Foals - Mountain At My Gates track review

 When Foals announced their fourth studio album ‘What Went Down’, there was an immediate sense of excitement and quite rightly so after the success and greatness of their previous record ‘Holy Fire’; (which for me was the best album of 2013 hands down.) the first track Foals revealed was the titular one of the upcoming album ‘What Went Down’, a taste of the heavier side of Foals similar in some ways to ‘Inhaler’ and everyone took to it right away.

Ahead of their upcoming fourth LP foals have unveiled a second track alongside ‘What Went Down’, the indie five piece from oxford have now released ‘Mountain At My Gates’ and to say the least its superb. Less heavy than the first single, but equally as powerful. ‘Mountain at my gates’ is full of catchy hooks and explosive vocals, this really is Foals at their best.

Starting with a typical Foals rift and subdued vocals, it all springs to life very with a heavy drum beat and suddenly Yannis goes all aggressive and it takes you back. It really does show Foals’ pedigree as they just keep getting and better, especially how lyrically stong it is with a despairingly lost chorus. Despite its power its more down tempo in a similar way to ‘Spanish Sahara’ or ‘Stepson’ but undertones of funk remain like huge hit ‘my number’. It’s everything you’d expect from a Foals song, but this really isn’t a bad thing; especially with the frantic finish being the highlight of the track with ‘Gimme my lungs’ being howled over a distorted guitar, before it all winds down.

If the first two tracks show any indication of what ‘What Went Down’ is going to entail, then it’s going to be one hell of an album.

  

By Joe Daniel

‘What went down’ is out on August 28^th

www.youtube.com/watch?v=-QHZ2YRPFVo listen to mountain at my gates here

Tame Impala - Currents Review

3 years after their stunning second album ‘lonerism’ tame impala are back with ‘Currents’, it kicks off with the 8 minute spectacular “let it happen” basked in all of tame impala’s psychedelic glory. You can easily become lost in its complexity as the track seems to change its tune multiple times but as Kevin Parker has said you have to accept this change and once you do so it is one hell of a track.

‘Nangs’ follows and it’s a funky rhythmic interlude which adds to the feel of this being a more traditional concept album than Tame Impala’s previous two. The whole notion of a concept album really does help with it's construction. After this short ‘break’ comes ‘The Moment’ which is very catchy thanks to Parker’s looped high vocals echoing around a heavy drum beat. For me this is one of the stronger songs of the record and it has ends in a very intense, mystical manner.

The emphasis for once is on the vocals in ‘yes I’m changing’ which is also lyrically strong and has Parker showing his darker side but stunning though it may be it just isn’t heavy enough. Yes synth is nice and interesting to listen to but there just isn’t enough rawness in the album as if it’s been over tampered with in a ‘tame impala trying to be too much like tame impala kind of way’.

‘Eventually’ is much of the same. A weak track both musically and vocally, quite tiresome and this is down to the bubble-gum synth organ which sounds a lot like 'this modern glitch' era wombats (dare I say it). It's a real 1980’s pop throwback, which in this case really isn’t a good thing. Though it picks up again with ‘the less I know the better'; a heavy bassline with a sexy feel to it, despite it's repetitiveness, it is a song you could happily nod your head to for hours on end. ‘Past life’ starts with robotic spoken word laid over (surprise surprise) some synth. Parker’s vocals seem to get lost as the synth is quite overpowering and it’s a track that again has tried to be too clever.

Disciples is just an upbeat pop Tame Impala song that again transports you straight back to the 80’s but unlike ‘eventually’ it’s done well, and it's really catchy. And guess what?! It even features a guitar!

The best song off the album is Aprils single ‘cause I’m a man’. Its traditional Impala, slow synth with a gorgeous distorted overlay riff and Kevin Parker really gives it all vocally. It’s a really powerfully stunning song. It almost makes up for the next two tracks which are album fillers to end all album fillers ‘reality in motion’ and ‘love paranoia’ which is faster paced and the marginally better of the two. Though they aren’t necessarily bad tracks they don’t really add anything to the album.

