FREE STUFF- Please Accept My Apologies

Sorry for the unannounced break in programming folks; I'll make it up to you with some FREE STUFF!

10 years on from the seminal release of 'Is This It' (still just about my favourite album of all time), Stereogum have released an intriguing package; 'Is This It' covered by (mostly) obscure up-and-comers. As is to be expected, several of these songs are sacrilegiously appalling- avoid Owen Pallett's Vitamin String Quartet take on normally-stunning 'Hard to Explain', as well as Computer Magic's cheap 'n' cheerful 'Take it or Leave it', a neutered take on a song which, in its original form, sums up all that is great about The Strokes: their aggression, concision and undeniable cool.

The Greatest Live TV Performance Ever?

In truth, you'd be hard-pressed to say that any of these tracks improve upon the originals, but some do stand up to close inspection. Frankie Rose's gentle, pulsing cover of 'Soma' is kept fresh by use of Caribou-esque chillwave synths. Just as good is 'Last Night', by the- let's face it- hilariously named Morning Benders, which benefits from a bizarrely effective Jamaican-LCD Soundsystem arrangement. Best of all, however, is Real Estate's take on 'Barely Legal'; the song's anarchic, self-flagellating lyrics become an ode to laziness in the haze of heavily-reverbed vocals and guitars that can only faithfully be described as "woozy".

The compilation is worth downloading for that track alone: it can be found available for free download here.

OFWGKTA @ Electric Ballroom

By the time punters reach the small white sign saying 'FOR GIG TONIGHT QUEUE HERE' outside Camden's Electric Ballroom, they start to suspect just how eagerly anticipated Odd Future's first major London gig is. By the time they reach the back of the queue (200 strong half an hour before doors open), it has become apparent.

Due to the fact that OFWGKTA's success has come largely due to endorsement from the white, middle-class media, the composition of tonight's crowd is hardly a surprise. What is surprising is the ferocity of Odd Future's vanilla support. Though there are occasional wince-inducing shouts of 'fuck school' from pubescent teens with cracking voices, the vast majority of fans, black and white, go absolutely batshit mental for the LA group's two hour set.

And what a set. By the time the group's rappers are slinking onto stage, the crowd are already thoroughly pumped thanks to a perfectly judged DJ set from Syd The Kid- without doubt the coolest quiffed, androgynous, lesbian producer from LA that this writer has ever seen. The night's first real event, however, comes with the entrance of Tyler, The Creator, half way through opener '64'. Indeed, the set's first three songs are all helmed by Tyler, whose role as hypeman is not at all diminished, despite the broken ankle that has left him wheelchair-bound. In truth, however, Tyler is more than just a frontman. He is clearly the brains of Odd Future, whose ambition and intelligence are apparent, even when masked by deliberately childlike stage banter: "Haha you got beat up!...Who here got fucked by their dad...etc.". Despite their talent, Mike G (as slick as he is high), Domo Genesis (deep voice, big belly), and Hodgy Beats (earnest and energetic) become sidemen, and their raps create tangible lulls; Tyler is very much the sun around which the group's other rappers orbit. Throughout the show, Tyler's friendliness is refreshing; hell, he even drops everyone's favourite rape fantasy 'VCR' in response to a persistent chant from a group of girls halfway back.

Halfway through tonight's set, another trio of Tyler compositions, all from his 2010 mini-masterpiece 'Bastard', hit home with unstoppable force. A flawless and visceral run through of 'Seven' is performed a Capella, highlighting the obvious natural talent behind Tyler's treacle flow. The ensuing one-two punch of 'Bastard' and 'French!' reinforces the idea that Odd Future may justify the absurd hype that has surrounded their mythology. Towards the end of what is clearly only a loosely planned setlist- the group openly ponder what to play next onstage- the likes of 'Analog', 'Yonkers' and closer 'Radicals' all elicit a zealous response from the dazed but ecstatic crowd, which, somewhat surprisingly, knows every word to every song tonight. When finally 16 year-old absentee Earl's signature tune- the imaginatively titled 'Earl', off album 'Earl'- closes the show, the crowd are given an eerie reminder of just how good the collective might become when back to full strength.

Almost all of OF's back catalogue is available on their tumblr page: get it! It's hit and miss, but some of the material is truly inspired. MFD recommends:

1) Radical- the only OFWGKTA mixtape which is sample based; contains much of the group's most accessible material.

2) Bastard- Tyler's self-produced, self-analytical, self-evidently brilliant solo album.

3) Earl- Short and sweet, 26 minutes of Odd Future's best rapper.

