Listen to this! The Wharves - Renew

Sweet little single from these guys for their upcoming album At Bay.

https://www.youtube.com/watch?v=Mh_Afusv2Sc

Royal Blood – S/T [Alternative Rock]

Release Date August 25^th 2014

Thank God for Royal Blood! Finally, a chart topping rock band that isn’t Biffy Clyro, The Foo Fighters, or The Arctic Monkeys; despite sharing the same management as the croon-rockers from Sheffield, Royal Blood’s balls-out big riffs and stripped back approach is a far cry from songs about “cuddles in the kitchen”.

Drawing upon some of Blues Rock’s and Alt-rock’s biggest heroes; Muse, Queens of the Stone Age, early White Stripes, The Black Keys, and of course Death From Above 1979, Brightonians Mike Kerr and Ben Thatcher have pissed all over claims that rock is dead with nothing more than a bass, some drums and some effects pedals.

Straight off the bat with the opener Out of the Black we’re treated to a pounding staccato intro, crooning verses, and a chorus with a riff that just won’t quit. Mike Kerr’s bass tones are rich, powerful and his instrumental chops leave no room for a guitar, it’s just not needed. It’s much the same for most of the album; big riff + big sound = FUN.

The second track, Come on Over, keeps up the pace with a blistering tap-style opening riff, and drops down to a milder verse before the infectiously catchy chorus. Mike Kerr’s polished vocals provide a nice juxtaposition to the aggressive instrumentation as he cries;

“So come on over! Yeah! Well there's no god and I don't really care!”

The catchiest song here by far is Figure it Out, as Mike’s vocal and bass melodies intertwine to create a groove so infectious you may have to listen to it in quarantine, before launching into a Songs for the Deaf inspired race to the finish. It should really come with a sticker saying “WARNING: Listening to this while driving may cause you to crash into a building, just for fun!”

Tracks like Figure it Out have the 15 year old boy in me banging his head and wetting his pants with excitement, but it’s the quieter moments on this album that showcase the band’s versatility; a difficult thing to achieve when you’re working with just two instruments. The middle of the album, with tracks You Can be so Cruel and Blood Hands, shows off the band’s dynamic ability, with drummer Ben Thatcher providing some nice lighter touches, providing moments of calm before he gets back to smashing his kit like the all mighty Thor.

There are very few bells and whistles on this album, with most of the tracks recorded in one take. The only sonic addition I’ve noticed is the sounds of coins falling at the end of Loose Change. Despite this approach the album’s production is well-polished, avoiding a lo-fidelity approached to sound a lot like Icky Thump era White Stripes on tracks like Careless, or even early CKY on Ten Tonne Skeleton.

At 32 minutes the band doesn’t beat around the bush, the album is more meat and two veg than nouvelle cuisine; “Here’s ya steak! Here’s ya fries! Shut up and eat it, quickly!” While many bands like to end an album with something a little slower or experimental, the closer on here Better Strangers, is fantastic, but it doesn’t sound like a closer. On a short album it isn’t too much of a problem, but the album does seem to finish a little abruptly, and I wonder if these two will be able to provide much in the way of variety for future releases.

Aside from being a little one-dimensional, this is a fantastic album; raw and fun from start to finish, with an aggressive, groovy sound, killer riffs and tightly wound performances which 

leave your jaw rattling around by your shoes.

[8/10]

Listen to this! NehruvianDOOM - OM [Hip-Hop]

Whenever MF DOOM is about to drop a project, my pants get a little wet, my palms start sweating, and mom's spaghetti etc. Coming out mid-late September is NehruvianDOOM, featuring DOOM on production and Bishop Nehru on MC duties. Listen to the latest joint from the metal faced villain and his young buddy using the link below.

https://www.youtube.com/watch?v=PkWMpDdLe6s

Matt Townsend & The Wonder of the World – S/T [Folk-Rock]

Release date 23^rd June 2014

So, I’ve been out of action for a while, but I've been busy alright!? Enjoying myself and drinking and looking at stuff, it is summer after all.

