Review: This Essex four-piece are purveyors of a stylish and succinct brand of guitar-driven indie rock that nods to the like of Royal Blood's heavy riffing and The Dandy Warhols' arch pop tunesmithery, arriving at a black leather jacket racket that makes its presence felt with hooks and swagger, arriving at a continuum that unites Britpop vim and vigour with a more twenty-first century brand of attack. The Bohicas style themselves as 'The kind of S-t that Marv from Sin City would listen to', and indeed the thuggish efficiency of 'The Making Of' is redolent of a band who have their sights set on mainstream glory and aren't ashamed to admit it.
Review: Katie Stelmanis, the spectrally-voiced and ferociously-talented figure behind maverick electro-pop outfit Austra, set herself the not inconsiderable target of setting out 'a commitment to replace the approaching dystopia' with this third album, yet against all odds she's done a sterling job of marrying the icy binary chill of technology with a very human frailty to emerge with a defiant and emotionally affecting statement of intent. Indelible melody and Stelmanis' extraordinary tones may dominate, yet the sonic landscapes here - equally bracing and beatific - have the rare effect of making the listener hopeful for what 2017 has in store.
Review: Having made their name as modern-day aesthetes with a series of records that meld the cerebral and the physical with style, 'Boy King' appears to be the point in which the Will Beasts allow their id to run rampant in a way befitting their name. Recorded in Dallas with producer John Congleton (St. Vincent) it shows them heading towards a notably more aggressive, electronic and masculine sound, at once influenced by the binary thump of Nine Inch Nails and the sonic brinksmanship of 'Yeezus' era Kanye West. Odder still, this gamble has more than paid off, and 'Boy King' is the sound of the band at their most vibrant and persuasive.