Fortunately it ends on a high note with ‘New person same old mistakes’ the use of light strings adds a vintage dimension and along with another heavy bassline paves way for an eruptive trademark falsetto.

Currents provides very few if any real sing along moments as ‘lonerism’ did with ‘feels like we only go backwards’ that would go on to become huge songs, but it is still a good album. Despite it being hugely predictable due to the tracks having a tendency of breaking down only to pick up again and for someone of Kevin Parker’s musical ability I expected more dynamism. By no means is this Tame Impala at their best and it does not match the heights of ‘Lonerism’ but it is very holistic and comes together nicely. It does seem as if a transition is just around the corner and this is such a “nearly” album it’s exciting to think what will come next.

My Rating 7.8

By Joe Daniel

Five artists you simply can't miss at Reading 2015

Five Artists You Can’t Miss At Reading Festival 2015

This years headliners may not have caught as many eyes as those in previous years but with Reading Festival around the corner you won’t want to miss out on these artists that are sure to encourage the biggest ruckus of the summer.

Peace

After their triumphant second album, Happy People, the Birmingham quartet proved debut success, In Love, wasn’t a flash in the pan. There’s no worry that flamboyant frontman Harry Koisser’s stage presence won’t fit right into place on the NME/Radio 1 Stage. Faultless pop songs like ‘Lost On Me’ and ‘Money’ rocked last year’s main stage and will not fail to do so this year either. The groove infused “World Pleasure” always makes the setlist and never seizes to disappoint and brings out the best in bassist, Sam Koisser, along with classics from the debut such as “Bloodshake” which see the ‘B-town’ boys at their absolute best. You won’t want to miss these indie kings this August.

Catch them on the NME/Radio 1 Stage on the Friday.  

The Libertines

Having seen the spectacular secret set that wowed Glasto last month it seems as though any doubt that The Libertines may have lost their youthful spark over their prolonged hiatus can be well and truly shunned. Smashing through hits such as ‘Horrorshow’ and ‘Time for Heroes’ rattled the Pyramid Stage, alongside crowd pleaser ‘Don’t Look Back Into The Sun’ which provokes a chillingly euphoric sing-along from a packed crowd. With brand new single ‘Gunga Din’ tested to Worthy Farm and released last week it seems as though new material will be welcomed with open arms. The Libertines will bring shambolic excellence to Reading and Leeds this summer. The infamous duo of Doherty and Barat appears to be stronger than ever, looking genuinely comfortable as a pair, which can’t be said for their previous reunion shows of Alexandra Palace and Hyde Park. The best is yet to come, and that’s why crowds of thousands will flock to the main stage at Reading this year.

Headlining the Main Stage on Sunday to close the festival.

Catfish and the Bottlemen

This four-piece are well and truly swimming in the mainstream post debut album “the Balcony” success. And they’re not shy of big crowds either. Proving their credibility on the Other Stage at Glastonbury in June. Frontman Van McCann wins over the heart of every audience he graces and puts on an unforgettable show, not forgetting to thank the crowd at every possible moment; ever grateful for the band’s well-earned popularity. As repetitive and samey as ‘the Balcony’ may sound in full from the studio, the band pull off all the stops in their live shows to attract large attendances and make the experience memorable.

Be sure to make a stop at the NME/Radio 1 Stage on Saturday.

Jamie T

Having truly mastered the art of the comeback, Jamie Treays is well on the way to conquering the British indie music scene. With LP “Carry on the Grudge” and surprise EP “Magnolia Melancholia” under his belt after his six year break, the young rascal has matured into the artist that his first two LP’s hinted at. Although some of the tracks off of the third record do noticeably lack the edgy anecdotes straight from the streets of Wimbledon that were so loved by his early fans, their live delivery makes up for it. With a Joe Strummer-esque habit of pumping his foot to the beat of the track, Jamie powers through songs live with ‘slurs and ers’ that mean the newer material slots seamlessly in with the classics. Sing-along classics like ‘Sticks ‘n’ Stones”, “The Mans Machine” and “Sheila” will be the highlights of the carnage. Who better to pump the crowd up for the climax of the festival that is the Libertines’ closing set?

