This Is All Yours, Alt-J Album Review

I've been very busy with college and homework recently, therefore I have been lagging on my blogging (apologies if you care.) But anyway, onto more impressive things.

Alt-J. Just the band's name is a bit of a nerdy reference, and after An Awesome Wave many people dismissed them as hipsters who were far more style than substance. But two years and a lost band member later we have This Is All Yours. It's fun, frisky and fantastic. Going into this album I expected a snooze fest of over indulgence and mono tonal singing. What I did get from Alt-J's second album is close to alternative perfection.

In Japan there is a city called Nara in which tame deers wander round without being flattened by Land Rovers. Alt-J dedicate three songs to this idyllic place (un creatively named Arrival In Nara, Nara and Leaving Nara). Both Arrival In Nara and Nara appear at the front of  the EP, and Nara is the first track in This Is All Yours that is really interesting. A dirty skuzzy guitar riff followed by twinkling percussion, a big difference from the mundanity of Matilda. Every Other Freckle sounds like a 14 year old boy's first dream with a woman in it, turn you inside out and lick you like a crisp packet. It is filthy perfection, the first time the so called hipsters get frisky and the first time you might be able to dance to Alt-J. Link this up with western banger Left Hand Free you've got some potential headliner material.

The most disappointing thing about music post junior school is the lack of Recorder Solos. WELL LOOK NO FURTHER BECAUSE ALT-J HAVE PUT IN A RECORDER SOLO. Yes really. It works almost as an inside joke of their experimentalism, or was it a drunken bet? Nobody knows. Another possible dirty pint moment is a sample of the ever-twerking, ever-embarassing, ever-instagramming singer Miley Cyrus. On track Hunger Of The Pine there is a pulsing beat which has come straight out of Tron, skip a minute or so and there she is Hannah Montana screaming I'm a female red bull (rebel). Yet again, Gwil and co have actually managed to make it work. And that is why This Is All Yours works so damn well.

The Gospel Of John Hurt is the most recognisable factor from An Awesome Wave where vocals were recorded through a fan. Even though vocals are similar, the progression from the ultimate bedroom band to international performers is clear. Alt-J are no longer a music nerd's guilty pleasure, grabbing a number one record last week shows how cool they are. This Is All Yours is an excellently crafted album with a little bit of wit, little bit of weird and the tiniest ounce of sexual ferocity.

Mercury Shortlist Announced

Another year, another outrage at the Mercury Prize shortlist. Last year's rants were tinged with the mundanity of acts such as Rudimental and Laura Marling received noms. In 2014 it is this general feeling of anxiety that the important people in the industry are losing touch with music as the all seeing web is taking over. For example The BBC has made faux pas after faux pas in the last twelve months, including pasty Ed Sheeran being voted the most influential musician in Urban music and a senior member claiming that Playlists are the future (which isn't a obvious plug for BBC Playlister at all). The Mercury Prize panel ignore all Bandcamp EPs and anything which isn't a classic album, which to many seems quite narrow-minded and old fashioned in a day where Apple can send a wanky U2 album to every single human alive.

But what about the albums in the shortlist? Are they the best Britain has to offer? Have you even heard of them? And who even deserves to win? I'll go through a few of the LPs for your benefit.

Bombay Bicycle Club- So Long See You Tomorrow
The fourth album in a five years sees London boys BBC really live up to their sub-continental name, with more Indian vibes than a Friday night piss-up in Brick Lane. In comparison to their other albums, it has a much stronger pop feel which could be grasped quite easily as it is Bombay's first number one album. The LP is an excellent show of progression and how indie can be pushed forward in 2014, it's chances this year are slim.

Daman Albarn, Everyday Robots
Whether it be with Blur, Gorillaz or orchestras Albarn can't seem to put a foot wrong. His first true solo venture Everyday Robots was a funeral pyre for iPhones and tech. Like any 40ish man, Damon is wary of the new age of social media saturation and his album showed that. Despite it's moroseness Everyday Robots was dripping in genius, you felt alone listening to tracks like The Selfish Giant and jubilant during Mr Tembo. A fair bet could be put on Mr Blur.

