10 Worst Albums of 2017

You’ll be happy, or sad, to know that this list is the last negative one to drop all year though all that means is that the team are gonna blow their collective loads over the worst music we’ve been subjected to all year.

Of course, this is entirely subjective and if you find any joy from the below albums then we’re glad you did: we didn’t. If you do have any grievances with our choices then you know where to send them so let’s batter on, shall we?

10. Wonderful Wonderful
by The Killers

If you’re familiar with The Killers, you might know that they have released their first album in five years in 2017. If you’re not, you might have not even noticed they were gone. Wonderful Wonderful picks up as if they never left, neither improving nor maturing upon their last effort, Battle BornWonderful Wonderful does not act as an improvement in The Killers’ discography, but instead, plays the same formula they’ve been following for the past 13 years.

Wonderful Wonderful would have sounded better had it been released in 2013, back when Get Lucky by Daft Punk was the biggest song in the world. Maybe then, The Man could have stood as a decent radio single. Almost every element of Wonderful Wonderful sounds incredibly stale in the current genre of indie rock. Making songs like Rut, fueled by frontman Brandon Flowers’s distress with trying to help his wife’s PTSD condition, feel passionless. Like Rut, most of the songs off Wonderful Wonderful try to sound like the grand stadium-closer track that electrifies the crowd and instead sound like the deep cut off their new album that nobody knows the words too.

The Killers lack a certain element that makes their songs sound as grand as they want them to sound. What made songs on Hot Fuss sound as exciting and fresh as they did at the time, and endless revisable as they do today, has been poorly executed throughout their following studio albums. Wonderful Wonderful, not acting as an exception, but further proving the point that The Killers are not as great as you would like them to be. – Ryan Martin (@ryanmartin182)

FULL REVIEW HERE

9. Going Grey 
by The Front Bottoms

The Front Bottoms have been one of the biggest stars of the underground indie community of this decade. Originating as a duo of simple acoustic power chords, provocative lyrics, and catchy melodies, TFB have managed to retain their dedicated fan base since the release of their self-titled 6 years ago. Surely, fans must expect the raw, emotional, amateur sound of the early releases to evolve and mature over time.

This was hinted at with 2015’s Back On Top, which incorporated a fuller and more mainstream sound to what fans were used to expecting from the New Jersey duo. TFB’s latest, Going Grey, takes a strong lead into the direction Back On Top foreshadowed. With heavy synths, trap hi-hats, and minor use of the acoustic guitar, it’s leaving day one fans scratching their heads.

Going Grey plays front to back much less like an album but more as a collection of songs. There are too many skippable songs for an 11-track record and not enough heartfelt moments for it to even feel like a Front Bottoms record. The only consistent element throughout TFB’s discography is the vocal range that Sella has kept throughout the years. It’s the only thing that still feels in place about the band but also sounds so out of place when backed by a sound that sounds desperate for radio play. 

Going Grey may have added more elements, instruments, and layers to TFB’s early minimalistic approach, and there are definite highlights to be found in Vacation Town, but the result sounds less like an evolved, matured version of the band than a sell-out, cheapened version. – Ryan Martin (@ryanmartin182)

FULL REVIEW HERE

8. Reputation
by Taylor Swift

When following up a successful record, 2 of an artist’s main goals should be not to repeat what they did on their previous LP, and for this progression to make the new record better as a result. However, on new album Reputation, Taylor Swift did neither of these things.

In short, her tacky new trap sound found on roughly half of the record’s tracks (…Ready For It?) was so hideous that it saw insufferable lead single Look What You Made Me Dovoted as Blinkclyro’s worst track of the year. On top of this, Swift made the bizarre decision to unsubtly write all her beef into her music for the first time, literally beating listeners over the head with the knowledge of how detestably petty she is.

To be fair, there were 2 excellent tracks on Reputation: Getaway Car and New Year’s Day. The only problem? Getaway Car sounds exactly like what Swift did on 1989 and New Year’s Day is a bizarre hark back to her Speak Now days.

The risks she took on Reputation flopped just about as badly as they could have, and anything good about the record heard her merely repeating what she’d done before. – Andrew Barr (@weeandreww)

FULL REVIEW HERE

7. Low In Highschool
by Morrissey

Not since Breaking Bad can we recall the descent of a man quite like Morrissey: starting off in one of the most iconic bands of the 20th century, the quiffy man seems unable to close his big mouth and as he’s got older, the more he starts to resemble UKIP’s key demographic.

This bleeds into his latest album Low In Highschool, a record full of idiotic choices in terms of instrumentals & production (Spent The Day In Bed) to the idotic appraisal of war mongerers while…criticising warmongerers (Israel)?

The question of separating the art from the artist has come up time and time again this year but this Morrisey LP goes to show how near impossible it is to do so: it’s an insult to your brain as well as your ears. – Liam Menzies (@blnkclyr)

6. Memories…Do Not Open
by The Chainsmokers

A wise man once said: The Chainsmokers are the musical equivalent of those weird twenty-year-old guys studying photography in college who message sixteen-year-old girls stating they’re “fascinated by their minds lol xD”. That man is Josh Adams and he owes me a fiver, so if you see him, break his legs.

Memories…Do Not Open is enough to make me feel the anguish those who regularly slate chart music must feel as they exclude themselves from pop bangers: unfortunately, said bangers will not be found in this album. On all levels apart from physical, this album is sheer shite.

If you’ve ever heard an EDM song in your entire life then not only will you get deja-vu but you’ll get the unshakeable feeling that you’re witnessing a murder scene as this duo show off the drained remains of anything that could be considered “a tune”. In addition to the lacklustre production, the attempts of singing on this record are utterly laughable: Break Up Every Night is the manifestation of everything bad about this LP, featuring some of the poorest vocals to be put into an album all year along with some of the worst lyrics I’ve ever heard in my life;

She wants to break up every night / Then tries to fuck me back to life

“She got seven personalities, everyone’s a tragedy.”

If their name is anything to go by then it’s only a matter of time until The Chainsmokers quit the cigarettes, pick up a vape, lose their cool cred and fade into obscurity like they should have after that dreadful selfie song.  – Liam Menzies (@blnkclyr)

5. SCUM
by RAT BOY

Finally dropping their debut album SCUM, the album everyone wanted in 2015, Rat Boy added to the pile of mediocre indie rock to populate the British music scene. The only unique thing each track has is a different band or artist to rip off; think of any significant British act in the past 30 years and no doubt rat boy will have mimicked them with abysmal results on their debut album.

