Featuring a mix of the old and new, Brighton formed three-piece Our Girl, unleash their debut album, Stranger Today, via Brighton-based Cannibal Hymns. Formed by The Big Moon’s guitarist Soph Nathan, Our Girl’s Stranger Today is the culmination of four year’s labour, the band forced to work around the unexpected success and subsequent demands of The Big Moon’s debut album, Love in the 4th Dimension, which ended up being nominated for a Mercury.
It’s been half a decade since Miles Kane’s last solo record, Don’t Forget Who You Are. Since then, a lot has changed on the indie music spectrum. While most of Miles Kane’s contemporaries have fallen into obscurity, the general landscape has changed. Gone is the more lad-inspired indie-rock and in has come a heavier post-punk sound. So Kane had to change it up for his third record, Coup De Grace, and he has – just about. Instead of middle of the road indie, Kane has harked back to the 60s with the likes of John Lennon and T-Rex clear influences on an album that is as anthemic as you’d expect and more melancholy than you’d imagine. Yet, it’s not necessarily for the better.
It feels like a lifetime since we last heard a Scissor Sisters album, but could Jake Shears’ new solo debut be the closest we’ll get to it in 2018? The answer is both yes and no, as, while the self-titled record doesn’t forget that iconic SS sound, it does manage to represent Shears’ personality, both in its lyrics and its production.
For the classic recipe of a Slaves album you’ll need: punchy riffs, political narrative and two lunatics flying around a studio. The return of the Kent two-piece with their third full length record, Acts of Fear and Love, has certainly brought all the ingredients to create one hell of a sound.
To say these are extraordinary times is one hell of an understatement and on this, their 15th studio album, James are fully confronting this turbulent period. While not ostensibly about Donald Trump, his tangerine shadow casts a shade over much of the mood, though there are some piercing personal aspects too. 32 years after their debut Stutter, Tim Booth and the gang are proving that they still hold as much relevance as ever.
After their rapturous return to the UK with their outstanding performance at Lovebox Festival in London last week, The Internet – the offshoot group from Odd Future which spawned the likes of Tyler, The Creator and Frank Ocean – have followed up their Grammy-nominated album Ego Death with Hive Mind. A sleek, delicious slice of summer, it’s an album that is sure to confirm them as one of the most exciting alternative r’n’b acts on the planet.
I don’t know what to do with Joy. I can barely wrap my head around it. It’s a nonsensical tug of war between two artists that have their feet rooted firmly in chewing gum, the intrigue is strong. Joy feels like a lost record from the 60s made by two teens held up in a shack on psychedelics.
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 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.
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.