23/08/10:

This week signals the return of reckless new-ravers Klaxons, with their much anticipated second studio album, 'Surfing the Void'. With Reynolds and Co's first attempt being rejected by record label Polydor for being '...too experimental', the final product makes for an interesting listen. Also, although not released this week, I take a look at the critically acclaimed Dawn Kinnard's latest single 'Favourite Ghost', set to be released from her second album 'Wrong Side of the Dream', (due out on September 13th this year).

To as not break tradition; without further ado...

Klaxons - Surfing the Void:

Klaxons have and always will be a band who thrive on noise; noise which is best played ridiculously loud and, (preferably), whilst intoxicated. The lyrics hardly ever make sense, with the majority of their tracks being pure bedlam. However, gone are the days of brandishing glow sticks at every opportunity, dodgy slogan tee's and day-glow leg warmers. Along with their fans, Klaxons have matured somewhat with opening track 'Echoes' paying homage to the fact.

Although strangely reminiscent of fellow electro rockers Delphic's 'Doubt', 'Echoes' blows Delphic out of the water, making it crystal clear that Klaxons are the deserving parents of a genre which is coming back with force. Respective of their roots, 'Echoes' has an experimental edge running throughout whilst remaining to be a tune that sticks firmly in your head, much like previous single 'Golden Skans' but without the 'oohing' and 'aaahing' it was so fondly renowned for.

Like all albums, 'Surfing the Void' has it's average moments, with one unfortunately being the title track. Although lively and drawing attention to the excitable concept of letting go, it still remains fairly drab in comparison to other offerings. 'The Same Space', 'Extra Astronomical' and 'Cypherspeed' also fall short when stood next to the remainder of the album.

A track that has been long in the pipeline for the band is 'Valley of the Calm Trees', one of which has been subject to various name changes since Reynolds began working his magic on the song back in 2008. The hard work has clearly paid off, with the track being what I would consider to be the strongest on the album. Despite calm being the one word I wouldn't associate with Klaxons, the overall more relaxed feel to the track works well with Reynold's vocals, with the odd eerie undertones throughout still managing to respect their individuality.

Both 'Flashover' and 'Future Memories' towards the end of the album are also front runners for best track, with 'Flashover' being Klaxons all over; in the sense that it wouldn't have been out of place on previous album 'Myths of the Near Future'. 'Future Memories' on the other hand is one of interest to those who pay attention to more than just the mesmerizing melodies the Klaxons do so well. With lyrics such as 'The future is in our memories, the past is just a guess.', it bends our minds as well as our ears.

Overall, 'Surfing the Void' is a successful second album and rather than being an attempt to boost their existing reputation as most bands second albums tend to be, Klaxons have appealed to both their loyal fans and new. A charming mix between their 'old' style and with hints of a more refined and mature edge, it's well worth more than a listen.

Here is track 'Echoes', which has already been gracing the airwaves since it's digital release on the 15th August.

Dawn Kinnard - Favourite Ghost:

To shine as a female singer songwriter is hardly a walk in the park this year, with feisty Florence Welch and reputable Laura Marling seeming to outshine them all. However, since first album ‘The Courtesy Call’, Dawn Kinnard has began to climb her way to the top, attracting critical acclaim and appearing on countless festival bills such as Wireless and Hard Rock Calling.

Being a fan of artists like Welch and Marling, I had my expectations; perhaps rather small minded of me, but there nonetheless. However, single ‘Favourite Ghost’ excelled them, making for a pleasant surprise. Kinnard’s voice oozes with potential energy which explodes at every chorus, working to abandon the risk of sounding ‘samey’. Each sudden change in tempo adds to the overall charm of the track, its intrigue reflecting Kinnard’s character perfectly as she lures you to ‘...dance all around’.

As a growing artist, Kinnard has ridiculous amounts of potential, and although perhaps not a track that fully lives up to this, it’s a pleasant homage to both her inspirations and Kinnard herself. Uplifting yet magnificently simple, it’s well worth a listen.

Although there is no video yet on YouTube, check out www.dawnkinnard.com and www.myspace.com/dawnkinnard for more info.

