New track Wavvy from cross-dressing rapper/poet Mykki Blanco, real name Michael Quattlebaum, boasting minimalist electro beats and an amusingly dark video. 


So er, Mumford and Sons have released the first single from their forthcoming album ‘Babel’ and I’m finding the whole thing a bit awkward.

One might say that, when it comes a band’s attitude to progression of sound and writing, they’re damned if they do, damned if they don’t - some die-hard fans just want more of the same, more of what they loved in the first place, while others are eager to see some change that signifies development in musicianship and vision. I tend to fall into the second category - I want to see my favourite artists grow with their music following accordingly.

As such, Mumford and Sons have fucked it. Now, I’m not a hardcore fan. ‘Sigh No More’ would not make it into my list of top 10 albums. It would struggle even to make it into the top 100. It was good, sure, and it played it’s part in bringing folk music back to the fore alongside acts such as Laura Marling and Noah and the Whale, but an experimental classic it is not. The blu-print for internationally high sales it is though, and Mumford and Sons have stuck to that pattern with iron-willed precision. I’ve heard ‘I Will Wait’ before. It is every song on the first album amalgamated in a melting pot replete with obligatory banjos and brass, because that obviously makes EVERYTHING rousing. Yeah, Mumford and Sons, more brass, that’s what you needed. And banjos. Never forget the banjos.

‘I Will Wait’ is awesome in its mediocrity, a behemoth of platitudinous sameness. It’s a shame really as they probably are capable of something quite cool.


Everything Everything’s own genre-defying breed of keyboardy, guitary pop is pushed even further with new single ‘Cough Cough’ - the first in what, from the sounds of this frantic, jolting track, promises to be a bold and experimental follow-up. Not a single second of this song is allowed to grow stale through repetition; it’s a beast of a record that morphs seamlessly from section to section. Tension is built in the urgency of Jonathan Higgs’ shouts of ‘I’m coming alive…’ before being slowly released by his sweeping falsetto in the succeeding lines ‘and that eureka moment hits you like a cop car’, creating something visceral and unpredictable. Everything Everything keep getting better and better. 

‘Cough Cough’ is out 14th Oct. Eagerly await the release of ‘Arc’ in Jan next year. 


Big fan of this girl. Really chilled sound, really nice voice. Just 19 years old and an absolute babe. Excited to see more of this. 


And as we’re here…’Sabotage’ from their ‘94 album ‘lll Communication’.

Guitar riffs as beats. Good.


The Beastie Boys were one of the best things that ever happened to rap/hip-hop. Paving the way for white artists to express themselves in an industry dominated by black artists… yeah, there was a backlash at the time, but now I hear this at parties alongside Biggie and Tupac. So there, haters. Suck on this. 


Claire Boucher, AKA Grimes, seems not to be from this world. Having only been listening to her since the release of single ‘Oblivion’ and subsequent album ‘Visions’, I’ve only just started to journey through the dark and winding passages of her back catalogue - she’s released two solo full-lengths previous to ‘Visions’, the first named ‘Geidi Primes’ and the second ‘Halfaxa’. If you thought her most recent output was…different, you ain’t heard nothin’ yet. While ‘Visions’ is certainly, for the most part, only marginally more accessible, the beats that form the back-bone of the tracks are far more danceable and stable because they’re a bit more obvious, though I don’t mean that as a negative. The sound is stronger in ‘Visions’. It contains all of the haunting vocals, glitchy synths and and rhythmic changes of ‘Geidi Primes’ and ‘Halfaxa’ but just seems more robust, less likely to blow over in a strong wind - a wind that was presumably summoned by witches…in a forest…at full moon.

In summary, ‘Visions’ is what dreams would sound like. ‘Geidi Primes’ and ‘Halfaxa’ are beautiful, yes, but the sonic equivalent of a nightmare. On an acid trip. 


A bit of a rant…

So while we’re on kind of a feminist theme…

It deeply saddens me to see so many female figures in the public eye - and for now I’ll focus purely on those in the music industry - who are using sex to sell their ‘product’. While I’m well aware that this is not exactly breaking news, it remains something that is yet to be addressed in any active manner.