So with that out of the way, let’s get reviewing!

Matt Townsend is a singer-songwriter from Asheville, North Carolina (though originally from Vermont), who along with his band The Wonder of the World produces lyrically focused, poppy, folk-rock with a bit of a country twist. Using their local success to crowdsource the album's production, Matt and his band released their self-titled debut on bandcamp in late June.

Straight into the first track Seventh Song, we’re treated to the classic Americana Folk combination of a sweetly strummed guitar backed by organs, glassy lap-pedal guitars, and harmonicas; all supporting Matt’s drawly southern twang. Straight away, I felt as if I’d been transported to some “locals only” bar in Nashville, where the barman serves whiskey and rye and listens to your troubles, while he cleans a glass tumbler with a dirty cloth.

It’s as American as apple pie, a delicious apple pie at that.

The country influence is fairly strong on The Wonder of the World but this is more Bob Dylan than it is Conway Twiddy, and Matt has the song writing chops and the voice to carry it off with style.

Skipping onto the third track, Hollow City (Free me to my Soul), and Matt’s lyrics really begin to shine; a haunting tale of a struggle-of-faith, the narrator walks through a city of “skyscrapers filled with sheep” as the bizarre monotony of modern life takes its toll on his beliefs. As the verse moves to the first chorus, Matt croons:

“Though I know the tides they come and go, but still I’m burning for some light now to show”

Here, Matt describes those feelings of doubt and depression perfectly; even though you are fully aware that the good times will come after the bad, it doesn’t make your current emotional state feel any less hopeless. Matt wonderfully sums up his feelings with the final chorus line:

“I’m staring at the ceiling begging, burning for a reason to believe”

Despite these moments of brilliant insight, Matt does fall into the trap of folk clichés a little too often; lyrics concerning angels, stars, the sky, souls and heaven aren't exactly anything new in folk music, and for every line that leaves me awestruck, there’s another line that leaves a cheesy taste in my mouth. I can’t see this putting many country and folk fans off this album, it is part of the charm after all, but those looking for ground breaking lyrical content may find this record a little too traditional for their tastes. However, those actively looking for a traditional sound will be thrilled at the extra level of vision Matt adds to the genre’s archetype.

I do have to point out a couple more flaws here, despite very professional performances the production just doesn’t quite hit the mark, and a couple of the songs are a little too long; the chorus of Takin’ a Moment for example becomes a bit redundant by the third time it comes around. Despite these few small issues, every song on here is well written and delivered with passion and sincerity. If you’re already a folk and country fan then this is absolutely for you, but if not, give this album a try, it might just change your mind.

If you fancy a slice of the pie, click here for Matt's bandcamp and name your price.

[7/10]

Listen to this! Young Thug, Freddie Gibbs & A$AP Ferg - Old English

What more is their to say? Three of today's hottest MC's on an eerie, yet bouncy track. Freddie is spitting HARD on this one.

https://soundcloud.com/massappeal/young-thug-freddie-gibbs-asap-ferg-old-english/s-WKhLO

Listen to this! Three Days Dark - Hey! [Psychedelic rock]

So this guy just followed me on twitter. Never heard of him before, but I love this track, and from what I can gather, he does all the instrumentation, singing, and production himself. Just downloaded his album from bandcamp and a full review may be on the way once I've had a proper listen.

In the meantime, give Hey! a listen and see what you think or download his album (you choose what you pay).

https://soundcloud.com/threedaysdark/hey

http://threedaysdark.bandcamp.com/

Clipping - CLPPNG [Hip-Hop/Experimental]

Release date 10^th June 2014

It’s been a while. But you don’t want any excuses from me.

SOOOOooooooooooo…….

Clipping are an experimental hip-hop trio hailing from the west coast consisting of Jonathan Snipes, William Hudson and MC Daveed Diggs. They dropped an album called Midcity last year and their sound embraces elements of noise and industrial music, but not to the same extremes as groups like Death Grips, instead taking a more accessible and "poppy" approach.

