Fluid Album Reviews

Former emo-kid gone full on pop-bitch. I review albums from artists in the alternative scene to chart topping hit makers and low-key indie bands. Enjoy and let me know what you think!

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Sunflower Bean - Twentytwo in Blue

Guitar licks that parts the clouds, sweet melodies that cause the flowers to blossom, and tempos to frolic through meadows to. Imagine enjoying the sun on your face and Sunflower Bean in your headphones and it will come clear that Twentytwo in Blue is released at exactly the right time to become the perfect soundtrack to spring 2018.

The singles “I Was a Fool” and “Twentytwo” match the description above particularly well. The melodies seem to be made to enjoy while lying in the grass, with an easy April breeze blowing by, while birds are chirping away in the background. Add to this their jangling guitars, which continuously flirt with the sound of the late 60’s, and it becomes clear that Twentyblue in Blue tries to create its own Summer of Love.

Make no mistake, as sweet and lovely Sunflower Bean can be, they also display some spunk. Opener “Burn it” draws inspiration from the early days of punk and the over-use of distortion, among an abundance of other effects on “Human For”, feels like a dark cloud rolling over our careless little springtime landscape. Positively, this hint of friction in the somewhat hippie sound, is primarily what differentiates this New York outfit from their Canadian peers, Alvvays.

Like hay fever on a lovely spring day, the cheerful songs deal with a shadow side. Anything from changes you’d rather not happen, break-ups, or a lack of trust in anything you hear or see, prove that Sunflower Bean can get quite paranoid. However, as much as this trio write from their own experience and emotions, it always has a tongue-in-cheek feel to it, to not let this paranoia get the best of their positive vibe.

The contradiction of happy music and dark themes isn’t original per se, but the timing of this trio is what makes it work so well. Just as the sun breaks through and Sunflower Bean seems like the perfect match with the weather, they slap you in the face with some millennial stress. Long story short: Twentytwo in Blue is the perfect soundtrack to spring 2018.

Releasedate: 23rd of March 2018 Label: Mom + Pop Records

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Editors - Violence

Violence is an album of firsts for Editors. One of the more trivial ones is its year of release. All its predecessors were released in an odd year; 2015, 2013, 2009, 2007 and 2005, respectively. So, for their sixth album they first have an even number for a release date. More importantly, for the first time in their career they are letting their previously ever so well separated synthpop and post-punk go hand in hand.

The first captivating example of this, is “Hallelujah (So Low)”. The way synths and greasy guitar riffs are combined is astounding. These Brits are pushing themselves to new grounds, by walking two different, but familiar routes at the same time, without compromising the quality of their Wembley-worthy choruses. Granted, sometimes the heavy run of the synths combined with equally heavy guitar licks is a bit too much, but it’s carried away in a typically charming well-considered way that makes Editors get away with it.

It may be the first time Tom Smith and co. dare to combine their two signature styles, it still sounds very familiar. Occasionally a tad too familiar. Despite the new challenges in the instrumentation, a ballad like “Nothing but the Wind” sounds like they’ve done before. However, on the album overall, they prove that the similarities rise from re-runs of old songs that helped them improve and fine-tune their song writing. The seamless transitions of dynamics, soft touch of strings and, again, the joint forces of guitars and keys in “Counting Spooks” serve as fine examples.

The occasionally dark intensity of the synth infested rock songs also found its way into the lyrics. Part of the inspiration Tom obviously draws from the refugee issue in Europe: “This is our corner of the planet/ It's the straight edges we inhabit/ We ignore the darkness at the door”. But Violence also shows one of Smith’s first efforts to write what he is hesitant to call a political song, even though in “Magazine” a certain president comes to mind with the line “It takes a fat lip to run a tight ship”.

All together Violence might just be the most ambitious Editors album to date, pushing their limits both musically and lyrically. And maybe even the best album they’ve made since 2009. 

