Albums of the Year - 2022

 So then, 2022 - how was it for you? Musically it was great for me - new bands, American superstars, more live acts than I've ever seen in one year before. Here's my pick of the best of the year, I hope you find something new to listen to.

1. Black Country, New Road - Ants From Up There

BC,NR take the top spot on my list for the second year running. Full of gut-wrenching, heart-breaking lyrics and musical surprises, this was (almost) the sound of a band hitting their peak. The departure of Isaac before the album was even released may have knocked them back for a while, but it makes a lot of these songs seem even more poignant now. And having seen a recent show at Bush Hall I can confidently say that the band are forging ahead with a new direction, and might even make it to the top of next year's list!

2. caroline - caroline

A record that almost defies description from an 8-piece band who are astonishing to watch live, where they usually play in the round. It's almost like a folk version of Mogwai - there are quiet bits, loud bits, bits that sound like instruments are falling over, and a man shouting in the background, but it all combines to produce an incredibly emotive and moving album. Lyrics are repeated so that they become mantras, while unusual instruments help you drift to another dimension. I can't wait to hear more from them in 2023.

3. Beyonce - Renaissance

At this point in her career Bey could probably put out any old shit and people would buy it. So we should be grateful that instead of that she's given us 'Renaissance', a glorious album that manages to celebrate black culture and the history of black dance music with some incredible production and some properly banging tunes. This is undoubtedly the album I've played the most this year, although I've so far baulked at paying the exorbitant price for the vinyl.

4. Jockstrap - I Love You Jennifer B

They may have possibly the worst band name in existence, but Georgia Ellery and Taylor Skye have made what may be the most intriguing album of the year. Every time I listen to this record I hear something new and it sounds like the songs are going in a different direction, they seem to inhabit multiple genres at once, and everything seems to be slightly on the edge of a precipice. When you consider that Georgia is also a member of Black Country, New Road then you have to conclude that she's one of the most talented musicians in the UK at the moment. 

5. deathcrash - Return

This London-based fourpiece display influences of Mogwai and Slint, albeit in a slightly gentler fashion (singer Tiernan Banks apparently wanted to call this album 'Rejected Slint Demos' but was overruled). They're music is intense but not in your face, and brings an occasional lightness of touch to the quiet/loud/quiet genre. They're a force to reckon with live too, and have already recorded their second full-length album, which will be released early next year. Guitarist Matthew Weinberger also released his own, very different, solo album this year under the name Satan Club, which is worth checking out if you're a fan of instrumental acoustic folk.

6. Kendrick Lamar - Mr. Morale & The Big Steppers

They don't call him King Kenny for nothing. This is a pretty faultless album (remove 'We Cry Together' and it would be perfect) from the rap artist of his generation, one on which Kendrick continues to confront the issues of the day, taking on cancel culture and white privilege through his own personal lens. He marked the album with one of the most talked-about Glastonbury performances of all time and an outstanding tour which cemented his position at the top of the tree.

7. Working Men's Club - Fear Fear

An album that solidifies Syd's vision for the band and shows how he's developing as a songwriter. The lyrics, written through the Covid pandemic, are extremely dark and sometimes painfully honest, but are counterbalanced by uplifting and pounding electronic melodies. It still sounds a lot like some of the bands I loved in the 80s, but Syd's view of the world is beginning to make WMC stand out as an act to watch out for in their own right.

8. Kae Tempest - The Line Is A Curve

On first listen this album didn't grab me as much as I thought it would. But as the year went on, and over the course of the 4 times I saw them live this year, Kae's album began to hit hard and deep. The lyrics are as good as ever, and although the inclusion of featured guests was initially a surprise, in most cases they enhance the songs, especially Grian from Fontaines DC (I'd love for him and Kae to make a whole joint album together).  'Salt Coast' is probably me favourite track off the album, a brilliantly poetic description of Britain and the people who inhabit it.

9. Yard Act - The Overload

The first album I bought this year, way back at the start of January when it was engaged in a chart battle with Years & Years. Since then both the album and the band have become bigger and more widely know, but have remained refreshingly down to earth. From re-recording '100% Endurance' with Elton John to being nominated for the Mercury Prize, James and the gang have continued to work their arses off for our entertainment. I'm not sure how/if they'll be able to develop their sound further, but they've certainly made the most of their time in the spotlight this year.

10. Bob Vylan - Bob Vylan Presents The Price Of Life

On the back of this album are printed the words 'If you can't afford this product, feel free to steal it'. It's a great indicator  of the ethos of this band who are, for me, the most properly 'punk' act in the UK today. On this, their second album, they've developed their musical style to me more diverse, but kept the hard-hitting lyrics about wealth-based inequality, racism and privilege. They self-financed and released this album, getting it into the top 20, and then went on to perform on the BBC's Glastonbury coverage and win both a MOBO award and a Kerrang! award, surely the first act to ever achieve that double whammy.

