Tag: Album of the month

Posted in Album of the Month, New Tunes

MARCH: Chaleur Humaine by Christine & The Queens

Posted on by David Allison

So this is a confusing one. Christine isn’t her real name: it’s Héloïse. And she’s not straight, but she’s not gay, or she might be, or something in between. This record was a massive hit in her native France, but that was two years ago, and then it came out in the USA, but that was a slightly different version of the album – and now it’s out in the UK, but that’s a different version from both of the previous one. She’s re-recorded some of the songs in English, but not others, and there are two new songs and two less of the old ones.

As I say, you may already be confused. And just to add to your confusion, I have a copy of the original French version (the song ‘Tilted’, for example, is ‘Christine’ in French, and the Perfume Genius song is just a bonus track). I wanted the French version as I’m currently working with Canal Plus so I’m trying to listen to as much as I can!  Anyway, I will TRY to review the English language version.

All this confusion aside, it all becomes a lot more simple when you listen to Christine AKA Heloise’s debut, in whatever language or form it comes. This isn’t the first female front bit of Euro electro pop I’ve put forward for the blog (indeed, my last offering was the wonderful Susanne Sundför), but when there’s so much good stuff out there, it seems a shame not to share it. This is an extraordinary debut, full of muscular songwriting, beautifully and tautly arranged. It doesn’t feel like a drum programme or a string quartet or a single sung note is out of place. But neither is it overly tasteful or bland. Christine is clearly a woman who’s struggled/struggling with her demons, and a cloud of longing and sadness hangs over many of the best songs (Paradis Perdus, Narcissus is Back). It’s so hard to write pop music of this quality and built with such solid foundations. Hype can be a terrible thing, but Chaleur Humaine is well worth its Pitchfork 8.0 and its Guardian 5 stars.

The only caveat for me is that, having bought the French version (a RIGHT ball ache – via Ebay from Germany!), I do think the original is actually better. Not becuase more of it is in French, but because two of the best songs (Chaleur Humaine and Ugly-Pretty) have been excised in favour of the two songs featuring guest artists. It’s an understandable move, especially considering Perfume Genius having a fanbase in the UK and USA, but actually, they’re the weakest songs. So if you get the chance to check out those two tracks, do add them to your listening experience.

French artists so rarely make a breakthrough into English speaking audiences. I know this only too well from research into the French 60s artists I’m doing at the moment. Gainsbourg barely bothered the UK or USA charts in his lifetime; Francoise Hardy has had one English language hit in her whole 50 year career. Who knows if Héloïse Letissier will succeed where they failed – but on the basis of this, she certainly deserves to.

 

Posted in Album of the Month

January: David Bowie – Blackstar

Posted on by GuyHornsby

 

Well, I was going to say “who saw that coming?” but we’ve been here before. As it’s been said, when you no longer tour and live as a relative recluse, you can control whatever the public sees of you. So it’s no surprise that after The Next Day, which skewered his early years whilst nodding in reverence to them, that David Bowie spent 2015 making a follow-up, confounding us all again with the title track in November. I have to confess I took a little time to finally listen to this, as I wanted to watch the video rather than just the audio. And it stopped me in my tracks. In fact I ended up stood on Cheapside in my lunch break with my mouth open.

As a statement of intent it’s pretty powerful. While I loved The Next Day, for all the parallels to his classic albums, lyrically it was very much in the moment, skewering his character, ageing, his legacy, and proving he still has the edge that made his music so alluring when I first listened in my teenage years. But while the words on Blackstar do find some common ground with The Next Day, that’s mostly where the comparison ends. There’s been a lot (and I mean a LOT) of frothing of about how avant-garde it is, as if he’s turned into John Cage, genetically spliced with Roni Size and Miles Davis, but I’d take much of that with a pinch of salt. For anyone that’s familiar with Radiohead’s more experimental (recent) work, or the likes of Flying Lotus, or Bjork or any other more outre albums of the last two decades (let alone all sorts of electronic music), it’s not that far-fetched, but I guess the praise is in someone of Bowie’s stature and reputation still feeling so fresh, raw, and willing to experiment. After all, I can’t think of many (any?) artists approaching 70 that would do this, or do it with so much success or style. Especially when they’ve had forays into more experimental work with such varying results. I can see how die-hard classic era Bowie fans (especially those who are the same age as the Thin White Duke) may struggle with it, but really forget the hype, and just listen: this is outstanding work, a potential classic in the making, even after a few listens.

