The Killers' 'Battle Born'

I wasn't sure what to expect from The Killers' 4th album. I have to say I don't think there's been THAT much coverage in anticipation of the new material (apart from a few live events and the odd mention in a tabloid...) but aside from that they haven't been overly excelling themselves on the media front.

After the debut- 'Hot Fuss' which included many a hit and thereafter, the awesome 'Sam's Town' which included 'When You Were Young' and 'Bones' and then most recently, 'Day and Age' which contains the storming single 'Human' the four piece had a lot to live up to.

Most significantly, they've stayed true to their roots and loyal to their usual style. 'Battle Born' continues with the American rock genre. Everything from the artwork of the front cover featuring an American 50s car driving through what looks like the Grand Canyon to the phrasing of content "In this transient town/ waiters and dealers trying to get their foot in the door" - Heart of a Girl, The Killers have nailed what they do best.

This does, however to a certain extent make me wonder whether they're capable of branching out at all. The similarity of their tracks including 'Flesh and Bone' is a little too much like 'Human', whilst 'The Way it Was' although very reminiscent lacks imagination.

 However, 'Runaways' is obviously a strong choice for a single release. 'Flesh and Bone' is a natural second release from the album with such a strong vocal line, curious intro and indulgence in instrumentation, including the use of more electronic drumming, strings, a choir and more production than perhaps their earlier stuff. Other tracks which encourage me to give the album a chance include 'A Matter of Time', 'Battle Born' and 'Heart of a Girl' - a soft ballad that strips everything down to a hypnotizing, wandering tune. Overall the sound is much more mature and perhaps slightly reminiscent of a more 80s feel than anything as modern as Day and Age. Perhaps more of an album for the Dad ( or for those Dads that love Brucey Springsteen).

Like the Killers? Then why not try Alabama Shakes or Jack White?

The Mercury Music Awards nominations....in brief.

So what kind of blog would this be without a brief moan and recognition of the Mercury Music Awards shortlist?

I thought instead of rambling I would just keep it short and snappy. So here we are;

Richard Hawley 'Standing at the Sky's Edge' - Your Dad will love it

Lianne La Havas 'Is Your Love Big Enough?' - Your mum will love it (and deservedly so)

The Maccabees 'Given To The Wild' - Underrated and should get tons more praise for such a fantastic third album

Alt J 'An Awesome Wave' - The most refreshing thing I've heard all year

Plan B 'Ill Manors' - Obviously a groundbreaking record but not worthy (in my mere opinion) of heightening his already catapulted status

Field Music 'Plum' - Pop/folk at its most catchiest and undoubtably an entertaining performance

Jesse Ware 'Devotion' - A fresh approach for a female soloist with some beautiful tracks... but sadly not fresh enough

Django Django 'Django Django' - A good whole hearty piece of musicianship which should receive more recognition

Ben Howard 'Every Kingdom' - A gorgeous debut, staple record which everyone should own

Michael Kiwanuka 'Home Again' - A grittily raw blues and soul album

Roller Trio 'Roller Trio'   - The obligatory jazz ensemble who hold some unexpected twists

Sam Lee 'Ground of It's Own' - The true folk 'boundary' pusher.

Example and DJ Fresh at the iTunes Festival

So last night I was jammy enough to have actually won some tickets to the iTunes festival. As a haven for all fifteen year olds (or students) being on a school night and the fact that the festival is free, whether you win tickets or choose to queue outside he roundhouse and pray you get in, its certainly a younger persons 'do.

Not only the logistics of the gig, but the talent drafted in for last night included dubstep and pop- fusionist pioneer, DJ Fresh as support for Example was certainly a reason for attracting such a young audience. Fresh 'Live' was a genuinely impressive live band performance. DJ Fresh himself was on the electronics and keys as well as providing backing vocals. In addition, the extremely competent vocalist and excitable MC, warmed up the stage pretty well for Example. With hits as big as 'Golddust' , 'Louder' and 'Hot Right Now', the young, mosh-pit-loving crowd were kept bouncing throughout the entire set.

