Florence & The Machine: Lungs

Every year the media seem to select an upcoming artist, and focus all the promotional effort and hype equipment on that one act. Florence Leontine Mary Welch and her accomplished machine seem to be this years fairly worthy benefactors.

Despite being a fairly modern upbeat poppy album, there’s a bit of a dark, sometimes disturbing and almost gothic thread running through the piece.

For example the well jolly little domestic violence ditty, “Kiss With A Fist” is entertaining and is hopefully tongue-in-cheek enough to ensure its message is not misconstrued.

Brett Anderson: Slow Attack

As with last year’s enchanting “Wilderness”, the pop hooks and sleek guitar solos of Andersons Suede days are shelved in favour of more pastoral piano and cello pieces with slight orchestration. Anderson’s instantly recognisable voice fits beautifully with this delicate chamber pop and songs like “The Hunted” and “Julian’s Eyes” perfectly demonstrate how successful it can be. However, for me, the album as a whole falls slightly short of its predecessor.

The XX: The XX

An intriguing debut from this London 3-piece. I was going to say 4-piece, but one of them is knackered already and gone for quick lie down. Bless.

The crisp clean repetitive and swirly guitars give a sort of early Cure or minimal Goth flavour enhanced by the seductive boy-girl lead vocal thing.

I like it.

Madness: The Liberty of Norton Folgate

Now that Chas and Dave have hung up their trilbies, Madness are cashing in on their Camden roots with a corking cockney classic.

I always saw Madness as masters of the 3-minute singles charts, but was a little more weary of their album output. Especially after such a long break, there’s always a worry of a reformation in order to bolster the pension fund. However, don’t be put off by such notions, this is a genuine classic Madness album.

The Liberty of Norton Folgate takes you around the streets of London on a musical journey with plenty of evidence of the old nutty-ness mixed in with musical and lyrical maturity.

A genuine and extremely pleasant surprise.

Röyksopp: Junior

Röyksopp are a brace of modern upbeat, Jean Michelle Jarre’s and their 3rd studio release provides a rather satisfactory aural happy slapping compared to my habitual dour preferences.

The Norwegian duo seems to have picked up the baton from French duo Air, whose 1998 breakthrough “Moon Safari” set the standard for this sub genre of modern electronica.

Echo & The Bunnymen: The Fountain

Ever since Rick from the Young Ones addressed his letter of complaint to the lead singer of Echo and the Bunnymen, I’ve been a fan of Ian McCulloch and his merry band of Scouse rabiteers.

However, if you’ve yet to buy an Echo and the Bunnymen album (and you really should), this is not the place to start. The album is instantly recognizable as an Echo album, but it’s a completely uninspiring set of mediocre songs covered in a dull coat of Coldplay production.

The lyrical puns embed in “Shroud of Turin” are so cringing it makes the song hard to listen to. Things do however pick up on the upbeat “Proxy” and the contemplative “Idolness of Gods” that closes the album

A great band sadly treading water.

The Editors: In This Light and On This Evening

I must confess to making the mistake of prejudging this album. I was expecting the well worked out commercially successful, but often bland indie rock standard formula to be adhered in order to maximise sales. I am however delighted to hear that this album has far more interest and originality than I anticipated.

Despite the vocals on many tracks sounding rather like a cross between Gene Pitney and Vic Reeves’ pub singer, I have to confess that this is a most agreeable album.

Although, it might be an idea to listen to the tracks in reverse order, as I reckon the tracks at the arse end of the album out shine the openers. In fact, better still, start off with, “Eat Raw Meat = Blood Drool” as its wobbly bouncing rhythm and sing-a-long chorus should certainly engage your enthusiasm.

Arctic Monkeys: Humbug

Admitedly a lot of pop culture passes me by unseen. However, even I couldn’t help notice the fanfare accompanying the release of the first two Arctic Monkeys albums. I was therefore fairly surprised when perusing the Amazon web site for some new audio delights, that there was in fact a third Arctic Monkeys album available that I was previously unaware of.

The distinctive thick bass and modern crisp and edgy guitars of Humbug’s brace of predesors are certainly still in evidence on this third offering, but it seems as though Alex Turner has also retained some of the suave 60’s sophistication of last year’s “Last Shadow Puppets” album.