Any potential that the band had is buried in their influences and their desire for popularity has produced a safe and tedious effort that brings nothing fresh to the table at all. Even older songs such as Left 4 Dead have been butchered to death for the studio album and all the energy that the band could have had is replaced with cringe-worthy lyrics, forced themes and forgettable instrumentals.

Oh and if for some reason you actually still want to listen to this PLEASE don’t listen to the deluxe version; it has these radio “skits” that are just awful and make the entire thing even worse (if you can imagine that). – Ethan Woodford (@human_dis4ster)

FULL REVIEW HERE

4. As You Were
by Liam Gallagher

If there’s one positive thing I can say about Liam Gallagher, it’s that he’s got the marketing game down to an absolute tee: amassing a cult following thanks to his trademark Twitter ramblings, exposing a new age of fans to his erratic behaviour, it’s definitely helped him get back on his feet after the disaster that was Beady Eye and his media portrayal over the past few years.

That being said; why is his debut LP so painfully dull? I will admit that it was a clever move to get Greg Kurstin of Adele production fame on board to allow his songs to mutate into some earworms but there are delightful earworms and then there are the terminal ones that are injecting some sort of toxin into your membrane without you realising.

As stated, the biggest gripe I have with this album is just so by the numbers it is though unlike a coloring book, which provides some sort of vibrance, As You Were works with greys, dark greys and some slightly lighter shades of grey. – Liam Menzies (@blnkclyr)

FULL REVIEW HERE

3. Erratic Cinematic
by Gerry Cinnamon 

What can be said about this Scottish upstart that hasn’t been said already? Plenty, apparently. Everycunt and their dogs seem to love Gerry Cinnamon and his HASHTAGRELATABLE songs. To be fair to the lad, they do cover a plethora of topics. From getting drunk to taking drugs… to girls… to… taking drugs and getting drunk! Truly a poet of our times.

If I hadn’t made it abundantly clear, I hate Gerry Cinnamon’s music and especially his latest album Erratic Cinematic. I really, really do. It’s the exact opposite of what I would choose to listen to regularly, but I saw Twitter ranting and raving about this man and his guitar, so I lamented and had a wee listen. This was all after I seen his “Legendary” set at TRNSMT festival this year, which I absolutely fucking hated every second of. But I thought it was only fair to give his studio album a wee try, see what the craic was.

I have now decided to never be fair again because honestly and truly, this is one of the worst albums I’ve heard in years. I’ve been known to be hyperbolic from time to time, but I genuinely mean it. It’s so bad that I can’t bring myself to listen to it again. Just listen to Sometimes and Belter and if any part of you enjoys it, let me know so I can entirely block you from my life.

The only slightly redeeming quality of this album is Gerry’s vocals, which are fine. But on record, they sound like they were recorded when he was trapped in a fridge that’s orbiting Jupiter. So tinny and manufactured sounding. To be honest the entire album was recorded piss poorly.

Who knows, maybe if Gerry stumbles into an actual working studio one day, he might do a Jake Bugg and end up maturing into a decent artist, but for the moment this is by the numbers, utterly forgettable, “for the people” lad-folk that will leave a bad taste in the mouth of any self-respecting music fan. – Jake Cordiner (@jjjjaketh)

2. Pacific Daydream
by Weezer

When I listened to Pacific Daydream, Weezer’s 11th(!) studio album, I wasn’t angry or even disappointed, I was sad. Genuinely, actually sad. Coming off of 2014’s return to form Everything Will Be Alright In The End and 2016’s genuinely fantastic White Album, it was a great time to be a Weezer fan.

They’d gone back to the halcyon days of masterpieces Blue Album and Pinkerton and seemed to have abandoned the overly poppy sheen that saturated albums like Raditude or Red Album. Weezer were doing the impossible, they were winning back the fans they’d lost, and convincingly at that.

Then, earlier this year, they dropped Feels Like Summer, the lead single from Pacific Daydream, and everyone started to worry. This wasn’t Weezer. This was the disgusting, mutated love child of modern Fall Out Boy and naughties Weezer, and it wasn’t even as good as either of them. Transparent, nothing backing vocals. A jaunty wee piano line. Shite lead vocals from the more often than mot serviceable Rivers Cuomo. What the fuck was this? More importantly, why the fuck was this?

They stopped trying, Weezer stopped giving a fucking shit. I don’t know if Rivers and the lads just decided they were bored of writing actual good power pop and decided to just completely pull the rug from underneath all of the OG fans who thought it was safe to go back into the Weezer-infested water for a laugh. I cannot wrap my head around it.

The whole album is just like Feels Like Summer; boring, bland as you like pop-rock. Mexican Fender is a bit catchy, but it just sounds like a song they knew wasn’t good enough for White Album. I’m getting all fired up now so I’m away for a lie-down. I expect a written apology from Weezer for this abomination, and FAST. – Jake Cordiner (@jjjjaketh)

1. Divide
by Ed Sheeran

Ed Sheeran is a confusing man. Whilst he seems like a genuinely nice guy, his music is so bland and vanilla you’ve forgotten what the song sounds like before it finishes.

Despite the fact it was wholesomely boring, Shape of You seemed to be one of the biggest tracks of 2017, capitalising on a clearly large market of heterosexual couples who enjoy missionary sex, chicken kormas and racially abusing train guards after two mulled wines at the Christmas market.

Can you remember what Barcelona sounds like? Bet you thought Dive was on the last album, didn’t you? Whilst Multiply had a few choice cuts on it, Divide saw the ginger guitar grandmaster dive deeper into milquetoast music for people who just don’t care about what they listen to.

25465932_10154978412625811_384883043_n
“You know I had to do it to Ed”

Agree? Disagree? Let us know what you think either in the comments below or beef us over on our Twitter (@blinkclyro).

10 Worst Songs of 2017

Last year our disdain seemed to be focussed on right-wing racists, a newly elected tangerine and a bucket load of celebrity deaths. 2017 changed this big time by…well nothing has really changed bar celebrities becoming dead to us rather than six feet under. Another thing that has remained rather consistent is the amount of horrible music we’ve been graced (?) with. Of course, there have been plenty of amazing tunes that still give us faith in the art form but there’s a lot that have done the complete opposite – 10 to be exact. So without further ado, here’s our tight and rage-fuelled list that had us reaching for the skip button… 

10. Arcade Fire – Chemistry

https://www.youtube.com/watch?v=bh87aqB-0KU

One part ska, one part reggae, Chemistry is the epitome of influence overriding a song: popping up around halfway through Arcade Fire‘s Everything Now, the track seems set to ruin any enjoyment that the listener may have been having up till this point with its stomach-churning mesh of influences.

