Album Review | Courtney Barnett – ‘Tell Me How You Really Feel’

Courtney Barnett - Tell Me How You Really Feel

18th May saw the release of Courtney Barnett’s second solo album Tell Me How You Really Feel, and after the triumph of her debut there were a lot people looking out for her sophomore album. She released some great songs on the lead up to this album including ‘Nameless, Faceless’ and ‘City Looks Pretty’, both of which heightened the anticipation for the release.

The album delivers on all fronts, from it’s more shadowed songs like ‘Help Your Self’ and ‘Walking on Eggshells’ , to the more aggressive and upfront tracks such as ‘I’m Not Your Mother, I’m Not Your Bitch’. Barnett walks both of these lines incredibly well, as both ends of the spectrum have emotion attached to it.

The flow of the album is a key feature as you’re never left bored at any point, as Barnett does a great job of taking you through ups and downs, which helps you stay hooked and interested.

The lyrical content throughout the album is fine piece of work with lines like, “You got a lot on your mind/ You know that half the time/It’s only half as true/Don’t let it swallow you, and “Shave your head to see how it feels/Emotionally it’s not that different/But to the hand it’s beautiful.” However it’s guitars which really grabbed me, whether it’s the ripping solo in ‘Nameless, Faceless’ or the slow drone which lingers throughout ‘Sunday Roast’.

This is a great addition to Barnett’s ever growing music portfolio, as she has yet to release something below par. This album could easily be spoken about in the next 20 years as one of the indie favourites, along with her debut album. It was great to hear that she didn’t step out of her wheelhouse because it’s quite clear there’s so much more she can do in there, and hopefully she will be doing that for many years to come.


Words by Alex Wise @AJWise


Album Review | Parquet Courts – ‘Wide Awake’

Parquet Courts- Wide Awake!

Parquet Courts provide further evidence that they’re still one of the most exciting bands today with ‘Wide Awake


Since their sophomore album Light Up Gold, Parquet Courts have always been a band to keep note of, due to their erratic punk/indie music style which is exclusive to them. Over the years they’ve developed and established their sound to the point where it’s obvious when a Parquet Courts song has just hit the speakers.

This is the bands’ sixth studio album since releasing their debut American Specialties back in 2011. Since then they have grown and refined their sound while keeping their core musical features at the heart of everything they do.

Wide Awake is glowing evidence that the band have managed to keep their sound relatively the same, while also making it incredibly interesting and poignant as ever. Straight from the off with ‘Total Football’ you’re thrown into the mix with a very pointy riff which is inherently catchy and only develops as  the tempo swiftly speeds up.

The punches don’t stop there as the album moves through ‘Violence’, ‘Mardi Gras Beads’ and ‘Almost Had to Start a Fight/ In and Out of Patience’, with all of them providing tightly woven guitars and drum beats. Amongst all of this you have the unique vocals of Savage which is a pillar of any PC song. The way he delivers the lyrics in that rushed and provoked manor you’re immediately hyped up and ready to take on the World.

Highlights of the album have to be ‘Freebird II’ which is perfect slow song performed in their style. As well as this you have ‘Normaliziation’ which is complete chaos as the timing and precision across all instruments is impeccable which makes for a great listen.

This is one of the best records PC have delivered,sitting right up there with Light Up Gold. Also it’s further proof that a band can keep their sound/song style and continue to make it interesting as long as you’re creative with it and refuse to let it go stale.


Words by Alex Wise @AJWise

Album Review | The Magic Gang – ‘The Magic Gang’

The Magic Gang Album

Have The Magic Gang Delivered on their Debut Album?

Anyone who has been to any indie gig in the last few years should be familiar with The Magic Gang; they’ve had a spate of excellent support slots with bands like Sundara Karma and Spring King and as such have gained a well-deserved fanbase. The Brighton four piece’s self-titled album is filled to the brim with sunny poppy jangly indie, featuring retouched versions of previously released singles and some fantastic new numbers.