FREE STUFF! - Summer Edition

As the holiday (and, more importantly, festival) season approaches, every playlist must make the shift towards blissed-out beats and beach/barbecue/park friendly tunes. Stereogum, being devilishly clever and equally generous have released a 25-track, two volume mixtape full of precisely the kind of music the season demands.

This collection (which can be found here) represents all the most prominent movements in alternative music this year: Washed Out and Toro Y Moi give a strong showing for the mega-zeitgeisty chillwave movement, while Yuck and J Mascis (of Dinosaur Jr) provide some good ol' fuzzy nostalgia. Overall, it's an impressive mix, with some real standout tracks, notably:

1) Still Sound - Toro Y Moi
2) Amor Fati - Washed Out
3) Queen of Hearts- Fucked Up

Perhaps the most interesting song on here, however is Frank Ocean's 'Songs For Women'. To anyone who has listened to OFWGKTA (for those under a rock, see: Odd Future), the presence of one of the wolf gang on a Summer Playlist is probably a bit of a curveball. Here, Frank Ocean's chart-smooth voice is in Drake or even Bruno Mars territory; surprising, really, seeing as the ubiquitous ringleader Tyler, The Creator, offered to 'stab Bruno Mars in his goddam oesophagus' earlier this year. It's early days yet, but the initiation of Frank into Odd Future as the group's sole singer would seem to represent an ever-so-slight softening, and a move into more commercial avenues.

I'm sure my opinion will change when an amp-dive from Tyler himself breaks my leg later today; either way, expect a LIVE REPORT on OFWGKTA tomorrow.

O. Chapman @229

Say "teenage singer-songwriter" to most people, and you will elicit an unenthusiastic response; eyes will be rolled, and expectations will be low. These people, however, will probably not have seen O.Chapman play live.

The 18 year old has been releasing music unofficially for almost two years, and it shows. His beautiful, melodic songs are hardly unimpressive on record, but become far more affecting live. The songs on display tonight are confidently delivered, even if the man himself earnestly professes to being incredibly nervous. Opener "Wake Up", like many of O.Chapman's songs, floats easily into a sublime instrumental breakdown, just as absorbing as his young-Antony Hegarty-on-Marlboro croon. The ease with which such intricate melodies and harmonies are interwoven furthers the notion that the 60-strong audience tonight are in the presence of considerable talent. Chapman's nonchalant, familiar banter- (sample: "I wrote this song when I thought I was in love...WRONG, just horny...") also entertains the massed ranks within 229, not just the mini-fanclub at the stage's front.

Though there is not a single point of the set that could be described as a lull, closer and crowd favourite "Morning Song" is certainly a high. With the equally charming Tash Heliotis joining him on vocals, Chapman glides through his signature tune, whose sing-song rhythm recalls Bert Jansch on Valium- less hyperactively showy, and much more dreamily graceful.

O.Chapman's prolific output reveals an artist with undeniable talent, whilst live, he could- and indeed does- captivate an audience while inspecting a venue's structurally suspect ceiling. The North-Londoner is no doubt one to keep a very keen eye on.

New Arctics Monkey Single Released

Arctic Monkeys have joined Radiohead in shock-releasing new material. New single 'Brick by Brick', recorded in LA by James Ford seems to lift the less difficult moment's off 2009's 'Humbug" and paste them smoothly onto the angry guitars of the Sheffield quartet's first two albums.

Unlike Radiohead, Arctic Monkeys have not looked to doomy electronic subculture for influence, but balls-out riff-rock that sits increasingly easily with 'Humbug' collaborator Josh Homme's back catalogue. Indeed, the Kyuss/QOTSA man's influence is plain to see in the wailing 'aaaah-y-aaaah-y-aaaaaahs' of the chorus, as well as the widdly desert-rock guitar lines.

Alex Turner's entreaties to Steal your soul/Brick by brick do not number amongst his finest lyrics, but this is still a pretty good Arctic Monkeys' song, which means a very good song.

Radiohead's New Single: Reaction to 'Lotus Flower'

So, here it is. Radiohead's first new album-bound material since 2007's In Rainbows, one day ahead of schedule, just six days after it was announced. Difficult bastards.

On first listen, it seems pretty much what was expected. A snaking, bassy intro is eventually met by Thom Yorke's meek, patient vocal while Kid A synths wobble and whirr. 'Lotus Flower' is incredibly deliberate; you get the feeling that every lingering bass note, every echo-tracked vocal has been surgically prepared rather than bound together with double-sided tape and willpower.