There’s a line on one of the weakest cuts off the band’s new LP, though they’re not hard to come by, where Win Butler chimes about dancing “with your boyfriend all night long, tell him that you really, really love his song“: if the tune in mind happened to be Chemistry then I get the feeling the partner in question would be saying it through gritted teeth. – Liam Menzies (@blnkclyr)

9. G Eazy – Him & I (Ft. Halsey)

https://www.youtube.com/watch?v=SA7AIQw-7Ms

Like a bargain bin (03) Bonnie & Clyde, Gregory Eazy, and Halsey have linked up on what is, in my opinion, one of the single worst songs released in 2017.

We’ve been absolutely blessed when it comes to quality music this year, artists like Charli XCX, Tove Lo, Dua Lipa, Carly Rae Jepsen and Sigrid especially keeping pop music interesting and catchy as fuck. Leave it to Halsey and G-Eazy to buck this trend. This is lazy pop-rap at it’s worst. An uninspired hook from Halsey, a sleep-inducing beat from whatever factory it was shat out of and, bluntly, G-Eazy cannot rap to save his life. He’s awful, and I cannot for the life of me fathom how he’s gotten as popular as he is. An utter, utter mystery.

If, for some weird reason, you want to listen to a pop star and a rapper collaborate, here’s a list of better songs than this: Kendrick Lamar & Rhianna – LOYALTY. Eminem and Dido – Stan. 2pac and Elton John – Ghetto Gospel. Katy Perry and Kanye West – ET. Francis and the Lights and Chance, The Rapper – May I Have This Dance?. Estelle and Kanye West – American Boy. I could go on, but I won’t because I imagine you get the idea.

In short, stop supporting G-Eazy because he’s bad and stop supporting Halsey because she’s trash. Toodle pip! – Jake Cordiner (@jjjjaketh)

8. Liam Payne – Strip That Down

https://www.youtube.com/watch?v=vSW2M-BB1NE

Before one of you indie fucks hits out with the “well Liam Payne was in One Direction, of course his debut single is gonna suck“, I have two things to say to you: 1) Harry StylesSign Of The Times and 2) you’re sadly right about this tune being god awful.

With a beat that sounds like the regurgitated remains of Iggy Azalea’s Fancy, Strip That Down feels like it’s constantly trying too hard to be explicit and cool: Quavo is big right now? Let’s chuck him in. People remember me as the teen from that boy band? Let’s talk about how into sex I am! I love sex! I always tell the ladies I’m gonna bring the Payne!

The biggest offence of Strip Me Down is just how boring it is: Payne’s vocals, while not terrible, are so devoid of any charm or notable trait that you’ll probably find yourself drifting off throughout it, stripped down into your jammies. – LM

7. Liam Gallagher – Wall Of Glass

https://www.youtube.com/watch?v=YdJc7-ZEuT0

Liam Gallagher‘s act is wearing a bit thin; middle-aged man takes pot shots at people & things, including his brother on Twitter and everyone laughs. Wall of Glass, the lead single from his roundly underwhelming solo effort, As You Were,  was wearing thin whilst it was going through the mixing desk.

Not even Greg Kurstin, wonder pop producer could shake this nightmare awake. One of the worst things about this track is the whiny lead guitar: lead guitar should scream, this groans. The lyrical theme leaves the ears wanting and the delivery sounds like an old Manc dad trying to sing Oasis after 15 pints of Carling.

Just because Liam Gallagher can, doesn’t mean he should; Beady Eye were wholesomely underwhelming, and As You Were was largely disappointing. If you’re going to do something like this, whole arse it, instead of half arsing it and letting your reputation build the hype. – Oliver Butler (@notoliverbutler)

6. Kasabian – You’re In Love With A Psycho

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

Remember that unholy trio of Kasabian, Empire & West Ryder Pauper Lunatic Asylum? Those three albums were chock full of choice tracks, and sure Velociraptor had its moments, 48:13 was… different, and by the time we got to For Crying Out Loud, Serge’s beans had been blown and he was gasping for air.

You’re In Love With a Psycho feels like a band trying to write a Kasabian song, and missing the mark. Further to the point, in 2017, where so many musicians have talked so openly about mental health issues, with several losing their lives as a result, are the lyrics wholly appropriate?

This song is representative of the whole album; there’s nothing overwhelmingly bad about it, but it’s wholesomely forgettable. Drunk you can take the wheel to songs like L.S.F and Fire, sober you is struggling to work out who took lead vocals on You’re In Love With a Psycho. – OB

5. The Chainsmokers & Coldplay – Something Just Like This

https://www.youtube.com/watch?v=FM7MFYoylVs

The epitome of shallow, vapid, soulless corporate pop concocted by the musical equivalent of those weird twenty-year-old guys studying photography in college who message sixteen-year-old girls stating they’re “fascinated by their minds lol xD”. The only hint that Coldplay actually features on the track is courtesy of the reliably beige Chris Martin, whose ham-fisted piano playing and whiny, strained vocals somehow never go out of fucking fashion, unlike the EDM drops and synthesisers that plague this smash hit that died a death back in 2014.

Listening to Something Just Like This is a bit like blow-torching your nipples on some form of incredibly powerful hallucinogenic drug – you think it’s a bit of harmless fun, but in reality, the experience is painful, unrewarding, and worrying for anybody around you. – Josh Adams (@jxshadams)

4. KSI – Creature

https://www.youtube.com/watch?v=CkUu7GBuxkk

It’s the end of 2017 and KSI is still a thing, unfortunately. He is still insistent on making a name for himself a grime artist despite no one over the age of 14 asking for it. Making his big “comeback” with Creature, KSI claims he has “been doing a lot of learning” but whatever he learnt it wasn’t either how to write a decent verse or deliver it with any sincerity.

The lyrics range from unbelievably stupid to outright hypocritical such as his claim that his “only advice is to love and forgive” despite having proven himself multiple times this year to be insensitive towards mental health issues and publicly body shaming a fellow YouTuber.

