Review: If there were still justice in the digital age, and artists really got what was owed to them exposure-wise, Alex Cameron would be a safe bet for leftfield pop sensation. A multi-faceted songwriter, his previous two albums took us through a horror show of horrible characters and their innermost thoughts, twin roads that have somehow veered onto another course altogether for "Miami Memory". Here a much friendlier face is donned. Nevertheless, opener "Stepdad" makes intentions clear, with uptempo keyboard lines invoking the emotional qualities of mid-80s Prince. "Far From Born Again" tells the story of a "her" who's making bad choices, and the potential fallout of that, set to a Bruce Springsteen-sounding chorus, the likes of which can be found again on "Divorce". Not holding back, but instead holding a light up to a different side of his personality, it's Cameron's most positive to date and his best.
Review: "Father Of The Bride", Vampire Weekend's first album for six long years, has been receiving praise across the board from critics. It's been variously described as a "modern California pop masterpiece", a "scrapbook of brilliant ideas" and "the band's magnum opus". To our ears, it's certainly joyous and celebratory, with the acclaimed New York band wrapping their usual punchy-indie pop in subtle and not so subtle nods towards everything from Flamenco and Country music, to mournful piano ballads, excitable electronic indie-dance and 1960s baroque pop. In other words, it's a giddy collection of inventive, enjoyable songs that boasts the same eclectic, anything-goes swagger as the Beatles "White Album" or other similar wide-ranging sets.
Review: We're now over thirty years on from the era in which the Reid brothers were a headline and riot creating hype machine, yet if 'Damage And Joy' proves one anything, it's that the strange cocktail of insouciance and nihilism with which they made their reputation is an evergreen thing. This collection of surprisingly upbeat garage-rockers and languid ballads is carved in the same alluring classicist shapes that the brothers have made their trademark, yet the band - aided and abetted by collaborators like Sky Ferreira and Isobel Campbell - sound alarmingly vivacious for ones who've made their name through narcotic cool, whilst these songs bear an indelible imprint of melodic charm and three-chord rawness.
Review: From the moment opening track "Giving Up" hits you with its timeless pop rock romanticism you're immediately transported to some bygone era, when the charts really meant something, everything on the radio inspired boy-meeting-girl, vice versa, or indeed non-binary-meeting-non-binary. You know - when things were right with the world. Dangerously close to pastiche, the quality of the songwriting and infectious instrumentation elevate this second long form from Chicago's greatest hope(s) to a whole other level. Listen to the brass work on "Rhododendron", a jaunty walk in the park after that surprisingly good first date. "Valleys (My Love)" anthemic chorus and lilting strings. The crooning guitars of "Before I Know It". These tracks pay homage to golden era love songs, when mainstream was experimental because so little had come before. And yet they all stand up today - mesmerising proof that fashions come and go, but style is omnipresent.
Review: Thirteen studio albums in, and 'Colors' sees Beck maybe at his most playful and upbeat since the late '90s. Title track 'Colors' opens the albums with an immediacy that bursts out like a heavily polished 'Devil's Haircut'. The album veers off in all kinds of pop directions, from the anthemic 'Seventh Heaven', to the almost trap-like 'Wow', Beck shows he's willing to experiment and wrangle as much as possible into an album. It might not be his most contemplative record, but it's definitely his glossiest and most entertaining in a while, and promises a rollercoaster ride from start to finish.
Review: Hot Chip are back! The coolest dudes since Devo return like a monkey with a miniature cymbal with their seventh full length album. With vocoding effects layered over the sweet tone of Alexis Taylor's voice referencing all matter of contemporary and retro-active pop and trance sensibilities, this album once again sees Hot Chip at the front of pioneering, friendly and avant garde pop music. Produced by the late Philippe Zdar (one half of Cassius) - also responsible for applying award winning touches to albums by Phoenix and Cat Power, Domino is calling the record "a celebration of joy but recognises the struggle it can take to get to that point of happiness". Our tips: album opener "Melody Of Love" and the '80s trance-pop that is "Hungry Child".
Review: When it comes to music, the coming together of Sub Pop and Mudhoney's first release in five years doesn't get anymore Seattle than this. Earlier this year the legendary west coast band released the live album LiE, proving their roots are still firmly grounded in causing a racket, while the lyrical sense written into tracks on this album still brandish the band's light sense of dark humour. At first glance, Digital Garbage comes across as a record that takes a deal of its angst out on the clergy, with tracks like "Please Mr Gunman" intoning: 'please don't be an inconsiderate prick, we'd rather die in church" to "21st Century Pharisees" wailing lyrics: "sanctimonious pieces of shit." Mudhoney as always, still keeping it bitter, still keeping it sweet.