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.

Richard Hawley's 'Standing a the Sky's Edge'

Opening with an eeriness, this album moves through the genres of late 90s rock and indie guitar music into it’s own developed record with fixed ideas in direction. Influences I think Hawley takes on for this album include; Oasis, Embrace, The Verve and to a certain extent, relatively newcomers to the scene, The Horrors. Hawley is a well established musician, probably best known for his short spell in Pulp, but it is obvious from the start that these British guitar bands are what contributes to the shape and feel of the album. This doesn’t by any means allow for this album to sound all samey-samey. The lazy, British and Faris from the Horrors-esque like vocals really gives it something that makes it stand apart from any average Kasabian, Mark Knopfler or My Morning Jacket record.

Track 1, ‘She Brings The Sunlight’ has a pretty large soundscape. With instrumentation including a pretty brash sitar and violin, the development of the parts work well to create a strong introductory track to the rest for the album. The guitar solo at 4:03 was inevitable, but with a splash of flange, it creates the perfect harmony between the melody of the solo and the sitar in the background.

‘Standing At the Sky’s Edge’ is a chilled out, reminiscent-of-a -Moby track with a soft piano part, lots of reverb, sustained vocals on harmony and a close mic (this also goes for ‘The Wood Colliers Grave’). All in all a very relaxing and unhurried track that deviates (shortly) from direction to a pointless, downwards chordal progression but otherwise the track is memorable and worthy of the album title to summarise the atmosphere. 

‘Seek It’ and ‘Don’t Stare At The Sun’ give a more relaxed feel. With a repetitive riff in 'Seek It', its easy to kick your feet up and relax. ‘Dont Stare at The Sun’ contains less effects on the vocals add uses brushes on drums with an acoustic guitar that soothes the mood. This also goes for ‘Before’ which is excellently produced and has a wonderful build up into the escapism-like-instrumental.

It has to be said that by the time you get to track 7, ‘The Wood Colliers Grave’ you’re ready for a bit of a pick up... Which luckily is indulged by ‘Leave your Body Behind You’. A drum-heavy and instrumentally busier track then the rest of the tracks, providing a colourful side in a minor key. With a simple and catchy bassline, predictable chords and riffs it’s a compact and well written track that I fear is slightly overburdened in production where the (albeit repetitive and relatively simple) vocals are abandoned. But as ever, the guitar part is brought to the forefront from the mid section onwards to rock the heck out of the back-end of the track.

More impressive guitar indulgence can be found in ‘She Brings The Light’, ‘The End of Time Will Bring You Winter’, ‘Before’ and ‘Leave Your Body behind You’. Produced well with effects are essential here. Meanwhile, the continuous movement of the album such as ‘Time Will Bring You Winter’ into ‘Down In the Woods’ shows maturity, strong awareness of music and the needs of the listener to play on moods.

All in all, an enjoyable, well respected album in my opinion. If my Dad was into cooler music I’d happily share this with him, but as his collection consists of Enya, The Corrs and Savage Garden I think I’ll just keep it to myself....(and you guys!)

 Like Richard Hawley? Then why not try Bombay Bicycle Club? The Black Keys or Jack Savoretti? 

Jodie Marie's 'Mountain Echo'

The enticing vocals of Miss Marie are enough to sell this album by itself. It's unquestionable that she has a beautiful voice with the ability to seep across many genres from pop into folk, jazz and blues. One could argue she has a tone (especially in 'Greeney-Blue') that matches Laura Marling (which believe you me is a compliment and a half from me as I am her NO. 1 FAN). This is really explored in the album. From the more bluesy tracks ('Singing Black Canvas') to the jazzier ('I Got You') and just for good measure some folk ('Greeney-Blue'), all tracks incorporate her abilities as a vocalist to showcase the extend of her voice.

 This however does sometimes act as a tad of downfall to the album. The change of direction in genres confuses me slightly. Undoubtedly, genres such as bluegrass, folk and blues have similar ties with each other...but I feel that if there was more binding of direction, the album may sound slightly more developed and perhaps mature. The album is one which shows some real highlights that sparkle just that little bit more than other, weaker tracks ('Remember Me') where there's simply not enough musical development.

 Saying that though, it doesn't stop me from enjoying the range of this genre-jumbled album. 'Greeney-Blue' for instance is a beautiful soft folk tune with lazy guitar accompaniment and a strong level of command in the vocal. 'What Would It Take?' matches this similar style but not to the quality or maturity that 'Greeney- Blue' has.

Upbeat, classy and jazzy 'I Got You', uses huge orchestration inclusive of strings, many guitar parts and  an organ to really add va va voom. Vocals let rip here which I enjoy after the contrast of Greeney-Blue beforehand. However, I'm uncertain as to whether the vocals are still big enough to match the sheer size of the instrumentation. I would've also really liked maybe a break-down in the middle to add an extra section and some suspension to the track. However, I consider it to be a well composed, catchy and finger clickin' good! Similarly, largely orchestrated 'On The Road' is a delightfully bright, exciting and catchy gem which matches Marie's vocals in all it's grandeur.

'Like a Runaway' is a very Alison Kraus-like-country-come-bluegrass track. The use of country electric guitar, harmonies on vocals, brushes on drums and saloon styled piano helps point this album is a slightly alternative light. I think the contrast in these genres, such as the pop-ier track 'Numb' goes to show just how well the album is produced. Not only is the delicacies of Marie's vocals captured well ('Greeney-Blue'), but the right feel for the more country orientated tracks and prioritising of instrumentation against effects and the placement of vocals has really been produced very well.

My fave tracks are; 'Greeney', 'On the Road' and 'I Got You'.

Like Jodie Marie? Then why not try Lianne La Havas, Honey Ryder or Marching Donald?