The Cold Cut

Nas has some serious issues. Huge, eye-achingly massive problems. And thank god. As rap wouldn't be nearly as interesting without people like him, who adore controversy and love to channel the world's problems into an album. The majority of the albums he has penned have a clear message, and when it's been lacking, the music struggles. 'Illmatic'- urban poverty. 'Hip Hop Is Dead'- the recent degradation of the quality of hip-hop music. 'Streets Disciple'- the women in Nas' life. And where the focus isn't there, neither is the quality. 'Nastradamas'- whilst still a cut above normal fare, arguably Nas' worst LP- flitted between themes.

9 albums into his career, Nas has finally pounced onto the biggest and most controversial subject matter. Race. And now is the time. Whilst his approach was at first a little crude, Nas confidently pulls off the album through sheer force of will- it honestly feels as if he is an unstoppable bulldozer, and we are set for demolition. Now, I am not particularly knowledgeable on this side of music (something I'm working on, guys), but I would say that this is the rap album of the year. Whilst it may not impress hard-core rap aficionados, I am unfortunately not one of those people- basically, this album blew me away, and will do the same for a frequent reader of The Cold Cut. And that is enough.

The controversy surrounding this album is close to detracting from it. In the run up to the release, various artists stepped forward to support or condemn Nas' title choice. And yet, all the controversy was in vain, when Nas buckled under the pressure. Anyone would in his situation: huge contributors threatening to withdraw hundreds of millions of dollars from Vivendi and Universal, as well as rumours that Def Jam were going to drop Nas unless he gave in. It's a small loss- the album is simply 'Untitled', due to the effects the original name (yet we all know it now), and yet the 'Nigger tape' remained (also brilliant- download it). 'Be A Nigger Too', the original choice for lead single, was also removed from the album, and was a dedicated 'street' release... He addresses the title change on 'Hero': 'No matter what the CD called, I'm unbeatable, y'all'.

Nas- Be A Nigger Too (Link 2)

I always like to see what other people think before I write my review to get some different perspectives- what a surprise, Pitchfork gave the album 3.8 out of 10, with their arguments hanging on a string- they use 'Graduation' as an example of a mentally challenging Billboard blockbuster, almost suggesting that the quality of an album is dictated by how many units it shifts, or potentially will. Interesting nonetheless, but everyone else unanimously gave it at least 8/10. It was a match made in hell- both Nas and Pitchfork are vying to get their message heard. Unfortunately, Pitchfork, Nas is an artist, and we are just commentators. So he comes off better here.

Nas- as a lyricist- is all about the ego and his views. He's always been opinionated, from an ongoing feud with Jay-Z to the various Fox controversies. Those peak hostile days have mostly passed, but Nas still has the same chip on his shoulder. Whilst his verses are largely devoid of 'my sex is greater because my dick is bigger' style sections, Nas does have things he want to prove. As in, he's the saviour of rap. 'Queen's Get The Opening' uses the familiar sample from the 'I Am Sam' theme: 'hip hop was dead so Nas breathes life into the embryo'. It's a short lived reprisal of the 'Hip Hop Is Dead' theme.

This is a mature album, relentlessly challenging and might be accused of taking itself a little too seriously. The accusations might be true, save for one redeeming factor- 'Fried Chicken', featuring Busta Rhymes and produced by Mark Ronson- 'Untitled's sole release, Busta putting in a strong contribution as a featuring artist, elevating the song with his absolutely defined brand of rapping (although he might want to watch out for Gorilla Zoe of 'Top Ranking' fame).

The quality never dips, though highlights include 'Sly Fox', a headstrong attack aimed directly at Fox News, a battle against racial bias in which Nas has been embroiled. On 'Make The World Go Round', Nas flirts with mainstream ideals by roping in both The Game and Chris Brown and then... well, the resultant song sounded very different to my expectations. Chris Brown's talents are used effectively, and The Game impresses, as always.

