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.

Oliver $ & Alex Metric – Hope     4/5

This song is catchy as hell. Looping vocals provide a hook that gets you interested in what’s coming right from the start, and after the kicking bass gets going 15 seconds in, it’s only a matter of time till things gradually start to take place.

Bouncy synths get involved on 30 seconds that jump and thump around the constant bass, and when the minute mark arrives, we’re treated to a rhythm that ties in 90s groove with twisting synth work to make up a beat that will work wonders on the dancefloor.

This beat sees the song through its duration, and will no doubt see many a club goer through a night of intensive shuffling. The tune dips and dives out of vocals and rhythms to stop it becoming too cyclical, and while it may be a bit abstract for regular home play, it’s sure to be a number well received in the clubs.

Deadmau5 – Avaritia     3/5                

Controversial Canadian electronic music maestro Deadmau5 returns with Avaritia ahead of his upcoming album release on 17 June.

A melodic electronic flow builds up slowly before bursting into life to introduce this song with a rhythm that wouldn’t be misplaced on Daft Punk’s Tron: Legacy Soundtrack. After fading out, this is replaced with a hypnotic looping bass beat, which thumps repetitively before the original soundings begin to work their way back in.

This thumping fuzz possibly goes on a little too long however. It may have worked well as a quick bridge to lay the way for a second piece of progression or as a canvas from which to introduce some lyrics, but rather it becomes slightly monotonous in the background as it proceeds for a substantial period of the track.

When the original beat does return in subdued style in the lead up to the reintroduction of a synth which proves catchy as hell, it works well. Unfortunately the gap between the good work proves too large for the track to really impress though.

The Story So Far – Navy Blue     2/5

A short and sweet track from Californian five-piece The Story So Far. A slow, inviting acoustic guitar opens the song to the untouched, roughly provided vocals from the wonderfully named Parker Cannon, but you can’t help but feel like if the vocals weren’t hiding behind the guitar work as much, this song would have been much more accessible.

Nevertheless, it’s a sentimental effort, and one that makes for easy listening from the pop-punk group that have been known to lay down much more in-your-face, upbeat efforts in the past.

Every artist needs their slower tracks though, and the vocals on this number do show that the band is still doing good work ahead of the upcoming release of their next EP, from which this single is taken. 

Despite this remark though, it’s a little hard not to pine for a big breakdown halfway through this song which could well have made this number a cult hit and a live favourite.

The 1975 – Robbers     3/5

A slow and steady riff starts off this single before the relaxed vocals begin. With the faded nature of the singing from Matthew Healey playing out over a looping bass, it’s really the instrumentals that drive the beginning of this number, although this does change when we pass the minute mark and Healey begins to impose on the track.

A meaningful chorus follows before the looping bass again takes control of a track which relies on persistent drums and a cheeky background riff which only chips in on occasion. The more frequent recurrence of this riff could perhaps have benefited the record, which becomes increasingly bland as it draws to a close.

Solid vocal work and lyrics which tell a haunting love story should have taken more prominence than they do. This isn’t a bad record, but it could have been much more. 

Twin Atlantic – Heart and Soul     4/5

Glasgow rock group Twin Atlantic are back with a new single in the lead up to their third album Great Divide, and it’s a track that will grow on you uncontrollably until you simply can’t help but try out your best Sam McTrusty impression at near enough every opportunity you get.

Seriously, this song didn’t make the greatest impression on the JFC team when it first came out. Now we’re rocking around our respective flats yelling out the opening line like we’re going to drop dead if we stop it.

That catchy opening line (I switch the flick on the generator/So I can turn you on), comes on the back of some thumping instrumental work that gives McTrusty an anthemic introduction. The vocalist doesn’t hold back with his strong, signature sound flying out high over a number that bursts into life at the chorus. 

The Scottish rockers present us with a record full of resounding verses, smart guitar and drum work and a rhythm that is impossible to get out of your head. Good work Twin, and good to have you back.

Of Mice & Men – Would You Still Be There     4/5

There has been a lot of talk in the metal world about Of Mice & Men becoming a bit too commercialised and a little too soft for the hard-hitting fans that demand perfection from their genre.

This track is certainly not as heavy as the previous work from Austin Carlile & co. but it by no means shows signs of commercialisation from the Americans. Fighting guitar riffs play from the start before the lead guitar takes over to kick in with a killer riff that proves catchy as hell.

