40 years on, and The Rolling Stones' last great album still sounds as fresh as it did in the cold, dark, September in '73. A great Stones record can never age, much in the same way that Aladdin Sane sounds oh so modern.
The Stones' 11th studio album was written almost entirely in Jamaica, and it shows, as it's much less rock 'n' roll than predecessor, Exile On Maine St. Lead single, "Angie", highlights this. It's acoustically driven, and although it is often assumed to be about David Bowie's first wife Angela, Keith Richards claims Angie was a pseudonym for heroin, which Richards and Jagger were taking en mas in the early seventies.
As well as Angie, Goats Head Soup features a number of The Stones' lesser known masterpieces. Side 1's funky opener, "Dancing With Mr D." is a personal highlight, as it features Mick Jagger at his brilliant best. The album's second single, Doo Doo Doo Doo Doo (Heartbreaker) is another of Goat's Head Soup's stronger tracks. Unlike number one hit Angie, the funk-inspired track didn't break into the US top ten.
The album's most controversial point is, however, the closer. Star Star (originally titled Starfucker) is the rockingest, rollingest track on Goats Head Soup, and one of the few Stones tracks to be blacklisted for explicit lyrics. Star Star brings the album to a close in style, as it's a completely different to the Americanis-sounding side 1.
Although Goats Head Soup is incredibly great at it's best points, it does slump into mediocrity at times. Until Star Star side 2 features a lot of the faceless plain, foreshadowing their slump into mediocrity in the late 70's. It has it's great moments, mind, and they are great. Goats Head Soup is, as I said earlier, the last great Stones album, and it does have some real classics on it. It's a must listen for anyone who, like me, loves The Stones, or in fact anyone who loves The Beatles more than the Stones so you can see just what you're missing.
rating: 8/10
original release date: 30th September 1973
Thursday, September 19
Wednesday, September 18
MGMT - MGMT
Even since 2007's Oracular Spectacular, MGMT have always had a certain "what-the-fuck factor" to their music. MGMT, the band's third album slides the psychedelic dials to the extremes, as MGMT get trippier than before. One look at the tracklisting, and it seems apparent that Andrew Vanwyngarden and Benjamin Goldwasser have pushed the musical boat out even further than ever before.
When lead single, Your Life Is A Lie was first brought out, MGMT's initial fanbase were both taken aback by it's brilliance and shocked at just how odd it is. The whole album builds on how far out Your Life Is A Lie is, and has a completely unique sound to it that it's almost impossible to get your head around. The electronic, psychedelic sound gets almost TOO much at some point, but MGMT are not for those who like their listening easy.
Throughout this album, the Connecticut duo push the limits of what psychedelic rock can be, almost. Throughout the record you're constantly questioning the sounds you're hearing. Songs like I Love You Too, Death push the boundaries of a pop song, and cause you to ask yourself whether you are on something or not. It's almost as if MGMT asks more questions of you and itself than you ever could. Congratulations was fairly trippy, like psychedelic rock should be, but MGMT is on a whole new level. Maybe it takes it too far? The closer, An Orphan Of Fortune sounds almost like Tame Impala on a whole new drug, if you thought Tame Impala were out there, think again. The psychedelic electric melodies and, as Alex Turner would describe it, "Dr Dre beats" have a truly unique sound, which is clearly a result of excessive drug intake. It would seem drugs are a prominent theme, as all I personally can think when hearing MGMT is "I want what he's having".
MGMT is an album it's hard to get your head around. It's certainly the oddest I've heard all year, and I think maybe MGMT have gone overboard with the psychedelia. It's by no means a bad album, but it's way over my head, and probably over the head of everyone who doesn't take excessive hallucinogenics. All the songs sound kind of similar, and it's hard to imagine truly loving any of them to the extent that you'd love the songs on the earlier, more accessible albums. Except for Your Life Is A Lie and RSD release Alien Days, the possible exceptions, everything is kinda forgettable, but not in a bad way. Maybe. Maybe it's forgettable in a "my-human-mind-can't-process-this-information" way, you know?
Rating: 7/10
Out: Now (Released 16th September)
Key Tracks: "Alien Days", "Your Life Is A Lie"
When lead single, Your Life Is A Lie was first brought out, MGMT's initial fanbase were both taken aback by it's brilliance and shocked at just how odd it is. The whole album builds on how far out Your Life Is A Lie is, and has a completely unique sound to it that it's almost impossible to get your head around. The electronic, psychedelic sound gets almost TOO much at some point, but MGMT are not for those who like their listening easy.
