The Weeknd LIVE at The Electric Ballroom

Here's a posing question.... Is it good or bad to hear your fans singing over you? Well after the live performance from The Weeknd last night at the Electric Ballroom, Camden this question raised its awkward head a few times. It's a beautiful thing to hear a crowd sing back the lyrics towards the stage or fill in the blanks. Not only was the crowd evidently loyal, enthusiastic and a real mix of personalities and sexes but boy, were they were loud. This DID leave me to question the capabilities of the Ballroom's sound system. In all fairness however, when I've been to gigs there before the sound system was never an issue. This leaves me to assume that the majority of the tracks, simply due to their laid back beats and starkness to enable Abel Tesfaye's vocals to take centre stage gave the night the perfect level and production for the crowd to feature in the live performance as much as The Weeknd himself.

The pace was for the most part slow, as could be predicted but was hyped up with the inclusion of some faster paced tracks or larger productions 'Glass Table Girls', 'The Party & After the Party', 'Lonely Star', 'Heaven or Las Vegas' and of course Drake collaboration and hit 'Crew Love'.  The drop or mix of one track into another was smooth resulting in the show seamlessly and ever so smoothly serenading the crowd with those sexy, sexy vocals. The use of a self indulgent, prog rock like guitar solo here and there gave an emotive but alternative break down at an R&B gig but suited the heavy production and dirty bass well.

With such similar vocals to Michael Jackson it must have been hard to break into the scene... However, The Weekend's instrumentation, use of heartfelt pain and appeal to his crowd means the only way for this 23 year old can go is up. As he said "I want to see all your faces before we start playing arenas". This guy has big plans and I have no doubt The Weeknd will get all the support he needs from his ever loving and LOUD fan base.

All Bands These Days Sound The Same....

There's so much music out there. So many genres. So many bands and DJs. It's getting to a point now where they're all starting to sound SLIGHTLY similar. For example, I text my mate to invite him to a James Blake gig and get a reply with "Is he the guy that sings 'Goodbye my lover?'". So if you don't know your Jessie J from your Jessie Ware then to a certain extent, fair do-s but lets see what other trip hazards there are out there...

James Blake vs James Blunt

Speech Debelle vs Wild Belle

NineTails Vs Nine Black Alps

Jessie J Vs Jessie Ware

Tribes vs The Other Tribe

Kills vs Killers

Kooks vs Kinks

SBTRKT vs TNGHT

Fake Club Vs Flake Blood

Blackeye Vs Black Eyed Peas

Angel Vs Angel Haze

Tinchy Stryder Vs Tinie Tempah

The Strypes Vs The White Stripes

Temples Vs Temple Songs

Foxes Vs Fleet Foxes Vs Foxygen

Zedd vs Zeds Dead 

...and I'm sure there's more. Comment to add your own.

Daughter LIVE at the Hackney Empire 24/0/12

I'd never been to the Hackney Empire before and I didn't have the highest of hopes and so was pleasantly surprised... Correction, I was BLOWN AWAY by the gorgeousness of it and the high sound quality. I'm not one to choose seated over standing either and seeing as there wasn't the option to stand I was grumbling about it. Turns out, seated was what I needed. It allowed me to not worry about knocking drinks out of people's hands or people pushing in front of me. It was about absorbing as much atmosphere and sound as I possibly could because I wanted to take Daughter's music away with me forever after last night.

The band comes from a mix of countries inc. Switzerland, France and "Greater London" the crowd discovered after some polite heckling halfway through the set. Despite having a nervous stage presence, Daughter managed to deliver pleasantly shy stage banter that set the crowd giggling and respond by showing love of the three piece's tracks.

The gig was the trio's largest headliner to date and was the perfect opportunity to showcase a couple of new tracks that blew us all away. With more of a rock feel when performed live as-opposed to on record, the build and emotive push of the tracks were all the better live. For instance, the use of a violin's bows for tracks including the gorgeous 'Love' meant the emotions felt on stage could only be reciprocated back to them from everyone in the crowd.

Technically, the band was spot on, Elena's vocals faultless, a small snag on the guitar here and lack of control in tempo there... but as such a minimal group, the control, direction, builds and anticipation of drops were faultless.

