Our 20 Most Anticipated Albums of 2018

words and header by liam menzies (@blnkclyr) unless specified

Remember how phenomenal that one song you heard from 2017 was? That album that you couldn’t stop yourself from spinning as soon as it had reached the end of its vinyl? At this point in the year, it can be all too easy to look back with rose-tinted glasses at the year that has passed and while it was great, it would be idiotic of us to ignore what the next 12 months have in store for us. We may very well miss out on some of your hotly anticipated ones, whether that be the album being hidden at the time of writing or sheer ignorance, but the team has put their heads together to come up with this list of the records we can’t wait to get into our ears…


Black Foxxes – Reoli

Black-Foxxes-.jpg

Why: Another band that you REALLY should be listening to, Devonshire trio Black Foxxes will be releasing Reoli on March 16th. Their debut album, I’m Not Well, came out in 2016 to high praise, and whilst the themes in the album, including depression, anxiety & frontman Mark Holley’s struggle with Crohn’s disease are a heavy drink of water, the album is incredibly listenable and a must have on anyone’s playlist. Whilst only one song has broken cover from this album, the smart gambler would put a few chips on this being a dark horse in the album of the year contest. – oliver butler (@notoliverbutler)

When: 16th March 2018.


Blood Orange – LP4

fyZnxxHWh3sb92ixgAufeazJPOhpNn9XRtgnRORsOgw.png

Why: Having released one of 2016’s most underrated records Freetown Sound, Dev Hynes is set to follow it up with his fourth full-length album this year. It seems set to be a challenging, introspective listen if his 2017 interview is anything to go by: “A lot of the new songs on the new album deal with growing up and childhood in England [..] looking at the country that made me”. Admitting that it’ll be a little dark in the same piece, Blood Orange LP4 is set to be an important listen.

Proof: Image above as well as this DIY article.


Brockhampton – Team Effort

brockhampton-alley.jpg

WhyAfter the, let’s be honest, far better than it had any right to be SATURATION trilogy, you’d be forgiven for being a bit burned out on the best boy band since One Direction. But it just seems that that isn’t the case at all. Now free from any continuity restrictions that the Saturation trilogy enforced them to, this next album will hopefully see even more innovation and surprises from BROCKHAMPTON. ethan woodford (@human_dis4ster) & jake cordiner (@jjjjaketh)

Proof: This tweet right here from the boys themselves.


Car Seat Headrest – Twin Fantasy

car-seat-headrest.png

Why: Before you rush into the comments to tell us that Twin Fantasy was released in 2011 – we know, you’re not special for knowing that. The reason this Car Seat Headrest album is included on our list is down to Will Toledo mistakenly announcing via a now taken down listing that a re-release will be happening. However, as opposed to the traditional meaning, Toledo has the benefit of a bigger budget, a full band in fine form, and endless time to tinker, meaning what we’ll get seven years later will be the album he really wanted to make.

When: Feb 16th.


Codist – LP2

16487099_1237596226332651_332415904454628453_o

Why: Sleep? Who needs it?! The Codist boys certainly don’t seem to need any as they’re set to drop the follow up to their 2016 debut Nuclear Family (which was pretty fucking good). Having dropped an EP last year on the newly founded LP Records label, we’re psyched to see what this Glasgow rock outfit have tucked away for us.

When: This lil video right here.


Courtney Barnett – LP3

courtney_barnett_main.jpg

Why: After a successful collaboration with Kurt Vile on Lotta Sea Lice, fans of Courtney Barnett are eager to see what the up and coming Australian artist is going to ramble about on a new LP. Sometimes I Sit And Think, and Sometimes I Just Sit was one of the best albums of 2015 due to its undeniable charm and with some well-earned experience from subsequent ventures, we’re excited to see what changes she’ll be making on this record.

Proof: Barnett chatted to Zane Lowe about the new album on his beats1 station.


Danny Brown – LP5

Danny-Brown-2-1490029947-640x427.jpg

Why: If the fact that this Detroit rapper’s last album Atrocity Exhibition was our 2016 Album Of The Year isn’t enough to get you pumped up then what’s wrong with you? Danny Brown crafted one of the most exciting and wholly original hip-hop albums of the century alongside Paul White and with this new album set to be “produced by one producer, who’s legendary in hip-hop“, we can’t wait to see what path Danny leads us on.

Proof: Brown admitted on Twitter that he’s working on a currently untitled new album.


Dorothy – 28 Days in The Valley

Dorothy-Press-Photo-2018-888x592.jpg

Why: Dorothy are probably the best band you’ve never heard of. Or, if you’ve heard of them, one of the best new bands on your radar. Signed to Jay-Z’s Roc Nation label, the bluesy brawlers will be releasing 28 Days in the Valley this year, their follow up to 2016’s ROCKISDEAD. Mixing heavy, bluesy rock with frontwoman Dorothy Martin’s swelling vocals, Dorothy have a crunching modern sound that’s full of classic influences. – oliver butler (@notoliverbutler)

Proof: The band admitted the album is set to drop in early 2018.


Drenge – LP3

6146733.jpeg

Why: Hopefully set to return after almost a 3-year absence, Sheffield trio Drenge will look to return with a vengeance. Looking to combine the best aspects from their different but both excellent albums so far, LP 3 will no doubt be well worth the wait. – ethan woodford (@human_dis4ster)

Proof: It exists (unless the guys were in an Edgar Wright mood).


Gorillaz – LP5

gorillaz-sonar-bcn-2018.jpg

Why: While the critical reception to the band’s much-anticipated comeback album Humanz wasn’t what anyone was hoping for, that doesn’t mean we aren’t any less excited for what’s to come. Not much is known about it at the moment but if it’s a Gorillaz record, expect it to be grandiose, entertaining and ignite a lot of discussions.

