Top 10 bands I’m anticipating seeing at Reading Festival

I’m currently writing this from a café in the village of New Quay, Wales; the only place I can find with free Wi-Fi, and it’s been open since Saturday. The connection’s quite bad, but from what I am getting from back home I’m probably better off here for now, safe from the riots that have been happening across the country. I’m going to be at this year’s Reading Festival in a couple of weeks, as I’ve probably already mentioned, so I’ve decided to compile the top 10 bands I’m most looking forward to experiencing there. I was at first reluctant because I thought a report after I came back would be better, but I need something to do here, so here it is. The order is in how much I’m looking forward to seeing each group based on my experience of their studio output, and will probably change once I’ve actually been to the festival.

Note that line-ups for both Reading and Leeds festivals are nearly identical, the differences being Reading’s Friday will be Leeds’ Saturday, Reading’s Saturday will be Leeds’ Sunday, and Reading’s Sunday will be Leeds’ Friday. Also the Strokes and Pulp will switch times for Leeds, and there may also be minor differences I’m not aware of, so plan ahead if you’re going to Leeds. Of course if you are you’ll probably already be aware of these differences. I’ll only post Reading’s (approximate) times as that’s the festival I’m going to be at.

10. Metronomy

When?: Friday 26^th August

Where?: NME/Radio 1 Stage

Who?: Brighton dance project of Joseph Mount. Reading’s Friday will be the only one with the Dance stage, which will feature such great artists as SBTRKT, Cold Cave and Mount Kimbie, and I’ll likely spend a lot of time there. Metronomy just about pips them to the post in terms of priority. Their album The English Riviera released earlier in the year was pretty entertaining, and I hope they match its quality with their live set, given I see it.

Sounds like: Mostly like other UK non-subculture dance projects, for the most part, like Hot Chip or Friendly Fires (the latter are also incidentally playing on the main stage on the Sunday). Around half of their songs also show a casiotone influence which doesn’t sound too bad. Also reminds me of Passion Pit.

Song I hope they play: "The Bay"

9. Interpol

When?: Sunday 28^th August

Where?: Main Stage

Who?: Modern post-punk band who made almost as big an impact as the Strokes did. In fact much of Reading and Leeds this year seems to revolve around bands celebrating ten years of something. However Interpol’s ultra-modern sound helps them sound essential and timeless. Much like the Strokes they’ve wavered a little as they’ve stepped further away from their debut, Turn on the Bright Lights, but manage to stay on top with quality songwriting, production and delivery. Recently they’ve been working with cult director David Lynch, so the set’s visual effects will hopefully be off-the-wall.

Sounds like: Joy Division is usually seen as the key influence, certainly Paul Banks' baritone vocals bear more than a similarity to Ian Curtis’. The post-punk guitar stabs draw as much from the book of Wire and Gang of Four.

Song I hope they play: "Obstacle 1"

8. 2 Many DJ’s

When?: Sunday 28^th August

Where?: NME/Radio 1 Stage

Who?: The side project of Belgian rock group Soulwax, who have been playing this spiel since the late 1990s. There are a few reasons why I’m choosing these over main stage headliners Muse. For one getting to the main stage at that time would be disastrous and I’d probably get a terrible view. Secondly Muse are playing their unfamiliar 2001 album Origin of Symmetry in full for whatever reason, and not being much of a Muse fan anyway I’d probably be less than impressed. 2 Many DJ’s on the other hand are the foremost exponents of a genre coming out of the early 2000s known as bastard pop, one that throws seemingly unconnected songs together to create something danceable and apparently shameful. Having recently got my hands on As Heard on Radio Soulwax Pt 2, I can tell you it is a lot of fun.

Sounds like: Ever wanted to hear the Stooges’ "I Wanna be Your Dog" over Salt-N-Pepa’s "Push It"? Skee-Lo’s "I Wish" over the Breeders’ "Cannonball"? Destiny’s Child’s "Independent Women Part 1" over 10cc’s "Dreadlock Holiday"? Of course you have! That was from a set ten years ago though, so it’ll be exciting to hear what they have in store now.

Song I hope they play: N/A, sort of

7. The National

When?: Saturday 27^th August

Where?: Main Stage

Who?: Having enjoyed something of a popularity boost recently, due to the release of High Violet last year, Ohio's The National have found themselves in the unlikely spot of the Reading Festival’s main stage, warming the crowd for the Pulp/Strokes double headline sets. A field full of thousands of people doesn’t quite seem the natural place for Matt Berninger's croon or the Dessner brothers’ cavernous instrumentation, but I won’t know until I see them. With these and the two headliners Saturday should be an unforgettable night.

Sounds like: A folkier-sided Walkmen perhaps, or a gutsier Grizzly Bear? Okay I’m stumped on this one.

Song I hope they play: "Bloodbuzz Ohio"

6. The Strokes

When?: Saturday 27^th August

Where?: Main Stage

Who?: New York’s foremost rock & roll revivalists, that’s who. Headlining the main stage on Saturday in support of their latest album Angles no less. Though like most people there I hope they stick to the classics and don’t dig too deep into that album. Across their four albums they have enough quality tunes to make up a killer set, and being one of this festivals’ big four they’re expected by many to deliver the goods. And despite my thoughts on that last album, Julian Casablancas and co. are definitely going to keep me entertained, easily worthy headliners.

