BEST AND WORST NEW TRACKS OF THE WEEK 13/05/2015: Sam Gellaitry, A$AP Rocky, AronChupa and more...

Another week has passed, the Tories are still running the country and I'm still struggling to write introductions to these weekly segments. Let's just get on with it shall we?

THE BEST:

'Paper' - Sam Gellaitry

18-year-old Scottish electronic producer, Sam Gellaitry, seems to consistently be pushing the envelope, composing jittery instrumentals that play with every sound conceivable. This latest offering starts with some gorgeous piano chords before divebombing into a surprise spiky synth riff. When the key change hit at the end my mind blew and now I can’t get the brain matter off the walls.

'I Don’t Think She Cares' - White Reaper

Kentucky punk rockers, White Reaper, deliver this angry ode to an ex, to the accompaniment of galloping guitars and a loopy Bloc-Party-esque synth riff. I’m particularly liking the singer’s vocal tone here and look forward to hearing a full length album of similarly snappy crazed rock jams (an LP entitled White Reaper Does It Again is in the works!).

'Everyday' - A$AP Rocky (ft. Rod Stewart, Miguel & Mark Ronson)

This isn’t the usual trap rap banger I’ve come to expect from the Asap mobster, which is refreshing. There is a twerkworthy beat change in the middle but the remainder feels charmingly old-skool featuring an organ-heavy beat courtesy of Mark Ronson and a soulful hook shared between Miguel and - of all people - Rod Stewart.

'Hunter' - Farao

At first I thought this was going to be eerie Marika-Hackman-style folk. Then the electronica kicked in, followed by horns, by which point I’d gave up trying to lump the track under a genre. Nowegian singer-songwriter, Farao, is clearly in lane all of her own. Her haunting vocal delivery is absolutely captivating.

THE WORST:

'Double Cup' - Major Lazer & Riff Raff

Major Lazer isn't sounding obnoxious enough and Riff Raff isn't sounding goofy enough. Otherwise it's the best codeine anthem I've heard this month.

'Albatraoz' - AronChupa

Swedish or not – they shouldn’t be allowed to get away with mispronouncing and misspelling random words like this. Urban Dictionary claims that an Albatraoz is ‘a strong woman’, but I don’t believe them. Clearly, this track was a deliberate attempt to create the most annoying club song conceivable. I mean, surely no-one genuinely enjoys this trash? RIGHT?

Review of 'Born Under Saturn' by Django Django

If it ain't broke, don’t fix it.

Three years have passed since the UK indie rocker’s self-titled debut and they’re still playing with the same sound – a unique and fun blend of Beach-Boys style vocal harmonies, tropical percussion, twangy guitars and Kraftwerk-esque electro. 

Not much has changed and not much needs to. Arguably the songs feel a little denser this time around. Django Django squeeze in as much instrumental layers into each track as possible, piling synths upon synths. Pianos seem to be more prominent, playing out bouncy rave grooves as found on ‘Reflections’. Everything is overall a bit more epic – less the work of a band and more the work of an orchestra. However, the dancabililty is still there ( is that a word?), which is after all what separates Django Django from the slightly-head-bob-inducing rhythm of most other indie bands.

Lyrically things are still a bit goofy, the subject matter remaining slightly childlike, but I’ll take goofiness over preachiness any day. Django Django are all about playful fun and thankfully the group haven’t tried to mature their sound into something stoic and boring. As for their band name, I’m still none the wiser as to what it means. 

★★★★☆

TRACK TASTER:

Review of 'Lustmore' by Lapalux

UK producer Lapalux isn't the kind of EDM artist you put on to get the party started. His style of electronica is engineered more specifically for the 4am comedown. Warm and weightless jazzy synths tinkle to the accompaniment of subtle shuffling electronic percussion. The feeling is one of drunken mellowness, the post-night-out feeling of euphoria that we all think is worth the hangover the next morning. It’s a great choice of mood. However, when sustained for an album, this mood does start to lose its momentum slightly. There are no fast-paced tracks or grooves to get the heart pumping and the contributions from guest vocalists are all sweet but utterly forgettable, lacking entirely in hooks. That said, this record does have its standout moments. The smoky sax in ‘Puzzle’ transports me to a veranda overlooking evening Manhattan and the opening chord progression of ‘Midnight Peelers’ is what I imagine plays when entering the pearly white gates. 