Release date: 9th of March 2018 Label: PIAS

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MGMT - Little Dark Age

MGMT is back! Five years after their latest record and over a decade after their biggest hits such as “Time to Pretend”, “Electric Feel” and, of course, “Kids”, Ben and Andrew are ready to pick up the pace again. After their 2007 success-story, they seemed out to alienate their fan base, which they pretty much accomplished, but now this duo rediscovered their love for making music and are hoping for a true return to form.

The first words on the album describe the mood: “get ready to have some fun”. Why, yes. We’re definitely ready. 2013’s untitled album was a drag to get through, so it’s a relief to hear “She Works Out Too Much” kick off like this. Especially because it is accompanied by a cheerful run of the synths and even develops into a saxophone filled climax. Similar to previous hits, MGMT brilliantly utilise ‘80s synth hooks, funky basslines, and incredibly catchy pop melodies. The fact that it’s all so catchy helps prove that these boys are more motivated than ever to write an album of hits.

Ben and Andrew’s sound in 2018 shows a lot of similarities with M83’s Junk. 80s pop as a potential soundtrack to space travel might not have been Goldwasser and VanWyngarden’s intention, but the results from reasons to think MGMT intentionally waited for two years after Anthony Gonzales’ latest effort so our memory of it would have faded.

Despite all the similarities, Ben and Andrew seem to have a way more pleasant way of presenting their semi-kitsch 80s pop. Little Dark Age, unlike Junk, is not too over the top, but still loaded with psychedelic additional instruments, echoes and other effects. Add to this, VanWyngarden’s tongue-in-cheek lyrics in “When You Die” or “TSLAMP” (Time spent looking at my phone), and it will become clear that it’s not the going over the top what makes it fun, but looking how far MGMT can take this sound without starting to sound kitsch.

Altogether, Little Dark Age is a surprisingly strong comeback. The melodies haven’t been this strong in years and, more importantly, their 80s semi-psychedelic synths have found power in the grey area between subtle and too much. This album doesn’t surpass the level of fun and inventiveness of MGMT’s debut Oracular Spectacular, but they’ve never been closer.

Release date: 9th of February 2018 Label: Columbia

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Marmozets - Knowing What You Know Now

It’s always nice to notice how bands get picked up on the radio. Obviously, I don’t know how much airplay Marmozets gets every other country, but in the Netherlands, there are at least two radio-hosts who occasionally try to slip some of this family band’s metal riffs intro their regular programming. Because, why shouldn’t they?

After all, when Foo Fighters or Muse get played, Marmozets fit right in as well. The similarities to those two bands seem logical. They toured with the latter, and for their sophomore record Marmozets worked with Gil Norton, who was also in charge of several Foo’s albums.

In line with their debut, this quintet mixes amazingly catchy rock-melodies with sharp metal riffs, and as expected, they’ve gotten better. Especially the great sing-along chorus in “Habits” rightfully earned its place in the better alt-rock playlists. Furthermore, for Knowing What You Know Now, Marmozets seem to have focussed less on complexity in their songs, and went for more punch-in-the gut riffs instead.

Halfway through the recording process of Knowing What You Know Now singer Rebecca Macintyre almost called it a day, after a heavy knee-operation and following recovery process. In an interview with NME she admitted: “I had all of the confidence blown out of me”. As a consequence, there are a lot of references to walking, running, steps and not giving up. Additionally, “Like a Battery” checks the box for the required Brexit song, and “Me & You” covers the recent loss of a grandmother of three out of five bandmembers.

Not only in the lyrics is the singer is trying to surpass her pre-op levels. Becca is determined to show that she can still reach plenty of new highs by pushing her voice to its limits. Some choices ask for an acquired taste, take the breathily sung “Insomnia”, others, like the small bits of falsetto this alto likes to include, show some skilful jumping from one voice to another.

The switch to a more straight-forward approach in their song is obviously Norton’s work, but it’s the band that fought their struggles for the past four years and found inspiration to make Gil’s instructions work. As bumpy as the ride towards their second album might have been, this five from Yorkshire pulled through and came back stronger.