The title track’s first half echoes so much of Radiohead to me, and this isn’t a statement of either artistic laziness or pastiche, (just think Thom Yorke singing instead, and it’d be one of their best works itself) but high praise. Coupled with a deeply disturbing video that burns itself onto your consciousness, with Bowie as some sort of excommunicated (punished?) preacher stating prophetic, abstract lines as adolescents convulse and shake in the background, it’s affecting from the start. Who knows what it’s about? There’s been discussion (denied by Bowie’s team) that it’s referencing ISIS, but really it’s the ambiguity that’s the point here. The dead ‘Spaceman’ (Starman? a nice touch either way), the huge candle, the eclipsed (black) star; there’s huge, broad stylistic strokes at play and then, just as you wonder where it can go from here, it slows and shifts into what feels at first like familiar Bowie, its sax and swagger, all offset by the harsh, discordant, repeating chorus. I’m massive fan of long opening tracks on albums (Station to Station, or Elton John’s Funeral For A Friend), after all, isn’t that what albums are for? As an opener you’d think it’s hard to live up to, but it’s a case of setting the scene.

There’s almost breakbeat-ish, brash rock in Tis A Pity She’s A Whore, then a self-effacing Lazarus, which was written for a stage version of The Man Who Fell To Earth. Sue, which is Bowie to d’n’b (in a good way, thankfully) and echoes things like Squarepusher. Similarly, Girl Loves Me goes heavy on percussion and electronics, but they never take over the song itself. Dollar Days and I Can’t Give Everything Away again talk of death and loss and age and the past. Even a few listens and I’m hooked, and you can only applaud the constant reinvention of a man that could’ve ‘retired’ in 2003 and had a legacy as good as anyone in music.

Bowie continues to confound, and this may be the best thing he’s done since his Golden Years.

Posted in Album of the Month, Music chat, Uncategorized

NOVEMBER: Susanne Sundfor – Ten Love Songs

Posted on by David Allison

There are periods in musical history when a certain country or part of the world suddenly has a flourishing of incredible output. British rock in the 60s, French electronica of the late 90s/early 2000s, Brazilian tropicalia of the late 60s, German krautrock of the 70s, the late 80s/early 90s golden age of hip-hop.

To add to that, I honestly think we might have to start thinking of Scandi pop of the noughties and teens (WTF are we calling this decade? Can someone please decide – we’re half way through!). The extraordinary explosion in electronic pop from the icy inlets of Northern Europe is really quite something. From Robyn to Royksopp to Annie to Fever Ray, not to mention Swedish Karl Martin Sandberg and his Norwegian cohorts who have written more pop music for American artists than anyone else in the last decade – the breadth, the quality and the standard of their output puts everyone else to shame.

What I love most about it is that there IS a unifying feel and sound, even if the bubblegum of Annie and the icy krautrock arthouse of Fever Ray couldn’t be further apart. There’s a love of melody – and – for me, this is the clincher – there’s a melancholy at the heart of it all that tugs at your hearstrings. Hell, think back to ABBA. They did just that. Perhaps that’s in the DNA of every Scandi performer somewhere!

Also notable is how female fronted this wave is. And somewhere in the midst of all this, here is Susanne Sundfor, sitting RIGHT in the sweet spot of everything I’ve described. The fact that this stunning album – there’s no other word for it – is not a million seller around the world is testament to the embarrassment of riches coming from her part of the world. But do note that in her native Norway, she is a MASSIVE star and this album sold by the truckload.

So, yes, I’m a fan of this kind of stuff, that sounds so effortless but has been toiled over so expertly. But how can this not beguile? From the chugging motorik of Accelerate to the aching pop of Kamikaze, to the grand balladeering of Silence, Sundfor has a wide palette to draw upon, and she doesn’t put a foot wrong. This is undoubtedly one of my albums of the year, and I’m so looking forward to delving into her back catalogue

Finally, one moment that makes my heart skip every time – when the fierce OTT pop madness of Accelerate slips into the chugging, bubbling beginning of Fade Away and you know you’re heading into an entirely different tune. And yes, there IS a touch of ABBA in Fade Away. Why not? You can always learn from the masters.