The newer tracks, 'Love', 'Landfill', 'Home' and 'Run' were all stand out tracks for me that kept my eyebrows knitted together in concern and a heartfelt pain.

Ending on 'Home' meant I continued to hum the track the entire way home.

Dutch Uncles' 'Out of Touch In The Wild'

These Uncles have been around for a while...BUT with the release of their latest single 'Flexxin' and video to accompany which launched this week to co-inside with I'm sure, the album 'Out of Touch In The Wild' released on the 14th January.

This is the bands third full length album and it's shaping their musical career....With fairly gentle instrumentation and sympathetic vocals that remind me of Hot Chip's Alexis Taylor, the lads have created an authentic, edgy, indie album. If you're a fan of Vampire Weekend, Hot Chip, Field Music, Imogen Heap or Bombay Bicycle Club then you'll most likely want to have a wee listen of this here album.

 'Flexxin' is an upbeat and joyous track featuring jovial strings, whilst ' Brio' boasts a grandeur build in layers and larger soundscapes. Perhaps the catchiest out of the ten tracks is 'Fester' which'll get your head bobing and encourage the listener to join in with the addictive vocal motif 'takes me to the bone'. Ending on 'Brio' has the advantage of an ongoing chugging of the strings that provide a continuous tension towards the end and build of the final climatic chorus which serves as a wonderful desert to the album.

A more down-tempoed track, 'Phaedra' has the exquisite joy of unpredictable turns and directions. The ongoing motifs and general accompaniment parts are sewn together via keys, xylophones and stripped percussion. Whilst the movement of the chords and the vocals leap around - in a way that keeps the listener on their toes but also unable to singalong too. So sit, shut up and listen.

Fave tracks: 'Flexxin', 'Brio', 'Phaedra' and 'Fester'.

Check out the video here for 'Flexxin'.

Everything Everything's 'Arc'

So I may have been slightly reluctant to listen to the new album. But then I heard 'Cough Cough', loved it, listened to their previous stuff and was again, sadly disappointed. I was assured by a reliable muso source however that the new album is something to give a listen to and so I did.

With such a distinctive falsetto that undoubtedly gives the band their alternative flavour likened to contemporaries unusual vocals/frontman based bands Bombay Bicycle Club, Alt J and Klaxons, the boys based in Manchester are up against some tough competition.
Obvisouly, the opening track 'Cough Cough' is an indie anthem favoured by all Xfm and Radio one listeners as well as fans of Foals, Friendly Fires and all of the above.
Next single to be released 'Kemosabe' has also received much airplay and with its quirky electronic beats, repetitive hooks similar to that of Delphic I'm sure it's set to please.

I wasn't quite expecting such troughs and peaks to the album though, with tracks such as the gentle 'The House is Dust' which is a slow paced track unfortunately fails to develop. The distinctive vocals and patiently sparse instrumentation goes together well and a striped down track is also unexpected in this album. However, it simply fails to deliver anything exciting until the warming winding down and Radiohead influenced outro takes over.
Similarly, 'Torso of The Week' also lacks anything distinctive apart from well produced guitar licks.

Otherwise tracks 'Duet', 'Choice Mountain' and 'Undrowned' all contain dominating riffs and smoother vocal lines that have stronger musical directions.

Fave tracks; 'Cough Cough', 'Don't Try', 

C2C's 'Tetra' album

Electronic French turntable group, C2C bring out their  first full length album 'Tetra'. An amalgamation of DJs and producers who have been active since the early noughties offer their latest album which has much to offer to those disco hunting and genre mashing enthusiasts out there. They endeavour to create and write music themselves with the use of turntables to create new approaches to the tracks. If you like Daft Punk, Basement Jaxx, Gorillaz or even Disclosure  then you'll like these boys. If you're having a down day, need a pick up, then there's not one down turned paced track on this album, o no. It's nothing but pure good fun from start to finish.