★★★☆☆

TRACK TASTER:

BEST AND WORST NEW TRACKS OF THE WEEK 06/05/2015: Tinashe, Goblin Rebirth, Disclosure and more...

It's mostly guitars this week and no hip hop. I've realised I'm not black. This week Tinashe titillates,  Disclosure disappoint and Goblin return as Goblin Rebirth.

THE BEST:

'All Hands on Deck' - Tinashe

I’m surprised this club-friendly pop tune isn’t on the radio. Maybe the flutes are holding it back (are flutes too alternative?). Maybe ‘all in the front, all in the back’ is simply too suggestive. Personally I’m addicted to it, although not as addicted as I am to the raunchy music video. Tinashe sure knows how to strut her stuff. 

'Vultures' - God Damn

‘God Damn!’ was indeed my reaction after hearing this monster of a track. The Wolverhampton rockers are like a much louder version of Nirvana. Quiet grungy riffs are contrasted with gargantuan walls of distortion that rival Electric Wizard.

'Say You Will' – Trails and Ways

Angelic vocals and groovy guitars come together on this sweet indie rock jam from Oakland group, Trails and Ways. This track and the band’s upcoming album Pathology were allegedly produced entirely in the drummer’s bedroom. For a DIY band, this is impressively glossy.

'Sleepwalker' - Rioux

New York psychedelic solo artist, Erin Rioux, sings dreamily over a simple bass guitar riff to the accompaniment of complex electronic percussion. The strange computerised mass of clicks and thuds shouldn’t compliment the earthy use of guitar, but somehow the two form a happy cyborg relationship.

'Requiem for X' - Goblin Rebirth

If you’re a horror movie buff, it may interest you to know that this Italian prog rock band (formerly known as Goblin) composed the scores to cult classics Suspiria and Tenebre. I won’t pretend to have seen either movie. I don’t have the time to laze around watching films (I’m far too busy lazing around listening to music). Anyhow, this track is pretty epic and according to guitarist Giacomo Anselmi, ‘tells the story of a death of a goblin’, although this story is a little hard to follow given there are no lyrics.

THE WORST:

'Bang That' - Disclosure

The house music duo have gone a tad too minimal on this track in my opinion. Gone are the sparkly deep house chords that made their music so magical. In fact, Disclosure’s entire personality seems to have been stripped away in the pursuit of minimalism. I hope this isn’t the group’s future direction. I’d rather listen to a metronome for five minutes. 

Review of 'Barter 6' by Young Thug

This album wasn’t the turd I expected it to be. For one there’s no annoying autotune and less dying cat warbles. In fact, the drug-addled metrosexual Atlanta rapper is actually spitting on most of these tracks, some of his flows regretfully impressing me. The trap beats aren’t all bad either – some are generic, but others like ‘Constantly Hating’ and ‘Dream’ have a spacey and atmospheric vibe more akin to Drake’s recent album. That all said, Young Thug’s lyrics are yet to see any improvements, still consisting of the same clichés and nonsense as before. ‘I am a beast, I am obese’ is a genuine line from this record as is ‘I want that neck like a giraffe/ I like fish in water, I’m a bear’. I guess there’s a certain goofiness to it that’s entertaining, but it’s nothing on Riff Raff. Overall, Young Thug just seems to be trying to sound more like his idol Lil Wayne. Given that Thugga has already stolen Wayne’s look, given that the title of this album was originally going to be ‘The Carter 6’, it’s no surprise that Young Thug is now trying to steal Lil Wayne’s sound (all under the influence of evil puppeteer Birdman of course). Fans may praise Young Thug’s originality, but personally I’m yet to see it. He just strikes me as a wannabe-Lil-Wayne - which I think you'll agree is fairer than my previous criticisms on this blog.

★★☆☆☆

TRACK TASTER:

BEST AND WORST NEW TRACKS OF THE WEEK 29/04/2015: Darq E Freaker, Doldrums, Sepultura and more...