Sounds like: A modern twist of the 70s CBGB and Max’s Kansas City bands from their native city that made them so popular. Listening to their influence on any modern guitar band since ought to be evidence of their popularity and respect.

Song I hope they play: "Hard to Explain"

5. Fucked Up

When?: Sunday 28^th August

Where?: NME/Radio 1 Stage

Who?: Canadian punks fronted by man-mountain Pink Eyes, or Father Damien Abraham, who sound pretty much as their name suggests. After their 2008 album The Chemistry of Common Life wowed critics they returned earlier this year with the un-punk 78-minute rock opera David Comes to Life, a sure-fire Album of the Year contender. I missed the opportunity to see them on tour with Iceage a few months ago, a mistake which I hope to redeem myself on at Reading.

Sounds like: Very melodic as far as punk rock goes. I don’t think a Foo Fighters comparison is too out of place. Though your ears (and possibly eyes) will undoubtedly be drawn to Pink Eyes’ presence, his volcanic grumble and roar being the main live attraction. Just forget about your previous experience of "rock opera".

Song I hope they play: "Turn the Season"

4. OFWGKTA

When?: Saturday 27^th August

Where?: NME/Radio 1 Stage

Who?: OFWGKTA, Odd Future Wolf Gang Kill Them All, or Odd Future are a group of rappers, skaters, producers and music video directors from California, USA. They rose to the height of white indie popularity back in February when leader Tyler, the Creator released his self-directed video for "Yonkers", and they’ve been inescapable since. Love them or hate them, there’s no denying that their set will be one of the most energetic of the festival, and as I sit more on the side of like than hate there’s no excuse for me not to be there. The noticeable lack of black music and musicians means this might be one of my few chances to enjoy such music during the weekend, albeit not in the traditional mould. Probably not the cultural revolution some thought they were going to be (ask anyone on the street who they are and you certainly won’t hear them say the next Wu-Tang) nevertheless they have one of the most loyal fanbases around, and are sure to draw a crowd.

Sounds like: The Wu-Tang Clan connection comes from the size of the group, with at least a dozen or so members. The rhymes have the dark humour and shock of Eminem circa The Marshall Mathers LP, though Tyler’s dark voice is his own. Their energy has also been compared to hardcore punk groups such as Black Flag and Fugazi.

Song I hope they play: "French!"

3. The Horrors

When?: Friday 26^th August

Where?: Festival Republic Stage

Who?: At first they were perceived as nothing short of a fashion statement when they arrived in 2006, being hyped as NME’s next big thing, a clearly 80s goth image, appearances in TV shows like "The Mighty Boosh", a Chris Cunningham-directed video right off the bat ("Sheena Is a Parasite"), and names like Faris Rotter and Joshua von Grimm meant that even I ignored them until recently, with the release of their third album Skying, which I’m very impressed with. It’s a shame it’s taken me this long, I hear 2009’s Primary Colours was very good. It earned them a Mercury Music Prize nomination and proved they had added substance to match their style. Thankfully I’ll be forgiven for my sins when I’m baptised in the river of their headline performance at the Festival Republic Stage on the Friday.

Sounds like: A continuation of the psychedelically-looking New Romantic bands of the 80s, like the Psychedelic Furs and the Cure, who in turn owe a lot to Syd Barrett. And to all those who think the Horrors sound in any way like Simple Minds, they don’t.

Song I hope they play: "Still Life"

2. Pulp

When?: Saturday 27^th August

Where?: Main Stage

Who?: If I envy the Leeds incarnation for anything, it’s that Pulp follow the Strokes, whereas it’s the opposite order for Reading. Both bands are probably equal in their contribution to rock & roll history, so it’s arguably a fair decision to co-headline the two, but I reckon that Pulp will manage to steal the limelight from under the Strokes’ noses. Last year they announced their comeback with a string of festival dates, the ones already crossed off leaving behind nothing but glowing reports: Isle of Wight, Primavera Sound, and their surprise set at Glastonbury almost upstaged Radiohead’s. Overlooked during their time between the two warring Britpop titans Oasis and Blur, Pulp nevertheless carved their own niche into the musical landscape of 90s Britain with their politically charged smash albums Different Class and This Is Hardcore, despite beginning their career in 1983. Given today’s political climate, they’ve returned at just the right time.

Sounds like: Pretty much what you’d expect from a typical British indie band in terms of sound. They stick out from the competition with their superior songwriting and lyricism, courtesy of Jarvis Cocker, one of rock’s greatest and most theatrical frontmen. Best of luck following them, Casablancas.

Song I hope they play: "Sorted for E’s and Whizz"

1. Death From Above 1979

When?: Sunday 28^th August

Where?: NME/Radio 1 Stage

Who?: Another recently reunited band, DFA1979 almost broke Austin, TX’s SXSW Festival earlier this year when they played their first gig together since 2005, such was the rush to experience the power of their thunderous rawk. Like many garage rock bands, they create a huge sound despite being a two-piece: Sebastien Grainger covers drums and vocals, and Jesse Keeler handles bass and occasionally keyboards. They only released one studio album during their first lifetime, yet if anything has salvaged this holiday’s terrible weather, it’s staying in and playing You’re a Woman, I’m a Machine over and over. Originally simply known as Death From Above, the 1979 came about from James Murphy politely asking them to change their name (to avoid confusion with his DFA label, which also stands for Death From Above). He did them a favour.