Fifteen more worth listening to:

• Jack White - Fear of the Dawn
• Wu-Lu - Loggerhead
• Loyle Carner - Hugo
• Black Midi - Hellfire
• Cassels - A Gut Feeling
• Hot Chip - Freakout/Release
• Pusha T - It's Almost Dry
• Gabe Gurnsey - Diablo
• Oliver Sim - Hideous Bastard
• Bodega - Broken Equipment
• Daniel Avery - Ultra Truth
• Scalping - Void
• The Lounge Society - Tired of Liberty
• Bambara - Love On My Mind
• Courting - Guitar Music

Albums of the Year 2015 - the top 40

It's been a pretty good year for albums I reckon. There's been some that smacked you right in the face the moment you first heard them, and others that have been slow-burners and slowly wormed their way into your brain throughout the year. Here's my thoughts on the Top Ten.

1. 'Sometimes I Sit And Think, And Sometimes I Just Sit by Courtney Barnett 
Sassy, intelligent lyrics, brilliant tunes, and overall such a great attitude and joie de vivre that you can't help falling in love with Courtney. For me this was the album that proved that there's still a future for guitar-based music. Full review here.

2. 'To Pimp A Butterfly' by Kendrick Lamar
Probably the most talked about, analysed (over-analysed maybe) and generally dissected album of the year. Big hitting, powerful lyrics, jazz and funk-themed music and top-notch collaborators (Flying Lotus, George Clinton, Dr. Dre & Snoop Dogg) combined to make this an immense record that has definitely earned a place in the history of black music. See blog post here.

3. 'Foam Island' by Darkstar
An electronic reflection on life in northern England in 2015, the tracks feature interviews with the people of Huddersfield talking about their town, their hopes and their dreams. This is matched with a great selection of music as the band show their skills in writing great melodies. Full review here.

4. 'In Colour' by Jamie xx
A fantastic ride through the rainbow colours of British dance music in 2015. Mixing great samples with deft touches and cool guest vocals, it's the soundtrack to a night out you never want to end. Oh, and the vinyl set was beautiful to look at too. Full review here.

5. 'All We Need' by Raury
A warm, touching and uplifting album that mixes 60s flower-child mentality and 70s vibes with bang up to the minute raps. I've been going on about Raury for a couple of years now, and he's continued to prove my faith in him is justified. Still only 19, and global superstardom beckons. Full review here.

6. 'Projections' by Romare
Mostly instrumental, with snippets of samples deftly woven into a collage of emotions, this is a brilliant début album full of heart and history. Ninja Tune certainly know how to pick a winner, and I hope Romare goes on to make many more albums. Full review here.

7. 'The Epic' by Kamasi Washington
Epic by name and epic by nature, if you want to listen to this triple album all the way through you'll need to put three hours aside. It's worth it though - the best jazz album for years in my opinion, and with his role in Kendrick's album as well it's been a mega year for Kamasi Washington.

8. 'The Good Fight' by Oddisee
Consistently my favourite rapper both on record and live, the fact that Oddisee isn't more well known continues to astound me. Intelligent and intellectual lyrics matched with smooth, quality beats (that he produces himself) results in a record that's maybe just too good for the masses to appreciate. Full review here.

9. 'The Delta' by Brolin
Another great début album, as the reclusive producer from Leeds crafts a sleek and soulful album. Influenced by the synaesthesia he experiences when making music, the record feels like a journey of discovery. I reckon there's a lot more to come from him. Full review here. 

10. '1989' by Ryan Adams
In which Adams completely reinvents Taylor Swift's pop masterclass, swapping the pop smarts for emotions, and in doing so makes the record he's secretly wanted to make for years. Cover version heaven. Full review here. 

And numbers 11-40...to be honest the ordering is fairly arbitrary, but you ought to be able to find something you like in here.

11. 'Music Complete' by New Order
12. 'The Race For Space' by Public Service Broadcasting
13. 'Perpetual Motion People by Ezra Furman
14. 'Golden Ticket' by Golden Rules
15. 'Born In The Echoes' by The Chemical Brothers
16. 'Algiers' by Algiers
17. 'Multi-Love' by Unknown Mortal Orchestra
18. 'Shedding Skin' by Ghostpoet
19. 'Lost Themes' by John Carpenter
20. 'Culture of Volume' by East India Youth
21. 'Inji' by LA Priest
22. 'Beauty Behind The Madness' by The Weeknd
23. 'La Vie Est Belle / Life Is Beautiful' by Petite Noir
24. 'Panda Bear vs, The Grim Reaper' by Panda Bear
25. 'Evangelist' by Gavin Clark & Toy Drum
26. 'Hinterland' by LoneLady
27. 'Bones' by Son Lux
28. 'EarthEE' by THEESatisfaction
29. 'Solo' by Nils Frahm
30. 'Get to Heaven' by Everything Everything
31. 'Music In Exile' by Songhoy Blues
32. 'Fold' by Fold
33. 'Return To The Moon' by El Vy
34. 'I Declare Nothing' by Tess Parks & Anton Newcombe
35. 'I Need New Eyes' by Larry Gus
36. 'White Men Are Black Men Too'by Young Fathers
37. 'Portraits' by Maribou State
38. 'Personal Computer' by Silicon
39. 'Magnifique' by Ratatat
40. 'The Most Important Place In The World' by Bill Wells & Aidan Moffat

Live review and pictures: East India Youth at South Record Shop, Southend 9/4/2015

East India Youth 9/4/15

A sunny late afternoon saw a small group of those in the know arrive at the equally small South for a gig to promote the new East India Youth album. After a few slightly awkward moments where Will Doyle was soundchecking and we all sort of pretended that we couldn't see him, he headed to the cafe over the road while we waited for the clock to strike five.

