New Snow Patrol Song Debuted Live

Another new song from Snow Patrol's upcoming new album Fallen Empires debuted at their Q Awards gig - it's track 8, Life-ning. Have a listen here.

They certainly sound like they're going for a more restrained, slightly more minimal vibe on this album - it's fantastic!

Album Review: Coldplay - Mylo Xyloto

So, here we are again - a new Coldplay album. One of my favourite bands of all time; the band are back with a fifth effort, and this time they've gone for a heavy electronic influence, but keeping the experimental vibes from last record "Viva La Vida...". You'd never believe this was the same band that wrote the album "Parachutes", all the way back at the turn of the century. However, one thing that has remained constant throughout the band's career is their knack for writing massive stadium anthems; even some of their quieter and softer songs can make crowds go wild. There's at least one on every one of their albums. But this one is stuffed full of them - and it's absolutely huge.

Take opener Hurts Like Heaven (not counting the 40-second intro Mylo Xyloto as a separate track), with its incredible pace and epic guitar riffs. This is perhaps the greatest way anyone's ever opened an album. It's an adrenaline rush that never lets up; and you can clearly hear the guitars making their mark all over the track, although Chris Martin's voice is ruined ever so slightly by a kind of robotic vocal in the background, but the song is not ruined overall. Also up there for sheer euphoria is Charlie Brown - it sent chills down my spine when I first heard it at Glastonbury, and the studio version is no less epic. The guitar riff is perhaps the greatest one they have ever done; so much that it pretty much does the job of having a chorus on the song - there's no real refrain here, but that doesn't matter. As the riff slowly comes in, slowly getting louder, over the synth-y opening, you think you're in for a smoother ride... and then everything smashes its way in. Absolutely huge. And if that wasn't enough, it finishes with a piano part at the end which is beautifully done.

There are instrumental interludes on this album, mainly placed before a massive track, such as Mylo Xyloto / Hurts Like Heaven. Also, we have M.M.I.X. preceding Every Teardrop Is A Waterfall, the first song to be heard in studio version from this album, all the way back in June. It was a great song back then, and it sounds slightly better still in the context of the album, even if it does have a hint of cheesiness about it. The third interlude is A Hopeful Transmission, which takes its cues from the intro track, Mylo Xyloto. It's also a brilliant way to lead into Don't Let It Break Your Heart. Now, there's an anthem if I ever heard one. Straight after A Hopeful Transmission finishes, a wall of sound just crashes around your ears... on first listen, it sounds like it's drowning out the vocals, but on repeated listens you get used to it - it's undoubtedly a bombastic, massive song built for stadiums, but it's perhaps the biggest surprise on the album, particuarly if (like me) you'd heard the majority of the songs live. A stunning penultimate track.

Elsewhere in the department of big stadium anthems, we have a couple of R&B- influenced tracks, the second single Paradise, which, like Every Teardrop..., was brilliant on its own and yet still manages to feel better yet in its placing on the album. The rather uninventive chorus of 'para-para-paradise" is overshadowed by the huge strings sound that covers the song, but it's still catchy and will get into your head. The other song is Princess Of China, which goes the whole way and brings in Rihanna to sing along. Now as soon as I heard this, I was incredibly sceptical, but actually, after two or three listens, it's actually done pretty well, despite the fact that it doesn't sound like Coldplay are actually in band mode - it seems like a Chris Martin solo song. The synths replace Jonny Buckland's guitar, but it's alright because the melodies they create are magnificent. The bass is also turned up to eleven - it may blow out your speakers. You have been warned. Anyway, Rihanna fits in fine, especially since she sounds different (at least from the two or three songs of hers that I know). After several plays, it's one of my favourites from the album, although I would have liked to hear more guitar and a bit more Chris Martin vocals - he seems to take the first verse on his own and then retreats into the background, occasionally popping up to accompany Rihanna. But by no means is it a disappointment.

My two least favourite tracks on this album are Major Minus and UFO, but they're still great tracks in themselves. Luckily they're some of the shortest on the album (bar the interludes). The former was debuted on the Every Teardrop... EP back in June, and I considered it to be good but thought it would stay as a B-side. In terms of the story I think this album is trying to tell, it's a necessary track, but it doesn't quite resonate with me as much as the other tracks. The latter is reminiscent of the band's earlier work, as it's very acoustic based. There are some strings accompanying it but they're very much in the background. The song only lasts two minutes and a bit, and even manages to fit in some kind of intro for Princess Of China for the last 15 seconds. It's not a particularly memorable song, but may become more of a hit for the fans that have wished for Coldplay to return back to their original sound. But, for me, it's the weakest song on the album.

