M3LL 155X, FKA Twigs EP Review

FKA Twigs truly defines a generation of pop star that does not colour within the lines. Her debut album ‘LP1’ (2014) pushed her listeners to a world of dark futuristic pop doused in sexuality. After a lengthy tour, including the career-defining sell out show ‘Congregata’ at London’s Roundhouse, Twigs has a new EP.

Titled M3LL155X, the Gloucestershire singer has gone to the darkest recesses of her mind flaunting her style, self-directing four original music videos for the EP. It begins with Figure 8, an apocalyptic flurry of ear splitting feedback and Twigs’ now signature flying vocals. The song grips you within the first beat, provoking feelings of female empowerment and fearful ecstasy.

FKA Twigs’ strongest  song of her career is I’m Your Doll. The word provocative really doesn’t cut it. Twigs is singing about being a sex doll, relinquishing all her sexual power. The brutal desire of I’m Your Doll sees FKA Twigs at her best. A sexually empowered, creative and mature woman encouraging sexual empowerment, creativity and maturity.

M3LL155X is a fantastic body of work. In Time utilizes surreal vocal effects and breaks to create a fantastically obtuse dance track. Working in accordance with a purely fantastic video including pregnancy, dancing and a male lead straight out of MIB- it is clear that her creativity knows no bounds. The penultimate track, Glass & Patron, is a tour de force inspired by New York vogue culture. The song places FKA Twigs as one of the weirdest, and greatest, female pop stars of our time (oops Gaga).

The EP finishes with Mothercreep, a track similar to the Mercury nominated debut . Interestingly, Twigs manages to sample then chop and screw previous lyrics and moments from the EP, the pastiche effect further solidifies her creative statement, and confusing the hell out me.

My Love Is Cool, Wolf Alice Review

In amongst the hype that London band Wolf Alice have courted for well over a year, a few wary voices began to formulate. Despite riveting bodies of work such as Creature Songs EP and Blush EP, many began to doubt whether they could 1) put out a full album 2) stick to their roots. The latter would always proved difficult as Wolf Alice have struggled to define their sound

Wolf Alice had to live up to high expectations, with a few dodgy singles and re-recordings of fan favourites, things looked grim. But expectations are something that Wolf Alice like to fuck around with. The album opens with Turn To Dust, a folky and floaty ditty- not what most listeners would expect from the same line up that wrote Moaning Lisa Smile. Bros follows a similar track, a cleaned up and refined version of Roswell’s past lyrics. Bros is as silky as a fabric conditioner, complete with off the wall ethereal harmonies.

The rest of the album follows suit, you get comfortable with a relatively clean sound. Wolf Alice yet again lull you into a false sense of security. Then, like the final thirty seconds of Eastenders; You’re A Germ provides a plot twist like no other. Overtones of the Pixies begin and Your Love Is Cool begins to prove itself. A fun filled reminder of what indie rock can be. As you slip in some grandiose atmosphere in songs such as Silk and Giant Peach, Wolf Alice have you believing that they’ve written a cult classic.

The production on this album by Mike Crossey (The 1975) makes me feel a little bit numb. Overdosed echo and multiple vocals tracks on songs such as Freazy leave me with rolling eyes, like a GCSE art student trying to bullshit their way through the course. My opinion is that Wolf Alice do things best when butt naked, using little more than their raw talent. However, the commercial success of this LP has proved Wolf Alice has the teeth to win in this genre, expect something stadium sized next.

Channel Orange, Modern Masterpiece?

In the swamping midnight heat of LA, a young man decided to make a reckless decision. In the background, a media storm was brewing over an extremely personal message about his sexuality was published on the blogging site tumblr. In the foreground, a very real threat of the album leaking online was present. These factors, and perhaps a devilish spirit inspired Frank Ocean to release his debut album Channel Orange a week early. What resulted, was stuff of dreams.

As hurricane Katrina slammed into New Orleans, the prolifically secretive musician returned to the place that shaped his music arguably the most-LA. Ocean began to write for every artist that has ever scored a number one in this millennium, from Pharrel to Bieber. As he began to tire of thankless lyricism, Frank Ocean became entwined with Tyler, The Creator and Odd Future. This ignited his creative spirit and the legend truly began. Frank Ocean began a solo career, crafting the inimitable Nostalgia Ultra EP then writing his debut album.