His flow is choppy and awkward as always, so much so the only three or four lines he delivers well in the second verse he actually repeats, assumably to save himself any further embarrassment. Creature can be filed along with the myriads of other evidence that YouTubers should not assume themselves to be musicians. – Ethan Woodford (@human_dis4ster)

3. Jake Paul – Everyday Bro

https://www.youtube.com/watch?v=hSlb1ezRqfA

A truly abysmal, laughable attempt at hip-hop. An abomination. To be fair, it’s hard to decide whether this entire track was conceived as some sort of joke – a Socratic self-aware parody of privileged white kids on the internet, perhaps. If so, the joke is very much on us.

Through an inexplicable series of events, it reached #3 on iTunes despite being written in a day, not to mention achieving widespread infamy for its obnoxious lyrics and its dull, uninspired beat. Jake Paul was no doubt laughing all the way to the bank, however – safe in the knowledge that unleashing this festering turd of a song would augment his already considerable paycheck (rumoured to be in the region of “10 with six zeros“).

Attempting to critically analyse the track’s content is a waste of time as most of the lyrics revolve around petty beef with fellow YouTubers, such as the equally insufferable PewDiePie, as well as boasting of their social media success. Some particularly cringe-inducing lines from the Team 10 arsenal includes the opening line of Jake’s first verse, “I Usain Bolt and run, catch me at game one”, and Tessa Brooks’ baffling diatribe about Alissa Violet: “I’m flyin’ like a drone / They buying like a loan”. Not to be outdone, Nick Crompton’s mercifully short-lived verse sees him rhyming “shitty” with “litty” and announces that “England is my city”.

Pitbull? Eat yer heart out. Utter shambles. – Kieran Cannon (@kiercannon)

2. Ed Sheeran – Galway Girl

https://www.youtube.com/watch?v=87gWaABqGYs

Not many things annoy me more than people who are not rappers, trying to rap. Which is why Galway Girl by Ed Sheeran has earned its rightful place on this list.

Amazingly, the lyrics manage to feel clunky and out of place, but also painfully predictable. The combination of folk music, cheesy Irish stereotypes and the cheerful beat, come together to create a song that everyone either seems to love or despise. Although Sheeran’s recent album was one of the highest selling of the year, Galway Girl is not only incredibly overplayed but also the most cringe-worthy song to come out of 2017.

Initially, I could handle it, but the constant hoard of drunk people on nights out attempting to rap along must come to an end.  – Isabella McHardy (@isabellamchardy)

1. Taylor Swift – Look What You Made Me Do

https://www.youtube.com/watch?v=3tmd-ClpJxA

It will come as little surprise to anyone (who’s not called Josh Adams) that Taylor Swift’s comeback single Look What You Made Me Do has been chosen as blinkclyro’s worst track of 2017. Before this track’s release, it would be fair to say that Swift was an artist unlikely to win any personality contests, however, she largely kept her undesirable public persona out of her music, until the release of the lead single from reputation.

Look What You Made Me Do may be the pettiest track that someone of Swift’s stature has ever released, not so much referencing but revelling in some of her pettiest beefs, which everyone but Swift seems to have moved on from. Astonishingly, however, the lyrics aren’t the worst part of the track by a long shot. Swift abandoned her sugary pop landscape for a cheap, generic trap beat which she lands on top of like a monkey on ice – for parts of the track, her vocal delivery ventures into a form of rapping which can’t be described as any better than sickening.

After all this slating, we haven’t even got into the chorus yet: it literally consists of Swift speaking the track’s title monotonously with the cadence of I’m Too Sexy (For My Shirt). Yes, it’s that bad. Finally, if you can make it through that voicemail message without wanting to vomit everything you’ve ever eaten, you’re a stronger person than I’ll ever be. – Andrew Barr (@weeandreww)

Album Review: Reputation by Taylor Swift

By Andrew Barr (@weeandreww)

It would be fair to describe Taylor Swift’s 1989 era as mixed. The record itself was widely praised as it heard Swift confidently shaking off her country sound which characterised her early releases in favour of a more synthetic 80s-inspired pop sound. What helped to make 1989 so likeable was that the majority of the lyrics were innocent and playful (Bad Blood was an exception) and matched the sugary instrumentals.

However, in the years after 1989, Swift managed to make far more enemies than friends by seemingly being on the wrong side of just about every issue she spoke on. This led to a rare scenario – Swift, one of the world’s biggest pop stars found herself with her back against the wall – after arguably her best and most successful album.

Swift undoubtedly felt this pressure, as she made her return to the spotlight with one of the year’s worst singles – the Kanye diss track Look What You Made Me Do, which hears Swift pettily continuing a beef which everyone – including Kanye – forgot about ages ago. If that doesn’t sound bad enough, the track is built on a generic trap beat which Swift raps over. After the mess of the lead single and the disappointing follow-ups, it looked like reputation could be a car crash of the record.

The start of the record does little to convince listeners otherwise. The first two tracks hear Swift rapping more than singing, with opener …Ready For It? hearing Swift using what sounds like a bad Kanye beat, and it goes without saying that as a rapper she doesn’t nearly match her rival’s charisma or general entertainment value. Following this is End Game, which has to objectively be the one of the worst tracks of the last 10 years. Seriously. The Swift/Ed Sheeran/Future cocktail is far worse than it ever looked on paper. Swift and Sheeran sound horribly out of place over another trap beat which has clearly been suited to Future, and even his verse is horribly below-par.

As if abandoning her sweet pop sound wasn’t enough, on these trap tracks Swift abandons her usual innocent lyrical tone in turn of a more aggressive one as she drags out her petty beefs, instantaneously making her songs a hundred times less likeable. Throughout End Game, Swift wriggles to fit the album title into the lyrics at every opportunity – with her and Sheeran both singing “reputation proceeds me” which raises the inevitable question – what reputation does Ed Sheeran have and in what ways does it proceed him?

Another motif throughout the album that End Game introduces is dreadful autotune – Swift flirts with it on the chorus, but deeper into the album on Delicate, the superstar revels in it. From a songwriting perspective, Delicate is an improvement – the track is the most subtle and understated track so far on the tracklist – but Swift feels the need to pursue derivative hip-hop sounds further and drown herself in autotune. Another track with potential is So it Goes…, but the more low-key verses are ruined by a horrifically overbearing synth sound in the chorus.