Throughout this album, the Connecticut duo push the limits of what psychedelic rock can be, almost. Throughout the record you're constantly questioning the sounds you're hearing. Songs like I Love You Too, Death push the boundaries of a pop song, and cause you to ask yourself whether you are on something or not. It's almost as if MGMT asks more questions of you and itself than you ever could. Congratulations was fairly trippy, like psychedelic rock should be, but MGMT is on a whole new level. Maybe it takes it too far? The closer, An Orphan Of Fortune sounds almost like Tame Impala on a whole new drug, if you thought Tame Impala were out there, think again. The psychedelic electric melodies and, as Alex Turner would describe it, "Dr Dre beats" have a truly unique sound, which is clearly a result of excessive drug intake. It would seem drugs are a prominent theme, as all I personally can think when hearing MGMT is "I want what he's having".
MGMT is an album it's hard to get your head around. It's certainly the oddest I've heard all year, and I think maybe MGMT have gone overboard with the psychedelia. It's by no means a bad album, but it's way over my head, and probably over the head of everyone who doesn't take excessive hallucinogenics. All the songs sound kind of similar, and it's hard to imagine truly loving any of them to the extent that you'd love the songs on the earlier, more accessible albums. Except for Your Life Is A Lie and RSD release Alien Days, the possible exceptions, everything is kinda forgettable, but not in a bad way. Maybe. Maybe it's forgettable in a "my-human-mind-can't-process-this-information" way, you know?
Rating: 7/10
Out: Now (Released 16th September)
Key Tracks: "Alien Days", "Your Life Is A Lie"
10 years on: Muse's "Absolution" reviewed
Almost 10 years ago to the day, Teignmouth rock trio, Muse released Absolution, their third album. It saw a move away from the more Radiohead-esque sound heard on Origin Of Symmetry and Showbiz. Cited by many as the time at which Muse peaked, the album was arguably Muse's greatest and even best known work. At the time it was exceptionally well acclaimed, as it was Muse's second LP to be rated 10/10 by NME, as well 4 stars (Recommended) from Q and The Guardian.
Absolution starts in the most mediocre way, with a 10 second long "Intro". It's rare that an intro track is anything but trouble on an album, so it's a surprise when this one draws to a close and breaks into dreary, dark, dystopian opener, "Apocalypse Please". Apocalypse Please immediately sets the tone for the album, as the end-of-the-world themed lyrics are a prominent theme throughout the album. It's then followed by the anthemic second single and fan favourite, "Time Is Running Out". As well as being a general highlight, it was the first Muse song to break into the top 10 in the UK, after 2001's Plug In Baby only reached 11th. Time Is Running Out was also released in the UK almost 10 years ago to the week.
The other notable highlight from side one is the heavy, rocky lead single, Stockholm Syndrome, which as its title suggests is about falling in love with your kidnapper. The live version on 2007's HAARP is cited by many Muse fans as one of Muse's greatest live moments.
If side one was good, side two is absolutely brilliant. It opens with the fast paced, heavy riffed Hysteria, which is again, a fan favourite. Released as a single in December, it peaked at 17 in the British charts, but snatched the "Greatest Bassline" of the year award in MusicRadar. It's then followed by a beautifully haunting slow one, Blackout. Blackout is the slowest song on the album, with string parts creating wonderful melodies. It's also a feature of 2006 film, Southland Tales, yet is ommited from the motion picture's offficial soundtrack.
Blackout paves way for the album's sixth single, Butterflies and Hurricanes. The song sounds like it is inspired by Rachmaninoff, and features a Mike Garson-esque piano solo showcasing Bellamy's talent. At 301 seconds it's the album's longest song, despite being shorter than 4 songs from the previous album, Origin Of Symmetry.
The final 4 songs on the album are all underrated gems, as there is no weaker songs towards the end. Thoughts Of A Dying Atheist in particular is easily as great as any of the singles, and the riff to The Small Print is just as great as anything from side one. Absolution, in fact lacks weak tracks full stop, whereas predecessor Origin Of Symmetry (in my opinion a greater album) is plagued with them towards the end. Although not quite up to OoS, Absolution has much more consistency, even if it lacks anything as great as Citizen Erased.