In terms of raw talent, Nas is currently one of the best on the scene. He has an intelligence possessed by few people, notable exceptions include Lupe Fiasco (listen to 'Dumb It Down' and tell me rap isn't one of the most intellectually challenging genres) and Common, amongst others. And yet, even in comparison to these guys, it appears that Nas is currently on some higher plane- the lyrics on this album are hands down the best I've heard in a long, long time. Unfortunately, those who have this talent are outnumbered three to one by those who market their generic brand of posturing. Don't get me wrong- I'll settle for AYO Technology any day, but a whole album stretches my patience.

Then, I realised about half way through 'Untitled', that I was enjoying the experience much more because of the aforementioned circumstances. Songs like 'America' just aren't recorded anymore, and I really appreciate their rarity all the more. If you need an example of how Nas is from a different breed of rapper, this song is a perfect place to start. In essence, this is just an extended observation of the title country, but the resultant piece of music is expansive, and more engaging than it appears on paper, with beautiful vocals from Flo Simpson.

Nas- America (Link 2)

The ambition behind the album is clear as day. Lets begin this analysis with 'Black President'- a Tupac line on loop begins- 'And though it seems heaven sent, we ain't ready for a black president'. In this song, he tells the story of the first black president of the united states, revealed as Barack Obama in the closing seconds of the song. We can only hope.

I struggled to find anything wrong with this album. At a stretch, the beats might not be the best, and that's the only area where Nas can improve. The music is still engaging, though. It just shows that putting time and effort into your lyrics more than makes up for overproducing. 'Untitled' is also thankfully devoid of skits. By this, I mean no expositional moments of random chat- instead, the vocal elements are found in most of the songs. We have a couple of monologues, but they are never lacking in actual content.

'Untitled' isn't 'Illmatic'. Thus far, no album Nas has recorded has touched that level, although from my previous experience, this comes closest. And yet, we are in a new age of rap- why ponder what has passed when there are still people around making engaging music? I think Nelly (of all people) said it best in a random interview with NME a few years back: 'Who says hip hop needs saving? The original rock music has been dead for twenty years and they seem to be doing alright.' Although Nas keeps pointing it out, he is the very man who makes me question whether hip hop needs saving at all. 'Untitled' is just fuel to the fire.

'Untitled' can be purchased from Amazon.

More so than any other musician of the last two decades, Beck Hansen has never been comfortable in his own skin... He is driven by an obsession to continually reinvent himself between albums and tours. It's a dilemma which has garnered him tags of 'the most idiosyncratic musician alive' and 'alternative', coupled with his challenging, engaging and occasionally perfect music.

Beck- Modern Guilt (Link 2)

'The Information', his last release, was deemed underwhelming and was unsurprisingly compared (as all Beck's album's are) to the seminal masterpiece that is 'Odelay'. It came up short, and 'Guero' suffered the same fate. 'Modern Guilt' is a return to form, with regards to a high quality finish across all the songs- that's not to suggest that this album is singular in its approach... instead, it flits between speeds, styles and focus, and Dangermouse has obviously enjoyed the chance to work with a new vocalist: whereas Cee-Lo can make any lyric seem interesting, Beck must have presented more of a challenge, one that he has not shied from.

Beck's albums always resist classification, and every time he's anywhere near to being cornered he simply moves on. Each and every album in his repetoire rips on those that have come before it, and whilst his last few albums haven't converted his experience into enjoyable music, 'Modern Guilt' has come good . Musically, I think this is his most complete selection of songs since 'Sea Change', and only falls just short of that milestone.

'Chemtrails' was the first single taken from the album, premiering on Zane Lowe's Radio 1 show. As his most haunting single ever, it displays that even Beck realised that he has deviated from his usual standards over the last few years. 'Gamma Ray', however, as a more upbeat potential single, was more likely to catch the press' collective eye. It evokes feelings of psychedelia and is more reminiscent of his earlier albums.