Album opener “Oh, Saki” is a glimpse into the fresh and more polished sound that the guys have been aiming for, and sets the tone absolutely perfectly. Bright, clean guitars and Jack’s very laidback vocals match extremely well and with their established previously released song “All This Way” they well and truly cement what they do best; write perfect 3 minute long catchy pieces of jangly indie pop. To me this version sounds a little less bright than the original, but the hook of “All I really wanna know, is how I got all this way on my own” perhaps isn’t the most feelgood lyric anyway, depending how you look at it, so this slight mood shift suits better. You can hear what is so enjoyable about their live shows even just on the record, these are songs you can’t help nod your head or move to.


The middle few tracks from have a tinge of Parquet Courts about them, and then another re-worked favourite “Jasmine” is breezier than it used to be. The 60s influence on “Your Love” adds yet another dimension to their signature sound, and has catchier verses than chorus. For me the standout track is the lead single from the album, “How Can I Compete?” with its very laidback drumming pattern; it somehow makes me think about summer, sunshine and festivals… Not too much longer until those are a reality, thank goodness.

Everything about this album is admirable: the writing, the guitar work, the basslines, the percussion and especially the way the backing vocals are used, something which a fair few indie-pop bands miss out on. It perhaps isn’t the “best of” that some Magic Gang fans might have been hoping for, but striking the right balance between new material and already released excellent tracks is a difficult if privileged place to be in, and the reworking of a few older tracks helps show that The Magic Gang are developing their sound, and honing their craft.


Words by Oscar Rees @SkeletonOscar 

Album Review | Camp Cope – ‘How to Socialize and Make Friends’

Camp Cope - How to Socialise and Make FriendsI first came across Camp Cope last year when I stumbled across their self-titled album, and ever since then the album has silently stuck with me. The Lo-Fi production of it all was endearing enough, but the topic of the songs and the emotions that were being conveyed throughout each track were something else. That album was so enjoyable, with it only being 8 tracks long it left you wanting more, and each track felt important to that album. There was no filler, which is a problem in the modern music age of releasing albums.

Fast forward a year and they’ve released their second album ‘How to Socialize and Make Friends’, finally it was time for another Camp Cope fix. Once again the band opt for a sensible amount of songs, as the album features 9 tracks – but there’s no filler, it’s all premium material.

The album opens up with the suitably named ‘The Opener’ and immediately Georgia Maq is opening up her heart and letting it bleed over the record as she begins tells the tale of a shitty relationship and how badly you can be treated sometimes. The stories in the track are so relatable and put across in such a blunt and honest way in the lyrics.

Tell me that no one knows me like you do

And tell me that my friends don’t tell me the truth

And maybe I’ll come crawling back to you

Like, that was your plan, right?”

The song then quickly takes a turn as Maq sticks a blunt middle finger up the male dominated music industry. She continues to pull from personal experiences, making the song authentic and making the song one of the best on the record.

This is a recurring feature of the album as Maq consistently dives into her library of experiences and morphs them into beautiful songs for people to understand.

The title track also has these qualities as she expresses how difficult it is to fit in and feel a part of something, with the constant feeling of being lost as she sings “I’m riding in the dark/on my bike with no handlebars”. ‘Anna’ is another insightful track where Georgia urges you to “Get it all out/ Write another song”. It’s hard not to think that this her giving advice to anyone who’s struggling or dealing with something, as it’s quite clear this is how Maq thinks things through and starts shifting that weight of her shoulders.

Musically it’s great to hear that the band have stuck with their sound, as it still has that lo-fi gritty sound attached to it. In some respects it could be considered as part 2 of their first album, as there’s not much difference instrumentally – but the songs are individuals due to the topics sewn to them.

The band then work their way through with ‘Sagan-Indiana’ and ‘The Omen’ which are both talent-fuelled. ‘Animal and Real’ really sticks out in the mind due to the vocal performance, which has this desperation clinging onto it, which again lends to the argument that everything Camp Cope do has meaning attached it and isn’t just thrown together for the sake of.

The final track ‘I’ve Got You’ is a circle song which means the chords cycle in the same order, beginning to end. The song is about Georgia’s father Hugh Mcdonald who passed away in 2016, and in isolation, when nothing is going on around you, this song is emotionally very powerful. Georgia throws everything into this track allowing herself to be an open book. She provides lyrics like :

“They said there’s something inside of you / So they tried radiation, chemicals too”

Along with,

“And you said there’s broken links in your brain/ And I said it’s okay, mines exactly the same”

It’s lines like these which make the songs very real and close to home, and for someone to have the ability to craft a song out of times like these should be respected. Not only because the song is a stunning piece of work, but to write about something like this helps so many people who are going through similar struggles in their life.