09/08/2010:

This week sees Gym Class Hero's front man Travis McCoy release his debut solo album 'Lazarus' , under the similar name of Travie McCoy. Having already reached number 25 in the U.S album chart, (and still currently climbing since it's June release), it has been eagerly anticipated in the U.K. Having recently confessed to wanting to work with chart topper Professor Green, it looks as though he is a face that will be gracing the U.K charts for a while. Also this week, with single releases being a tad on the quiet side, I've decided to jump forward a few weeks and look at The Count & Sinden's 'After Dark', featuring the Mystery Jets.

Without further ado...

Travie McCoy - Lazarus:

First track 'Dr Feel Good' featuring Cee Lo Green sets the bar high, kicking off with a playful giggle and soulful vocals. Reminiscent of Gnarls Barkley, the track does exactly what it's supposed to, instantly making you 'feel good'. For those who aren't huge fans of rap, (myself included), there is the perfect balance between McCoy's rapping and Green's vocals, making for a refreshing vibe that I defy you to not tap your toes too!

The tracks that follow what is an honourable start, all come equipped with their own charm. Second track 'Superbad [11.34]' oozes with a harder, rockier influence whilst 'AKidAgain' features a charming, (although sometimes slightly out of sync), chorus sung by a group of children. And let's face it, if it works on cheesy Christmas carols and charity singles, it's no doubt going to work just as well for McCoy.

A track that stands out from the ten on the album is 'The Manual' which features T-Pain and Young Cash. Although I expected a more lively track from this collaboration, 'The Manual' sits comfortably in the middle of what would have been dull and upbeat. A tale of responsibility and determination, the track is inspiring, showing a depth to McCoy and Co that previous tracks failed to highlight. Not to forget the latest single from the album, 'Billionaire' featuring Bruno Mars, which is already gracing the radio waves. An acoustic track which pays homage to reggae, it's a simple summer song, pleasing although sometimes slightly repetitive.

On a rather more negative side, despite nine out of ten albums usually having a few weak tracks, 'Lazarus' features one of the worst I have heard yet. 'We'll Be Alright' is McCoy's own spin on Supergrass's anthem 'Alright'. For McCoy to sample such a classic dose of retro nostalgia came as quite a shock - a particularly bad one at that. Although an avid fan of Supergrass, (so perhaps biased), the track does not do itself justice at all. Perhaps without the misplaced sampling 'We'll Be Alright' would have been classed as a mediocre track on the album, as opposed to the worst.

Despite this, overall the album is a distinguished effort for a solo album, from an artist who is used to performing as a group rather than by himself. With a few well though collaborations and a handful of name drops and inspirations, McCoy's personality comes through at several points, something I find doesn't happen easily with many artists. With a song for everyone's style, it'll be a shame to see 'Lazarus' bomb in the U.K.

Here's single 'Billionaire':

The Count & Sinden Featuring Mystery Jets - After Dark:

Dance outfit The Count & Sinden have enlisted the help of Indie band Mystery Jets, (Will and Kai), in their latest single, which is due to hit the charts in just over a weeks time on the 16th August. I may be jumping slightly ahead of myself, but this is a song I've not been able to get out of my head since it was played on Zane Lowe's radio show at the beginning of the month.

A playful tale of lust, the 80's inspired style of The Count & Sinden teamed with the Mystery Jet's vocals compliment eachother perfectly, resulting in what will undoubtedly be successful when it hits the shelves. Although repetitive, the lyrics - 'We never had a heart to heart, but you still call me up after dark', strike a chord with the best of us in one way or another.

For those who haven't heard it yet, here is 'After Dark':

02/08/10:

This week sees the much anticipated release of Montreal's finest, Arcade Fire's third studio album 'The Suburbs'. With the 16 track offering being in the pipeline since 2008, the husband and wife duo have clearly used their time wisely, offering what is acclaimed to be their most mature and progressive album yet. Also, for those looking for a sultry summer tune, Corinne Bailey Rae releases 'Closer', the third track to be released from her latest album, signalling her return onto the music scene since the tragic suicide of partner Jason Rae.

But on a rather more cheerful note, without further ado...

Arcade Fire - The Suburbs:

Renowned for their dramatic and atmospheric style, Arcade Fire hardly disappoint with title track 'The Suburbs'. Despite Butler's sombre vocals, the track has a certain liveliness to it. Being the opening track, it successfully sets the scene, acting as the first chapter in what is a tale of escape and the yearning for a perfect life. Being one of the singles released on June 1st, (the other being 'Month of May'), it's ear pleasing melodies are a clear recipe for success.

