Review: Running through their third record, there's a feeling that Django Django have wildly eclectic tastes, and with infectious and nervous excitement want to create music that patches it all together, dodging pigeonholes and subverting their listener's expectations in the process. Stark changes in direction happen from track to track, and often within the songs themselves: take for example the tone set with powerhouse synth-pop opener 'Marble Skies', which is immediately turned on its head with second track 'Surface To Air', a brash and addictive dancehall jam, by the fourth track 'Tic Tac Toe' they're fully immersed in euphoric indie-psych. These changes in gear happen throughout the album, and it's to the band's credit that the individual songs and the album as a whole, bind together so well. This risk-taking is what makes Marble Skies a highly accomplished and ambitious album, but perhaps more importantly, their most fun album so far.
Review: This East London duo honed their style in their own studios, sculpting a homespun sound that marries electronic innovation with a warmly soulful approach redolent of a welcome British answer to the glitzy R&B more commonly found across the Atlantic - kneed that rendered bt self-admitted heroes of this pair such as Usher. Yet boasting a neon-drenched late night aesthetic that's somehow maintains enough brio and quirky charm to avoid it sounding like the soundtrack to a perfume advert, 'Warm On A Cold Night' is as sleek and sophisticated as it is earthy and characterful.
Review: This Melbourne-based outfit, notable for containing no fewer than three singer-songwriters in their ranks, are a tonic and a half for anyone who grew up on the Velvets-indebted indie-pop of the '80s - outfits like The Feelies and The Go-Betweens, or the Flying Nun stable - offering a similarly sprightly, sharply perceptive and richly melodic sound as well as a playful freshness of approach. This six-song collection sees them building on the promise of their earlier 'Talk Tight' with elan, and an almost objectionable amount of songwriting acumen. Few in the current indie milieu are quite so adept at making such a time-honoured sound hit so brand new.
Review: A teaser single to the forthcoming album from Black Bananas. On the A-side, the multi-channel frequency overspill that flows freely through Black Bananas' sound has been combed up into a glamour 'do, ready to groove through a night on the town.Waves of the late light beam across the water, cool in the evening as we head out to tha club, where the guitars are MIDI, the synths bump'n'grind the beat and arc melodies high above the crowd's head, and the gasping of the clubbers is always on the one. Jennifer's sweet delivery is an ode to the stone soul joy of being out on the tiles. This track's a blast from an alternate dimension of weirdness, perfectly nailed from top to bottom. The B-side reworks the glare of recent glory. With four on the floor like they just don't care no more, Hot Chip outline the physical motions of Rad Times Xpress IV's "TV Trouble," with a hot remix.
Review: Listening to the awaited full length of The National's Aaron Dessner and Justin Vernon's (Bon Iver) Big Red Machine project and it's hard not to think they've invested themselves in discovering deeper strands of electronic music, or production... if the sporadic drum machine work of "Deep Green" is anything to go by. "I Won't Run From It" however sees the pair back in their full choral beauty, presenting a song for thousands to potentially wave their hands this summer. This Big Red Machine was produced over the past two years involving many-a collaboration from New York and its artistic community, with the band themself saying: "this feels like something new-the process felt different and the outcome felt different." Check it.