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.