The remaining three yet to be mentioned are all the slower, more delicate moments taken from the album - and oddly, they all begin with the letter U - add U.F.O. to the list and you have pretty much got all the quieter moments. My favourite of these is Us Against The World, which is for the most part acoustic, although it has a sunny introduction that's a joy to listen to. Drummer Will Champion also takes backing vocals on the song, moving away from his drums to accompany Martin. Towards the end, a massive organ/piano/I'm not really sure which... comes in and gives you goosebumps with the sheer amount of power it has, before stripping everything away to leave Martin and his acoustic to lead the song out. It's a good breather coming between Charlie Brown and M.M.I.X. / Every Teardrop Is A Waterfall, two of the most anthemic songs on there. The other "U songs" are Up In Flames - which is very minimal and restrained but takes its power from that, and features Martin's highest vocal on the album ("up in flaaaaaaames") and again the chorus is based on repetition, but it's fantastic nonetheless; and closing track Up With The Birds, which is a song in two halves. The first half wouldn't be out of place in a closing scene from a romantic film, and it features some odd electronic sighing sound that's a bit out of place, but also some huge cinematic strings to lead you into the second half, which is where the guitars and drums turn up - it sounds like it's going to lead into a big Coldplay chorus, but it builds up just enough to keep you interested and then ends a bit earlier than expected - it's a bit of an anticlimax to be honest, particularly after the previous four tracks (Princess Of China onwards), but it leaves the album on a positive vibe as the final note is played on the piano.

SUMMARY
This is a massive album and undoubtedly their poppiest one yet, but the amount of goosebump-inducing moments are numerous. They retain the experimental feeling of their previous album and continue to make their new sound seem fresh and original. Every song feels different to the others, as was the case with Viva La Vida. Back then, I gave that album 5 stars but that was when I was incredibly generous to rating albums (I'd give it 4.5 stars now). On this album, there's something a bit lacking from a couple of songs, and I don't think it fully deserves the full five stars unfortunately. But it's still one of the best things to come out this year, and my favourite Coldplay album.



FAVOURITE TRACKS: Hurts Like Heaven, Charlie Brown, Don't Let It Break Your Heart
LEAST FAVOURITE TRACKS: Major Minus, U.F.O.

PREVIOUS ALBUMS (as I would rate them now): Parachutes (3.5/5) / A Rush of Blood To The Head (4/5) / X&Y (4/5) / Viva La Vida (4.5/5)

Enter Shikari - A Flash Flood Of Colour

Artwork


Tracklist
01. System...
02. ...Meltdown
03. Sssnakepit
04. Search Party
05. Arguing With Thermometers
06. Stalemate
07. Ghandi Mate, Ghandi
08. Warm Smiles Do Not Make You Welcome Here
09. Pack Of Thieves
10. Hello Tyrannosaurus, Meet Tyrannicide
11. Constellations

The album will be released January 9th.

The first single was Sssnakepit, released last month. You can see the video here. They have also been playing Arguing With Thermometers live.

The album will not feature previous singles Destabilise and Quelle Surprise; they were stand-alone singles.

The Maccabees - Given To The Wild

Artwork


Tracklist
01. Given To The Wild
02. Child
03. Feel To Follow
04. Ayla
05. Glimmer
06. Forever I've Known
07. Heave
08. Pelican
09. Went Away
10. Go
11. Unknow
12. Slowly One
13. Grew Up At Midnight

The album is due out 9th January 2012.

A teaser video is here.

Preview Kele's New EP

iTunes now has 90-second previews of every song on Kele's forthcoming EP, The Hunter, due out 31st October (although iTunes has it down as 7th November). The link is here.

Another Snow Patrol Single Gets First Play

The new single from Snow Patrol, This Isn't Everything You Are, will receive its first play tomorrow night (Wednesday 28th September) at some point after 19.00 (GMT) on Zane Lowe's Radio 1 show.

The single is the second one taken from their upcoming album, Fallen Empires, due out 14th November (the single is due out the day before, digitally). It follows first single Called Out In The Dark, out now.