I’d never heard of these guys until someone posted a link of their single Work Work on twitter, so it’s hard for me to comment on how Clipping have developed as a group. Nonetheless, this experimental hip-hop trio have created one hell of a buzz with the release of their second full length CLPPNG.

The album kicks off with an ear splitting high pitched electronic whine, while rapper Daveed Diggs spits fast and hard, relentlessly lamenting the state of the streets:

“Ghosts on the avenue were talking to theyselves,

Somebody been selling them dreams again,

Breathe again, the breeze is full of trees again,

The beast buried under the streets is ‘bout to,

Leave the den of thieves and hooligans.”

He never pauses, and the pace of the album’s intro combined with the feedback and white noise sounds like some sort of pirate transmission, you feel like Diggs is going to get pulled off the air at any moment, and the sense of urgency is as compelling as the lyrics. This is achieved without a single kick or snare.

Immediately, I was impressed.

More transmission noises and feedback rattle around before the start of Body and Blood, a track which tells the story of a psychotic black widow seducing her victims, before drugging them, cutting them up with chainsaws and taking some lovely polaroids of the severed heads.

Did I mention this album is a little on the dark side?

The pounding, distorted kick drum stands almost completely alone at the start of this track, only accompanied by more industrial schreeches and whines. The track progresses excellently, with more and more elements tastefully added as it plays on.

But it’s the verses that really make this track and indeed the whole album; I’m new to Clipping, but I already consider Daveed Diggs one of my favourite all time rappers. His flow is relentless and fast, and his pace, delivery, and his obvious passion make him an incredibly addictive listen, I can only image how fantastic this guy is live.

The third track on here, Work Work, is the album’s lead single for good reason. It has to be one of the catchiest tracks I’ve heard in a long time. I’m not a big fan of hooks in hip-hop, but after one listen I was strutting around repeating “Get that work, make that work work” like a giddy teenager. It’s a single which has everything, great narrative, a catchy hook, deep bass, and fantastic production. Work Work manages to expertly straddle the line between mainstream and experimental; just dark enough to be interesting, just fun enough to play at the club. The narrative isn’t anything especially new to hip-hop, it’s another tale about turning to crime when there are few other options available, but the quality of the story's delivery is undeniable. Cocc Pistol Cree features on here with a great verse too, proving herself to be a very capable and interesting MC, and I’m looking forward to hearing more of her stuff in future.

Another great feature on CLPPNG is none other than King Tee, who spits on Summertime. For those who don’t know who he is, check him out, this is the guy who influenced Notorious BIG’s flow style and has been a hip hop legend since the late 80s.

The sounds and production on CLPPNG are so rich you can almost taste them; thick, distorted bass sounds, synths that drip with texture, and various metallic percussion, feedback and industrial noise all combined to make an expertly produced album that still sounds raw and lo-fi. To me, it tastes like blood and pennies.

Mmm….

There are one or two weak spots on this album, not all of the hooks are on par with Work Work or Body and Blood, and Tonight features some pretty bad autotune singing from Gangstar Boo, but then again I’m not a fan of autotune in most cases.

One of my favourite tracks on here is Story 2, a sequel to Story from the group’s first album Midcity which comes in at number 11. At just over a minute long, the track is a brief moment of mad genius; Digg’s manages to work a captivating story about a young arsonist dwelling on his crimes into a glitchy ¾ instrumental, set to the tune of video game style synthesisers.

Overall this has shaped up to be one of the best hip-hop albums I’ve heard this year, it may even be one of the best albums of any genre that I’ve ever heard. The production is deep and textured, and rewards repeated listens with more and more sound. The performances are passionate, and the stories told are captivating.

But for me, for an album to be truly great, it has to strike the right balance between experimentation and familiarity. Luckily for Clipping, CLPPNG does this with passion, style and grace.

[9/10]