Gorillaz - Plastic Beach

Much was expected from this animated band. Their debut wielded some great tracks, but the band really gained ground with the 2005 hit album Demon Days - a great album which managed to worm in many influences and bizarre melodies; it was these kinds of touches that made the album a classic for the noughties, so it was natural that the music community got altogether excited when they announced details of their third album.

As you get washed away by the lush string arrangements of the opening track (appropriately titled Orchestral Intro of course) you get greeted by Snoop Dog; love or hate him, there's something ridiculously cool in Snoop saying "Welcome to the world of Plastic Beach". It's as if he's personally welcoming you onto the album itself.
The next seven run of tracks is one of the best I've heard; Rhinestone Eyes drips of synthetic sweetness, while Stylo will make you want to strut for the rest of your life. Superfast Jellyfish is a perfect pop treat, and Glitter Freeze takes you on a Dr. Who style-trip, whilst Mark E. Smith asks "Where's north from 'ere?" as your brain gets fried.

After this terrific run of songs, it loses is slightly with Some Kind of Nature, but nothing to take away from this terrific album. The rest of the album will have you dancing on your butt-cheeks until the very end. It's consistent, exciting, and certainly one of the best albums I've heard this year.
The collaborators add their own take on their songs, but don't take away that essential Gorillaz vibe. Little Dragon, Bobby Womack, and Hypnotic Brass Ensemble are my favourites; they really add that something extra.

This is an album that everyone MUST listen to. This time, the hype is justified.
It's not quite a masterpiece, but it's pretty damn close to being one.

Rating: 4.5/5
Released 8th March

The Knife - Tomorrow, In a Year

I think I should clear the air first by explaining that this is not like an ordinary album - far from it in fact. Simply put; it's an opera, but don't let that put you off. It's one of the most bizarre listens I've ever encountered; it's distressing, but incredibly organic at the same time.

It's certainly not Silent Shout II; if you were expecting more pitch-shifted vocals, dizzy synths or pounding rhythm, forget about it. As someone who's a big fan of SS, this was quite a dramatic shift.
At first, it's incredibly off-putting, but if you take it in - not as a "normal" album - but as an audio film-like experience, it makes perfect sense. It's difficult to put it into words, and it's not something you can enjoy straight away (if at all) It's a very difficult - but rewarding - album to listen to.

Everytime I listened to this album, it's like I'm walking on Earth when it took its baby steps. Everything is so detailed and atmospheric. If you do listen to it, good luck to you! You may need it first time!

Rating: 4/5
Released 1st March

Joanna Newsom - Have One On Me

This is one of the most ambitious albums in recent years. This triple album (yes, you've read that right!) houses a host of beautiful tracks, great string arrangements, and throughout the album, Joanna sings and plucks her way to some of the most brilliant pieces of music I've heard.

Baby Birch is definitely the highlight for me; the first disc is flawless, and Baby Birch closes it off so elegantly - I'd say it was my favourite track of 2010 so far.
That's not to say that other tracks aren't as good: Esme, Kingfisher, Easy, Go Long, Soft as Chalk etc. All fantastic tracks - there's hardly any filler on there. The harp is present throughout the album - with the occasional piano - and its these elements (along with her Kate Bush-like vocals) which hypnotized me. It was as if I was at ease; I think the perfect way to listen to this record is with a red wine in hand, and with over 2 hours of lull to calm yourself.

That's the biggest weakness when it comes to double/triple albums; length. It's almost impossible to listen to the whole record in one sitting, and take it all in at the same time. This is no exception, but by listening to individual discs, they act like complete listens in themselves.

With so many great releases coming up (Gorillaz, Arcade Fire, possibly even Radiohead) Have One On Me is the leading contender for album of the year for me, so far. But will that last? Newsom will put up a good fight, that's for sure.

Rating: 4.5/5
Released 23rd February

Xiu Xiu - Dear God, I Hate Myself

Dear God, I Hate Myself...not a very optimistic title is it?

This will be a short review, as my feelings about this album is quite straight forward. There are moments where songs could develop into something great, but they never do. You sometimes think that it's too experimental for its own good, which is why after listening to it a lot of times, I still don't really get anything from this album; it leaves a hollow feeling if anything, and because the songs are so short, they just pass you by, without adding anything meaningful to the album.

Now for a good point; I really like its wacky nature, it's a breath of fresh air, but despite this, it doesn't make me want to stop punching Mr Jamie Stewart in the face for releasing a record that feels like it's toying with the listener. You just want to contact him yourself and say, "Hey, I know you're good. Now be serious for once."