Sounds like: I’ve heard them described as dance-metal before; although that’s kind of ridiculous, it gives an idea of the combination of incredible volume and slinky, tight grooves they achieve. Think about where the Black Keys and Lightning Bolt overlap, that’s as close of an analogy I can give.

Song I hope they play: "Blood on Our Hands"

And you can expect the report on how I actually found the festival’s artists to follow when I come back, around Tuesday 30^th-Wednesday 31^st August. I’ll come up with another format for that. That’ll explain both why there haven’t been any updates in the past week or the weekend Friday 26^th to Sunday 28^th August. Hope to post some reviews in the near future.

There are just as many I’m looking forward to seeing that didn’t make the list, and I’ll try to visit as many as possible to give you my best experience of the festival. I’m partially writing from memory as well, what with my currently limited internet access. There probably won’t be any photos when I’m there unfortunately. I’m a really bad photographer anyway.

If anyone has been to either the Reading or Leeds festivals before, are planning on going this year, or have seen any of these bands live before, I would like to hear, this being my first time and everything.

Artist Top Tens: LCD Soundsystem

Welcome to Artist Top Tens, a feature I'm thinking of doing regularly, where I get a chance to go all nerdy over some of my favourite artists of the past and choose ten songs that I enjoy the most, and give the best idea of what they're all about and have to offer.

Having recently announced their farewell I thought the first artist I ought to cover in this new feature is James Murphy's dance punk juggernaut LCD Soundsystem. James Murphy is an ace musician, producer, and co-founder of the mighty DFA Records, and with his musical outlet LCD Soundsystem they changed the way music and it's associated cultures of the new millenium are percieved. The band's three studio albums: LCD Soundsystem (2005), Sound of Silver (2007), and This Is Happening (2010) show the sharpness of Murphy's social awareness, musical knowledge, wit, humour and taste, each one an essential piece of 21st Century cultural history and the western condition, and drawing on virtually all the great art rock, post punk and New Wave musicians to exemplify these observations. Here are the top ten songs (imo), in order of release:


"Losing My Edge" (from LCD Soundsystem, single released July 2002)

This is one of those songs, the ones that could be analysed and discussed endlessly, however we still have nine to go. And the song has been talked about by others in lengthy detail elsewhere, especially in 2002, when LCD decided it would become their first single. It could be said to mark either the birth or death of hipster culture, depending on your viewpoint; it at least took on the issue in new and interesting ways, not only in song form, but more noticeably from a lyrical viewpoint. Murphy, himself constantly mentioning his awareness of his age in interviews, parodies the aged rocker by playing the aged indie kid, proudly reminiscing on his ever-so-slightly invented past: e.g. "I was there when Captain Beefheart started up his first band. I told him, 'Don't do it that way. You'll never make a dime.'". Cut to the end, where he ends up pushing his love of obscure retro bands in the way music is often talked about even today, by unleashing a fury of name-dropping and referencing, warning his younger peers just how foolish they can seem to the outside world. Oh, and the music’s quality too.

"Daft Punk Is Playing at My House" (from LCD Soundsystem, single released February 2005)

It’s three years since you put out your first single, and since then you’ve released several more to equal or near-equal acclaim, showing yourself to be amongst the most capable in your field, and building the anticipation for your debut album to near dizzying levels. So you compile your already successful tracks into some kind of order, with maybe one or two gems you’ve been saving just for the occasion, right? Well, not LCD. Their self-titled album came with not one but two CD’s: Disc One being an entirely new album of material, with the singles compiled on the second disc. The first track of the new record, the gleefully titled "Daft Punk Is Playing at My House" remains one of the bands’ most instantly recognisable and successful, reaching #1 on the British Dance Chart and earning them a Grammy nomination. The song’s name and video explain really all there is to know: the lifestyle of house parties for the indie generation, playing on the joke that Daft Punk is the only dance music they ever listen to. But now that’s no longer true (if it ever was), they listen to LCD Soundsystem too…

"Tribulations" (from LCD Soundsystem, single released September 2005)

One of the first LCD songs to deal with interpersonal relationships which are addressed so well on the latter two albums, James Murphy adopts the warm, synthetic approach for "Tribulations", which is less reliant on music of the past and more in keeping with the present day, 2005 sound LCD helped shape. The immediate club appeal of the warm, bassy synths, crisp, electronic beats and layered guitars are down to the song’s much sleeker production and mix, that contemporaries Yeah Yeah Yeahs wouldn’t manage until much later. Not to say Murphy isn’t great at producing of course, rather he often prefers a more haggard, rough-and-ready way. It works in the song’s favour lyrically also. Instead of hurling abuse at his addressee he calmly sneers from the moral high ground, perfectly aware of having being treated like an object. He also blames himself with clever double-edged swords such as "everybody makes mistakes/but it’s always mine that keep on sticking". His voice carries his passion which raises as the song approaches it’s end. The video is also fantastic.

"Someone Great" (from Sound of Silver, single released October 2007)

The second LCD LP, Sound of Silver, was sleeker and more mature than LCD Soundsystem, with Murphy leaving the influences at home and concentrating on providing a great modern album. The softest LCD track, Someone Great is one of two great explorations of human emotion on the album, though it’s meaning is purposefully vague: is it about death, or a failed relationship, or something else? Murphy attempts to grasp his emotions, focusing on details such as the weather to reassert himself. But it’s not too long before he’s back in his state of regret, guilt and woe, repeating the words "and it keeps coming till the day it stops". This is more of a sit-down listen to be totally appreciated, the loss of structure is represented by the loss of non-electronic instruments, save for a childlike glockenspiel, but by the end the song is fully realised and complete, and Murphy learns to accept "that someone great is gone".