East India Youth live at South Record Shop 9/4/15

At the alloted hour Doyle took to the stage and opened with 'The Juddering', the opening track from 'Culture of Volume'. Without stopping for breath he ploughed through a 35 minute set that mixed a couple of older tracks including 'Looking for Someone' with highlights from the new album like the single 'Turn Away' and also 'End Result'. The tempo increased, as did the bobbing of Will's head, and by the closing pairing of 'Hearts That Never' and 'Hinterland' we were pretty much having a full-on rave. The wooden floor of the shop was vibrating as we bopped away while the traditional seaside smell of chips wafted in from the chippie over the road.

Afterwards there was a chance for people to have a quick chat with Will and get records signed etc. I spoke to him about his support slot for Jon Hopkins at the end of the month which he's really looking forward to - he told me that Hopkins a/v show is pretty spectacular so I can't wait to see it now!

Recommended music: 'Escape From Evil' by Lower Dens

The third album from Lower Dens sees them make a shift from the krautrock of the seventies to the bouncy electro-pop of the eighties, all glistening guitars and shimmering synths (the only thing that would make it more 80s would be if you stuffed it full of saxophone solos, but maybe that's a step too far...). Over the top comes Jana Hunter's voice, strong and clear, like Chrissie Hynde crossed with Lana del Rey. It's the sound of her breaking out as a frontwoman, embracing the limelight and saying "this is me and my band, don't hide me on a dark stage any more, light me with a glitterball". Speaking as someone who's seen Lower Dens play live a lot, often on a dark stage, this is a welcome development - although at times I miss the motorik drumbeat (there's just a hint of it in 'Company'), it's nice to hear some sunshine in their sound. 'Electric Current' is not dissimilar to something the Eurythmics might put out, while 'To Die In L.A.' has an air of Robert Plant's 'Johnny and Mary' about it.

At times the records sounds like it's auditioning to be an alternative soundtrack for the movie 'Drive', or even Brett Easton Ellis's book 'The Rules of Attraction', while at others it's just revelling in the in bright sunlight. There's an undoubted slice of Californian cocktail hours in this record (despite the band's Baltimore homeland), and its tales of love and loss seem well suited to the musical atmosphere it generates. I must admit that it's taken me a few listens to get below the surface sheen and start to love this record, but it's definitely worth the effort.

Albums of the Year 2014 - the top 20

As is compulsory for music bloggers (and music fans generally) I've spent the past couple of weeks pulling together the list of what I think are the best albums of this year. It's been tough to get this into any sort of static order, as I think there's been a lot of good stuff around this year, but there comes a time when you just have to press stop and see how they fall. Drum roll please...

1. 'Everyday Robots' by Damon Albarn

Featuring undoubtedly the best, most consistent writing of Albarn's career, this is a heartfelt, confessional album that shows Damon to be at peace with himself and middle age. Produced by Richard Russell, featuring contributions from Brian Eno and Natasha Khan, and with song subjects ranging from drug use to baby elephants, it shows that he needs neither cartoons or real bandmates any more to create brilliant material. Moving and ultimately uplifting. Full review here.


2. 'St. Vincent' by St. Vincent

Whether it was working with David Byrne, or whether she's just 'found herself', this is the sound of the real St. Vincent, free to be herself and say what she wants. Musically it's powerful and spiky, with punchy electronics and roaring guitars, while lyrically it's one of the most subversive records you'll hear all year. This is probably in my all-time top 5 albums by female artists - that's how good it is. And don't get me started on how good her live show is or we'll be here all night.


3. 'Dead' by Young Fathers

First mentioned on this blog back in March 2013, Young Fathers have continued to garner critical acclaim culminating in their Mercury Prize win for 'Dead'. It's hip-hop like you've never heard it before - not surprising as they're the only Scottish /Nigerian / Liberian act I can think of. The music is a melting pot of influences, the lyrics are powerful, and the whole thing is imbued with an amazing energy. Plus they're absolutely incredible live. Full review here.


4. 'Liminal' by The Acid

Atmospheric and moody, with brilliant production and some speaker-rumbling bass, this is the closest thing you'll find to 21st century trip-hop. The trio of Ry X, Steve Nalepa and Adam Freeland have created a real late-night burner of a record. It's sparse but not bleak, fragile but not broken, electronic but not cold, and I absolutely love it. If you've never heard of them I urge you to check it out.