Release date: 26th of January 2018 Label: Roadrunner Records

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Dream Wife - Dream Wife

Usually, I am the one music nerd in the friend group who introduces others to new upcoming acts, but sometimes bands slip under my radar until one of my friends points them out. Dream Wife is an example of this. This London based three-piece met at an art-school in Brighton and formed a “fake girl band” as a part of an exhibition. Their art took a turn when their music got picked up all around the UK and this project turned into a career.

In music, attitude and aesthetics Dream Wife perfectly blends indie pop and punk into one. This trio mentions Sleater-Kinney and Debbie Harry as sources of inspiration, but they also have some common ground with The Yeah Yeah Yeahs. Their songs have slamming hooks, strong dynamics and an effortlessness that probably was given a lot of thought. Altogether, Dream Wife’s sound can best be described as punk-pop with a touch of 90’s rock and a riot grrrl attitude.

Not only the mix of punk into the wave of indie that’s been going on since 2015 is what makes this three-piece stand out, it’s also the darling accent of Iceland-born singer Rakel Mjöll. From the moment the album kicks off, she switches from casual slacker melodies to overwhelming yelling within a matter of seconds, demonstrating her love for both pop and old-school 70’s punk. Add to this her feminist lyrics, and it’s clear that this band has the ideal front woman.

Unfortunately, a larger part of the album is previously released on EP’s and singles, leaving little surprises for Dream Wife’s official debut record. What else is unfortunate, is that lyrics and sound never really fall into place. Snappy Punk-track “Hey Heartbreaker” lacks any noteworthy words and on “Somebody” the melodies aren’t at their strongest. Nevertheless, this album shows great starting ground for when lyrics and melody reach full potential.

Whether or not Dream Wife is just an escalated art-project, these girls sure are good at what they’re doing. Not only do they give indie-pop the punk attitude it deserves, they also manage to keep it fun. Dream Wife is the band 2018 needs and boy, am I thankful that friend had me listen to them.

Release date: 26th of January 2018  Label: Lucky Number

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First Aid Kit - Ruins

Klara and Johanna Söderberg needed to get away from it all for a bit. The sisters were so tired of touring, that they needed a step back. Unfortunately, this break led to a break-up for Klara. Lucky for us, though, because First Aid Kit got back together in the studio, well rested and with a heart full of pain, which has previously been proven to be a great starting ground for writing an album.

It comes as no surprise that Klara’s break-up that lead to most of the lyrics. However, with all of the musical ambition the Söderbergs have shown so far, a bit more of an adventurous take on the lyrics would have been welcome too. Instead, they stick to a more conventional ‘learning from bad experiences/ not dwelling on the past’ kind of themes.

First Aid Kit’s most prominent selling point has always been their majestic harmonies, ever since their 2010 debut these sisters were capable of melting hearts with their voices. Little did we know, that to make up for the mediocre lyrics, they we’re capable of getting even better, but they did. Especially in the heart-breaking title-track Klara and Johanna subtly crack up a notch, what they have always done so well.

Musically, First Aid Kit is slightly breaking their habit as well. Obviously, they still showcase some of the best country, folk and roots Sweden has to offer, but on Ruins they’ve added little surprises in the instrumentation. Decorative mariachi-trumpets in the opener “Rebel Heart”, ditto clarinets in “Distant Star” and a nod to Gram Parsons in “Postcards” piano solo show a wider musical range, without compromising for any depth their previous albums had.

Johanna and Klara try out new things, while staying true to what made them stick out in the first place. Different takes on instrumentation, strong melodies and even stronger harmonies, it’s clear that after their short hiatus, First Aid Kit came back stronger. What Ruins lacks in its lyrics is more than compensated for in musical ambition and creativity.