When: The group’s Jamie Hewlett admitted the album’s existence.


Grimes – LP5

Grimes3010-616x385.jpg

Why: Explaining in an Instagram video she’s been “in the studio every day trying to legit make something you’ve never heard before”, Canadian artist Claire Boucher has consistently impressed since her 2010 debut and her upcoming LP seems to be no different. With a focus on being fresh and exciting, Art Angels managed to win Grimes a lot of new fans and whatever she has next will, regardless of quality, keep them as well as old enthusiasts surprised.

Proof: This article right here.


Injury Reserve – LP2

ir.jpg

Why: After impressing everyone with their debut studio album Floss and further keeping that smile on our faces with last year’s Drive It Like It’s Stolen EP, this zany and fresh hip-hop outfit seem set to keep the golden streak running with a follow up LP. “we’re about to go hole up in a cabin in northern Arizona and simultaneously put together the best tour of 2018 and the best album of our career so far” is what Parker Corey said recently on his Twitter so with their confidence so high, it’s appropriate to get suitably hyped for LP2.

Proof: New full-length album confirmed here😉


Interpol – LP6

interpol-15th-anniversary-tour-turn-on-bright-lights-tickets.png

Why: Marking 15 years since their landmark debut Turn On The Bright Lights, Interpol have performed the album in its entirety across a series of sold-out shows this year. Such a momentous occasion felt like the perfect time to wheel out some new material, which is precisely what happened at London’s Alexandra Palace. Included in the encore was Real Life, the first taste of what to expect from their follow up to El Pintor – a mouth-watering prospect as we wait to see what direction their post-Carlos D era takes them in. kieran cannon (@kiercannon)

Proof: The aforementioned performances of new material last year.


Justin Timberlake – Man Of The Woods

justin-timberlake.png

Why: It might be cool to hate on chart music but if there’s an artist who manages to make even the biggest of bucket hat wearing indie lads bop to a pop tune, it’s probably gonna be Justin Timberlake. With this pretense, you might expect another slick listen but from what has been teased so far, expect something more akin to Bon Iver than anything else – that might repulse some but for people like ourselves who wish to see big stars push themselves in interesting directions, we’re utterly intrigued to see what Man Of The Woods has to show.

When: Feb 2nd.


Kanye West – Turbo Grafx 16

Kanye-West-new-songs-2017-2018-list-upcoming-latest-albums

Why: When you have the late, great Lou Reed praising you then you must be doing something right and the ever egotistical Kanye West looks set to continue his golden run with his new gaming inspired record Turbo Grafx 16. With the record set to feature sampling from the likes of No More Heroes and Super Mario Galaxy in addition to hosting appearances from the likes of Kendrick Lamar, Chance The Rapper and Young Thug, Kanye may be set to deliver the oddest record of 2018.

Proof: gBzFazu.png


Phil Campbell & The Bastard Sons – Age of Absurdity 

Phil Campbell.jpg

Why: After hitting the road playing a mix of originals and covers, plus a six-track EP in 2016, Phil Campbell and his band of bastardy men are ready to release their first full-length album; Age of Absurdity. So far, this band has proven that the apple doesn’t fall far from the tree, as Phil’s sons Todd, Tyla & Dane are all incredibly talented musicians in their own right. – oliver butler (@notoliverbutler)

When: January 26th.


Screaming Females – All At Once 

sf-770x470.jpg

Why: A band we weren’t aware of up until a recent Spotify recommendation, Screaming Females packs in one of the best rock/punk vocalists in the form of Marissa Paternoster who is just on the mic as she is on the guitar. First cut off All At Once, titled Glass House, is anthemic and builds up to a climax that blurs the line between shaky and untenable: if that’s anything to go by then this LP will prove to be one of 2018’s best rock albums.

When: Feb 23rd


Simon Neil – ZZC

GettyImages-597565480_biffy_clyro_simon_solo_album_630 (1).jpg

Why: Big Si dropped a track on Christmas Day, so that’s good enough for me to believe his long-teased solo effort is finally almost here. The aforementioned track, titled The Myth, is a 7 and a half minute long instrumental that goes from orchestral to mathy as fuck rock at the drop of a hat. It’s really, REALLY good, and if it’s an indication of the direction of rest of the album, it sounds like the untethered, mental Simon Neil that die-hard Biffy Clyro fans have been pining for is back, and back with a vengeance. – jake cordiner (@jjjjaketh)

Proof: Si has been teasing this for years now and with The Myth being the opening track, this surely means it’s sooner rather than later for his solo effort.


Vampire Weekend – LP4

image.jpg

Why: While the band members themselves certainly haven’t been slacking, whether that be contributing to anime or making their own solo album, it’s been a long ass time since Vampire Weekend last blessed us with some new music – half a decade to be exact. With the likes of Kanye West being cited as an inspiration for the yet untitled fourth LP, it’s hard not to be intrigued by what the New York lads have in store for us.

Proof: This juicy lil interview with Ezra Koenig.


The Xcerts – Hold On To Your Heart

The-Xcerts-July-2017-600x454.jpg

Why: The three singles already released from this album are some of the band’s best work to date and, from what we heard on their live tour in October, the other tunes are certainly going to be a treat as well. gregor farquharson (@grgratlntc)

When: 19th January.

 

Advertisements

The Best Gigs of 2017

It’s finally here: no, not Christmas, list season BAYBEE! A culmination of all the good, and bad, that the year has had to offer, we’re kicking things off with some positive content about the live shows that the team loved every second of.

