Is there a chance, I venture, that, minus the booze, their shows – chaotic affairs treading a fine line between reaching for righteous greatness and collapsing under their own heaving fury – might lose their edge? At an age where the pressure is on to have everything worked out, Harding sounds delightfully free. Tonight, their 80-minute set list dispatches austerity (“Divide and Conquer”), anti-immigration rhetoric (“Danny Nedelko”), and small-town frustrations (“Never Fight a Man with a Perm”). “I’ll change them all day long, mate,” Talbot says. The spat between these two icons of austerity-era post-punk has been battering away for quite a while now. It’s all very millennial. That’s the predominant theme of the singer / rapper / flautist-extraordinaire’s hugely likeable third album, Cuz I Love You. In fact, the LA producer has been masterminding Flamagra for the past five years – snatching moments between collaborating with Kendrick Lamar on To Pimp a Butterfly, directing and writing the comic horror movie Kuso, producing much of Thundercat’s Drunk and growing his Brainfeeder label. But then Idles – that’s Talbot as well as guitarists Mark Bowen and Lee Kiernan, bassist Adam Devonshire and drummer Jon Beavis – are nothing if not about contradictory. Vinyl and CD 1 – 16 of 16 . “These are things which, as a band, we discuss and we’re interested in, so we put them in the music,” the singer shrugs. Her whispering, spectral delivery and deeply personal lyrics are the key to this. Verse 1 Music for the masses I’m out classed here mate Inbetween the tashes And splash out on shit I’d better get a penny farthing Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process. “And now we get to be parents,” he says. For a start, the range of guest performers is a cornucopia of contemporary soul and hip-hop collaborators: vocalists Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend and Tawiah; strings player Miguel Atwood-Ferguson, and keyboardist Dennis Hamm – both of whom have worked with Flying Lotus and Thundercat. It’s technically a follow-up to 2014’s The Wild, the Wilderness, but the newfound boldness on this new work is startling. Philippe Zdar – one half of the French duo Cassius and producer for the likes of MC Solaar and Phoenix – helps the band reconcile their house and hip-hop influences. Those hoping for a barbed protest record in keeping with Del Rey’s newfound public activism (last year she called President Trump a “narcissist” who “believes it’s OK to grab a woman by the pussy just because he’s famous”) will be disappointed. But we were already in hospital, and they got her out. The Leftfield album Alternative Light Source, released on 8 June 2015, also features a collaboration with Sleaford Mods, a track called "Head and Shoulders". One minute you’re skanking along to the party brass of “Bloodline”; the next floating into the semi-detached, heartbreak of “Ghostin’”, which appears to address Grande’s guilt at being with Davidson while pining for Miller. She embraces her pain, and as a consequence is able to let it go. (Roisin O'Connor), There’s more of a soul influence here – “HER Love”, the counterpoint to his 1994 track “I Used to Love HER”, benefits from the gospel-like vocals of Daniel Caesar and Dwele, while “Memories of Home” skitters over a muffled bass and Common’s recollections of his past – including an incident where he was molested by a family member. The emotional cohesion the record loses in its shifting cast of singers/songwriters/genres it makes up in DJ-savvy textural variety. “I forgot that you existed. Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. Familiar faces and themes serve as his trademarks. (Alexandra Pollard), Frontman Corey Taylor, who had just emerged from a toxic relationship when recording this album, addresses feelings of belittlement and inadequacy with unflinching honesty and some of his best vocal work in years. You’re inclined to agree with him. (Roisin O'Connor), There are plenty of surprises, like Swizz Beats singing on “Who Are You” against elegant violins that recall a Kamasi Washington composition. “I know it’s late for lullabies, but the future is yours and mine,” he sings, alongside upbeat whoops and Radio 2-friendly guitars. Amo won’t satisfy all of BMTH’s fans, but it’s certainly accomplished, catchy and eclectic enough to bring in some new ones. Assertive tracks “Loyal to Me” and “Love Letter” nod to TLC’s “No Scrubs” and Destiny’s Child’s “Survivor”, but there is vulnerability, too, in the acoustic guitar-led neo-soul of “Somebody Special”, and the tender heartbreak on ”Is it Really Me You’re Missing”. (Elisa Bray), Rose – who found fame in the UK’s indie-folk scene as an unofficial member of Bombay Bicycle Club in 2010, only to walk away amid the band’s growing hype – is darkly compelling on No Words Left. (Helen Brown), Fender drew plenty of early comparisons to Bruce Springsteen – on Hypersonic Missiles they’re entirely warranted, as much for the instrumentation as the lyricism and his vignettes of working-class struggle. Addressing a younger version of