Arctic Monkeys - "Leave Before The Lights Come On"
The Newell Octet - "Baby I'm Yours"
Review: A brand new studio recording of the now live smash "Leave Before The Lights Come On" shows Alex Turner and gang further honing their songwriting craft with a track which could well turn out to be one of their finest.
Review: Alien Stadium is a collaborative project comprised of Martin Duffy of Primal Scream and Felt, and Steve Mason of The Beta Band. 'Livin' In Elizabethan Times' is an audacious and oddball cosmic rock concept mini-LP about a comically underwhelming invasion of drunkard aliens. As well as the sheer unadulterated fun of the record, the amount of dense and inventive genre-melting the pair have managed to cram into these four tracks is astonishing - dropping in theremins, sound effects, militaristic horns and much more when you least expect them. They set an interplanetary course from twanging and stomping bluesy opener 'This One's For The Humans', through hypnotic balearic-ish bleep and orchestrated retro-futurist pop, to the huge cosmic disco closer 'Titanic Dance'. At first glance, it's an unashamedly silly and fun offering, but repeat listens will reveal these maverick veterans have woven in far deeper layers of commentary humour and substance.
Review: Considered by many to be one of the best live albums of all time, 'At Fillmore East' the classic album by the Allman Brothers, recorded at the
pinnacle of their success, was a huge hit for the band. In 1971 the Allman Brothers were already one of the most popular groups in America,
but by the time this album hit the streets their brand of Southern rock had become a national obsession. One of Rolling Stones' '500 greatest
albums of all time', it was the band's last with guitar hero Duane Allman who was killed in a motorcycle accident later that year.
Review: For a band big enough to sell out Madison Square Garden, Alt-J still come across as refreshingly strange proposition, flirting with grandstanding euphoria just as easily as folk-tinged introspection. True to form, on the one hand 'Relaxer' is the sound of the band throwing everything but the kitchen sink - including choirs, orchestras and computer game influences alike - into their delirious melange. Yet on the other there's the same melodic lilt and reflective grace that first endeared them to a surprisingly enormous fanbase five years ago, and the sense of a band as alarmingly ambitious as they are unafraid to be intimate.
Last Year (feat GoldLink - Terrace Martin version) (4:07)
Pleader (feat PJ Sin Suela - Trooko version) (4:36)
3WW (feat Lomepal - Lomepal version) (3:09)
In Cold Blood (feat Kontra K - Kontra K version) (3:35)
Hit Me Like That Snare (feat Rejjie Snow - Rejjie Snow version) (2:56)
Review: Leeds in the UK has been responsible for quite a few of the worlds most loved bands, and alongside the Kaiser Chiefs, Soft Cell and even The Sisters Of Mercy, there's Alt J. As Mercury prize winners in 2012, their meteoric rise to the top sees them with three albums in their wake, and this Reduxer package is an aptly named alternative of sorts to last year's Relaxer LP. With street rhymes and urban beats nestling up alongside strokes of synth pop and Joe Newman's melancholic crooning, heavy collaborations come in from contemporary hip hop artists like Pusha T and Danny Brown. They don't, however, steal the show from the huge range of other vocal talent to be taken in, like Little Simz' devastating opening gambits to the more lyrically exotic affairs from Lomepal and PJ Sin Suela. Crashing style and genre like no one's business.
Review: Should you find yourself in continental Europe, or the little islands surrounding it, you may be feeling a sense of the autumnal blues upon the release of this European Heartbreak LP. It's far from a morose and downcast listen though, with the choral of Annelotte de Graaf's voice a shining light to lead you through the trepidation of winter. On top of her two law degrees and work for the international war crimes tribunal, this latest opus provides her with a second album following Fading Lines of 2016, and expect spells of tatty pop intertwined with boops and breathy vocals that meet with subtle brass instrumentation, pianos and folky practices, all sung with a slight smug and smirk of discontent.
Hjalmar Larusson & Jonbjorn Gislason - "Jomsvikingarimur - Yta Eigi Feldi Ror." (1:15)
Julianna Barwick - "Forever" (5:30)
Koreless - "Last Remnants" (4:22)
Odesza - "How Did I Get Here" (instrumental) (2:00)
Anois - "A Noise" (4:10)
Samaris - "Gooa Tungl" (4:08)
Olafur Arnalds - "RGB" (4:36)
Rival Consoles - "Pre" (5:14)
Jai Paul - "Jasmine" (demo) (4:11)
Four Tet - "Lion" (Jamie Xx remix) (6:52)
James Blake - "Our Love Comes Back" (3:39)
Spooky Black - "Pull" (4:13)
Colin Stetson & Sarah Neufeld - "And Still They Move" (2:55)
Olafur Arnalds - "Say My Name" (feat Arnor Dan) (5:38)
Kiasmos - "Orgoned" (5:57)
Olafur Arnalds - "Kinesthesia" (1:44)
Hjaltalin - "Ethereal" (6:32)
David Tennant - "Undone" (3:51)
Review: Icelandic classical, experimental and soundtrack composer Olafur Arnalds steps away from the loops and Broadchurch OSTs to conjure yet another sublime LNT saga. Carefully balancing between contemporary odysseys ("Jomsvikingarimur"), dense futuristic electronic weaves ("Last Remnants"), fuzzy 22nd century pop ("A Noise") sludgy cosmic funk ("Jasmine") and introspective soul ("Our Love Comes Back"), Olafur blows wave after woozy wave of soft sonic conjurations in a way that's broad, detailed and cleverly considered. Good night.