Before we get into each team member’s choice, let’s have a glance at some of the honourable mentions that deserve a shoutout…

The Vegan Leather @ TRNSMT

19905019_1053017811499277_8538661191816263813_n1

At a festival with some of the biggest names in music, it goes to show how utterly impressive this Paisley art-rock outfit were at the debut entry of TRNSMT. “Talking Heads meets Yeah Yeah Yeahs meet LCD-Soundsystem” is the only way we managed to describe their sound yet that still doesn’t do The Vegan Leather justice: if you’re lucky enough to have New Years free from work then be sure to boogie on down to see this foursome kill it at King Tuts.

FULL REVIEW HERE

SWAY @ Tenement Trail

Photo Courtesy of Cameron Brisbane | Twitter | Facebook
Photo Courtesy of Cameron Brisbane | Site |Facebook | Twitter

If our accolade of “Best Band At Tenement Trail 2017“, a prestigious award depending on who you ask, wasn’t enough to do SWAY‘s performance at Nice N Sleazy justice then let this be your final telling off. Presenting a beautiful blend of indie rock finesse with shoegaze and pop influences, the Paisley act put on an amazing show featuring great tunes, inflatable footballs and a bloody nose (#PrayForDanDrennan).

FULL REVIEW HERE

Wolf Alice @ Barrowlands

Wolf-Alice-1-1-1024x684.jpg
Photo courtesy of Jose Ramon Caamaño | Facebook | Flickr |

Hot off the back of providing one of the best sophomore releases of the decade, lovely London lot Wolf Alice treated their Glasgow fans to not one but two shows at the iconic Barrowlands venue. Playing a healthy dose of the old and the new, along with some golden oldies like Blush, the indie rock outfit show that they deserve every morsel of hype they’ve accumulated over the past few years.

And now, onto the team’s top picks…

Isabella McHardy (@isabellamchardy)Strange Bones @ TRNSMT

maxresdefault (3)

I hadn’t heard of them before but a friend suggested we go see Strange Bones – it was by far my favourite performance of the festival and ultimately the entire year. They played the tiny Jack Daniel’s Jack Rocks tent on the Sunday and it was perfect. They played with such an infectious energy, I couldn’t stop smiling the whole set.

The entire tent was jumping up and down and yelling even if they didn’t know the words. They were probably one of the heaviest bands at the festival but they still managed to pull in such an enthusiastic crowd. The band were crowd surfing and running into the audience throughout the show but no one got tired of it. It was the first gig I had been to in a while where I felt completely ecstatic. After their set, I couldn’t wait to get home so I could go through their discography.

Disappointingly, their EP’s don’t live up to how they perform live, but I would still go see them again just for the atmosphere and the ‘Theresa is a Terrorist’ t-shirts.

FULL REVIEW HERE

Callum Thornhill (@calthornhill) – Sorority Noise, Turnover & Citizen @ Camden Underworld

IMG_5530.JPG

They say good things come in threes. Wise men. Amigos. So on and so forth. For this ridiculously intimate show; it was American emo icons that arrived as a magnificent trio. Heading to Camden’s Underworld via stunning performances at this year’s Slam Dunk Festival came Citizen and Turnover; ‘supported’ by Sorority Noise.

What made this an incredible line-up was the enthusiasm shared by bands towards other bands, fans to bands and even bands to fans. Splitting the set times evenly, no band took the limelight, however, Sorority Noise were first up to get things going. With third LP, You’re Not as _____ as You Think released earlier this year, it was the first time many fans had heard tracks such as Car and No Halo; Cameron Boucher even recited Manchester Orchestra’s I Can Feel a Hot One ahead of No Halo. These new, heartfelt ballads combined with golden older tracks, e.g Nolsey and Using, made Sorority Noise the perfect opener.

Turnover were next up and thankfully, and I am sure fellow fans will agree, they decided to play a set full of classics rather than cramming their set full of Good Nature tracks. Peripheral Vision dominated the setlist with the crowd singing along to everything from Cutting My Fingers Off to the iconic Dizzy on the Comedown. A mellow atmosphere greeted the Virginia outfit, who took it in their stride to engage in a chilled out yet passionate vibe.

‘Headlining’ for the evening were Ohio/Michigan alt-rockers Citizen. Brutally belting out The Summer instantly showed what was about to unfold. The highlight of the set was How Does it Feel? purely because the dark, moody atmosphere perfectly complemented the pitch black surrounding of the Underworld. Giving Yellow Love and Cement air-time before The Night I Drove Alone closed their slot, Citizen gave a stunning performance to cap off an amazing night of bands from across the pond.

To conclude, good things do come in threes, and this line-up does nothing but emphasise that fact.

Ethan Woodford (@human_dis4ster) – Gorillaz @ Hydro, Glasgow

image1

In a year where I finally saw some of my all-time favourite bands (Radiohead, The Libertines) as well as seeing some old friends again (Wolf Alice, Basement), every gig stuck out in my mind but none more so than the Gorillaz‘s massive show at the Hydro.

Having been desperate to see them for years, it was such a joy to hear some of my favourite songs sung back by thousands of people in unison. Damon Albarn was in top form, a massive smile barely leaving his face except when he was stood at the edge of the stage trying to look menacing during Clint Eastwood. It’s commendable a man of his talent and success is still so humbled by fans singing his lyrics and his constant gratitude to his many guests and backing band members made for a wholesome sight. 

Speaking of his guests, they only added to the spectacle, from De La Soul to the show-stealing Vince Staples, each guest injected even more energy to the atmosphere and by midway through the set, the entire crowd was bouncing,

A truly mesmerising gig that had me smiling for the rest of the night after, Damon Albarn and his friends deserve the crown of best live show of the year.