Strange album. Listen to it if you want something slightly bizarre and different.

Rating: 3/5
Released 23rd February

Yeasayer - Odd Blood

I've never really liked MGMT that much, in fact I think they're over-hyped beyond belief. Despite having some great songs like Kids and Electric Feel, I just thought that Oracular Spectacular was inconsistent . Why am I opening with MGMT? Because there is a rise of psych-pop bands at the moment; Empire of The Sun, MGMT, even Animal Collective are getting more commercial attention - and then there's Yeasayer.

I don't know a lot about them to be honest, so I started listening to this album with low expectations, and after the first listen I felt that I shouldn't have underestimated them so much. The tracks have that lovely vibe about them; so colourful and vibrant. There's a lot going on on each track; you'd never get everything on the first listen. The Children starts things off with a creepy, sluggish vibe, helped by the pitch-shift they used on the vocals. Ambling Alp is the hit of the album, providing a completely different atmosphere to The Children. It gives off that summery vibe, similar to My Girls found on Merriweather Post Pavilion. I Remember is an alien ballad, but not in the freaky sense - it's beautiful.

If you think we're done with the partying and summery vibe, then ONE just carries on the celebration. Shame the lyrics are of the negative kind, but Love Me Girl puts that right, which has a slight Hot Chip edge to it, not to mention it's insanely catchy to boot. Rome is a loony mindfuck; one comment on Last.Fm made me laugh; "One part sounds like Mario going down a pipe". Just imagine Mario traveling through Rome, and you pretty much have it!

After the first 7 tracks, the album slightly dips in form. Strange Reunions is tame compared to the hustle of previous tracks, and ending on Grizelda isn't the best way. It's too short for me personally, it just leaves a rushed feeling to end the album, even though it is a nice track. The dip in form is the real disappointment, but considering that those 3 tracks at the end are all at least good, it just goes to show what a great album this is.

What I love about this album is that is fuses pop and experimental elements successfully. It's great for mainstream casuals or those who like a little experimentation of the weird kind. It has a real shout in for album of the year.

Rating: 4/5
Released 8th February

Massive Attack - Heligoland

This is it - The big one. If you can't tell already, I love Massive Attack. Mezzanine is a perfect record, it's one of the best records of the 90's, along with Blue Lines (an equally fantastic record). Well, Massive Attack are back after a 7 year gap between 100th Window and Heligoland. I had semi-high expectations of this album, even though I know they'll never reach the high points of Mezzanine again. What I found out was that Massive Attack still have the old magic, but can't use that magic on some underwhelming moments on the album.

The opening track is a familiar one - you may have heard it on their Splitting The Atom EP that was released last year (The said title track is also on here); 'Pray For Rain'. It starts the album off with a pounding drum beat and monotonic piano chords and sounds slightly bizarre. At first I hated it, but it's grown on me, but I do think a better track could have opened the album. 'Babel' comes charging in with its glitchy drum beat, but vocalist Martina Topley-Bird provides the track with much needed fluency. I'd describe it as a restricted Aphex Twin with vocals on top.

Then comes the first real highlight; 'Splitting The Atom'. A creepy slow-burner that recalls the days of Mezzanine. Horace Andy is back, in welcoming return to form. 'Girl I Love You' is dark, unsettling and bass-driven; just how I love them, but 'Psyche' is a nuisance because it ruins the flow of the album. Its repetitive spiraling riff is all very nice, but it goes absolutely nowhere, and the track is just a filler in my book. 'Flat of The Blade' has Guy Garvey singing on top of a largely loopy track (Elbow lead singer) and 'Rush Minute' is probably the worst track on record; even now, I can't remember how it goes, but it's a largely forgettable track. Meanwhile, Damon Albarn shines on 'Saturday Come Slow'. Anything that man touches seems to come out as gold!

Amidst all of this mediocrity (by their standard), there are two songs that stand out a mile; the amazing 'Paradise Circus', with Hope Sandoval providing vocals, and 'Atlas Air' - the synth-behemoth that closes the album on a real high. Like I said, 'Paradise Circus' is a touch of fragile beauty, Sandoval's vocals are incredibly beautiful. She reminds me of when Liz Fraser sang on 'Teardrop' and 'Group Four' on Mezzanine. She made those songs memorable in her unique way, and Cocteau Twins fans got a chance to hear exactly what she said without difficulty! The climax of 'Paradise...' is overwhelming. I just think it sounds so perfect; both chaotic and beautiful at the same time.

