There’s a sax on “Sacrament” that’s loaded with longing, while the grunge-gospel stylings of “Merciless” offer ominous guitars and Collard’s reverent croons. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. 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. This strategy works now, but it’s not difficult to imagine a time in which Gallagher sticking with what’s comfortable may lead to future songs blending together. proves once and for all that, when Liam is as good as he is here, there’s little reason for an Oasis reunion beyond pleasant if vaguely pointless nostalgia. otherwise feels fascinatingly autobiographical. Backing singers Leisa Hans and Ashley Wilcoxson add texture to the grooving “Lo/Hi”, while the languid “Sit Around and Miss You” is Stealers Wheels by way of the Deep South.
(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.
Want an ad-free experience?Subscribe to Independent Premium. Nina Simone said an artist’s duty, “as far as I’m concerned, is to reflect the times”. (Mark Beaumont), A revolving door of female vocalists (A-listers, indie darlings like Angel Olsen and unsung songwriters) deliver heartbroken lines over big, shiny beats and synths. Instead, his cold grime sonics are rendered down to their no-frills essentials – brutalist blocks of sad angular melodies and hard, spacious drums. But what lovely ripples it makes. Several tracks tap into a Nineties R&B sound that UK women, from Mabel to Ella Mai, are excelling at right now. Social Cues is an album where Shultz bares his soul, and apparently shakes off a few demons in the process. (Roisin O’Connor), The album title of the year gives us an image of Brexit Britain trashed by Old Etonians David Cameron, Boris Johnson and Jacob Rees-Mogg, but the fifth studio work from the punk duo has more than social commentary to offer. Those qualities are captured nowhere more satisfyingly than on “25”. “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. In theory, this should result in an album that presents an “impression” of Liam Gallagher, rather than anything particularly real. It is, she says, “The Kinks meet the Second World War, or Bob Seger meets Enya.” Neither of those is a particularly accurate description, but they do at least fit the album’s refusal to loiter in any one genre. This isn’t a “best of” selection – the band simply chose the tracks out of which they got the biggest kick. Ronson’s production is so sharp that you all but see the steel strings rise like a hi-definition hologram from your speakers. But don’t be put off: Miss Universe is a brilliant collection of songs, an expansive melange of indie, jazz, pop and trip-hop that flits between a lo-fi sparseness and something The Strokes would play. This is evident from the album’s lead single and opener “Shockwave,” which is a monster with loud guitars, pulsating drums and big choruses. The Lowdown: The rivalry between the Gallagher brothers is one of music’s most infamous, and it’s something neither brother seems able to walk away from regardless of how hard they try. “Adult Film” features a gorgeous piano riff; the Pete Rock-produced “The Art of It” has a delicious funk vibe; “It Never Ends” comes full circle via a bright piano loop. As .Paak sings on “Winners Circle”, “They just don’t make them like this anymore”.
The Man’s mega-hit “Feel it Still”, the Kentucky-formed, Nashville-based Cage the Elephant remain faithful to their neo-soul influenced brand of garage rock but move to something darker and far more visceral. (Elisa Bray), Six months after the release of Oxnard, Anderson .Paak returns with another Dr Dre-produced record, Ventura. “I could be the rapper with a message like you’re hoping, but what’s the point in me being the best if no one knows it?” he challenges on “Psycho”, which flips scattershot between beats and moods as though the track itself is schizophrenic. Why Not . Yet neither can claim to be as fiendishly catchy as Let’s Rock, a record that can scarcely sit still. The tempo-shifting country-folk song “Get Set Go Kid” layers guitar, keys and subtle, harmonising backing vocals, unexpectedly building towards a cacophony of syncopated piano and saxophone. “I don’t want to flip the page/ Of my negative script,” he intones on the final track, but there’s just a hint that he does. Professionally, Gallagher could recover from a bad album — but the threat of giving his ex-bandmate any ammunition might be a chance Gallagher isn’t willing to take. (Helen Brown), Lux Prima was born just over a decade ago from a drunken phone call from Karen O to Danger Mouse – real name Brian Joseph Burton – during which the pair vowed they would work on something together. Tarantino bossa novas and Velvets drones are all imbued with a luminous, cultured seediness, like the entire Cannes Film Festival owning up to its social diseases. The most insightful comments on all subjects will be published daily in dedicated articles. In a way, Grim Town portrays the journey from adolescence into young adulthood – with all the introspection, resignation and wide-eyed forays into love that entails.