Ryan Martin (@ryanmartin182) – Childish Gambino @ Radio City Music Hall

childish-gambino-radio-city
Photo Courtesy of Bradley Robinson

Seeing Childish Gambino co-headline an event at Radio City Music Hall with Dave Chappelle was truly something special but after his announcement earlier this summer that he would be retiring after his next album, it truly made the concert something to be cherished forever.

Being a massive Donald Glover fan, I had never seen him perform live as Childish Gambino except for a small radio show festival performance where he only did his biggest hits before exiting. Gambino at Radio City Music Hall exceeded my expectations from the multi-talented performer. He performed the majority of his new album Awaken My Love with the help of a full band, backup singers, and an incredible display of lights and visuals.

Hearing AML live without the vocal effects made for an entirely new experience of the album. The album sounded fresher, more exciting and more fun live. Gambino’s performance was incredible, filled with passionate shrieks reminiscent of Prince in his prime. He showcased his dancing skills throughout the set and was all over the stage, even moonwalking at one point.

Gambino’s decision to perform most of AML with exception to 3005, Sweatpants and Sober really showed how much Gambino has matured in recent memory and how he is beginning to grow out of most of his discography. This could be a partial reason for his decision to retire the Childish Gambino moniker and will almost surely affect his future touring schedule. One thing is for sure, if Gambino stops by your area, be sure not to miss out.

Andrew Barr (@weeandreww) – Frank Ocean @ Parklife

frank-ocean-parklife-gettyimages-695300028.jpg
Photos Courtesy of Parklife

Here lies the critical irony; my favourite show of the year, Frank Ocean’s surreal headline slot at Parklife festival could scarcely be considered a performance, serving as more of a glimpse into the elusive star’s psyche.

When Ocean stuttered onto the stage 40 minutes late and restarted opener Solo 3 times, it looked like his long-awaited live return could end in spectacular failure, however, Ocean managed to claw it back in a way only he could. His confidence and stage presence grew throughout the set dominated by Blonde and Endless material, and by the time he walked offstage during the Korean verse on the alt version of closer Nikes, it was clear; this wasn’t a show for everyone, but one that the many diehard Ocean fans will never forget.

Liam Menzies (@blnkclyr) – Run The Jewels & Danny Brown @ O2 Academy

129897_large
Photo Courtesy of Ryan Johnston | Facebook | Site

 

It shouldn’t be much of a surprise to anyone that this gig was a highly anticipated one for myself: Run The Jewels and Danny Brown are both Album Of The Year winners, in our 2014 and 2016 lists respectively, so the prospect of seeing both acts in the one night was too good to pass up.

It was no disappointment (I mean, it’s on this list, isn’t it?) as the Detroit king of rap Danny got things underway, storming through his impressive discography with some running man dancing and what can only be described as an intimate strip show for the thousands in attendance. Tracks from his magnum opus Atrocity Exhibition got just the reaction he must have expected, provoking a wave of moshing and rapping from the enthusiastic crowd.

Not to be outdone, RTJ made their way to the stage (albeit a bit late) and from start to finish, they undoubtedly affirmed why they were a force to be reckoned with. Not only that but there was a great deal of duality on show: Killer Mike is an absolute monster when he’s on the mic but the amount of compassion and love shown between songs, from a speech about mental health to a big fuck you to groping at gigs, the man is like Sully if he had an abundance of sick bars. Don’t worry El, I haven’t forgotten about you; RTJ is a two man show after all and if it weren’t for the bounciness, crassness and sheer bragadociousness of El-P then it just wouldn’t be the same.

Danny even showed up for his verse on Hey Kids, wearing only his underwear as the O2 Academy witnessed not only Mike giving the audience a glimpse of his ass, but two of the best acts on the fucking planet: and the crowd goes…

Jake Cordiner (@jjjjaketh) – Gorillaz @ Hydro, Glasgow

Image result for gorillaz glasgow
Photos Courtesy of Getty Images

 

While I was ever so slightly underwhelmed by Damon Albarn and his band of merry primates’ latest effort Humanz (DO YOU GET IT BECAUSE GORILLAZ?) I still jumped at the chance to see them live at The Hydro when the gig was announced earlier and the year. And I’ll tell you something, I’m bloody glad I did.

Gorillaz live are a different beast entirely from Gorillaz on record. There’s something of a more immediate urgency about them in a live setting, particularly in the vocals of head gorilla Damon “I Love Witches” Albarn. I’ve never seen Blur live in person, but I’ve seen my fair share of their sets from the comfort of my own computer chair and Albarn seems to turn everything up to 11 when he’s performing under the Gorillaz banner. Gone is the subdued, mild-mannered, middle-class Englishman that belts out Tender with a quiet confidence, instead he’s replaced by a grown man doing his best impression of an actual Gorilla. To put it bluntly, when Damon Albarn is in Gorillaz mode, he is a fucking nutter. He jumps around the stage with a reckless abandon, screaming in innocent concert goers in the front row like a man possessed by a pure primal force. It’s a joy to watch.

As are the rest of his band, I was blown away by how flipping CHUNKY everything sounded in a live setting. The bass was lovely and sludgy, both drummers played flawlessly and the keys were whimsical one moment and downright demonic the next. Then came the guests: Bootie Brown, Zebra Katz, Vince Staples, DE LA BLOODY SOUL were all there in the flesh and it was chuffing magnificent.

I’d wanted to see Gorillaz in some capacity for over a decade, and holy fuck me did they deliver. This ranks as not only one of my gigs of the year but genuinely one of the best gigs I’ve ever been to. So thank you, Damon and company, you bunch of fucking lunatics. We wouldn’t have you any other way.