Though the album's electronic intelligence references Kid A and Amnesiac heavily, it updates the sound to an extraordinary extent; those albums hardly sound outdated even today, but there is undeniable progress evident on this, the album's lead single. The relentless, swinging bass is reminiscent of the xx's more upbeat moments, if more pervasive, more aggressive.

All in all, this track is typical Radiohead, which is no bad thing. It's a smoother Hail to the Thief, a more adventurous In Rainbows, Ok Computer with a black cover.

Or that's how I see it. Why not let it 'slowly unfurl' for you, and tell me what you think?

Radiohead and Reasons to be Cheerful

Classic Radiohead; surprise the music world by announcing a new album at one week's notice and in a unique format. These guys could not be more cutting-edge if this album was built entirely from samples of Andy Gray laced with riotous Egyptian rhythms. As usual with Radiohead, we know very, very little of what to expect from 'The King of Limbs', announced this morning and due out this Saturday, the 19th February.

It will be release both as a £6 download and a luxury £30 download/vinyl/artwork package. Mmm...collectable.

This release is sure to spark massive interest; Radiohead fan site ateaseweb.com crashed when it published the story, and the alternative music press has been especially vocal; NME.com seems to be at least 75% Radiohead-centric, whilst Pitchfork, known to be somewhat partial to the Oxfordshire quintet (see below) will soon be a-frenzy with every last one of the Greenwood brothers' bodily functions.

10.0: Must be Radiohead
9.5-9.9: Great enough to play on your college radio set
9.0-9.4: Try playing this one on your guitar all night in your dorm room
8.5-8.9: The CD is pretty good but runs the risk of becoming mainstream
8.0-8.4: You should buy any green washed out retro t-shirts by this band
7.5-7.9: Good enough for maybe a sticker on your guitar case
7.0-7.4: Decent enough to talk about in the coffee shop
6.0-6.9: Needs more white guitarists with black-rimmed glasses
5.0-5.9: Might be good for a fratboy band, those neanderthals
4.0-4.9: Reviewer couldn't find any Cloves before writing and was angry
3.0-3.9: Too many unintelligent people might understand it
2.0-2.9: Curls up the ends of our bowl haircuts with shame
1.0-1.9: Did not cause a single tear to flow from our weepy eyes

0.0-0.9: That ain't Radiohead

Table quoted from here

I'd be lying if I said I wasn't massively excited myself- but as we know next to nothing about this release, it would be churlish to fawn just yet. Expect a review by Monday.

Gig Report- Second Impression @ The Bull & Gate

Back in April 2010, Second Impression were capable; if not quite rising stars, they certainly looked a touch more interested than the usual middle-aged Camdenite bottom-feeders you'd find playing small venues of a weekend in NW1. They had youth, enthusiasm, and most of all, melody backing them up. One year on, all three characteristics are more noticeable than ever.

Yesterday's setlist and stagecraft showed the nous of a band at least twice these teenagers' age. Newies were effortlessly weaved in amongst older crowd favourites with seamless ease; 'In The Night' in particular stood out, all Biffy Clyro guitars and meteoric drums. Those aforementioned favourites were as well received as ever; opener 'Arrows' still sounds like a tragically neglected single from 'Silent Alarm', while the bass-heavy throb of 'Lilacs' evokes 'By The Way'-era Red Hot Chilis.

Don't be fooled by the tried-and-tested influences; Second Impression are a band with ideas. The phenomenally powerful rhythm section would drown most any other songwriters around; the fact that dual guitarists Jovis Lane and Alex Gorokhov can whip such needle-sharp, strong guitars over the explosive beats of Charlie Bostock and Marco Gaspari shows significant musical sensibility. Coupled with this much chemistry and energy, that makes for stunning, exciting music.

"This is easy pop for happy people" spat lead vocalist and guitarist Lane, "as some fucking reviewer called us. If you like Scouting For Girls you'll love this". On Saturday's evidence, these hot prospects will be looking a little beyond soundtracking low-IQ cretins' heartbreaks.

New Strokes Material Comes to Light!

Today saw the unveiling on Amazon.com of the first taste of the Strokes' New Album, 'Angles' due for a March 21 release. With The Strokes' relatively modest-cum-totally-fanatical fanbase frantic for a first hint at new material in over five years (during which the New Yorkers have played not one new song), this taster has to be big. It has to have all the dirty, slick-garage stylings of Is This It, along with that album's effortlessly emotive, ruminative, urban choruses.