herself, the 37-year-old sings of the carefree young and their mistrust of those defeated by time. A 2013 7″ release of Jobseeker, on Belgian label KRAAK, is listed from £90, while Tied Up In Nottz, on German label Little Teddy, goes for £70-plus. Williamson has cited influences including the mod subculture, the Wu-Tang Clan, Stone Roses, Nas, Red Snapper, Trim, Two Lone Swordsmen, rave and black metal. Are you sure you want to mark this comment as inappropriate? It’s the first night of the new Idles tour. III is Banks’s most cohesive album to date because she’s no longer restricting herself to exploring one feeling at a time. The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral. Grunge-rinsed, feminist-flipped, upcycled Fifties guitar an’ all: Crushing is a triumph. You’ll already have heard “Nothing Breaks Like a Heart”, on which Miley Cyrus channels the quavering, fearless bluegrass spirit of her godmother Dolly Parton over a briskly plucked guitar. The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt. [19] Fearn's music has been described as "purgatorial loop[s]" of "pugilistic post-punk-style bass; functional but unprepossessing beats; occasional cheap keyboard riffs and listless wafts of guitar. (RO), On his debut album, the 24-year-old Collard mixes sultry jams that recall the electronic funk of MGMT with nods to the greats: Prince, James Brown, Led Zeppelin and Marvin Gaye. It lacks a centrepiece to match the arresting depth and space of Sweetener’s “God Is A Woman”, but Grande handles its shifting moods and cast of producers (including pop machines Max Martin and Tommy Brown) with engaging class and momentum. (RO), Dedicated covers the full, but generic, spectrum of relationships: dizzying love, lust, and break-ups. (Jazz Monroe), BMTH frontman Oli Sykes wants to assert the fragility of the boundary between love and hate. As with the dreamy “Upset My Girlfriend”, which speaks of a man about to propose to his partner despite the fight they’re in, it’s an album stranded somewhere between pure joy and unexplainable sadness; like slapping on a false smile despite feeling miserable, and recognising how much it helps in the moment. A must-have for anyone who has a heart. Even when she’s singing, “I’ve wasted my youth”, it’s in that sweet voice, with carefree “doo doo doo doo doo doos”, and at a pace that’s so upbeat that it masks the sentiment. From frenetic opener “Bored and Razed”, you can sense the compelling chemistry between Benson and White playing out on stage as the duo harmonise or sing in unison, and White strikes frenzied riffs alongside Benson’s melodic guitar chops. Hopefully fans will, too. There are sax solos (more than one), and pounding rhythms that make you want to jump in a car and drive down a highway at sunset, and blistering electric guitars next to classic troubadour acoustics. Parfrement left the music production to Andrew Fearn after the release of the 2012 album Wank, the first album to feature Andrew Fearn, but continues to play an important role in the band as their photographer and media producer.[13][14]. High quality Sleaford Mods gifts and merchandise. On it, O’Riordan, who recorded demos for the album’s 11 tracks before her death in January last year, sings: “Fighting’s not the answer/ Fighting’s not the cure/ It’s eating you like cancer/ It’s killing you for sure.” The band have spoken about how O’Riordan was singing about leaving many of the negative things in her life behind. Just three weeks ago, he and wife Beth welcomed daughter Frida Ray to the world. Saturday 9 January, live from Village Underground His trademark intelligence, honesty and pin-drop production remain intact. [15] They recorded a track "Ibiza" together which appears on The Prodigy album The Day Is My Enemy, released in March 2015. (Elisa Bray), In keeping with the relatively restrained guest spots, it’s heartening just how much Skepta has rejected overloading Ignorance is Bliss with high-profile producers, preferring instead to burrow into his own aesthetic. She joins forces once again with PJ Harvey collaborator John Harvey, and also enlists Welsh musicians Stephen Black (Sweet Baboo) and Huw Evans (H Hawkline) plus Clare Mactaggart on violin, giving Designer a generously textured feel. Instead, she’s been busy honing her craft for Grey Area, which sees her land on a new, bolder sound assisted by her childhood friend – the producer Inflo [Michael Kiwanuka’s Love & Hate] – for a record that incorporates her dextrous flow and superb wordplay with an eclectic range of influences. The result is a quintessentially London record, as dark and moody as it is brash and innovative. At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Only a few minutes earlier we were talking about nappies. It’s hard not to consider his timing for this release, just three months since the 25th anniversary of Illmatic. It’s just we do that with big slabs of violent music.”