New Kele Single Debuted Last Night

Kele's new single, What Did I Do? (feat. Lucy Taylor) debuted on Radio 1 last night. You can see the video below.



The song is the first single taken from his upcoming EP, The Hunter, due out October 31st. More details here.

New Twang Album

This has been old news for a while, but it has somehow slipped past me. The Twang's new album, currently untitled, is due for a January 2012 release. The band have released a song, Paradise, as a free download if you 'like' their page on Facebook. The album is the band's third, following Love It When I Feel Like This (2007) and Jewellery Quarter (2009).

Album Review: The Whip - Wired Together

I discovered The Whip by chance - a recommendation from The Sunshine Underground, if I remember correctly - back in the early days of summer when not much new music is scheduled to come out, and they had a five-track sampler available on their website, featuring all the even-numbered tracks from the album. On first listen, I thought it was alright, but nothing really stood out to me. Now, listening to those same tracks with the odd-numbered ones turning up, I don't know how I ever thought that.

There's all sorts of brilliant ideas floating about on this album, from the heavy, dirty dancefloor fillers to the lighter, less grounded songs that you can still move to. So let's take the heaviest first.
This bunch unfortunately contains the two songs that are probably my least favourites: Shake and Metal Law. The former isn't quite as inventive and stunning as much as the rest of the album, and tends to go on a bit long, but no matter, the chorus is basic but brilliantly done. The latter, on the other hand, is far too repetitive, even though it seems that it was done to describe the repetitiveness of band life: the key lyric is "Get up. Go to work. Do the gig. Go to bed." This is repeated well over twenty times while nothing insanely different is added to the mix in the background, but even when something different kicks in ("This is my metal law, you take it all and I want some more") it just doesn't really excite you as much. And now I've just realised I've typed out the entire lyrics to the song! (Minus all the repetitions)

But still in this same category, there are some bangers too. Intensity does exactly what it says on the... tin? It's the title track of sorts (well, it has the lyric 'wired together' in it) and it's one to get people moving and it all comes together fantastically in the chorus. Riot is the best one on offer, with its simple but powerful chorus of "It's just another riot!" set to make the crowds go wild - such a shame this band isn't better known, because this is huge.

So, leaving the heaviest, we move down a level to the lighter, more poppy songs. Secret Weapon ebbs and flows perfectly, with a catchy synth riff being the highlight; Movement takes ideas from 80s/90s disco with its memorable piano intro that runs throughout the song - this one is another dance-y track of a completely different origin than that of the likes of Riot and Intensity. Also hanging around is the album's closer, Slow Down, which is an epic seven-minute journey which seems to go a lot faster than that - it's the best way to close the album, and when the lyric "When two worlds collide, love will feel no pain" turns up, you want to smile. Not just because of the lyric, but because of the way it's sung, and the music that's playing behind it - it's one of the greatest moments on this album.

Remaining then are the album's opener, Keep Or Delete, which builds up slowly, gradually rising and rising, starting with an atmospheric synth as the vocals kick in - then soon we get drums, bass and the whole shebang before it shows off its epic chorus. Then there's Master Of Ceremonies, a song that sort of sounds like it's building to something huge but never quite makes it there. But once you've got around that, it's still a force to be reckoned with. Unlike the rest of the album, this song sort of shuts down a bit when it gets to the chorus, giving it an atmospheric vibe that The Whip seem to have effortlessly mastered here. Last but nowhere near least is Best Friend, a tune that begs for a video with crowds jumping in slow motion (or is that just me?). Lyrically, it sounds like it's about meeting a girl in a club and becoming her 'best friend' for the short time that you know her, and it's so basic and simple, yet so effective.

SUMMARY
Ultimately, the band have created a poppy album with huge choruses and brilliant music to go with it. Whether you're looking for the heavier songs more suited to moshpits, etc. (like Riot) or lighter songs to sort of nod your head along to and let it wash over you (like Best Friend), this album has you covered from the slowly building up brilliance of opener Keep Or Delete, to the epic beauty of Slow Down.

SCORE


FAVOURITE SONGS: Riot, Best Friend, Slow Down
LEAST FAVOURITE SONGS: Shake, Metal Law

Album Review: Kasabian - Velociraptor!