Beck- Gamma Ray (Link 2)

Dangermouse as producer is an inspired choice, and he recreates the eerie setting of ''St Elsewhere' with ease. Beck also seems determined to create something entirely new, and the result is slightly subdued, dominated by the sounds on the lower end of the register. Look no further than 'Volcano' for proof of this.

I liked 'The Information', not least for it's album artwork (or initial lack of) and seeing Beck really test his abilities as he wished. It wasn't captivating or enjoyable for long periods of time, but there were some moments of brilliance across its sprawling 61 minutes. And again, here some of the electronic elements have seeped into his conscience, notably on 'Youthless'. Notably, the album's numbers don't stack up- at 31 minutes, it's far too short, and Beck could have compromised with a few more songs. The large majority of the ten songs top out at 3 minutes, with the shortest- 'Walls'- lasting a mere 2 minutes 22 seconds. Unfortunately, it's an intensely enjoyable song, and was most likely murdered in the editing studio.

Beck- Youthless (Link 2)

'Modern Guilt' isn't perfect. The last ten years have seen Hansen become more involved in the experimental concepts of his music and progressively less interested in the performance (hence the distracting puppet show on his 'Cellphone's Dead' tour). 'Modern Guilt' is more consistently enjoyable than his last two albums, and in achieving this, Beck may have had to curb his experimental enthusiasm. Whether this loss is manifested in his live efforts instead remains to be seen. Neglecting this, 'Modern Guilt' is a more than passable stepping stone onto Beck's next endeavour.

'Modern Guilt' can be purchased from Amazon.

Rating: 7/10- A steady album, sadly let down by three songs.

The Long Blondes- Century (Link 2) (Link 3)
The Long Blondes- Guilt (Link 2) (Link 3)

On my first listen of The Long Blondes 'Couples' I actually mouthed some unmentionable things. I absolutely adored 'Someone To Drive You Home', and simply put, this doesn't hit the mark, at least not on its first spin. In the two years between their debut and 'Couples', their music has certainly lost a little of 'STDYH's magic, replaced by a passion for experimentation, and the sweet taste of progression. This isn't a failure by any means, but it also isn't the follow up we were expecting.

In short, they've attempted to go punk (truly, this time around). Simply put, their music is no longer punk (more a blend of electro-indie), nor is their image (updated from berets and striped tights to civvies), but their delivery most certainly is: even now, they're still learning to play their instruments, but there are clear signs of advancement, musically... when the band formed, Screech, the drummer, didn't even own a set or know the difference between a high hat and a snare. And don't even get me onto Emma Chaplin- their live shows are shambolic because Dorian is playing both lead and rhythm!

I really wanted this album to be superior to their debut. The outlook was promising: 'Century' is a song that just sits in the back of your head, invading your space with its wonky guitars and harmonies. If I had to take a single positive from this album, it would be the obvious improvement of Kate Jackson's vocals- her progress is easy to see on the single. Next came 'Guilt', probably the stand-out, which also happens to be a demo from their early days. It's an obvious choice for their next single. Another high point comes quickly in the form of the title track. But then disaster strikes. Three songs, all of which are... well, shit... They lose all the momentum gained over the first three tracks, and its as if 'Couples' never got going.

Exhibit A- 'I Liked The Boys'- jarring is an apt description. Exhibit B- 'Here Comes The Serious Bit'- Kate has a great voice. Occasionally it goes wrong... imagine that flat note at the end of 'Heaven Help The New Girl', extended over an entire song. And finally, Exhibit C- 'Round The Hairpin'- This has so much potential, but is painfully underdeveloped. And so ends the trifecta.

The band do some serious groundwork over the next few tracks, making up for lost momentum. 'Too Clever By Half' sees Jackson adopt a pitch perfect falsetto, then 'Nostalgia', which I found strangely emotional. The finale, 'I'm Going To Hell', is a dramatic affair, with Jackson proclaiming 'I'm going to hell so I might as well make it worth my while.' All things accounted for, the album ends on a high, but I couldn't forget those three songs. I've returned time and time again (I've had this album for 3 weeks now), but they still don't sit well with me.