"New York, I Love You But You’re Bringing Me Down" (from Sound of Silver)

"New York" is the track that closes Sound of Silver. Initially it starts as a simple piano ballad, but on closer listen subdued electronics underneath build tension, often making firework-like sounds.  The rest of the band soon turn up, one by one, as Murphy describes his dualistic relationship with the city, crystallised in the line "But you’re still the one pool where I’d happily drown". Eventually the song crescendos as distorted guitars and drums crash, and Murphy wails over them. This "after the show" type of closing track sounds somewhere between Lou Reed’s "Goodnight Ladies" from Transformer, and "Bring It On Home" from Led Zeppelin II and is hardly an original idea, but it’s fury and uniqueness within LCD's canon make it stand out.

"All My Friends" (from Sound of Silver, single released May 2007)

The second "sit-down-and-think dance" track if you followed me from earlier, "All My Friends" immediately follows "Someone Great" on Sound of Silver, bridging a highly emotional centrepiece for the album. The themes of the song include the humdrum of everyday life, isolation, coming of age, and failure for the real world to meet ones expectations. The messy opening piano chords carry the song way past the seven minute mark: an imperfect, incessant drone which is the basis for the linear track. The drama makes way for an empathetic guitar solo but the real focus is on Murphy as the music video shows: even as the camera zooms out to reveal the band, Murphy remains it’s focus. The song has found itself covered by Franz Ferdinand and no less than the Velvet Underground’s John Cale, however try as they might neither can surpass James Murphy’s original. There are as many great quotable lyrics here as there are on "Losing My Edge" and in many ways the song readdresses the issues found there, namely separation from an unsympathetic world. For me the best line here has to be the last, "If I could see all my friends tonight", with it’s obscurity of meaning and definition. Like the piano this choice may be mundane in it’s predictability but remains one of the few constants of this list.

"Drunk Girls" (from This Is Happening, single released May 2010)

 James Murphy announced at the start of last year that the third LCD record, This Is Happening, would likely be the band’s last, but that disheartening  statement carried a silver lining in the dropping of the first single "Drunk Girls", which followed in the footsteps of the previous two first album singles "Daft Punk" and "North American Scum" in being fun, anarchic and simple in structure and subject. The two syllable hook is "borrowed" from the Velvet Underground’s "White Light/White Heat" (a recurring theme of the album, more on that later), and it’s surprising how this chugging rhythm hasn’t been revived sooner. The one-note piano remains to drive the point home even further. My favourite lyric this time (again out of many) is "Drunk girls know love is an astronaut, it comes back but it’s never the same". The madness and hilarity are exemplified by the brilliant music video directed by Spike Jonze, who seems to think owning the band with pandas is the best way of expressing Murphy’s  intentions. Which it like, totally is.

"Dance Yrself Clean" (from This Is Happening)

It took me a while to get around to listening to This Is Happening for whatever reason, but from the moment I pressed play I was completely blown away by this track. "Dance Yrself Clean" opens the album over nine minutes which seem to pass by like a radio hit. Odd handclaps and percussion and analog synthesizer sounds alongside Murphy’s calm vocal only build on the excitement. He knows you know it’s a build to something bigger, and just past the 3 minute mark it delivers, with addition of more driven moog parts, acoustic drums, soaring vocal, and most importantly volume (my perceptions of it being a purposefully low mix were more than a little off the mark). I’m not aware of any song this is emulating, except for maybe a slight Talking Heads vibe, but that may only be in the vocal. It seems to be more retrospective of a time rather than a piece, the album certainly sounded more eighties than it’s predecessor. A change for the band then, and one that served them well.

"I Can Change" (from This Is Happening, single released July 2010)

"I can change, I can change, I can change, I can change," James Murphy protests, being the one on his knees for once. And he almost breaks your heart when he follows it up with "If it helps you fall in love". "I Can Change" is less of an ode to 80’s synthpop more than it is a fully-fledged 6-minute slice of it, sounding buoyant and unashamed in it’s intent. For someone who writes many of his songs about growing up and becoming old, James Murphy shows an unusual naivety as he makes that untellable promise. Despite the apparent sophistication someone may appear to have, they will always fall back on their old lines as a defence mechanism behind closed doors. It sounds as if Murphy’s said those three words time and again, which makes the song more tragic. Despite this the song becomes an anthem for those who’ve tried their hardest to hold onto someone, much like the song which shares it’s twinkling chorus, and could viably prelude, Blondie’s "Heart Of Glass".

"All I Want" (from This Is Happening)

 If you try to establish a moral from LCD’s first single (and first song on this list) "Losing My Edge", you may come to the conclusion that modern day musicians ought to stop relying on emulating the musicians of the past and instead attempt to create something original. Yet "All I Want" doesn’t just subtly hint at an old gem, it’s virtually an entire reworking of that gem. Which is a courageous move in itself, until you discover said gem turns out to be David Bowie’s "Heroes" , which is a song more timid musicians would consider too sacred to attempt. But this isn’t the only case of such on This Is Happening: we’ve already found the tune behind “Drunk Girls”, but it’s also safe to say that "Home" does a little more than just reference the Talking Heads’ "Naive Melody" ; and hey doesn’t "Somebody’s Calling Me" remind you a little of Iggy Pop’s "Nightclubbing"? Has James Murphy gone back on his word and hoped no-one would notice? Well of course not, LCD are back in social commentary mode again, making This Is Happening perhaps the biggest statement of confusion of the modern times in recent music. “All I Want” is far less than heroic: the chorus’s "All I want is your pity/All I want are your bitter tears" gives Bowie’s original a whole new perspective, especially when Murphy’s voice is lost amongst the screeching slide guitar and sour analog synths, along with his plea "Take me hooome!". Just what that means anymore in this context is anyone’s guess.

