Bye Bye!

I can't be arsed with this anymore. Anyway, I'll leave the blog open so you can leech off the albums I've posted.

Sex Pistols - Spunk

Booted from the master tapes, pressed and sold about a week before their debut LP (Bollocks) was shipped. The band members themselves have noted that the versions of the songs on this boot are the ones that they much preferred over the 'official' release. I agree, it's dirtier and Johnny Lydon's vocals are at their rawest and most ferocious.

Not only different production-wise, but lyrically sometimes. God Save The Queen and Bodies are the only songs off Bollocks not to be included, but there are a few exclusive tracks, notably No Fun a cover of The Stooges, which opens with Lydon growling 'a sociology lecture, psyyyychology, a bit of fuckology'. Coupled with the different takes on Anarchy in The UK and Pretty Vacant make this just devilish. This proves that the 'Pistols weren't just all show - you won't hear punk rawer or more ferocious than this. 

Rating: 9/10

El Guincho - Alegranza

Gorgeous, absolutely gorgeous. Only The Avalanches' Since I Left You, comes close to being as sunny as this record. It feels like you're in a pool party in some privately-owned Caribbean Island. El Guincho is basically a summer-time Panda Bear, putting several samples on loop and singing and dancing (probably)  jovially on top of them. 

Rating: 9/10

Apes and Androids - Blood Moon

Hailing from New York City, A & A seemed to have been beamed in from a galaxy far far away with their Big Bang explosive, euphoric, neo-classical songs that almost drown in their own enormous scope. 

This album is basically incredible. I mean they do a superb 'parody' of Of Montreal, classic Queen, one or two Buzzcocks worthy punk songs, and then right at the end they chuck in a few extra tracks that would probably have made In Rainbows.  I know there are seemingly billions of records you've 'just got to hear' right now, but seriously you need to hear this.

Rating: 8/10

Foals - Antidotes

Touted as the sound of 2008 by those we're told 'in the know', Foals certainly know how to make it hard for themselves, by leaving off their biggest hits 'Hummer' and 'Mathletics' from their debut. Not to mention ignoring David Sitek's version of their album.  The guy who's not only in TV On The Radio but produced Yeah Yeah Yeahs debut, and is behind the blossoming Brooklyn scene (Battles, Yeasayer, Dirty Projectors).  Foals then aren't afraid to be bold.

Unfortunately, if you didn't like the early singles there's nothing radically different here that'd change your mind. Yannis' yelping and the often too one-dimensional jittery indie-dance, is admittedly hit-and-miss. Aswell as the skin-tight rhythm section, horns have been added over some of the tracks to add a bit more depth. In truth though,  it's repetitive and you'll likely grow pretty bored after repeated listens. Even with its ephemerality and irritating repetition, there are some good songs that should keep you dancing for awhile - the industrial drums half-way into  'Balloons'  rescue it from just being another steadily 'frantic' song.  The album actually impresses the most, and Foals begin to display some promise after 'Balloons'. 'Heavy Water' shifts the listener into a bolder, dreamier second half. 'Big Big Love (Fig 2)' is a lush, almost psychedelic strum with schizoid drums threatening to break the peace. But no, the song flows deftly into 'Like Swimming' a totally instrumental track that's actually quite pleasing on the ears. 

All in all, if you enjoyed 'Hummer' or 'Mathletics' then you'll absolutely adore it, just don't think you'll be listening to this come next year.

Rating: 6/10

Black Kids - Wizard Of Ahhhs

"The Next Big Thing". "Has bloggers buzzing". "Critics raving". Three tired phrases that have been used to death when describing the Black Kids, and another key to hype is comparisons with some already established great bands. Something reviewers haven't been particularly modest in endowing BK with, The Cure and Arcade Fire both particular favourites. Both essentially inaccurate. Although, there's no denying the influence of Robert Smith's vocals on Youngblood, Black Kids are nowhere near as depressing, and are much tighter, well executed and just more fun than Arcade Fire. And yeah, when was the last time you heard synths in an Arcade Fire song?

Anyway, do Black Kids deserve all this rabid fervour? Of course they do! Wizard of Ahhhs their self-released debut EP that avoided CD-Rs and was released as a free download on their myspace, is a thrilling, synth-driven, energetic but sombre ode to pop's classic themes - love and heartbreak.

Hit the Heartbreaks is a cracking opener, beginning like fireworks exploding, and Youngblood yelping bitterly "it's not me it's you" - a real statement. Following, like an eager puppy afterwards is the ridiculously well-titled and just bouncily brilliant, 'I'm Not Gonna Teach Your Boyfriend How To Dance With You': it's like being admitted to a heavenly, melancholy kingdom in the sky called Synthtasia - both exhilarating and stupidly catchy (dare you not to shout out "Dance, dance, dance, dance!"). Hurricane Jane brings things back to Earth, with gloomy pizzicato bass, "it's Friday night and I ain't got nobody, so what's the use in making the bed", Youngblood strains - and you can almost picture him in the corner of his room crying. I can't even criticize, finishing with the weakest, most straightforward track I've Underestimated My Charm (Again), since it's still  single-worthy and has some delightful female-backing vocals.

Here's hoping they're album will match up to this. Ah stuff it, I think it will. Since Wizard of Ahhhs is all gold - a fantastic, timeless contrast of heart-rending lyrics, and pure life-affirming danceable pop. 

Rating: 8/10 

Adele - Hometown Glory [EP]

Getting mentioned at this years Brits and being plastered over the tabloids' paltry music sections will surely do wonders for Adele's upcoming album 19's commercial success, but it's left her isolated, easy prey for any vaguely indie music reviewer. So,  ignoring the hype, this lady clearly has a big voice. Comparisons with Amy Winehouse are perhaps a little generous, and unfortunately the emphasis on this EP is on sentimental ballads that reek of mediocrity and lyrical naivety.  

I know she's just 19, but on the eponymous first track she sings: "You get the people and the government, everybody taking different sides, shows that we ain't gonna stand shit, shows that we are united", it's down-right Kate Nash-like inexcusable. 'Daydreamer' almost killed any hope I had that she was not just another lovely singer-songwriter, especially being followed by the repetitive lull of her debut single 'Chasing Pavements', which seems to think - like too many awful pop acts - that relentlessly repeating some whimsical chorus makes a decent song. Thankfully, then, the last track shows some genuine promise. 'Painting Pictures' is a sultry romp, that slinks around the dancefloor, flashing its eyes, teasing, suggesting wryly what Adele's capable of.

So, Adele, please, please leave off the ballads.

Rating: 5/10