Well, it doesn't seem that long ago that I had just bought my copy of Kasabian's last album, the incredible West Ryder Pauper Lunatic Asylum, a psychedelic record filled with a whole world of interesting and different sounds, including massive tracks like Underdog, Fast Fuse and Fire that will go down as some of the band's best. And so here comes Velociraptor!, an album that, for the most part, ditches this style and moves away from power through massive guitar riffs and smashing drums - and instead moves towards a slightly more restrained, melodic design. Gone are the days of their trademark crowd-pleasing sing-along (or shout-along, mostly) choruses. Well, almost:

Days Are Forgotten is a brilliant first single that follows their old style, perhaps only slightly ruined by the nails-on-chalkboard style "aaaah"s that pop up occasionally, but with a huge chorus that evokes the Kasabian of old. Velociraptor!, the title track, despite being the shortest track on the album, is huge, the band at their best. It twists and turns and smacks you round the face - a real tour de force, definitely the best on the album despite its rather basic "Velociraptor, he's gonna find ya, he's gonna kill ya, he's gonna eat ya" chorus. Switchblade Smiles, the first track showcased back in June, is another highlight - there's a slightly more bearable scream from Sergio Pizzorno, but it still knocks the song down a level or two, and it's got a nice, big electronic vibe to it. The only other track that really follows this classic Kasabian style is Re-wired, which does not quite match up to anything they've done before, and sounds very slightly underwhelming considering the band's back catalogue - it's still a good song though, but I don't see it getting as big a reaction as, say, LSF, Empire or Underdog. In fact, having said that, I can't really see many tracks from here doing that either - maybe Velociraptor! - but then again the band should be commended for doing something different to what everyone labels them as.

So, now we've had a look at old Kasabian, let's look at the best of the new stuff. Let's Roll Just Like We Used To is a brilliant opener despite being the polar opposite of their previous album openers. It flows fantastically, and has the whole strings and brass treatment turning up here and there. It sounds big and cinematic, like the music playing over the opening credits of a film, particularly in the chorus. La Fee Verte takes its cues from the Beatles and does so excellently, and has a great, melodic chorus to go with it. It takes a bit of the psychedelia emphasised on West Ryder... and re-uses it to great effect. As does Acid Turkish Bath (Shelter From The Storm), the longest thing they've done at six minutes dead. As the name may suggest, there is a slightly Eastern vibe to it, and like Let's Roll... it flows well, and the chorus is yet again completely different but no less great because of it. Then there's I Hear Voices, which sounds like something that could have been on their first two albums yet somehow it's still new and exciting. It's a very electronic song, guitars are sparse, if not non-existent. The chorus doesn't smack you round the face, but it might provoke a few sing-alongs at gigs. Oh, and it includes the line "They hunt for rabbits just like Yosemite Sam". Kudos to Kasabian for putting that in there.

The other three tracks, unfortunately, fall slightly short of the incredibly high mark the band have set. Goodbye Kiss is the best of the trio but still, it's nothing that sends shivers down your spine. Even after a few listens, it's showing no signs of growing. The chorus alone is good, but the rest of the song drags a bit and doesn't show off any marks of pure musical genius like their earlier stuff. E;sewhere, Man Of Simple Pleasures is the most uninteresting one on here, again there's nothing to make you go 'Wow!' and Neon Noon is an underwhelming closer, its dreamy, restrained design just going on a little bit too long; despite the occasional moment showing some promise in both these songs, they never really deliver. Still, compared to a lot of music these days, this is better. Kasabian have yet to put a song on an album that makes me go 'No. This is awful, I'm not listening to this." but when your previous songs include bangers such as Club Foot, Cutt Off, LSF... (the list goes on, and I've not even finished going through the first album!) the result drops below the mark.

SUMMARY
It's good that Kasabian have made an attempt to break free of their 'lad-rock' label, and it's good that they decided to try for something more melodic and with more musical diversity, but unfortunately it's not something that I think suits them. Maybe time will change my mind, but after nine or ten listens, I think it's not improving much. However, there are sparks of promise - There are three fantastic classic-Kasabian tunes that, although they don't match up to some other songs, really are exciting, some of the best stuff released this year. The new style, however, ends up being very hit-and-miss, and I started to get a little weary of the album pretty much after I Hear Voices (the only real song I like beyond that point is Switchblade Smiles). But when it does hit, it hits really well.

SCORE


FAVOURITE TRACKS: Velociraptor!, Switchblade Smiles, Acid Turkish Bath (Shelter From The Storm)
LEAST FAVOURITE TRACKS: Man Of Simple Pleasures, Neon Noon