Yes, one might argue that a woman, and let’s use Rihanna as an obvious example here, whose lyrics focus largely on sex, is exerting her power, just as men do, over her body and sexual desires. I get that. But is it really about that? Is Rihanna, by donning PVC and grinding against some equally under-dressed girls, really making a political point about the empowerment of women or LGBT rights? Not sure. I think, if she were, she’d surely be making more of a big deal about it. Seems a lot more like she just desperately wants to be seen as desirable by the opposite sex and, as they say, ‘sex sells’. Say what you want about Lady Gaga but she is a woman who does not have any qualms about repulsing men. She doesn’t wear what she wears to turn on straight men. She expresses her artistic ideas, no matter how weird they might seem by normal standards, and uses the fame that ensues as a means by which she may protest for equality amongst everyone to an international audience - she fights for the underdog. 

In an era in which the charts are (finally) permeated by females, why are more of them not using this as the extraordinarily far-reaching, virtually instantaneous platform it could be for projecting the message - ‘Girls, we are all equal to men - in sex, sure, but also in relationships as a whole, in our intellect, in our mental strength. We might be the weaker sex, physically, but that’s about all you have on us, boys.’ If we’d evolved from monkeys straight into a world replete with tampons and condoms, our physical shortcomings (the menstrual cycle is a bitch, and its only in relatively recent times that contraception, and, when the time comes, proper hospital care, have prevented us getting pregnant and then risking death in childbirth), wouldn’t have been nearly as focussed upon and we would not have been deemed as inferior in our physicality as we still are. Basically, we didn’t stand half a chance against the woolly mammoths, and men did, because they’re stronger. We were labelled the under-dog and it stuck. 

Rihanna, Katy Perry, if you have to use your sexuality to sell your music, its probably because you don’t have anything more interesting to say, and, in marketing yourself this way, you are perpetuating the belief amongst men and women alike that all the female gender has is our sexual allure. Stop it.

‘Where have all the Riot Grrrls gone?’, is essentially what I’m saying. It’s certainly true (as I wrote below) that there are many strong, intelligent, talented women creating beautiful music, but why are they not the ones consistently in the top 40? Perhaps the fault lies with the consumer as much as with the pop star. Perhaps Rihanna et al. aren’t wholly to blame. Let’s just all buck up our ideas, eh? Girls are great. But we’ve got a lot more to say and a lot more to do than merely profess that we are ‘so hot we’ll melt your popsicle’ or ask you, ‘don’t you wish your girlfriend was hot like me?’. Surely we’ve got more than that. 


One can, in this sex-obsessed age, find themselves hard pushed to find a solo,  female artist who actually IS an artist, rather than an over-sexualised puppet, who trots out someone else’s songs and is most likely to be found writhing in a pool of oil or something else sticky and suspicious-looking on camera. Natasha Khan, AKA Bat For Lashes, is an artist in the purest sense of the word. Since the release of her debut album ‘Fur and Gold’ in 2007, she has been consistently creating sonically interesting and lyrically poignant music - something that cannot be said for a great many female pop-stars in today’s charts. Not only that but she, unlike the ridiculously amorous Rihanna, cute-as-pie Katy Perry and, let’s face it, fucking pathetic and positively anti-feminist Lana Del Rey, is a beacon of hope in an otherwise desperately depressing shit-storm of irritating women. Come on ladies, less ‘S&M’, more photos of you carrying naked men on your back (see Bat For Lashes’ album artwork for forthcoming album ‘The Haunted Man’). I’m begging you. 

Her new single ‘Laura’ is one of the most beautiful things I’ve heard and I have spent a good portion of today crying over it, if you must know. 


So, HAIM. Three beautiful sisters with great hair, playing guitars. Yep, okay, I’ll take that. Their sound is a mix of 90s pop, R&B, ‘Rumours’-era Fleetwood Mac and, wait, is that a Michael Jackson-esque inflected vocal I detect? This shouldn’t work, but, with the help of some crisp production to give their otherwise vintage sound a new edge, their Forever EP has to be a certified success.

Also, the dancing in the ‘Forever’ video is genius. GENIUS.