'Couples' is a very difficult album; one of the hardest I've come across, and this isn't going to work in their favour. I didn't truly appreciate half the songs until at least 6 or 7 listens, which is a real downer; however, they do take on depth with time. After repeated listenings, it transforms into a solid album, but it is this initially steep gradient which may be 'Couples' undoing, commercially at least.

'Someone To Drive You Home' really delivered, and still holds a place as one of my favourite debuts of all time. It had that lyrical punch and could soundtrack any situation: you could focus on it, or just let the songs slip past. 'Couples', whilst occasionally superior, is an album that requires your utmost attention at all times, and is let down by the presence of three rubbish songs. I really wanted to love it, and the signs led me to believe I would: Erol Alkan's pre-album mixes were great ('Fulwood Babylon' is amazing), but his impact on this album has been detrimental. I'm not quite sure why, either, given he also produced Mystery Jets '21', which is excellent, and an expansion of their sound. On 'Couples', though, his usually stellar work is lacking, and the album occasionally suffers.

Still, taking into account the highs and the lows, this isn't a trainwreck of a second album. The Long Blondes have shown their hand: progression and experimentation are serious factors in their future. All in all, 'Couples' is a nice album to keep us tied over until they do something truly groundbreaking, and live up the hype.

'Couples' can be purchased here

Rating: 8/10
Truly rewarding experimentation from the Eel Pie Island troop...

Mystery Jets- Hideaway
Mystery Jets- Half In Love With Elizabeth

After the dulcet tones of 'Young Love', '21' might come as a surprise. Firstly, we weren't expecting air raid sirens as the instrument to herald its arrival, on 'Hideaway', the opening track. Secondly, for some, the fact that the quality of 'Young Love' is translated across to the album might be unexpected- from the beginning, this is already superior to their ramshackle debut, 'Making Dens'.

The Mystery Jets are not an ordinary band... their formation, appearance, music- everything has that strong sense of individuality about it. How did they come to be? Under the tutelage of Henry Harrison, lead singer Blaine's father, the band developed their brand of progressive rock as young teenagers. It was this style of music that made up 'Making Dens', unfortunately eclipsed by releases from London scenesters Jamie T and The Maccabees. It is also this style of music which is lacking on '21', but its absence is hardly noticeable. The departure of Henry was a likely catalyst. His exit, however, has left a wide open space for youthful exuberance, and in essence, that is what '21' is all about. It should be noted that whilst Henry has stopped performing live with the band, he still contributes to the live process.

Second time around, the band have taken a completely different direction: 'Young Love' made things clear- no overbearing percussion, no prog elements, and no lead singer? Yes, for the first time, Will (guitarist), stepped forward to sing lead. And does a bloody good job if you ask me. Aided by Laura Marling (who happens to be everywhere nowadays), this song is close to pop perfection, and set things up nicely for '21's arrival.

Erol Alkan's presence is felt all the way through the record, and he has done a much better job here than on the new Long Blondes album, 'Couples' (review due some time soon). The prog has been mostly discarded, but Alkan has instead coaxed out some great pop songs: this album has much more widespread appeal, and might see the band finally capitalise on their talent. Songs such as 'Half In Love With Elizabeth' and 'Flakes' are not as simple as they seem, and Blaine's vocals slide easily into place.

Whilst some will be quick to herald this album as 'good' or 'bad', it's really much more than that. On '21', we see huge signs of progression, and the prospect of what comes next is actually more exciting than the album itself. However, if I had to condense it into a sentence, this album is all about a young band with a shed-load of talent, and finally some room to breath. Once again, Mystery Jets have surprised us all...

'21' can be purchased here...

Rating: 9/10- A Frenchkiss debut that the duo should be unashamadly proud of.