Personally this album triumphs their last, because it feels like they have become somewhat more refined in their songwriting, and also this albums is capable of emotionally moving you and making you think. Camp Cope have become more of a well-known band over these last two years to due to their solid releases on Bandcamp, however I see this album being their most pivotel and most important to their progression.


Words by Alex Wise @AJWise

Album Review | The Orielles – ‘Silver Dollar Moment’

silver dollar momentAfter a long time waiting, The Orillelles have finally released their debut album Silver Dollar Moment. Making a name for themselves over the years, the band has slowly built up a lot of anticipation about this record, with the the releases of ‘Let Your Dogtooth Grow’ and ‘I Only Bought it For The Bottle’, settling the bar fairly high.

The album manages to live up to its expectation as the band stick to their garage rock sound throughout. However, garage rock could be too much of a restrictive term when talking about this album. It gently comes to life with the opening track ‘Mango’ which sets the table for the rest of the album, as you get a serious Orielles kick within the first few moments.

Throughout the album it seems the band drift in and out of consciousness, because some tracks are simply too dreamy. Prime example here being ‘Liminal Spaces’ and ‘The Sounds of Liminal Spaces’, both of which are soothing tracks. It’s also hard not to admire the creativity with these songs following each other, and the second serving as a playground where ‘Liminal Spaces’ was created.

It’s impressive to hear how well coordinated this album is, they using quite complex sounds and elements, blending them all together so well. The Orielles seem to have etched their own little genre, which can only be describes a Lo-Fi Disco Garage. The name of the genre is a working progress. Songs like ‘Sunflower Seeds’ and ‘I Only Bought it For The Bottle’ manages to bring out the dancing bug in you, but when combined with a very raw production, it manages to keep an authentic and grounded sound.

48 Percent’ is a wall of sound completed filled out with guitars, harmonies and reverb. This track subtly suggests summer to you, it just has that sort of vibe attached to it. ‘Borrachero Tree’ is a hazy number referencing to the famous tree that can create a powder making people act like zombies, and it’s a perfect representation of that.The guitar hooks throughout this record are something special, it seems to be a natural muscle that they flex out for every song, which is expertly shown on ‘Snaps’.

The album finishes off with ‘Blue Suitcase (Disco Wrist)’ which was the final song released ahead of the album, and it serves well as a closer. The band surely wanted to leave you aching for more, and this track fits that mould. The dancy hook along with the throwback bells, they found the perfect remedy. The song could even be argued as slightly psychedelic with the whirling guitars. Nonetheless, your left in a hurricane after the record.  

Although the album was a long time coming, it needs to be appreciated that The Orielles had the patience and foresight to not rush a release like this.The debut album will often be a bands most important, and with them taking their time it’s culminated with them developing a very high quality album the represents the band so well. Can easily see these songs going down well at live shows. So now the wait is over and the pressure is off, all the guys have to do enjoy the performing this amazing songs.


Words by Alex Wise @AJWise


Album Review | Table Scraps – ‘Autonomy’

Table Scraps are a band that have been on the cusp of something big for quite some time. Since their early releases ‘Bug’ and ‘Electricity’ , which led them to their debut album More Time For Strangers. This was a rather successful release, gaining some great reviews from The Line of Best Fit and Louder Than War, as it had a raw edge to it which was combined with a very loud and abrasive approach. However as good as that album was, it sometimes takes several good releases to earn a great reputation, which is what Autonomy will do.

The album sees the band play to their strengths and once again return to those animalistic hooks along with those mind-thumping drum parts.  The album opens up with the leading single from the album ‘Sick of Me’ which has these really straight guitars combined with these Strokes-like Lo-Fi vocals, as they sound extremely muffled which add to the texture of the song. The solo on the track is also noteworthy, even though it does only last for a short time it’s still great hearing it.

