Jamie T // Trick album review

Jamie T’s long awaited comeback in 2014 after nearly 5 years of silence and the subsequent release of ‘Carry on The Grudge’ cemented his place once again in the limelight. Trick, the follow up to his comeback album, brings home the shift from ‘white boy rapping’ to more complex song writing that his previous album suggested.

Now of course there are some notable exclusions to this shift, the albums first track and first single, ‘Tinfoil Boy’ which is repetitive, loud and angsty – or at least it tries to be and is by far the weakest track on the album (read my full bashing review of it here).  Another exception is ‘crossfire love’ which sounds every bit vintage Jamie T, very much of the Kings & Queens ilk and wouldn’t sound out of place if it was to be crowbarred onto his second album.

But it’s the mature, serious songwriter which takes the forefront on Trick; Tescoland couldn’t sound anymore like his beloved Clash if he tried and the heartfelt ‘sign of the times’ sounds like it belongs on the ‘Magnolia Melancholia’ EP. Dragon Bones’ has a real funk to it but the chorus of ‘If I had a brain I’d blow my brains out’ starkly contrasts this but manages to strike a good balance nonetheless. He croons ‘The days are long gone now, but she still looks back’ on album highlight ‘Joan of Arc’ which as close to a typical indie rock song Jamie T will ever get, but hints of the pacemaker we knew from a decade ago still remain.

The album ends on a particularly vulnerable note with ‘self esteem’ a slow building track which the focus on the vocals intertwining with a heavily distorted guitar until the end when monumental sounding strings bring it all home. The result is gorgeous and sounds akin to Radiohead’s effort at the James Bond film. ‘Self Esteem’ slowly fades out to close bring the album to it’s gradual close but leaves with you forever wanting more in true Jamie T fashion.

‘Trick’ was never going to be 12 songs all sounding like Sheila or Sticks n Stones but taking this album as it’s own entity it is a very strong effort. Few artists manage to make albums that embody the spirit of youth and coming of age in the manner that ‘Panic Prevention’ Kings & Queens’ did and those first two albums were raucous, witty, anthemic and near on faultless. But that was almost a decade ago, Jamie T isn’t the same scruffy boy rapping about cheap cider from Wimbledon. He’s a 30-year-old man who’s giving serious song writing a really good crack.

My Rating 7.5/10

Highlights; Tescoland, Joan of Arc and Crossfire love.

Listen to trick below:

Jamie T // Tinfoil Boy review

After the release of his 3^rd album ‘Carry on The grudge’ and his long awaited comeback followed by 2015’s heartfelt ep magnolia melancholia it’s all gone a bit quiet on the Jamie T front. 

But this time Mr Treays has not waited nearly half a decade to release new material and after only a 10 month break he has released a new single which appears to be the first music from an upcoming fourth album, although he was very quick to swerve the question about it.

“Tinfoil Boy” (or ‘boi’ if you will) starts off as much of his carry on grudge work does, aggressively vulnerable vocals intertwining with a hallowing dark guitar riff. Even the lyrics “you break your heart to make sure I’m aware” sound like the same Jamie T that disappeared all those years ago only to reappear as a man who had ‘seen some stuff’. But then, out of nowhere; in a manner akin to Randy Orton, it all kicks off.

Shouts of “HE’S A TINFOIL BOI BOI BOI BOI BOI BOI BOI” over a riff which just sounds like it was pinched from that mediocre Slaves/Chasing Status collaboration ‘Control’. With the latter part sounding like a chav at the back of a bus describing the events of the weekend in which the fingering of his cousin took place. Thankfully this lasts for the best part of 10 seconds before going back into the safety net that is his shell of vulnerability by repeating the songs introduction. The whole affair is far too intense and far too sudden, it really just doesn’t fit at all.

Throughout there’s a real fluctuation between the two elements of the songs with it breaking down only to drop in the “BOI BOI BOI” debacle again. After about the 6 revolution of this it breaks down into something which, to me at least, sounds incredibly similar to ‘cornfield chase’ by Hans Zimmer from the Interstellar soundtrack (someone please listen to both and assure me I’m not mental.) with a sample of sadistic muttering over it which adds more to this song already overcrowded with contrasting elements.

I’m sure, as most songs are now, that it will be well-received at gigs and no doubt there will be some topless cunt in the pit challenging a fellow topless cunt to fight him for the crown of king of the ‘Tinfoil bois’. But to me this just isn’t Jamie T. There’s no quick witted anecdotes, no raw emotion, no furiously paced rapping. I just can’t relate to it. Jamie T has been the soundtrack to my late teens, with every song painting a picture you can see coming to life through his lyrics, but this just isn’t that.


Listen to Tinfoil Boy below

The Stone Roses - All For One single review

It finally happened, nearly 5 years after their comeback The Stone Roses have released new music for the first time in over 2 decades. Of course it was unrealistic to expect a song that is on par with anything off their debut but still there was potential (albeit a small amount) for it to be a very strong song, but equally the possibility that it was going to be utterly dreadful was quite high. I mean 20 years is a long time not to release anything and just look to their second album for a guess to what it could be like. Upon its release it had an overwhelmingly positive response, but take it out of the context of being The Stone Roses and its just yet another middle of road indie pop song, to me ‘all for one’ just screams average.

