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Live Reviews

Orbital – Brighton Racecourse – 29th June 2018
Orbital

Brighton Racecourse
BODEGA – The Haunt, Brighton
BODEGA

The Haunt, Brighton
tonefield – The Hope & Ruin, Brighton
Stonefield

The Hope & Ruin, Brighton


Most Popular Articles

Album Reviews

Dirty Projectors - Lamp Lit Prose

Dirty Projectors – Lamp Lit Prose

Producer, multi-instrumentalist, and vocalist David Longstreth, the creative visionary behind Dirty Projectors, returns with a new album, Lamp Lit Prose. Adding to a wildly varied catalogue, this is their ninth release and comes with collaborations from Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora, and was recorded at Longstreth's new studio, Ivo Shandor, in Los Angeles.

Breathe Panel - Breathe Panel

Breathe Panel – Breathe Panel

Breathe Panel are a Brighton band through and through. Having formed here at university, they became synonymous with the Brighton live scene having supported the likes of The Big Moon, Honeyblood and Quilt across the city. Excitement built so much from their live showcases and their early singles ‘On My Way’ and ‘Try To See’ that they were then signed by Brighton label Fat Cat Records and, finally, they’ve released their eponymous debut album, Breathe Panel, which more than lives up to the hype the band have created. Touching on shoegaze tendencies, with Nick Green’s luscious vocals at the forefront of every track, it’s an album perfect for the summer.

Gorillaz - The Now Now

Gorillaz – The Now Now 

Last year’s Humanz, Gorillaz’s first album for seven years, certainly split people down the middle. While we called it “A fantastic demonstration of talents from a multitude of genres”, some were unhappy about its overblown, collaboration-heavy rhythm. Not to worry for those people, though, because Damon Albarn has you covered. Recorded while on their US tour, essentially so he could continue to tour the virtual band at this summer’s festivals, The Now Now is a stripped-back affair, boasting a sound that is closer to the group’s fourth record, The Fall, than anything else. Plus, two songs aside, it’s collaboration free, mainly focussing on Albarn/2D’s luxurious voice.

Orchards - Losers/Lovers

Orchards – Losers/Lovers

As a band quickly gaining attention on the local music scene, Brighton group Orchards are definitely ones to watch. The four-piece consists of Lucy Evers on vocals, Sam Rushton on guitar, Dan Fane on bass and Will Lee-Lewis on drums. My first introduction to them was back in 2017, during their support slot for VUKOVI at Boston Music Room in London. As a band I hadn’t previously seen, they were incredibly impressive from the moment they began playing and arguably could’ve headlined the evening. More recently I saw them support Rolo Tomassi and their growth in both confidence and performance was stunning to see. Looking over their progression as a band in the last 12 months they seem to be going from strength to strength and all this hard work has led to their biggest release so far, in new EP Losers/Lovers.

Years & Years - Palo Santo

Years & Years – Palo Santo

A second record can always go one of two ways for a popular chart band. They can either churn out another 40 minutes of fine pop songs, with one or two hits to cater towards their radio-friendly audience, or they can experiment with their sound and completely change their audience’s perception of them. Thankfully, Years & Years have done the latter with their sophomore effort Palo Santo. Their first record, Communion, wasn’t a particularly bad album per se, but it was pretty generic. Palo Santo, however, is an electronic pop confection in the vein of 80s and 90s pops-meets-r’n’b (with alternative indie offerings thrown in for good measure) exploring the spectrum of sexuality.

Asylums - Alien Human Emotions

Asylums – Alien Human Emotions

It’s proven increasingly tough for bands to translate their live antics onto a studio album. The likes of Sex Pistols, The Undertones, and even The Who could never really replicate their euphoric live displays in the studio. So it would be a difficult task for Asylums – of rowdy, mosh-pit-heavy gigs fame – to replicate that sound for their sophomore record, Alien Human Emotions. Instead, then, they’ve decided to layer it with the more intense themes of our current political climate. The record is a punk album in more ways than one; not only is it brimming with lashings of intense guitar work, energetic drum patterns and frontman Luke Branch’s finest ever vocals, but also thematically it confronts everything from relationship breakdowns to the social and political landscape.

BODEGA - Endless Scroll

BODEGA – Endless Scroll

“It just seemed obvious that we couldn’t write a contemporary record without talking about life on the internet. It’s almost not even a critique, it’s just that’s literally what it means to be alive right now,” stated lead singer Ben Hozie about BODEGA’s debut album Endless Scroll. Indeed, modern technology, and humanity’s misuse of it, runs through the entirety of their brilliant debut album that recalls everyone from Velvet Underground to Parquet Courts, all the way to LCD Soundsystem, yet displayed with their own cartoonish, postmodern twist.

Drake - Scorpion

Drake – Scorpion

Life can be tough if you’re Drake. Sure, he’s one of the most decorated rappers of his generation, garnering Grammys and breaking streaming records daily, but he can’t seem to receive any respect from his contemporaries. He’s been in heated feuds with everyone from Kendrick Lamar to DMX and, most recently, Pusha T who suggested Drake was biding his time until he could make his baby the centrepiece of a marketing campaign for his new line of Adidas clothing as well as outing his son Adonis, who was quietly born at the end of last year. Scorpion, Drake’s fifth proper album, sees the Toronto rapper reflect mainly on fatherhood, on a double album that has its moments but ends up feeling tired and baggy by its finale.

Let’s Eat Grandma – I’m All Ears

Let’s Eat Grandma – I’m All Ears

It’s immediately apparent from the atmospheric instrumental opener ‘Whitewater’, which features some quality distorted cello playing from Jenny, that Let’s Eat Grandma’s second record, I’m All Ears, is a significant step up from their debut, at least in production terms. That first record, I, Gemini, was written and recorded when Rosa Walton and Jenny Hollingworth were precocious young teens: the two girls met when they were four and began making music together at 13. It was surprisingly cohesive, considering their youth, and their naive, unusual perspective turned up surprising depth and a unique sense of humour within pop. This follow-up strips away a lot of the musical idiosyncrasies, which, to some, will have come across as inconsistency, but to many were a massive part of the charm.


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