The Dodos- Red And Purple
The Dodos- The Season

The aim of this blog is not to be totally ahead of the curve; I'm not (and I hope you aren't) counting points. Sometimes, though, I can't help but resist shouting out 'I found them!'. I have been harking on about The Dodos for ages and it is with a sense of joy that we see them reach a pinnacle (an 8.5 from Pitchfork- No shit!). 'Visiter', their second and best album yet, is receiving great reviews across the board and their recent live shows have been nothing short of incredible.

'Visiter' is the first album that clearly illustrates the undiluted talent that The Dodos possess. On 14 varied tracks, Meric Long and Logan Kroeber make a brave rush for victory, recently having mastered their brand of folk-punk. Lets be honest, who needs a bassist when you can write music this wonderfully complex?

Logan Kroeber's drumming is crucial throughout the record, holding the songs together with a rhythmic appreciation far beyond his peers. One of the most skillful drummers in music at the moment, he honed his talent through years in a prog-metal band. Meric Long is a hero for the ages, with a dry lyrical talent and a voice that fits the folky feel, in both the more intense songs ('Red And Purple', 'Winter') and the low key interludes ('Walking', 'Eyelids'). He fluctuates between frantic picking or intense strumming, and both Long and Kroeber are modest in displaying their huge instrumental talents.

The album is long and twisting, with the duo squeezing every last drop of creativity out of their songs. Often extending into four (never boring) minutes, the music is complex and diverse. 'Jodi' is the song that most clearly illustrates this, stretching for 6 minutes, yet switching between keys and moods, and beating 'Fools' as the best song on the album. 'Visiter' was recorded in an unusual fashion, with songs being played as they would live, and the drums, guitar and vocals were taped together, to mimic their now infamous live sound. The resultant album is full of vitality and intensity, and throughout it is blatantly obvious that the duo are enjoying themselves. Admittedly, they are at their best when moving along at a steady pace, and I found myself beginning to lose interest in the lulls.

'Visiter' is one of the albums of the year, and must have Frenchkiss records feeling proud of themselves. Alongside an alumni that includes Les Savy Favs and The Hold Steady, The Dodos don't appear outclassed in the slightest. In fact, those bands might have felt the heat turn up a bit given the quality of 'Visiter'. This is an album that should be cherished, and will no doubt survive rediscovery for many years to come.

Rating: Another album full of dark soul songs.... sure to divide

Things are beginning to look up- I chanced upon a copy of 'The Odd Couple' for review. Enjoy, and make sure you buy the album, now released on, and digitally today.

The quality of 'St. Elsewhere'- as an album- was eclipsed by the shining brilliance of 'Crazy', and to a lesser extent, 'Smily Faces'. In some ways, it's in Gnarls Barkley's best interest that 'Run' isn't an earth-shaking single. Rather than purely focussing on the songs individually, I hope that people will take a long look at this album as a whole. However, my review will take the opposite approach, breaking this album down into the sum of its parts, in chronological order. Needless to say, they are all just small pieces of the puzzle. Let's begin:

NB- Ratings from 1 to 10. 1 is unlistenable, 5 is mediocre, 10 a song that will complete you. Highly recommended songs come with links...

Charity Case- Essentially a sped up version of 'The Boogie Monster' with some extra bells on, they really run with the idea, adding dense swarms of 'oohs', 'aahs' and assorted harmonies. 9/10

Who's Gonna Save My Soul- ?uestlove wanted to leak this one, and not without reason. Its one of the few moments where Dangermouse sits back and lets Cee-Lo flesh out the song, and its a high point (low in terms of mood). The soul influences run free... 9/10

Going On- A few nice ingredients: hand claps... the gentle squeling of guitars. Both discarded half way through for a session of call-and-response. 8/10

Run- It was never going to match 'Crazy'. The expectation obviously didn't bother Cee-Lo and Dangermouse, and why should it? After all, who needs to worry when they can reel off songs like this: jaunty, bubbly pop, stuffed into a frantic 3 minutes. Still, when stacked up against the other strongest songs on the album, its surprisingly comes off looking almost average. 8/10