Among the stronger tracks on the album are those that reassure us of the band's individuality and style that most artist's wouldn't attempt. Pairing together melancholy lyrics whilst remaining upbeat appears to come naturally to Arcade Fire, a skill that is showcased in the majority of the album. Amongst my favourites are 'Empty Room' and 'Sprawl 2, (Mountains Beyond Mountains)', both of which heavily feature Chassagne's delicate voice; making for a refreshing change. The latter mentioned track is reminiscent of Debbie Harry, with the odd retro inspired electro surge pulsing throughout, something that will act as a pleasant surprise to the band's more loyal fans.

However, like any album 'Suburbs' comes with it's flaws, however slight. Of the mammoth sixteen tracks on the album only two fall below par to the rest, (in my opinion of course), these being 'City With No Children' and 'Suburban War'. Although both powerful and in keeping with the band's style, they are both that little too melancholy and in comparison to the rest of the album, would be more suited as background music.

Overall I believe 'Suburbs' to be Arcade Fire's best album yet, not only paying homage to their unusual charm, but also showing where their inspirations lie. Perhaps the only criticism I have is the sheer length of each track, which sometimes wears a little thin, although not often. So, with this gem already flying off of the shelves, I'd recommend you to get your ears around it as soon as possible, avid fans and new found ones alike.

And here is title track 'Suburbs'.

Corinne Bailey Rae - Closer:

Having seen her at the Glastonbury festival, it's hard to ignore Corinne's natural beauty, something that oozes into her music effortlessly. After finding commercial success with number one single 'Put Your Records On', in new single 'Closer', she abandons the 'pop princess' she once was and instead embraces a new subtle yet sexy style - complimenting her soulful vocals perfectly.

Some may find Corinne's new style slightly off putting, however I find it refreshing and easy to listen to. With the rest of her album 'The Sea' following the same style, her return to the music scene looks to be a memorable one. Refreshing and slightly different, here is 'Closer', enjoy.

26/07/10:

With this week being a tad quiet on the new releases front, following last week's single review of M.I.A's 'XXXO' I thought it was about time I had a listen to the album it features on - 'MAYA'. With the release date being put back to the 13th July, it's not long reached the shelves, eagerly anticipated by fans of M.I.A's hard hitting urban style. Also this week I take a look at Australia's drum and bass band Pendulum's latest single 'Witchcraft' released last week and still remaining at the forefront of my iTunes most played.

So, without further ado, (you guessed it)...

M.I.A - MAYA:

Being renowned for her political ongoings and protests, it's no surprise when M.I.A jumps straight in with opening ditty 'The Message', a clever and altogether genius take on the childhood rhyme 'Dry Bones'. Exclaiming that the '... hand bone is connected to the computer, the computer is connected to the google, connected to the Government' gives those willing to pay attention to the lyrics food for thought. For those with less of an interest in the goings on in the world, the onslaught of computer keys tapping and sirens ringing out are more than enough to persuade you to sit up and listen.

Second track 'Steppin' Up', (the third single to be released from the album), pays homage to M.I.A's tough, no nonsense character, with the grinding whirring of power tools accentuating her self assured lyrics; 'You know, you know who I am...'. With more bass than most tracks on the album, this is most definitely one, given the chance, to be played at full blast.

Previous releases 'Tell Me Why' and 'Teqkilla' follow the same pattern, heavy bass and unusual yet intriguing sounds which could only be associated with M.I.A's distinctive take on music. Although 'Tell Me Why' appears to be that little more mellow from the start, there are still hints of the urban sounds M.I.A's fans crave.

Tenth track 'Meds and Feds' comes as a slight surprise, favouring a rock approach in the place of metal grinding and keys tapping. After a few listens it's a risk that has clearly paid off, remaining catchy and brimming with bass - staying faithful to M.I.A's roots.

Of course, latest release 'XXXO' is a strong track on the album, hence it's success in the UK charts as it continues to climb. However, M.I.A certainly has a lot to offer with the aforementioned tracks on a collection that does her justice as the political urban mistress she is famed to be. She may not have found her next 'Paper Planes', but that somewhat adds to the charm. Finally, someone brave enough to continue rebelling against music trends and deciding instead to do as she wants, how she wants to.

