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When AM dropped this year, it was a pronounced departure from the band’s early “I bet you look good on the dance floor” Fratellis-esque pop-styling. While everyone else in the world used their new-found digital mixing techniques to add dubstep to everything, Daft Punk took a chance and a giant step back in time to the era of disco. My Bloody Valentine gets away with doing things that no other band can: droning guitar musical soundscapes that weave themselves between notes. When I first reviewed Mikal Cronin’s sophomore effort MCII this past spring, I envisioned it “fitting the bill [as] this spring’s introduction to summer record.” I now view that statement as being severely short-sighted. Coming off the high of his dazzlingly ornate magnum opus My Beautiful Dark Twisted Fantasy, Kanye West spent three years dabbling in singles, production, and a full-album collaboration with mentor Jay-Z before springing this latest monster loose. After the release of their criminally underrated I Am Very Far in 2011, Okkervil River regrouped before recording The Silver Gymnasium. One of the easy things to miss in Eleanor Friedberger’s control of verbal timing, from first twists of mundane details to final sentiments, is that through all the comic understatement (“Other Boys”) and overstatement (“I’m a disgrace,” cue guitar riff), Personal Record is anything but placid.
I bought my first CD of Monae’s, The Electric Lady, from a Starbucks, along with a mocha minus the whipped cream. Bursting onto the scene with their debut album, Days Are Gone, Haim leaves a lasting impression. As a musical outsider and ignoramus it says a lot that I find Chvrches to be an accessible band. The sound of this album seems to revert back to their style from Funeral, mixed with a garage band twist. AM proved the Arctic Monkeys are a band unscathed by thoughts of alienation as they pour their sexually dirtied rock all over that dance floor. Damn, did it pay off — the result, Random Access Memories, became both the ironic and so-hipster-we-went-back-in-time-to-be-vintage summer anthem album. I don’t think any song on mbv is in a specific key, yet somehow, the whole record plays out flawlessly. As the summer drew to a close and the fall semester began, I found myself sinking deeper and deeper into this record. Raw, dirty, bombastic and smoothly carved all that the same time; The Next Day creates the impossible.
Left puzzling over where the divisive rap icon could go, fans were left the closest thing to a clue on the aforementioned collaboration with Jay-Z.
Singer-songwriter Will Sheff returned to his hometown and reflected on his small-town upbringing in Meriden before writing the songs that would later appear on the record.
It sounds even, but Friedberger’s second solo record is full of leisurely-paced responses to panicked scenarios, songs that live for wordplay threaded into narratives that fall apart. The mocha was shit (the whipped cream is an essential part of a mocha; always get it with the whipped cream). A deft blend of folksy melodies, breezy hooks and devastatingly sure-handed riffs, Days Are Gone transcends the term “pop rock” and creates an experience hard to summarize.