Opening with 'The Cell', the first track is gentle on the ears as far as electronica goes. Next up,
'Down the Road' is a southern state R&B influenced track. With such distinctive vocals including a strong blues line and all the magic of a harmonica - the track is a brilliant mash up of two completely clashing genres that C2C manage to blend together perfectly. With large drops, sparse instrumentation in places and massive layers in others, the track is very Daft Punk influenced, the catchy vocals and exquisite production has sewn the track together as a stand out feature on the album.

Modern day influences are evident throughout the album including garage influenced beats but 'Happy'  is reminiscent of Basement Jaxx 'Do Your Thing' whilst 'Who You Are' contains more R&B influences as well as Olivier Daysoul who has a similar sound to Sam Smith's (From Disclosure's 'Latch' track) combined with Andre 3000s rap textures. Bang on trend in other words. 'Le Banquet' has sounds and DJ-ing that screams 90s influences from the likes of Run DMC but also manages to cram in a sitar and robotic-esque vocals and in places, a dubstep like bass.

Other tracks such as 'Kings Season' (feat.Rita J & Mongai) has a distinctive bass, production and effects very similar to The Gorillaz' 'Plastic Beach' album.

 'Because of You' and 'The Beat' sounds like cousins of 'Kings Season' in that they're a similarly rap based track, slightly more melodic but less electronic based. 

'Genius' is an unexpected small gem on the album with it's 70s influenced vocals, cheesy melodies, it's neo pop/funk sounds add an air of fun and irony to a good song. Very few people could handle these kind of influences but C2C just about get away with it. Contrast that with one of the tail end tracks,  'F.U.Y.A' on the album you'd be shocked to hear that it's the same group of lads with it's strong based melodies and heavy development.

Enjoyed from beginning to end, I haven't heard music as refreshing as this for a while. Definitely a new pre-drink album for a good night out. Speaking of which, the boys are set to play KOKO on the 14th March with more dates to follow. I absolutely have to check them out live.

Fave tracks: Happy, Down The Road, Le Banquet, Genius and Delta.

http://www.youtube.com/watch?v=4HegFilQ26I - Le Banquet

Women to watch out for in 2013

So, lets face it...this year has been pretty good for giving a leg up to women on the music scene.  It would appear that since Beyonce headlined as the first ever female headliner at Glasto in 2011, 2012 has been set a president where females have been encouraged to showcase their stuff and hold the stage.

For the most part, I am readily applauding and pretty happy about this encouraging development. For one, Florence has had a tremendous year, as well as Liane La Havas, Aluna George (well the Aluna side), Grimes, Lucy Rose, 2:54, Jesse Ware, Bat for Lashes, Romy from the XX, B-Traits, Annie Mac, Azealia Banks, Angel Haze and even Taylor Swift. Christ, even the Spice Girls came back for a song or two.

Others have, granted, either been rammed down our throats (Emile Sande/Rita Ora/Rihanna), overly exposed (Lana Del Rey), so media trained her face offends me (Cheryl) or have just released blatantly awful music (Tulisa and Nikki Minaj). I'm not by any means saying that the FORMER - NOT LATTER is the end of the world or demoting of the music at all...but c'mon ladies, surely pulling stunts such as having a sex tape released, flying to 7 different countries in 7 different days or even dumping Rob Kardashian because you've slept with 20 other men should be no way be the route to have your music heard.
Stop ladies, publicising yourself in a ridiculous manner and maybe, just maybe some women with some shame, morals and love for genuine music and not lyrics as awful for example "buns out/wiener/but I gotta keep my eye out for Selener" will get into the top 100.

ANYWAY. Onto 2013 and lets just hope that the recognition of more women in the mainstream will assist in bringing those lesser well light ladies up onto the meteoric dream they've always wished for. Here is my predictions and ones to watch for in 2013;

YEAH YEAH YEAHS - Ok, so technically its just Karen O who is the only female of the band- but she's the lead and amazing. YYYs are due to release album number 4 in 2013 so lets hope it brings them back to the festival circuit where they belong and driving indie kids everywhere wild.

HAIM - the three sisters from LA made a pretty prominent impression in 2012 releasing two singles and two EPS AND supporting the heroine that is Florence on her tour. We can expect the album to drop next year and for it to be a smasher.