FKA Twigs, LP1
In my opinion, FKA Twigs' album is the best British debut this year. The London born Tahliah Barnett makes unique and sparse beats, then lays her heavenly voice over- it's the closest we have to Grimes in the UK. Her first album is the next feather in the hat of the indie dance scene which includes SBTRKT, Sampha and now superstars The xx. Her original style is pushed throughout the album to create a singular piece of art in the form of music, and isn't that what we want from a Mercury Prize winner?

Royal Blood, Royal Blood
Everyone has heard of Brighton duo Royal Blood by now. You'll know them as the pair of guys in Topman leather who like to make loud music. And everyone loves them, from the blogs claiming they're the saviours of rock music to the 'shock' number one album (despite tonnes of air play and the best PR campaign this year). I'll let you into a secret- Royal Blood is not a groundbreaking or even a good album, it is middle of the road mindless rock for the lowest common denominator for those who believe a Nandos is a good night out.

Jungle, Jungle

What does CHIC, Daft Punk and Michael Jackson all have in common? They make us dance, and that's what Londoners Josh Lloyd-Watson and Tom McFarland have set out to do with their group Jungle. Shrouded in mystery and monikers, the self-titled debut struck it big in the blogosphere and provided an alternative to the chart drivel EDM for people who wanted to dance. It's funky, un-offensive and a great listen. Tracks like The Heat and Time scream Barbecue weather. Is it Mercury worthy?, quite possibly.

Superfood, New Tour New Album

The relationship between you and your favourite band is very special. For some that means spending ridiculous  amounts of money on merch, eventually looking like a bit of a fool in your 15th Blink 182 hoodie. Others it's all about a follow on twitter and screaming for a selfie. Some fans insist on being keyboard activists for their favourite artist, ultimately causing a stir and embarrassment for all involved (believe me, I've been told to kill myself by an Avril Lavigne fan).

My favourite band is the Brummy four piece Superfood. My relationship with them includes many photos, instant song recognition and seeing them play live three times within the space of ten months. I was lucky enough to interview the band and really enjoyed their company, something that should stay with me for a fair few years (Until the point where I interview Kanye West and my mind turns to jelly).

Therefore you could imagine my huge excitement when three of the biggest things that could happen in a band's career all happen on the same day. First of all NME announce that Superfood along with Honeyblood will headline the 'New Blood' tour which is coming in late November and early October. Then on Superfood's soundcloud a completely new tune was released, Lily For Your Pad To Rest On is a Happy Mondays-esque freak out with off the wall lyrics and a solid drum beat to excite any retro fan. Probably most important is the release date of their new album 'Don't Say That". The album, released on the 3rd of October, may be one of the biggest and best releases of the new wave of Birmingham indie washing over the UK. I personally hope this album is more successful than even Royal Blood who are on track to dominating the charts for another week.

The Wytches, Annabel Dream Reader Review

Since forming in 2011 The Wytches have designed themselves to be different. It all started when lead singer Kristian Bell decided to switch an 'i' to a 'y' making the band easier to find on Google and just to be a bit weird. The Peterborough three piece have set out to be the hardest psych band in the UK, putting The Horrors and Temples into a playpen while The Wytches try their hand on debut album Annabel Dream Reader.

From the early era Pixies start of Digsaw it is clear that The Wytches aren't here for you to politely nod along, Kristian Bell is making music for the 'goth' teens to mosh to. With screeching lyrics and soaring guitars Digsaw is begging you to punch the kid next to you. Some of the songs on ADR keep up this head banging purism such as Fragile Male and Gravedweller, the latter of which reminds me of Drenge's fascination with feedback and being hard as nails. All good albums know you must have light and shade, and The Wytches can manage this expertly. Tracks like Wide at Midnight and Weights and Ties prove that the three know their ways around instruments, the slowed down monolithic sounds are as dark as they are beautiful.

There is a serious issue with Annabel Dream Reader, and that comes directly from lead singer Bell. Despite his haunting screeches and wails he cannot write lyrics for the life of him. Some of the biggest crimes lyrically come from Fragile Male in which he croons you must be a dancer, cos you're dancing in me. I don't want this to affect me but it really does, for music that sounds so fantastic at points the lyrics make me feel uncomfortable. On the fantastic Summer Again which is relaxed and is taking reference from everyone from Arctic Monkeys to Gnarwolves is ruined by bum lyrics like you climbed up my jeans, we wept for each other.