Rating: 9/10
Original Release: 15th September 2003
Must Hear Tracks: "Butterflies And Hurricanes", "Hysteria", "Time Is Running Out", "The Small Print"
Absolution starts in the most mediocre way, with a 10 second long "Intro". It's rare that an intro track is anything but trouble on an album, so it's a surprise when this one draws to a close and breaks into dreary, dark, dystopian opener, "Apocalypse Please". Apocalypse Please immediately sets the tone for the album, as the end-of-the-world themed lyrics are a prominent theme throughout the album. It's then followed by the anthemic second single and fan favourite, "Time Is Running Out". As well as being a general highlight, it was the first Muse song to break into the top 10 in the UK, after 2001's Plug In Baby only reached 11th. Time Is Running Out was also released in the UK almost 10 years ago to the week.
The other notable highlight from side one is the heavy, rocky lead single, Stockholm Syndrome, which as its title suggests is about falling in love with your kidnapper. The live version on 2007's HAARP is cited by many Muse fans as one of Muse's greatest live moments.
If side one was good, side two is absolutely brilliant. It opens with the fast paced, heavy riffed Hysteria, which is again, a fan favourite. Released as a single in December, it peaked at 17 in the British charts, but snatched the "Greatest Bassline" of the year award in MusicRadar. It's then followed by a beautifully haunting slow one, Blackout. Blackout is the slowest song on the album, with string parts creating wonderful melodies. It's also a feature of 2006 film, Southland Tales, yet is ommited from the motion picture's offficial soundtrack.
Blackout paves way for the album's sixth single, Butterflies and Hurricanes. The song sounds like it is inspired by Rachmaninoff, and features a Mike Garson-esque piano solo showcasing Bellamy's talent. At 301 seconds it's the album's longest song, despite being shorter than 4 songs from the previous album, Origin Of Symmetry.
The final 4 songs on the album are all underrated gems, as there is no weaker songs towards the end. Thoughts Of A Dying Atheist in particular is easily as great as any of the singles, and the riff to The Small Print is just as great as anything from side one. Absolution, in fact lacks weak tracks full stop, whereas predecessor Origin Of Symmetry (in my opinion a greater album) is plagued with them towards the end. Although not quite up to OoS, Absolution has much more consistency, even if it lacks anything as great as Citizen Erased.
Rating: 9/10
Original Release: 15th September 2003
Must Hear Tracks: "Butterflies And Hurricanes", "Hysteria", "Time Is Running Out", "The Small Print"
Sunday, September 15
Drenge - Drenge
Derbyshire is one of England's most picturesque counties, featuring many many National Trust houses. It is, of course one of the nation's renowned beauty spots. In fact, my grandma went to Derbyshire for her birthday for a tour of such places. As well as the surrounding architecture, Derbyshire is home to one of Britain's most fantastic two piece rock bands, Drenge. Drenge, even the name sounds as far removed from the pretension of huge manor houses than humanly imaginable, and that's what Drenge are. Drenge are a real honest, simple, yet all the more brilliant rock band.
The Derbyshire rock duo bear resemblance to other popular two pieces, like Vancouver's Japandroids. Like Japandroids, Drenge use heavy, distorted guitar tones to add to the sound of the solitary guitar, making them sound like there's more than just the two brothers. Drenge are one of the British indie scene's biggest hopes, and a band renowned for hectic, energetic live shows, and from experience I can assure you that Drenge are one of the best live acts in the business.
But does their album compare to their live shows? It does! Drenge's self titled, fast-paced, hard-rocking debut album has everything. You can tell from the first five seconds of lead single "Bloodsports" that the Loveless Lads are no slackers in the studio, as the simple riff is enough to get anyone off their feet. Bloodsports is the perfect single, with it's simply singable lyrics and it's swaying riff, even it's middle-8 is a thing of brilliance.
But Bloodsports isn't the only highlight, far from it. The anthemic opener, "People In Love Make Me Feel Yuck" ensures that the LP hits the ground running. Although the title is a bit old Fall Out Boy, but it's so much better than that. It could definitely be titled better, but at least you know what to expect from the chorus, right? Right.
Another notable highlight is Fuckabout, the pace changing closer. Fuckabout is arguably the standout track, especially lyrically. Lyrics like "I put the kettle on/You put heavy metal on" are simple yet so typical to Eoin's style. Loveless has clever rhymes left right and centre throughout Fuckabout, like "Sleep in the corridor/What are you living for?". The song is also arguably the only song on the album that shows any sort of emotion, or more to the point, this song is the only song that lacks the lack of emotions.