I always enjoy a few good euphemisms in my lyrics, so I was of course delighted with album opener “My Propeller” which is basically a simple ode to Alex’s cock. The album lyrics in general though reflect the change in lifestyle that the success of the first two albums has afforded the band. The sharp working class humour has thankfully not been lost but reflects the circles that the band now move in.

So I’m not sure if there was less hype or if I jussed missed it, but either way the content is well worthwhile.

Try and seek out a copy with the Japanese bonus track, a nice cover of Nice Cave’s Red Right Hand.

Recommended.

Paramore: Brand New Eyes

In previews reviews I’ve waxed lyrical about albums that I’ve bought blind, and then been delighted to discover a great new band. Well I took a punt on this album with that in mind, but sadly it didn’t pay off on this occasion.

Prefab Sprout: Let’s Change The World With Music

Perhaps it’s because I haven’t listened to any Prefab Sprout since the 80’s, but this album has a very strong 80’s essence. Apart from a couple of exceptions, Paddy McAloon doesn’t seem to have done an awful lot since the 80’s either, and this new album of dated material (mainly composed of “lost” stuff from 1993) has certainly not been remixed for a new 21st century audience.

Actually I was never really much of fan of Prefab Sprout in the 80’s to start with. If it wasn’t for the fact that they came from a nearby village to where I lived at the time in Durham, I probably wouldn’t have bothered. But this finally completed new set of songs has received much critical success so it would be rude not to give it a go.

The album is a concept covering the largest and most profound topics. The opening track starts off with the Big Bang and the topic of religion is frequently pondered throughout the album. “Ride” kicks off with a funky bass-line that could have accompanied an Art of Noise hit. But most of the album is a more sedate affair with tracks like “I Love Music”, which has a sort of 80’s, Jazzy, Broadway, Christmassy sort of thing going on, which I find quite agreeable.

Ian Brown: My Way

Ex Stone Roses front man and bipedal ape, Ian Brown, returns with his 6th solo offering. I really enjoyed Brown’s first two solo albums so I’ve kept with him, but despite retaining those familiar vocals, still undistinguishable from the Stone Roses’ classic debut, I’m left pondering what could have been.

Without John Squire on guitar, Brown, as the album title suggests, does it his way, and that way invariably involves synthesisers, loops and processed beats. There’s nothing wrong with stretching the boundaries and looking to take things in a new direction but Brown seems to have set off without a map and consequently I’m not really sure where he is right now.

Opening track “Stellify” is engaging enough with its boppy keyboard and energy levels are retained with the equally bouncy “Just Like You”.

Brown’s cover of “In the year 2525” is not terribly dissimilar to the original which make it instantly likeable, but I prefer my cover versions to add a new dimension rather than just being a facsimile.

The remainder of the album fails to provide anything to really engage me. Perhaps the most memorable thing will be the truly awful album cover. Is there a prize for worst album cover ever? If so, this has to be in the running.

Tori Amos: Abnormally Attracted to Sin

I’ve had this album on my iPod / iPhone / iWhateverAppletellmetobuynext, for a couple months now so that I can listen to it and finally get around to writing this bloody review.

Every time I put it on and listen to the album's opening with its beautiful production and intriguing style I think to myself, this is bloody brilliant, why don’t I listen to this album more often.

Then all of a sudden I’m on track 6 or 7 and I realise that my attention has been lost and my brain has drifted off somewhere else thinking about some tedious acceptance test scripts or something else equally mundane.

I refocus, on the music, and yes it still sounds great, oh listen, there’s a really nice subtle guitar solo and that bit sound like Kate Bush, then, hang on I’m thinking about rewriting a Monty Python sketch in order to poke fun at some alternative medical treatment and stopped listening again. Bugger

I have no idea why this record can’t hold my attention. Perhaps if you can concentrate better than me you’ll be able to appreciate it. I'm sure its really good if I didn't have the attention span of Homer Simpson at the Opera.

Kasabian: West Ryder Pauper Lunatic Asylum

Today’s album review is brought to you by the medium of Excel Charts. I have ranked the first three Kasabian and Kaiser Chiefs albums and determined the following trend lines for both bands:



As can clearly be seen, despite a strong opening album by the Kaiser Chiefs, the gradual steady increase in quality of Kasabian’s output has caused the trend lines to cross in 2006 now giving them a clear lead .