5. 'Our Love' by Caribou

Maybe not quite as great as I was expecting, but a good Caribou album is still well worth having. There are some tracks on here that are gonna sound immense live ('Our Love' and 'Mars' for example), not to mention my favourite track of the year, 'Can't Do Without You'. If only I didn't dislike 'Julia Brightly' so much this would probably have been even higher up the list. There have already been some killer remixes off here and I'm sure there's more to come. You'll be hearing this throughout the festival season next year.



6. 'Shaker Notes' by Paul White

Like Albarn's album, this is a very personal affair from Paul White. He's ditched his previous sample-heavy material and instead plays all the instruments on here and even sings on a few tracks. The music is an eclectic mix, part hip-hop, part film soundtrack, part swamp-blues, but it always retains a sense of intimacy. On top of that the red vinyl copy I've got looks great as it spins on my turntable. Full review here.


7. 'You're Dead' by Flying Lotus

By no means an easy listen, this is surely FlyLo's masterpiece and the record that he's been working towards for all of his career. It's committed, unflinching, uncommercial and the product of a highly creative mind really setting himself free. The guest spot from Kendrick Lamar is a highlight, but there's so much good stuff in here that you could spend a week talking about it. The lavish boxset was beautifully put together too. Full review here.



8. 'Run The Jewels 2' by Run The Jewels
The plaudits for this album are coming in so fast it's hard to keep up with them. It's a rabble-rousing call for social equality masquerading as a knockabout hip-hop record. Hard beats, hard rhymes, maybe one too many vagina references, but overall a fucking powerful record. The fact that I met them on my trip to New York just before they went stratospheric was the icing on the cake. Full review here.


9. 'Close To The Glass' by The Notwist

As far as I'm concerned this is The Notwist's debut album. I know they've had 5 out before but a) this was the first one I've heard and b) it's so chock-full of ideas and energy it's got the same vibe as the 1st album put out by a bunch of 20 year olds. If you're partial to an electronic-indie hybrid with the odd bit of lo-fi acousticness thrown in then give this a spin. The sound of people doing whatt hey do really well. Full review here.



10. 'Total Strife Forever' by East India Youth

This was actually the first album I bought this year, way back at the start of January. It's a great mix of wistful pop songs, euphoric dance moments and atmospheric instrumentals that all combine to show the breadth of Will Doyle's talents. Beautifully crafted and full of class, this is one to savour. Full review here.






11. 'Morning Phase' by Beck. A masterclass in how to make a grown-up, mature record. Hard to believe he once made a track called 'MTV Makes Me Want To Smoke Crack'

12. 'Lazaretto' by Jack White. The perfect summation of all the preceeding part's of White's career, all wrapped up in one (ridiculously over-engineered) piece of vinyl.

13. 'The Light Brigade' by Daedelus. Like the soundtrack to a film that doesn't exist, The only album this year inspired by the 1853-56 Crimean War (!). Full review here.

14. 'LP1' by FKA Twigs. A powerfully strong album from this independent-minded girl. The sort of role model our daughters need.

15. 'New Gods' by Withered Hand. Classic heart-on-your-sleeve singer-songwriting from one of Scotland's finest. Full review here.

16. 'Whelm' by Douglas Dare. Sweeping melodies, a fantastic voice, soaring emotions and moments of calm. Full review here.

17. 'The Take Off and Landing Of Everything' by Elbow. A real return to form for the lads, featuring some of Garvey's best lyrics for years and some really hummable tunes.

18. 'Mean Love' by Sinkane. A brilliantly stylish album that switches effortlessly from Afrobeat to funk to soul and back again. Full review here.

19. 'Black Hours' by Hamilton Leithauser. Like a record that's slipped through a musical wormhole from the late '50s or early '60s. Full review here.

20. 'Built On Glass' by Chet Faker. There seems to have been a lot of what I call 'white boy soul' records out this year. This is by far the best.

Honourable mention: 'The Long Goodbye' by LCD Soundsystem. a lovingly crafted boxset that was a fitting way to mark the end of one of my favourite ever bands.

Ten that nearly made it (in no particular order):

'Familiars' by The Antlers
'Ghosts of Then and Now' by Illum Sphere
'Frozen By Sight' by Paul Smith & Peter Brewis
'The Inevitable End' by Royksopp
'Stateless' by Dirty Beaches
'Annabel Dream Reader' by The Wytches
'Wonder Where We Land' by SBTRKT
'Tomorrow's Modern Boxes' by Thom Yorke
'Lese Majesty' by Shabazz Palaces
'Divine Ecstacy' by Supreme Cuts

Tracks of the Year 2014

It's always a struggle to pick my favourite tracks at the end of the year. What criteria should I use - tracks from my favourite albums? Songs that remind me of good times. This year I've kept it nice and simple - you could subtitle this list as "Songs that I have to turn up when I hear them on the radio". It's as easy as that. Consequently it's quite a mixed bag in terms of styles and genres, but they're all tracks that have had me reaching for the volume button this year. I've sorted the top 10 in order, and give you the next 20 randomly just so you've got some stuff to go and seek out.