The rest of the album, however, is bursting with the songs Eoin Loveless describes as "psychotic". New single Face Like A Skull, and Gun Crazy is where this is most apparent, as well as the penultimate last track, "Let's Pretend", all three of these songs being highlights of Drenge's excellently brutal debut album.
With this record the aptly named Loveless brothers have produced one of the year's standout debut albums. Many of this year's most critically acclaimed first albums (180, Where The Heaven Are We?, Sistrionix) can't even hold a candle to "Drenge". In fact, it even gives Peace's stunning "In Love" a run for it's money, but that's because this duo from lovely Derbyshire give everything a run for it's money.
Rating: 9.5/10
Out: Now (2nd November)
Key Tracks: "Fuckabout", "Bloodsports", "Gun Crazy"
The Derbyshire rock duo bear resemblance to other popular two pieces, like Vancouver's Japandroids. Like Japandroids, Drenge use heavy, distorted guitar tones to add to the sound of the solitary guitar, making them sound like there's more than just the two brothers. Drenge are one of the British indie scene's biggest hopes, and a band renowned for hectic, energetic live shows, and from experience I can assure you that Drenge are one of the best live acts in the business.
But does their album compare to their live shows? It does! Drenge's self titled, fast-paced, hard-rocking debut album has everything. You can tell from the first five seconds of lead single "Bloodsports" that the Loveless Lads are no slackers in the studio, as the simple riff is enough to get anyone off their feet. Bloodsports is the perfect single, with it's simply singable lyrics and it's swaying riff, even it's middle-8 is a thing of brilliance.
But Bloodsports isn't the only highlight, far from it. The anthemic opener, "People In Love Make Me Feel Yuck" ensures that the LP hits the ground running. Although the title is a bit old Fall Out Boy, but it's so much better than that. It could definitely be titled better, but at least you know what to expect from the chorus, right? Right.
Another notable highlight is Fuckabout, the pace changing closer. Fuckabout is arguably the standout track, especially lyrically. Lyrics like "I put the kettle on/You put heavy metal on" are simple yet so typical to Eoin's style. Loveless has clever rhymes left right and centre throughout Fuckabout, like "Sleep in the corridor/What are you living for?". The song is also arguably the only song on the album that shows any sort of emotion, or more to the point, this song is the only song that lacks the lack of emotions.
The rest of the album, however, is bursting with the songs Eoin Loveless describes as "psychotic". New single Face Like A Skull, and Gun Crazy is where this is most apparent, as well as the penultimate last track, "Let's Pretend", all three of these songs being highlights of Drenge's excellently brutal debut album.
With this record the aptly named Loveless brothers have produced one of the year's standout debut albums. Many of this year's most critically acclaimed first albums (180, Where The Heaven Are We?, Sistrionix) can't even hold a candle to "Drenge". In fact, it even gives Peace's stunning "In Love" a run for it's money, but that's because this duo from lovely Derbyshire give everything a run for it's money.
Rating: 9.5/10
Out: Now (2nd November)
Key Tracks: "Fuckabout", "Bloodsports", "Gun Crazy"
Saturday, September 14
Arcade Fire - Reflektor (Single Review)
When it was leaked that David Bowie would appear on Arcade Fire's new single, everyone was more than just a bit excited. As it happens Bowie's role is only very minor on Arcade Fire's new single, it does not detract from the magnificence of Win Butler and his band's masterpiece and at 7.42 minutes long, Reflektor is easily Arcade Fire's longest single.
At first listen, Reflektor sounds more LCD Soundsystem than Arcade Fire, thanks to the recruitment of James Murphy as a producer and the rejection of the once prominent 'epic' Arcade Fire sound. As well as that the club beat and the male-female harmonies in the chorus make Reflektor very different from not only 2010's "The Suburbs", but anything. Reflektor is dissimilar from anything in recent musical history.
With Reflektor, Arcade Fire are moving away from the sound that made them one of the greatest bands in the world; a brave brave move. And what better way to announce a change in sound than with an eight minute long single? The very release of the Reflektor single, and the Reflektor promotional campaign shows they aren't phased by their critics.
The song itself features a dance-y four to the floor drum beat, and the male female vocal combination of Butler and his French-singing wife, Régine Chassagne, adding to the character of the hit. The lyrics too are somewhat ear-catching, sounding somewhat alone but together. Win Butler's talent is clearly "reflekted" through this particular medium.
