Artist: Bombay Bicycle Club
Album: So Long, See You Tomorrow
The 4th offering from Bombay Bicycle Club comes after an extensive wait, and there are no disappointments here. So Long, See You Tomorrow is a mix of enchanting rhythms, from eclectic sounds from every corner of the world. The album is a musical Grand Tour, with surprising similarities by unsuspecting influences from The Avalanches to Cocteau Twins, and to pick out ‘Home by Now’ to give certain RnB vibes.
The mellowing harmonies and a healthy selection of brass and strings infuse together like tea leaves, to make the finest cup of tea – THAT cup of tea you’ll remember. This album is the perfect cure the January blues, as it will get you itching for the summer, and seeing it performed at a festival under an idyllic blue sky. Special spots on the setlist should held for ‘Feel’ and ‘Whenever Wherever’ (it’s better than any Shakira cover could be), in case Jack Steadman is reading this, and needs help planning it. Anyway, go get this album, listen to it, fall in love with it.
Final word: Let Bombay Bicycle Club take you on your own Grand Tour, even if it’s only to Mallow.
Artist: Nina Nesbitt
Nina Nesbitt is a gem and she hasn’t lost her sparkle in her new album Peroxide. For those not familiar with her work, think of her as this generation’s K.T. Tunstall. Her music reflects the thoughts and experiences of this generation, the surefire hit ‘Selfies’ is an example of this, where Nina tells us in her own quirky way how selfies solve every girl’s problem. As the old saying goes: when in doubt, pout and peace out. This is a song certainly to help you laugh about yourself and one to listen out for.
Furthermore, the whole album is a success in storytelling. She’s like the Scottish Taylor Swift, evoking previous relationships through her songs such as ‘Tough Luck’ and ‘The Hardest Part.’ One thing is clear: the girl isn’t afraid to express her emotions and that in itself deserves some credit.
While Nina Nesbitt is comparable to other female artists, she stands her own ground, all the while guiding us through a wave of emotions.
Final Word: Fake hair but no fake emotions here.
The second and self-titled album from Warpaint expands on their ethereal trend of indie California snake-hip feels and makes you want to both hold all of their hands and get groovy out on the flo’. Following up on the band’s 2010 album, The Fool, this album has been much anticipated since the teaser of the single track ‘Love is to Die’ was released last year on a Calvin Klein advert.
With shadowy guitar and bass, ‘Love is to Die’ is a perfect example of the hazy minimal approach taken by the group on this record. ‘Go In’ and ‘Biggy’ are equally as dreamy, floating through the speakers and leaving you bemused and bewildered at their nonchalant beauty. The more forthcoming and playful group vocals and chant-like phrases on ‘Disco//Very,’ give the album a bit more structure.
Not unlike the sound of the Cocteau Twins, the smooth, smokey peace of Warpaint leaves the listener in a daze that’s hard to shake off.
Final Word: If love is to die listening to these ladies, I say, no biggy.
Augustines is the sophomore release from the New York trio formerly known as We Are Augustines. This is a much more uplifting offering than their debut , Rise Ye Sunken Ships, which charted the mental illness, incarceration, and suicide of singer and guitarist Billy McCarthy’s brother.
Chock full of rousing guitars, rolling drums, McCarthy’s gravelly vocals, and soaring choral refrains, this album has some of the finest examples of arena rock you’re likely to hear this year. Singles ‘Cruel City’ and ‘Nothing to Lose But your Head’ epitomise this, but there are softer moments within ‘Weary Eyes’ and the album opener ‘Intro (I Touch Imaginary Hands).’
In terms of style, there is plenty of similar stuff to Augustines around at the moment. But these guys balance American rock ‘n’ roll grittiness with a sense of sincerity about them that sets them apart from the seemingly endless amounts of folk rock bands dominating the music world. Co-produced by Peter Katis, famed for his collaboration with The National and Interpol, the record packs a pretty hefty sonic punch, but it doesn’t feel contrived.
Final Word: Paint by numbers indie music