Rory McArthur (@rorymeep) – King Gizzard & The Lizard Wizard @ Albert Hall, Manchester

unnamed.jpg

If you know me, this choice won’t come as a surprise; I may or may not have a little bit of a thing for this band. This was my fourth time seeing King Gizzard, but this was the first time it properly hit me how unfathomably incredible they are live. From the tried and trusted old favourites to the, at that point in the year at least, new microtonal tracks, everything went down an absolute storm with a suitably energetic crowd. The electricity inside the Albert Hall that evening was honestly breathtaking. I don’t think there’s another rock band in the world right now that can put on a show quite like Gizz. If they’d have decided to play all night long, I wouldn’t have minded one bit. 

Kieran Cannon (@kiercannon) – Protomartyr & Oh Boland @ CCA, Glasgow

unnamed (1).jpg

Protomartyr’s third visit to Glasgow in as many years takes place at Sauchiehall Street’s pre-eminent creative hub, the Centre for Contemporary Arts. Incidentally, this occasion marks their first time playing above ground in the city; apt, considering their meteoric rise from the underground to the forefront of contemporary post-punk, a sort of symbolism that isn’t lost on despair extraordinaire Joe Casey.

Joking that it’s a sign they’re finally moving up in the world, his self-depreciating humour is disingenuous to their cerebral yet deeply enjoyable brand of music. Turning up on stage without further ado, the band launch straight into lead single My Children. Casey’s appearance, grey-suited and formal, carries as little extravagance as his vocal delivery: barking and authoritative, the right level of Angry Da but never unintentionally bombastic. 

Audience interaction is sporadic and generally kept to a minimum, save for a few amusing exchanges; however,  such was the level of quality and electrifying atmosphere that the crowd quickly began dancing of their own volition. In contrast to the chaos of Casey’s performance, Greg Ahee’s guitar work is a controlled explosion of riffs and inventive, often unexpected chord changes complemented by a captivating dynamic between himself, bassist Scott Davidson and drummer Alex Leonard, whose stellar percussion work underpins every track, relentlessly propelling forward. While leaning fairly heavily on their latest material, Protomartyr nevertheless treated veteran fans to plenty of classics including two tracks from their oft-overlooked debut. 

Support act Oh Boland, covering the spot regrettably vacated by Sauna Youth, proved a worthy opener, commendably navigating one or two technical glitches to produce exactly the kind of high-octane introduction needed to prepare everyone for what lay ahead.

Gregor Farquharson (@grgratlntc) – The LaFontaines & The Dykeenies @ Barrowlands

img_2042.jpg

Having a gig at The Barrowlands is a massive achievement for any band. Tonight, The LaFontaines were ready to unleash their chaotic, charisma filled live show to the sold-out Glasgow crowd. The buzz in the buildup to the performance was surreal, with fans everywhere eager to see the fonts once again.

The band tasked with getting the crowd ready? The recently reformed The Dykeenies. The band played a good 50 odd minute set, with highlights being Waiting for Go and Sounds Of The City. The fans were ready and The Dykeenies job was done with success and the fonts took to the stage.

Opening up with Slow Elvis and going straight into Junior Dragon, the atmosphere was something else. The bands unique sound works beautifully live and the feeling in the crowd was magical. New songs Common Problem and Hang Fire went down great with the crowd, proving the band are not just a one album wonder and that their second full length is doing wonders.

If anything, this gig proved that The LaFontaines are going to get even bigger than what they already are. If they keep up the work rate and live shows they have going, it’s a bright future for the band that are already seen as Scottish heavyweights.

FULL REVIEW HERE

Tilly O’Connor (@tilly_oconnor) – Gorillaz @ Hydro, Glasgow

DP4W8N6WAAA2jYE
Photo Courtesy of Aidan | Source

With the Autumnal gig season drawing do a close, I saw Gorillaz at the Hydro in Glasgow. As someone who normally consumes live music in dive bars, the stadium’s sheer size was daunting, even if it’s sticky floor felt like home. The crowd was full of groups of families with grownup-kids near my age. My parents got me into Gorillaz young and I credit them with playing a part in shaping my current tastes in music, visual arts and even politics. The group has always been all-encompassing, and their 29th November gig was no different.

The band rattled the room with M1 A1. This was followed by Albarn, mic in hand, asking the 13,000 strong crowd if we were the last living souls. These songs from the band’s earlier work set the tone for the rest of the show, as it would feature hits peppered with memorable album tracks. A high point for me was Dirty Harry. The live performers were accompanied by a disjointed choir of cartoon South Park-esque kids singing the chilling chorus to the delight and discomfort of all watching. The band’s alter egos played a huge part in the engulfing feeling of the show. Carrying out heists and racing games, 2-D, Murdoch, Noodle and Russell Hobs reached deeper into our collective consciousness, pulling out gleefull pockets of nostalgia, providing the perfect backdrop for the night’s music.

Along with visuals, the main band were accompanied by a vast amount of guest performers, most notably the hip-hop trio De La Soul who feature on one of the bands most famous songs – Feel Good Inc.

Hong Kong was the first encore song, and it provided the most haunting musical moment of the night. The song which plays heavily on imagery surrounding neon lights and electricity was spontaneously met with thousands upon thousands of glowing phone lights, bringing the previously black room to an eery yellow which shined down Damon Albarn’s face. Singing to us, an army of smartphone welding fans, with a wry smile “All the people in a dream, Wait for the machine” he brought the night towards its end. This scene felt stunningly fitting for a band who have continuously captured the zeitgeist. From their self-titled debut in 2001 to this year’s Humanz, the group have always painted a vivid picture of the world in the 21st century.