This largely dark album has some of the old Massive Attack spark, but it's not their best by any means. It's a good record, it has some of their best material to date ('Paradise Circus' is my favourite song of 2010 so far) but my main problem with this record is that it doesn't sound like an 'album', it sounds more like a compilation, and the vast amount of singers and collaborators just make it impossible for me to take this as a Massive Attack record. It's a shame, because while it's not brilliant, it's still worth a listen because on the whole, it's a pretty damn good album.

Rating: 3.5/5
Released 8th February

Hot Chip - One Life Stand

Weeey, first review of February! Now then; Hot Chip. I saw them in V2008, and they were pretty good. Unfortunately I had to leave the tent since I....uh....got a bit sick due to the over-consumption of alcohol, and with virtually no food in my belly, not a good result! Anyway, in those short minutes I spent in that tent, they played 'Over and Over', which is one of my favourite dance tracks of the 00's. So, I was pretty excited to hear Hot Chip's latest offering...

OLS starts with a gleaming bang; 'Thieves in the Night' has an infectious melody to keep you going through it's 6 minute length, and the album just keeps getting better with the run of 'Hand Me Down Your Love', 'Feel Better', and the title track. These first four tracks are the real standouts. 'Hand Me...' infuses strings and piano onto a stingy rhythm, before 'Feel Better' goes one step further and includes steel drums on the chorus to great effect.
The real highlight for me comes in the title track; it's the lazy bass that does it for me. When I played it in ICT to my two friends, they went "WTF is this!?" Their little brains aren't used to this crazy beat ;) It's so bloody addictive in a strange way - and "lazy" (but in a good way) - but it's up there with 'Over and Over' for me, personally.

Anyway, after those four tracks, the album goes downhill sharpish. 'Slush' absolutely kills it for me, it's the irritating song of the bunch. It's different from what they've been doing (it has a bit more swing to it) but I don't like it, bluntly put. It doesn't help that the singer is a bit out of tune! 'Brothers' is ok, it's just a bit dull, and 'Alley Cats' steps up a tiny bit, but it again, it's not fun.

By now, you realise that this as an album is a lot more mellow and mature than their previous efforts. While I don't mind change (in fact, I welcome it) I think they did it perfectly in their first four tracks, because the album loses a lot of momentum by 'Brothers', and 'Slush' just kills it. It does get revived by 'We Have Love', so at least it's a return to form. 'Keep Quiet' reminds me of 'Atmosphere' by Joy Division, but obviously in a more synth-like way. 'Take It In' closes the album off with a psycho melody, but all-in-all it's a bit of a roller-coaster. You go from one extreme to another quality-wise.

It's all very well and good, but it's not that Hot Chip masterpiece fans have been craving for. They're one step closer to releasing it though. Just cut the crap!

Rating: 4/5
Released February 8th

Spoon - Transference

Spoon - so under-rated on this side of the pond. Whilst Pitchfork have always been "very fond" of them, the major publications over here (like Q, NME etc.) have been quietly praising them. I don't think I know anyone personally who's heard of them, let alone like them. If you're going to start somewhere, I'd recommend Ga Ga Ga Ga Ga (or Gax5 for the lazy person in me) and Gimme Fiction. Both great albums.

Anyway, back to Transference! I'm not a Spoon fanatic, but I was pretty underwhelmed when I first heard this album - and I still am after many listens. It's not that it's a bad album by any means, I just think that it lacks that something special and at times it's a chore to listen.

'Before Destruction' starts the album off with ghostly backing vocals and a slow-ish beat, before bouncing into 'Is Love Forever?', a much more optimistic track with its jagged-riff and psychedelic vocals. 'The Mystery Zone' is too catchy for its own good, but by the following track you'd probably be sick of the repetition.

The groove is back with the piano-led track 'Written In Reverse', one of the highlights of the album. In fact, the piano is (for me anyway) the real star of this album. I love the piano-led tracks, like the latter half of 'I Saw The Light', 'Goodnight Laura' and the weird piano samples on 'Nobody Gets Me But You'.

If you can handle a bit of repetition every now and again, then this will be a fine listen. It's a good album, but feels very unspectacular, and might leave you wondering "was that it?"

1. Before Destruction
2. Is Love Forever?
3. The Mystery Zone
4. Who Makes Your Money
5. Written In Reverse
6. I Saw the Light
7. Trouble Comes Running
8. Goodnight Laura
9. Out Go the Lights
10. Got Nuffin'
11. Nobody Gets Me But You

Rating: 3/5

Released 18th January

Four Tet - There Is Love In You

'Rounds' is one of those records where I just let the music flow, so when I heard that Four Tet aka Kieran Hebden was releasing another album this year, I was quite interested to hear it.