Clean vocals hang around the chorus and lurk in the background of verses that combine to make a very listenable track that maintains the heavy roots of the band. Instrumental work is bridged brilliantly and although the necessary breakdown is a little short, it keeps in tone with the radio-metal nature of the overall song.

★ RECORD OF THE WEEK ★

Jesse Glynne – Right Here     4/5

Impressive vocalist Jess Glynne has had massive charting success recently on electronic records including Clean Bandit’s smash hit Rather Be and house sensation My Love from Route 94, and the artist is now back with a debut track of her own as she looks to capitalise on the rise of house music currently captivating the country.

Her single Right Here is produced by British upcoming breakthrough act Gorgon City, so the singer was always bound to be off to a good start. A light backbeat serenades Glynne in the opening verse of the track, but while the pipes of the London singer float nicely over the melody serenading her lyrics, Gorgon City really steal the show on the single when their thumping bassline kicks in after 40 or so seconds.

A simple yet mouth-wateringly effective bassline moves up and down alongside a touch of brass, during the chorus, and when the subdued, funky backing returns during the chorus, the listener is really just left pining for another dose of that big bad bass at the chorus. 

Good work by Glynne here, but it is a little overshadowed by a fantastic turn out from the Gorgon City lads. Don’t be fulled though – Glynne can sing (check out her track Home for another great record), and she could well be heading for a lengthy spell in the charts.
                                                                                                                                        Stuart Kenny

A strong set from Charlie Simpson at a packed out King Tuts in Glasgow leaves a lot of promise for the singer-songwriter’s upcoming second album release next July.

When we say ‘packed out’ too, we’re really not kidding. The event was sold out, and anyone who has been to King Tuts before will know that this results in a crammed in session at the compact venue where the word ‘humid’ proves the ultimate understatement when describing the heat.

The setlist would offer up a selection of songs from Simpson’s first solo record Young Pilgrim and unheard tracks from new album Long Road Home as well.

He kicked off the night with a rendition of Thorns, with the vocal audience seemingly surprising Simpson right away as they reverberated back the lyrics to the catchy tune. Well known for his idealist visions of what he wants his music to be, Simpson performed well, with his signature rugged vocals flying over fast-running, melodic guitar riffs throughout the set.

A selection of new songs, including the recently released Winter Hymns, continued the natural music process, although it was at times difficult to differentiate from each song as the template of progressive guitar work and lifts at the chorus continued through the set.

Regardless, each song performed was near enough spot on with the record recordings – no misplaced notes or chords – and when the difference could be heard, it was all for the positive as the passion on the sleeves of Simpson shone through.

The title track from Long Road Home received a debutant play to a reception that will please the artist, but for the crowd, it was really all about the old material.

Cemetery sounded to widespread cheers, with Simpson taking a break on the chorus as the audience took over the vocals in a choir-like performance. Ten more Days and Parachutes too proved popular tracks, while Down Down Down was a main highlight, the looping instrumental sounds working brilliantly with vocals that burst into life halfway through.

The concluding numbers would be Farmer & His Gun and Riverbank, and as Simpson thanked the crowd and shredded out some impressive final sounds on his acoustic guitar, it was clear that he really was grateful and was loving his music.

A good night in Glasgow. And, most impressive of all, we managed to get through this whole Charlie Simpson review without mentioning Busted.

Aw, wait. Shit.

                                                                                                                                        Stuart Kenny

Just For Culture bring you all the latest reviews from the world of music, as we tackle some single releases from the second week of May. Here's our breakdown of the latest singles out right now.

Claire – Broken Promise Land (Giorgio Moroder Remix)     3/5

Italian producer Moroder returns with a futuristic remix of Claire’s latest single. The remix begins with the artist’s vocals resounding over a slow, thumping beat accompanied by a distant synth and more prominent, bouncing electronic input. 

The opening verse flows nicely into the first chorus, which doesn’t differ much from the build up, before breaking the song down with some robotic male vocals that cement the ultramodern nature of the piece. These robotics deny the number the chance to take off into the more upbeat number that the second verse threatens to bring on, but ensure the unique nature of the remix remains. An electro effort worthy of critical praise for the intricacies, but unlikely to make for comfortable regular home listening.

Little Mix – Salute (Troyboi Remix)     4/5

The girl group spawned from X Factor hit back with another single, and when Troyboi takes hold of it the track travels in an entirely different direction. After some early vocal harmonies from the four-piece group, an absolutely massive bassline drops in big enough to blast your face off. Good work from the producer to lay down his marker on the track and turn it from a pop number into a grimey hip-hop track early on.