Release date: 19th of January 2018 Label: Columbia

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Camila Cabello - Camila

The next example in the line of people who quit their group to become even more successful solo artists: After Gwen, Lauryn and Beyoncé, Camila Cabello is taking the stage with her first solo record.  This former Fifth Harmony member already has a major hit with “Havana”, and even tough expectations are high, something is telling me she’ll easily use this album to wrap the world around her finger.

She uses the first song, “Never Be the Same” to get some important practicalities out of the way: demonstrating her impressive vocal range. From menacingly low, to a breathy falsetto, it’s all sang infallibly. It’s noteworthy with how, throughout the album, it all sounds so effortless. From end to start, Camila brings amazing melodies our way, with a warm and soothing vibe only a Cuban born could carry off.

Costs nor effort were spared to produce Cabello’s solo debut. From Skrillex and The Futurists, to T-Minus, Kuk Harrell and Frank Dukes, who have worked with the likes of Beyoncé, Drake and Rihanna. These producers have left the record with some mellow beats, fitting to Camila’s voice, and some fun little musical additions (steel drums in “Inside Out”). Furthermore, the slick pop and R&B undertone throughout the album manage to make Camila just that slight bit more than just a collection of singles.

Ballad “Consequences” unfortunately breaks the flow of an album that so far only contains summery feel-good-pop and the feature of Young Thug is completely unnecessary, but apart from that, the biggest downside of this album Is that it’s only barely breaks the 30-minute mark.

This Havana-Hitmaker effortlessly launches pop tunes, so sunny that even gives its January release date into a sultry summer night. Camila Cabello has more than proven herself and deserves to be measured by the same standards as the other bigger pop divas this world knows.

Release date: 12th of January 2018 Label: Sony

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Tonight Alive - Underworld

A lot has changed for Tonight Alive since their last record, 2016’s Limitless. For instance, this Australian outfit jumped ship, from major label Sony to the more independent Hopeless Records. Secondly, lead guitarist Whakaio Taahi has announced to leave the band after the recordings for Tonight Alive’s fourth studio album were done, to focus on his song writing and production skills. This would mean Underworld is Taahi’s last chance to have Tonight Alive sound the way he envisions it.

What’s for certain is that Underworld has the ugliest album intro’s of the year so far. The applied autotune could have been way more tasteful, rather than this outdated, overly prominent punch in the gut. That being said, it’s one of the very few moments where “punch in the gut” can be used negatively. The big riffs and bigger choruses show that Tonight Alive is still aiming for musical growth, trying to perfect their own sound. While simultaneously showing more teeth than before.  

These Australians’ work structure of learning from what has happened in the past also shows in the cameos on the album. The duet with Corey Taylor (Slipknot, Stone Sour) feels like an ode to the early 2000’s, back when Tonight Alive’s members were teenagers discovering the alternative scene. More importantly, there’s the duet with PVRIS’ Lynn Gunn, with whom this band shares its sound. In fact, her voice and that of Tonight Alive’s singer Jenna McDougall blend together so perfectly, it seems like there’s only one singer there.

The cover shows part of Jenna’s belly, which is a direct reference to the lyrics. During the past few years the singer developed and overcame an eating disorder, which found its way onto the album though songs like “Temple” and “Burning On”. However, its effects are most notable in McDougall’s all-round attitude. Not only the lyrics, but the melodies and Tonight Alive’s sound as a whole are more unapologetic than ever.,

It’s east to tell why Taahi saw this as the moment where his job at Tonight alive was done. Completely in line with its predecessors, Underworld continues Tonight Alive’s shift from poppunk to stadium rock and pop. Now, despite what the first seconds of the record have you believe, the trail-and-error approach these Australians have to their music is actually working. Ugly and unnecessary effects aside, the effort of trying to combine rough rock riffs and polished pop melodies is paying off, stronger than ever. 