First impressions were that it was similar magic that can be heard in every Four Tet album, but 'There Is Love In You' just sounds a lot more focused than previous efforts. 'Love Cry' is a 9 minute breeze - the music is so gentle and cold, it's perfect to put on in the background whilst you're having a walkabout, preferably when it's snowing.

At times, it sounds like a more focused Aphex Twin - you can hear it in the sampled vocals that Hebden's put on, and the melody reflects that heard on 'Selected Ambient Works vol.1' . Whilst this isn't exactly a dance record, if I was going to be all technical about it, I'd class it as "minimalistic ambient techno".
It's also a bit of a grower, because I didn't have the patience to listen to the music at first, but if you just let it flow (that sounds so cheesy!) it becomes an enjoyable listen. This is probably my favourite Four Tet record, beating 'Rounds', which is no easy feat. You probably wont get it on first listen; it's one of those albums where you have to really listen to it to uncover its beauty.

It's probably not something I'd listen to everyday, but I think it's a beautiful album. Despite being an electronically-dominated album, it has a very gentle - and human - touch to it.

Give it a listen. Or two...or three...

1	Angel Echoes
2	Love Cry
3	Circling
4	PabloÆS Heart
5	Sing
6	This Unfolds
7	Reversing
8	Plastic People
9	She Just Likes To Fight

Rating: 4/5

Released 25th January

These New Puritans - Hidden

I wasn't really supposed to review this album, but it's had a lot of good reviews (Drowned In Sound and NME each giving it 9/10) so naturally I had to hear it for myself.

For some reason they remind me of The xx, even though the music isn't similar. The production is brilliant - it's very atmospheric at times - and sounds like nothing else out there. The vocals aren't the most unique, but the music is like a mixture of hip-hop, weird percussion, horns and 6ft Japanese drums. Sounds great doesn't it? Because of the Japanese connection, it does sound like it was made in the Far East, and Massive Attack would be proud of 'Three Thousand'.

My favourite has to be "Attack Music", because the swishing-sword samples and the weird bass clarinet really make it unique - and it's so damn catchy! Combining beat-dominating tracks and elegant instrumentals (such as the closer "5", I thought I was listening to Vespertine for a while) this album has a lot to offer.

It's a great album; the album title says a lot about this album, because the special moments on this album are usually hidden.
It's not perfect, and there could be improvements, but it's an impressive album that will take more than a couple of listens to 'get'. That's why I think it's my favourite album so far this year, tied with 'Heartland'. A must-listen.

1	Time Xone
2	We Want War
3	Three Thousand
4	Hologram
5	Attack Music
6	Fire–Power
7	Orion
8	Canticle
9	Drum Courts–Where Corals Lie
10	White Chords
11	5

Rating: 4/5

Released January 18th

Liars - Sisterworld

I thought this was out in January, but it turns out it's not released until March! This has leaked very early then.

Liars are a three-piece group dabbling in experimental rock, sometimes sounding like a no-wave era Sonic Youth. They're not an easy group to get into straight away, but their self-titled album (released in 2007) was one of my favourite albums from that year, so I was quite excited to hear this.

The opener "Scissor" is a stop-start track, starting slowly before launching into a frenzied riff. "No Barrier Fun" continues the creepy-rock effect that the band are quite successful at, but unfortunately the album suffers for being monotonous; "Drip" is probably the worst of the lot, it goes absolutely nowhere and just lingers like a bad itch you can't scratch.

It picks up again with the buzzing-riff of "Scarecrows on a Killer Slant". But that uprising is short lived, as it falls into mediocrity again. The appeal doesn't last too long, and it all sounds the same by the end. It's a shame, because I really like Liars, but this album feels like a half-arsed attempt at times, but with some sparkling moments underneath. It wouldn't be recommended if you wanted to be introduced to Liars.
There's no denying that they're a talented bunch of musicians, and I know that they can do better than this, but it falls short and feels like an uneventful ride.

1	Scissor
2	No Barrier Fun
3	Here Comes All the People
4	Drip
5	Scarecrows on a Killer Slant
6	I Still Can See an Outside World
7	Proud Evolution
8	Drop Dead
9	The Overachievers
10	Goodnight Everything
11	Too Much, Too Much

Rating: 2.5/5

Released March 8th.