 

Posted in Album of the Month, New Tunes

September: Roisin Murphy – Hairless Toys

Posted on by GuyHornsby

I have always been a fan of Roisin Murphy, since – like many of our generation – I saw her in the video for Molok’s Sing It Back (Boris D’Lugosh, we salute you). In truth by then she’d already been with Moloko for over 5 years at that point. Her voice has always been striking, so when the band went their separate ways, her solo career launched. I have to admit though that I’m hardly a ‘have everything she owns’ fanboy. I don’t think I’ve ever been disappointed by anything she’s done, but when I bought Overpowered I didn’t expect it to end up as one of my favourite albums of that year. It’s hard to put your finger on her allure, but it’s more than that voice and the lyrics, even though they’re great. Overpowered is painted as a disco album, but it’s far more than that. Sultry, plush, sweeping and enticing, and with her character at the centre the songs are more than the sum of their parts. I still love it.

So, when I heard ‘Exploitation’ on 6Music, fairly relentlessly, it got in my head. I didn’t love the song, but as with much of what Murphy does, it just has something about it. The wonky lead synth, her breathy vocal almost lost in the wind, the angry piano chords. Then I watched the video, and it reminded me why she’s still one of the most interesting artists around. In fact, it’s criminal – given her creativity and skill – that she’s not as successful as more bland and less inventive compatriots. She was doing interesting female solo pop when Lady Gaga was celebrating her 9th birthday. Isn’t that the way of the music world though?

The album is like a slowly unfurling flower. When I first heard it, it didn’t really grab me like I wanted it to, but then it’s a fairly big departure from ‘Overpowered’. Musically inventive, and challenging, it’s a box of tricks that rewards multiple listens. From Gone Fishing’s almost bossa-nova beginnings, to Evil Eyes’ whimsy (backed up by a truly great video), arguably the most poppy and accessible the album gets, it’s a delight. Uninvited Guest sounds like a Grace Jones record, until that staccato vocal slides in, and it feels like a record that only she could make. There’s musicality to her vocals, in the delivery that almost works them like an instrument, and indeed her range is so huge she can go from full-on throaty top range to almost invisible. It’s central to the album, one that goes slow and grandiose, with no fear of trying to be anything other than what she wants it to be. And it’s long. Much longer song length than most artists would risk these days, but nothing feels stretched out or like filler. Unputdownable is a great example of this as it closes out the album. As a modern pop album it’s one that deserves to sell a ton, but of course it’ll just confuse people wanting three-minute ringtone stuff, but they’re missing out.

More of this: I hope it’s not her last and I hope we don’t have to wait until 2023 for the next one.

Posted in Album of the Month, New Tunes

AUGUST: Miguel – ‘Wildheart’

Posted on by misterstory

homepage_large.689223b5

Dear Brothers. Happy August. Sorry this is late. I think its my first ever late buy/post so please don’t hold it against me for too long. This month has been pretty painful for me choosing an album. I’ve not had enough head space to look into my own collection and/or new things to have something nailed on for the choice.

Months ago I posted ‘NWA’ by Miguel on the blog. I don’t recall it getting much of a response which is often a sign of how busy we are rather than how much we like or dislike something so I didn’t lose too much sleep about it. I was excited to see an album follow shortly and to see it gather positive reviews from all corners of the music media. I decided then I would choose it as my next album of the month … then I chickened out … then I chickened back in again. Then I decided Mbongwana Star was a better bet but found David had it (how much do you spend on music Brother David? You are a one man music industry!).

So here we are listening to (and hopefully) enjoying Wildheart. So what is it apart from the winner of the worst cover of any of this blogs previous albums of the month? There are numerous interviews with Miguel suggesting his inspiration behind this album. There are numerous interpretations of the album offering different suggestions as to how he got where he did with this one. The cover says ‘Prince’ so does the fact that many of these tracks are guitar driven. He is filed under ‘Alternative R&B’ on many sites. WTF is Alternative R&B anyway? I admit that i did come across him via a spotify Alternative R&B playlist so I can’t complain about the genre too much but it seems to be a tag that was created for Weeknd and then others were labelled accordingly?

For me, what ever the aim of this album was, the end result is pure pop. It has boatloads of Californian swagger. It has head-nodding tracks, sleaze and stadium-pop-rock anthems too. I think I chickened out from choosing it as the 3rd track ‘The Valley’ was a lot to take if you are new to this, not a huge R&B fan and not too keen on the naming of female body parts as the lyrical content to a bridge section of a pop song. The album is not shy of sexuality but I think this comes across as being ‘sex-positive’, if this is even a term? I don’t think this is offensive sexual referencing, overt but not offensive? For you to decided. Anyway, don’t switch off after Track 3 cause all the pop songs come after it.

I do suspect that Guy, you may need find this a tougher listen than David or Nolan but I may be totally wrong.