Releasedate: 12th of January 2018 Label: Hopeless Records

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Top 5 albums of 2017 pt. II

Happy Holidays everyone! Despite my absence for the past month, (partly due to lack of any releases that were of intrest to me, partly because a lack of time to review them) I would love to take the time to wrap up 2017 with the traditional album top 5.  

1. One OK Rock - Ambitions (32 notes) 2. All Time Low - Last Young Renegade (15 notes) 3. Gorillaz - Humanz (13 notes) 4. Lana Del Rey - Lust For Life (11 notes) 5. Arcade Fire - Everything Now (11 notes)

Check part I here: My personal top 5 of 2017.

I wish you all a healthy 2018, full of inspiring, fun or simply amazing musical discoveries.

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Top 5 albums of 2017 pt. I

Happy Holidays everyone! Despite my absence for the past month, (partly due to lack of any releases that were of intrest to me, partly because a lack of time to review them) I would love to take the time to wrap up 2017 with the traditional album top 5.  

1. Wolf Alice - Visions of a Life 2. The xx - I See You 3. Paramore - After Laughter 4. Halsey - Hopeless Fountain Kingdom 5. London Grammar - Truth is a Beautiful Thing

Check part II here: The 5 most popular album reviews I published this year. 

I wish you all a healthy 2018, full of inspiring, fun or simply amazing musical discoveries. 

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Alex Lahey - I Love You Like a Brother

She was the most impressive debutante at SXSW 2016, with her modest hit “You Don’t Think You Like People Like Me”, taken from the well-received EP B-Grade University. Consequentially, it’s safe to say that Alex Lahey got a fair share of attention from media all around the world, from her home in Australia and American SXSW host, to Europe mainland. Luckily, this sudden Increase in popularity finally allowed her to release her first full-length.

As a queer woman from Melbourne, people tend to compare Lahey to indie-rock colleague Courtney Barentt, to large discontent on Alex’ side. So much so that for I Love You Like a Brother she considerately changed her style. The latest EP was still filled with cheerful indie-rock, comparable to Barnetts, but without the touch of grunge Courtney likes to use, but for the album Alex made a move towards a more British sound, with The Vaccines as a clear reference.

Not unlike Courtney, Alex uses small, everyday themes in her lyrics, but instead of writing stories Lahey describes her emotions as these daily situations fly by. For example, the album touches on themes like alienation from a specific place after a break-up and a tribute to her younger brother in the title track. Additionally, Alex’ charming Oz accent shows on the album, even in the catchy “whoa-oh-ohs”, and especially in the fun parts where her punk-background shows.

Whether or not the use of synths suits her, is probably a discussion best saved for album two, but what’s certain is that the bridge in “Backpack” is a bit of an oddball. Amongst the catchy pop rock, this track suddenly contains a salvo of brass, with only Alex who knows why. However, it sound be said that this unusual and unexpected incorporation of brass transitions into an epic guitar based climax as smoothly as possible, which is an indicator of great musicianship.

In the end, if you’d ask Alex, “What kind of music do you want to make?”, her reply would probably be “Indie-rock but not the kind Courtney Barnett makes.”, and who can blame her? I Love You Like a Brother might lack in originality, but Alex’ more pop oriented sound, with a touch of surf and punk is a great starting point for something potentially great.

Release date: 6th of October 2017 Label: Dead Oceans

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Wolf Alice - Visions of a Life

It can be the most intriguing thing about singers when their off- and onstage personalities are completely different. Wolf Alice seems like a perfect example of that. Even though I’ve never seen them live myself, judging by their studio work singer Ellie Roswell strikes me as an amazing performer but quite shy in real life. Maybe their second album Visions of a Life will give us some insight about what she really is like.

The first two songs are used as a platform for the band’s versatility. Opener “Heavenward” is a majestically echoing anthem, capable of letting an entire arena’s sing along, whereas its follow-up “Yuk Foo” seems to aim for your local basement punk gig. From track number three onward, the band is a lot more consistent. “Beautifully Unconventional”, like most tracks, meets somewhere in between the first two styles, resulting in nicely grooving indie-pop tunes or classic Britpop.