Will Sexton (@willshesleeps) – Frank Carter & The Rattlesnakes @ O2 Academy, Bristol

DQH59ZhX0AAXCc2.jpg
Photos Courtesy of Ashlea Bea | Twitter

Now I know what you might be thinking, “ooh pick the latest gig you went too” but people who are thinking that obviously have never seen Frank Carter live. The stage presence of this man is electric all in itself and arriving on stage with an absolute roar of noise and appreciation is so magical every single time. Frank has had a bit of a tough year but you wouldn’t have ever guessed, coming back from tonsillitis and taking a small break to help recover from the incredible work he has done over the last three years which was very well respected amongst the fans.

He came back with a total bang and every song from Primary Explosive right to I Hate You were electric. Filled with moshing and inspirational speeches about girls feeling safe at gigs, mental health and just straight up appreciation of us, it was a magical night!

Dominic Cassidy (@lyre_of_apollo) – The Mountain Goats @ The Art School, Glasgow

Image result for the mountain goats art school

The Mountain Goats were awaited by the crowd with bated breath and I’d be lying if I said I was not amongst their number, in terms of the mob or the state of breath. North Carolina based folk rockers The Mountain Goats – consisting of the ever-present singer-songwriter John Darnielle and multi-instrumentalist Matt Douglas – ascend to the stage accompanied by cries of devotion from the loving Glasgow crowd. Opening with Have to Explode, the cheers and whooping give way to absolute silence. When the song ends so does the hush, the hanging silence expelled with thankful applause.

Honestly, for me the gig was a beautiful exhibition of long-crafted skill and art, showing how well playing to the crowd can be done. The innate crowd interaction from John Darnielle who was loving the little stand-up bits, made the night all the more special. If you have not seen The Mountain Goats live, I can recommend nothing more, and if you have never heard them, I would start now; on The Sunset TreeTallahassee, or Beat the Champ.

FULL REVIEW HERE

List Season Continues…

10 WORST SONGS OF 2017 – 11TH DECEMBER

50 BEST TRACKS OF 2017 – 15TH DECEMBER

10 WORST ALBUMS OF 2017 – 18TH DECEMBER 

25 BEST ALBUMS OF 2017 – 22ND DECEMBER

 

Top 50 Songs of 2016

 

 

 

 

By Liam Menzies (@blinkclyro)

It’s here! Chuck those negative opinions aside as for the next week we’ll be counting down my musical highlights of the year. While 2016 was full of many negative events (US election, multiple celebrity death, suicide squad, damn daniel etc.), on the other side of the coin music was as entertaining and fascinating as ever. Hip-hop continued to demonstrate its creative power while rock and other genres revitalised themselves to provide us with some of the best singles of their respective artist’s careers.

As always we have the staple “this is my opinion” placeholder to insert before we get cracking on so if there are any songs you think are missing or should be placed higher/lower then keep in mind that this is my list. Since there are 50 tracks to go through, I’ll speed through the first 25 or so and go into a bit more detail as we reach the top 20 picks. With that being said, let’s get the ball rolling…

50. Glue 70 – Casin

49. Crywank – Love

48. Vistas – Sign Language

47. Brand New – I Am A Nightmare

46. Boston Manor -Lead Feet

45. Kevin Devine – Instigator

44. SBTRKT – Let Them In

43. Run The Jewels – Talk To Me

42. Fake Boyfriend – Bumtown

41. Parquet Courts – Dust

40. Pale Kids – Not Listening

39. Blink-182 – Cynical

https://www.youtube.com/watch?v=tC97caHUgKk

38. Weezer – Jacked Up

https://www.youtube.com/watch?v=qJOsRoY-na0

37. Frightened Rabbit – Die Like A Rich Boy

https://www.youtube.com/watch?v=es8wQcKrrhA

36. Jamie T- Tescoland

35. Hovvdy – Try Hard

34. Honeyblood – Love Is A Disease

33. Skepta – Man

32. Metallica – Spit Out The Bone

31. Young Thug – RiRi

30. Enter Shikari – Hoodwinker

29. Touche Amore – Displacement

28. Kendrick Lamar – untitled 03

27. Biffy Clyro – In The Name Of The Wee Man

26. Sweet White – Genine

https://soundcloud.com/sweet-white/genine-1

25. Joyce Manor – Eighteen

24. Death Grips – 3 Bedrooms In A Good Neighborhood 

23. Red Hot Chili Peppers – Dark Necessities 

22. Twin Atlantic – Gold Elephant, Cherry Alligator

21. Mean Jeans – Michael Jackson Was Tight

20. The 1975 – Somebody Else

Trust me, I’m just as surprised as you that The 1975 are making an appearance on this list. Whilst their latest album was a double-edged sword, only just managing to provide more killer than filler, when the band delivered something good it was really fucking good. See Somebody Else for example, a song that dabbles into the topic of modern day romance that frontman, with the hand of some vocal manipulation, executes brilliantly.

19. Charli XCX – Trophy

The ultimate pump up song of 2016, Charli XCX continues her reign as one of the most likeable female vocalists in music right now with a fantastic combination of 00’s club music and peculiar beats.

18. Radiohead – Daydreaming

Beautifully minimalistic and driven solely by piano alongside some glitzy chimes with a Jamie XX flare to them, Daydreaming was the standout track on Radiohead’s triumphant return A Moon Shaped Pool: a calm, borderline lullaby that dips its toes in fearsome waters before diving head first into them during the climax.

17. Bon Iver – 33 “GOD”

Showing off the majority of 22, A Million’s religious subtext, 33 “GOD” is a showcase of Bon Iver’s experimental take on their latest record packaged alongside the delicate rock they’ve mastered since their debut For Emma, Forever Ago.

16. Blood Orange – Best To You

Providing some of the best R&B in recent memory, Blood Orange’s Freetown Sound hit its peak four tracks in with Best To You. Featuring a stunning vocal performance from Empress Of, Dev Hynes showed off just how good he is at mixing production and songwriting together.

