The debut record from Knife Party reinstates how we’ve felt about EDM for a while now – it’s not dead, it’s just that not many people are trying anything new anymore. Luckily Rob Swire and Gareth McGrillen are here to change all that. 

Much of the scene has been stuck on the shit but successful progressive-house templates of David Guetta and Calvin Harris lately. There’s been a bit of a rejuvenation of the underground house scene and a couple of artists trying to save drum and bass, but when it comes to full on, hard-hitting electronic chaos, we’ve been left at a bit of a loss.

Abandon Ship is a breath of fresh air in that sense, which is funny, because it’s packed so heavily with unrelenting madness that it’s unlikely fresh air will get anywhere near it when its blasted on the loud speakers.

There are a couple of songs tailored slightly more for the mainstream – single releases ‘Boss Mode’ and ‘Resistance’ unsurprisingly fit into this category – but even these are laden with the original beats and synth work that set Pendulum so far apart from anyone else in their field back in their prime.

The KP creativity shines through best on ‘EDM Trend Machine’ though, an ingenious tune that toys with various styles from the electronic world – taking classic rhythms from deep house, house, trance and more – to form something completely original and funky as hell.

To take so many sub-genres, integrate them all into one track and still come out with something so addictive is no mean feat. And it's a very apt symbol for how the rest of the album is run as well.

‘404’ plays on computer errors - of which there have been plenty in the charts of late - and soft melodies around a central, pulsating beat that’ll cause mayhem on the live stage.‘Begin Again’ is one for the old Pendulum fans meanwhile, providing a more traditional, vocal build-up piece reminiscent of 90s electronic rhythms.

The latest album from Calvin Harris is bound to sell well. Of course it is. The guy churns out number one hits quicker than Renee Zellwegger changes faces.  

When you put Motion under the microscope though, it’s a slightly disappointing effort from the Scottish superstar – especially considering the fact that he’s now charging one million pounds per appearance on the decks.

Now, it is a bit unfair to say that Calvin Harris is sticking to the generic template that currently overwhelms EDM in his latest work. He did have a large part in establishing that initial model after all.

Perhaps it’s better to say, then, that he doesn’t seem to have progressed since he released 18 Months – his smash hit of a previous album – and became one of, if not thee, most popular DJ in the world.

And that’s where the problem with Motion seems to lie. Considering the fact that Calvin could release four minutes of ambient noise and still hit the top of the charts, it’s slightly disappointing not to see him experiment with distinctive sounds.

Many of the songs on the record use Calvin’s influence to attract big name vocalists, put a standard electronic rhythm behind them, and then offer very little more.

John Newman feature ‘Blame’, the latest single from the album, is generic and monotonous. The vocals seem subdued and the backbeat is right out of a progressive house checklist.

Big Sean feature ‘Open Wide’ throws some rapping over the pounding electro beat originally released as ‘Cuba’ to overwhelm the listener, while Ellie Goudling and Gwen Stefani enter for catchy numbers that will clock up radio play but are easily forgettable.

Not all of these features are poor of course. Alongside powerhouse Alesso and Hurts feature ‘Under Control and previous hit ‘Summer’, ‘Love Now’, featuring All About She, is one the best songs on the album.

All about She brings a pleasantly different vibe to the Harris template. Vocals lead over a light, welcoming beat before some violin work dives in to take it further, providing a welcome break from a tracklist which is at times relentless.

HAIM feature ‘Pray To God’ is another that turned out well, and will likely be at the top of the charts in the not so distant future. It’s not exactly groundbreaking, but it is catchy as hell and has a bit more of a distinctive electro edge than some of the other efforts.

Hurts jumps back in with ‘Ecstasy’ to slow the album down with a mellow and impactful song which Harris would’ve done well to replicate elsewhere, but other than the previously underlined, the setlist struggles to impress.

Mindless trance beats turn to dull drops that will be masked with confetti and champagne on the live stage. ‘It Was You’, ‘Overdrive’ and ‘Dollar Signs’ prove particularly guilty of this point, and overall you’re left wondering if Calvin’s passion for progression has been left in the past.

At the start of his career, in I Created Disco and Ready For The Weekend, there was a variety of styles found throughout Calvin’s eclectic work, but it feels like half the songs were produced on autopilot when it comes to Motion.