In its Californian-ness it feels like a summer album. In its love of a chorus it comes across as feel-good. I hope you enjoy it too.

Posted in Album of the Month

JULY: Get to Heaven – Everything Everything

Posted on by David Allison

So so sorry this is so late. July is nearly over, and alas I’ve been unwell. Anyway, plenty of time to digest this fine album, huh?

I thought this might be a bit more of a curveball after a straight run of albums we’ve all pretty much liked. So I’m dying to know what you think – though from what I’ve heard, you’ve warmed to it to.

EE are an odd proposition – odd to me because I know the bass player Jeremy via his partner Katie. He is a deeply lovely man and I’ve always wanted to like the band more than I actually do. They have so much going for them that I like – that uptight arthouse funk thing is right up my street – anything that descends from the Talking Heads line is going to get my vote. They’re GREAT live, they’re fine musicians, and they know how to write a killer melody.

The insurmountable problem I’ve had in the past is with lead singer Jonathan Higgs’s voice. Male falsetto is always a tricky beast, up high in the register and it can sound pure and unfettered, but lower down the register near the ‘crack’ with the normal voice, it can sound violently horrible. So I’ve heard their music over the past years, and time and time again, I’ve nearly dipped my toe in the water, but something has stopped me. I’ve had a listen on Spotify, and thought to myself – I couldn’t stomach a whole album of this. Same thing happened with Wild Beasts (bought 2 albums, never listen to either).

Something changed when I first heard Distant Past (btw, how crazy is that video? Brilliant and brutal). The moment I heard it, I thought: this is BRILLIANT. And then came Regret. Same. Something had clicked. Maybe his voice has smoothed out, but my god, those choruses. They’re like the best music of your childhood belting out in your head. They’re *irresistible*.

When I first heard the album as a whole, I thought it started incredibly strongly, then faded a bit. As time has gone on – and I’ve played this a LOT – that’s changed. I’m not sure there’s a genuinely weak track on there. And now I’m wondering whether I’ve dismissed their earlier work too quickly – or whether they’ve just hit a new high watermark.

I love the queasy mix of glorious pop melodies and his eloquent, angry and paranoid lyrics. It’s quite overwhelming at times, but hell, we don’t get to say that much about pop music these days. I love it very much. And so, weirdly, do my kids, even though they keep asking me about the lyrics, “Why does he feel like a fat kid in a pushchair?” Good question, kids.

Anyway, over to you. Have Everything Everything got That Something?

Posted in Album of the Month

APRIL: Sufjan Stevens ‘Carrie and Lowell’

Posted on by misterstory

carrie-and-lowell

By now you should all have your copy of this album. Apologies for the delay in getting this post up on the site.

I’ve owned this album for about a week now and while I have spent some time with it, I’ve not been able to focus on it as much as I would like to. Therefore, this won’t be the usual heartfelt, personal introduction that so often Album Of The Month posts are. What I will do is share my path to this album and my initial thoughts.

My introduction to Sufjan Stevens, like so many others was through ‘Illinois’ a concept album of tracks inspired by the state, perhaps the worst idea for a concept album ever … but one of the finest albums of its decade (in my humble opinion). The critics agreed and Sufjan became a relatively well-known name in the 20-40 something, music loving, gig-going crowd. From there I went backwards to ‘Seven Swans’ which is a far simpler affair more about song writing than the complex musical adornment seen on Illinois. I missed a lot of what came after Illinois (4 albums including an Xmas album that really is worth a listen when it comes to that time of year again!) and picked up again with Age of Adz. This was released around the time that Silvia was born and very much reminds me of the time and feelings involved. For this reason it has a very special place in my heart. However well received by critics I think a lot of people found that a step too far in terms of musical trickery (wankery) and needless complexity. An album and an EP later and Sufjan releases Carrie & Lowell.

The album is inspired by the death of his troubled Mother, Carrie and her life including her relatively short relationship with his Father (or Carrie’s partner? I cant recall and am not too concerned about these details) Lowell. That doesn’t sound like a particularly good start for many … expect for me. As has become obvious through the course of our ramblings, I love a musical tear-jerker. I have a very high threshold for heart breaking personal lyrics and always have. I have no problem that the hook on ‘Fourth of July’ is ‘We’re all gonna die’ a sentiment that Sufjan has visited on numerous previous tracks in less detail and with more poetic disguise. This album is full of emotional detail and no attempt at disguise … unless you compare it to something like ‘Benji’ by Sun Kill Moon (a favourite of mine from last year). ‘Benji’ was heartbreakingly sad and even I find it a tough listen unless I am in precisely the right place.