15. Real Friends – Mess

A pop punk song that has lyrics that manage to be fresh for the act due to being about something other than a break up?! Revolutionary! All jokes aside, the crisp production value along with a catchy as all hell chorus makes the track feel like Real Friends have been working hard on their songwriting capabilities since their debut record and, despite what they’re saying in the public eye, are making efforts to progress as a band.

14. Codist – Puddle

Glasgow band Codist came out with their debut record all the way back in January and continued to be one of my favourites throughout 2016. My personal favourite track off of Nuclear Family had to be Puddle that harks back to Blackened Sky era Biffy with some equally beautiful lyrics about “why you can feel your insides glow”.

13. Kyle Dixon & Michael Stein – Stranger Things

The shortest track by far on this list, Kyle Dixon and Michael Stein’s titular theme tune to Netflix’s surprise hit series Stranger Things is, much like the show itself, a total love letter to 80’s electronica with ominous synths lulling you into a sense of dread.

12. American Football – My Instincts Are The Enemy

Showing that the band still had what it takes to retain relevance in a genre that has long since evolved since their one and only record, American Football showed they deserve all the praise they get with their second LP. My Instincts Are The Enemy is a testament to the intricacy this band can provide with just three instruments, pulling off smooth and satisfying tempo changes and delivering beautiful lyrics as if they had never been away.

11. Schoolboy Q – Groovy Tony 

Schoolboy Q may have given us a pretty lacklustre LP in 2016 but he made sure we weren’t left empty handed with Groovy Tony, drenched in eerie production and driven by one of the most aggressive sounding flows in hip-hop.

10. Frank Ocean – Nikes

WE IN THE TOP 10 NOW BABY! The musical Where’s Waldo Mr Frank Ocean returned this year with his long awaited Blonde that kicks off with one of the strongest tracks of his career. Nikes modifies Ocean’s vocals into unrecognisable territory, delivering lines about lost ones and consumerism with a minimalistic background which needs to be listened to for it to be fully experienced.

9. Danny Brown – When It Rain

Not only did Detroit’s prodigal son Danny Brown deliver the best record of his career, arguably one of the greatest hip-hop albums in the past decade, but he managed to shake up his tried and tested sound on top of that. Much like Groovy Tony, When It Rain cranks up that ominous notch up to 11 and packs the visceral imagery to back it up.

8. Moose Blood – Knuckles

Arguably the best track Mooseblood have delivered thus far, Knuckles embodies everything the band have been great at since their debut: providing a killer hook with beautiful lyrics and vocals. While the majority of the band’s sophomore effort is far more grounded in pessimism, Knuckles seems to hit a major realist chord and wonderfully so.

7. PUP – DVP

Unlike other acts of the genre who do a lot of rocking but very little growing up, PUP manage to nail the topic of maturity on DVP which flows seamlessly on from the aforementioned If This Tour… into an even more anthemic style on record The Dream Is Over. Addressing how they handle issues, in this case getting “so drunk that I can’t speak”, as well as others telling them to grow up, the track manages to keep a positive vibe going in its instrumentals whilst juggling some of the darker lyrics on here.

6. James Blake ft Bon Iver – I Need A Forest Fire

While James Blake’s latest record was sub par at best, there was a diamond in the rough in the form of I Need A Forest Fire. Combining Bon Iver’s beautiful vocals alongside Blake’s versatile singing is a genius concept and is wonderfully executed, managing to explore the .topic of new beginnings with total ease.

5. Chance The Rapper – Blessings

It’s hard to argue that 2016 belonged to anyone but if I had to place a bet on it, my money would be on Chance The Rapper. Colouring Book was one of the most enjoyable listens of the year with bucketloads of optimism and hope in a year that very much needed it. Blessings pretty much embodies the album’s core message better than any other track does. A gospel influence is felt not only in its sound but its lyrical content: lines about redemption, fatherhood and faith are subtle with the main hook from Jamila Woods being infectiously catchy.

4. Childish Gambino – Redbone

No artist this year transformed quite like Childish Gambino. Swapping out hip-hop for funk/soul/R&B music is an impossible risk but Gambino somehow survived the transition, quality intact. Redbone shows this perfectly, displaying a wonderful use of vocoder and the aforementioned funk element that made Awaken My Love one of the most refreshing listens of 2016.

3. David Bowie – Lazarus

The loss of David Bowie was one of many celebrity deaths to occur in 2016 but was the one that no doubt hit the hardest. Lazarus pretty much acts as a foreshadowing to it all with lyrics such as “look up here, I’m in heaven” managing to evoke a tear or two out of even the most casual Bowie fan. While it may be a difficult listen considering the context, Lazarus stood out well before the passing of Bowie, providing the perfect balance of instrumentals and Bowie’s unique vocals.

2. The Weeknd – Starboy

Before we get into the top pick of this list, we have but one more track to praise, that being The Weeknd’s Starboy which features on the RnB superstar’s eponymously titled record. Featuring a backing beat that sounds like a less feisty but equally enjoyable Yeezus feature, the partnership with Daft Punk means it’s no real surprise that Starboy finds itself so high up on a best tracks of 2016 list.

1. Kanye West – Real Friends

While The Life of Pablo was an enjoyable albeit messy release, it undoubtedly features the best song Kanye West has released since Runaway. Real Friends puts Mr West in his most vulnerable position since My Beautiful Dark Twisted Fantasy as he voices his guilt regarding friends and family over a beautifully tragic sounding beat. Think Aphex Twin entwined with heartbreak. The song ends with a poignant howl that evokes the same sadness and, in a way, isolation that we have become accustomed to with Kanye’s more personal tracks. Sources say that when the track was first released, the title was missing the word “friends”. In a twisted way, it’s both a relief to hear Kanye sounding the most real he has in years whilst it’s also uncomfortable to witness the inner turmoil he’s experiencing that has only since got worse with his recent inauguration into a psychiatric ward.