After the bassline has calmed down, it’s a more standard hip-hop backing that accompanies Little Mix through the remainder of the song. The fast paced nature of the chorus works well with the instrumental work laid down by Troyboi, who manufactures a song that wouldn’t look out of place in the back catalogue of Destiny’s Child. This is one to be played on big speakers in a room with slamming acoustics.

Seinabo Say – Hard Time     2/5

Faded vocals start this off in a melodic, looping chant. The vocals soon grow in power as the introductory build up is met by a strong, repetitive backing formed through keyboard and bass. After a minute or so of what feels like build up, a smooth guitar interlude brings us back to the build up before the piece finally seems to move up a notch with around a minute left on the timer. A final hook from Seinabo Say as the end draws near allows a penultimate push off into a satisfactory and memorable ending, but it does feel as though it is too little, too late for this track.

Paloma Faith – Only Love Can Hurt Like This     2/5

The spectacular vocals of Paloma Faith play out over a subdued big band backing for the first verse of this track, which transforms into somewhat of a whiny love number as it hits the chorus. The song feels like it should be playing in a movie montage as a character who has recently wronged his true love stares out a rainy window, regretting his actions and remembering the good times he had with said romantic interest. A solid track from Paloma, but nothing new and nothing particularly encapsulating. The vocals get repetitive as the eponymous lyric continues to pop up, and this does indeed feel like more of a soundtrack song than a charting hit.

CHVRCHES – We Sink     4/5

The latest single to come from CHVRCHES recently released and highly acclaimed album The Bones of What You Believe, the backing track for We Sink would not have looked out of place if providing the soundtrack to a chase sequence in the Tron series. A futuristic, fast-moving and upbeat electro beat jangles and jives around behind cool vocals from lead vocalist Lauren Mayberry. 

The backing stays strong throughout as it dips and dives into different levels of electronic elation, and the vocals on top are spread out nicely enough not to give the reader the chance to get bored of the bouncy sound. Good work from the Scottish breakthrough act.

★ RECORD OF THE WEEK ★

Oliver Heldens X Becky Hill – Gecko (Overdrive)             5/5

The day that many were dreading had arrived – Oliver Heldens has released the vocal mix of Gecko, the slamming progressive electronic track that has dominated the past year in EDM from the summer festival fields to the mountainous heights of La Folie Douce in the Alps. 

The track flows with an electronic twang reminiscent of Tchami’s innovative future house genre and twerks around so unpredictably that it would seem as though no vocals could ever be introduced without compromising the unique beauty of the track. This, however, proves to be distinctly untrue.

The Voice singer and regular Rudimental feature Becky Hill was the one charged with singing on the track, and the manner in which she takes power over the build up and drops without taking away from the backing is truly impressive. Right from her entrance, Hill‘s distinctive vocals travel well as the record jumps, while also seemingly guiding the song through its various ups and downs. A great choice of vocalist by Oliver Heldens, who alongside the wonderful Becky Hill achieves what many doubted would be a possible. 

Expect to hear this go into overdrive in clubs and on the radio over the next few months.
                                                                                                                                        Stuart Kenny

It’s the morning after the Duke Dumont gig in Edinburgh on 4 May. I’m on the platform at Haymarket train station with a persistent hangover, standing directly underneath a speaker which seems fanatically set on teaching me the names of each and every one of the seemingly endless stops between my current location and some place called Newcraighall.

Manned with a £1 glass bottle of Irn-Bru and wearing trainers near enough destroyed by the previous night, I thrust myself away from the speaker and onto the train back to Stirling. As I stare out the window on the way, it’s time to consider if it was all really worth it – the travel, the hangover, the money. On this particular occasion, that consideration doesn’t require too much thought. This was a night not to be missed.

Cabaret Voltaire has become a venue somewhat synonymous with EDM and in particular house music in the past few years. The capital club puts new music and breakthrough genres ahead of the pop and chart that dominates much of the city. Duke Dumont, meanwhile, is currently one of the spearheads of the movement that has brought house music to the forefront of modern culture, so it would make sense to presume that combining this particular artist with this particular club was bound to be a match well made. It certainly panned out that way too.

The Blasé Boys Club line up rolled out some fat beats even before Dumont took to the stage. Big basslines dominated funky build ups and creative hooks, and it was clear that their sound was perfectly suited to the reverberating cave corridors of Cab Vol and the top sound system in place.