Here is 'Meds and Feds', enjoy.

Pendulum - Witchcraft:

Aussie chart toppers Pendulum cause yet another storm with latest single 'Witchcraft' from their third studio album 'Immersion'. Oozing with the dramatic introduction we have all come to expect from Pendulum, 'Witchcraft' doesn't let us down. Reminiscent of previous track 'Propane Nightmares', perhaps it'd be interesting to hear something a little different from the drum and bass band; but would we still be able to recognize the tracks we know and love?

A tale of escape, 'Witchcraft' is a constant build up of energy, exclaiming that 'You gotta get out'. Breaking after just under a minute, the rest of the track is a delight, I imagine both live and turned up to full volume on your iPod. Overall, it looks as though they've cracked it again.

Have a listen for yourselves.

19/07/10:

Following last week's musical offerings, this week brings us MySpace rap tournament winning Professor Green's album 'Alive Till I'm Dead', (shouldn't that be 'until' Green?). Admittedly I'm not one of his biggest fans, but with latest release 'Just Be Good to Green' featuring Lily Allen being, rather annoyingly, on loop in my head I gave the album a listen. Also this week, M.I.A's recent release 'XXXO' makes it's way into the prestigious Top 40 at a respectable position of 26, catching my attention.

So, as always, without further ado...

Professor Green - Alive Till I'm Dead:

On the surface, Professor Green's debut album appears promising, with collaborations with hot head Lily Allen and summer hit maker Example. Of course, previous releases 'I Need You Tonight' and 'Just Be Good to Green' are as expected the strongest tracks, but I'm disappointed to say that the appeal ends there.

Opening track 'Kids That Love to Dance' jumps straight in with Ronson-esque riffs and vocals from big-haired urban songtress Emeli Sande being the perfect buffer to Green's underground drawl. Having previously worked with the likes of Wiley, her husky vocals are the song's best feature. Perhaps Green will use this catchy pop tune in his next release - he'd be a fool not too.

Sampling The SOS Band's 1983 hit 'Just Be Good to Me', second track 'Just Be Good to Green' is to follow, featuring Lily Allen - despite her adamant temporary retirement from the music scene. Much like Sande's vocals, Allen's child like pitch compliments Green's voice, with the all too familiar beat being the key to the track's success. Frustratingly catchy and something I'm sure will continue to be played on radio stations and music channels alike, this might just be Green's 'Wonderwall'.

INXS's chart topper 'Need You Tonight' is next to feature on Green's adaptation, an already successful dance floor filler. As expected, the fact it is yet another sample track adds to it's appeal and familiarity, despite it's cringe worthy introduction in which we hear Green making a pleading call to a blonde haired love interest.

So, is Green capable of his own material or was his opening track somewhat of a lucky fluke? Unfortunately it appears to be the latter, as after only three tracks Green's harsh voice begins to grate, with lyrics that lack in depth, despite trying his hardest to reflect his struggles in life. Track 10, 'Closing the Door' is slow, monotonous and depressing, It's almost laughable in comparison with previously released singles, with the sudden transition in style being somewhat unsettling.

Overall it seems as though Green should stick to the sampling, with his own material currently lacking something. Whether that said something is another dose of 80's pop melodies or a well thought collaborator, here's hoping his next offering will be his best, rather than a collection of ditties that you'd expect to be heard blaring from the back seat of a bus.

And, just in case you've not heard it enough times, here is hit 'Just Be Good to Green'.

M.I.A - XXXO:

Famed for 2008's 'Paper Planes', activist and artist M.I.A's latest single 'XXXO' is set to cause waves, hitting the charts at 26 this week after it's original release in May. A rather helpful blimp informed fans during Jay Z's performance at the Coachella Music and Arts Festival of her upcoming album release - and let's face it, you've got to be pretty good to pull that one off. And after taking a listen or two, 'XXXO' is living up to it's potential.

Staying faithful to her alternative roots, 'XXXO' echoes previous works, oozing in M.I.A's alternative style whilst remaining charmingly popular as far as pleasing the radio waves are concerned. Perhaps a dig at social networking sites, she accuses admirers to want her to be '... somebody who I'm really not', after '... tweeting me like tweety bird on your iPhone'.