1. Caribou - 'Can't Do Without You (Extended Mix)'. When the original version of this song came out there was one single thing wrong with it; it felt a few minutes too short. Three weeks later this version appeared and it was perfect. This is the track that's had me reaching for the rewind button most often this year.

2. Flying Lotus - 'Never Catch Me (feat. Kendrick Lamar)'. Pretty much encapsulates FlyLo's magnum opus album 'You're Dead' in 4 minutes - jazzy piano, frantic bass from Thundercat, and spot-on flow from Mr Lamar. 

3. Kendrick Lamar - 'i'. While we're talking about Kendrick, here's his comeback single which points to the fact that his next album will be immense. One of those classic hip-hop uses of a sample - The Isley Brothers song is exactly the right track used in exactly the right way

4. Jack White - 'Lazaretto'. Almost the perfect Jack White song - a great fuzzed-up riff, a brilliant solo, a change of pace, even the violin gets a chance to let rip. A classic that he'll be playing for years to come.



5. Jenny Lewis - 'She's Not Me'. Really I've got no idea why I love this song so much, it's not normally my sort of thing. I've come to the conclusion that everything in it is just done so well I can't help but love it. Great production, great lyrics, a great hook, a catchy, sing-able chorus and proper old-school guitar solos in the middle and at the end.



6. Johnny Marr - 'Easy Money'. The most effortlessly simple and effective indie pop song you'll hear all year. More reminiscent of Marr's stuff with Electronic than The Smiths with a melody that most professional songwriters would kill for.



7. Little Dragon - 'Klapp Klapp'. Another catchy and upbeat tune, and one that moved the Swedisg band up a league or two in 2014. Totally infectious.



8. Maxïmo Park - 'Leave This Island'. A change in style for Paul Smith & the boys (which sadly wasn't repeated on the rest of the album), I love the moody electronic feel to this, which goes well with the dark lyrics.



9. Jessie Ware - 'Tough Love'. I'm pretty sure my love of this track is entirely due to the fact that it reminds me of 'Raspberry Beret' by Prince every time I hear it. But I don't care, it's a great song.



10. Hot Chip vs William Onyeabor - 'Atomic Bomb'. My favourite track from my second-favourite purchase on Record Store Day this year (the LCD Soundsystem boxset wins of course). This is a brilliant reinterpretation of the song, with a gentle reggae bassline and a hypnotic groove.



The next 20 are in no particular order, but I guarantee you that they're all worth a listen.

Röyksopp - 'Skulls'. Their new album is like a cross between Justice and Jean-Michel Jarre (which is obviously a good thing).

Hudson Mohawke - 'Chimes'. You know, the one off the Apple Macbook advert.

Daedelus - 'Onward'. A hauntingly moving track, from his album about the 1853-56 Crimean War (!).

Francis Lung - 'A Selfish Man'. A brilliant warts and all account of leaving his former band Wu Lyf.

Warpaint - 'Love Is To Die'. Featuring the most surprising key change this year, it really catches you off-guard (in a good way).

Hamilton Leithauser - '11 O'Clock Friday Night'. Great production, and I love the way it builds over the percussive backing.

The Wytches - 'Wire Frame Mattress'. A brilliantly disturbed slice of garage-psyche-rock.

Metronomy - 'Love Letters (Soulwax Remix)'. Great track, even better remix which, with the way the girls' vocals are brought to the fore, reminds me of the Human League.

Jane Weaver - 'Argent'. From her excellent album 'The Silver Globe', here the Liverpudlian lass makes French-sounding Krautrock!

Elbow - 'Fly Boy Blue / Lunette'. A great return to form from Elbow, the 'Lunette' part of this track features some of Guy Garvey's best ever lyrics.

The War on Drugs - 'Red Eyes'. Classic mature guitar-rock that sounds more than a bit like Bryan Adams.

Jungle - Busy Earnin'. In a year which featured an over-abundance of white-boy soul, this track stood out for me above the rest.

Sylvan Esso - 'Hey Mami'. Like one of those old-fashioned round songs they used to make you sing in the school choir, updated for the 21st century.

Mogwai - 'Remurdered'. Proper pounding  classic Mogwai.

St. Vincent - 'Digital Witness'. Working with David Byrne has clearly had an effect on Annie Clarke, and this track kick-started her startling re-birth.

New Build - 'The Sunlight'. Evokes the spirit of every great Balearic blissed-out moment.

Redinho - 'Playing With Fire'. Sleazy electro-funk with Zapp-style vocals.

Wild Beasts - 'Wanderlust'. "Don't confuse me with someone who gives a fuck." Perfect.

Young Fathers - 'LOW'. One of the best tracks from one of the best albums of the year.
https://soundcloud.com/bigdadasound/young-fathers-low
Son Lux - 'Easy (Switch Screens)(feat. Lorde). One of my favourite tracks from last year gets a re-boot with one of the ladies of the year.