THE STAVES - slightly undervalued and perhaps their issue of being too under the radar and reserved. But their music is amazing. Just not perhaps 'big' enough to make a big impact and so I fear will end up being a slow 'grower', but non the less-worthy of some attention

SHARON VON ETTRON - hyped by the Fly and all indie blogs and mags across the USA and UK. Topped for big things in 2013 and will easily fill tents in the summer

STEALING SHEEP - three Scousers with sparkling personalities and psychedelic tunes. Not cut out for the mainstream I fear, but certainly for the indie disco kids.

FOXES - Kayla - the lead has amazing vocals, can hold a stage on her own but perhaps sits in the shadow of other artists today. But if they can cough up a good enough album next year then I'll definitely take some time to pay attention to it after seeing her support other bands.

Kylie Minogue's 'The Abbey Road Sessions'

So the multi-millionaire pop starlet, Kylie, better known for perhaps her 80s cheese tracks including 'Better the Devil You Know', 'The Locomotion' and 'I Should be So Lucky'. Or maybe you're of a younger generation and are more acquainted with her dance era material including 'Can't Get You Out of My Head', 'All the Lovers', 'Slow' and 'Love at First Sight'? Either way, she's created a sixteen track album ranging in material but has twisted it all into altered, unheard versions of the tracks that made her a first-name sensation.

Aged 44 and arguably Britain's favourite Aussie, she's sustained her plateau of fame with a stripped down and instrumentally altered collection of her best hits. With a complete makeover, many of these tracks are completely unrecogniseable. You'll find yourself singing along, knowing all the words and still unable to put a finger on where exactly you know the song from until a signature line or melody from a chorus will alert you to the true nature and original sound of the track.

The swung version of 'On a night Like This' is something quite unexpected. The descending baseline is similar to that of Nina Simone's 'Feeling Good' whilst the build in strings and vocals creates huge drama and maturity that gives it a completely alternative persona. 'Hand on Your Heart' seems to have taken on an adorable southern state style through the use of bushes on the drums, a quaint guitar and charming vocals. Meanwhile, 'Confide in Me' seems to have taken on a much darker and dramatic version of its earlier self. I much prefer this 2012 version as the all important riffs, melody and general attitude have been kept, but appears to have been sandpapered down to a much better tidier track. 

Other tracks on the album do have a limit in imagination or element of predictability to them such as 'Can't Get You Out of My Head' and 'Flower', but how many different sounds can you get out of one female artist?

16 tracks? One re-recording by Nick Cave? How much more exciting could it get?

Available from the 29th Oct.

Favourite tracks; 'Hand on Your Heart', 'On a Night Like This' and 'Slow'.

Like the review? Then why not try Emilie Sande, Lana Del Rey and The Noisettes?

Jake Bugg's 'Jake Bugg' album

So the sulky, Nottingham soloist rocker made it to number one this Sunday in the album chart. Not easy in a day of the disco disco, trancey dubstep world that we seem to be living in. As I speak, the X Factor weekend was themed on club classics and the top 100 DJ list came out via DJ mag. LUCKILY this Monday has seen a slight change in Radio 1's distinctly varied but perhaps favoured dance preferences move over to shed light on the rock scene as it begins its 'Radio 1 Rocks'.

 Although perhaps not as hard core as Wolfmother, The Blackout and Linkin Park which are currently being featured by Radio One. Jake Bugg certainly has a traditional (i.e., Beatles, with a bit of Dylan ('Note to Self') influence or even a tease of Arctic Monkeys) rock sound. With raw vocals, an excellent use of effects that highlight his genre and by no means overshadows the purest element of the genre and good rock music. Especially in tracks 'Simple as This' and 'Trouble Town' the effects truly pulling and pushing Buggs' musical creation in the right direction.

 Ok so a few of the tracks have similar sounds and directions. However, I was pleasantly surprised at the overall content of the album. The slower tracks 'Seen It All', 'Simple As This', 'Country Song', 'Broken' really shine. Whereas the faster paced, hyped tracks debut single - 'Lightening Bolt', 'Two Fingers', 'Taste It' and 'Trouble Town' serve well as anthemic tunes. The hard edge to his voice only adds grit to each and everyone of the tracks.