The three-track succession of these 2 with Look What You Made Me Do sandwiched in the middle serves as a disappointing microcosm of reputation as a whole – there are decent tracks ruined by cheap production alongside tracks which are just irredeemably awful. Gorgeous falls into the former category – the beat is genuinely catchy and Swift makes at least a partial return to her former innocent lyricism (“I guess I’ll just stumble on home to my cats”) but again she frustratingly feels the need to mask her more-than-capable voice with autotune.

Finally, 9 tracks into the 15-track record, the first genuinely brilliant track appears. Getaway Car harks back to 1989 and arguably better 80s-inspired pop records (Carly Rae Jepsen anyone?) with its brilliantly inoffensive sound palette – even the lyrics are a return to form for Swift, rooted in innocent fantasy like Wildest Dreams and Out of the Woods. The vocal melodies on reputation are annoying for the most part, but Getaway Car is an overwhelming outlier, with an undeniably stick-in-your-head chorus.

After the peak of Getaway Car, the record returns to its earlier failings. King of my Heart and Dancing With Our Hands Tied are two decent pop songs, and lyrically are more enjoyable as Swift is innocent and playful rather than petty and argumentative, however they are ruined by overbearing autotune and an overly explosive chorus respectively. In sharp contrast, This is Why We Can’t Have Nice Things is a return to the argumentative lyricism of the first half of the tracklist, featuring a cringe-inducing laugh from Swift before the final chorus which somehow manages to make a track called This is Why We Can’t Have Nice Things more embarrassing than it already is.

Frustratingly, reputation ends on a relatively strong note. Call it What You Want is an indistinctive but nice enough pop song that wouldn’t have sounded out of place on 1989, while piano ballad New Year’s Day harks back to older Swift releases such as Red and even Speak Now. This heartreaking track, after an album of predominantly generic hip-hop/R&B imitations, is a frustrating reminder of how good a singer and songwriter Swift is, with the refrain of “hold on to the memories, they will hold on to you” providing a genuinely touching moment on a record flooded with petty grudges.

Moments like the album closer are genuinely brilliant, but are sadly too few and far between, and it would be difficult to call reputation anything but a flop. The generic hip-hop sound that dominates the album is nothing short of awful, and highlights like Getaway Car simply hear Swift rehashing what she has already done, and the mesh of such contrasting musical and lyrical styles on an hour-long album makes reputation an absolute mess.

Taylor Swift Is Exploiting Her Fans: Here’s How

BY LIAM MENZIES (@BLNKCLYR)

After a little while away from the spotlight, Taylor Swift‘s return was bound to make headlines – she could have released the most half arsed song imaginable (oh wait, she already did that) and it would still gather countless listens and publicity with her fans flocking to pre order her upcoming album.

With a new record comes a new style and while the reception hasn’t been great, the glossy sweet pop star we saw a few years ago has been replaced by a woman who has watched Mean Girls just a little too much, full to the brim with angst. However, as the saying goes “a leopard can never change its spots” and a recent announcement in relation to tickets has shed some light on this.

 Described as being a “really fun way” in order to guarantee your place in the ticket queue, “Taylor Swift Tix powered by Ticketmaster Verified Fan” may not be anything new as artists such as Bruce Springsteen and Ed Sheeran have had similarly named programs to help tackle the issue of touts. However, the devil is in the details and upon reading into them, you realise how exploitative the programme is to those who want to see her perform. 

In order to ensure your opportunity to buy a ticket, fans of the squeaky clean pop star are encouraged to do the following things which all range in what kind of boosts they give you: 

Watch the latest music video, purchase the album (for the greatest boost), post photos and engage on social media. Check the Taylor Swift Tix portal for the newest boosts and activities you can do everyday. – [Source]

On first glance, nothing nefarious stands out to you; fans would most likely purchase the album anyway and Swift’s fanbase won’t exactly moan about doing what they already do on social media if it greatly improves their chance to see her. However, it’s not until you look deeper into the former that you’ll start to roll you eyes. Consequence of Sound brought this up when breaking the news, stating: 

To guarantee they’ll receive Reputation it on the day it’s released they’ll have to fork over an extra $48.03 to ensure timely shipping, which brings the cost of one CD purchase to $63.03. – CoS

“You don’t have to buy the CD” you may be asking yourself and that’s true; the aforementioned ways like social media spamming and repeatedly watching music videos will give you little boosts but it’s all very reminiscent of the free to play system that plagues many games nowadays. You do have an authentic way to reach your goal but when the option is waved in front of you that you can essentially cheat your way in front of the queue with money then any “fun” is immediately stripped away, leading the program to benefit Swift’s wealthy fans and leave her impoverished ones in the dust.

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The final nail in the coffin is that even if one of her poor fans did manage to muster up the money to afford both a CD and tickets, they’re faced with the harsh reality that this program is only to allow you into the line. The fact that up to 13 purchases can be made that further your progress means that the whole message Swift and Ticketmaster are giving is “you could do this but slip us a hundred under the table and we won’t tell anyone”.

Bare in mind though that Swift isn’t new to this obsession with capital gain: who could forget when she trademarked “this sick beat” and other phrases from her 1989 album, leading fan made merch on sites like Etsy to have to seek permission to use them. The most shameful thing about this program isn’t the profits that both Swift and Ticketmaster are aiming for, though it certainly plays a factor, rather the faux-moral high ground they’re trying to take by utlizing fans. Even putting aside how Swift has further stigmatised a mentally ill black man, and is planning on releasing an album on the tenth anniversary of his mother’s death, this undoubtedly is one of the pop star’s most reprehensible moves to date.

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Track Review: Taylor Swift – Look What You Made Me Do

By Andrew Barr (@weeandreww)

When Taylor Swift teased her long-awaited return with snake animations on her social media accounts, it was clear she was coming out firing for the many enemies she made in the years after her wildly successful 1989 record was released. The title of her new record, Reputation, and accompanying artwork further confirmed this, with Swift’s face half covered by newspaper columns which simply read “Taylor Swift” repeatedly. The album’s title is written in a font that seems to reference Kanye West’s almost iconic The Life of Pablo font, hinting that Reputation could see Swift firing back at ‘Ye following the very public fallout they had last year.