Good work lads, great album. Stand out tracks include:

Underdog
Where Did Our Love Go?
Fast Fuse
Take Aim (which includes a synthesiser that is evocative of Jeff Wayne’s Martians)
West Ryder Silver Bullet
Fire

Jarvis Cocker: Further Complications

This is easily Cocker’s best work since Pulp released Different Class way back in 1995. Cocker’s distinctive voice ensures there’s plenty of Pulp parallels in this album, but there’s a stronger, quirkier and perhaps rockier thing going on here too that evoke early Roxy Music albums, especially tracks like “Homewrecker!”

“Leftover” contains my favourite opening lyric of the year so far: “I met her at the museum of palaeontology. And I make no bones about it”. The song has a very Pulp-like chorus consisting of a pause followed by three sharp drumbeats that you just have to drum along to. If you see someone on the tube hitting an invisible drum in the air three times in quick succession, chances are there listening to this song on their iPod. This track also includes the following line that also tickled me: “He says he loves you like a sister, well I guess, I guess that’s relative”.

The title track and album opener is a fast paced romp with an uncomplicated recurring guitar riff. The guitar riff and slow wind down at the end of the track reminded me a little of the first Devo album. Anybody else out there buy that?

“Angela” is very much an old school sub 3-minute rock number with Jagger styled handclaps and lashings of treble.

I’m no going to go through all the tracks here but “Pilchard”, Fuckingsong” are also superb. This is a buyer not just a free downloader from The Pirate Bay.

Depeche Mode: Sounds Of The Universe

This album has been on my review pending list for over a month now, but every-time I make the effort to listen to it, I can’t really think of much to say about it. There’s not a lot to get excited about and conversely there’s nothing worth getting too upset over, or ranting about as I am occasionally prone to do. The one track that retained a few reminders of their heyday (Violator and Songs of Faith and Devotion), is “Wrong”, but now I’ve written this short review of it, I can’t really envisage myself revisiting it that often. If you’re a dyed-in-the-wool Depeche Mode fan than I’m sure you’ll like it, if not, this is probably not the album that will change your mind.

Yeah Yeah Yeahs: It’s Blitz!

There is one stand-out corking bouncy instant hit on this album in “Heads Will Roll”. It’s a likeable mixture of old school rock augmented with more clubbing beats than a beach full of seal pups. As Karen O sings out “Off, Off, with head, dance, dance till your dead” to a euphoric rhythm it’s hard not to get swept along with her. Sadly for me the rest of the album has looped around several times on my iPod and all the other tracks have failed to grab my attention.

With the exception “Heads Will Roll” I’m surprised that I’m not a little more enamoured by an album produced by Nick Launay whose previous clients include Talking Heads, PiL, Nick Cave and Arcade Fire. Maybe there’s just too much emphasis on courting the dance-floor instead of the mosh-pit for my tastes.

Bob Dylan: Together Through Life

There’s no doubting that Bob Dylan has released some truly seminal albums. “Highway 61 Revisited”, “Blonde on Blonde”, “Blood on the Tracks” and “Desire” are all unequivocal musical masterpieces.

Although his musical quality took a steep nose dive in the late 70’s early 80’s (curiously enough, the period where he became a born-again Christian, compelling evidence indeed to support the hypothesis that the Devil has all the best music), he has however had a late blooming purple patch with recent albums like “ Time Out Of Mind”, “Love and Theft” and even “Modern Times”

The professional critics' reviews that I have read for Dylan’s latest album all provide glowing endorsements for this recent work. Maybe they’re right, or perhaps they’re so in awe of the genius that created those aforementioned works of art, that they have failed to mention that the emperor is inclined to occasionally wonder around stark bollock naked.

I’m not suggesting that this is not a good album, there are indeed some great new songs on here, but I still think the package as a whole is a bit of a mixed bag. Accordion player, David Hidalgo, has a constant presence on this album but despite his talent, for me, he outstays his welcome.