The album is an hour long journey into the mind of Ocean. Like all great artists such as Nick Drake, Lana Del Rey and David Bowie- the line of character and man, reality and fiction are blurred to infinity. One likes to imagine that every lyric is self autobiographical, that Frank Ocean has led a thousand lives resulting each in an individual narrative. This believability only comes as a result of his dense and personal lyrics that regularly delve deep into our own insecurities. Whether it be the cougar tale of Sierra Leone or the ingrained classist jealousy present in Sweet Life, Channel Orange speaks like an R&B story book.

Channel Orange mixes pop sensibilities and complicated themes and symbolism to create a stunning piece of art. The album is conceptual, a flick through different channels with the passion to find ‘orange’. The ambiguity of the concept is focused through Ocean’s interpretation of experiences as colours, the orange denoting a Summer spent with an unrequited lover. Themes throughout the album range from wealth, loss, escape and inequality of love. Pink Matter gently hints at Frank’s sexuality, and Bad Religion knowingly condemns Islamic prayer 'Allahu Akbar'/ I told him don’t curse me. Channel Orange is artistic, intellectual and at times very biting.

Sonically, the album heralded a new generation of emotionally conscious R&B. Arguably the reason why Drake makes ‘nightime rap’ and The Weeknd remains relevant, Channel Orange flows song to song breeding expansive and luxurious ballads. Pyramids is a ten minute miltonian effort, combining different styles and inspirations to create a gargantuan ode to a stripper. The final secret song is Golden Girl, a Tyler produced song that predates Wes Anderson tinted songs such as Okaga CA and Treehome 95. This, over every reason is the reason why it’s a masterpiece. It just sounds good

Bitch Better Have My Money, Rihanna

I've had a few key thoughts recently and they include this;

1) Life is really hectic and finding time to do what you want is a real struggle so apologies if you like regular updates from Let Your Headphones Bleed
2) I realised how British I was this week by how much I thought about the weather, 36.7 degrees in July?! Barmy things
3) Rihanna is just bloody brilliant.

And that final thought came to me today. After a lengthy promo for the anti-popstar's single Bitch Better Have My Money, the video is finally here. In 2010 we thought she was nasty with her bright red hair and love letters to  ball gags and a spank (S&M if you were wondering).  But as Rihanna continues to covet her position as mainstream's bad girl she has created her piece de resistance.

The video stars Rihanna as the most explicit extortionist in existence. Kidnapping a gorgeous woman, placing her in an ominous trunk and continuing to torture her, all to try and get her money back from scumbag accountant Mads Mikkelsen. All crimes are completed in couture as Rihanna watches on sensually as her girl gang swings the kidnapped woman naked to and fro, gets her higher than a kite and drowning her in a pool.

Not only is this video utterly ridiculous in it's violence, drug use, crime and general debauchery. It is also stupidly sexy. If any human in this world exhumes 'body positivity' it's Rihanna. Rarely wearing more than fur coat and knee high boots we are positioned to adore her even more than we ever have before. Strangely I do not anticipate much backlash against this video, it's totally self aware and plays on the excess of the lyrics such as your wife in the backseat of my brand new foreign car to create something grotesquely gorgeous.

The final moments, after Riri has slaughtered the Mikkelsen with a series of knives, needles and chainsaws we see Rihanna. She's stark naked, covered in blood and 100 dollar bills and smoking a huge joint. It's funny, it's sexy and most importantly, it's bananas. And that's why it works so damn well.

Are You Satisfied,Slaves Review

Kent duo Isaac Holman and Laurie Vincent have been trying to inject a bit of cockney-esque mirth into the British indie scene for about two years now with varying degrees of success. Being a two piece in an age of maximalism begs for a razor edge. It has appeared that the pair have locked into old-school punk and simplicity to drag audiences away from the mundanity of some bands. Their debut album Are You Satisfied stretches the style to the max, with varying degrees of success.

The vivacity and energy of Slaves is obvious from the onset of the album. The Hunter menaces and prowls with a Isaac fantasising about the apocalyptic future we are about to enter with a Kentish swagger and confidence before the song blasts into a grungey clanger. Both on record and live Slaves  pull no punches as every set will finish topless and glistening. The raw energy and animalistic energy is pushed throughout. In songs such as Despair And Traffic and Do Something the pair act as a psychopathic Paul Mckennas trying to improve the mundanity of all our lives. Hey acts as much the same, vicious riffs and bloody lyricism makes Slaves one of the most visceral bands around. The overall sound and feel of the album is similar to a one night stand- in and out without so much as a kiss on the cheek. The songs all follow the same idea, which coincidently follow Shia LaBeouf's speech here:


Although beginning as punk, Slaves have appeared to upset the status quo of rock and indie by trying to be a little bit funny. As the band perfect their sound further, the more cartoonish and zany their image has become. For example, the artwork is bright pink with two cuter than cute dogs sitting innocently. Self directed videos have varied from cartoon lands filled with manta rays and Shaun Williamson as an ice cream vendor, Slaves don't shy away from a bit of comedy. This becomes apparent in animated screamers such as Wow!!7AM and Feed The Mantaray. The lyrical content is nonsensical and tongue in cheek, juxtaposed with still furious backing crowds can still mosh without embarrassment. However, the simplicity of some of the songs can lead to a cringeworthy solo listening.

