The Naked And Famous - Hearts Like Ours, single review (Indie-Electronic/Post-Punk Revival, New Zealand)

The Naked And Famous hit the ground running and burst onto the music scene with their 2011 debut ‘Passive Me, Aggressive You’, receiving global critical acclaim; the stunning singles, ‘Young Blood’ and ‘Punching In A Dream’, being instantly featured on hit US shows, such as The Vampire Diaries and Gossip Girl. The mysterious musical ensemble craft their own anthemic, psych-pop flavour with a twist of 80’s post-punk influence, which results in well-produced melodic songs that are hard not to love; dance-floor heartbeats and crackling synths blended with occasional heavy guitar riffs make TN&F one of the more unique indie-electronic bands out there, purely because they’re not afraid to shy away from sounds that they adore. Recently having secured a contract with indie record label, Fiction Records (home to the likes of Crystal Castles, Snow Patrol and The Maccabees), The Naked And Famous had a lot of pressure from fans to become a little more steady on their feet, and the new single ‘Hearts Like Ours’ displays that the band are doing exactly that. Alisa Xayalith’s cute, yet sometimes urgent, vocals which glide and soar amongst hazy, electronic textures, are still present, and are still partnered with Thom Powers’ more melancholic, drowsy utterances that drift in and out of the bouncy notes and tense, haunting synths – somewhat similar to The xx’s heartfelt vocalist cohesion.
 Orchestrating and combining musical ingredients is hardly innovative these days (think M83, MGMT and Grouplove), however, TN&F’s knack for layering songs and sounds leads us to somewhere interesting, and ‘Hearts Like Ours’ is a shining example of this. Festival-fit, reductively romantic and self-immersing, it carries their trademark psych-rock sound that is carried by electronic fuzzy cues. The song bursts into colour and motion (definitely fit to be named a summer anthem) as Alisa exclaims “Half awake and almost dead/Keep an empty bed downstairs!”. Static will rattle amplifiers, fuses will blow and drumbeats and bass will shake the earth when played loud, as it was clearly intended to be. The band seems to have taken more control of the guitar riffs, electronic beats and Alisa’s vocals, which is definitely a change that is to be accepted with warm, open arms.  Nevertheless, it does sound a little similar to ‘Girls Like You’, and it feels as if the band has played it a tad safe by mimicking the structure of ‘Young Blood’. That said, the emotionally-charged chorus and sensitive, captivating lyrics will become buried in your mind, as the uplifting sound of Powers and Xayalith singing in unison will have festival crowds globally chanting the lyrics, while they fist-pump and dance to the tectonic bass.

Although it has been a long wait for devoted TN&F fans, it has been worth their while as The Naked And Famous have taken their next strike at musical success, yet a very tentative one. With fingers crossed, TN&F’s sophomore album should, hopefully, exceed ‘Passive Me, Aggressive You’, and ‘Hearts Like Ours’ is a single that certainly suggests so.
‘In Rolling Waves’ is expected to be released September 16^th 2013, featuring singles ‘Hearts Like Ours’ and ‘Waltz’.

London Grammar - Metal & Dust, EP review (Alternative Pop/Indie, UK)