With the next Arcade Fire album being along in less than two months, this mysterious, enticing yet all the more exciting single leaves fans and critics alike starving for the more, as Reflektor (the album) is shaping up to be a much more exciting affair than any other album released this year.
Rating: 9.5/10
Out: Now, Reflektor (album) is released on October 28th.
At first listen, Reflektor sounds more LCD Soundsystem than Arcade Fire, thanks to the recruitment of James Murphy as a producer and the rejection of the once prominent 'epic' Arcade Fire sound. As well as that the club beat and the male-female harmonies in the chorus make Reflektor very different from not only 2010's "The Suburbs", but anything. Reflektor is dissimilar from anything in recent musical history.
With Reflektor, Arcade Fire are moving away from the sound that made them one of the greatest bands in the world; a brave brave move. And what better way to announce a change in sound than with an eight minute long single? The very release of the Reflektor single, and the Reflektor promotional campaign shows they aren't phased by their critics.
The song itself features a dance-y four to the floor drum beat, and the male female vocal combination of Butler and his French-singing wife, Régine Chassagne, adding to the character of the hit. The lyrics too are somewhat ear-catching, sounding somewhat alone but together. Win Butler's talent is clearly "reflekted" through this particular medium.
With the next Arcade Fire album being along in less than two months, this mysterious, enticing yet all the more exciting single leaves fans and critics alike starving for the more, as Reflektor (the album) is shaping up to be a much more exciting affair than any other album released this year.
Rating: 9.5/10
Out: Now, Reflektor (album) is released on October 28th.
The 1975 - The 1975
September has seen the release of not only Arctic Monkeys' AM, and Babyshambles' comeback record; The Sequel To The Prequel, but also the release of The 1975's self titled debut. Hailing from the same city as New Order, The Smiths and Magazine, you'd expect The 1975's critically acclaimed number one album to be at least half decent. However, that is exactly whatever it is not.
The 1975's self titled album begins with The 1975's self titled intro, a dull affair which, like any intro, lacks any sort of substance and does nothing to make listening to an album more pleasurable, or more of an experience. It's followed by The City, which is a largely uneventful song, but one of the album's strong points, however it may only seem strong because it is next to "M.O.N.E.Y". M.O.N.E.Y is undoubtedly the worst song on the album, or indeed any album released over the past year. It comes close to equaling anything George Michael in terms of being so god damn shit. The album gains a little bit of credibility with singles Sex and Chocolate as track 4 and 5, before paving way for eleven songs more of utter, unlistenable drivel that'll leave you feeling like Matt Healy owes you 50 minutes of your life.
From track 6 to 16 it seems like there's not a track worthy of note. Each song is a non event waiting to happen and if possible I'd recommend you keep your ears away from Macnhester's latest export as possible. It leaves you underwhelmed beyond the point of recovery and will leave you questioning the countless favorable reviews. With the possible exceptions of Sex and Chocolate, I'd implore you not to listen to this album. I mean don't be fooled, even Sex and Chocolate are Simon Cowell's idea of chart topping music, even if it is brandished with the label of 'indie'. The 1975's album is one of the year's more overrated releases, and is to be avoided at all costs, no matter who recommends it.
Rating: (a generous) 2/10
Out: Now
Key Tracks: (If you must) "Chocolate"
Thursday, September 12
5 Albums That Didn't Get Nominated For The Mercury Prize, But Really Should've Been
Public Service Broadcasting - Inform-Educate-Entertain
PSB's extraordinary debut slipped completely under the Mercury Prize's radar. Perhaps the most innovative album of the year was completely overlooked by the judges. For me, Inform-Educate-Entertain is 2013's standout album, as it makes vocal sampling not only work, but work to a great, great effect. Night Mail is easily as catchy as anything on AM, or Holy Fire, and Everest matches the singles from those aforementioned albums for sheer brilliance.Rating: 10/10
Peace - In Love
NME's (and in fact my) favourite new indie band's near flawless debut album was missed out by the Mercury Prize judges, which makes you wonder just what kind of people they are. In Love has much more energy than AM, and blows that godawful Disclosure album out of the water. The only thing stopping In Love from being a genuinely perfect release was the fact that it's predecessor, The Delicious EP was one of the decades greatest releases.