It continues with this tone throughout the album, as these fast paced tracks just seem to roll by while causing a riot along the way. The evil sounding hook on the following song ‘Always Right’ sounds so sinister, it’s perfect. ‘I’m a Failure’ has certain anthemic feel to it, as you could easily hear a crowd shouting the line “I’m a Failure” straight back at the band at a live performance.

There’s definitely a punk streak running through this album as a lot of the songs come under the 3 minute line, with ‘Lyin’ Thru Yer Teeth’ and ‘Frankenstein’ falling under the 2 minute mark. However this factor doesn’t harm the overall product in the slightest, as ‘Lyin’ Thru Yer Teeth’ is one of the highlights of the album, purely because of the punky hookline that could easily cause a riot.

The vocal work is something that is consistant throughout the entire record, as it sounds like they’re trapped and isoloted-only adding to the haunting essence that band carry off so well.

‘Treat Me Like Shit’ is another standout performer on the album, as once again the sound of the guitar along with the hook mesh so well together with the vocals-achieving that trademark Table Scraps sound. You also have this cool element in the background which sounds like a satellite going out of control adding depth to the track.

The record finishes off with ‘Do It All Over Again’ which could be seen as a message to go ahead and play the record from the very start. Even though it’s not the heaviest track on the album, it’s increasingly catchy with a lo-fi tinge. Table Scraps manage to walk across several genres witout it sounding contrived, it seems they’ve unearthed this original sound that’s exclusive to them and it’s very natural. Yes there are bands that sound somewhat similar, however combined with the vocals it gives them a completly different energy.

This album is another convincing argument to why Table Scraps are so damn good, to do it over two albums is impressive and should be recognised. The band firmly have a unique sound and know the lengths that they can go to with it, which will be interesting to see where else they can take it. Their music is so in your face and carefree, it’s not hard to understand why their gigs can be so hectic. It’s another great outing for Table Scraps, one that will definitely gain them even more well deserved recognition. Onwards and Upwards!


Words by Alex Wise @AJWise


Album Review: DEAD! – ‘The Golden Age of Not Even Trying’

The Golden Age Of Not Even Trying: A heavily anticipated album that gives off all the right vibes in all the right places. With Alex Mountford taking control of the mic, he sure knows how to belt this songs with every ounce of passion and fortitude he has. Complimenting this, we have brothers Sam and Louis Matlock shredding on guitar, Sam Chappell letting hell loose on bass and session drummer Stephen North crashing cymbals and hammering in heavy beats.

Toe-dipping into the album with ‘The Boys The Boys’, you are greeted with a baseline that penetrates through crowds of hundreds on teen hearts, followed by solid lyrical talent and inspiration taken from the 1996 remake of Romeo and Juliet. This track is exploding with heavy bass and drum sequences. The video, situated around Dean Street, Soho, London, is perfectly fitting with the whole mood the song portrays. ‘Enough Enough Enough’ then bursts into your ears with a chaotic essence and almost forces your body to throw itself about. Live, this track kick starts the crowd, influencing pushing and shoving with its combination of guitar and drums. Transitioning nicely into the title track ‘The Golden Age Of Not Even Trying’, we dive straight into that ‘red patch’ Alex sings about. You are met with a flurry of melodies and soft harmonies, mixing with fist pumping bridges towards the end. The long awaited studio version of ‘Jessica’ has brought the majority of Dead!’s following to their knees, as throughout 2016/17, Dead! teased crowds across the country playing Jessica live wherever they went. Fluttering guitar solos, a power ballad of how to love, lose and learn. Alex’s stage persona blossoms, punching lines connect emotionally with every single individual in any room through this song.

Baselines don’t come much sexier than the opening bars to ‘Off White Paint’. The slow but very captivating mood of this song succeeds in swaying your body without you even realising. The chorus hits and once again you’re screaming out the lyrics, stamping your feet and punching the air with an accumulation of every emotion possible. It runs through your body seamlessly as if it was blood. Throw back to the release of ‘You’re So Cheap’ which climbed high in the Kerrang! Rock Charts summer of 2016, this is a track that will never enter the realms of the abyss. Another unmistakable power ballad to add to the collection already!