Final Comments: LCD Soundsystem really were one of the key bands and true observers of pop culture, and will undoubtedly be remembered as a part of the culture they documented and helped to shape. It’s unknown what the future holds for James Murphy, but my thoughts and hopes are that he will remain as a key figure of DFA Records, and go on to produce for those bands that he has expressed working with, namely Arcade Fire and Spoon. Having read just earlier today that Flaming Lips frontman Wayne Coyne has expressed interest in working with him the future could hold some really interesting music; likewise if Murphy decides to start another project. Even if he hangs up his gloves for good, we’ll still have been fortunate to have experienced the best part of ten years with such a great creative force. And I really did manage to write a whole LCD article without using the word cowbell.

Which songs are your favourite LCD Soundsystem tunes? Have I missed anything?

My 10 Most Anticipated Album Releases of 2011

Entirely different list from my previous one, this takes us through the officially announced albums which I am looking forward to most during the first half of this year, in order of release date.
Please note release dates are correct at time of writing but my be subject to change if the artist/label feels like it.


The Strokes - Angles

Highly anticipated fourth album from the band hailed as the saviours of rock and roll ten years ago, would you believe it. The Strokes’s reputation is not without merit though, they’re easily one of the great urban storytelling bands of our times, and it seems as if the wider music community will never be able to shake off the magical feeling that comes around the build up to an album release. New tracks "Under Cover of Darkness" and  the recently-dropped "You’re So Right" seem to be a return to roots and an interesting new direction respectively ("I had some early R.E.M. vibes for a minute or two", says singer Julian Casablancas). I’ve got that magical feeling over this one, check out "Under Cover of Darkness" below and hopefully experience it for yourself.

Angles is released via Rough Trade on 21/3/11 in the UK and via RCA on 22/3/11 in the US.


 Bibio - Mind Bokeh

Bibio is the name given to electronic producer and Boards of Canada protégé Stephen Wilkinson, whose from my neck of the woods actually, Wolverhampton, West Midlands, UK. His signature sound often encompasses guitar and piano amongst bleeps and hazy textures. His work often contains elements of 60’s folk-pop and jazz, and I was both surprised and delighted when I recently heard one of his songs "Lovers’ Carvings" on an ad for Amazon's Kindle, taken from his 2009 album Ambivalence Avenue. However Mind Bokeh’s opening track "Excuses" sounds so far removed from "Lovers’ Carvings" that I’m expecting the album to be quite the ride once it’s released.

 
Mind Bokeh is released via Warp on 29/3/11 in the US and 4/4/11 in the UK/ROW.


Holy Ghost! - Holy Ghost!

Signed to the legendary DFA Records, Holy Ghost! have already released a ton of singles and high-profile remixes,  but we shouldn’t have to wait much longer for their debut album. Like their older brother labelmates LCD Soundsystem they produce New Wave and disco-sounding dance music, only more in keeping with those genres and groups of that time, such as the Human League and Soft Cell. Their 2010 Static on the Wire EP was well received, and produced gems such as "I Will Come Back", the video of which is a near-perfect update of New Order’s "Confusion". If that wasn’t enough to show you how great these guys are, take a listen to new album track “Do It Again” below, or download it here.

Holy Ghost! is released via DFA on iTunes on  5/4/11 and CD/LP on 12/4/11.


TV on the Radio - Nine Types of Light

Like the Strokes, TV on the Radio’s reputation and critical acclaim they gathered over the past decade serves them well as fans await their fifth LP Nine Types of Light. Tunde Adebimpe’s sonically rich and diverse indie rockers stunned both critics and listeners alike with their albums Return to Cookie Mountain and Dear Science, pushing the boundaries of experimentation within the genre to the limit. Adebimpe’s soulful high vocal register and David Sitek’s often raucous distorted guitar lay the foundations, but what follows from track to track is anyone’s guess. The band’s knowledge and range of influences make them truly unique, and new album track "Will Do" is a welcome introduction to the new album, potentially one of the sexiest songs we’ll get to hear this year, and yet another new exploration for the band.

Nine Types of Light is released via Interscope on 12/4/11.


Panda Bear - Tomboy

This album in particular has been a long time coming for many, owing to both the rise in popularity of Animal Collective (reaching it’s current pinnacle in 2009 with the release of Merriweather Post Pavilion), and the huge fanbase of Panda Bear’s previous solo record Person Pitch in 2006. Both albums are milestones in the independent music scene and will likely be remembered as two of our generations finest. Whether Panda Bear’s (or Noah Lennox’s) new album will be comparable to these is anybody’s guess, but music fans of a particular nature have their eyes firmly on this one, and have rabidly been lapping up the stream of 7" singles in anticipation already. Lennox is certainly capable of producing great things, but only when his singles are heard in the album’s context can we really know if Tomboy is another of these.