Whether she'd like it or not, with a comeback single like this, M.I.A will be getting more 'tweets' than ever before. A summer song definitely worth a listen, 'XXXO' looks to be the start of something special; let's hope her recently released album 'MAYA' doesn't doesn't disappoint. (Full review to be found in next week's TalkLessDanceMore blog).

Here is 'XXXO'.

12/07/10:

This week we're introduced to Snow Patrol's Gary Lightbody's new side project 'Tired Pony' and for those who prefer dancing shoes to cowboy boots, 'I Blame Coco' realease second track 'Self Machine', complete with a remix from electro punk Le Roux.

So, without further ado...

Tired Pony - The Place We Ran From:

Having always been fond of country music and believing he 'had a country album in there somewhere', it was only a matter of time before Snow Patrol's front man, Gary Lightbody, decided to take a chance and ensemble a group of similar minds to form his side project 'Tired Pony'. Consisting of members including REM's guitarist Peter Buck and Belle and Sebastian's quirky Rich Colburn, the 'country tinged' super group have produced something special.

Kicking off with melancholy 'Northwestern Skies', LightBody's distinctive vocals demand your attention, working to instantly amplify the charming lyrics. 'Girl, you were beautiful before, but in the cyclone I love you more.' If only all men were as tolerant towards temperamental girlfriends!

Second track 'Get on the Road' is worth a mention, featuring collaboration with actress Zoey Deschanel. Hardly a stranger to the music scene since releasing a number of albums with her 'cute' country group 'She & Him', Deschanel's voice is one which complements Lightbody's. Despite this, you can't help but envisage Snow Patrol's hit 'Set Fire to the Third Bar', with the similarities crystal clear, something which I doubt will go unnoticed to avid Snow Patrol fans. Sadly, all love for Deschanel aside, she unfortunately doesn't live up to the ridiculously natural chemistry Martha Wainwright and Lightbody oozes during 2006's aforementioned hit.

Whilst on the subject of collaborations, Lightbody and Co also welcome Editor's Thom Smith into the midst on ninth track, 'The Good Book'. Sombre and thought provoking, Smith's romance with the band's mellow style is enviable and in my opinion the perfect partnership.

Another highlight of the album is track 'Point Me at Lost Islands', brimming with country-esque chords and harmonising vocals, all of which wouldn't be out of place at a barn dance. Livelier than most of the album, it's certainly a gem.

Not to forget debut single 'Dead American Writers', one of the two energetic tracks on the album, hence the choice for release I should think. Despite Lightbody worrying that the group were not 'commercially viable', the track offers a catchy chorus and as promised, a hint of their beloved country style.

Although perhaps lacking in stronger, livelier tracks, the album is promising overall, with well thought collaborations being a definite highlight. The band deliver exactly what is 'on the packet' so to speak, with clear attributes to Snow Patrol, REM and Belle and Sebastian throughout. With a dusting of country passion, it’s more than obvious that it is a genre that clearly runs beneath each member's veins. Far from tired ponies, Lightbody's 'side-project' might just, (hopefully), become a regular thing.

You can find snippets of the album, (released July 12th) on http://www.youtube.com/user/TiredPonyOfficial, and for those who would like to hear the debit single, have a listen:

I Blame Coco - Self Machine:

19 year old songstress Coco Summer releases her second single 'Selfmachine' this week, (12th July) on label Island Records. Husky voiced daughter of Sting, Summer's band 'I Blame Coco' are tipped to succeed, with several positive reviews under their belt. However, despite promises of distopian disco anthems, 'Selfmachine' is disappointingly bland.

With a voice that remarkably echoes that of her famous father, Coco's whispering vocals are almost lost amongst the electro pop melody. With talk of robots and statuesque machines, 'I'm not a human if you say I'm not / I'm not a human if my hinges lock', it seems as though Summer's 'hinges' have done exactly that.

However, although being slightly repetitive and somewhat bland, 'Selfmachine' will no doubt be a radio wave pleaser, going down equally well with pop chart followers. However, having been a fan of 'I Blame Coco's' gritty debut track 'Caesar' featuring Swedish popstress Robyn, and acoustic b-side 'Ritalin', Summer and Co have in my opinion far more to offer.

Criticisms aside, here is single 'Selfmachine':