Another album from Calvin Harris that will bring plenty of success, money and chart hits for the artist, but possibly his first that will not bring much critical acclaim.


                                                                                                         Stuart Kenny

A homecoming party is always that bit more special than your regular celebratory bash. So when notorious revelry kings Rudimental returned to London for the first time in months, it was always bound to be a messy night.

The dynamic Hackney four-piece were back in their homeland for the iTunes Festival after an extensive tour of the globe, and they didn’t waste any time easing into their return.

“We love London town,” bellowed DJ Locksmith, bounding out on the stage in front of lights blazing the name of the band around the circular Camden venue.

Accompanying him? The rest of the Rudimental boys and their famous entourage – two lead vocalists, three back-up singers, trumpets and saxophones blasting out brass madness and a crazy drummer combining to crash out the carnivalistic chaos with which the group are now synonymous.

A frantic introduction got the crowd going, and the group built on their bouncing intro with a jazzed up version of album track ‘Give You Up’ – which then transcended into the full drum and bass banger – and ‘Right Here’, the steel drum driven anthem near enough impossible not to love.

Given that the iTunes Festival is an event with free ticketing – meaning the crowd is a mix of loyal fans and those who happened to get a penny-less pass – it’s pretty impressive that the crowd were so behind the gig.

If anyone can win over an audience, though, it’s Rudimental. The sheer mass of musical madness and the hypnotic energy being churned out from the stage is scarily easy to get lost in.

Bouncing next to a group of like-minded revellers as the group unleash ‘Not Giving In’, one sweaty twenty-something shouts out ‘I don’t even know who these guys are – I’m into heavy metal music!’

It certainly doesn’t seem to have affected his enjoyment or hindered his dance moves. Even if you don’t come to a Rudimental gig as a fan, it’s more than likely you’ll leave as one.

It’ wasn’t all the same old, same old from the producers either. New material came in the form of ‘To Cool To Love Me’ and ‘Breathe’, the former a solid song lacking an addictive hook, the latter a banger that goes ballistic at the drop. Caught up in the moment, the crowd lapped it up.

Emile Sande feature ‘Free’ brought a big crowd reaction, but the piece de resistance of the homecoming set came as it began to draw to a close. When you’re in London, there’s one song you can always rely on to make the locals go wild – whatever the day, whatever the occasion.

When Rudimental dropped a cover of Shy FX’s jungle classic ‘Original Nuttah’, then, the place went wild. We were bouncing around harder than a kangaroo on a trampoline reverberating the legendary lyrics back at the stage.

Feel the Love capped the regular set off with a bang, the signature heart signs taking to the air across the crowd and Mark Crown absolute slaying his trumpet solo to make the crowd lose their minds. 

Five or fifteen choruses later and it was time for a brief break and an encore. The song the crowd had been ‘Waiting All Night’ for (Geddit?!) smashed through the speakers to end a night that can best be described as a freakin' crazy indoor carnival.

Rudimental prove once again that they deserve their reputation as one of the best live acts around. They always provide an occasion to remember and the feel-good vibes get the audience mad.

Never let it be said that drum and bass is all about a computer screen.

                                                                                                               Stuart Kenny

It’s around about five o’clock in the morning and I’m at Edinburgh airport with my girlfriend. We’re in the gate waiting to board our flight to Dublin. 

The masses have already inexplicably begun queuing despite the fact that the plane doesn’t leave for another hour. We were zoned out in a zombified state of sleep on a couple seats nearby – myself flicking slowly through a magazine and taking none of it in, my other half staring deeply into an abyss of utter confusion that only kicks in over sleep-deprivation.

Why were we there? The same reason half the other people on the plane were. To make the trip to a spectacular show from a band at the forefront of their genre. We were off to see Biffy Clyro play a one-off show at what was effectively a giant castle in Dublin. 

What better reason to get up at five o'clock in the morning?

After some naptime on arrival, a stroll around Dublin, a tour of the Guinness factory and some extended sampling of that famous local brew, it was time to head to the spectacular Royal Hospital Kilmainham for the super showdown – with Little Matador and You Me At Six providing some top support to the outdoor show made all the more killer by the blue skies and shining sun.