Petrol and Anaesthetic‘, an unusual combination admittedly, delivers a very My Chemical Romance vibe across the whole song and really encourages you to bounce around your bedroom at your very own personal concert.  ‘Up For Ran$om’ is full of choppy pace changes, a video of five dashing men in blue suits and the 90’s style video outlook, this album really is turning out to be something spectacular from start to finish. It’s riddled with rugged baselines, high-powered riffs and aggressive yet relatable lyrics. ‘W9’ then comes into play. A softer piece that is set to sink you deep into your chair, relaxes your body, mind and soul and creates a bluesy atmosphere, this track bewitches you and you’ll find it’s hard to snap out of that zen mind it’s set. There’s something truly haunting about this track in particular, in a beautifully spectral way. Still so full of life but in a sedative shell.
The next track is not to be messed with,  ‘A Conversation With Concrete’. Straight back in there with heartfelt lyrical content, clear vocals and beefy baselines, everything about this track is compelling, pure and real, tearing you away from the album and connecting with your emotions in a way you’ve never felt before. ‘Any Port’ then opens a gateway of rhetorical questions that convinces you to answer them all in your own specific way. To which leaves us with the closing track ‘Youth Screams and Fades’. A phenomenal song filled with impeccable melodies and a strong chorus that’ll be sung far and wide with tears streaming down faces all over the world. A powerful message is belted our towards the end of this track, connecting these four men with an entire following and building bonds strong than iron.

Summarised, this album has absolutely everything all blended into one. Life, energy and devotion. This album has the power to connect with an individual and that’s hard to come by. This record will relentlessly push the name Dead! as far as possible. And THIS truly is …

The Golden Age Of Not Even Trying.

Written by Amelia Saunders @youthscreams 

Top 10 Albums of 2017!

This is always a hard list to create, as it takes into account all genres of music and is ultimately very subjective, however it is also a very fun one! 2017 has been a strong year for music with some of the bigger artists not releasing anything this year, it’s allowed for some smaller lesser known bands to creep in and be heard. Also it was a year where both Gallagher brothers released an album, along with Kendrick Lamar making his highly anticipated return to the forefront. There were so many acts who had great years so it was impossible to fit them into a list of 10, so here’s how I think it stands.

10. The Cribs – ’24-7 Rock Star Shit’

First entry in the top 10 is a band that I will always be fond of, which may be why they find themselves in this list. However this is one of my favourite records that the Wakefield trio have come out with since bursting onto the scene early 00’s. The album was recorded in a very short space of time and has such a raw and live feel to it – something that made it what it is. It has some brilliant tracks on it, and hearing them live I suppose it gave the album a new feel.


Top Tracks: ‘Year of Hate‘ ‘Dead at the Wheel‘ and ‘Partisan

9. Kendrick Lamar – DAMN!

After only getting into King Kenny at the start of the year, it made it really exciting to hear what he was going to release after a two year break since TPAB. Although it received some mixed reviews, it always had a shine to me. After listening to it once, I find myself repeatedly going back to it, listening to certain songs over and over to hear the message he was putting across. On top of this it had some really catchy hooks and some innovative beats like what you would hear off a mixtape.


Top Tracks: ‘DNA’, ‘Humble’ and ‘XXX’

8. Los Campesinos! – ‘Sick Scenes’ 

I heard this album very early on in the year and it always stuck with me. I’m a sucker for good little indie songs with great pop hooks, and this album seemed to have a bucket load of them, it is such a fun album to listen to. Each song got stuck into my head with ease, and I never wanted them to leave. Some say that this style of music has become boring and repetitive, but when it’s done right, like here, you have to admire it and just enjoy it.



Top Tracks: ‘Renato Dall’Ara‘, ‘I Broke up in Amarante‘ and ‘Here’s to the Fourth Time!’


7. The XX – ‘I See You’

This album also came out very early in the year, and it was just what The XX needed. After five years since their last album Coexist it was getting worrying where the XX had gone. However I See You put them back where they were before. The album showed a more lighter side to the band, however they still kept their brooding vocals and sleek guitars and fills. There are several great moments on this album, mainly the track ‘Dangerous‘, which really brought people to this album. A strong year for The XX, just hoping they don’t have such a long break next time.