'Two Fingers' could easily pass as an early Beatles track, with jingly jangly guitar, an ascending bass in the bridge and sing along chorus. Similarly, the length of most tracks average just 3 minutes (or the majority less) which brings songwriting back to its traditional root. Less self indulgent riffs, progression or vocal gymnastics. Its to the point and crude. I like it.

 A brilliant, young talent who exceeds himself live.

Fave tracks: Lightening Bolt, Broken Note to Self and Trouble Town.

Like Jake Bugg? Then check out Marching Donald, Jack White and Ben Howard

Annie Mac's 'AMP 2012' album review

The queen of Radio 1 and the UK DJ scene returns with her latest neatly curated compilation album.

If you're a slave (as I am ) to her Friday night show or gigs then you wont be surpised at the line up. For those you dont follow her so intensely - with their tongues hanging out then here's a summary of the highlights contained on the album; artists as big as Avicci (Levels), Madeon, Porter Robsinson, Florence and the Machine with Calvin Harris, Rudimental and Eric Prydz (remix of M83's 'Midnight City') sit side by side acts as small as AlunaGeorge, MMOTHS and Kindness. This only highlights how the UK's first lady of the decks brings the very best of dance musc toagther and not by relying on tracks that sell in bulk but by the quality of the actual tunes.

The album divides into two where the first album contains all the essentials needed for a heightened night out. The second CD contains more laid back tunes including AlunaGeorge's 'Watching Over You', Drake's 'Crew Love' and MMOTHS' 'Over You'. The mixing on the most part is strong with much time, money and effort poured into the record. There are the occasional changes in gear as tracks move from one to another (eg - Aluna George into Major Lazer) , however, transfers from Joe Goddard's remix of Nneaka's 'Shining Star' into Para One's 'Vibrations' as well as TNGHT's 'Higher Ground' into Nas' 'The Don' into Netsky's 'Love Has Gone' is simply superb.

The artists brought to the attention of the public certainly gain acknowledgement, fame and almost instant success through Annie's curation. Artists for example which performed at her AMP night at Bestival this summer included Disclosure, Mele and Jessie Ware. Annie stormed the Big Top tent at Bestival which was quite deservedly her own tent for the whole of the Saturday night. As the warm up act for dance legends Justice it only seems right that her Friday night show grows in recognition and that her club nights continue to take off. An appearance on Annie's show for those under the radar or even recognised but not always acknowledged artists usually serves as a gateway to fame.

The AMP logo is really building a name for itself by showcasing the latest talent in upcoming EDM. The compilation makes brings to the surface a mash of dance genres, new faces alongside those of the old and manages to sustain a level of decent music. I would be quite content simply raving to this album all night or in prep for a night out.

Faves; Gemini's remix of Emilei Sande, Iggy Azealia, Azeali Banks, Nneka (Joe Goddard's remix) of Shining Star.

Like Annie?? Then why not try SBTRKT or TEED (Totally Enormous Extinct Dinosaurs).

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'

Grimes' 'Visions' (with a bit of a speculation on the music industry)

Released in March, this intensely electronica and simultaneously relaxed record spills influences from Bjork, the darkest corners of dubstep and electronica.

 I love that such a large sound has been produced by a solo artist. Is this the future of EDM? Is this the future of the no longer existent bedroom-based-singer/songwriter? It would now appear that we expect musicians to be songwriters, DJs and producers as some kind of musical all in one. With artists such as Grimes, SBTRKT, Deadmau5, Jamie XX and Burial as well as top dogs Calvin Harris and David Guetta - the all in one music maker has some heavy burdens to carry over and above being able to strum a few chords. To produce tracks, or to even leap from the springboard into this kind of industry the music maker/DJ/producer needs good equipment, some kind of alter ego or persona (see Grimes with her eye on her head, Deadmau5 with his Mau5-head or Feed Me with his massive smile-one stage) as well as the expectations of recording their own stuff to get noticed in the first place AND perform it all live to sustain their popularity. In other words....it's HARD to break the scene with a modest budget and no plug sockets.