The Wytches are a live band. They do breakdowns better than almost anyone at the moment and their music has been perfected for the dingy club to thrash to. Kristian Bell has created a band with a striking aesthetic which is already creating a cult like following amongst the darker teens of today. Their promise is infinite when looking at the final cut Track 13 which is a slow ballad where caterwauling works so perfectly you wonder where The Wytches have been all your life. Just sort out the lyrics and you've got another huge Brit band.

Reading 2014, Things I Learnt

For another year Reading Festival is over. Five days camping in a huge field interspersed with brilliant music, overpriced food and anti-Spurs chants. Without any hesitation it was the best weekend of my life, spending time with both your best friends and favourite artists is the key to happiness. This was my first true festival, and I sure did learn some very interesting things about Festival culture and the bands that played at Reading and Leeds 2014.

Gerard Way sucks
The My Chemical Romance frontman had his live solo debut on Friday midday. The NME stage was packed, everyone was ready for some classic MCR anthems. What we received were around 10 songs from Way's new album. Did anybody know the words? Did anybody enjoy it? Was this worth waking up for? The answer was No. Despite Gerard Way's huge advantage of being a world class performer, he didn't have the material to back it up. All he received was a resounding 'meh' from the audience.

Everyone hates Tottenham
Festivals are a breeding ground for chanting and Reading 2014 was no exception. From the Get Out Me Car Vine to the Inbetweeners Movie, no slice of pop-culture was safe from becoming an arena shoutout. Bizarrely in Reading there were thousands of Arsenal fans. Nobody could trace it to a group of lads or campsite but everywhere you went people seemed to be hating on Spurs (granted there was a bit of West Ham love in the air). It was fun to feel part of something far louder than you could possibly imagine, even if it was mainly mindless banter.

THE ORWELLS (TAKEN FROM NME.COM)

The Orwells are the masters of destruction
On Friday it was certainly a battle of the brawn between Drenge, Fat White Family and The Orwells. Drenge kicked it off with cross dressing, moshpits bigger than my house and singalong belters. Lias Saudi did not want to be bested, he tried to top the Loveless brothers with a mix of toplessness and being down right disgusting. Fat White Family are an excellent example of how important notoriety is today in music, people came over to the Festival Republic Stage just to see what unfolded. However, Chicago's The Orwells were truly the number one band on Friday for destruction. Mario Cuomo channeled the sleaze of Iggy Pop and the hyper sexualised Alex Turner to lead The Orwells into disaster. He hung from the lighting rig, had dry sex with the lighting rig then got himself into the crowd- in which we didn't let him leave. Major props to him for dedicating a song to the NME and then screaming "I fucking hate my parents!".

Peace and Cage The Elephant don't mind stealing the show

PEACE (TAKEN FROM NME.COM)

Saturday was the day my weekend fell into place. I was suitably bevved (Reading lingo) and the music was excellent. Gnarwolves were insane, Royal Blood's potential is obvious and Gesafflestien's brand of dystopian dance was executed with a disconsolate French grimace. Birmingham boys Peace brought their A game to the Main Stage with crowd favourites Lovesick and Higher Than The Sun and their new material (especially World Pleasure) put the crowd into ecstasy with smiles all round. It was then Kentucky's finest Cage The Elephant to rock the NME stage, and boy did they. Matt Shultz contorted body and screams made for the one of the best performances of the weekend. Him crowd surfing into my best friend's brother's arms was particularly bizarre but certainly brilliant.

Matt Healy brings all the girls to the yard
Let me paint you a picture. I've been standing at the barrier of the NME stage since 11am. My poor body has been crushed more times than the cries of "Alan" and "Steve". I have been on the telly more than the targets of Project Yew Tree. It is now 8:30pm and my brain has been turned to jelly by The Horrors psychedelic lasers and I haven't touched substances being passed around by Yellow camp.

