The Last Shadow Puppets - "Bad Habits"

Six years on from the release of their first album together, and not a mop-top in sight. And it’s not just Miles and Alex who are meaner and slicker.

Though the prominent string arrangements remain, the whole sound is somewhat sleazier, in a perfectly good way. Compared to the likes of “Standing Next To Me”, it’s all a lot less poetic and a bit more sordid tales of yesteryear. This might not go down well with some of their fans, but is a bit of change such a bad thing? Not when it’s accompanied by such a kickass orchestral backing.

Bloc Party - "The Love Within"

Bloc Party are back, with a new line-up and some new tunes. Hymns is upon us in January, but the band have released a couple of singles in the meantime. Thus, “The Love Within” should have been a exciting moment for fans, but ends up sounding pretty underwhelming.

Bloc Party - "Banquet"/"Staying Fat" (2004)

A true anthem of the previous decade, “Banquet” could be described as the Bloc Party tune. While their other songs from this era might stand out for lyrical quirks and emotional insight, this song has the band’s most recognisable guitar riff. The gripping drum intro and Paul Epworth’s electronica-tinged production are really distinctive features on Silent Alarm, while Kele resembles a young Robert Smith as he laments girl problems. Here's the original video (there was a glitzier one for the 2005 re-release).

Blur - "Lonesome Street"

Yes, I’m reviewing a single without any B-sides, but this is 2015. Even stranger is that Liam Gallagher, in between verbally barracking his brother, names a Blur tune as ‘song of the year’, though you suspect some proper Britpop might be right up his alley.

The Libertines - "Up The Bracket" (2002)

Much has been made of The Libertines’ effect on reviving indie music in the UK and the truth is that since their decline, nobody has taken up the punk mantle with the same kind of flair and assurance. A great example would be the title track from their debut album.

The Smiths - Hand In Glove (1983)

The Smiths’ first ever single was a wonderful demonstration of everything the band was about. Doomed love, working-class defiance, jangly guitars and general despair; it’s all right here.

Noel Gallagher's High Flying Birds - "In The Heat Of The Moment" (2014)

I’ve got to be honest - when I first heard the “na-na-na-na-nah” at the start of this song, I absolutely hated it. I had high hopes for Noel after a pretty solid solo debut, but this just sounded like he was going down a poppy route that I wasn’t ready to roll with.

Oasis “Cigarettes & Alcohol” (1994)

“Cigarettes & Alcohol” has been the soundtrack to many a night of debauchery, but it’s so much more: as Alan McGee of Creation Records said upon hearing, "Is it worth the aggravation to find yourself a job when there's nothing worth working for?”, this song was one of the greatest social statements made in modern music.

Paul Weller "Wild Wood" (1993)

So I’m back writing, after too long. Maybe it’s a reflection of the times we live in, but I’m no longer reviewing albums. I still listen to them, but it’s such a chore to give a comprehensive verdict on one. So my new focus is singles. B-sides are something I have somewhat overlooked in my lifetime; only now do I realise that they can be the greatest outlet for an individual’s creativity.

I figured it was quite appropriate, considering my newest hairstyle, to kick things off with The Modfather himself. “Wild Wood” is a real highlight of Weller’s solo career and paints the picture of being caught in an urban jungle. Something about the way the song is structured consistently, throughout both the verse and chorus parts, really brings out how feelings of struggle can grow and overcome someone who’s “climbing... Forever trying.”

Wu Lyf - Live at The Ritz, Manchester (4th February 2012)

Maybe, just maybe, the pressure of a homecoming gig was getting to Wu Lyf. A voicy Mancunian crowd failed to have their enthusiasm dampened by the quite bizarre New Romantic singer on warm-up duty. Immediately after his departure, choruses from the main act’s best-loved songs could be heard ringing around the infamous Ritz. Then the protagonists walked onto stage; then launched straight into “L Y F”. Smooth as.

The Dø - Both Ways Open Jaws (2011)

7/10

Does originality really matter so much?

In the current music scene, the quickest way for an artist to get noticed is by bringing something new to the table. It’s pretty much impossible to whip up something completely unheard of, from a musical tabula rasa, but even a new twist on an older idea or an amalgamation of older influences feels fresh.

Trentemøller - Reworked/Remixed (2011)

7/10


Too little source material means that this anthology tires quicker than it should


In 2007, Anders Trentemøller released the much-loved Trentemøller Chronicles, a collection of his own tracks and remixes. Reworked/Remixed can be seen as the successor to that release, with some differences. The first disc of Chronicles consisted mainly of Trentemøller’s own work, a few of them being re-edited by the Dane. Meanwhile, the second disc contained some of his superb remix work, mainly of music by fellow Scandinavian artists.

Kele - The Hunter EP (2011)

6/10


In spite of his detractors, Kele's newest release has its moments

It’s fair to say that Kele Okereke’s flirtations with dance music have earned a mixed reception. There’s been negativity towards the general sound, the quality of songwriting and of course, there's been pining for another Silent Alarm... well, you can save that one for Bloc Party’s upcoming fourth album. For now, Kele’s out to prove his credibility as a solo artist and happily delves into new territory for this new release.

Noel Gallagher's High Flying Birds (2011)

8/10

The Chief shows them how it’s done

Fans of Oasis, and specifically of Noel Gallagher, will have been eagerly anticipating this moment; when the brains behind Britain’s biggest band of the 1990s would move out of the shadow of his little brother to show the world how he could front a band. Doubts over whether Noel could fulfil a lead role persisted, but a strong solo debut will have silenced most of those voices. 

Kasabian - Velociraptor! (2011)

7/10  

Kasabian can't go wrong with more electronic-tinged madness

Among Kasabian’s claims earlier this year were that this album “will change your life” and be “the greatest ever”. Clearly, they’re not short on confidence, and their bravado happily transcends into their music.

Friendly Fires - Pala (2011)

Too much of Friendly Fires' second effort fails to inspire

6/10  

Pulling out of the shadow of nu-rave, the Friendly Fires come back with the lush-sounding, dancey Pala. But while the band have definitely got a clear vision of what they’re doing, it comes across as a bit predictable and unimaginative.

Fenech-Soler - Fenech-Soler (2010)

One word to describe Fenech-Soler’s self-titled? Forgettable.

The four piece electropop group from Northamptonshire generated a fair bit of hype with their early release, “The Cult Of Romance”. After being signed, an album and accompanying singles would soon follow. Can it be so hard to make something chorus-based with a few bouncy synths?

Wild Beasts - Smother (2011)

A deeper, less flamboyant work still showcases the creativity you've come to love from the Wild Beasts

Hailing from Cumbria, Wild Beasts have built a reputation as one of the most exciting bands to come through in the last few years. Their first two studio albums were oozing in quirkiness and personality, with two lead singers whose voices contrasted beautifully and poetic, sexually charged lyrics.

Arcade Fire - The Suburbs (2010)

The progression of Arcade Fire is a curious tale. Breaking out with the appropriately-titled Funeral, the Canadian band showed they were unafraid to deal with heavy lyrical themes, while second album Neon Bible saw them return more politically charged and with a grandiose sound.

So it caused some surprise to hear that their third LP was to be given the tame title of The Suburbs. Indeed, upon first listen, Arcade Fire’s penchant for high drama seems to have been quelled. There’s a distinct lack of memorable, standout tunes; certainly nothing like a “No Cars Go”. “Empty Room” and lead single “Month Of May” are about as energetic as it gets; the rest of the hour-long album are as laid-back as the early afternoon on a suburban street.