so desperately in need of, and on that note; Pulled Apart By Horses are utterly amazing.

Album single, V.E.N.O.M. Tough Love Out Now

Errors Interview & Live Review

Left to right, Simon, Steev and James

Thanks to the extraordinary and downright awesome, third album, Have Some Faith in Magic, Errors have already had an incredible start to the New Year, even after a highly strenuous 2011. With the departure of their guitarist, Greg Paterson in October, followed by their studio roof collapsing months before the release date of their new track, it’s easily guessed that tensions ran high for the Scottish threesome.  I meet main-brain, Stephen ‘Steev’ Livingstone, to sit down and find out what it was really like for them behind closed doors.

It’s important to highlight that Have Some Faith in Magic is the start of a new beginning for Errors. The time it took them to get to this point is certainly disheartening, considering they formed an extensive eight years ago. Yet, it is also a great escalation from the viciously unbending comparisons of label bosses; Mogwai. Have Some Faith in Magic wasn’t exactly the album fans were waiting for, more so the album they had hoped would eventually come along. The album that would at last, collapse the boring and indolent shadow that unfairly loomed over the undervalued band. Did this cause frustration or relief? Steev happily explains.

‘To me, I’ve always thought we were different, right from the start. There are elements of Mogwai in our music, but there are also elements of loads of different things. For me, it just seemed like people were being lazy because they’d see the link between Rock Action began by Mogwai and us. The music we make has never seemed like it was a Mogwai album. It is good that people are hopefully starting to forget about that. It has been a slight burden, every review would begin with Mogwai, but they’ve helped us a lot so I don’t want to criticize them.’

The breakthrough of this appears to be the transformation of taking their musical image and talent more proficiently.  It’s Not Something But It’s Like Whatever and Come Down With Me, could be described as the two ‘experimental’ albums - music from a band still in the process of defining their own sound. And now- after developing from ‘post-electro’ to ‘pop-electro’, the birth of a braver, tighter and most significantly, distinguishing album is born.

Of course, along with this charismatic, new sound comes the string of overwhelming, kind words. In fact - it’s almost impossible to find a bad word to describe the album. The question was raised whether or not attention is paid towards these reviews. Are they essential, valued or merely brushed aside?

‘It’s really encouraging. We get sent every single review that ever gets written, even down to little regional things, so I see everything and I choose to read it all. I care about what people think about our music. I think it would be weird to be doing things and being ignorant about it. That would be foolish.’

The most enjoyable part of the album is the use of vocals- not that anyone is likely to sing along. Smartly created as part of the music, the Gregorian style chants and heavily distorted effects are beautifully synced with the floaty keyboards and complex guitar passages. Curiosity overcame of whether this was planned, or naturally generated.

‘We kind of made the decision before.’  Taking a thirsty gulp of his beer and pushing his trademark, oversized, round glasses up his nose, Steev carries on. ‘There are little tiny bits of vocals in the last record but its way in the background, you can barely hear them so we kind of toyed about with that. Until recently we hadn’t found a way of using vocals that we were happy with because we didn’t want to have prominent vocals. I don’t really like the idea of people being able to tell what the lyrics are. So yeah I guess we were waiting for that point where it felt right and it fell in place for this record.’

So can we expect actual lyrics in forthcoming albums or will their lyrics always be a part of the music? In his notable Glaswegian accent, Steev persists. ‘I can’t really say how that’s going to go at the moment because the next record won’t be until the next two years or so. I wouldn’t like to say we’ll never do that because originally, when we first started, I said in an interview we would never use vocals. You should never say never because who knows what’s going to happen. We’re always going to be trying something different...we’re never going to settle with doing one thing and that’s why every record has been different.’

The saddening departure of Greg had a shattering effect on the band as Steev reminisces. ‘He would always be the one on the bus making us laugh and now we’re dealing with him not being around.’ Instead of mopping around and missing a friend, Steev took it upon himself to seize control to ensure their music didn’t lose its quality. This led to Steev juggling between playing the keys and guitars, as well as performing vocals...a daunting prospect for any professional musician. ‘Yeah the touring thing has been difficult but he didn’t necessarily leave. It was more of a case of him having other commitments and not being able to be in a band as well. There are no hard feelings, he’s still a pal but we are slowly adjusting and its getting easier.’