The Main Stage on Sunday is the place to be, and make sure not to miss the Cribs or the Maccabees who will be on earlier.

Slaves

Expect the most energetic, mosh-filled set of the weekend to come from the Tunbridge Wells duo Slaves. Sweaty punk rock is their speciality, and their live performances are a master class in just that. The boys from Kent never disappoint and entertainment even includes a memorable display from a certain manta ray, during popular single “Feed the Mantaray”. Chaos is a theme displayed throughout their set, and the electricity is endless. Explosive single “Hey” is a highlight of the set. Off the back of debut “Are You Satisfied?” the men of Kent are as confident as can be. You’ll be showered in beer throughout the set, but you’ll love every second of the riot.

NME/Radio 1 Stage Saturday 

Gengahr - A Dream Outside: An Album Review

Gengahr – A dream outside

I knew very little about the London four piece indie band until I look the time to listen to their debut album ‘A dream outside’ after seeing an overwhelmingly positive reaction to it on twitter. From the first track ‘dizzy ghosts’ I was taken,  the dream pop/psychedelic feel was something very refreshing to hear and powerfully angelic vocals confidentially dictate each track. Something which I found impressive as having a mellow voice like this could easily have lead to it become within the gently scathing riff.

Up next is their biggest hit to date, ‘she’s a witch’ a lyrically repetitive affair with 4 chorus’ and just 2 verses but this cleverly gives it the feel of a true sing a long anthem. This is thanks to the clever likers overlaying the delicious guitar loops resulting in a euphoric pop song.

Gengahr seem to show a darker side with ‘where I lie’ another song with a beautifully catchy chorus ‘the monster I see, grew deep inside of me’ with a fractious riff in the background juxtaposes the dreamy nature of the vocals brilliantly.

For me ‘embers’ is by far the best song on this staggering debut album, a slow burner where each element comes together to provide a strong finish. The abrupt start of gentle vocals and a steady drum beat with the guitar having adopted a more psych feel which could have been lifted from any tame impala song ever. They all complement each other superbly and manage to each take centre stage at once. The bridge sets up for an emphatic final chorus to finish in which the guitar spirals around the vocals before letting the bass line see out the song in style as the track breaks down.

A dream outside is debut album of the year for me narrowly beating slaves punk record ‘are you satisfied?’ but this musical and lyrical masterpiece edges it. Still in their prime Gengahr could easily go one of two ways, push on and establish themselves or be yet another forgotten indie band. I just hope it’s the former rather than the latter.

My rating: 8/10

By Joe Daniel

Jamie T - The People's champion

Is Jamie T really that good?

Short answer, yes. Absolutely. He’s a fucking hero. But here’s why:

He’s probably the most relatable artist of the 2000’s for a start. People talk about Arctic Monkeys as being the voice of the internet generation with Alex Turners Sheffield poetry accompanied by his quick wit which saw their rise to stardom in 2006, 1 year before Treays, with tales of prostitutes and scraps in taxi queues but it was always kind of glamorised, and it’s this glamorisation which sets the two artists apart. Jamie’s realism of how tragically funny yet shit everything is when you’re young just causes every teenager to click and relate. When you’re 16/17 you don’t want to be told how great it is being young while you’re stuck in on a Friday night. You want to hear how fucked up it is to be coming of age.

His debut album ‘panic prevention’ does this perfectly and none more so than ‘calm down dearest’ a tale of  not knowing what the night ahead holds but how its more than likely going to be calamitous but really, who cares anyway. It captures the rowdiness of teenagers perfectly as Treays talks about missing the whole club queue before asking ‘who the fuck are you?’  This idea of doing something by accident but then deciding to take credit for it sums up the beautiful arrogance of youth.

On his second album ‘Kings and Queen’s the minor troubles that seem like the end of the world are portrayed in such an engaging way, the girl you fancy kissing someone else at a party and still forgiving them because of the naivety than comes with youth is something that could have happened in any time period. ‘Sticks n stones’ is the anthem to end all anthems with its face paced progression and self-proclamations of being a ten a day little shit; but what appeals to me is the attitude of ‘yeah it’s all gone tits up but who cares lets go out and be juvenile delinquents because at the end of the day that’s all we are.’ Because being a little shit is part of growing up and everyone needs to know that.