. I’m not saying they should believe what I believe. Andrew Fearn’s beats are no longer just the backdrop, they’re threatening to take over this album. Help Us Stranger has been a long time coming, but it was worth the wait. Click to expand... i've not been to many gigs in last 2 years, just surprised at how much it is, but if thats the going rate then so be it. Sleaford Mods — Invisible Britain is a documentary film following the band Sleaford Mods on a tour of the United Kingdom in the run-up to the 2015 general election. (Roisin O'Connor), This is an ambitious creation, meticulously crafted and assembled. “He attacked me personally, and suddenly everyone was questioning my authenticity. Flamagra – a playful yet melancholic, skittish yet meditative 67 minutes of cosmic genius – is one of Flying Lotus’s most accessible releases. It’s masterful production. “They transported her to hospital but she died en route. Then she growls like an Icelandic volcano preparing to disrupt western civilisation until we sort ourselves out. Jul 21, 2019 - The modern sound of Britain: disaffected, austerity ridden, hungry, homeless, isolated and fooked off by the tories and the bwankers.....more Mods!. When Lizzo played Coachella earlier this week, her set was plagued by technical problems. If there’s a twist here, it’s final song “Georgia”, which takes its classic-rock licks straight out of the Eagles’ songwriting book. Ahead of their London shows, the socially conscious post-punks address their running feud, and discuss personal tragedy with Colin Drury, Find your bookmarks in your Independent Premium section, under my profile. (Roisin O’Connor), If you want to know how hard it is to categorise Titanic Rising – the enthralling fourth album from Weyes Blood – look no further than the American musician’s own attempt to do so. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. Booking price. The euphoric, Eighties synth-laden “Want You in My Room” is most distinctive, both vocally and melodically, and was co-written and produced by Jack Antonoff, indie tunesmith for fun. [9][10] Fearn (born 1971 in Burton upon Trent) grew up on a farm in Saxilby, Lincolnshire.[6][11]. Their line of thinking is that, because Talbot grew up the son of middle-class parents in an affluent Exeter suburb – dad an artist; mum an inland revenue worker – his support of left-wing causes is an affectation. There’s some of that, as vocalist Jason Williamson skewers documentary-makers who take advantage of the poor in “Kebab Spider” – “the skint get used in loo roll shoes” – but elsewhere this is a record that expands the idea of what Sleaford Mods could be. But racism, homophobia, austerity – we’re f***ing musicians, artists, we should be at the forefront of confronting those things. Her birth came two years after the couple’s first child, Agatha, was stillborn – a tragedy agonisingly documented on “June”, the eviscerating stand-out song of last year’s critically adored, top five album, Joy as an Act of Resistance. What the f*** is wrong with the guy?” spits Talbot. Echoing similar movements seen in recent years, such as Fannie Sosa and niv Acosta’s “Black Power Naps” exhibition – which speaks to and hopes to remedy the socio-economic problem of higher rates of sleep deprivation among black people – the album has a calming, blissed-out quality, with its layers of sound and enveloping harmonies. “He said, ‘It’s really nice to have your sort of music on the show,’” says Bowen, a qualified NHS dentist, who used to practise. Otherwise, what’s the point?”, I ask about the song “Samaritans” and its growled chorus: “I’m a real boy, boy, and I cry.”, “It’s about it being OK to grieve and to show emotion,” says Talbot. “House of Glass” is a sequence of frenzied mutterings with a buzzsaw guitar cutting through his attempts to convince himself of love’s existence. The bass and riff-driven “Now That You’re Gone” feels stripped back by comparison; it’s perfectly crafted. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. News. (Helen Brown), With praise from Kendrick Lamar, five EPs released by the time she was 21, tours with Lauryn Hill, collaborations with Gorillaz and two critically praised albums – including 2017’s excellent concept album Stillness in Wonderland – fans and critics alike wondered what else Little Simz could do to find the kind of mainstream success enjoyed by so many of her male peers. We’ve been writing about Sleaford Mods for a while now. (Patrick Smith), The tones here are stark and bleak, compared to the claustrophobia of 2014’s Tomorrow’s Modern Boxes. Sleaford Mods have taken aim at Arctic Monkeys, Miles Kane and Paul Weller - accusing Alex Turner of becoming 'cornered by money'. Tracks are at once astute and deeply personal in how they capture vignettes of everyday life and spin them into important lessons. (Roisin O"Connor), Mikey Shuman shares vocal duties with Tyler Parkford; his voice falls somewhere between the sleazy drawl of his QOTSA bandmate Josh Homme and Alex Turner’s more adenoidal tone on opener “We Should Be Dancing”. It couldn’t be more timely. Assisted by producer Tim Bidwell, who worked on Rose’s last record Something’s Changing, she sounds braver than she ever has before. Over urgent, darting