Dylan is at his best on this new album with tracks like “Forgetful Heart”, “My Wife’s Hometown” and “Shake Shake Mama” where he opts for a more unadulterated blues formula. Conversely he’s at his most irksome on tracks like “Life is Hard” where the semi-spoken and strained vocals grumble over a painfully slow rhythm.

Bat For Lashes: Two Suns

Bat For Lashes is a pseudonym for Natasha Khan and “Two Suns” is her second studio album following on form her 2006 Mercury nominated “Fur and Gold”. Before reviewing the actual music, here’s a copy and paste from the press release of “Two Suns” harvested from Wikipedia:

"a record of modern-day fables exploring dualities on a number of levels – two lovers, two planets, two sides of a personality," bringing reflection about "the philosophy of the self and duality, examining the need for both chaos and balance, for both love and pain, in addition to touching on metaphysical ideas concerning the connections between all existence."

I’ve read and re-read the above quote a number of times now and it still makes no sense to me. Perhaps it’s because I have an allergy to words like “metaphysical” as I favour empiricist principles and more logical based philosophies. Maybe I’m just on a lower astral plane than Natasha (whatever that means), but I don’t really want to get hung up it; I’m far more interested in the musical and lyrical content of the album itself.

“Moon and Moon” combines piano and vocals in an elegant piece that must surely be a homage to Tori Amos. “Daniel” on the other hand is more in the style of Stevie Nicks with the softer vocals. To complete my trio of female musical references I would have to compare both songs with the world “sleep” in their title with Kate Bush.

As a dedicated fan of both Kate Bush and Tori Amos these are not comparisons I throw around lightly. Although I instantly appreciated her voice, her musical style and the great production of the album, it didn’t immediately produce that sonic spark that ignites that explosion of musical cerebral pleasure. However having now given it a few more listens it is becoming a real pleasure.

Official Secrets Act: Understanding Electricity

“Understanding Electricity” is a great debut album that provides a perfect platform for the Official Secrets Act to become a major new force in 2009. Despite being an original and contemporary album, it still evokes some early 80’s déjà-vu for me

“Mainstream” is an upbeat opener that confirms the 1982 nostalgia with a synthesiser that makes the same sound that the video game, Phoenix, used to make when one of the birds would break formation and hover around in a hard to shoot way before dive bombing your spaceship kamikaze style and taking the pair of you out.

“The Girl from the BBC” has a very catchy riff and lyric that makes it a prime candidate for a radio friendly sing-a-long single.

“A Head for Herod” builds slowly with a pulsing guitar not dissimilar to the opening track on the last Kings of Leon album. The slow paced 6+ minute track continues with its harmonic backing vocals and promises a big finish that never really materialises.

“Momentary Sanctuary” has swirling progressive keyboards that might have been easily attributed to Jean-Michel Jarre over a train like rhythm before fading out with acoustic guitars, violins and running water. Which reminds me I’ll be back in a minute, I just need to do something first.

“Bloodsport” is my favourite track on the album with its New Romantic keyboard licks enclosing the soft choral vocals. I’m still not convinced this wasn’t a big hit in 1982 that I just missed.

Starsailor: All The Plans

Being inspired by Jeff Buckley’s “Grace” album and the energy and originality of that early 90’s Brit Pop sound is a good starting point for a bunch of young musician from Wigan. Their debut album of 2001 came out to much acclaim, but the enthusiasm of the music press seemed to wane somewhat for the second and third albums. Many suggest that this 4th album puts them back on track.

Three of the key tracks for me on this album are “The Thames”, “Stars and Stripes” and “Neon Sky”. “The Thames” in particular allows lead singer, James Walsh to live up to his moniker of “The Wigan Wailer”. While “Stars and Stripes” is another slower guitar led track with lyrics worthy of a little contemplation. “Neon Sky” is a grander affair with hints of the Verve.

Although it’s a perfectly decent album, this particular genre seems to be heavily saturated with numerous decent acts at the moment still riding Coldplay’s coat tails. Something a bit more special is required to make any band stand out from the vast pack of guitar and piano indie rock bands available, This album certainly makes Starsailor one of the front runners, but is it enough?

As much as I’m currently enjoying the album I suspect there’s not enough here to keep me coming back after the next batch of new releases arrive through the door.