That said there are good parts to it, John Squire’s guitar playing mainly, but also some truly dire lyrics to accompany, the kind that wouldn’t be out of place on a teenage indie bands first attempt at a peace and love song. "all for one, one for all if we all join hands we'll make a wall" it really is a thousand miles away from the opening line to she bangs the drums, "  I can feel the earth begin to move, I hear my needle hit the groove". I know comparing the two is harsh but you do expect at least something vaguely reminiscent of the cleverness of this lyric

 On first listen I really hated it but I’ve given it a few more goes now and its grown on me slightly, though there are still some huge flaws. Its no secret that Ian Brown isn't the greatest singer in the world and on the debut the vocals weren’t relied on to carry the song so it was able to looked over but here the bass and drums aren’t strong enough individually and it leaves his vocal imperfections exposed. The guitar solo is very impressive but it just doesn’t quite fit; its as if they new they didn’t have much so decide to just let John Squire loose and do his own thing. In isolation it’s a really really good solo, just not in the context of the song.

As a song it does come together fairly well if you manage to ignore the cringe worthy lyrics, accept the fact that its not the 80’s anymore and that the level of their first album is not going to be replicated. It’s a fun, bouncy, pop track and at the end of the day it could have been so much worse.

6/10

Drowners // Cruel Ways single review

Today saw Drowners release their first piece of music since their eponymous debut album over two years ago. The track is titled ‘Cruel ways’ and is the first single released from their upcoming album ‘On Desire’ set to be released at the end of June. Its tone is very reflective of its name seeing the New Yorkers edge away from their jangle –indie -pop ways and adopting a more matured sound.  

The track begins with with a heavier than usual guitar riff, which has a sense of forced melancholy about it. This is followed shortly after by Matt Hitts growling vocals; ‘There’s an alternate meaning behind the words you spoke’ following the usual Drowners pattern of kinda tacky and most definitely about a love interest. But nonetheless the lyrics are very catchy and unlike the first album Hitts vocals are able to stand on their own two feet without getting lost in a sea of dreamy guitar. This time round they dictate where the song is going, in this case its building up the chorus with pacy, breathless vocals to make way for a scathing solo. Only to be followed to by softly spoken seductive vocals where his voice takes forefront. But its too repetitive and simple to be anything more than just a decent track. There are some good elements of it but its all just too predictable. It has so much of a 'I love this so much because look at Matt Hitts jaw line, he's so perfect I want to fuck him until his dick falls off' feel as to the reason people love the band/song. 

The whole thing has a mid/late noughties, almost nostalgic feel about it. Nevertheless it does have more drive than anything off the debut album, this first song shows some promise for ’On Desire’ looking on course to offer something different... Well, kinda. 

Rating 6/10

Listen to Cruel Waves below,

Why Foals headlining is the best thing to happen to Reading & Leeds in years

It was announced this morning that Foals are to co-headline Reading and Leeds this August alongside Disclosure and there has been a mixed reaction varying from general distaste and how they’re not “iconic” enough for the headline slot, to the fact they actually have to share top of the bill and are deserving of it by themselves. But in my eyes Foals headlining is exactly what Reading & Leeds, and festivals in general, need. 

Its not just their music which in my eyes makes the Oxford quartet deserving, 4 UK top ten albums should speak volumes as it is, but it’s more the fact they’re a new headlining band. I personally am sick and tired of the same dozen bands being regurgitated by the larger festivals; and more often than not these are bands haven’t released anything of any significance for several years – now of course if can be argued that these bands have a plethora of bangers from huge back catalogues but is that really what festivals are about? To me a headline slot at a major festival signifies a band reaching the top of their game – something which foals have; and with 8 years of hard work under there belt it's safe to say that their time has finally come and they are most definitely ready. 

Foals are a phenomenal live band, having seen them at their secret set at Reading last year and in Kingston’s intimate Hippodrome they create so much energy through out, even during the slower songs such as Spanish Sahara. But for me it’s the passion shown by Yannis during every single one of their songs that takes their gigs to the next level – and his balcony jump during two steps twice wasn’t really harming their cause as a great live band either.

In terms of back catalogue, they aren’t shy of hits either with four studio albums. From old fan favourites such as Cassius and two steps twice to My Number which was one of the biggest hits of 2013 and What Went Down and Mountain at my gates proved to be great success in 2015, with the latter even making it on to FIFA – so there’s one for all you cheeky Nandos shuffling lads too!

Now I understand that Foals aren’t going to be everyone’s cup of tea but alongside Disclosure they do offer something for a huge demographic, which is why I think the co-headline slot has been chosen, that or they were fearful of the backlash that might come if Foals were stand alone headliners – but then again this is the same festival that actually booked Mumford and sons last year. To put into context how badly new headline worthy bands are needed, there hasn't been a lineup since 2006 where none of the 3 bands topping the bill haven't already headlined.

It is so refreshing to have Foals and Disclosure both headline for the first time and maybe this will break the mould of booking has beens year after year *cough* the who at Glastonbury *cough*. 

Also the pair released two of 2015’s best albums and have been rewarded with a co-headline slot , a welcome change of the usual routine of booking a band after churning out yet another compilation of greatest hits. But this year can only be seen as positive even if Foals and Disclosure aren't your favourite artists on the planet. Hopefully this will let big festival organisers see the light and book new bands giving them that final elevation to reaching the top as Reading have done with Foals. (Less so with Red Hot Chilli Peppers as this is the fourth time they have headlined but baby steps, Reading, baby steps.)