Posts tagged as "music news”"
  • Friday Films – 15 February 2013

    Lots of new videos to get through today, so please forgive the short descriptions:

    The Irrepressibles – Two Men In Love
    This powerful video is incredible for giving us a real, unfettered glimpse of love: these couples represent love, straight up, no ifs, no doubts, undeniable.  The tune itself, The Irrepressibles’ second from current album Nude, turns from a fraught and skeletal affair to something jovial and certain of itself, a happy and delivered state mirroring the one each pairing seems to have reached.

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    Daughter – Still
    Daughter’s delicate, spirited new song ain’t the cheeriest, and its video plots an equally troubled path.  Troubled but oddly riveting…

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    Lux Lisbon – Get Some Scars
    This jaunty, oh-so-likeable song comes accompanied by an excellent video all about a man who just can’t seem to get it right, bless him.

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    Sunless ’97 – Aurora 1
    Classic East London-like shenanigans to the tune of Sunless ’97′s floaty-pop new song, the first half of a new EP all about dawn.

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    The xx – I Miss You (Beyoncé cover)
    To quote The xx’s Facebook page yesterday: “Whilst on tour in Texas, we decided to cover a song by a Texan. She is one of our favourite artists of all time, Beyoncé. This song has always meant a lot to us and was written with another artist we really admire, Frank Ocean.”

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  • London Grammar – Metal & Dust

    London Grammar caused some of the capital’s biggest music-blog ripples last year with their hypnotic song Hey Now, out just before Christmas.  Now, some two months later, there’s finally a follow-up in the form of Metal & Dust.  It starts off much more r’nb-style and stripped-down than its predecessor; but by the end, Hannah Reid’s vocals are in full, glorious flow.   Check out the Soundcloud noise graph once the song’s played out: it’s like the side of a mountain:

    Metal & Dust is maybe not so initially exhilarating as Hey Now, but I actually think I might eventually end up liking it more.  Both songs will be on the debut EP, out 25 February.  Before then, check out this excellently warped Dot Major remix of Hey Now:

  • Xander The Great

    An exciting new duo, Xander The Great make chilled, sleek pop music, interspersed with elements of indie, hip-hop, electro and, particularly, The Weeknd’s emotive bedroom-r’n'b sound.  Comprising Egyptian-born 21-year-old Xander Taha, a self-taught musician, and the classically trained Londoner Ed Sanders, 19, who has previous sung for Queen Liz, they’ll be making their live debut at the Lexington on 7 March.  Tickets here.  Meanwhile, here are three excellent songs, including the debut single Bloodhound, out three days earlier:

  • Tomorrow’s World

    Named after the BBC’s geeko-gadget series, Tomorrow’s World constitutes an extra-marital affair by members of two current bands: Lou Hayter is New Young Pony Club’s beautful keyboardist, while Jean-Benoit Dunckel is one half of Air.  This Paris/London side-project sees both charter new musical waters: a lithe, future-pop sound thrilling with super-snarly keyboards, demure soul-style vocals and a spaced-out, solitary vibe that I randomly imagine Leos Carax might care for.  Above all else, it’s smooth and darkly sexy, reminscent of the early, good bits of Drive, the film – appropriate, indeed, as that’s also the name of the new single. has more, and all of it very interesting.


    So Long My Love:

  • Will & The People

    I love hearing statements along the lines of “X is really big in Y” - the suggestion being that if those revered tastemakers in Lithuania / Uzbekistan / French Guyana like it, you’d be an absolute moron not to do similarly.  The latest press release using this logic focused on Will & The People, a London fivepiece whose album Friends powered up to the heady heights of number eight in Holland’s charts.  Not to mention a sold-out Australia tour.  If they’ve cracked Holland and Oz, they must be good, right?  Well, er, yes: they actually are pretty good.  New single The Game (below) will prove a bit too straightforwardly indie-poppy for some, but it’s darn catchy, plus appealingly chilled in places.  Just imagine how good the Dutch number-one record must be…

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