Would Be Killer- The song opens with the cocking of a gun. Unusual for Gnarls. However, it develops into much more than that, and Cee-Lo shows his versatility, morphing his usual bellow into a subdued whisper. 8/10

Open Book- The song is strongly influenced by the slightly disarming beat. Even Dangermouse makes mistakes, and this is one of the few. The beat doesn't allow the song to get off the ground. 6/10

Whatever- The pair embrace their inner child, with Cee-Lo behaving like a brat, having a tantrum. The lyrics point towards the thought of being a loner, and they have fun embracing the character. 7/10
"Said fuck me, well fuck you too
I know it sounds real sad but its true
Being alone is nothing new"

Suprise- What have we here? A soul song evoking thoughts of the Wild West? It really shouldn't work, but once again, they pull it off, if not purely through the sheer force of Cee-Lo's conviction. 8/10

No Time Soon- In essence a ballad, but Dangermouse moves into new territory with electronic bleeps and synthesised sounds. 9/10

She Knows- A throwback with a serious 60/70s vibe. It's passable, but not great. 6/10

Blind Mary- An oddball. Beginning with the hypnotic sounds of a carnival, it develops into a lolloping ode to Mary, the blind girl who can't see Cee-Lo, and must instead opt for his inner workings. Verging on filler. 6/10

Neighbours- A passionate tune. Bongo drums, variety, and Cee-Lo. Enough to carry a song. 8/10

A Little Better- Drama, and lots of it. Lyrically the strongest song on the album, Cee-Lo sounds like a tortured soul, veering straight into the cordoned off area reserved for the blues. 9/10

Taken as it should be- an album- 'The Odd Couple' acquits itself admirably. Just as with 'St. Elsewhere', the production is ambitious and very occasionally overreaching, but Cee-Lo's voice is always there to fall back on. However, I can already see it dividing- there are some really great moments, and a few songs that bomb, but overall this is another brilliant album from the collaboration, and its more than enough to keep me coming back for more. The more shallow members of the critique might damn this album purely for the lack of 'Crazy', but in doing so, they will be ignoring one of the albums of 2008.

The release date of 'The Odd Couple' was brought forward to today. Buy it now.

That's it. I've had it with this pretentious magazine, picking up a band in their conception and then dumping them when they don't produce the album of the decade.

Everyone needs to know about the harsh game that this magazine has been playing for many years now. Considering NME has one of the best up and coming band sections, good interviews and some other nice features, their only fault lies in their character, and vapid sarcasm. Without a doubt, NME is the most pretentious/facetious publication I have ever read; reading their '3 out of 10' reviews, I can just imagine the writers turning up their nose and sniggering like children. Its not funny, and its not mature. Given that myself, a 17 year old kid, probably has more honour and maturity than your whole magazine put together, now is about the time to clear up your act, before 'Morrissey' incidents become commonplace.

The album that has caused me to snap in such a way is Guillemots 'Red', coming out on 24th March. After praising 'Kriss Kross', the first single, NME gifted this stunning album a paltry 4 out of 10, stating 'If only Guillemots main man Fyfe Dangerfield hadn’t woken up one bright morning believing he could be indie’s Timbaland, this could have been a half-decent return.' Once again NME, you've completely missed the point. And you are alone in this endeavor... all the other reviews (see here and here) I've read state that 'Red' is the pop album of 2008. I will be able to put this matter to rest when I review the album... Oh, and on that point, an album review isn't about who can fit the largest amount of 'literally' advanced words into a paragraph, its about telling people what the album is actually about. Maybe you should take a note out of Q's book, who write content heavy reviews, giving you an actual feel for the album rather than a lyrically bloated and metaphorical look at the inner orchestrations of the album. Take this NME review of an Arctic Monkeys gig:

"By the time ‘This House Is A Circus’s manic skat-rap is bursting from Turner’s lips, there are bouncers peeling the Old Trafford crowd from the clouds. As the Monkeys rattle into ‘Teddy Picker’ they aren’t wrestling this gig from the brink, they’re stitching concrete wings to its back and sending it soaring to God to brag. ‘Mardy Bum’ and ‘Fake Tales Of San Fransisco’ are sung like the Lord’s Prayer by the hoards clamouring at St Peter’s gates."

