Considering how few artists have such command of their craft as .Paak, he’s not wrong. (Jack Shepherd), Two years after the release of his Mercury Prize-nominated debut Yesterday’s Gone, the south London hip-hop artist unveils its follow-up, Not Waving, But Drowning. Yanya – who is of Turkish-Irish-Bajan heritage – grew up in London on a mix of Pixies, Nina Simone, The Libertines and Amy Winehouse, and this unlikely combination is certainly reflected in the sound. And then there’s that voice – at once warm and haunting, controlled and untethered. Do you have to be working class to sing about austerity? “If he’s a serial killer, then what’s the worst that can happen to a girl who’s already hurt?” she asks. The singer croons over disco-infused, Quincy Jones-inspired trumpets on “Reachin’ 2 Much”, masterfully interplays vocals from Smokey Robinson with violin flourishes on “Making it Better”, and playfully raps about global warming on “Yada Yada”. The tension is stormy: imagine a mid-period Fleetwood Mac song, covered by Cat Power. The late musician had a free-spirited approach that suits Hot Chip on the psychedelic “Clear Blue Skies”, and there are nods to early Nineties French house via the glitchy funk and vocoder effects of “Spell” (an album highlight).. For all its glimmering synths and the robotic pathos of Taylor’s idiosyncratic vocals, this is a record with both heart and soul. Addressing a younger version of herself, the 37-year-old sings of the carefree young and their mistrust of those defeated by time. Perhaps this will put her at the top where she belongs. (Roisin O'Connor), Why Me? (Elisa Bray). They are on tour in the UK and Ireland until 6 April. Live event listings and tickets. (Alexandra Pollard), Frontman Corey Taylor, who had just emerged from a toxic relationship when recording this album, addresses feelings of belittlement and inadequacy with unflinching honesty and some of his best vocal work in years. Jul 21, 2019 - The modern sound of Britain: disaffected, austerity ridden, hungry, homeless, isolated and fooked off by the tories and the bwankers.....more Mods!. by Michelle Geslani. “These are things which, as a band, we discuss and we’re interested in, so we put them in the music,” the singer shrugs. When they went on tour last year, Talbot says, it was “a three-month bender – but I don’t want to numb these experiences anymore, I don’t want them blurry”. Aside from “Happiness Is a Butterfly”, that is. Philippe Zdar – one half of the French duo Cassius and producer for the likes of MC Solaar and Phoenix – helps the band reconcile their house and hip-hop influences. And I thought that it would kill me, but it didn’t.” The title track, meanwhile, is poignant and unfussy, a reminder of Swift’s ability to distil infatuation into something specific and universal. (RO), Dedicated covers the full, but generic, spectrum of relationships: dizzying love, lust, and break-ups. (Patrick Smith), MUNA might not be a household name yet, but their influence runs through the charts like a stick of rock these days. Yet few are likely to have as much inspiration to draw on as India-born, Zimbabwe-raised and now Peckham-based artist Rina Mushonga. Perhaps Sleaford Mods’ most important statement is still Jobseeker. and Bleachers. Create a commenting name to join the debate, There are no Independent Premium comments yet - be the first to add your thoughts, There are no comments yet - be the first to add your thoughts. Sleaford Mods’ CD-R albums – from the time before Fearn turned up with his drum machine – sell for huge sums. The rider contains spinach and electrolyte-infused water. Flamagra – a playful yet melancholic, skittish yet meditative 67 minutes of cosmic genius – is one of Flying Lotus’s most accessible releases. (Elisa Bray), Six months after the release of Oxnard, Anderson .Paak returns with another Dr Dre-produced record, Ventura. It’s already largely written with a title and artwork, and is scheduled for a 2020 release. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point). “Something magical happened one night,” she sings. They are known for their abrasive, minimalist musical style and embittered explorations of austerity-era Britain, culture, and working class life, delivered in Williamson's East Midlands accent. Where Black America Again was notable for its sharp, observational urgency, Let Love feels far more personal, and softer in tone. The bass and riff-driven “Now That You’re Gone” feels stripped back by comparison; it’s perfectly crafted. Keith Goldhanger first reviewed them at the tiny Old Blue Last and returns to share his thoughts as they play two nights at one of London’s largest venues. The spat between these two icons of austerity-era post-punk has been battering away for quite a while now. Sleaford Mods started in 2006 whilst Jason Williamson was living in Nottingham. The anxiety and pride of impending parenthood converge on “Seventeen”, a paean to the invincibility and melancholy of adolescence. (RO), On his debut album, the 24-year-old Collard mixes sultry jams that recall the electronic funk of MGMT with nods to the greats: Prince, James Brown, Led Zeppelin and Marvin Gaye. “Ready for Love” is a melancholy ballad with harmonising vocals from bassist Paz Lenchantin (Kim Deal’s now-permanent replacement), while lead single “Catfish Kate” – a tale of a woman battling a catfish in a river told by Black Jack Hooligan – is a rock hit in waiting. Those hoping for a barbed protest record in keeping with Del Rey’s newfound public activism (last year she called President Trump a “narcissist” who “believes it’s OK to grab a woman by the pussy just because he’s famous”) will be disappointed. How does it feel, I ask, that the criticism is coming from someone he once called a hero? It’s masterful production. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium. Lead single “Number One Fan” banishes intrusive thoughts – “Nobody likes me and I’m gonna die” – just in time for a lavish, self-celebratory chorus, one part earnest, one part tongue-in-cheek. Now it’s a standout on this album. Williamson has cited influences including the mod subculture, the Wu-Tang Clan, Stone Roses, Nas, Red Snapper, Trim, Two Lone Swordsmen, rave and black metal. She switches her vocal style song to song, moving from a lilting croon on “The Barrel” to the quirky elocution of the title track. 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