Tomboy is released via Paw Tracks on 12/4/11.


Explosions in the Sky - Take Care, Take Care, Take Care

Post-rock instrumental Texans Explosions in the Sky create some of the most lush, emotive and grand music of their genre, drawing comparisons from Mogwai to Sigur Rós. They’re a band who seem to amaze and expand their audiences with each album, and this streak will likely continue when Take Care, Take Care, Take Care is released. The range of sounds gained from just drums and guitar are extraordinary in the hands of these guys, and the band are able to fashion album after album of tearjerkers and euphoric soundscapes often using just these. Personally I’m not the biggest post-rock fan but this music seems to work for me a lot better than most of this band’s contemporaries. Fans of the genre or those who like their rock a little more interesting will undoubtedly enjoy this once it’s released.

Take Care, Take Care, Take Care is released via Bella Union on 18/4/11 in the UK and 25/4/11 for the rest of Europe, and via Temporary Residence on 26/4/11 in the US.


Tyler, the Creator - Goblin

Cover for "Yonkers" single

Well any upcoming release from new hype vehicle Odd Future Wolf Gang Kill Them All, really. OFWGKTA are the hot topic of conversation right now for fans of underground hip-hop and the music blogosphere in general. The young LA-based collective have been hailed by some as the new Wu-Tang Clan, a statement undoubtedly with some weight behind it. Odd Future are nothing if not prolific: you can download several albums and mixtapes from each member over at their website if you’re into that sort of thing. Amongst the most prolific members of Odd Future, one that stands out most from the crowd is Tyler, the Creator or Wolf Haley, who wants everyone to believe he’s both a genius and a psychopath. The track "Yonkers" has gathered the most buzz to date, and will feature on Tyler’s second album Goblin, set for release sometime during April. I'll update once we get a better idea.

Goblin is released via XL Recordings circa 4/11.


Fleet Foxes - Helplessness Blues

Chances are you’ve already listened to the songs on Fleet Foxes’ debut album, and if that’s the case you’ll likely want to open your wallet for when their follow-up arrives, Helplessness Blues. The band, led by Robin Pecknold combine traditional and English folk with Brian Wilson’s sense of melody and instrumentation to forge timeless tunes with the richest of harmonies. I will be interested as to whether the new album will be able to match up against the most gorgeous moments of the Sun Giant EP and Fleet Foxes, but the title track tells me that I don’t have much to worry about. Music like this exists out of time, place and fashion, and is something for all to enjoy.

Helplessness Blues is released via Bella Union on 2/5/11 in the UK and via Sub Pop on 3/5/11 in the US.


Gang Gang Dance - Eye Contact

I can think of no better example of the underground sonic experimentations coming from New York right now than those of Gang Gang Dance. Still widely unknown but with the acknowledgement of their peers, and with the potential to release a game-changing album. Overshadowed by some, yet easily identifiable, they are able to synthesise the sounds around their scene and yet achieve uniqueness and gratitude from many of those willing to dig to find them: Percussive dance punk with world, electronic, art-rock and hip-hop textures. The first track to be released from their new album Eye Contact is the opener “Glass Jar”, an eleven minute sprawl that rewards those who are prepared to stick it out. Hopefully the rest of the album follows suit equally as well. I’ll say no more.



Eye Contact is released via 4AD on 9/5/11.


Battles - Gloss Drop

Cover Art TBC

In my opinion, Battles’ debut album Mirrored is a modern classic. It somehow manages to be both nerdy, mathy prog-rock, and yet it’s dynamic brilliance means that to those who are aware of it there is no other substitute for bedroom dancing and freaking out, it wins you over without having to put up too much of a fight. However the group have experienced recent setbacks; after the departure of singer/multi-instrumentalist Tyondai Braxton the remaining three members, each from other renowned bands, decided to scrap their material and work on their follow-up to Mirrored, Gloss Drop as a trio. Unfortunately no new songs have been released as of yet, however looking at the tracklist , the prospects of tracks with guest vocals from none other than synthpop legend Gary Numan and the wildly exciting frontman of Boredoms, Yamantaka Eye are enough to keep my appetite whetted, stretching the limits of what this band can deliver. I’ll end my list of my 10 most anticipated album releases of 2011 with the classic Battles song "Atlas", taken from Mirrored.

Gloss Drop is released via Warp on 7/6/11 in the US and 6/6/11 in the UK/ROW.


What albums are you looking forward to this year? I’ll be interested to see how these albums will compare to my expectations, what I’ll end up talking about at the end of the year, and how the releases of this year compare with 2010 and 2012.

My Top 10 Radio-Orientated Pop Songs of 2010

It seems a little late to be doing a list like this, what with it being two months into the new year and all of that. Around a week ago my friend Tevs sent me a link to a guy called Todd In The Shadows and his list of  “Top 10 Best Hit Songs of 2010”. Give a couple of days and I was bound to reply, with my first list on my first blog, so here we have it, without further ado, in it’s (highly) edited form:


10. Plan B - "Prayin’"

Best to start off in my own merry England I think. Before the release of his second album The Defamation of Strickland Banks rapper Ben Drew was more likely to be seen playing roles in the Michael Caine-starring Harry Brown and the Noel Clarke films Adulthood and  4.3.2.1. These films play a large part in identifying Drew’s musical persona Plan B for anyone who has seen them; the London accent and swagger coming from the U.K.’s largest gang-related crime hotspot and also a city with a huge ethnic diversity.  Drew chose to adopt the influences of soul that he grew up with for his breakthrough effort, opting to sing more often than rap, coming across as a combination of fellow London dwellers Mike Skinner and Amy Winehouse. This hybrid brought breakthrough success for Strickland Banks, netting Plan B the #1 position on the U.K. Albums Chart in its first week, and also a string of Top 40 singles. Arguably the best of these was “Prayin’”, one of the bleakest chapters of the concept album, a unique, refreshing take on  the murder ballad where Drew, singing through the titular Banks sings for repentance of his sins, praying through his guilt-ridden hands. His voice, and the moving horn section that carries it made “Prayin’” one of the most emotionally charged singles on British radio in 2010, and Plan B a unique national treasure.

