Review: The Chemical Brothers are back with their 10th studio album (mixes and soundtracks not withstanding), and they're sounding especially fired up. The widescreen stadium psychedelia they've made their own spills out in abundance across "No Geography", but it's also matched with a feverish energy. The more up-tempo tracks, like "Gravity Drops" and "Eve Of Destruction", spit and snarl with the best of their classic, down and dirty dancefloor material, but there's plenty of space for the starry eyed songwriting they've made their own in more recent times. Just cop "The Universe Sent Me" and be immediately transported to a festival field, where you'll no doubt be catching The Bro's this summer.
This House Has No Living Room (feat J Spaceman) (8:13)
Review: London alt-rock trio Yak have revealed their much desired follow-up to their debut album, Alas Salvation. With new and old members jostled in and of the band during this album's rocky inception (including Tame Impala's Jay Watson), a rotated cast eventually ironed out its crinkles, and with the help of former Bjork and Django Django album producer, Marta Salogni, Yak's difficult second album, in 10 hectic days, was achieved. With both NME and Q magazine's tipping their nod of approval Yak's way, the steely, blue-eyed defiance of the trio dismiss any notion of the tired cliche that guitar music is a bygone thing. The freshest second album since Kasabian's Empire, Tame Impala's Lonerism and Bloc Party's A Weekend In The City.
Review: The third album from Marika Hackman, and arguably her most honest and exposed to date. An artist who has tangibly progressed from what was already a head start, it's a complex record that seems to be the sum of the artist's previous parts. A proud and forthright declaration of someone arriving at where they want to be wouldn't be putting it too far. It's scuzzy, desolate, bleak and then at the same time energetic, poised, guttural, disco. Tracks such as "Send My Love" couldn't be more emotionally charged, but nor could they be more inviting- somewhere between this life and the next- inviting and then visceral. Flip it and find "Conventional Ride" and "Come Undone" as two tracks that are entirely different but share one thing in common; a heartbreaking work of extraordinary genius.
Review: Providing continual evolution to the greater aspects of how original folk music can be heard, sung and played, Andrew Bird's run of album's since Echolocations (2015) sees his character and sound venture in a world hallowed only by the likes of Father John Misty; that echolich ability to notate the sweet spots in notes with pangs of nostalgia. Alongside strings of country refrain and minimalism, folk guitars and dandy whislisture, there's a code to be cracked within the thematic of the album, putting paid to suggestion that Andrew Bird's latest work might actually be his best.