violin notes and soft strumming on an acoustic guitar, Sykes sings about the loss of a close friend, building to a hair-raising climax where he screams out the song’s title one last time. The production here is superb. Please be respectful when making a comment and adhere to our Community Guidelines. Having appeared in various forms as far back as 2007’s The Mekon, it grabbed the attention as the second track on the exceptional 2014 singles collection Chubbed Up. The way she has structured this record takes the listener through the complicated yet nuanced emotions of a woman who has recently learnt to accept everything she feels. We’re backstage at the Sheffield Leadmill, talking in the band’s dressing room ahead of their biggest tour to date – which includes three nights at London’s Electric Ballroom from Thursday. Bunch of Kunst (2017) as Himself. Wonderfully unsettling. Guest rapper Kojey Radical takes on the role of preacher for “Ground Control”. It is somehow strange, two hours later, to reconcile this image of domesticity with the 34-year-old snarling and stalking the Leadmill stage, a physical embodiment of his band’s songs: wiry, ferocious, ever-so-slightly threatening. Springsteen’s sublime portraiture of the American struggle – his protagonists walking with him through the ages of life as he goes – endures. Sleaford Mods contact information (name, email address, phone number). Charli’s always so much cooler when she swaps the people-pleasing nostalgic for the free-wheeling futuristic. “We used to do young and stupid,” Skepta concludes on “Gangsta”. Over all of it, he raps with an easy flow in gruff yet honeyed tones. Death is everywhere on Why Hasn’t Everything Already Disappeared?, as much as others may refuse to see it. For your event’s refund or credit eligibility visit your account or learn more about options for canceled, rescheduled and postponed events. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. Inspired designs on t-shirts, posters, stickers, home decor, and more by independent artists and designers from around the world. “Crying Your Eyes Out” appears to be a sombre piano ballad until it ramps up the angst with plaintive vocals, conjuring up a storm with swirling rhythms. Sigrid has a raw energy and emotional briskness that can make you feel like you’re doing aerobics in neon leg warmers atop a pristine mountain. The album takes in everything from jazz, funk and soul to punk and heavy rock, plus three carefully chosen features. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. Perhaps Sleaford Mods’ most important statement is still Jobseeker. (Roisin O'Connor), This self-titled record, a loose but beautifully crafted collection of folk-rock songs, explores the kinds of anxieties intrinsic to the modern age – the longing to be at once noticed and invisible; the paralysing effects of limitless information, and the desire to do good versus the desire to be seen doing good. Williamson formed the band with Simon Parfrement, who he worked with alongside a studio engineer at Rubber Biscuit Studio in Nottingham on their first four albums. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. “Something magical happened one night,” she sings. Yanya – who is of Turkish-Irish-Bajan heritage – grew up in London on a mix of Pixies, Nina Simone, The Libertines and Amy Winehouse, and this unlikely combination is certainly reflected in the sound. Tyler has never been one for traditional song structure, but on IGOR he’s like the Minotaur luring you through a maze that twists and turns around seemingly impossible corners, drawing you into the thrilling unknown. Yet for all its darkness, Beneath the Eyrie is brimming with the kind of melody that we expect from these indie-rock giants from the late Eighties. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails. (Roisin O'Connor), If Brothers, their brawny album from 2010, turned the pair into serious rock contenders, then 2011’s El Camino cemented their reputation. See our COVID policy here. Sleaford Mods. The album’s lead single, “Me!”, is peppy and poppy in all the wrong ways, a rictus grin of a song that rings hollow. The band took to the stage on a hot sweaty June night and played to a sold out audience. This is precisely what Rapsody has done – in the most resonant way possible. (Elisa Bray), Six months after the release of Oxnard, Anderson .Paak returns with another Dr Dre-produced record, Ventura. [6] Inspired by the mod subculture and musical sources like the Wu-Tang Clan, he spent several years pursuing music unsuccessfully both with various groups and as a solo singer-songwriter. It was the most terrifying f***ing moment of my life: how can this be happening again? [6] They are known for their abrasive, minimalist musical style and embittered explorations of austerity-era Britain, culture, and working class life, delivered in Williamson's East Midlands accent. Edit Label ; Data Quality Rating: 17 submissions pending; Share. “Iron snowflakes”, is how The Independent previously described them. 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