There’s very little that you could identify as Gorrillaz DNA in this album, apart from when Damon Albarn chirps into various tracks. This unfortunately sounds more like a cheap Diplo / Major Laser rip off with oodles of auto tune and retro synth stabs blagged from 90’s computer games.
Sadly, it seems that the 'innovators' have run out of ideas and become the 'imitators' and this album left me lacking in any affection for it. Track 8 "Charger" sounds distinctly like Albarn is having some sort of breakdown and these are the transcripts of his stint in the asylum. The fact that Grace Jones makes a small appearance only adds to the psych-ward vibe. It's only by track 10 that you start to associate this album with Gorillaz, sadly this isn’t in a good way, it sounds flat and uninspiring despite the bouncy baseline which is the tracks only endearing quality.
The final track leaves nothing to make you want to go back to this album with hints of musical theatre classics and some of Albarn’s weirder solo projects. The album slowly drifts out to sea at the end, and I won't be sending out a search party to get it back.
The Album is out on the 28th April.
Curse of Lono - Severed
If you can get over the connotations of the bands name and album title, as this really isn’t some death metal band, then this is really really worth a listen. I can only describe this as the unwanted bastard child of the Fleet Foxes and The Shins, who spent too long in the orphanage and as a result of his unloved upbringing, has a dark and twisted outlook on life but a fierce determination to succeed. This album is infectious, it sucks you in!
The band describe themselves as “Cinematic Southern Gothic Alt Rock”, I’m not sure I fully get the gothic influences despite the dark and moody atmosphere. Stand out tracks for me were “Pick Up The Pieces”, “Each Time You Hurt”, “Five Miles” and “Just My Head”. This album makes me want to hit the road and drive through the night.
JK is back with another dose of electro-funk. The album kicks off with “Shake It On” which reassures you of what you’re getting into with an indisputable JK funk classic. This track could happily sit on any Jamiroquai album and not seem out of place.
JK is the godfather of electro-funk and he’s sticking to what he does best in this album. Unlike the Gorillaz album I endured earlier, JK is keeping to his winning formula and not trying to break the mould too much. Expect no real surprises with this album, there’s a familiarity with all of the tracks. Some may say this is too similar to other previous releases and I would struggle to argue with that. Despite that - it’s a well concocted mix of tracks which you can’t help but get your funk on to. Tracks which stood out for me were “Hot Property”, “Shake It On” and the “We Can Do It”.
Pop duo Andrew Taggard and Alex Pall are making a big impact all over the world and have been getting a lot of action on Spotify. This debut album builds on the success of tracks like “Closer” and “Don’t Let Me Down” and includes collaborations with Emily Warren, Coldplay and Florida to name a few.
The lyrics will resonate with any hot blooded teen struggling to come to terms with their hormones and adolescent life. The narration on the trials and tribulations of life of the average teenager, will be a huge contribution to the albums success. I’m sure there will be plenty of people who think this album really talks to them and sums up their life. This album fills me with relief - thank fuck I’m not a teenager anymore…
Despite being well away from the target demographic of this album, I found it an enjoyable listen and can see why it’s gaining so much traction at the moment. Stand out tracks for me include “It Won’t Kill You” and “The One”.
Put your seatbelt on and hold on tight, things are about to get fucked up!
Skeewiff are back with a new album and it’s as mad as the hatter himself. The intro track is aptly named “Down The Rabbit Hole” and oh what a rabbit hole, it’s pretty messy down here I can tell you. There’s no real way to put this into a genre with fusions of funky electro-bhangra, Dub step break beats and synth stabs and orchestral strings, this is really beyond categorisation.
This is what would happen if the London Philharmonic Orchestra were spiked with acid, and given a load of synths and samplers to play with. So what are you waiting for, put on your bowler hat, hop on your Emu and strap yourself in for the ride.