THE 1975 (TAKEN FROM BBC)

I close my eyes for a second, I assumed I died and woke up in a very sweaty heaven as I am surrounded by 20 beautiful girls. Then I realise I'm not dead but that The 1975 are just about to play, and Matt Healy is a bit of a heartthrob for 16-18 year old girls. Although sceptical of the band I stuck my ground as at my good position because Disclosure are worth the wait. The band saunter onto stage with a bottle of vino and look throughly drunk. The next 40 minutes are fantastic, the band play their very catchy songs with great confidence and Matt Healy knows how to run a crowd (which is huge, even by Reading standards). I was a 1975 convert, my indie roots had been ripped out the ground.

AM live stands for Absolutely Mundane

ARCTIC MONKEYS (TAKEN FROM BBC)

Watching my favourite band of all time was the saddest moment of my festival (and I had my tent ripped to shreds then burnt). The release of AM sent shockwaves throughout the music industry and made Alex Turner a household name both sides of the Atlantic. Arctic Monkeys are so at ease with playing headline shows at festivals that they forgot they have to perform. Alex Turner is an exceptional musician and I quite enjoy his reincarnation as Sheffield's Elvis but his stage presence is poor and the lack of eye contact between the band is worrying. Most songs from the early albums went down a treat but AM songs became funeral marches of boredom and mundanity, Knee Socks was a particular low point. The Monkeys are going on a break after they wrap up their US tour, and I think it is well needed.

Michael Cera, True That Review

Let me start with this, I'm a closet Michael Cera fan.  That's a lie, I'm an out and out Cera fanboy. My favourite film is Scott Pilgrim Vs The World, that's all you really need to know about me. So when I found out that the king of the awkward smile had released music I was dead with excitement.

The result is True That, a bizarre and jagged lo-fi album that doesn't fit into any genre. At one point it's a mess of acoustic guitars and dodgy vocals (Steady Now). Then the next track it's an instrumental reminiscent of Jacco Gardner's psychedelic piano playing. Undoubtedly many of these songs are morose. Ruth tells the story of a mother who lost her child during pregnancy and is tear jerkingly low key, it is a certain gem in the album.

3rd 'Odd Future Carnival'- The end of OFWGKTA?

Last night the third annual Camp Flog Gnaw Carnival was announced by all Odd Future affiliates over Instagram and Twitter. The first Carnival was a huge success, and so was last year's. So it makes perfect sense for Tyler, the Creator and the rest of Odd Future to throw another.  Tyler's growing separation from Odd Future and rap music in general hints that the OFWGKTA is coming to it's end. And this Carnival is posing even more questions than it answers.

Note how there is only one mention of OFWGKTA on the poster, it clearly is called the 'Camp Flog Gnaw Carnival'. For me that shows that rappers Hodgy Beats, Domo Genesis, Mike G etc. had almost zero input into the organisation of the show. It is all done by Tyler, the Creator. This is not surprising however, Tyler has created a universe for himself from the upside down crucifix and cat imagery plastered over early OF releases to the bright, zany and downright silly Golfwang clothing range. Even the colours on this poster scream 'TYLER WAS HERE' as these were the colours used in his recent Vans Syndicate shoes. The once ringleader of an 'underground cult' is now the curator of his own carnival, and has left OFWGKTA to be support slots.

Other interesting developments to the carnival is the line up, N E R D legend Pharrel Williams is headlining with other non Odd Future rappers Rick Ross and Mac Miller. The only OF acts that make it onto the main stage are Earl and Tyler (unsurprising as these are the only members with considerable mainstream success). And a frightening lack of Frank Ocean only fuels rumours that he has disappeared off the face of the Earth (perhaps a 'Free Frank' campaign must begin?). Other exciting acts to take to the Carnival are west coaster Freddie Gibbs and comedy DJ act Billy Jole, played by Earl Sweatshirt and Lionel Boyce.

To any other human who isn't well versed in Odd Future would mainly be asking 'The fuck's a Flog Gnaw' or 'Where are all the crucifixes and 666'. But for the fans, these things are extremely important. Odd Future were the punks of rap music with a following of teens that hung on every word that they would say (go to their shows, believe me). But many believe that it could all be over, with disappointing releases by Mellowhype and not a whisper from Domo Genesis despite him claiming there would be two releases in 2014 it looks very bleak. For OFWGKTA, their fates rest in this carnival. 

Do you agree, think I've got this all wrong? Comment Below