9. Brandon Flowers - "Crossfire"

When people look back on the last decade years from now, they’ll likely remember the presence of one particular band, and single after single dominating the charts, radio, every karaoke, birthday party, wedding and other social event. The inescapable presence of the Killers meant that Brandon Flowers was a household name long before the release of his debut solo effort Flamingo in September 2010. Lead single “Crossfire” on paper shows to be much of the same for Flowers: the sparkling guitars, gritty bass and percussion set it up to be another Vegas pop power ballad we’ve come to expect from the Killers’ tunesmith. However this isn’t just another feather in the cap for Flowers. Beyond the Vegas lights lies the punishing Nevada Desert, and this is where the song appears to be coming from: the dark piano chords play nicely off the lead guitar, making the song sound like the great lost Eagles song, especially with Flowers’ as-ever melodramatic chorus delivery. All this song needed was for Slash and Axl to jump out towards the ending and it would’ve been one step closer to becoming your dad’s new favourite stereo-hogger. Which it may have been anyway.

8. Lady Gaga - "Telephone" (ft. Beyoncé)

Two titans of female pop come together on this early 2010 hit, so naturally it sold by the bucketload and was heard everywhere. Beyoncé was the more veteran of the two,  having worked her way up from her early Destiny’s Child days, cutting her teeth as a solo performer with the 2003 smash hit “Crazy In Love” (with a little help from future husband Jay-Z), where she has remained as one the most consistent vocalists in terms of popularity of the last decade. That was until her crown was seriously challenged by oddball, controversial upstart Lady Gaga, who rose to popularity at the end of the decade. The public’s obsession with her often provocative, shocking yet lucrative behaviour spawned  a ton of rumours both sides of the Atlantic, and indeed all over the globe, keeping interest in Gaga‘s every breath and fashion decision. The now-famous 9-minute music video tells the story better than any review ever could; along with the top class production and Gaga’s carefully hidden pop sensibilities all work in favour of this multi million dollar tune, and leaves the eye and ear even more to ponder, share, debate and consider.

7. Rihanna - "Rude Boy"

We all have our opinions on Rihanna it seems, but this Rated R single at the start of the year remains one of her strongest efforts yet. I’m not the only one who expressed concerns for a single such as this, in light of her previous personal relations of the last few years, however  look beyond the surface and this song appears to be much more dualistic than you might imagine. On the one hand Rihanna uses her voice, obvious sex appeal and lyrics to seduce even the most reserved of male listener, and clearly this is where most people have the issue. However  on the other hand the softness of voice, steady beat and synths set up a different side to Rihanna, a more delicate, even vulnerable one, making her performance seem genuine, unlike many of her contemporaries. And this is exactly the right career move to make, unlike what many may think. Sub the release of this single with “Love the Way You Lie” and it makes the release of “Rude Boy” seem even more outrageous. The song and video seen to fit somewhere between the world music fused dance of M.I.A. and the sly coyness of Yo-Landi Vi$$er on Die Antwoord’s “Enter The Ninja”, and Rihanna seems to draw on the ambition and zaniness of both, bringing them to the forefront of primetime radio.

6. Gorillaz - "On Melancholy Hill"

Damon Albarn knows how to put a collaboration together. After the huge success of  Gorillaz’s 2005 album Demon Days, expectaions were high for follow-up Plastic Beach, and it didn’t disappoint. Despite the huge list of collaborators (Mick Jones and Paul Simonon of the Clash, Mos Def, Bobby Womack, Snoop Dogg, Lou Reed, Mark E. Smith, De La Soul, the list goes on), “On Melancholy Hill” is much sparser, the only vocalist being Albarn himself, who manages to produce one of his most soulful vocal performances since Blur’s “Tender”. It manages to be the centrepiece of the album thanks to it’s simple lyrics and quietly confident instrumentation, addressing matters which anyone can relate to. Staccato chords hold the hazy, shoegazy feedback in place, tied up with deliciously simple electronic drums, sounding truly as plastic as what the album’s title suggests. Gorillaz are a rare project in that they manage to appeal to both casual music listeners to specialists of all genres, something which only a few bands before them have managed to accomplish, and is even rarer for today's musicians.