The difference for me is that ‘Carrie & Lowell’ is hypnotic in its presentation, its beautiful in its simplicity. Mr. Steven’s has removed many of the musical obstacles that he created in earlier works to reveal the beauty of his melodies. His voice is a fragile and at points a brittle instrument but it is perfectly suited to the lyrical content. At points he sounds like Elliot Smith which for me is no problem as he is another artist that I have held close to my heart (I am an ageing, depressed and confused teenager after all).

The big question I think others will need to answer is ‘do I find this depressing or do I find it beautiful?’.

Enjoy (if you think that is the right word).

Posted in Album of the Month

March Album Of the Month: Kendrick Lamar – To Pimp A Butterfly

Posted on by nolankane706

A bit late on our March album brothers, but I do think it’s worth the wait. 

Brother David and I were having a chat last weekend about Kendrick Lamar’s last album. I can’t remember the exact words but in short we both agreed that we were big fans, but it did take a while to get what he was about and what he was doing with his music. If album 1 was a slight climb to get to it, this is a steep hill. 
 
When I approached ‘To Pimp a Butterfly’ I was ready for something different, but what I was presented with was a curve ball. It would have been very easy for Kendrick to continue on from where he had last left us and what he has shown between albums with guest appearances; amazing lyrics and one of the most versatile flows in current hip hop. Big beats and solid lyrics, job done. To be honest I would have been more than happy with that, in-fact that’s what I wanted from this album. Sadly for me this isn’t the case… luckily for me it’s much better. 
 
I will give you a couple pieces of advice. Firstly, listen to this album end to end. I found it a bit hard but it’s worth it. When you listen to it end to end, do it again… and for me much fell into place. 
 
I think many artists have tried with mix reviews doing an album with a jazz foundation. Kendrick enlisted the likes of Robert Glasper, Terrace Martin and Thundercat who had input on the majority of the tracks. Now I’m not big on jazz but I even know who those guys are. 
This album is an adventure and lets you in the mind of King Kendrick. This is a guy with allot to say, and I think has put it across in a way that has made me think more than a few times when listening through. There are allot of political thoughts, thoughts on society, and thoughts on his day to day. Hip hop, soul, jazz, punk, metal, etc. What ever genre you’re in it’s tough to put accross an album with impact…and he has. Is there a message to this album? Yup, arguably a few. 
 
The first single “I” was great, and the album version still is. The second single “The Blacker the Berry” hits pretty heavy but within the album ads allot of context and lets the penni drop in many ways for what he’s done with the entire effort. Pitchfork compared his albums to how Spike Lee does films. It’s a pretty spot on analogy. This album is full!
Hats off,  two weeks in “TO Pimp a Butterfly’ is still giving me more and more. I think this has potential to be an all time classic. 
I digress, brothers I look forward to your thoughts and hope you enjoy this as much as me. 
Posted in Album of the Month, New Tunes

February: I Love You, Honeybear – FATHER JOHN MISTY

Posted on by David Allison

I came across FJM surprisingly recently – I say, surprisingly, because as soon as I heard his 2012 album Fear Fun, I wondered how I could have missed something that so was squarely up my street. He has all the credentials – former drummer for Fleet Foxes, crazy religious upbringing, impressive beard and sharp suit, and *those* incredible lyrics, a mixture of cutting, self-loathing and self-loving, or just plain plaintive.

I LOVE YOU, HONEYBEAR doesn’t mess with the formula, but if anything it’s an even more impressive piece of work. There isn’t a weak track on here and most of them are absolute humdingers. Tonally, it’s quite an odd mix – and I heard him on the radio (Dermot O’Leary, on R2 – which was rather bizarre!) explaining that half the album are angry songs of being pissed off at himself and others in matters of love and life, and the other is a really very touching love letter to his new wife. You’re unlikely to hear a more romantic songs than Chateau Lobby (“People are boring, but you’re something else”).

Now, I know we always get onto that discussion of authenticity and influence, so this record is a GREAT one to look at in that context. The band and the songs seem to me to be seeped in two obvious styles – one is country music (and 60s/70s country influenced singer songwriters), and the other is Beatles-esque (well, McCartney-esque, actually) melodies, all gorgeous descending chords or sudden explosions into beautiful middle 8s or choruses. God damn, but Josh Tillman (for that is his name) knows how to write a song. And no, they don’t feel ‘contemporary’, though the sequences on True Affection, for example, are a nice nod to the 21st Century. So yes, this is a record influenced by 50 years of rock music.