Top Tracks: ‘Dangerous’ , ‘Hold On’ and ‘Performance’

6. Vagabon – ‘Infinite Worlds’

Vagabon was a brand new artist to me this year, and how happy I am to have stumbled across her and this wonderful album. It’s a relatively short album as it only has eight songs, however those eight songs are all great. The vocals on each track have an innocence to them, and when they’re combined with these drowning guitars, it creates an ear catching sound. You can hear hints of The Softies across this album, but Vagabon very clearly put her own stamp on each track. This was a big year for her, and hopefully she can capitalise on this and continue to release good music.

Top Tracks: ‘The Embers’, ‘Mineappolis’ and ‘Cleaning House’

5.   Idles – ‘Brutalism’

This album had the most rage and anger that I heard throughout the year, and not only did have these components, they were genuine. Brutalism was exactly that, it was brutal. Drawing comparisons from SLAVES, but Idles definitely had something different. Their sound is fully packed with driving guitars and combined with these classic British punk vocals, that have a dirtiness about them. What was most satisfying about this album was that the band were attacking general political issues, and doing it with so much sarcasm, which must be applauded.

Top Tracks: ‘Well Done’, ‘Exeter’ and ‘Rachel Khoo’

4. Alvvays – ‘Antisocialites’

This was another band that was new to me, but after hearing this album I will be listening to them for many years to come. Alvvays have these dreamy melodies, and witht the vocals they seem to be floating in the air around you. Yet the band still have this very raw side to them like in the track ‘Lollipop‘ it still has the unfinished sound which is endearing. At the core of each track is a devilishly good riff, which holds each of the songs together, and the album is consistent from start to finish, a very good Sophomore album from the Canadian band.

Top Tracks: ‘In Undertow‘, ‘Plimsoll Punks‘ and ‘Lollipop

3. Mount Eerie – ‘A Crow Looked at Me’

This was one of the hardest albums that I will ever listen to, but it’s also one of the best. The record was written shortly after the death of his wife, and the raw and painful emotion is there to be heard on every single track. Each track is description of what’s been happening and how he feels, and Mount Eerie pulls no punches as he’s brutally honest with himself and every single listener. It’s very hard to not get upset or feel sad listening to this album because it’s so obvious how much pain he is in when he’s recording this album. It won’t be revisited much, but it’s such an honest listen.

Top Tracks: ‘Real Death’, ‘My Chasm’ and ‘Soria Moria’

2. Wolf Alice – ‘Visions of Life’

After being such a big fan of their first release I was extremely excited to hear their follow up album, and it didn’t disappoint. It may not have had the charm that the first album had but it definitely had the songs. The album has everything from pure energy with ‘Yuk Foo’ to oozing sexiness with ‘Beautifully Unconventional’ the album managed to cover all corners. The musicality of the record seems a lot more mature than the first album, so it seems the band have refined themselves a bit, but it definitely felt like an evolving stage for Wolf Alice.

Top Tracks: ‘Yuk Foo’, ‘Don’t Delete The Kisses’ and ‘Visions of Life’

1.  Father John Misty – ‘Pure Comedy’ 

The album that constantly kept me coming back throughout the entire year was undoubtedly this one, and it is well worthy of the top spot this year. The slow methodical and sarcastic pace that Father John breaks down utopian World is fantastic, as he does it in such style. The album has so many genius moments scattered across it, it starts at the first track when he breaks down being born and crazy it comes down to luck whether you’re taken care of or not. He also has some very introspective moments on the album where he brings some personal moments of his to the forefront, and is very blunt in how he feels. This album keeps giving, as I still feel I haven’t got all the juice from this orange.

Top Tracks: ‘Pure Comedy’, ‘Leaving LA’ and ‘In Twenty Years or so’

Album Review: Dream Lake – ‘LUX’

Dream Lake – LUX

After spending some important time crafting and developing their sound, Dream Lake are finally back with their brand new album LUX. Shortly after their successful self-entitled EP back in 2013, the band decided to take some time to create their new album, which has benefited the Swedish duo without doubt. They’ve always had a certain sound and aura to them, but it had never been fleshed out over a big project. LUX was the perfect opportunity to do this.