While Swift personally didn’t make many friends off the back of 1989, few could deny the appeal of its sugary synth-pop tracks like Wildest Dreams or Welcome to New York. However, on lead single Look What You Made Me Do, she has completely abandoned that sound, as her vocals are delivered on top of a hip-hop beat. On the basis of this track only, it wouldn’t be far-fetched to say she has adopted this sound solely to continue her beef with West as the sound doesn’t suit her whatsoever and her choice of beat is a poppy, watered-down trap one. Yeah, it’s honestly as bad as I’m making it sound.

If Swift singing over a trap beat doesn’t sound bad enough, there are two points in this track where her delivery could legitimately be called rapping – at the end of the second verse and in the track’s simply awful chorus, which hears the mega-star dully repeating the awfully prosaic track title. Not bad enough? The chorus almost exactly rips-off Right Said Fred’s I’m Too Sexy, so much so that the group are credited as co-writers.

The part of this track that will generate the real headlines are the lyrics, which sees Swift coming out on the offensive; it’s speculated that there are lines on here about long-time enemy Katy Perry as well as Kanye West and his wife Kim Kardashian. It feels like Swift wants the beef with the Chicago rapper to hit the front page, with lyrics such as “I don’t like your little games / I don’t like your tilted stage”. More often than not though, the lyrics just feel incredibly petty with lines such as “The world moves on, another day, another drama, drama / but not for me, not for me, all I think about is karma.” With lines like this, you have to wonder why Swift is even continuing these beefs when both Perry and West have been silent on them for months.

Look What You Made Me Do seems to have been picked as the lead single solely because the unsubtle lyrics will hit headlines, rather than having any real redeeming qualities musically. At possibly the track’s worst point, Swift includes a sample of herself saying “the old Taylor can’t come to the phone right now, why? Because she’s dead”, and if this is a sign that she’s abandoning 1989’s sweet pop template to go in this new direction then Reputation could be one of the year’s worst records.

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Streaming Music: The Toxic Revolution

Doing anything in the early hours of the morning is difficult; let alone being interviewed after extensive touring of the U.S, battling off the overwhelming exhaustion. This is exactly the challenge facing Eliot Sumner, daughter of the iconic Sting, as she goes through the motions of being interviewed before a question is asked that leaves a few seconds of silence, being the calm before the storm as she goes into a 3 minute rant about a topic that has both hindered and benefited her greatly. Afterwards she breathes a sigh of relief as she ends the call.

 46qwP9AXIt’s not unusual for the mention of music streaming to bring this out of someone, especially by someone who makes their living making the content that appears on these services like Spotify, Apple Music and Google Play. The subject is the definition of polarizing, splitting music fans right down the middle. If the idea of being able to play any track or album from a “cloud” in a matter of seconds were brought up even a decade ago, it would be laughed off without hesitation. Nowadays, it’s mind blowing to think that we carry about mobile phones that possess more power than the computers that helped America land on the moon back in 1969. If that alone didn’t take you by surprise, the fact there’s 6.8 billion mobiles in use right now (that’s almost more mobile phones than there is people on Earth) should be enough to make you realize how far technology has came in this century alone. Not only that but we’re more connected than ever, not being able to walk down a single street in Glasgow without finding a hotspot is testament to that. While this connectivity is an issue within itself, the dangers of social media being a topic that never fades away, it’s become a part of our everyday lives and regardless of your stance, it’s benefitted us greatly.

So it was only a matter of time until the music industry wanted to capitalize on this technophile market. With album sales and downloads dwindling in recent years, 9% and 12% respectively, something had to be done to deal with not only the apathy felt by music listeners but pirating as well. Managing director of Spotify Ken Parks puts down his company’s success to meeting the needs of those who have gave up with CDS and sites like iTunes. “They [music industry] no longer engage with this new generation of listeners who have grown up with this evolved technology which has become second nature to them. Our 60+ million subscribers is testament to that.” However these services are nothing without the music and it’s the reach that Spotify and others have that attracts artists to share their content. Take for instance, the duo Nico and Vinz whose song Am I Wrong gathered 200 million streams which the act say would never happen without music streaming being a possibility. “The song just flew by itself, there wasn’t any need to promote it as listeners were just able to share the song in just a flew clicks. We could have never predicted how popular it would be and it’s all down to how easy it is nowadays to get your music out there.” However, despite these services giving musicians the tools to get their music out to a wider audience, there’s the small matter of are the artists getting the money that they deserve.3035552-poster-p-1-the-real-magic-of-streaming-music-is-the-data-it-generates

Short answer? No. To highlight how little these artists are making, it’s important to take into consideration how companies like Apple Music value their users. Speaking to PBS, Alias Ronza, the co founder of Songza that was bought over by Google Play, said “Those who use streaming services are a higher value customer as they will spend £120 a year whilst those who buy music digitally will spend £55 on average”. Say for instance you’re an avid fan of Led Zeppelin and you’ve decided to pay an annual subscription fee to Apple Music. That money is now divided between the streaming service, which in this case is Apple, and the record label which a NDP study shows is a 30:70 split. Once Apple hands that money over to the label, Atlantic Records, it is no longer their concern which, for a service that claims to love music, is awful as it’s been claimed by Techdirt that as little as 11% of the money streaming services makes in revenue ends up in artist’s pockets. When companies like Apple Music and Google Play are part of a digital industry worth $6.8 billion yet Spotify can only pay a musician $0.007 every time their song is played, it’s indisputable that there’s a problem that needs dealt with.

Surely it’s not that bad though? Daniel Glass, founder of glass note records who deliver Mumford and Sons records, say streaming is crucial for listeners to find his act’s new music. “A new song by Robert Delonge went up 214% after Spotify promoted it on their service. It helped us greatly and the more streams we get, the more people who buy tickets to see the acts live.” It’s not only fresh, modern bands that benefit from the platform as Ken Parks also said that services like Google Play and Spotify can help old artists too. “Artists like Pink Floyd benefit greatly from our service as they get to reconnect with generations of listeners who have never heard their music being able to discover their catalogue of content.” This connection is not only true on a large scale as it’s just prevalent at a local level.. Shaun McCluskey discussed the issue when his band Echo Valley was interviewed. “It has definitely made it a lot easier since I can just say, “this band is playing here, check their music video out on YouTube” or “Here is their latest song on Spotify.”