For me, there are two things that elevate it into something spectacular. The first is that authenticity thing. This guy means every word. We went to see him live on Friday (at the Brudenell). It was, needless to say, a fucking fantastic gig – and I can’t think of the last time I saw a performer throw every ounce of himself into a show. He feels this shit, man, and he cares about his songs. The 6 piece band were slick and brilliant and they rocked hard too. This guy isn’t an amateur. Oh, and THAT VOICE. Like honey.

The other thing that places this record squarely in 2015 is his lyrics. The darkly modern takes on the universe is so deliciously paired with this classic sound. I’m completely sold. You’d have to look hard to hear a better skewering of an individual than the vicious lyrics to The Night Josh Tillman Came to Our Apartment. In the wrong hands, this could almost feel mysogynistic, but you know he’s known this girl and he’s here to tell us just what a fucking pain in the arse she is. (“She blames her excess on my influence, but gladly hoovers all my drugs”. Love it!). And what about the piece de resistance – Bored in the USA. Eviscerating is the word. He just nails it, he nails everything that’s wrong about Western Culture in a song that could easily come across as pastiche. This an album steeped in anger, confusion, lust, love and fear. What could be more 21st Century than that? 😉

He does play with you a bit (see the fake piano playing on the Letterman appearances above – and the weird laughter track on the song, which I initially hated and now love), and I guess it’s hard to know where Josh Tillman ends and Father John Misty begins. But that’s part of the fun. If this isn’t my album of the year, or very, very close come December, I’ll be amazed. I hope you liked it just as much.

Posted in Album of the Month

DECEMBER: Young Fathers: Dead

Posted on by misterstory

young-fathers-theonepointeight

Can we forget about the Mercury? Probably not but I fear this may descend into a critique of the Mercury decision rather than critique of a piece of music. Anyway, let’s have a roll and see how this works out?

For me, this is an album of 11x 3 min pop tracks (no song under 2 min 50, none over 3 min 51). I am sure we will debate the word ‘pop’ as I think at least one of us will struggle with that definition? I would argue that you can’t have as many hooks in one album of 3 min tracks and it not be a ‘pop’ album.  It doesn’t matter  that the group choose to deliberately sabotage their own ‘pop’ credentials in dark, dystopian, discordant, choral chants, nose-diving bass lines and berating beats.

This isn’t easy listening. Having said that I found it effortless to get into (not bragging I just think this ticks loads of my boxes). But I understand that most people find the opposite to be true. I’ve recently gone back (album released in Jan 2014) and read loads of reviews of this album and most say that it is difficult to penetrate but massively rewarding when you do. I always bang on about ‘when’ I can listen to music and this is a distracting listen that really requires you to engage in its finer points. Background music this is not. Tunes to play while working? Nope. Driving, public transport etc, Yep. I listen to it most when training.

Much has been made about the multi-cultural make up of the band which all feels a little ‘Mercury’ to me until you start listening to the lyrics and picking through the subject matter.  ‘Ak47 take my brethren straight to heaven’ is pure hip hop cliche in an LA accent but it appears more impactful and evocative in an African (Young Fathers = Liberian, Nigerian. Scottish) accent and preceded by the imagery conjured up in the opening verses of ‘No Way’, the albums opening track. If you like this album then I would suggest spending some time with the lyrics of these tracks.

http://genius.com/artists/Young-fathers

I think this album avoids the ‘worthiness’ which it could have created with its multi-ethnic (Scottish included) influences and a lyrical topics. It feels like all of the constituent parts (ethnic background: check / socially conscious lyrics: check / eclectic influences: check) make for a cliche-ridden horror show but at each opportunity to fall into that hipster trap is swerves either lyrically or sonically and avoids the cliche. As if sat in the studio they felt it a track was getting a bit too nice so they chucked in a massive tribal rhythm and discordant drone to scare off the ‘wrong crowd’.

Who does this sound like? Anti-Pop Consortium, TV on the Radio, Shabazz Palaces, New Flesh, Saul Williams … New Fathers?As mentioned before this ticks loads of my boxes and I love all of the artists listed above (Shabazz excluded – sorry David may be I need to try that one again?).

So, similar to FKA Twigs, at the point of winning the Mercury, they’d only sold 3,000 units. Its now at least 3,004. But does this matter? Sales does not correlate to quality. Just look at the Cinema Box Office.

Brothers, your thoughts?