 That by no means says Grimes isn't a good musician. Her vocals are hypnostising and spectacularly eery which fuse well with the delicate keys and pads of the tracks. The illegibility of lyrics is one, insignificant problem. But, the fact that she can deliver these vocal lines live speaks volumes.  Catchy riffs, intense harmonies 'Skin' and 'Colour of Moonlight (Antiochus)' create a mature evolution in the tracks way beyond this 23 year old's career.

I find myself frowning in trying to understand the complexities of the melachonic shape of chords and harmonies (Skin). All I can feel is pain. Does it matter how she gets there with repetitive drum loop and lonely guitar melody? No. Other similar tracks include; 'Eight' all which speak volumes in dictating mood and emotion. Why should music always be so blatant?

Pop-ier tracks 'Genesis', 'Be A Body' and 'Oblivion' have a bubble bass line that is a venerable, potential victim for re-mixes. With 80s effects (including sweep pads, an old school drum track and tons of reverb) threaded into the various instrumental parts (especially in 'Oblivion') its hard to slap a genre sticker onto this track. I'm going to have a go anyway and say neo electronica pop? Yes. That sounds good enough to me.

 I hope that this is an album which sticks with me long term and isn't a fad or phase. With the rise of electronic music I'm sure Grimes will become a key leader of the pack to a more alternative approach to synthesised sounds.

Fave tracks: Genesis, Oblivion and Be A Body.

Like Grimes? Try SBTRKT .

BOY at The Borderline

  Fresh faced from Brighton-based-festival, The Great Escape just the weekend before, this female, swiss-German guitaring duo made their way to the rather cramped and jam-packed Borderline for a cheeky gig supported by a full band.

  Despite their relatively plain stage presense and modest personalities, they held their own on stage. I liked that this is the case with these two. No, they're not exactly in your face such as Jessie J or as introvert as perhaps Laura Marling, just sweet, nice, talented girls who can storm their own stuff live.

   With an album due for release in the summer, their genre of  music can be distinctively defined as indie pop. With catchy melodies, love sick harmonies and softly German-accented English you cant help but fall in love just a little bit with the two of them. Whilst on stage they give banter to the crowd and despite the language barrier, the two make good fun of themselves and the crowd. "We're disgusting... PAHAHAHHA HAHHAHAHA!!!" - goes the bassist Sonja Glass. "I mean-DISCUSSING!!!" And the entire venue falls about laughing. Absolute genuine charm.

  Catchy single 'Little Numbers' tip-toes around Regina Spector influenced piano fills and a catchy bassline that I plan on being (if not my own personal) a summer hit. I hope they have much more to offer us in the upcoming summer... Otherwise check out singles 'Drive' and 'Little Numbers'.

Jack White's 'Blunderbuss'

Ok, so it's been out for ages..... And yes, I've been slow on the uptake.

Recorded in Nashville (which is pretty well suited to the southern state roots this album has eg, 'Blunderbus' and 'I'm Shakin'') This first solo album by the rocker-of-three-bands (does that make him a band slut??) is not overly ambitious and ridiculously pretentious but contains strong song writing skills and a solid collection of a variety of tracks.

From the heavier 'Sixteen Saltines' to 'Freedom at 21' and 'I'm Shakin', the album contains the expected rock tracks that spill from the White Stripes era.

However, softer 'Missing Pieces', 'Love Interruption', 'Hip (Eponymous) Poor Boy' and 'Blunderbus' show just damn good instrumentation and song development with improvised bluesy like roots that I lap up on my morning commute.

Such a recogniseable vocalist will always have the challenge of trying to create a new record.  White has appeared to overcome this via creating the track, riffs and instrumentation (with excellent backing vocals) to be the focus. His vocal is not the main focus here unlike say, Thom Yorke.

He was outstanding on Jools Holland (on the 4th May) - go and catch up with it if you haven't already seen it. He's a brilliantly established musician who knows what he's doing and I can imagine to be the driving force behind his own success as opposed to leaning on a big team. This is even backed by the fact that Indie label XL (who Adele's signed to) has him on their roster. Smashing.

No more needs to be said. Go and buy it, Goddamn it.