Rating: 9.5/10
My Bloody Valentine - MBV
Shoegaze's best known heroes made a very welcome return this year, with new out-of-the-blue album MBV. Although MBV lacks the brilliance of earlier releases like Loveless, and Tremolo, MBV more than equals the albums that have achieved Mercury nominations. 25 years on from the genius release that is Isn't Anything, My Bloody Valentine sound as fresh as ever, and it's a wonder they didn't receive a nomination.
Rating: 9.5/10
Atoms For Peace - Amok
Thom Yorke's latest electronic endeavor was a brilliant one. Amok is 8 songs of Yorke's best electronic work, and quite possibly his best work away from Radiohead. Amok sounds a bit like The Eraser, but more haunting, and just... better. The recruitment of Flea, Nigel Godrich and a host of talented musicians defiinitely bolstered Yorke's outfit making Amok a rather brilliant release.
Rating: 9/10
Franz Ferdinand - Right Thoughts, Right Words, Right Action
In 2009, Franz Ferdinand, Scotland's finest export released "Tonight:", a dire, half arsed album, which led to them dropping completely under the radar. Something had to be done. That something was Right Thoughts, Right Words, Right Action, one of the (if not the) finest comeback album in the history of indie music. The record sees Franz Ferdinand back to their strutting best, in what is definitely the album of the year. A flawless album from start to finish, with Love Illumination being a definite nominee for any Song Of The Year list.
Rating: 10/10
Babyshambles - The Sequel To The Prequel
With all the hype surrounding Arctic Monkeys' new record, Babyshambles first album in six years slipped by almost unnoticed. Since 2007's Shotter's Nation, Doherty has reformed The Libertines, made a solo record, and even opened up a Camden shop? But although excitement for The Sequel To The Prequel hasn't been especially high, Babyshambles' third LP has been September's surprise package. Doherty is back.
Like a musical Mount Etna, Doherty has been dormant since the release of "Grace/Wastelands", but this year the man has erupted, spewing out jaunty, heroin tinged lava. The Sequel To The Prequel's a genre spanning album, which begins with a punky opener, Fireman. Fireman is one of the album's stronger tracks, and in fact the shortest. After Fireman the album goes from strength to strength, as track two is the 'Shambles' latest single 'Nothing Comes To Nothing'. Nothing Comes To Nothing is one of Doherty's finest moments, as it features Doherty's classic songwriting style and catchy melodies.
Elsewhere on The Sequel To The Prequel, Farmer's Daughter is the main highlight. Doherty's distinctive voice is at it's best since the early Libertines days, as Pete reaches notes most men that far past their peak would find nigh-on impossible to hit. Elsewhere, the title track shines a positive bouncy light on the album, with a sound that can only be described as "bumpkin-y".
Although the album is fairly strong throughout, if not very strong throughout, it weakens towards the end, as the last few songs are quite uneventful. But despite this, the 'Shambles' third album is a fantastic affair, littered with a bit of magic AM lacks, and some of Doherty's best work since he parted ways with Carl Barat. The Sequel To The Prequel is September's must-hear album.
Rating: 8/10
Out: Now (Released 9th September)
Key Tracks: "Farmer's Daughter", "Sequel To The Prequel", "Picture Me In A Hospital"
Like a musical Mount Etna, Doherty has been dormant since the release of "Grace/Wastelands", but this year the man has erupted, spewing out jaunty, heroin tinged lava. The Sequel To The Prequel's a genre spanning album, which begins with a punky opener, Fireman. Fireman is one of the album's stronger tracks, and in fact the shortest. After Fireman the album goes from strength to strength, as track two is the 'Shambles' latest single 'Nothing Comes To Nothing'. Nothing Comes To Nothing is one of Doherty's finest moments, as it features Doherty's classic songwriting style and catchy melodies.
Elsewhere on The Sequel To The Prequel, Farmer's Daughter is the main highlight. Doherty's distinctive voice is at it's best since the early Libertines days, as Pete reaches notes most men that far past their peak would find nigh-on impossible to hit. Elsewhere, the title track shines a positive bouncy light on the album, with a sound that can only be described as "bumpkin-y".
Although the album is fairly strong throughout, if not very strong throughout, it weakens towards the end, as the last few songs are quite uneventful. But despite this, the 'Shambles' third album is a fantastic affair, littered with a bit of magic AM lacks, and some of Doherty's best work since he parted ways with Carl Barat. The Sequel To The Prequel is September's must-hear album.