When I get the chance I'll do a podcast of them all in an order that makes sense for listening and post it on Mixcloud and here (and maybe even give it away if I don't get caught). Enjoy!

PS Just so you know, I very nearly put 'Shake It Out' by Taylor Swift and 'I'm Not The Only One' by Sam Smith in this list...

Recommended music: 'Cosmic Logic' by Peaking Lights

If the music you release is an good indication of how things are going in your life, then all must be pretty good in the Peaking Lights camp right now. Husband and wife team Aaron Coyes and Indra Dunis have made an upbeat electro-pop-dub record that's surely designed for sunshine and good times, rather than their previous releases which were more made for late nights, weed and relaxing. I guess having two kids can make your life change like that.

The murky, scratchy, lo-fi dub of old had been replaced with bright and crisp electronics that in places almost veers towards eurobeat. The one constant is Indra's floaty voice, which swoops and wafts over the backing. Album opener 'Infinite Trips' is a bit of a red herring - it's not trippy, and it's also not very much like the rest of the tracks on the album. 'Telephone Call', which is next up, is a much better indication of things to come, in which Indra signs about phone calls from space and seems to be more than a bit influenced by The Space Lady. Later on, 'Everyone and Us' has a bassline that really reminds me of 'Giant' by The The, although it's probably highly unlikely that they (or even you dear reader) will have heard that. 'Eyes To Sea' (I love that title) is built around a hypnotically repetitive electronic loop, and is followed by 'Bad With The Good', which seems to have stolen all of its keyboard and drum settings straight from the 80s - like a lot of the songs on here it's refreshingly simple and uncomplicated.

'New Grrls' is lyrically the best song on the album, telling how Indra tries to balance being a mum and a wife with being in a band, before listing role models like Joan Jett, Kim Gordon, Yoko Ono and Lydia Lunch. Even if it does sound a bit like Ace of Base 'Breakdown' is a brilliantly catchy tune, and 'Tell Me Your Song' then closes the standard version of the album with a whirligig waltz.

I bought the vinyl version which comes with an extra 12" with remixes of 'Breakdown' and 'Bad With The Good', both of which are excellent. Overall this is probably their most consistently good album and one which is well worth your hard earned pounds or dollars.

Recommended music: 'You're Dead' by Flying Lotus

First things first - this is by no means an easy listen. Don't think you can just put it on in the background and do other stuff because if you do it might just sound abrasive. But turn and face the music, give it your full attention, and you'll be rewarded with a fully immersive journey into death and the afterlife. Also, don't be put off if you don't like the start, the first few tracks (side 1 of the double vinyl) are by far my least favourite of what Steven Ellison has served up here. But stick with it, because from the moment you put side 2 on and Kendrick Lamar joins in on 'Never Catch Me' it turns into a magical, wonderful record, full of twists and turns, light and shade, explosive moments and quiet corners.

There's been a lot of talk about this being a 'jazz' album, and if you had to pigeon-hole it then that's probably where it would end up. It's so much more than that though. If it is jazz then it's certainly jazz for the 21st or even 22nd century. There's other styles as well though; 'Coronus, the Terminator' is a hip-hop / soul hybrid, while 'Ready Err Not' recalls his earlier electronic influences. Throughout the album the amazing bass stylings of Thundercat take flight, as he runs up and down the frets and lightning speed. He also adds vocals to some of the tracks, along with the Kendrick Lamar and Snoop Dogg. Elsewhere FlyLo's alter-ego makes a couple of appearances, as does Herbie Hancock on keyboards.

I think it's great that in this day and age people like Flying Lotus are still making committed, unflinching, uncommercial albums like this - sure the Lamar track will draw a few people in, but really this is the sound of Ellison taking all of his culture and heritage and wrapping it up exactly how he wants it to sound.

A word on the packaging - the vinyl boxset is lavishly put together, with a fully-printed gatefold holding the original album, with printed inner sleeves, plus another two slabs of vinyl with instrumental versions of all the track. You also get a full download of both the standard and instrumental tracks.

Inside the Flying Lotus 'You're Dead' gatefold

New music: 'There's No Underground' by Papernut Cambridge

"Don't draw the curtains shut, or make the dark too bright,

You can just put on a record so your head's alright"

The second album from Ian Button's Papernut Cambridge, and it's a slightly shambolic and ramshackle ride through the south-east London of today and yesteryear. The title, you see, work on two levels  as well as there being no underground movement to speak of in popular music today, there's also (literally) no Underground and the train services come to a halt where the postcodes change from London to Kent.

Joined by luminaries and peers such as Darren Hayman, Robert Rotifer, Jack Hayter and more, Button has created a record that's shot through with classic iinfluences from the Small Faces and the Kinks to The Auteurs and Blur. Here you'll find undeniably English melodies with a 21st century edge.

One of my favourites on the record is 'The Day The Government Went On Strike', a (cautionary?) tale about our leaders putting down their pens, walking out into the sunshine and saying "You run the country yourselves and see how you like it". It's two minutes of eccentric whimsy that you'd like to think could maybe someday happen, if only for for a day. 'Nutflake Social', on the other hand, seems to be some sort of reinvented 'Timewarp' for the Papernut alternative universe.