Bullshit... a total waste of my time. Can anyone actually glean anything worthwhile from this passage?

I have nothing against this magazine as an institution, rather the writers who seem sucked into a vicious circle of helping bands to become massive and then pulling the rug out from under them. I firmly believe that this magazine is so far ahead of the curve that its almost unfair, yet I find myself pitying the bands who appear in their 'Radar' section, knowing deep down inside that in a mere ten months or so they will no doubt be taking a massive fall from grace. If any of you feel the same way, please leave a note. If would drive me insane if I knew I'm the only who feels like this.

Guillemots- Get Over It

NB- Not anywhere as good as Kriss Kross, but its a grower. Repeated listens have the desired effect!

Rating: A masterful blend of the floor-fillers and ballads which made them popular

On the first spin, its blatantly clear that 'Made In The Dark' is not 'The Warning Mk. 2'. Split into two distinctive halves, the band tend towards heavier electronics on their dance tracks, and have really become masters at their clincher, the pop-balled. Opening with banging club anthem 'Out At The Pictures', this song sets an upbeat mood for the first half of the album, and the pace never really lets up, only gradually tailing off towards the end. However, there are a few reprieves, such as album closer 'In The Privacy Of Our Love', 'We're Looking For a Lot of Love', 'Whistle For The Will', and the title track, where the band showcase their fully developed skills with the down-tempo songs. These aren't throwaways, and are key to this album- without them, it just wouldn't work.

This is an ambitious third release- 13 tracks long, with most tracks easily breaking the 4 minute mark. However, the length isn't an issue- all the songs here feel as if they've been given room to breath, and the band's success has obviously given them the confidence to stretch their creative license. Take 'Hold On', for example, a potential third single, which, at 6 minutes long, might be pushing the envelope. Not quite- consumed by a serious groove, this mammoth tune just keeps going and going, layering vocals and synths right to the loopy ending, full of 'beeps', 'bloops', and yes, you guessed it, 'bops'. Even more ridiculous is the fact that this high-point was recorded live in a single take. Ridiculous!

In Alexis Taylor, you have a soul-tinged, distinctive front-man, and he really is the heart and soul of this band, and this album. I'm not playing down the other member's (and Joe Goddard's, in particular) contributions, but Alexis is obviously crazy, different, and exceptionally talented. In another life, I could easily imagine him giving in to his soul roots.

Designed to make you move, this is an album half-full of songs mimicking the bliss of 'Over And Over' and yes, they match its quality. Track 2, 'Shake A Fist', complete with Todd Rundgren sample and mid song breakdown, is still my favourite Hot Chip song to date. Next came 'Ready For The Floor', a beefed up 'And I Was A Boy From School', with the required harmonies, discordant backing and weird video (see bottom of post)- a perfect choice for the first single

Hot Chip are a great live band, but I found myself wanting for more after my last experience; I saw them at Lowlands 2006, and I felt the set lacked upbeat songs... I am confidently informed that their recent performances bear no resemblance to the days of old. Whereas back then slower ballads such as 'Colours' toned down the mood, their live set now is said to be full of more upbeat tracks from the new album, which is a definite move in the right direction.

Hot Chip are never going to be a band dominated by expectation- the pressure was great, but with 'Made In The Dark', they've produced an album superior to 'The Warning', with many more standouts tracks, and a truck load of potential, unexpected singles. Each new Hot Chip album has been better than the last, and its no coincidence that on this, the best yet, they have fully embraced their quirky, intelligent and distinguishing characteristics.