The Scottish trio came on with a massive bang. Lights blaring, crowd roaring, signature toplessness intact. Let's get going.

‘Different People’, from latest album Opposites, was the opening track. A welcome intro to the set, starting slow, bursting into life and eventually exploding with a kickass chorus that set the tone pretty well for the slamming showcase to follow.

The set was formed from a variation of past and present that an audience of the band has come to expect. Biffy are wonderfully renowned for the quality of their back catalogue – the days of NME slating Blackened Sky now seem a laughable past – and after getting going with a few songs from Opposites and Only Revelations, Puzzle’s ‘Living Is A Problem Because Everything Dies’ featured, followed by the likes of Blackened Sky’s ‘Justboy’ and Infinity Land favourite ‘Glitter and Trauma’.

A more surprising inclusion was ‘Questions and Answers’ from 2003 album The Vertigo of Bliss, but the song worked well in the set, slowing the pace after ‘Who’s Got a Match?’ to lead on to more recent success ‘Many of Horror’.

The passion of the band was powerful throughout the set - and essential to the success of the show. From ‘Whores’ and ‘Sounds Like Balloons’ to the wonderful ‘Woo Woo’ and ‘Black Chandelier’, the riffs were heavy, original, catchy as hell and executed ruggedly in a way that means you’re not just listening to a live set of studio recordings – you're listening to a performance packed with the passion and zeal that has driven the trio on to keep upping their game and setting the bar higher each time they take to the stage.

When the group played the heavy stuff, the crowd went wild, and so did the band. When they slowed it down for the likes of ‘The Thaw’, or for solo acoustic takes on ‘God & Satan’ and ‘Machines’ from Simon Neil, the audience turned choir to reverberate the words right back up to the stage.

It’s gigs like this that make it a shame that the whole process of the ‘encore’ is effectively ruined, because Biffy are exactly the kind of band that genuinely leave the audience desperate for more – the kind of band that would almost certainly command a rampant encore in the days when these things actually had to be earned.

Finishing off with ‘Stingin’ Belle’ and big-time anthem ‘Mountains’, it was a sensational overall performance from James and Ben Johnston alongside Simon Neil, who left the stage declaring: ‘thankyou, we’ve been Biffy fucking Clyro’. A jubilant statement to match what most of the audience will have been thinking at the time.

Biffy certainly put on a performance that makes you remember what music should really be all about – the passion, the craze and the love of innovation.

It was a concert that leaves you pining for more, and buzzing for another session with the Biff.

                                                                                                                                          Stuart Kenny
                                                                                                                Photographs: Mairi Petticrew

Sam Smith returns with his debut album ‘In The Lonely Hour’, as the British artist continues his quest to take over the current chart scene.

After winning the BRITs Critics Choice Award and topping the BBC Sound Poll, the first full record from Smith was always bound to land under the heavy weight of expectation despite the singer’s relative inexperience.

The artist doesn't disappoint in the beginning anyway, opening with massive hit ‘Money On My Mind’. The enticing, fast-paced back beat lays the perfect foundation for the artist’s highly-rated vocals, combining simple but effective electronic and instrumental producing with Smith’s signature vocal range to produce a tune which just doesn't get old fast.

‘Good Thing’ moves slowly and intricately, offering up an emotional ballad-style number from the artist that wouldn't look out of place on Broadway with its mix of emotive lyrics and a backing made up of soft guitar and piano but featuring strong strings on occasion too.

The soulful vibes continue on latest single ‘Stay With Me’, a single so slow-burning, vocal orientated and piano driven that it attracted many comparisons to Adele. These comparisons, however, are lazy. Where Adele blasts her vocals in an in-your-face manner, Smith is more subtle, driving his songs with calm but assertive vocals that reach a diverse range of keys.

This is a template that continues through tuneful old school love song ‘Leave Your Lover’ and the emotive ‘I’m Not The Only One’. ‘I’ve Told You Now’ follows on from this too – there’s a lot of slow moving songs featuring sweet vocals hitting high pitch notes and floating over calm, inoffensive backings. After a while, it leaves you wanting for a little bit more, for that extra something to make each track stand out from the next. But that extra something doesn't particularly arrive.