'Rock'n'Roll Sunday Afternoon City Lights' sums up the whole feel of the album to me, it's a bit if s throwback to those rainy afternoons when you were a kid and you'd rifle through your parents' record collection trying to find something that excited you.

At 30 minutes long it's a concise journey through the Papernut psyche. Like a surprisingly quick train ride to another land, let it transport you to a better place, a place that looks to the future but is acutely aware of where it's come from.

The album's out on 13th October on Gare du Nord records, where you'll be able to pick up both a standard version or a deluxe set with extra extended and alternate tracks.

Recommended music: 'The Light Brigade' by Daedelus

"Half a league, half a league,

Half a league onward,

All in the valley of Death

Rode the six hundred"
Alfred, Lord Tennyson, The Charge of the Light Brigade

An album about the 1853-56 Crimean War might not be top of everyone's to-do list, but when you've already made an EP about the Boxer Rebellion of 1900 (2009's 'Righteous Fists of Harmony') then I guess anything's possible. And so following in the footsteps of Alfred, Lord Tennyson comes Alfred (should we call him Lord?) Darlington a.k.a. Daedelus to create an artistic work based on this very specific battle.

As you might expect from the subject matter this is not a bright, sunny creation but neither is it all doom and gloom. There are enough moments of light and shade to reflect the fact that even in extreme battles moments of calm can descend. It's also interesting that he's chosen to incorporate other elements into the story, with 'Baba Yaga', a supernatural woman or witch from Slavic folklore, getting a mention amongst the paraphernalia of war.

The mostly instrumental tracks are shot through in three places by some ethereal vocals from Young Dad, most noticeably on 'Onward', a devastatingly beautiful and haunting track that pretty much brings tears to my eyes each time I hear it. It's not all electronics either; gently-picked acoustic guitar forms the backbone for 'The Victory of the Echo Over the Voice' and 'Sevastopol', but it's soon overcome by the dark, swampy intro of 'Tsars and Hussars', another of the tracks to feature Young Dad.

In a lot of ways this reminds me of Apparat's soundtrack for War and Peace (Krieg und Frieden), both in the way it's constructed and the mood it puts across. The fact that further conflict has arisen in the area since the record was made adds an undeniable poignancy and currency to it, making it stand as much as a reflection on modern-day warfare as a comment on a specific piece of history.

I absolutely love this record and I'm sure you will too when you immerse yourself in it. It would work really well as a soundtrack to maybe an animated movie about the war, but it also stands on its own as an outstanding piece of music and art.

Theirs not to make reply,

Theirs not to reason why,

Theirs but to do and die

Recommended music: 'Shaker Notes' by Paul White

"I try not to think in genres at all, I think music is music!" - Paul White, 2014

Following on from a spell producing hip-hop records for the likes of Danny Brown and Homeboy Sandman, White's third album (the first for R and S Records) is a very different proposition. Putting the samples to one side, he plays pretty much all of the music on here himself, and sings as well. There are guest appearances from friends and even family (his uncle plays the violin on 'Sitting In Circles') but really this is White opening himself up for all to see.

In keeping with the quote at the top of the page there's an array of styles on display here, from the more hip-hop flavoured tracks like 'All We Know', to the Balearic house stylings of 'Where You Gonna Go?' and on to the swampy electro-blues of 'Honey Cats' (and that's just the first three tracks!). Elsewhere there's a hint of Thom Yorke on 'Wait & See', a drums and sax pairing on 'Fighting To Dance' and a dub feel on 'Is It Up To Us?'. 'Sitting In Circles' sounds like a lost 60s film theme, while 'Numbers of Change' is the most electronic thing on here and in part conjures up the ghost of John Carpenter. Closer 'Shaker Notes' is a suitably eclectic and slightly melancholic way to end the record, which wraps up the musical themes that have been explored before it.

Something about this record feels really intimate and personal, it's almost like in ditching the samples and picking up instruments he's managed to communicate a message from his soul. You can stream the whole album below, and after you've listened to it I urge you to buy it for yourself (you can get it direct from his Bandcamp page here). I'm really looking forward to my red vinyl copy arriving in the post but in the meantime I'll be shaking along to the download!

Live review - UNKLE: REDUX, Meltdown Festival, Royal Festival Hall London 13/6/14

The 21st Meltdown Festival kicked off in style last night with a show by this year's curator James Lavelle. Having admitted to feeling the pressure of the curators that had come before him (Bowie, Yoko Ono, Jarvis Cocker and Nick Cave to name just a few) Lavelle and his collaborator Mara Carlyle pulled together a host of guest performers to effectively put on a greatest hits show with a difference. Songs were rearranged, different vocalists were used, old and new friends made appearances, and the whole thing served to showcase what a great body of work Lavelle has produced over the years.