Rating: 8/10
Out: Now (Released 9th September)
Key Tracks: "Farmer's Daughter", "Sequel To The Prequel", "Picture Me In A Hospital"
Wednesday, September 11
Arctic Monkeys - AM
"You're not from New York, you're from Rotherham", Alex Turner famously sang in Arctic Monkeys' 2006 song Fake Tales Of San Francisco. But 7 years on from Arctic Monkey's high octane debut, the band have Americanised with their fifth album, AM. Since the release of Whatever People Say I Am That's What I'm Not, Arctic Monkeys have seemingly done all they can to shake off the shackles off their northern roots. Over the past few years, the lads have emigrated to LA, swapped the Adidas for leather, and quiffed up.
AM is Arctic Monkeys first record since 2011's Suck It And See, and the Americanisation of the band is apparent. AM sounds sleazy, and sexy, and quintessentially Californian. Listening to it takes you on a musical journey, summoning thoughts of the sleazy bars you get by the side of American highways. With AM it seems Turner is trying to lose the image he once had as a cute lad from Sheffield, much like Miley Cyrus trying to get away from Hannah Montana imagery.
But is the act convincing? Yes, and no. AM has it's high and low points. At times, it seems almost like Turner and co fit the shoe of leather clad American bikers, but all too often AM sounds a bit like it's wearing a faux leather jacket from Primark. The smooth, sexy album opener 'Do I Wanna Know' is one of The Arctics' best hits yet, completely bursting with the lyrical brilliance Alex Turner is known for. But then on the flipside Mad Sounds is just like a Sainsbury's Basics version of Lou Reed's Walk On The Wild Side, and by no stretch of anyone's imagination could 'One For The Road' be considered anything other than half-arsed and lackluster.
Rating: 7/10
Out: Now (Released 9/9)
Stand Out Tracks: 'Arabella', 'Do I Wanna Know?', 'Knee Socks'
AM is Arctic Monkeys first record since 2011's Suck It And See, and the Americanisation of the band is apparent. AM sounds sleazy, and sexy, and quintessentially Californian. Listening to it takes you on a musical journey, summoning thoughts of the sleazy bars you get by the side of American highways. With AM it seems Turner is trying to lose the image he once had as a cute lad from Sheffield, much like Miley Cyrus trying to get away from Hannah Montana imagery.
But is the act convincing? Yes, and no. AM has it's high and low points. At times, it seems almost like Turner and co fit the shoe of leather clad American bikers, but all too often AM sounds a bit like it's wearing a faux leather jacket from Primark. The smooth, sexy album opener 'Do I Wanna Know' is one of The Arctics' best hits yet, completely bursting with the lyrical brilliance Alex Turner is known for. But then on the flipside Mad Sounds is just like a Sainsbury's Basics version of Lou Reed's Walk On The Wild Side, and by no stretch of anyone's imagination could 'One For The Road' be considered anything other than half-arsed and lackluster.
The album's 3 singles, 'Do I Wanna Know?', 'R U Mine' and 'Why'd You Only Call Me When You're High?' are the highlights, each one sounding convincing and worthy of single status. The album's other high, high points are 'Arabella' and 'I Wanna Be Yours', the latter of the two being a version of John Cooper Clarke's classic poem which Turner first encountered in GCSE English, and the former being the album's highlight. Arabella is the album's most seductive, sleazy point, as Turner describes Arabella- the girl who wears interstellar gator-skin boots, and a cheetah skin coat while she wraps her lips 'round her Mexican Coke. The song builds up, into a slightly grungey guitar solo, whilst the lyrics make it the album's most formidable song.
But despite the album's assets, it features a lot of filler, and the album's second side is almost all thriller, no killer, and the bizarrely named Number 1 Party Anthem is every bit as tacky as the title suggests, meaning side 1 ends in the same way side 2 starts.Mad Sounds, which sounds like an early Lou Reed song, gives side 2 a slow, dull start. Side 2's other lowlights include Snap Out Of It, which sounds just like a rejected James Bond theme, and like most rejected James Bond themes it's easy to see just why they're 'rejected'.
So all the banging bangers that litter the first side, and the end of the second side are balanced out, if not outnumbered by the mediocre space fillers, meaning that AM is by no means a great record. But despite this, it has a Cali charm in places meaning it certainly isn't a bad record. AM is a good album, but definitely an album of a band past their career peak, and beginning to 'lose it'.
Out: Now (Released 9/9)
Stand Out Tracks: 'Arabella', 'Do I Wanna Know?', 'Knee Socks'
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