Hot Chip- Out At The Pictures
Hot Chip- Hold On

'Made In The Dark' is out on February 4th, and can be purchased here

Rating: A charming, almost perfect debut

Dev Hynes is a pretty special person. You might say I'm jumping the gun here, but on the evidence of Test Icicles and his new Lightspeed Champion album, he's not going anywhere other than up. In reference to the title, given the multi-genre nature of Test Icicles and his acoustic pop/folk solo project, Lightspeed Champion, Dev is one of the first artists to succeed in so many different genres, and also make such a big musical turnaround.

I remember when Test Icicles first graced the Radar section of NME, and I clearly recall reading an article in which Dev was accused of spending too much time on MySpace. The page was headed by an image of the three, with Dev holding a fluorescent pink guitar. Incidentally, the article prompted me to check Test Icicles out, and whilst I wasn't massively impressed by the band (other than a couple of ace songs), the premise was intriguing. His Test Icicles band-mates may have been right about his MySpace obsession, but even back then, he had the right idea. Even now, Dev regularly writes and updates his Lightspeed Champion blog, a great read. He obviously understands the importance of web media- something I really respect- and even commented on one of my posts about him (what a legend!), see here.

'Falling Off The Lavender Bridge' is one of the first great albums of 2008, and really warrants no complaints. From start to finish, I really couldn't find any glaring issues or emissions, and for Dev, this album is a brilliant introduction, complete and showing much potential on his part. In time, he may develop into one of the 'great' British songwriters.

On the 12 songs here, Devonte seriously flexes his lyrical muscles, with some witty, quirky and compelling verses. 'Galaxy Of The Lost', wrapped up as a sweet pop song, caused me to almost fall off my chair when the line "as we kiss, and I'm sick in your mouth" popped up. These surprising moments are oft repeated, such as on the 10 minute 'Midnight Surprise', which features the lyrics:
“I’m waiting in silence
And cloaking my violence
You, almost encourage
My happiness, but I know best
Wake up, smell the semen”
Epic and meandering, 'Midnight Surprise', the 2nd single, starts off tender, and builds, builds and builds to a rollicking finale. Most of the lyrics on this album are universally accessible, but there are a few exceptions to this:
"Come over
I just got the new O.C.
And if they can sort their problems out
Why can't I get out the house?"

Kudos must go to the backing band, comprised of some big names (in their own right), including Emmy The Great and Florence (of Florence And The Machine). However, there have been some unjustified claims that the backing vocals make the tracks, and I just want to clear these up. If you cut the production, backing and guest vocals out, leaving only Dev and his guitar, it would still be Lightspeed Champion.

The only reason this album doesn't achieve a perfect rating is the simple fact that one of my favourite songs, 'Waiting Game', was left off the album. Regardless, the 12 tracks on this album are all worthy of their selection, other than the slightly misfiring 'Salty Water'... The ones to check out if you're short of time are 'Everyone I Know Is Listening To Crunk', completely effortless brilliance, and 'Dry Lips', a song simply about the last time Dev had a hangover. Sounds basic, but the simplicity and honesty make it stand out...

Test-Icicles fans may be surprised and -possibly- outraged by 'Falling Off The Lavender Bridge'. I challenge you, listen to 'For Screening Purposes Only' followed by Lightspeed Champion's debut, and try and find a musician who has undergone a bigger transformation than Dev. In the short time between bands, he has regrouped and undergone a huge change of musical direction. His history as a Test Icicle will make his (now guaranteed) rise to the top of the folk/pop ladder one of the most unlikely to occur, in the history of music. There isn't anyone around at the moment with this level of talent, and more worthy of success. Good luck with it Dev, and keep the music coming...

Lightspeed Champion- Everyone I Know Is Listening To Crunk
Lightspeed Champion- Midnight Surprise

'Falling Off The Lavender Bridge' can (and should be!) purchased here