No.5 Janelle Monae - The
Archandroid
It's a concept album of such bonkers ambition it could quite easily turn out as self indulgent dribble. But somehow, this pint-size, cartoon like woman channels everyone from James Brown - David Bowie in her sprawling, diverse debut album and pulls it all off. I don't care much for the narrative of the record, but it does add to her kooky character, especially onstage. Its the individual songs that make this record so special, individual being the operative word, they all sound so different but somehow fit perfectly together. Tightrope is a contender for song of the year, Big Boi's appearance isn't just for show - it sounds like Outkast has a new female pocket rocket lead singer and she's kicked André and Big Boi into touch. Faster and Cold War only cement her superstar-in-the-waiting credentials. If anyone can tell me why she isn't huge already, please comment below, cos I'm stuck. For now, I'm going to enjoy every second seeing her perform in small venues before the enormo-domes take her and I don't mean the arenas, I mean the space-robots from the future who exist only in Janelle Monae land.
4. Foals - Total Life Forever
It's so pleasing seeing a band fulfil their promise of potential, especially on the "difficult" second album where so many others fail. Total Life Forever takes Antidotes and just makes everything BIGGER. Its bolder, the bass is funkier, which is the first thing I noticed. They've learnt to build songs, layer them more and make them anthems displayed perfectly on Spanish Sahara, This Orient and Total Life Forever. I saw them about a week after the record had been out and the
whole crowd new every word to every new track played. It was quite a feeling, and the album is quite an achievement. Intelligent, funky, guitar pop is alive and well.
3. Hot Chip - One Life Stand
YAY! They've made a proper album! Was my response after the first few listens of this record. Hot Chip are a great singles band, which isn't really a criticism, they have great singles - which is good right? Well yes, but I think they wanted more than that, the fans wanted more than that, there was something missing - a consistent, complete album. This album transforms them from the adorable geeks that turn up every couple of years with a
catchy tune or two, to a real national treasure. At 10 tracks, there's no fat, every track is great, there's traditional hot chip dance floor geekery and there's
tender moments too on Brothers and Alley Cats, the latter is one of my favourite tracks they've done "You painted a song" croons Alexis. They did and its a masterpiece.
2. Broken Social Scene - Forgiveness Rock Record
In the past BSS have frustrated me, I know they have tunes, I've heard them - Anthems for a
seventeen year old girl, Superconnected, Fire Eye'd boy. Great tunes, and live - wow! But they're usually sandwiched between some jams and fiddly noises, experimenting - some I love, some I can do without. FRR dispenses with all that and goes straight for the gorgeous hook-laden melodious rock songs. Not just 2-3 and a few jams - FOURTEEN! 14 tracks of song writing brilliance. Every one of em! I've just checked the tracklist again to see if I'm exaggerating cos I'd hate to mislead you all, but no, I recognise and could hum each one to you right now. They're all so catchy, that's why. I'm not going to single any out. If you like great melodious indie-rock music, buy it. You have to buy it too, don't download it for free, there's like a million people in the band and the royalties must get quite thin when you get down the line to the 6th lead guitarist.
1. The National - High Violet
*Yawn!* How predictable, Paddy has chosen The National as his favourite album... I can hear you from here so STOP IT! I didn't want to pick it! I was forced to, hear me out.... OK, I have no smart excuse, its brilliant and I played it the most. This band gets better, I cant think of a band from my generation that have produced 3 albums one after the other of the quality of Alligator, Boxer and High Violet. This one rightly propels them into the mainstream, they're no longer my favourite band that no-ones heard of. They couldn't be after this. Bloodbuzz Ohio is the most radio friendly track they've ever done. That statement conjures images of watered down The National for the masses. Now here's the brilliant thing - it wasn't! It was great, still brooding, still moody but a little more upbeat so Chris Moyles' Sun reading, WKD-on-their-cornflakes eating, moronic listeners could handle it without calling in and oozing DUHHHH HIS VOICE MADE ME DO BAD THINGS TO MY WRIST. Sorry, that was uncalled for, I know some nice people listen to Chris Moyles too, and I know some very nice people with otherwise exceptional taste in music who Matts voice makes them want to do bad things to their wrists.
Anyways, my point was High Violet isn't anything different to what The National have always done. Beautiful string arrangements with intricate guitars, dark lyrics "I was afraid I'd eat your brain.." and Matt Berningers menacing, baritone vocals. There isn't a duff track on the record, but if you didn't like them before now, you're not going to like them after this - unfortunately for you a lot more people like them now so you're gonna hear them a lot more, in the shops, on the radio, at a festival main stage, wherever you are - that voice, following you... whispering... scared? You should be, he's evil.
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