 

 

 

 

~

CONTACT US 4 REVIEWS

FOLLOW US ON TWITTER

LIKE US ON FACEBOOK

ALBUM REVIEW Danny Brown – Atrocity Exhibition

By Liam Menzies (@blinkclyro)

“You ain’t heard it like this before. They don’t do it like this no more” projects a warped sounding Danny Brown on the insanity fuelled When It Rain and he isn’t wrong by any stretch of the imagination. The Detroit rapper has consistently pushed the boundaries of his genre and, much like other hip hop heavyweights such as Kendrick Lamar, innovated by delivering music that is so unusual yet feels perfectly normal by Brown’s standards. Ever since his sophomore album XXX, no offence to his debut The Hybrid, Brown has managed to amalgamate his own quirky and vibrant vocal delivery along with witty lyricism to be, arguably, the greatest in his respective genre.

Not only that but the effort put into his craft is admirable as even now, several albums down with Atrocity Exhibition as his fourth LP, Brown still chooses to stay in Detroit. In his words, it keeps him humble and with many rappers taking a braggadocios turn most of the time, it seems to allow for those creative juices to flow. With his upbringing being embedded in his music, it shows serious craftsmanship on Brown’s part. Much like Complex’s introspective piece on the man himself puts it, Danny Brown cares more about rap than you do.

Brown’s work has no doubt been moulded by this Detroit upbringing however Atrocity Exhibition’s DNA consists of some major influences, not least being J.G Ballard’s compilation of novels that shares the same name. Ballard’s work is noted not only for its unusual structure but also what stories it includes with such titles being “Plans for the Assassination of Jacqueline Kennedy” and “Why I Want to Fuck Ronald Reagan”.When addressing the controversy surrounding his novels, Ballard claimed that “it was an attempt for me to make sense of that tragic event.” With this LP, it seems like Brown too is trying to do the same , creating content to better understand the tragedy that he’s faced and conceptualise it.

From the get go, Atrocity Exhibition drenches its listener in eerie and unsettling vibes with Downward Spiral, something that Brown has referenced before such as on XXX which ties in perfectly into some of the major themes that appear on this LP (Took a while to get here now I depend on these drugs)The track gives us some insight into Brown’s state of mind which reads like a classic comedown definition, detailing his paranoia (Think I’m hearing voices, paranoid and think I’m seeing ghost-es, oh shit) which he no doubt sees as a reason to abuse drugs though all reads off as a list of side effects from said abuse. “Tell both sides; you gonna tell them about getting high, you gotta tell them about the hangover” Brown mentioned in his aforementioned Complex interview and this mantra is the at the very heart of Atrocity Exhibition’s 15 track spanning journey.

Following up we have Tell Me What I Don’t Know which has a rare appearance of Brown calmly delivering his lines as opposed to his usual yelling, something that is quite apt considering that the track touches on sombre stories of his drug dealing past as well as the death of a close friend. Rolling Stone swiftly pops up afterwards with a funky albeit other-worldly guitar groove and shifts the focus of Brown’s pain onto his new found fame, a subject that seems to be done to death though this is more of a showcase for him to prove his unparalleled wit and solid lines (“bought a nightmare, sold a dream, happiness went upstream, blame myself, I had no control, now I’m living with no soul.”) .

danny-brown-ae

As we continue down this ‘downward spiral’, things don’t start to get any less odd. Just from a chronological standpoint, everything seems to be sort of all over the place and with Brown stating that he “did some Tarantino”, we get an answer to this. Not only is the album’s odd placing in the Danny Brown timeline explained but some of the more visceral tracks seem to make more sense. This is especially true with the aforementioned When It Rain which is haunting, daunting nightmare fuel at its finest. With the frantic, almost heartbeat like rhythmic pulsating driving this track, taking a backseat for when Brown dives in with stories of the hardships found in Detroit though always having an ominous presence, the track marks the moment both Brown and the listener have crossed the Rubicon. 

It may sound like the entire Atrocity Exhibition is totally bleak and gloomy though this isn’t the case. While Brown may touch on the comedown, when he’s embracing the high it’s an audio experience: Ain’t It Funny epitomises this beautifully, featuring what is the closest thing on this LP to resemble an Old Side B banger where we have this blaring, horn-driven beat running over Brown rapping about his awareness of his abuse yet continuing to ignore it (I’ma wash away my problems with this bottle of Henny, anxiety got the best of me so popping them Xannies). As well as this there’s Pneumonia which packs in a sick beat and flow to boot (I’m so sorry). Really Doe is the magnum opus of anthems on here, though, showcasing the talents of not only Brown but Ab-Soul and Kendrick Lamar. Even Earl Sweatshirt makes an appearance and hats off to him as he manages to deliver an aggressive sounding verse that ties in perfectly with the vibe of the track.

“We live in an age where people listen to something for two weeks and throw it to the side, it’s so disposable. My records are literal records; you got to listen to them at least five times before you understand what’s going on. The longer you live with it, the more it’s gonna open up for you.” Having listened to Atrocity Exhibition repeatedly, Brown’s words have some serious weight to them. Every inch of this record has been painstakingly crafted in a way to immortalise Brown’s work in the highest quality possible. Although he may bring in some artists along for the ride, Atrocity Exhibition is a one man show where Brown is the eyes and ears for the listener: and with the amount of stuff he’s on, that’s as scary as it is enthralling. 

10/10

~

CONTACT US 4 REVIEWS

FOLLOW US ON TWITTER

LIKE US ON FACEBOOK