If Florence + the Machine and MMOTHS were to have a musical love-child, London Grammar would be it. Fresh-off-the-press, sublime and distinguished sounds push the London-based trio to the centre stage of bands to breakthrough during 2013. Purely focusing on the vocals, Hannah Reid does every track justice with her capability to reach all the high notes and sustain them for impressive amounts of time; London Grammar match Hannah’s powerful, classic voice to a sombre guitar and plaintive, emotionally-touching lyrics that allow her vocals to flourish and exceed all limits placed upon them. Metal & Dust is intricate as it is delicate, with back-burning, progressive, haunting pop songs that are expressed by a soulful, siren-sounding female, making this EP one of the most mysterious and exemplary debuts to date.   
The band focus on art, rather than sickly-sweet pop tunes, with their first released track, ‘Hey Now’, and despite its simplicity, the meticulously-crafted track gathered a significant hype post-release and has received many radio plays. The track is alluring and charming with harmonies that will latch onto your soul and refuse to let go, but needless to say, you will not want them to. Hannah Reid’s voice, folk-sounding at heart, ensnares and encapsulates the listeners’ attention as she gently guides you through each twist and turn of her emotionally-affecting experiences. Although sometimes chilling, ‘Hey Now’ will still have you tapping your feet, or have you closing your eyes as you soak in the gleaming, golden melodies. ‘Metal & Dust’ is reminiscent of The XX with its moodier tone and deep bass-beats that demand your attention. However, unlike their counterparts, London Grammar infuse heavier dance elements, distorted vocals and electronic pitter-patters that are daring, unique and simply brilliant. Guitar and vocals breathtakingly soar seamlessly in cooperation during the chorus, and this is where it becomes puzzling as to why London Grammar have not yet been so widely heard of. Despite the dark themes of relationship troubles and sadness, the song remains fun and free-spirited which builds to a superb crescendo that finishes abruptly, leaving you to crave more. Where ‘Hey Now’ and ‘Metal & Dust’ are songs laden in emotional intensity, ‘Darling Are You Going To Leave Me’ provides a light escape, whilst still bearing the emotional resonance of previous tracks. A catchy, chilled-out drum beat and a subtle, coy guitar create aesthetics which will be perfect to listen to whilst lying on the beach during the hot summer months.
Dot Major’s remix of ‘Hey Now’ sounds almost entirely different to the original track. However, this isn’t a bad thing as house-inspired dance beats bounce with the bass, electronic synthesisers twinkle softly or pulse menacingly. The remix is somewhat disappointing, in some respects, as it primarily focuses on the electronic warps and synths, thus disregarding Reid’s vocal presence that was established in the original track, and it almost sounds a bit mismatched when a snippet of guitar play is heard here and there across five minutes.
Nevertheless, it doesn’t become repetitive and it does allow a slight relief from the dark atmosphere created by previous songs

Deeply enjoyable to listen to, Metal & Dust sets the benchmark for debuts released in 2013. London Grammar have a long way to go yet, but if their future album is half as good as their EP, the UK would be home to an unparalleled talent.

Check out 'Metal & Dust' below

Savages - Silence Yourself, album review (Indie/Alternative/Post-Punk, UK)

Savages perform like a band who have taken their lessons from Siouxsie Sioux, filtered them through The Pixies, stopped off to meet Bauhaus, and landed in the arms of Joy Division. That said, they aren’t mere revivalists that are recreating their parents’ favourite records, Savages offer too many of their own powerful perceptions concerning the bleak corners in their monochromic world to be considered unoriginal. The release of their sensational single ‘Husbands’ last year seized the attention of alternative-rock fans galore, but it was their confident, intense live performances that proved themselves worthy of being musicians. Our anticipation for their debut release was not met with disappointment, as our fears of their live performances over-shadowing their studio-recorded efforts were surprisingly proved wrong; the eleven track album, Silence Yourself, could be considered an immediate classic with Jehnny Beth’s vehement, uncompromising attitude stamped across forty minutes of limitless energy.