5. Kanye West - "POWER"

It’s odd to think that America’s biggest music star has been largely left unnoticed by U.K. radio in recent years. Kanye’s album, My Beautiful Dark Twisted Fantasy, released towards the end of last year went straight to #1 on the Billboard 200 and for many critics was Album Of The Year. It seems as though the most crucial element of Kanye’s superstar status, the media, has managed to influence the British public away from any credibility for him to be considered musically credible. Which is a huge shame, as MBDTF may be the most poignant, artistic mainstream hip-hop, or even pop album of recent years. Kanye’s assurance, like Jay-Z and the Notorious B.I.G. before him come from his rise through raw talent as an M.C., beat maker and producer, and even if he isn’t as great as he says or thinks he is, he definitely isn’t too far off. His media image gives his lyrics more to address, he knows exactly what he’s doing, and on “POWER”, just one of many great cuts from the album, these elements come together seamlessly in just under 5 minutes: tight lyrics, a mesmerising female choral vocal cut up out of recognition, and an excellent sample in the form of King Crimson’s "21st Century Schizoid Man", which appears to have been written just for him, such is it’s potency, and Kanye’s lyricism and creativity. I could write so much about Kanye West and his position in music and culture today, but with songs like this there isn’t really any need. The video for another album track “All of the Lights” has just been released, and something tells me it may just give Kanye the publicity you’d expect him to recieve for this career-defining effort.

4. Janelle Monáe - "Tightrope" (ft. Big Boi)

A stunning debut album, The ArchAndroid was definitely one of my favourites of 2010. Each track is filled with ideas coming from the world of soul, jazz, swing, contemporary classical, funk, pop and rock, and despite it’s length manages to sustain interest and establishes Janelle Monáe as a true force to be reckoned with in the near future. The leftfield appeal of “Tightrope”, a collaboration with an artist firmly coming from the world of leftfield success, Outkast’s Big Boi, comes from it’s refreshing take on all it’s influences and vast instrumentation. It’s almost the opposite of an entry previously featured on this list, Rihanna’s “Rude Boy”. The only thing Monáe’s lyrics address is walking a tightrope, and she sounds confident and assured. Unlike Rihanna she comes out of nowhere, with no previous successes to fall on, and has no media image. Everything about her should prevent her from being a star, yet her popularity continues to rise, by raw talent alone. The tightrope she walks is between popularity and artistic integrity, on which she is perfectly poised. Big Boi’s verse manages to be fast flowing and laid-back, and balances alongside the track where any other rapper would take over the limelight and ruin the effect. “The funkiest horn section in Metropolis”, acoustic guitar, funk bass, and Monáe’s own warped backing vocals flow in and out of the song, making Tightrope a true delight for the ears, and one of the standout cuts of the album.

Click to watch Janelle Monáe - Tightrope (ft. Big Boi)

3. Cee-Lo Green - "Fuck You"

Frank Zappa would be ashamed of today’s entertainment industry. I feel that if he were alive today "Fuck You" would be one of his favourite songs, but "Forget You" would be one of his least. And I would have to agree. Censoring this song misses the point entirely, and robs it of it’s emotional message. It’s a high that everyone who heard this song in either form rode on. When Cee-Lo sings "Fuck You" live, you can tell how much more enjoyment he gets out of it when compared to his televised "Forget You" performances. It’s amusing to think of this song as a hit if it had been released in the time it evokes, making it truly a 21st Century hit. Lyrically Cee-Lo right on cue, and possessing on the most powerful and diverse pipes in pop doesn’t hurt either. This song is a perfect showcase of those, especially during the wailing bridge, which Cee-Lo can‘t help but smile on. The song has masses of appeal in the same way that Outkast’s “Hey Ya!” did all those years ago, by being catchy, intense, and just hugely enjoyable.

2. Duck Sauce - "Barbra Streissand"

This shouldn’t work. But it does. And we all probably shouldn't like it as much as we do. Taking an odd sample from Boney M. hit “Gotta Go Home“, cutting it up with the deadpan lyric “Barbra Streissand” and looping it for 2 minutes (5 minutes for the preferable extended mix), big name collaborators A-Trak and Armand Van Helden have managed to create the most infectious dance hit of recent times. Everyone and their nan can’t resist singing and dancing to any part of this song, with or without prompt, even months after it’s initial release. It’s that good. There really isn’t much more to say about it than that.

1. Robyn - "Dancing On My Own"

What makes a great pop song is it’s radio friendliness, ability to reach the general casual music listener, great songcraft, lyrics and production, resonance with the current times and music scene, and Sweden’s Robyn has it all. A truly underappreciated treasure, “Dancing On My Own” is Robyn’s biggest hit to date, and part of the reason it’s been so sorely overlooked in my opinion I think is it’s lack of warmth for the British public to truly accept it, and simply too popular for most underground music listeners to give it a chance, it lies somewhere in the middle. A refreshingly dark take on the dancefloor theme and orientation of so many songs of 2010, the top quality sinister and icy production mirrors Robyn’s torn lyrics and vocals perfectly, truly heart-wrenching for anyone willing to give it a chance. The superior  album version exemplifies these ideas even further (as opposed to the radio edit that made it all over the radio for a brief time).The new-wave sounding synths which open the song sound truly menacing and immediately give it gravitas and purpose. As it progresses towards the chorus the song truly opens up, strengthening Robyn’s vocals and as their contents become even more poignant. As the percussion develops into the second chorus and synths collide just before the bridge the song achieves further weight, truly drawing the listener in to it’s cold, torn beauty. Robyn may only have a small but dedicated group of fans, but for them this year must have been a real treat. I feel as if giving the #1 spot to any of the other top 5 would be a cop-out. This song was an absolute delight.

What did you think of my choices? What was your favourite pop song of 2010?
Oh, and here is the original video which was the inspiration behind this list: