The highly anticipated, long awaited, Watch The Throne is out this Friday (or today, if you pre-ordered from iTunes).
I just got the deluxe edition with 4 bonus tracks, and I’m going to give it a listen today so expect a review soon!
This could possibly be my favourite track of the year so far. Cannot wait for Girls’ third album, Father, Son, Holy Ghost out September 12. What do you guys think?
Sorry to let you down guys, I’ve been uni-ing and working and haven’t had time to update this as regularly as I would’ve liked to. But in the time I’ve been away, I’ve collected a shitload of new music to share with you all. Hopefully I can get all this up and running again soon. Also, we’ll be updating the look of the blog soon so keep an eye out!
[Green United Music; 2011]
I wish I had heard of this guy sooner - Woodkid, aka Yoann Lemoine, previously known for his career as a video director, has released an EP titled Iron.
I have to admit, I, along with hundreds of thousands (if not millions) of people, first heard the song “Iron” through watching the Assassin’s Creed: Revelations trailer.
Ultimately, “Iron” is so well written, composed and crafted. The build up, the suspense and the layers of instruments which seem so simplistic, compliment his voice so hauntingly and perfectly.
This EP also features a dubsteppy remix of “Iron” by Mystery Jets… interesting.
Going to throw it out there and say it’s in my top releases 5 of 2011.
Without further ado, here’s the video for “Iron”.
The Cure were added to Sydney’s Vivid Festival less than a month ago, to play their first three albums in their entirety - Three Imaginary Boys, Seventeen Seconds and Faith for the first time ever, with (as many as possible) the original members. Tickets to their two shows sold out in under 20 minutes of their release. Being one of my favourite bands, I was hoping to get even a nosebleed ticket, however my friends “accidentally” bought front section tickets… putting us in the 9th row.
I had seen then back in 2007 at the Sydney Entertainment Centre (aka worst venue ever), but I was so sure this time would be so much better - “The Cure at the Sydney Opera House” even sounds so surreal.
Three Imaginary Boys took everyone back 33 years, failing to see the odd parents taking their teenage kids to the show, I was pretty sure I was the youngest person there. Thus, I would have been negative 15 years old when the album was released. However spending my entire life listening to The Cure, this didn’t phase me at all.
The entire concert hall were on their feet throughout most of the night, with the odd middle-aged, frizzy-haired, black t-shirt-wearing dude (and everyone’s favourite Australian DJ and producer, Paul Mac sitting a few seats in front of us) rocking out at the end of the aisle.
Between songs, fifty-something year old Robert Smith made some witty remarks with a few “Thank you”s. But what we weren’t expecting was an encore like this. The five left the stage after the last haunting“There’s nothing left but faith…” through a standing ovation which continued until they reappeared. Smith mentioned they would play a few b-sides from the albums, but the last 45 minutes took everyone by surprise.
A 45 minute encore beginning with “Boys Don’t Cry” and ending with “Love Cats” got everyone on their feet. I’m going to have to say this was definitely one of the greatest shows I have ever seen, let alone the best encore. If you ever ever ever get the chance to see this band, do not pass up the opportunity.
Our favourite album release this week is Battles - Gloss Drop.
Gloss Drop makes me want to put a giant surround sound system in my room just to listen to this.
Expect an awesome review from James in the next few days, meanwhile give this album a listen - will not disappoint!
“Ice Cream (Feat. Matias Aguayo)”
The first official release from the head of the LA-Based OFWGKTA is hit and miss in its mainstream success. His first notable internet release “Yonkers” brought a tidal wave of positive acclaim reaching over 11 million views on YouTube, it set the expectations bar for his forthcoming album almost impossibly high. Bearing this in mind, the album itself does have good tracks whilst at the same time having tracks that leave you wondering if his self-hatred and introversion almost makes it unbearable to listen to.
Whilst his middle-fingeresque attitude to indie music phenomena’s Pitchfork and NahRight is refreshing it only instils an image of a bratty late-teen punk out to prove to the world he’s not another teen-sensation.
The music on Goblin presents a dichotomy of Tyler’s (and also the rest of OFWGKTA’s) patented horrorcore flow and the revivalism of real RnB, with an outstanding feature from Frank Ocean on the track “She”, and creates a pretty likeable brand of Hip Hop that hasn’t been heard in a long time.
Standout tracks include “GOBLIN”, “Yonkers” and “She”, while those among the questionable tracks include “Fish” and “Tron Cat” – But then again, the lyrical content all basically revolves around the same theme.
Compare Goblin to his first release Bastard, and I have to opt in favour of the latter. Whilst Goblin does provide some semi-memorable beats with catchy hooks, it’s lyrical content is just too narrow and, at this point, self-indulgent and feels like the entire album is an extension of “Yonkers”. A Little more diversity could have gone a long way in ensuring this album achieved the success it was expected to achieve.
That being said, his career is well on the path to massive mainstream success, provided he keeps his flow refreshing and his middle-finger firmly erect.
Rest in peace Gil Scott-Heron, father of hip-hop.
I’m super sad about this, such an influential man, and hip-hop pioneer, who changed the way we listen to and write music.
Read Pitchfork’s write up about this man, here. Definitely worth a read.
Battles’ new song “Wall Street”. Amazing.