‘Like I Can’ picks up the pace a little with a thumping bassline driving the song to begin with, but it all gets pretty poppy and mundane again when the chorus kicks in, with the Sam Smith signature high pitched notes and hints of a choir entering in behind the vocals.

The album closes out rather unimpressively, repeating what it had offered up from the middle onwards. All impressive vocally, these are tracks that if taken out as a single may stand up well, but when listened to as a continuous record become cyclical and somewhat dull. By the time ‘Not In That Way’ and ‘Lay Me Down’ finished off the album, there was more a feeling of relief remaining than of the excitement brought forward by the first few tracks on the record.

Verdict: ‘Money on My Mind’ is a thrilling combination of cracking vocals and a fun soundtrack, but the bulk of the other tracks on Sam Smith’s debut album are repetitive, and the lack of energy in anything but the singing becomes monotonous. You can sing Sam, we get it. Now make it entertaining.


                                                                                                                                       Stuart Kenny

Ella Eyre – If I Go     2/5

She first came onto our radar providing some sick vocals for Rudimental’s smash hit ‘Waiting All Night’, and since then things have really blown up for Ella Eyre. The 20 year old has now featured with Wiz Khalifa and Tinie Tempah, and impressive with her debut EP Deeper, which stood strong solo and lent itself to some top remixes (check out the Friend Within mix) as well.

After such a strong past year then, it must be said that debut single ‘If I Go is’ a little bit of a letdown. The track is all to generic, with the only thing lifting above the rest of the templated-instrumental beats floating around right now being the artist’s signature, and admittedly splendid, vocals.

While as impressive as always though, the strong, avid singing of Eyre is simply not enough to make this song stand out, with a routine drum beat on the verses and an underwhelming progression to the chorus, which rises to a drum and bass style instrumental beat, proving all too monotonous.

Little Matador – Reasons     3/5

A real stomper of a rock beat guides the latest single from four-piece Brits Little Matador from the second it kicks off. Strong guitar work is seen throughout and a bassline that loops throughout keeps the listener hooked.

The fuzzy vocals in this track dive up and down over a tenacious back beat, giving a raw, rugged feel to the song that compares to early work from Queens of the Stone Age. Frontman Nathan Connolly offers enough differentiation from the rest of the indie-rock and chart-rock work on offer right now to make this track entertaining, although it still would have probably done better in the charts had it been released in 2010.

JproD – We Here Now (So Much Smoke)     3/5

A simple, synthetic and progressive beat moves up and down early on to lay the way for lyrics that take a nice rhythm and hold a nice line over the continual electronic backing.

The lyrics are genuine, taking on more serious, relevant issues than you’ll find in the Flo-Rida school of nonsense that’s been floating around the charts for the past few years, and JproD seems assertive in his work, laying down his words assertively and with a seemingly experienced confidence that grips the listener.

Unfortunately, unnecessary autotune takes away from the solid work of the artist throughout the song. The autotune comes and goes during the three minute plus record, but really only gets in the way of otherwise good work rather than contributing anything of value.

Beyonce – XO (Full Crate Remix)     2/5

A chilled house remix of last year’s release from pop queen Beyonce. A sweet soothing electronic melody starts off this piece before the lyrics of Beyonce step up a notch and the beat turns into a bouncy electronic sounding which is actually rather irritating.

This circulating beat seems intrusive to the song than complimentary, and when the work reverts back to a more casual house rhythm as Beyonce slows it down, the summer-style record proves much more appealing.

Needless to say though, with the bouncing electronic feature recurring throughout the record as Jay-Z’s other half dives into her verses, this song proves more irritable than irresistible and won’t be getting added to the summer playlist.

Click here to continue and find out what our single of the week is this time around, or hit the read more button below.

The sixth studio album from Coldplay is made up of nine tracks, each of which has the word Gwyneth in the title and each of which makes
you want to grab an oversized tub of Ben
& Jerry’s, hide under a duvet and cry.

I’m yanking your chain of course, and yet while the breakup of Chris Martin and Gwyneth Paltrow may not be as blatantly emblazoned across the tracklist of their latest album as this article previously suggested – you have to admit, it would have given the record a unique flavour – ‘Ghost Stories’ does indeed have all the signs of an undeniable break up album.