Example, albeit not the strongest vocalist (nor a riveting lyricist) gave an impressive performance. Up -beat, with excellent stage banter ("I'd just like to especially thank all the corporate f***ers sitting down there upstairs") and a strong band backing him, the overall vibe was sustained through the whole set. Both me and my buddy who'd tacked along were surprised at how many hits Example had ('Changed the Way You Kissed Me', 'Midnight Run', Kick Starts', 'Wont Go Quietly' and 'Natural Disaster'). How would have thought he could've easily filled a headline slot-with time to only perform 2 unknown new tracks from his upcoming album? I give him credit as he didn't overly plug his new material and was relatively loyal to his older stuff.

Noisettes' album 'Contact'

The latest material and third album from The Noisettes is finally available.

 Combining a pop feel reminiscent of the 80s with an up to date approach in showcasing the band's tight song writing skills such as tracks 1, 'Winner' and 'Let The Music Play' the band here demonstrates everything that makes the band such a stronghold.

Funkadelic beats in the bass, recognisable and remaining distinctive element of the Noisettes (remember Don't Upset The Rhythm?) especially in 'I Want You Back' and 'Let The Music Play' (where I especially enjoyed the grunginess of the keys and even likened it to a Gossip track).
Shingai Shoniwa's vocals also tie the noisettes nice package together for making them stand out. A dynamite on the stage, she's certainly an entertainer.

 More perhaps ground breaking track would be 'Ragtop Car' as they offer something just that bit extra to their regular feel (such as a country feel - oddly enough).  However, the material overall doesn't contain much of a push in an alternative direction to what the duo have provided us with before. Although, the bass dropped in 'Traveling Light' does provide an unexpected but pleasant drop in the middle of the serenading ballad.

If you are a pop thirsty bass guzzling musical monster then the strong choruses, catchy hooks and easy to sing along anthems will certainly satisfy your needs.

 Favourite tracks; Let The Music Play, 'Contact' and the delightful hidden track at the end of the record.

 Like The Noisettes? Then try Elton John's latest project with Pnau, Josh Osho, and Emile Sande.

Elton John Vs Pnau 'Good Morning to the Night'

So Sir john is back, and not just back with a nifty hair cut, outrages outfits or turning all exhibitionist on us (Madonna, take note).

But he's returned with a new attitude and musical responsibility to endeavour and better his previous material. Sticking to his roots and retaining elements of traditional Elton, the veteran of disco has collaborated with producers Pnau (AKA Empire of the Sun) to create a project worthy of recognition from the likes of Zane Lowe amongst others.

The main vibe for the record is a well produced dance album with funkadelic bass, typical Elton melody lines and plentiful of spacey effects. The songwriting and development of tracks ('Sad' and 'Black Icy Stare') are of course, perfect.

 Smashing the opening track and latest Single, 'Good Morning to the Night' with a distinctive guitar loop, build in layers and bouncy bass line, this track is sure to be used in the clubs and on Radio 2 alike. I have no doubt that every person you ask whether they like this track will agree and then continue to gasp when you announce to them in proud knowledge that it's Elton John's. Savour the moment and feel smug.

With different tracks offering alternative takes to genre, the production of vocals and showcasing Elton John's songwriting talents the album does a very good job of providing canape sized examples of the trio's work. With 'Black Icy Stare' conveying elements of reggae and seamless mixing as well as staying in your head for hours. 'Foreign Fields' offers a bit more of a disco pop vibe. Indulgent 'Telegraph to the Afterife' presents an indulgent and spaced, soothing track. The finale, 'Sixty' is something altogether off this planet and a brilliant piece of music.

I'm glad the three haven't over indulged in their excellence. An eight track record is a good, short and sweet approach to a very fine album.

Fave tracks; 'Sixty', 'Morning to The Night', 'Phoenix' and 'Back Icy Stare'.

 Like Elton?? Hmmmm..... then give Totally Enormous Extinct Dinosaurs or Grimes a go!