Bring a torch. It's all a bit dark this week. Abrasive synths and metal riffs ensue. 

THE BEST:

'Eight O Clock In The Morning' - Lee Scott

Quirky butter-obsessed UK rapper, Lee Scott, is gaining heat at the moment with his eccentric persona and has just released a new LP, Butter Fly. This new track from the album shows off his darker side. The cinematic strings make for a magnificently raw and eerie beat.

'Gully' - Darq E Freaker ft. Maxsta

Grime producer Darq E Freaker drops this sinister track, featuring vocals from London emcee Maxsta (I’ve been overdosing on UK hip hop this week!). The track title ‘Gully’ is slang for ‘street’ or ‘hood’. If you didn’t know that already, you’re not gully. I had to look it up on Urban Dictionary, so it’s okay, I’m not gully either.

'IDONTWANNABEDELETED' - Doldrums ft. Samantha Urbani

This track is as odd as its title suggests. Canadian electronic producer, Doldrums, kicks things off to a downbeat, melancholy start before bringing in some aggressive industrial noises and a pounding house beat. Brooklyn vocalist Samantha Urbani then turns up and starts screaming. It’s all very unsettling.

'Lovesick- - Maryann (Bae God)

The Californian bedroom rapper and singer’s latest track, ‘Lovesick’, sees her embracing sugary r&b. The hook is sweet and summery and I’m loving the sound of the snare that producer Sbvce lays down.

'DarkSide' - Sepultura

Brazilian thrash metal band, Sepultura, have released this intense one-and-a-half minute song in collaboration with publishing company, DarkSide Books. It may be short but it sure packs a punch.

THE WORST:

'Trap Lust' - Lil Debbie

Absolutely killer beat – but the lyrics are a load of nonsense: ‘I’ll turn into Dracula/ Money flippin with the spatula/ Black Diamonds from Africa’. The bit about her bank account giving her orgasms is also a bit weird.

Review of 'Undertow' by Drenge

I’ve never been to Castleton before. From the pretty pictures I’ve seen, the Derbyshire village seems like a rather quaint place to live, the kind of place where Morris dancing is still celebrated, the kind of place Enid Blyton might have set one of her novels.

Castleton

It certainly doesn’t seem like the kind of a place a band like Drenge would come from. Made up of two brothers who go by the name of Eoin and Rory Loveless, the group first made heat when they dropped their debut album in 2013, a raw and angsty guitar record containing romantic track titles such as ‘People in love make me yuck’ and ‘I want to break you in half’. The I-hate-the-world attitude and rough production made Drenge charmingly uncharming. They had a rock and roll spirit to them that too many of today’s rock bands lack.

Two years later, we now have this new record Undertow. It isn’t quite as raw or angsty – which turns out to be both a blessing and curse. The sound is now bigger thanks to the addition of a bassist. As someone who likes rawness and eats their steak with a pulse, I’m not overly happy to see the duo trading in their intimate pub sound for stadium production. However, a greater focus on atmosphere has come as a result with reverb-heavy tracks like the ‘Introduction’ and following track ‘Running Wild’ perfectly capturing the spooky, nightly vibe of the album cover. The riffs are also still meaty, despite not as rough around the edges, and the drumming is still primal as showcased on tracks like ‘Never Awake’.

Drenge

Lyrically, the band have decided to ditch their teenage moodiness for a more grown-up maturity, which is a bit disappointing as it means no funny track titles. However, the rebelliousness is still present in songs like ‘We Can Do What We Want’. The songwriting seems to have also got better – ‘Standing in the Cold’ relying on storytelling and instrumentation that builds and matches the tone. Glumness and anger seem to still be the band’s two favourite emotions, but instead of being blunt and cynical, the band instead use these songs to show the root cause of their moroseness. Heartbreak serves as a common theme, which proves these two brothers might not be as loveless as they claim. Thankfully this heartbreak comes without soppiness – which allows Drenge to still have the same rock and roll vibe that was on their debut.

They may be adults now and they may have more money to spend on production, but on the whole Drenge haven’t lost their charisma. In fact, as musical progressions go, this is pretty encouraging new direction for the band. 

★★★★☆

TRACK TASTER: