No Mythologies to Follow

Bikini Daze left countless critics and pop lovers giddy with excitement of what was yet to come from the deserving talent in Denmark’s MØ. Since the energetic strut of ‘Pilgrim’ and catchy brass hooks of Diplo collaborated ‘XXX 8’ graced our ears last year, No Mythologies to Follow couldn’t have come any sooner. As predicted, it doesn’t disappoint, making the eager anticipation and high expectations surrounding it, totally justifiable.

Captivating from the beginning, opener ‘Fire Rides’ is grasping from its first pulse of booming drums, all while MØ’s distinct, sultry vocals swirl perfectly amongst the glitchy guitars and sparse electronic melodies. The eerie, party-dynamic ambience of ‘Waste of Time’ is followed by bitter-sweet, love song ‘Dust is Gone,’ a stunningly lulling and elegant play underpinned by a heart-wrenching vocals and vaporous instrumentation. ‘Dust is Gone’ immediately reflects the dreamy, 50s-like, vintage-esque vocals of Lana Del Rey, reminding us that MØ can break your heart as well as free it on the dance floor.

The mixture of style in No Mythologies to Follow is a demonstration of MØ’s dissimilar strands of identity, tied together to create an explosion of dynamic yet subtle sublime. It jumps from pulsating pop, to icy electro, to soulful high-note heartbreak with breathtaking effortlessness, setting the Danish talent remotely apart from other pop contemporaries and ending on a piece of art that is very nearly, close to perfection.

Machineries of Joy

Whether it’s their bizarre, dis-ordinary lyricism, signature stage antics or experimentally unique sound, Indie troubadours British Sea Power have always had something profoundly special about them. Five sturdy albums later, the Brighton-based six pack whisk up yet another likeable success with colourful and thrilling show-piece Machineries of Joy.

“We’d like to think the album is warm and restorative,” says singer Yan. “Various things are touched on in the words –. The world often seems a mad, hysterical place at the moment. You can’t really be oblivious to that, but we’d like the record to be an antidote – a nice game of cards in pleasant company.” Considering the dense, dreamy rhythms of ‘Hail Holy Mary’, ghostly, stirring vocals in ‘A Light above Descending’ and sweeping, guitar-pop synths unravelled in ‘Spring Has Sprung’; front man Yan hits the nail on the head, sinking the band into persistent unruffled progress.

Six-minute-long title track opens the album perfectly before shifting effortlessly into feel-good-fun, rock anthem ‘K Hole’. Tracks such as ‘Loving Animals ’and ‘Monsters of Sunderland’ encompass the band’s previous visceral and obscure style whilst ending song, ‘When a Warm Wind Blows Through the Glass’ gives an eerie, lingering close to the album, placing it distinctively out of line with current Rock and Indie sounds of modern day music and arguably making Machineries of Joy BSP’S most favourable piece of work yet.

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. 

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.