The cartoonish characters Slaves have created for themselves is their jewel and their downfall. Take away the vocals and you are left with basically 13 of the same songs. The two-dimensional choruses wear somewhat thin by the last third of the album, despite the Sleaford Mods inspired Ninety Nine and interesting layering of Sugar Coated Bitter Truth. Are You Satisfied is good, but a little more intellectualism wouldn't go a miss.

Horrors of 1999, Ho99o9 Review

Trying to explain what Ho99o9 (obviously pronounced Horror) is like describing a rainbow to a blind man, purely impossible. In layman's terms, Ho99o9 is a mixture of horrorcore rap and punk who specialise in satanic and terrifying imagery and noise. Their new EP Horrors of 1999 is out next week and it is like nothing you have ever heard before.

The first song No Regrets comes straight from the pits of hell with a visceral hacksaw guitar line and inaudibly violent lyrics. It is clearly designed for the creation of walls of death and circle pits alike as the song progresses into a nightmarish scream of pure animal rage and excitement. This is typical Ho99o9, and tastes like six red bull and a gram of amphetamines. As the pace is sped up, Days Of Vengeance slows it to a funeral march. The gloriously horrific beginning is well balanced with chorus death cult represent, recruiting all sinners, the hunt starts in March doesn't end till December. This isn't music to listen to with your Grandma that's all I'm saying. With clear Death Grips influences throughout all their music, it sounds gorgeous- even when rapping about finger fucking a girl while driving.

POW (Prisoners Of War) follows in suit, with graphic lyrics and inhumane screams. Many suggest that Ho99o9 is extremely similar to early Odd Future, however the music is coming from a much purer place. For OFWGKTA, it was a bunch of 16 year olds fantasising about rape for attention. Ho99o9 are aware of their ridiculousness and live up to it with S&M masks and wedding dresses on stage. Taking image to the next level. Similarly POW and Gates Of Torment utilise Yeezus-esque beat patterns and sounds to create a stark and apocalyptical atmosphere. Gates Of Torment presents this best, a song little over 60 seconds it makes it's impression very clear. Lyrics about penises and artilitary rife.

The truly interesting and pumping moment is the last song Savage Heads. It follows the classic punk three chord structure with shout and nihilistic vocals. The simplicity is addictive and effective due to the juxtaposition. There is an  almost sexual nature to the entire song which prowls and boasts throughout the two minutes. 

Bloodbath EP, dazy chain Review

We have reached the year 2015 and maybe every good band name has been taken. In the olden days you had brilliant names such as The Rolling Stones,  The Sex Pistols and Oasis. Today we have awful names such as Catfish and the Bottlemen, Two Door Cinema Club and 5 Seconds Of Summer. Some of the cooler contingencies of the band world are committing crimes against grammar to have the extra edge such as Alvvays and ho99o9. Surrey band 'dazy chain' are no different.

Their debut EP, Bloodbath is not quite as homicidal as it sounds but it certainly doesn't live up to the connotations that a daisy chain has. The first tune I Don't Care pulls on indie sad-kids heartstrings, with lead singer Sagaar Kaushik pondering and contradicting himself I'm not scared, I'm just afraid over morose backing. The song screams teenage apathy and one too many re-runs of Skins series 1 as it progresses into a sweary binge. The title track follows suit, a Weller influenced intro evolves into a interesting synth line. Bloodbath asks you to bob your head to the good production and poetic lyricism.

The last two songs on the EP really flourish what the young band are capable of. Gunfire is reminiscent of Jesus and The Mary Chain, heavier than the two previous songs it will get people moving about. The lyrics appear obtuse and nonsensical, especially in the chorus I feel the blood rushing to my face- yet that doesn't necessarily take any of the joy out of the last woozy minute that leads directly into Nucleic Acid Trip. One of the first songs that the band wrote, NAT is a bit more synth pop than the guitar heavy EP. This adds a childish charm to finish the EP, especially with the druggie chorus asking whether you're feeling it too. As a whole, the band has a raffish confidence that could evolve into a real contender