The record is slow and features tracks packed with sluggish backings that bring a solemn tone to the overall piece. Normally we see knockout instrumental work carry the questionable writing skills of Chris Martin, but the ‘conscious uncoupling’ of the artist from Paltrow seems to have added a sincerity to his scribblings that wasn’t there before. The result is that on this album, the heavyweight instrumental work takes second place to the artist’s uptake in song-writing form.

 ‘I think of you/I haven’t slept’ admits opening song ‘Always In My Head’, as if the title wasn’t enough of a giveaway already. ‘All I know is that I’m lost whenever you go’, is found in the chorus of ‘Ink’ meanwhile, and ‘True Love’ features a line that begs us: ‘Tell me that you love me/if you don’t then lie’. These are just a few select examples from an album packed with reflective, sombre lyrics.

Subdued electronic backings, calm, melodic piano and light guitar riffs that don’t overstep their mark provide the soundtrack for these vocals, with ‘A Sky Full of Stars’ proving the only exception – the song launches triumphant electronic and piano work early on that grows to be welcomed by an electric guitar blast more typical of Coldplay’s work.

While the subject matter of the album may be a bit downbeat though, the end result is some of the most critically commendable stuff the band has come out with. With the songs now holding a bit more meaning, the accompanying instrumental work is tasked with framing and escorting the vocals rather than guiding the song, and these backings ensure the work is made into easy listening as appose to turning into material only suited to the broken hearted.

‘Magic’ floats up and down nicely in tempo without ever taking off above the restrained nature of the song, ‘Always In My Head’ provides soaring but suppressed guitar work that elevates the vocals further, and a catchy, rhythmic beat circles in ‘Ink’ before rising through synthetic work and quickly filtering back down to greet the next verse.

‘Oceans’, meanwhile, sticks to a bare bones approach. Melancholy acoustic guitar work and a repeated synthetic bang providing all the requirements needed to let Martin whine out on top successfully, and while several songs (‘True Love’, ‘Midnight’) do seem to get caught up in a repetitive strain of thinking, the bulk of the tracklist impresses. Finishing number ‘O’, for example, sees the record out on a philosophical note accompanied by piano which feels significantly more meaningful than much of the band’s past work.

Verdict: A brave move from Chris Martin and Coldplay, who divert from the pop template of their charting success to tackle a more sombre subject matter. The result is commendable work which carries weight in meaning and impresses in sections when avoiding repetition.

                                                                                                                                     Stuart Kenny

While fans at folk, jazz and some indie concerts just want to hear live music played well, pop-punk gigs are definitely more of a two way street. Fans are there primarily to have a good time. The band can play their songs note perfect but if the rest of the crowd aren’t up for it, it can be sort of shit.

Decade were second on the Slam Dunk Scotland bill at the Liquid Room.  They played anthemic, grungey pop-punk with spot on harmonies with the highlight their new single, British Weather. Typical to such a support slot, the audience were happy to simply listen to their songs.

The next band were Neck Deep, which saw the audience become a lot livelier. The Welsh quintet had a great command over the audience getting them to sing, jump, point and mosh to their 10 song set. The success of their set may be due recent popularity; the energy of their music or the animation of lead singer who was singing to the audience as though the girl he was smiting was standing in the front row. The band were so popular that a large portion of the audience started chanting for an encore.

This encore request was unsuccessful, however, as Neck Deep had to make way for Hit The Lights. They definitely could have though as Hit The Lights hit the stage half an hour after Neck Deep’s set had ended. The band informed the crowd that British Airways had lost their instruments and guitarist, Omar Zehery was unable to travel the UK. They had to borrow instruments and lead singer, Nick Thompson, had to also fill in for guitar, which he did efficiently. Due to the problems, Hit The Lights only played four of their biggest and best hits to the Edinburgh crowd. Although the band were popular when the songs they played were released (all of which were at least six years old), the crowd did not seem as well versed with Hit The Lights as they were with Neck Deep due to the youthful nature of their genre. It'll be interesting to see whether Neck Deep are still as popular five years from now.