Fortunately, their hard graft, endeavour and commitment in the previous year, has rewarded them massively. Have Some Faith in Magic is a liberating, explosion of organic sounds, blended perfectly together with swallowing vocals and ever-changing tempos, making a delicious cocktail of mind-blowing music that sounds even more captivating live. As they take to the stage, Steev is endlessly thankful towards the audience, maintaining his modesty and gratitude. They are truly fascinating to watch. The audience latch their eyes onto Simon, who is in a world of his own, drowning himself in the music and lapping up the invigorating atmosphere. James’ aggressive, drum playing is striking to say the least as he gives his absolute all with nothing but his bare hands, a pair of wooden drum sticks and whole load of hair whipping. As for Steev’s multi-tasking between a variety of instruments (without misplacing a single beat)- it can only be described as something astonishing.

The whole performance is dazzling and the audience leave mesmerized with more respect than ever before for Errors. From this point on, regardless of whatever else is thrown at them it’s clear to see that Errors, are in complete control and can no longer do any wrong.

Have Some Faith In Magic available now.

Machines on Fire

UK rock band, Yellowire, have done significantly well for themselves regarding they formed in 2010 and have so far, toured America, performed at countless festivals, as well as have their songs played on radio stations as far afield as Dubai. Impressive- as is their album.

Ten track debut album, Machines on Fire is indulgent and passionate that swiftly and effortlessly swirls around you, filling the entire room with nothing but warmth and serenity. It captivates, without overpowering- a technique heard very little in music today.  With the uplifting ability to take you as far away from reality as possible, (think classic, American movie, sunny road trip to the middle of nowhere), it will undoubtedly put you at complete ease, even after the most miserable of days.

Ol Beach’s rich, gravelly, vocals are a faultless match to the rough-pitched, stringy drums and folk- tapping melodies. (Now think dark, handsome, rock star with hair healthier looking than yours, driving you to the middle of nowhere...that’s him.) An album you can quite happily leave on repeat for hours whilst getting on with your daily routine. It prides itself in variety and appealing on a range of different levels. Although the diversity is good, it is however, too generic.

The album includes the happy-go-lucky, pop rock tune, Starlife followed by the fast- tempo and rebellious, Machines on Fire. Set You Free is out-of- date, and predictable, that’s energetic, but lacks depth. Then we have the reggae-like and quite frankly, ‘summery’ track, Where is Summer; a curveball that sounds like it was plucked randomly from another album; but nevertheless, hugely enjoyable. Towards the end it becomes slow and reflective; unfortunately resulting in forgetting you even had it playing in the first place.

Machines On Fire isn’t groundbreaking or one of a kind, but that isn’t always vital in a successful album. Yellowire have managed to produce a gracious, cool and gratifying soundtrack. Whether you want to blast it in the car, pop it on as completing your essay or tune out whilst relaxing at the park with a little glass of something- it’s certainly the perfect album if you merely want to lose yourself in some real, feel-good music.

Born to Die

It wouldn’t be unreasonable to describe Lana Del Rey as a product. New name, new image and new sound, all skilfully constructed and carefully combined to reinvent another primp and perfect, Hollywood clone. Straight away, she sounds like our worst nightmare- yet it was a simple, stand-alone single that made the rich, blank-stared and filthy pouted singer, one of the leading new acts of 2012. The pop-star’s internet viral, Video Games immediately had us gripped. Her hypnotic, seductive vocals became an addiction as we found ourselves hitting the replay button, over and over, until every little detail and note was exceptionally appreciated.

Then the question of whether or not this botoxed beauty is the real deal. How long will she stick around for? Surely there must be further reasoning behind boastfully, self-proclaiming herself as the ‘gangsta Nancy Sinatra’. Her debut album as Lana Del Rey, Born to Die, is where all her talent is unleashed.

Born to Die is lovesick and sad, yet completely sensual and gripping. It should have been a recipe for disaster, considering the endless, clichéd lyrics and repetitive storytelling of her incapability of living without her other half. Instead, the catchy hip-hop beats, mixed with vintage vocals make it utterly irresistible- as her whole persona. Summertime Sadness and Dark Paradise are lingering soundscapes that complement singles, Born to Die and Video Games. Then we have the quirky, head-bopping tune, Off to the Races before the smart and shallow, National Anthem, as she becomes America itself rather than the American, bad-girl-in-love she portrays throughout the album.

Del Rey has produced a rich and wonderfully groomed masterpiece, overflowed with raw emotion, making accusations of false advertising, gossip about surgery and Daddy’s money totally irrelevant. She contains an incredible ability to slip from lazy, deep-toned smugness to high-note heartbreak, all in the same, stunning melody. Oozing with femme fatale and a notable vocal to match, she’s gracefully proved herself to anyone who ever doubted her. Lana Del Rey, is in fact, here to stay.