There Is No Other Time

"This record is very much about the present, an emotionally honest album about technological and personal progression,” brags Klaxon’s drummer, Jamie Reynolds to NME. Here, ‘present’ really means ‘insignificant’ and ‘technological’ is now a copy-and-paste remix edition of an outdated and monotonous club track. It seems then, The Klaxons, who once dazzled music critics and fans with their masterpiece debut in 2007, haven’t progressed in the slightest. Seven years on and a tepid second album later, things are relentlessly looking bleak if ‘There is No Other Time’ is anything to go by. What once was a band jammed with dense elements, quirky lyrics and exhilarating musical ideas, is now a band producing irritating, catchy-but-in-a-bad-way music that quite frankly, belongs nowhere else but Eurovision song contest.

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.

Arabella

Sporting slick new haircuts and debonair suits to compliment their evolved sound, AM was the album that saw the Arctic Monkeys grow into real, cutting-edge, forefront artists; making their shabby, punk-rock past an almost unrecognisable and distant memory.

Fourth track ‘Arabella’, distinguishes itself as the cornerstone of the album, showcasing the bands knack for lyricism and rhythm that made them successful in the first place. Turner’s wry and witty wordplay is as dazzling as it was seven years ago, as he seductively slurs, “Arabella's got some interstellar gator skin boots, and a helter skelter round her little finger and I ride it endlessly.” The opening is a slow-burner, accumulated of lazy, hip-hop undertones and sinister, simmering grooves rushed into hefty, hard-edged rock, packed with choppy guitar work and chunky riffs that are a reminiscence of their Favourite Worst Nightmare days.

‘Arabella’ is smart and randy, simultaneously oozing with wickedness and sex appeal, showcasing everything the Arctic Monkeys know they’re good at, only upgraded and touched by a stroke of genius, leaving the rest of us hungry for more.

Bad Weather EP

Already famous for their energetic live performances, (which needless to say challenge even the most rigid of people), thriving three-piece Youth Man have single-handedly encapsulated everything Birmingham music has been applauded for. Now, with brand new EP recorded and produced in just a week, Bad Weather is fortunately, just as fun and explosive as the band's previous work...only of course, better.

Opening track Heavy Rain evokes notions of uneasiness. Teases of stirring, rousing guitar riffs are accumulated before listeners are throttled unremorsefully into rasping, head-banging heaven.  Adam’s thick layers of bass guitar and Kaila’s visceral vocal attack combine spectacularly, all meanwhile Marcus’ heavy drums cut and punch through the air, showcasing the threesomes indisputable musical talent.

Insipid is short and experimental- clocking in at just under a minute and a half cleverly exaggerates the tracks powerful energy. Third track Salt is dark and lingering, as front woman Kaila menacingly utters slow, sinister lyrics sandwiched between outbreaks of high tempo-ed, noise rock. Finally, the record is bought to an end by Wide Awake. A lengthy, slow-burner, completely spellbinding and gripping down to the very last cord, asserting itself as the most impressive track on the album and proving that Youth Man and their music, are nothing short of brilliant.

Download Bad Weather Here: https://youthman.bandcamp.com/album/bad-weather-ep

See them live at their album launch party: The Sunflower Lounge Birmingham  (Saturday 23^{rd November)}

The 1975 Live Review

Since 2012’s Facedown EP, alternative rock band, The 1975 have gatecrashed ‘Ones To Watch’ lists everywhere. Influenced by a range of musicians as well as admirers of hip-hop princess Iggy Azalea, it’s no surprise their music broods from crisp 80s pop, slick R‘n’B and lingering punk, assembling the newbies as centrepieces of modern music today.

Four EPs later, the Manchester quartet have became Radio 1’s current sweethearts and are now continuously facing sell-out-crowds, one of them including Birmingham’s Institute tonight. A brave move is made as the set is filled with unknown songs from their upcoming debut album. The crowd remain quiet and appreciative till livening up to recognisable favourites.

'Robbers' is a lush love song full of looping guitar riffs and heart-wrenching ballads, while 'Settle Down' is a perfect summer soundtrack full of bouncy electrics, just right for the festival season. The smart decision of saving the best ’til last pays off, as the set is an unrelenting success, ending on a high as 'Chocolate' and 'Sex' burst into life, injecting the crowd with the energy for dancing. 'You' is a performed with raw passion, leaving the audience clinging onto every lyric and pause, amplifying it as the most precious and emotional moment of the set so far.

Frontman Matty Healy is humbled and charmingly snaps a picture of his posing bunch before departing the stage. Dismissing the disappointing half-hour-late appearance which resulted in some fans leaving early to catch their trains home, tonight showcases a small but special gig very few were lucky enough to experience before undoubtedly seeing a band like this progress onto bigger and better things.

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.

Jake Bugg Live Review

Whipping up a number one debut album, nominated for British Breakthrough Act of 2013 and having already toured with some of music’s biggest talents 18-year-olds could only ever dream of, Nottingham lad Jake Bugg has become the infectious newcomer at the buzz of everyone’s lips and after tonight’s enthralling performance, it isn’t hard to see why.

Swaggering on stage to Robert Johnsons’ Cross Road Blues hints himself a position in the folk-blues family, besides a certainly impressive musical knowledge. The sold-out crowd consisting of excited teenage girls as well as middle-aged, Paul Weller lookalikes, validates Bugg’s revamped, sixties rock appeal…a cross between Bob Dylan and Alex Turner, an old soul in an extremely young body with an undeniably special gift.

Kentucky and Trouble Town begin the persistently brilliant night combined of acoustic numbers and chart topping singles. Older tracks, 'Someone Told Me', 'Country Song' and 'Some Place' showcase his unique, gritty vocals that channel goose bumps throughout the entire venue.

Imaginably, through lack of experience or intimidation, Bugg barely moves or speaks to his audience; unfortunately indicating a lack of enthusiasm- yet, judging the crowd’s passionate applauds and wholehearted chants, the stripped down performance focusing entirely on talent proves to be more than enough. Bugg is at the beginning of his career and with upward progression- tonight is merely a hint of what he is truly capable of, making the unassuming teen the most exhilarating affair for music so far.