We Are The In Crowd played a great set involving tracks from their new album, Weird Kids, Best Intentions and from their debut EP, Guaranteed To Disagree. Most of the tracks had been released as singles making their set almost a greatest hits collection.

They started their set with ‘Long Live The Kids’. This worked as an effective opener with the steady intro acting as an introduction to the set. Once the song kicked off, the crowd became incredibly energetic. This energy remained as they played, gutsy single, ‘The Best Thing That Ever Happened’ and throughout the rest of the set. Unusually, during, ‘Kiss Me Again’, a section of the audience started a moshpit perhaps winning the award for ‘Softest Song People Have Ever Moshed To’. It was also nice to see We Are The In Crowd feeding off of the crowd’s enthusiasm.

The entire band were incredibly charismatic throughout the gig. Their energetic set featured jumps, spinning guitars also saw the group interact with the audience, pointing out the “Here we fucking go!” chants they always receive in Scotland and claiming that they brought it to America. Rather, than leaving the stage for their encore, they joked that the audience should just turn away then look back, which about half the crowd did. This may have been due to time constraints but was still refreshingly honest.

Before the gig, I had pegged We Are The In Crowd as a second rate Paramore. However, this evening proved that they're a very fun, charismatic pop band with a large number of great songs. Had I been with friends, chances are that I would have been involved in the various moshpits myself.

Monarchy – Living Without You (MK Letting Go Remix)     4/5

The modern master of the remix Marc Kinchen brings us back to the early 1990s with his latest work – a disco remix of Monarchy’s funky number.

Dark tones of robotic keyboard bounce up and down in a flowing melody that continues to circle throughout the four minute plus song but does not bore. Whereas often MK lets his backing beat take full charge of the tune, mixing in just a single word or line from the song which he is remixing, on this occasion he lets the full vocals of Ra Black sound out from around the minute mark in his edit.

With the lyrics still accompanying and complimenting the rhythm rather than driving it along though, this tune is all about that electronic backing. And it’s truly tantalising producing from the Detroit electronic artist.

The Pierces – Kings     3/5

Sisters Allison and Catherine Pierce return with their powerful new record Kings, the second single to be taken from their upcoming album Creation to be released in September.

A basic backbeat made up from guitar and keyboard work supplies the foundations for a fast flowing vocal melody from the Alabama-born siblings that carries the number. The verses are smart and maintain interest by rising and falling nicely in tone and power through the powerful vocals on offer.

The chorus then offers a rising harmony which is barely original, and the repetition of this bracket becomes increasingly agitating as the song draws on. Good vocal work and songwriting without a distinctive edge.

Heart to Heart – Mentirosa     4/5

Heart to Heart have diverted from their previous punk-rock roots to take on a harsher, heavier tone in their music ahead of the release of their new album Dulce
– and it suits them well.

A plucked guitar twang opens up the number in intelligent manner, and this progresses nicely to introduce a heavier instrumental lay down and rough, fitting vocals before an anthemic if slightly predictable chorus.

The vocals really come into their own during the second verse as they begin to sound out over the strong instrumental backing. Breaks between chorus and verse are dealt with well so as to not invite on monotony too, with a cooled bridge leading on to subdued clean vocals late in the third verse to separate it from the previous offerings.

The lyrics could do with a little more depth and meaning but this is a neatly put together track that showcases some good work from the band.

Handguns – Sleep Deprived     2/5

American four-piece Handguns don’t hang around waiting to get their latest effort off to a quick start. Neat instrumental work heavy on riffs familiar to pop-punk play out over vocals shouting about the past woes of a lost relationship. Not much differentiating from genre conventions then, but the chorus is catchy and the chantable lyrics will work well on the live stage.

The tune is slowed down to acoustic pace for a few seconds late on before bursting back into that repeated chorus. It’s a number that will likely appease current fans and is capable of showcasing instrumental talent, but without a distinguishing selling point, it does leave you hoping that more unique efforts await when the band drop their upcoming album on 7 July.

★ RECORD OF THE WEEK ★

Kanye West – God Level (prod. By Hudson Mohawke)     4/5

Glasgow’s own Hudson Mohawke has been living the high life lately after leaving the land of Sub Club and Rubadub Records for the planes of Hawaii to turn producer for Kanye West.