On first (and grainy and truncated) listen, lead single 'Under Cover of Darkness''s sound falls somewhere between Is This It and Room On Fire, coming off as a Carribean cousin of 'Hard to Explain', complete with low-slung bass and ska-lite guitars. As ever with The Strokes, production will be a divisive issue- if this sample is representative of the end-product, the album will be a lo-fi affair. It's unclear from this tiny snippet whether the album will go down the "charming underground masterpiece" or "obscurist crash-and-burn" route. For now, however, the world of alternative music still awaits the return of its coolest prodigal sons.

Have a listen here and tell me what you think

Freebies. FREEBIES!

Loyal following, today I bring you an absolute treasure trove of high-quality independent music.

Daytrotter's helpfully self-explanatory motto is "One band a day, every day". In practice, this amounts to 28 free tracks from the Who's-not-quite Who of US indie rock.

Daytrotter's ethos is pretty admirable; whilst on tour, bands are asked to drop in for ramshackle sessions using borrowed instruments, dick around a bit, and emerge with an EP's worth of songs. Today brought four energetic songs from Young Buffalo, vivacious joy-rockers in the vein of Grizzly Bear or Vampire Weekend. The fantastically titled "Full Metal Whacket" is quite literally breathless, and totally compelling with its Lion King chanted harmonies and tribal drums. Of all the sessions to emerge from the Horseshack studio in Rock Island, Illinois (surely too good to be true?), this is one of the most vibrant.

Though its roster lacks genuinely big names, Daytrotter does deliver high-quality free music that'll open your eyes to some great new bands, unless you're really ahead of the curve.

The link is here, for the simple amongst you who missed it the first four times.

Beyoncé and Sleigh Bells to Team Up

Today brings the exciting, if slightly bizarre news that Beyoncé and Sleigh Bells are currently in studio under the Jerk-spiced wing of Major Lazer man Diplo. This unusual pairing is the latest example of a hookup between massive US R'n'B stars and their nerdier, whiter indie cousins.

Jamie Smith's decision to remix Gil Scott-Heron's latest LP, I'm New Here, was a fruitful one; the resulting shady eroto-funk was genuinely different and uplifting, even at its darkest. Jamie of The xx is also collaborating with mega-selling smooth-O Drake, with Florence Welch also rumoured to be involved.

The most daring (and best-praised) R'n'B/Rock hybrid album to emerge in recent-ish times, however, is surely Danger Mouse's The Grey Album, the now-famous merging of Beatles instrumentals with bars from Jay-Z's Black Album. It's well worth a listen: try this mashup of 'Yer Blues' and 'Moment of Clarity'.

Despite the recent form of crossover albums, I simply cannot see this latest collab working. Mixing bold American rap with understated British schmindie is easy enough, but Sleigh Bells, are a different proposition. They are genuinely, bowel-emptyingly loud. Despite her undoubted mastery of the pop song ('Crazy in Love' stands out), Beyoncé's last attempt to confound expectations, the lacklustre I Am...Sasha Fierce met with a tepid reception. Why should her joining forces with the maddest, noisiest shitslingers around be any different?

White Lies- Ritual- Album Review

The walking-pace drumbeat of ‘Is Love’, the opening track of White Lies’ second effort ‘Ritual’, sets the tone for what is, at least at first, a mind-numbingly pedestrian album. Two tracks in and the jaw-dropping irony of lines like “I gotta make this happen/I got a sense of urgency” suggests a new tack: White Lies have forgone depressive lyrics in favour of simply imposing depression on their listeners. Songs like ‘Peace & Quiet’ or lead single ‘Bigger Than Us’ will undoubtedly sound impressive emanating grandly from tinny stadium PA systems, but on record they sound insipid. That said, the album’s second half is a distinct improvement; ‘Come Down’ would sit well on the nightbus playlist of any au fait hipster, whereas ‘The Power & The Glory’ and ‘Bad Love’ share a similar introverted pensiveness. It’s a shame that White Lies don’t allow their more reflective side to show more often; it’s infinitely more attractive than their anaemic (stadium) filler.

Arctic Monkeys' New Album and Why You Should Care

After the runaway success of Arctic Monkeys' first two albums, expectation was high for the arrival in 2009 of their third effort, Humbug. The album itself received with significant critical acclaim and a slight popular 'meh'. Compared to Whatever People Say I Am... and Favourite Worst Nightmare the more contemplative moments of Humbug lacked the immediate, youthful energy that so excited listeners to their early recordings.