5bdde97b13b29579608bbee609f16efcUnfortunately though this hasn’t stopped Spotify coming under fire repeatedly during its 7 year existence for its heavily criticized way of paying artists, the most notable incident being last year’s feud with Taylor Swift. Despite being one of Spotify’s most played artists, with over 25% of users listening to at least one of her songs, Swift removed her entire back catalogue upon the release of her latest album 1989. Speaking out soon after word got out about her decision, Swift emphasized that  “Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It’s my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album’s price point is. I hope they don’t underestimate themselves or undervalue their art.” This was arguably the moment that made people think about the impact streaming music was having, splitting the public down the middle: half saying that Swift was right for using her position as the most popular artist in the world to benefit other musicians, the rest saying she was just as greedy as those at the top of Spotify hierarchy.

It doesn’t stop with Taylor Swift though. Many more musicians have attacked music streaming services with Spotify continuously getting the worst of their bite. Take for instance Johnny Cash’s daughter Roseanne who said “It’s changed how artists like myself make a living. In 1999 Music was a £14 billion industry and today it’s half that. There’s a way of thinking that Music should be as free as the air we breathe. Yes, everyone should have access to it but should it be free?”. On top of that, Aloe Blacc’s collaboration with David Guetta “Wake Me Up” was played over 40 million times on online service Pandora yet earned the artist very little. “It takes roughly one million spins on Pandora for a songwriter to earn just $90″, highlighting the fact that streaming services need to pay songwriters fairly. In return for co-writing a major hit song, I’ve earned less than $4,000 domestically from the largest digital music service.” Unsurprisingly it’s lead to Black 47’s Larry Kirwan questioning these service’s morals, stating that “these people don’t care about your IP, they just want to give it away. They want to make money and the regular musician doesn’t get a second thought.”

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English novelist Guy Walters caused controversy when he said that “if you value culture, you must pay artists. It’s a complete con and an absolute racket. There’s a word for working for free: it’s slavery.” American streamed 164 million songs in 2014 alone so Spotify and the likes aren’t going to disappear, not anytime soon. In an industry that just experience the revival of a format that they once thought was dead, here’s hoping that these companies worth billions stop capitalising on the blood, sweat and tears that these acts put into their music.

Big love, Liam x

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Sources: Can The Music Industry Survive The Streaming Revolution? by PBS Spotify Worth More Than Entire US Music Industry

How Much Artists Earn From Spotify

The More Money Spotify Makes, The Less Artists Get

Guy Walters Slavery Comment

Taylor Swift Spotify Feud

Rewind: Best Of 2014

2014. What a year. It may have the blockbuster nature of 2013 but that’s what made it all the better as new artists that were previously unknown to the masses made a name for themselves with some of the most impressive records in their retrospective genres. That’s not to say that there wasn’t any big names releasing albums this year. If 2013 was a AAA film directed by Tarantino then 2014 was a Zach Braff film with Bill Murray and who could deny the appeal of both of them.
Albums
  1. Weezer – Everything Will Be Alright In The End

1996. 5 Californian boys in an alt rock band write what’s been hailed as one of the greatest albums of the 90’s. The band in question is Weezer and for the past decade or so they’ve suffered from the success of Pinkerton. With every new release, fans are expecting a worthy successor to the album and are regularly disappointed but this was all changed with the release of Everything Will Be Alright In The End. Featuring some of the best songs that the band has produced in recent memory, arguably their whole career, EWBAITE is an apology letter to the fans and one that makes it hard not to forgive Rivers Cuomo and co.
  1. Mac DeMarco – Salad Days
“I feel sort of weathered and beat down and grown up all of a sudden. I’ve always had some kind of plateau that I wanted to reach, and now I just can’t see the next one.This is how Canadian musician Mac DeMarco felt after his extensive touring that lasted over a year and you can really hear it. Salad Days , recorded in DeMarco’s apartment, is laid back and relaxing, drawing you in with unwinding melodies like Let My Baby Stay and Blue Boy. It’ll be a hard feat to find any other album that can calm and entertain you as much as this psychedelic pop beauty.
  1. Aphex Twin – Syro

2014 wasn’t just the year of the up and coming, as proved by the return of this borderline insane genius. Announcing his return by flying a small blimp over London carrying the trademark Aphex logo, master of ambience Richard D. James came out of nowhere to clinch the bronze with an album full of a sound that is brand spanking new yet quintessentially Aphex Twin. Starting off with what is arguably the best song of the year, Syro manages to captivate its audience from beginning to end with lovely minimalistic piano solo aisatsana [102] delivering an amazing end to an amazing album.