Before we get into the specifics, a quick word about the support act Philip Sheppard. He first worked with UNKLE on 'Glow' for Never, Never, Land and it's clear he and James have a great respect for each other. A solo cellist might not be your idea of a great act but he did amazing things, creating loop upon loop of cello tracks on music ranging from the mid 18th century, through 'Amazing Grace' to a cover of Leonard Cohen's 'Hallelujah' (with a great accompanying story about Jeff Buckley).

UNKLE - James Lavelle & Leila Moss onstage 13/6/14

After the interval (and some shocking bar service, the only thing the otherwise excellent Southbank Centre need to address), UNKLE hit the stage with James Lavelle & Leila Moss (The Duke Spirit / Roman Remains) jointly taking on the vocals on 'Ablivion'. From then on it was a constantly moving feast of vocalists and band members, orchestra and choir, each adding their own individual flavour to the proceedings. Leila Moss has become something of a mainstay at UNKLE shows but she seems to have really developed of late and was definitely one of the stars of the show. A pair of tracks from 'Psyence Fiction' featured the legendary DJ Shadow, while Mark Lanegan was in fine voice - his version of 'Burn My Shadow' was immense. There were a couple of surprising cover versions, some great visuals, and they even used the Festival Hall's gigantic organ on a couple of the tracks. Lavelle was off stage for most of the night (from our excellent second row seats we could see him at the side of the stage, encouraging and coordinating), but returned just before the end of a round of thank yous. The evening closed with Moss and Lavelle again joining forces on last song 'The Answer', the live version of which is now a combination of the Trentemøller mix and the original. There's a partial setlist below - I was too engrossed to be taking notes so it's not got everything and it's not in the right order - corrections welcome!

UNKLE: REDUX setlist 13/6/14

• Worship ( spoken word by Michele Lamy)
• Hold My Hand (vocals by James Lavelle & Leila Moss)
• Mayday (vocals by Leila Moss)
• Bloodstain (feat. DJ Shadow)
• Lonely Soul (feat. DJ Shadow)
• Another Night Out (vocals by Mark Lanegan)
• Ex-Factor (vocals by Mara Carlyle)
• With You In My Head (vocals by Leila Moss)
• Burn My Shadow (vocals by Mark Lanegan)
• The First Time Ever I Saw Your Face (vocals by Keaton Henson)
• Rabbit In Your Headlights (vocals by Keaton Henson)
• In A State (vocals by Leila Moss)
• Heaven (vocals by Mark Lanegan)
• The Answer (vocals by James Lavelle & Leila Moss)

Before the show we had time to visit Urban Archeology, the Mo' Wax exhibition celebrating Lavelle's record label - it was nice to see my name on the wall having supported the campaign to put the exhibition together!

Once the UNKLE show had finished we headed downstairs to the Clore Ballroom for the free aftershow - it was great to be able to have a dance, it's the one thing you miss by having a show at somewhere like the Festival Hall or the Barbican. We couldn't stay for the whole thing but Don Letts' reggae-tinged set was great.

Don Letts on the wheels of steel

PS Philip Sheppard posted his live version on line a couple of day ago - here it is:

Live review: Bleep10: Fuck Buttons + Mount Kimbie at The Barbican, London 25/4/14

There's something fundamentally strange about sitting down to watch music that's designed to make you move around. So The Barbican might not be the first choice of venue to put on a gig of this sort, but it certainly gives the evening a sense of occasion, which is fitting as the concert was put on to celebrate ten years of Bleep. Starting as the online store for Warp Records releases, it's since expanded to include a wide range of labels and artists, but still fitting with the Warp Ethos.

Mount Kimbie, Barbican Centre, London 25/4/14

For their part of the show Mount Kimbie collaborated with artists Thomas Hamen and Igor Zimmerman. The two artists created a massive foil canopy over the stage, lifted by wind machines, that was lit from above and below. The best comparison I can think of is that it looked a bit like one of the solar sailers from Tron. Meanwhile projections based on works by Hamen played on each side of the band. Over the years Mount Kimbie have evolved into an impressive live act, more forceful than they are on record, and boosted by a live saxophone and trombone they put on a great show. It was definitely a different kind of experience to when I saw them at Koko last year, perhaps more thoughtful and less full-on, so it was good to see another facet of their character.

Fuck Buttons live at The Barbican, London 25/4/12

Fuck Buttons meanwhile have spent some of the money I assume they made out of soundtracking the Olympics on some impressive new visuals to match the more abrasive sound of their latest album 'Slow Focus'. As a result their live show is now a far more enthralling experience, and you no longer feel that you're just watching two blokes standing at either sides of a table. Their set was a mix of tracks from old and new albums, played with skill and force. In that venue, matched with the visuals, the music had an almost cinematic quality, with real power. As the night progressed pockets of people could no longer resist the rhythms and stood up to dance, challenging the rest to join in.

After the main show there was a free performance from Fennesz in one of the Barbican;s many spaces to round the evening off.

All in all it was a great show and a fitting way to mark Bleep's tenth birthday - long may they continue!