To an extent, this was inevitable: the Arctics were no longer teenage ragamuffins with tales of trouble from Sheffield's homes and clubs. They were growing up gracefully.

Humbug was almost criminally underrated; Arctic Monkeys have never been musically more in control than on contemplative tracks like 'Dance Little Liar' or 'Cornerstone', and Alex Turner never more lyrically perfect: 'She held me very tightly/till I asked awfully politely, please, can I call you her name?'

For those still hung up on fast and furious riffery, Humbug provided two heavy-hitting singles, 'My Propeller' and the fantastically dark 'Crying Lightning'. Arctic Monkeys still have a way with melody that ensures no matter how introspective and complex their songwriting becomes, they will deliver. The fact that their new album has James Ford returning as producer is excellent news; for all of its fantastic perceptiveness and neatness, Whatever People Say I Am... was somewhat one dimensional in its production, "unsubtle, one-dimensional noise", as Alan Wilder of Depeche Mode called it. Ford's production on the Arctics' second and third albums was measured and expansive. If he and the band progress with the same depth they have thus far, the new album could shape up to be the release of the year.

Bassless Assumption

Tips for 2011: Part 2

My second tip for 2011 could not be more different to my first. This man melds music in a way that is so studied, so intricate, so affecting and so ridiculously natural that it's hard to believe no-one has ever really come close to aping it.

He is, of course, James Blake.

James Blake is all about contravention. He makes dance music that is at its best when totally devoid of bass; songs like 'CYMK' and 'Air and Lack Thereof' bloom in the wasteland frequencies of electronica, the middle register. There are no euphoric Euro-Cheese hooks, no Calvin Harris synth-pokes and certainly no bass breaks designed to make your sternum implode (see: Pendulum). James Blake plays on emotions far deeper than simple joy or misery.

Blake's decision to sing on recent tracks is further proof of his willingness to take risks. Though there is much merit in earlier instrumentals or sample-based tracks, they fade into obscurity faster than garage did compared to his vocal performances. The only evidence you need for James Blake's inevitable rise to prominence is this:

James Blake - Limit To Your Love from James Blake on Vimeo.

MP3 Download

Something about the perfect depth of his voice, allied with the faintest hint of a London tang and Regina Spektor quivers just draws me in. The 'drop' from 2.30 to 2.45 is just as gut-wrenchingly bittersweet.

Where The Vaccines blast away passive resistance with a top-to-bottom water cannon approach, James Blake uses water torture. Two to watch without question; who do you prefer?

Vote at the top of the page on the right for your favourite.

Never Mind the Bollocks, Here's The Vaccines!

I am a sucker for hype. That is the truth. Not always, but a lot of the time.

That being the case, I never stood a chance against The Vaccines. I've resisted writing them up so far, but in the week that they announce details of their debut album and grace the cover of NME, it seems like the right time to give them a shout out.

The Vaccines are an intriguing mix of all kinds of brilliant musical tropes. They have the punk-rock song structure and shoutiness of The Stooges or Sex Pistols, but their appeal goes deeper than that. In lines like "English boy named, presupposing/Watch out man that door's a-closing" they display the kind of abstract lyrical touch favoured by Pavement.

Wreckin' Bar (Ra Ra Ra) by The Vaccines

Their songs are eminently singable but are open to interpretation, giving them depth, begging for analysis. Moreover, their arched eyebrow and taste for high-camp makes them compelling live, even on the toilet tours they're currently undertaking.

On top of all of that, frontman Justin Young's vocals drag the quartet's sound into the modern age. There's more than a touch of Interpol about his vocal delivery, and certainly enough to stop The Vaccines sounding like a tired retro throwback.

Basically, The Vaccines are the band The Drums could have been. If they weren't shit.

It's well worth checking out their official site here: www.thevaccines.org.uk

FREE ALBUM! I'm Too Good to You...

Yeasayer have just announced the release of a 'pay-what-you-like' live album, Live At Ancienne Belgique; I see this as good news for a couple of reasons. First off, it's basically a (potentially) free version of an album I've never quite been enthusiastic enough to buy. Second, it's really, really good. I'd definitely pay money for it. I mean, I didn't, but you know what I mean.

On listening to Yeasayer, you realise that Klaxons space-bullshit meets old school MGMT with frat-bro lyrics makes ridiculously good sense. The casually intelligent, mammoth songs like 'O.N.E' or 'Ambling Alp' have that Great American Storyteller feel, but John Cheever never had a UPI-555 sampler.

Yeasayer 1, American Literature 0.

Download these thirteen brilliant tracks here.