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.