Unlike many current indie bands that find their influence, concerning sound and melody alone, from post-punk bands, it is post-punk’s controversial views towards society and moral expectations, anxiety towards the modern world, and chilling themes that the Savages find solace with - while still sounding current. Opener ‘Shut Up’ commences with a foreboding excerpt from John Cassavetes' film ‘Opening Night’ which could be seen as a slight prelude of the deep, warped atmosphere that continuously develops and flows across the record. The lyrics are stark, harsh and memorable with poignant bass-lines that take centre stage when Jehnny isn’t wailing in a Siouxsie fashion. Stripped-back, tenacious elements from the punk genre meet Joy Division’s dehumanised ennui in ‘I Am Here’; cymbals crash and cascade relentlessly towards the end of the three minute paranoia-inducing track. Jehnny’s vocals remain raw throughout, and honestly, it is refreshing to hear such talent as she screeches “I am here! I am here! I am here!”
It would be naïve to say that Savages lack in musical skill; Gemma Thompson, Ayse Hassan and Fay Milton all contribute something to create songs that smoulder, ignite and intensify. Gut-wrenching guitar distortions and bass riffs are most noteworthy and impressive during ‘City’s Full’ and ‘Strife’; drumbeats either pound explosively or provide a soothing, timely rhythm in slower areas of the latter track.  ‘Hit Me’ and ‘She Will’ are compositions taking a more punk approach to their music with tremendous, shuddering drum-beats, piercing guitar distortions and vocals that will creep up on our senses and suddenly suffocate them with screams - not a bad thing, I might add.
One of the concepts that the Savages try and push across in their record is to challenge and question everyday routines, ideas and labels that people perceive as ‘normal’. This is present in the track ‘Husbands’ where the word ‘husbands’ is repeated countless times, becoming more manic, eccentric and high-pitched each time that it is uttered, rendering it completely alien to its meaning. Partnered with the lyrics “I woke up and saw the face of a guy, I don’t know who he is”, off-putting guitar riffs and cymbal clashes, it creates a disorientating, jumbled sound - one of the more stunning tracks on the album.
‘Waiting For A Sign’ and ‘Marshal Dear’ are mouth-watering glimpses into what else Savages can offer as a band. More slower in pace, they create a mature atmosphere with overarching distortions, fragile whispers; a piano and jazz-brass solo are delicate touches in ‘Marshal Dear'.

Silence Yourself is one of the most artistic endeavours that post-punk has offered in a long time, combining visceral, brutal elements of punk with bleak, softer influences, resulting in songs that are fairly similar to Siouxsie & the Banshees earlier material. Riffs and hooks aplenty, with postured vocals thrown in for good measure, Savages are artists that have created one of the more notable debuts released in 2013.

Check out the video for 'Shut Up' below

The National - Trouble Will Find Me, album review (Indie, USA)

Brooklyn-based quintet, The National, have become one of the more intriguing bands on the indie-rock scene ever since their 2001 debut; fronted by the disenchanted, yet humble, Matt Berninger, a baritone, the band has begged for comparisons with the shadowy, melancholic sound of Joy Division. Their sixth studio-produced LP, Trouble Will Find Me, is built on foundations of dying love, a tormenting past, self-disgust and an apathetic attitude towards modern and urban lifestyles, upon which handsomely-constructed, celestial melodies are built. Trouble May Find Me may not top critically acclaimed previous releases, (for example, Boxer and High Violet), but individual songs such as ‘This Is The Last Time’, ‘Demons’ and ‘Sea Of Love’ could just be their best pieces of work to date.

Opener ‘I Should Live In Salt’ is reminiscent of Nick Cave & the Bad Seeds – hopeless-sounding vocals, lightly-played chord arrangements and a pleasant drum backbeat that builds to something more compelling as Berninger heartbreakingly yelps “I should live in salt for leaving you behind.” Elsewhere, quietly purposeful and reflective tracks ‘Don’t Swallow The Cap’, ‘Demons’ and ‘Pink Rabbits’ revisit a more meandering, drunk-under-the-table-at-2am ambience, signalling a move towards their finest material. Moody and world-weary, ‘Demons’ is the first standout track on the album with lyrics unsubtly conveying Matt’s disappointment at feeling hopelessly stuck in a cycle of depression and missing people he has left behind. ‘This Is The Last Time’ uses a simple bass riff and a delicate drum beat alongside outstanding vocals, making an excellent mid-album peak; this track envisions strong and frightening emotions felt at the end of a relationship, and the desperate struggle of fighting for something that has already been lost-absolutely superb.
‘I Need My Girl’ is not dissimilar from Bon Iver or Fleet Foxes with soft folk chords being played unforgettably in a rhythm that is impossible to shake, and a persuasive chorus that is difficult to resist singing along to.  ‘Heavenfaced’ wouldn’t sound too out of place on Foals’s latest album, Holy Fire, while bittersweet, easy-listening songs like ‘Slipped’ and ‘Humiliation’ are a magnificent way to bring the album to a close.

The National’s latest venture at creating emotionally provocative contemplations deserves more than just the once over; amongst the overly-produced music that is ever present in the indie genre, this album is a diamond among the rough, which deserves to shine with its fresh batch of endearing and mesmeric songs.

Check out The National's video for 'Sea Of Love' below