and Bleachers. (Roisin O'Connor), For all the album’s eccentricities, the vibe is earnest fairytale rather than tongue-in-cheek – save for the sound of a strangled feline mirroring the lyrics “when you stepped on your cat” on “How Many Times”. Maybe drunk-dialling isn’t always such a bad idea. “If Britain refuses to take part, there will likely be some veto mechanism that allows us to end the extension. By the end of all that, you feel like they deserve a pint. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt. “All Over Town” is their singalong anthem, neatly positioned in the middle to ease the pace. You can also choose to be emailed when someone replies to your comment. Yorke often tends to make his most explicit political comments outside of music: in a recent interview, for example, he complained about how discourse has regressed, referring to British and American politics as “a Punch and Judy show”.
(Roisin O'Connor), There are plenty of surprises, like Swizz Beats singing on “Who Are You” against elegant violins that recall a Kamasi Washington composition. Aside from “Happiness Is a Butterfly”, that is. Twelve Nudes is Furman’s most urgent and cathartic record to date. There are moments that recall her Communion labelmate Ben Howard, on his latest album, Noonday Dream, and others that nod to the quiet stoicism of Joni Mitchell and Neil Young. And they create the full club experience with “Got to Keep On”, on which the four-to-the-floor beat, funky rhythm guitar, sweet backing vocals and chiming bells make way for the simple sounds of happy party-goers; just as the anticipation builds, so does the instrumentation into a hypnotic crescendo. The interviewer remarked: “Brexit looks like it’s getting further and further away.” Mr Daltrey exclaimed: “Oh God!”, On whether Brexit would be “bad” for the rock business, Mr Daltrey questioned: “No.
In December 2018, artists including Annie Lennox, Paloma Faith, Pink Floyd's Nick Mason, Nadine Shah, Billy Bragg and Blur's Dave Rowntree, plus music companies including Kilimanjaro Live and Beggars Group, and industry bodies like AIM, the Musicians Union and the Music Producers Guild, all signed a letter seeking more concessions against Brexit's potential impact on the industry. (Roisin O'Connor), If Brothers, their brawny album from 2010, turned the pair into serious rock contenders, then 2011’s El Camino cemented their reputation. Opener “Warm Hands”, from Segall’s self-titled 2017 LP, is essentially an epic jam; he grinds out fuzzy distortion and squalling riffs for a solid nine and a half minutes with a gleeful lawlessness. (Roisin O’Connor), SOAK reaches to outsiders once again on her new album. As if we didn’t tour in Europe before the f****** EU. Mr Daltrey rampaged: Oh dear. See today's front and back pages, download the newspaper, The existing Open Comments threads will continue to exist for those who do not subscribe to Independent Premium. (Alexandra Pollard), Assisted by veteran producer John Congleton (St Vincent, John Grant), he channels the spirit of David Bowie and Iggy Pop. Flamagra – a playful yet melancholic, skittish yet meditative 67 minutes of cosmic genius – is one of Flying Lotus’s most accessible releases. Wonderfully unsettling. The euphoric, Eighties synth-laden “Want You in My Room” is most distinctive, both vocally and melodically, and was co-written and produced by Jack Antonoff, indie tunesmith for fun. (Mark Beaumont). From frenetic opener “Bored and Razed”, you can sense the compelling chemistry between Benson and White playing out on stage as the duo harmonise or sing in unison, and White strikes frenzied riffs alongside Benson’s melodic guitar chops. (Helen Brown), Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse – real name Brian Joseph Burton – during which the pair vowed they would work on something together. "As if we didn't tour Europe before the f***ing EU. Guest rapper Kojey Radical takes on the role of preacher for “Ground Control”.
Where most rock superstars sink into trad tedium by 69, Springsteen is still crafting sophisticated paeans of depth and illumination, a rock grandmaster worthy of the accolade. It’s hard not to consider his timing for this release, just three months since the 25th anniversary of Illmatic. Listen to the melodic harmonies in “Tell Me Lies” and it’s not just the lyrics that’ll remind you of Fleetwood Mac. But whether she’s pining for the return of a former love in the funky disco banger “Julien”, or singing about masturbating post-break-up in lead single “Party For One” (“I’ll be the one/ If you don’t care about me/ Making love to myself/ Back on my beat”), the vibe remains positively jubilant. Since then, they've released a string of consistently great albums, from 2008’s Made in the Dark (featuring their only Top 10 single to date, “Ready for the Floor”) to this, their seventh and best record, A Bath Full of Ecstasy. Familiar faces and themes serve as his trademarks. Leaving the EU customs union, single market, VAT area and regulatory framework (in whole or part) could devastate our global market leadership, and damage our freedom to trade, tour and to promote our artists and works. Fellow Mercury Prize nominee Jorja Smith and winner Sampha sound like old friends in their guest spots – they fit comfortably into Carner’s landscape, built from classic hip-hop beats and warm piano loops. (Mark Beaumont), On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. In fact, the LA producer has been masterminding Flamagra for the past five years – snatching moments between collaborating with Kendrick Lamar on To Pimp a Butterfly, directing and writing the comic horror movie Kuso, producing much of Thundercat’s Drunk and growing his Brainfeeder label. His trademark intelligence, honesty and pin-drop production remain intact. “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?” she asks. The singer-songwriter’s nomadic personality is reflected in the vast scale of reference points on her new record, In a Galaxy. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral. Ma Fleur was emotive and piano-led, its themes of mortality and the passage of life captured so evocatively in the Patrick Watson collaboration “To Build a Home” – which went on to soundtrack every TV show from Grey’s Anatomy to Orange is the New Black. Their debut album, 2017’s About U, was raw, poignant and just the ride side of melodramatic, queering the mainstream, one sad-pop anthem at a time. Charli’s always so much cooler when she swaps the people-pleasing nostalgic for the free-wheeling futuristic.
Born in 1909, she was still a powerful, playful force when I interviewed her for this paper in her eighties. Often, Lenker offers the same kind of symbolic fatalism as the poetry of Christina Rosetti: “We both know/ Let me rest, let me go/ See my death become a trail/ And the trail leads to a flower/ I will blossom in your sail,” she sings on “Terminal Paradise”. Slide guitars give way to violas, which usher in eerie synths. “I don’t want to flip the page/ Of my negative script,” he intones on the final track, but there’s just a hint that he does. (Alexandra Pollard), Tales of witchy curses (“On Graveyard Hill”) and spirit reincarnation (“Daniel Boone”) feel like they’ve been dug up from ancient folklore, and capture classic-Pixies menace and ghoulish spirit.
As if to hammer home their parity, they even largely sing in unison – which might have had a plodding effect if the pair’s voices weren’t so distinct: Bridgers sings with a hazy assurance, Oberst with an emotive tremor.
It’s masterful production. (Helen Brown), Help Us Stranger reaches all corners of guitar rock: funky Detroit garage (“What’s Yours Is Mine”); country soul (“Somedays (I Don’t Feel Like Trying)”); psych (a cover of Donovan’s “Hey Gyp (Dig the Slowness)”); blues and bluegrass (“Thoughts and Prayers”).
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