The album is very neatly packaged and well thought out, with the album having the songs ‘Intro Lux’, ‘Inter Lux’ and ‘Post Lux’, which gives the record a storybook feeling with an instrumental narrative attached to it. The band clearly had this idea of taking the listener through this story, and mapped it out cleverly with this subtle hint.

Intro Lux’ starts the album with this quick and sharp introduction that has a beautiful wondrous sound to it. This atmospheric flow brings you through nicely to the next song ‘Let us stay in the Light’, the mellow attitude flows out of the song as it brings calm to your mind. With the soft and cuddly vocals, you can forget about what’s happening around you and the general stresses.  The entire album has this mellow attitude painted all across it, as no song really deviates from this which creates an overall calm listening experience.

It’s impressing to hear the variations the duo can present this atmospheric and sleek feeling without it becoming tiresome or monotonous. The track that comes next is ‘World of Dreams’ which has this wonderful melody and uplifting keys throughout it, however it’s the vocals that steal the show as they bring this fourth dimension to the song, as well as every other one.

A high point of the album is when the gentle notes of ‘Midnight Sun’ begin to creep in. With its angelic posture and heavenly features it sounds so grandiose that it could’ve been created direct from heaven itself. Along with this ‘Blueness of The Night’ also leaves a lasting impression on the ears, once again it’s the power of the keys and vocals combined, creating this larger than life soundtrack. It has a very catchy hook, which only works in the songs favour, making it one of the key tracks of the record.

The instrumental track ‘Post Lux’ closes the record off, and it very much feels like the ending of something, with these longing keys being played on this very delicate bed of beauty. The song is only short lived with it only being 2 minutes, yet it puts a bow on a very positive album.

Dream Lake have created a perfect base for them to build on with their next project, this album clearly stated what their sound is and in the coming years it will be interesting to see how far the two can really push their boundaries, and see how far they can really go.


Words by Alex Wise @al4563



Album Review: Superfood – ‘Bambino’

Superfood-Bambino Album Cover
Superfood-Bambino Album Cover

Superfood are a Birmingham based band that have been working hard for such a long time, playing numerous shows around the UK. Since releasing their debut EP back in 2013, it seems like the band haven’t really stopped.

Their debut record Don’t Say That (2014) was met with some encouraging reviews, especially from The Line of Best Fit, which must have been a confidence boost. However it was difficult to see what Superfood were going to do next, as it was interesting to see where they would take their sound.

Well three years on and the band have released their sophomore album Bambino which has got a lot of people interested, to see if they could top themselves.

The album kicks off with the vibrant ‘Where’s the Bass Amp?’ , which could only be named after a personal story, and it sets the tone perfectly. With the cool little samples of people talking and with it blending in well with the instrumentation, it has a fresh sound.

This quickly leads into ‘I Can’t See’ which is easily one of the best songs on the record, with the slick lyric hook of “I Don’t want to go it alone” as you can feel the desperation in the vocals.

The album has this tone running through it with a slightly laid back reggae style combining with a ska twist as it has a lot of upstrokes of the guitar.

The entire first half of the album is exquisite with a daydreamy songs  like ‘Natural Supersoul’ , ‘Need a Little Spider’ and ‘Raindance‘ all providing a great palette. These songs provide a great pocket in the album where it captures a mood, and influence it however they want to.

‘Double Dutch‘ was one of the songs the band released ahead of the album, and it really is a stand out song. The band have a clear understanding of how they want to utilize samples to make the song whole. It’s as if Superfood are creating a whole back story just off this one sample, and it’s done so well.

The album is full of these cool fillers that add to the entire album as an overall piece of work. ‘Lov’ is a great example of this as it’s a simplistic acoustic instrumental, but adds something to the record.

‘Clo Park’ wraps the album up which is a cool little song, unfortunately it’s not as strong as the ones that went before it. This was going to be a difficult task as the entire album is packed with big personality songs.

It’s clear the band have a firm grip on the music they want to make, and they know their sound increasingly well. The only thing to do now is to continue building on it.

As cliché as it sounds, this album serves as a matured version of their first album. The band have gone back and refined their sound, tightening up the screws and come back with something even better. The band should be ecstatic with what they’ve achieved here, cannot wait for their next project.


Words by Alex Wise @AJWise