Similar to their debut released two years ago, Wolf Alice draws inspiration from Suede and the Libertines, which can roughly be reformulated as “there aren’t any exciting risks or surprised on the album”. Nevertheless, Roswell and her boys manage to keep her sound fresh. Although 90s nostalgia is omnipresent on the album, 80s nostalgia peeks through the cracks in Wolf Alice’s use of synths, and weirdly, it’s this mix of influences from different eras what makes it typically 2017.

As expected, Roswell isn’t giving anything away on this record. One moment she’s singing beautifully and calmly, another she’s raging and screaming. The lyrics are just as fascinating, varying from sad songs about lost love, and angry tracks in which everyone can fuck right off, to dry self-reflection: “Am I a planet hunter/ Or a brave deviator? I left my mind behind in 2015”.

In no possible way this quartet seems to experience a sophomore slump. Its similarity to their debut My Love Is Cool is its strength because it shows how subtly the band has grown. And whether Roswell is an introverted singer who feels free to let it all go on stage is probably something to experience first-hand, but until then Wolf Alice embodies the beauty in mystery.

Release date: 29th of September 2017 Label: Dirty Hit

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Courtney Barnett and Kurt Vile - Lotta Sea Lice

With the release of Lotta Sea Lice, the world can indulge in the second most famous Kurt & Courtney duo. However, unlike the gunge power couple, not a spark of romance is found on the album. Both Kurt Vile and Courtney Barnett are happily married to their wives, and recording this collaborative studio effort is nothing but a bunch of fun between friends.

Despite both waving the indie-rock flag, the two musicians are substantially different. Barnett rarely slows down to Vile’s slow psychedelic folk pace, and Kurt never picks up the speed of Courtney’s garage. A perfect example of this can be found in the casual, but wonderfully organized instrumentals in “Over Everything”, due to their different guitar playing styles. As a result, the album never hits peak-Courtney energy levels or Kurt’s ultimate laid-back vibes. Rather, it comes close to a perfect middle ground between the two in the form of slacker-rock with a touch of country.

Lyrically, these artists like to choose different approaches as well. Whereas Kurt tends to linger on the details, Courtney can tell whole stories in a single verse. This has resulted in two musicians writing songs about writing songs. Consequentially, the whole album feels like a casual conversation between pals, talking about when they write, what they feel when they write and their daily routines, only adding up to the genuine and relaxed feel this album has. Especially when they apply some sloppy harmonies when their experiences overlap and to describe what makes their friendship so strong.

As fun as the original songs are, it’s another kind of entertaining to hear these artists cover each other. Vile’s adaptation of Courtney’s “Out of the Woodwork” is a tad more bluesy than the original, and Barnett has fully made Kurt’s “Peeping Tomboy” her own by tweaking the lyrics a bit applying her lighter guitar picking and more cheerful sounding voice. Unfortunately, the record doesn’t contain any real hits or highlights, it’s simply consistently casually very good. However, if we were to pick a highlight, “Continental Breakfast”, a country-slacker tune in which the two describe how much they appreciate their friendship, has a good shot at that title.

In the end Courtney is never the perfect yin to Kurt’s yang, and vice versa. Instead, their cosy and casual slacker-indie feels like a musical tug-a-war between two artists who don’t actually try to win this game. Lotta Sea Lice is just two friends and great musicians hanging out in the studio, with more than pleasant results.

Release date: 13th of October 2017 Label: Milk Records

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Lights - Skin & Earth

Skin & Earth might just be one of the most ambitious records of the year. On top of a creative concept album about surviving in a post-apocalyptic world, Valerie ‘Lights’ Poxleitner also wrote an accompanying series of graphic novels. Amongst the fans, these comics have already proven themselves worthy, but now it’s up to the album to show if Lights bit off more than she could chew.