Owen Pallett - Heartland

Formally known as Final Fantasy, having taken the name from the popular RPG video game series, this is Pallett's third album, released under his real name as it'll be his first album released in Japan - so he doesn't want to confuse all the gamers out there!

Sounding like Arcade Fire gone solo, this spunky baroque-pop is a concept album about a young farmer named Lewis - who has a bit of a violent streak. Fusing string arrangements and synths, it sounds very much like a soundtrack to (and I don't mean this as criticism) the Final Fantasy games themselves. Sounds typical, and I'm not accusing him of being a rip off at all. In fact it's worthy praise since the games always seem to have great scores.

The album goes through a range of catchy melodies, but on some occasions it sounds too overcomplicated. Pallett's vocals also sound lifeless on some songs, but full of passion on others. To me, a great album must have flow, and this delivers. It feels like a journey into a dreamy musical, full of beautiful melodies and menacing strings.

This is perhaps my favourite album of the year so far. Having worked with Grizzly Bear, Beirut, Death From Above 1979, and even Fucked Up, Pallett is a real virtuoso who is often under-rated. Check him out.

Rating: 4/5

Released January 12th

Delphic - Acolyte

Finally, I can post my review!

I should start off by saying I wasn't very keen on this album on first listen. There's some hype around this album, and I didn't get it. Once I got to know the songs better, it clicked into place.

'Clarion Call' is my favourite song, and as it's the opener, you'd expect me to say that the rest of the album goes downhill. But it doesn't; the title track and 'Counterpoint' are great tracks. Songs like 'Submission' and 'Red Lights' are less inspiring maybe, they sound like they're just going through the motion instead of trying to be a stand-outs, but there aren't any major lows that count as embarrassments.

What they're doing isn't new or fresh, they sound like a less-hyperactive Klaxons on some songs, but Delphic have delivered a solid debut album, something that feels innocently fun. You can't help but love it. They sound like a promising band too, it'll be interesting to hear their next album.

It might not stand the test of time, but for now, I'd say it is a fun listen.

Rating: 4/5

Released January 11, 2010

Eels - End Times

Another band of which I'm unknown to, but over at Atease they seem to be very popular, so I thought I should listen to their upcoming new album.

'The Beginning' opens the album with nostalgia; “Everything was beautiful and free/In the beginning”. I'm sure we've all felt like that when we were in a new relationship, but the album concentrates on the aftermath; the marriage breakup and old age. Bleak as that sounds, it's done very well.

It's a mature record, done with wit (“Outside my window there’s a cat in heat / Shut up cat, and leave me alone”) and told through teary eyes. A good balance of ballads and upbeat tracks, it paces the album well without a great deal of drag. The instrumental 'High and Lonesome' is surprisingly effective, even though it only contains samples of thunderstorms. It captures the atmosphere of the album well. 'On My Feet' concludes the album in a typical melancholy fashion; reflecting on his relationship and his life; beautifully done.

Because this is my first Eels experience, I can't compare it to past albums, but I would say it was a solid effort. I'd have no problems listening to this again and again.

Rating: 3.5/5

Release date: January 18, 2010

Vampire Weekend - Contra

I think I better start with an explanation first of all; I haven’t heard their first album, so I’m basically listening through this album like a blind bat. I’ve heard some of their songs, in fact I have a love/hate relationship with A-punk, so I decided I should at least give this album a listen to first before I make my mind up about Vampire Weekend.

I’m pleasantly surprised to be honest. It’s a nice listen throughout. ‘Horchata’ opens the album with enthusiasm., and that youthful sound doesn’t stop. I love how they sampled M.I.A.’s ‘Hussle’ on ‘Diplomat’s Son’, the album’s longest track breaking the 6 minute barrier, it could also be an indicator to their future sound.

Clocking in at 36:40, it’s a short album, and even though it’s a fun album, I can’t see myself listening to this all the time. It’s full of quirky indie pop tracks without too much variation on offer. ‘Taxi Cab’ breaks the run of fast and catchy songs with a more slower and mellow approach, and the piano melody is beautiful in this track. ‘Cousins’ is typically catchy as well, but for me the letdown is the closer; ‘I Think UR a Contra’. A good song maybe, but it’s fairly uninspiring for me. (Plus I misheard it as "I think you're a c*nt now :S)

Overall, I’d say I like Vampire Weekend after this album, but I’m not exactly a fan. There’s so much indie pop I can take. It’s good though, just that once you’ve heard one song; you’ve more or less heard everything on the album.

Rating: 3.5/5

Released January 12, 2010