Memories Of Home (feat BJ The Chicago Kid & Samora Pinderhuges)
Show Me That You Love (feat Jill Scott & Samora Pinderhuges)
My Fancy Free Future Love
God Is Love (feat Leon Bridges & Jonathan McReynolds)
Review: Hip hop giant Common remains hugely prolific despite a career spanning the best part of thirty years. Let Love is his 12th studio album and third in three years. It pulls in collaborators like Jill Scott, Swizz Beatz and A-Trak, but retains his trademark sense of storytelling. As the title suggests, it's a lovestruck affair with golden production and gently lilting beats that make for a touching listen. Shouting out his respect to Cardi B, ASAP Rocky, and Tyler The Creator along the way, this is an album of pure positivity, a place of light in these dark times, and another winner from this legendary artist.
Review: Given that eight years have passed since French techno stalwart Agoria released an album, it's little surprise to find that "Drift" sees him taking what he describes as "a new musical approach". On the accompanying press release, the Gallic veteran has described the set's sound as being inspired by "sitting on your sofa between your guilty pleasure and your tasteful opinion". In other words, it's a more open-minded and eclectic affair that mixes accessible, laidback vocal numbers (see the sparse tech-house-pop of opener "Embrace (feat Phoebe Killdeer)" and cheery chugger "You're Not Alone (feat Blase)" with nods towards wonky, off-kilter electronic hip-hop (STS hook-up "Call Of The Wild") and a swathe of heavier, club-leaning cuts inspired by his love of techno and Italo-disco.
Gorgon City & Duke Dumont - "Real Life" (feat Naations)
Blame (feat Josh Barry)
Go Deep (feat Kamille & Ghosted)
Let It Go (feat Naations)
One Last Song (feat JP Cooper)
Never Enough (feat Chenai)
Hear That (feat D Double E)
All Four Walls (feat Vaults)
Love Me (feat Lulu James)
Overdose (feat Josh Barry)
Night Drive (feat Kelly Kiara)
Review: North London duo Gorgon City have pushed the boat out on this follow-up to hit 2014 debut album, Sirens, delivering a set of radio-friendly vocal dance cuts that brilliantly blend their usual retro-futurist house and garage rhythms with thrilling pop hooks and musical flourishes variously inspired by '90s piano house, R&B, dancehall, grime and UK garage. The expansive cast list of collaborators and guest vocalists is naturally impressive, with pal Duke Dumont, grime pioneer D Double E, R&B chanteuse Kamile, Josh Barry, JP Cooper and Vaults amongst the strongest contributors. As crossover dance albums go, Escape is pretty nifty.
Review: Not many people would have put a bet on The Libertines making a third album, yet here it is, as bold as brass and portraying a band in the kind of rude health that would have been considered unthinkable a decade or so ago. Producer Jake Gosling, most famous as an A-list pop producer, may have polished the ditties of the Wilfred Owen-referencing 'Anthems For Doomed Youth' to a sheen, yet the band's ragtag charm and romantic bluster is still present and correct, and indeed the irony may be that beyond all the hyperbole and drug-fuelled acrimony of their heyday, the band appear to be firing on all cylinders now as never before.
Review: London alt-rock trio Yak have revealed their much desired follow-up to their debut album, Alas Salvation. With new and old members jostled in and of the band during this album's rocky inception (including Tame Impala's Jay Watson), a rotated cast eventually ironed out its crinkles, and with the help of former Bjork and Django Django album producer, Marta Salogni, Yak's difficult second album, in 10 hectic days, was achieved. With both NME and Q magazine's tipping their nod of approval Yak's way, the steely, blue-eyed defiance of the trio dismiss any notion of the tired cliche that guitar music is a bygone thing. The freshest second album since Kasabian's Empire, Tame Impala's Lonerism and Bloc Party's A Weekend In The City.
Review: The third album from Marika Hackman, and arguably her most honest and exposed to date. An artist who has tangibly progressed from what was already a head start, it's a complex record that seems to be the sum of the artist's previous parts. A proud and forthright declaration of someone arriving at where they want to be wouldn't be putting it too far. It's scuzzy, desolate, bleak and then at the same time energetic, poised, guttural, disco. Tracks such as "Send My Love" couldn't be more emotionally charged, but nor could they be more inviting- somewhere between this life and the next- inviting and then visceral. Flip it and find "Conventional Ride" and "Come Undone" as two tracks that are entirely different but share one thing in common; a heartbreaking work of extraordinary genius.