  1. Bombay Bicycle Club – So Long, See You Tomorrow
Fans of Bombay Bicycle Club can relax knowing that the boys have cemented themselves as one of the best in the current wave of British indie bands with such a tremendous album, infusing everything from synth pop to RnB that transfer to their live performances seamlessly. It’s odd to think how a band could create a record that has every single track bringing something new or tremendous to the table but Bombay Bicycle Club have managed it and from the looks of things, it’s not set to be the last time.
1. Run The Jewels – RTJ2
Hip Hop was a dominating force last year with Drake, Kanye, Tyler The Creator, Earl Sweatshirt and A$AP Rocky just a small slice of what the genre had to offer. However no album last year could prepare you for what Run The Jewels have to offer. You need proof? Take Blockbuster Night Part 1, a song true to its name as Killer Mike and El-P rap over a Godzilla-like beat, rap’s equivalent to the Jaws theme tune. Every track is dark and fresh, I could honestly write page after page on why I love this abum. I’ll save you all the earache and just tell you to go pick up Run The Jewels 2, it’s in a whole fucking league of its own.
4.Sun Kil Moon – Benji
Mark Kolezek, love him or hate him, is undoubtedly one of the best songwriters of all time. And Benji (his 6th record under the Sun Kil Moon moniker) has cemented that claim. Benji isn’t an easy ride, but it’s a vital one. All of the album’s 11 tracks are heartbreakingly sad, from album opener Clarissa (which tells of one of Kolezek’s relatives who died in a freak fire at the age of 25) to closer Ben’s My Friend (Ben Gibbard of Death Cab for Cutie being the Ben in question), each and every song paints a vivid picture of a man who doesn’t truly know how to express himself outside of his music. Look past the public beefs and media bullshit and lose yourself in the mind of the 21st century’s finest solo artist.
3. La Roux – Trouble in Paradise
If you’d have told me that the girl who sang Bulletproof would one day write one of my favourite pop albums of all time I would have laughed right in your face, yet here we are. Trouble in Paradise is a pop masterpiece. It’s 9 tracks are nothing short of pop-funk brilliance and I urge anyone and everyone to listen to it as soon as possible if you haven’t. The departure of founding member (and Elly Jackson’s former boyfriend) Ben Langmaid was, at the risk of sounding like a dick, the best thing that could have happened to La Roux from a creative standpoint. It gave Jackson more freedom to experiment with funk, afro-pop and Caribbean sounds, and these influences compliment Jackson’s voice greatly. Songs like Kiss and Not Tell and Sexoteque will instantly put a smile on your face, and remind me of Prince at the height of his powers. In short, this album is absolutely essential.
2. The Xcerts – There is Only You
Ah, the Xcerts. Hailing from my hometown, I couldn’t help but feel a wee twinge of pride when listening to their latest LP “There Is Only You”. This record is an absolute monster. It’s relentlessly catchy (I can say with complete honesty I get at least one song from the album stuck in my head a day, and I’m still not sick of it) but underneath the catchiness lies real lyrical heart. Songs like Pop Song and Kick It, while feverishly memorable, are truly sad at their core. This, from an outsider’s perspective, sounds like the album the Xcerts have always wanted to make. Heavy, poppy, sad, brilliant.
1. Taylor Swift – 1989/The Twilight Sad – Nobody Wants to be Here and Nobody Wants to Leave
I couldn’t do it. I couldn’t pick between these two albums. I tried, so hard to make a call and I just couldn’t. They’re both the best albums of the artists’ respective careers and they’re both absolutely stunningly brilliant. Content-wise, however, these albums couldn’t be any more different from each other.
Taylor Swift has perfected the art of the pop song. She’s 100% the best pop star of the 21st century, and she may well end up being the biggest pop star ever. Songs like I Know Places and Blank Space solidify this, some of the best pop songs to come out in YEARS. I could have used any song on the album to make that point thought: from start to finish it is nothing short of pop perfection.
Now onto the Twilight Sad, the polar opposite to Swift’s bubblegum sweetness. The Twilight Sad are gritty, raw. Their songs have no happy endings, and they couldn’t give a fuck. There’s more heart and sadness poured into this album than there is in all the album’s released this year put together. From the devastating Drown So I Can Watch to album closer Sometimes I Wish I Could Fall Asleep and all the songs before and after, you’re grabbed by the throat and taken on a journey. It’s not an easy album to listen to, it’s a harder album to truly enjoy, but it is crucial to listen to.
Favourite albums of 2014:
FKA twigs-LP1
Although Britain can boast about its electronic success stories like James Blake, Jai Paul and Jamie XX, female artists in the genre are few and far between. However this year, Tahliah Debrett Barnett, aka FKA twigs, served the U.K (and the rest of the world) a plate of female electronic goodness with her debut album LP1. The album is an absolute beauty, combining experimental pop, R&B/hip hop beats, and layered whispery vocals to create an original, almost angelic sound. LP1 undoubtedly features the newest sounds I’ve heard in British music in a while and is definitely the coolest, most weirdly seductive release this year.
Favourite track: Give Up
Nicki Minaj-The Pinkprint
Nicki Minaj is easily one of the most hard working women in mainstream hip hop at the moment. Throughout 2014 she created buzz for the follow up to Roman Reloaded, releasing single after single, controversial video after controversial video and presenting the MTV EMAs. After all the hype I was worried that The Pinkprint wouldn’t live up to my expectations, but if anything, it exceeded them. Minaj is no one trick pony. The record is full of variety, going from emotional looks into her past, sultry duets with the likes of Beyonce and Ariana Grande, heart breaking ballads, pop bangers and impressive examples of her sheer rap talent. Trash talking Nicki is old news. The Pinkprint is fierce, fantastic; and makes her numerous skills absolutely undeniable.
Favourite track: Feeling Myself
Warpaint-Warpaint
Warpaint are talented ladies. As impressed as I may have been with their debut “The Fool”, this follow up is so, so much more mature and developed. With production and mixing assistance from the likes of Flood and Nigel Godrich, and a new band line up, it seems Warpaint has truly allowed the girls to find their sound. As the songs were written mostly during jamming sessions the record has a raw, experimental feel to it, and as expected the vocals feature heart stopping harmonies that are hauntingly atmospheric. Alongside the indie dream pop vibes there are also aspects of shoe-gaze, electronic music, and most notably hip hop and R&B which gives the album a feel of originality. It’s a stunning release that can be left on repeat and still somehow manage to leave the listener fascinated.
Favourite track: Biggy
Sonic Highways by Foo Fighters
Foo Fighters’ eighth studio album received mixed reviews but you can’t deny they’ve still got it. The theory behind Sonic Highways- recording each song in a different city- flaunts the creative ideas of the band. Using the influences of each location, each track is distinctive but the classic Foo’s clash of guitars and strong vocals is still recognisable.
Most of the mere 8 songs are on point and carry a punch, making up for the limited length. As a stand-alone album, the music is more important than the concept, but the Sonic Highways documentary provides a deeper insight into the record.
Listen by The Kooks
From the first time hearing Listen, it felt like a world away from The Kooks’ earlier albums. They’ve gone in a completely different direction, experimenting with a variety of ideas. No more indie rock, although the guitars are still there, disguised under layers of funk, tambourines and claps. If you don’t want to sing along then you’re not listening properly. Each track is individual, standing out from the others, making their fourth album the most diverse one yet. Their older fans may not like the big change but some may be pleasantly surprised by this fun, upbeat release.
There Is Only You by The Xcerts
You can’t help but keep coming back to this album. The Xcerts put so much passion into their music and There Is Only You is no different. Blending rock with a small amount of pop, they’ve found the perfect balance of not-too-heavy but still rough enough. Even from the first listen, the songs leap out and don’t all mix into one. Catchy? Definitely. And the elegant title track is an unusual but beautiful finish. Touring recently with fellow Scottish band Twin Atlantic helped to boost their popularity along with this energy-filled album.
Royal Blood by Royal Blood
You only need to listen to this to see why Royal Blood have become so popular in such a short space of time. This self-titled debut has propelled their career- going from small shows to supporting Foo Fighters next year. It’s incredible how full and heavy the sound is for just bass and drums. Every song is epic in its own way, whether it’s for the pounding drum beat or the killer riffs. This album is filled to the brim with energy and it would be amazing to see them play live for it to come to life.

Big love, Liam x

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