They not only capture a sound that is startlingly original (though certainly not unfamiliar to fans), but also immediately timeless.
Like Sofia Coppola’s The Bling Ring, Phoenix, even as they out the robotic movements of those who always “care for more,” can’t help but find a flicker of romanticism as the album travels through “fanatic attitudes” and “fake rituals.” Even if they don’t say it outright, they’re dwelling in the same market of selling and upgrading senses, which is why the single’s central hook is an anthemic “I’d rather be alone!” Bankrupt! The album is dynamic, never settling in on one sound but instead varying in cadence, tempo, and lyric. It isn’t my favourite, but a few lead titles always catch me and make me listen over and over. The disco elements work surprisingly well as a backdrop against more modern elements, and it somehow manages to lasso the catchiest elements of both eras into a single addictive collection of songs. Why drink the whole bottle of whiskey when you can listen to this audio trip and feel the gravity swells pull you down into an audio coma? The multi-instrumental power pop-garage-rock ethos Cronin creates on MCII complements his questions about adjusting from youth to adulthood, as he asks on “Shout It Out,” “Do I shout it out? Watch the Throne’s most ubiquitous single “Niggas in Paris” embodies the same raw, industrial groove that found wings on Yeezus. A healthy dose of retro keyboards and sunny horns to accompany their acoustic guitars and slight percussion transports the listener back to those sleepy weekends in New Hampshire where Sheff spent half his life. Its ‘80s influences are apparent in its vintage sound, but it doesn’t grow tiresome, as the slick production sounds bright and new. While it’s not a major departure from their past few releases, it’s certainly enough to remain fresh. Despite delving deeper into themes of religion, mortality and self-discovery, Modern Vampires of the City succeeds in avoiding any sense of heavy-handedness in their messages. If “the truth is out there” like the X-Files title sequence suggests, you’re just as likely to find it living your life normally as you are jamming the entirety of a decade-old TV show into your schedule.Charles Bradley continues to impress with ChangesCharles Bradley is the definition of a late bloomer, releasing his first album, No Time For Dreaming, in 2011 at the age of 63. Still, Ritter doesn’t over-complicate and lets the album rest on its own acoustic airiness.  In many ways the album is quaint, with a sound reminiscent of an old cedar-floored performance house. Part of the answer lies in the technical production, which sounds like an expensive cigar and triple glass of rare rum — neat, of course. After an earth-shatteringly brilliant opening quartet, Yeezus struggles to reach the same heights consistently.
Despite their consistent output, Okkervil River was never lucky enough to catch the flavour-of-the-month wave that propelled groups like The National or Arcade Fire into the mainstream. Co-written with John Wesley Harding, Personal Record is a compendium of deadpan double meanings and flipping gender perspectives (“When I Knew” and “She’s a Mirror”), adding up to something that is, in its own limited way, all-encompassing. Monae has a huge range of sounds; she is pop, groovy funk, all sweet and love ballad and perfect rap all in one. These three sisters from California are not lacking in confidence, attitude, sass, or skill, and if this impressive first studio effort is any indication of what we can expect from Haim in the future, we should consider ourselves lucky. Chvrches is like the lovechild of Kate Bush and some obscure electro or techno or synthpop guy.  Neon Gold named them “a godless hurricane of kinetic pop energy,” and I think that about sums things up.

Remaining true to their past albums, this is an album that continually gets better with each consecutive listen. Vampire Weekend supplies no shortage of energetic whimsy, even amid dense and often brooding lyrical content.
Now, 30 years after he started singing in New York City clubs as a James Brown impersonator under the name of “Black Velvet,” Bradley releases his third album: Changes.
A few other songs on the two-disc set strike similar chords and hold a groovy bob-my-head-as-I-drive beat. Over the 12 tracks it slips through fast-paced grit, finds its way to be desperately wanton, and just shines as a thoroughly compelling album. The songs on the record reveal themselves gradually over multiple listens, as the The Silver Gymnasium gives back whatever you put into it.
Every lowly trembling track is laden with depth, from the painfully melancholic lyrics, to the unique song structures, to Matt Berninger’s baritone voice. Upon each listen, one will find it exceedingly difficult to fight the urge to dance and sing along, specifically during the first half of the album. But while it may not be original, or cutting edge, Changes continues to solidify Bradley as a bona fide star. YUM!!!A Our loving couple had to laugh, when they were greeted with a notice at the beginning of Tracy's driveway to her farm, which read 'Only Pete & Nikki can visit today, - everyone else can piss off'. Not only that, the cover of the album itself is super shiny and fancy, and I love super shiny and fancy things. This is the kind of record that musicians die to produce: quality composition paired with exquisite performance. With twists of tone layered throughout, this collection of masterful productions is completely and utterly satisfying.
Go without her, or try to find her?' The passengers, (including Pete & Nikki) shoputed in one voice, 'WE WAIT!, - WE'RE NOT LEAVING WITHOUT HER!'A search party was sent out, and she was located and brought to the coach an hour later. Also in the party were Noi's friend Khem and Frank's pet Chameleon Ozzy, who, despite the presence of Kat From Tv's Big Brother (See picture above with Noi) proved to be the star of the show and grabbed everyone's attention!(See picture left of Ozzy on Frank's head.)There were traditional Thai dancers and costumes, a 'Miss Thai UK Beauty Show', an 'I'm an English person get me out of here' contest, and even a LADYBOY Show, which proved to be quite spectacular. On the way back, the girl who was holding on to Elvis grabbed Pete and grabbed his waist, including him in the conga. ANDREW (The Scots National Flag) appeared in the sky above!See Below Well, what do you expect when our ubiquitous couple go mon their adventures? Unbeknown to Pete, Nikki had arranged the trip as a special surprise for him, as he had always wanted to go to Disneyland.
The staff on the plane were amazing, and treated his leg with Aloe Vera-soaked lint, and gave them a complimentary cup of tea.A On their way back to Blighty, our loving couple were amazed to find the Icelandic lady who pushed the wheelchair, and a cleaner friend of hers, running over top them and embracing them.

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