Totally Enormous Extinct Dinosaurs' Trouble album

So, Indie by name, electronic dance music by nature...The newest of the pack to join the ever increasing dance music scene. The new MGMT? The new SBTRKT? A ravier side of Friendly Fires?

You know what, I'm fed up of trying to find the latest fad, fashion and trend. Dance music is in. On the whole, it actually involves strong song writing ('Garden' and 'Your Love' in the case of this album), requires something 'extra' of the vocals to off set the eletronic elements of a synth ('Shimmer') and doesn't always have to reminisce the e-pumped-80s rave feel but has its own EDM (that electronic dance music for those not down with the lingo) genre. There doesn't always have to be big Eric Prydz beats, awful Example penned lyrics, giant chordal progressions and it doesn't have to have the massive breaks that appear in Deadmau5's dubstep tracks.

 Take the two commercial tracks good enough for the masses 'Household Goods' and 'Garden' off TEED's (Totally Enormous Extinct Dinosaurs) new album. 'Garden' is sure to be an anthemic tune in its own right this summer. I certainly plan on dancing my socks off to this bouncy beat, echo drenched and gleeful Casio chord dance track. Arguably the most sing-along track on the album. Meanwhile, 'Household Goods' with its unexpected, Calvin Harris synth part that bursts out for the chorus is brilliant. The thing I don't get is the placidity of Orlando's (that's the main dude) vocals. But that's fine, he's a pretty cool, laid back cat. I do wish that this track was extended and let its hair down even more...but there's always the room to extend it when he's on stage live... right? (Bestival-watch out! This kid is going to tear the roof off!)

'Shimmer', with its reflective instrumentation of its title is so similar to a SBTRKT track that I genuinely thought my ipod had switched albums half way through. It does eventually come into its own though with a bubble gum bass line that adds perhaps the unexpected. Similarly, 'Tapes & Money' could pass as a Deadmau5 track with the addition of dozy vocals. Despite this evident influence, the build in the bridge and chorus is fantastic. Sure to be re-released if anyone is thinking straight out there.

'American Dream, Pt. 2' is another anthem which is susceptible to other DJs and producers for some re-work and exposure to the dance scene. I think the wash of synths and repetitive riffs are a project waiting to happen.

Other catchy tunes to listen out for include 'Your love', 'Trouble', 'You Need Me On My Own', 'Tapes & Money' and 'American Dream, Pt. 2'.

Some tracks seem to meander off route.... As a debut album, there's a high frequency of tracks so hats off. However, this inevitably has led to weaker tracks ('Panpipes' amongst others) appearing which just don't hold the cut against the catchier, stronger soon-to-be-hits.

Fave tracks: 'Garden', 'Household Goods' and 'Promises'

Like TEED? Why not try SBTRKT, Mike Snow or something slightly different: Grimes

John Osho's L.I.F.E EP

John Osho is the freshest soulfully, pop, acoustic bad-boy-done-good face to the music scene.

With the new album in full, L.I.F.E set for release in a few weeks, this teaser which is now available has given me an insight into the potential Josh's album could contain.

Josh's voice reminds me of John Legend with his powerful, yet smooth and easy- to-listen-to warming low register.

Opening with the catchy and up-beat 'Giants' featuring Childish Gambino, the sing along melody catches your attention instantly.

The single, 'Redemption' featuring Ghostface Killah (these high-profile guest stars in the full album includes acts such as Wretch 32) has been a hit with Radio 1 and certainly holds it own in relation to chart topping tracks. With the romantic violin riffs, no faffing about with vocal gymnastics and a positive, feel good vibe, its set to be an anthem for the summer.

The Ebenezer hotel, a tale from Osho's previous drug dealing lifestyle before gracing the music industry's scene, opens with a catchy blues riff and showcases his soulful, smooth and distinctive vocals.

Overall, a well produced EP that includes catchy single releases, characteristics of Josh's background and some tracks which demonstrate potential and signs towards hopefully what'll be another successful album with some room for development into perhaps a more alternative writer.

Fave tracks: 'Ebenezer Hotel' and 'Redemption'