Looking at all the people his music has inspired from Palma Violets Chilli Jesson saying that Jamie T was the reason he started making music to Isaac Homlan from slaves stating that Panic Prevention was a record you have to hear before you die.

It’s clear he has a profound effect of fans and inspiring artists alike and for good reason; he offers an alternative to mainstream indie artists. The way Jamie T can go from aggressively spitting out the lyrics of pacemaker at 100 miles per hour to showing his raw musical ability present throughout 2014’s comeback album ‘carry on the grudge’ and this really does set him aside from the rest in my eyes. His diverse alternative shows why so many people hold him in such high regard and making him the true artist of the people. 

By Joe Daniel

The Strokes at Hyde Park. 18/06/15

The Strokes at Hyde Park.
 A night of euphoria and the end of a long wait for many.

 Nearly 5 years had passed since The Strokes played their last show on British soil at Reading and Leeds in 2011 and with their absence of live shows and a disappointing fifth LP ‘Comedown Machine’ it was clear they weren’t the trailblazers they were at the turn of the century. Nonetheless when the chance to finally see The Strokes came about heads were turned and people were (quite rightly) excited.

With rumours of this being the final show for the New York 5 piece the excitement only grew with the thought of this British Summer time date being in fact ‘it’ which could later transcend into an ‘I was there moment’ and setlist certainly does seem fitting of a final ever show as well as having a ‘greatest hits’ feel about it with the indie pioneers churning out classic after classic. Opening with the eponymous song from their debut album ‘Is This It’ sparked mass cheers from the diverse crowd. Next powering into Barely Legal from the same album which caused what could on be described as a ‘mild ruckus’ before Comedown Machine’s ‘Welcome to Japan’ mellowed the crowd.

Soon after the first of the real big hits came out and it was Someday  which the crowd responded with every word of the chorus being belted out in such a euphoric manner which brought tears to eyes, and not just for sentimental reasons but because The Strokes were fucking fantastic. As someday ended there was not a moment’s pause until Albert Hammond Jr erupted into Heart in a Cage in this one song the entire energy of the gig was encapsulated as Juilian Casablancas crooned about fighting through the crowd at a concert accompanied by a simultaneous surge.

The debut heavily influenced the setlist and with ‘Hard to Explain’ up next everything seemed to really step up a gear with the crowd getting into full swing with the awe, for many, of finally seeing The Strokes wearing off. Shortly after the moment everyone had been waited for came about, Last Nite. The Strokes landmark song again off their sublime sounding debut album and what is essentially a raw love song caused the crowd into  what can be best described as violent elation but without the violence. As the track descended into its subdued finish the 50,000 people in the crowd continued to jig until the very last chord.

After setting off into the iconic riff of Reptillia, during which I was staggered how they managed to retain such a cool aura about them, as the crowd howled the lyrics ‘he seemed impressed by the way you came in’ where there was no one I could see who hadn’t proceeded to lose their shit. The more groovy tone of macchu picchu and then what I consider to be the ultimate pop song, ‘under the cover of darkness’, both from ‘angles’ followed. Fan favourite New York City cops ended the main bulk of the set where I don’t think there was a single member of the crowd who hadn’t adopted a New Yorker’s accent for the chorus.

The encore really was the stuff of dreams, the pounding bassline of ‘Juicebox’ kicked off affairs to mark their return to the stage. The song which precedes it on ‘first impressions of the earth’, ‘You only live once’, followed as the encore’s second track. The final song of the evening ‘take it or leave it; the album closer of ‘is this it’ was a seemingly a fitting way to end their first show in the capital for over 5 years and its importance signified by starting with the debut’s opener and ending with its final track. The song itself executed to perfection, an apt way to end such an iconic night - And if this really is ‘it’ for The Strokes, my god, they have bowed out in some style. 

By Joe Daniel