Mohawke is now a full-time member of Kanye’s G.O.O.D music label, and he’s once again the producer behind the latest track to come forward from West. The track, entitled God Level, seems to be (an albeit pretty impressive) leftover, from the rapper’s coveted Yeezus, and debuted in the latest Adidas World Cup advert, featuring Lionel Messi & co.

Trap drums cue an exotic feel from the start that let you see why the track seemed appropriate for Adidas’ Rio de Janeiro-bound advertisement, all the while applying the unique obscurity found throughout Yeezus to the backing track.

This is a back beat which is continually prominent, be it right in your face and blasting your ear drums or simply smashing away in a slightly more subdued manner, but it sets the scene perfectly for Kanye to drop some traditionally Kanye lyrics.

As you can imagine, then, much of Kanye’s input here involves shouting out ‘God Level’ throughout the track around lyrics that play on the opening line (‘Provide a new coffin/You don’t see murder like this this often’) to combine with the backing to form an exhilaratingly, almost tenacious carnivalistic atmosphere.

An exciting, heavy listen coming soon to a motivational YouTube video near you.

                                                                                                                                        Stuart Kenny

Glasgow threesome PAWS made a lot of waves in 2012 with their debut album, 'Cokefloat'. The album was longlisted for Scottish Album of the Year and received a great deal of critical praise for its lo-fi pop-punk tracks with rich lyrical themes, like the recent death of frontman, Philip Taylor's mother.

PAWS start Youth Culture Forever starts just as sombre sounding like a stoned-off-their-tits Teenage Fanclub singing cheery lines as “Do you know what it's like? To sit there in stone watching your best friends die.”. These emotionally bare lyrics hidden behind the huge guitars and distorted vocals is another feather to PAWS' bow.

The album then speeds up with fun and instantly catchy tracks, 'Tongues', 'Someone New' and the colourfully titled 'Owl Talons Clutching At My Heart'. 'Cokefloat' drew a great deal of comparison to 90s bands like Sonic Youth and Dinosaur Jr., however, these tracks seem to have more in common with recent bands like The Cribs and The Vaccines. These tracks are incredibly fun and are among the best songs on the album.

The next two tracks have a very low lyric count. While the lyrical minimalism adds to, acoustic ballad, Alone's vulnerability, the elongated “Give up! Give u-u-u-u-up! Give up!” in 'Give Up' only really comes across as lazy songwriting. This unfortunately carries on through the album in Narcissist and Let's All Let Go.

Alone ends the upbeat danceable music on the past five tracks. The track features Taylor urging his subject not to commit suicide. So, yeah... there goes my buzz. The first two thirds of the track are sang and played alone by Philip Taylor with the band coming in on the third. A more satisfying release for the tension built up throughout the track may have been to play one chorus once the band had joined in.

PAWS return to their dancy catchy punk on the next three tracks. An Honest Romance would be a singalong anthem if only it were possible to decipher the chorus's lyrics. Narcissist and Let's All Go are fun but are perhaps too similar to Give Up.

'Great Bear', a short repetitive instrumental track which does very little for this writer, is followed by almost the title track 'YCF'. YCF is a another acoustic track played by Taylor which talk about returning to his home town which he does not look to kindly upon. The track displays wry lyricism with lines like “I know I said this in a song before but fuck it, life goes on.” It isn't clear whether the album's titular line is sarcastic or whether it's describing the feeling of youth more as a curse. It isn't a celebration of youth, anyway.

Album closer, 'Warcry' transitions from an very intimate solo performance from Taylor (throat clears and everything) to just fuck off riffage. As Taylor closes the second solo section with “Hear my warcry sui... cide”, waiting for the drop is incredibly exciting. Howevever, the track is 11 minutes long. After two minutes, the vocals have finished. After another three minutes of guitars with a tonne of delay and reverb on them playing over the same bass line, you just want the song to end. The track only comes across as self-indulgence.

Youth Culture Forever sets a balance between punky, insanely catchy pop and dreary solo tracks with grungy anthems opening and closing the album. It is a far more ambitious effort than it's predesson and, therefore, makes more false steps. However, the choruses are better than on 'Cokefloat', the lyrics are frequently brilliant and there a lot of interesting risks taken.