Just like many of her colleagues in the synthpop genre, Lights follows the trend of using minimalist modern R&N and Hip-hop influences. So, Despite the adventurous overarching storyline, musical risks are hard to find. However, there’s nothing inherently wrong with that. The catchy pop songs also include some aspects of tropical, house and dance to up the good vibes, and the result sounds somewhat generic, but perfectly fine.

Throughout the album, this Canadian singer switches between subtlety and exaggeration. The latter is most strongly represented by “Savage”, due to its echoing choruses and somewhat kitsch main riff. On the other hand, “Kicks”, which incorporates contagious melodies and wavy beats, turns into an obvious highlight after a few listens. Less precarious is Valerie’s voice, which stays crystal clear for the entire album.

Even without reading the comics, several plot points can be guessed by listening to the lyrics. Taking risks (“Skydiving”), rediscovering yourself (“We Were Here”) and holding on to your ideals (“Almost Had Me”) are easily applicable in both music and graphic novels Nevertheless, Skin & Earth is at its best when it’s more open to interpretation. Of course, “Savage” could be about a romance gone bad, but how fun would it be if it actually were about some kind of barbarian who is trying to eat your beloved?

Every now and again the album gets repetitive and it lacks some major hits, but despite all that, Skin & Earth is a perfectly fine record, which easily compares to Lights’ previous work. It doesn’t go unnoticed that the music didn’t get the undivided attention this time around, but that way it shows that Lights is definitely capable of handling the workload.

Release date: 22nd of September 2017 Label: Universal

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Enter Shikari - The Spark

During Enter Shikari’s most recent UK tour, the band used quadraphonic surround sound to make the most out of large venue’s like Alexandra’s Palace. Now that they’ve grown to the huge venues like that, Enter Shikari has obviously changed. However, beneath the surface, they still are the same playful boys who released Take to the Skies ten years ago.

Throughout Enter Shikari’s existence, these Brits have kept on pushing their own boundaries. On The Spark, this results in the overall sound adapting to the quadraphonic concept they’ve been using in the major venues. Whether the songs are calm and symphonic or bass- and guitar-heavy, everything turned out a tad more accessible than before. The upside to this is that all tracks sound appropriately dramatic, well layered and taken care of.

The most notable new source of inspiration, especially obvious during “Live Outside”, is Joy Division. Frontman Rou Reynolds in particular, seems to be inspired by Ian Curtis’ voice. Rou’s New Wave influences are combined with the familiar electronic Post-Hardcore, of course, but genre’s such as techno (“The Revolt of the Atoms”) and the traditional piano ballad (Airfield) also found their way onto the record. The musical highlight of the album is the pumping “Rabble Rouser”, on which hip-hop and The Prodigy audibly left their mark.

It’s no secret that Rou remains politically engaged: several themes on the album are easily guessed. Nevertheless, next to obvious lyrics about the NHS, Brexit and protecting the environment, The Spark contains more personal lyrics than any Enter Shikari album ever before. In the past two years Roughton saw his long-term relationship end, endured several anxiety attacks and depressive episodes, and had to process the loss of his grandmother. All this adds up to the heartfelt “An Ode to Lost Jigsaw Pieces”.

On a lighter note, Enter Shikari wouldn’t be Enter Shikari without their sense of continuity. Despite their efforts to push boundaries, the band does not only maintain their iconic eclectic style, but also incorporate tiny Easter eggs throughout the record. Both lyrical references to older material like “System… Meltdown” in “Take My Country Back” (“I feel like we're living on the edge, and the cliffs are eroding. So get up, get up and feel the rising tide”), as well as a “Johnny Sniper” sample in the outro of “Shinrin-Yoku” are included.  

While keeping an eye on the bigger concert venues lead to the most accessible Enter Shikari album to date, the collection of references show that this St. Albans quartet pay attention to both old and new fans. Similarly, The Spark sounds nothing like its predecessors, but still typically Enter Shikari, which is exactly what they’re aiming for with every new record.

Release date: 22nd of September 2017 Label: Ambush Reality/ PIAS

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Prophets of Rage - Prophets of Rage

It’s a shame, really. “Killing in the Name”, a song about structural racism and police brutality, turn into an anthem of teenage angst with white teenage boys covering the crap out of it. In the process, the political message of this track got watered down significantly. However, in the era of Trump, refugees and Charlottesville, the supergroup consisting of Tom Morello, Tim Commerford, Brad Wilk, Chuck D, B-Real and DJ Lord decided to bring politics back into their music.

With two of the most recognisable voices in hip-hop fronting Prophets of Rage, this outfit is dangerously close to Rage Against the Machine. Luckily, Morello and Commerford provide grooving riffs like it’s 1992, making the similarities an absolute blessing. Although they risk sounding somewhat outdated, these former RATM-members show such incredible eccentric skill in addition to their genuine political outrage, it’s overwhelming

Meanwhile, B-Real (Cypress Hill) and Chuck D (Public Enemy) make sure that Zach de la Rocha isn’t being missed. These two frontmen might not scream and yell like Zach did on the RATM album debut, but the seamless and natural flow between these MC’s cause a sense of unity that only strengthens the anger outed by Morello, Commerford and Wilk.

Now back to politics. The songs contain several socio-political themes including, but not limited to: The Black Lives Matter movement, neglected disaster areas, minorities or refugees, and of course Trump himself: “All hail the chief, who came in the name of a thief”. The instrumental and lyrical fire work together best on “Unfuck the World” and by giving both the opener “Radical Eyes” and closing track “Smashit” the same call to a revolution as their prime messages, the album is packed together neatly.

The Prophets of Rage don’t thoroughly analyse the included themes, but they certainly know how to bring the message across: fight for your rights, fight (racist) elitism, and most of all: Unite the people through the power of music. If all beginning bands know how to keep up these massages in their covers seems too good to be true, but Prophets of Rage definitely released an inspiring and impressive record.

Release date: 15th of September 2017 Label: Fantasy Records

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Foo Fighters - Concrete & Gold

Dadrock: a term commonly used as an insult, associated with bands from the last century like Dire Straits, Paul McCartney & The Wings or Eric Clapton, but after two decades Foo Fighters also don’t seem to be able to avoid this label. The straight forward rock’n’roll Dave Grohl and his colleagues have been writing for the past twenty-two years is up for revision and luckily, the band agrees.

Fret not, the Foo’s efforts to discover some new grounds didn’t lead to a bunch of modern pop influences. On the contrary. These gentlemen add some new colours to their trusted arena-rock by incorporating styles from the ‘70s: prog-rock, psychedelia and Queen-like choirs. However, this does not mean the new songs are corny or old-fashioned. It just shows that ambitious project around the music made place for some actual musical risks, which is actually a lot more refreshing than a documentary series.

Even though this new approach lead to a decrease in fist-in-the-air-and-sing-along moments, it still is undeniably typical Foo Fighters. Lead single “Run” is hit like we’re used to, and “La Dee Da” has also already made its successful festival-debut. Calmer moments are found in the somewhat dragging “The Sky is a Neighborhood” and the unexpected ukulele intro of “Happy Ever After”.

To prevent getting too predictable again, Dave and his companions asked as many people for help as they could. First, there is Alison Mosshart (The Kills, Dead Weather) providing vocals in the previously mentioned “La Dee Da”. Secondly, Paul McCartney showed up to play drums on the “A Day in The Live” inspired “Sunday Rain”. Finally, and most surprisingly, former boy band members Shawn Stockman and Justin Timberlake were kind enough to help with the backing vocals.

It took a while, but on Concrete & Gold the adoptive dads of modern rock finally know how to surprise again, without compromising their success formula. These men demonstrated how increasing ‘70s influences can defy all odds and turn dadrock can into something a compliment.

Release date: 15th of September 2017 Label: RCA/ Roswell