Duke didn’t waste any time when he did take to the decks, dropping chart smash Need U (100%) early on  to test the acoustics. Safe to say that the sound carried well, reverberating down the boutique set up to blast the crammed in crowd with that now famous synthetic twang.

Several other favourites followed as Duke kept the crowd dancing with a template derived from progressive, catchy build ups and fat, funky basslines that took a different shape and form each time.

From the mellow melody that drives MNEK feature Hold On through to The No Money Blues, a number driven by a persistent backing beat before bursting into colour, there is a range of rhythms and tempos in the producer’s locker, and he knows how to blend each neatly into the next when producing on the live stage.

Plenty of new sounds and remixes were offered up and taken in well, but the hits were still the understandable crowd pleasers. A teasing second of the hook to current hit I Got U was interjected occasionally into transgressing beats before the single dropped to mass reverberation from the crowd. The jubilant tune has a more friendly, chilled feel to it when on the radio, but when the big speakers kick in with the booming backing bass usually hidden behind steel drums, the transition to club life is made with deafening success.

While I Got U may have adapted well to the club environment though, The Giver was created specifically for this purpose, and proved a real highlight of the night. The former track is captivating without a powerful bass driving the track, but the latter boasts a blunt bassline in excess. The arrogant blasting slammed through the venue like an acoustic tidal wave, putting the giant speaker set up to its best possible use.

The artist still had more left to give too, with a final rendition of his remix of HAIM’s Falling to end the night. The chilled out melody of the song brought the night to a jubilant end, with the high pitched vocals playing nicely off the irresistibly blissful rhythm.

The perfect venue for a night which proved to be a tantalising taste of big hitting house music and buoyantly blasting basslines. A welcome treat to Edinburgh.

                                                                                                                                        Stuart Kenny

In amongst the smoke, streaming lights, vintage scrunchies and 90s Adidas gear, some pretty sensational music broke out in the Scottish capital when Marc Kinchen pitched up late last month.

It was around one o’clock in the morning before the man best known by his initials ‘MK’ took to the stage at the Liquid Rooms in Edinburgh. Murmurs of excitement spread throughout a crowd already buzzing after a fair few hours of house music, but while the night before this point had effectively been a regular nightclub effort juiced up with an extra bang of bass, the event became somewhat of a club-concert hybrid when the American took to the decks.

MK opened in slamming style. The producer spun a few beats of build up bass before unleashing the irresistible hook ‘I’m complicated you won’t get me out of trouble’ and launching right into his funked up remix of Wanklemut and Emma Louise’s My Head Is A Jungle. Cue screams, camera phones, a mass reverberation of the lyrics and some truly terrible dancing when the big drop kicked in; the DJ certainly knows how to work a crowd.

With the Amazonian humidity that seemed to be circling the Edinburgh venue and the amount of beanies being worn despite the rising temperatures, it was really no surprise that MK dropped My Head Is A Jungle early on – it could have been somewhat of an autobiographical tune for many of those in attendance on the night.

After opening on a high then, MK threw down his take on Rudimental’s Powerless next. This tune confirmed that the speakers in the venue were certainly tailored well enough for the event; a dirty bassline filling up the packed out arena.

The wonderful twang of Kinchen’s Lana Del Rey, Blue Jeans remix rang around the room to sickening reaction as well shortly after. This tune was built to be blasted on a big scale and while the vocals of Lana were held back by the DJ, there was not a single person stood still for the duration of the tune. A real highlight of the night for an audience being let loose to an endless run of innovative funk and house basslines.

The MK Love Right Here Dub of Angel Haze’s Battle Cry did similarly for the room, and in all honesty there was little let up in the hour plus set. The artist’s remix of HAIM’s If I Could Change Your Mind was another highlight alongside a remix of Chris Malinchak’s So Good To Me. Each tune flowed effortlessly and expertly into the next, and each was received with a new cheer of vigour from an audience loving every moment.

For many, the keystone moment will have come last however, as the artist signed out with an extended play of his number one remix of Storm Queen’s Look Right Through. A bouncing audience sang loud and lovingly before the lights came on and the night was over.

A sensational set from one of the leading producers in the world of house music. A messy night full of underground beats, basslines and tantalising drops. Edinburgh needs more of this.
                                                                                                                                        Stuart Kenny

Just For Culture bring you all the latest reviews from the world of music. Here's our breakdown of the latest singles out right now - check back in next week for our following reviews...

Afrojack ft. Wrabel – Ten Feet Tall   2/5

Former-EDM favourite Afrojack returns with a progressive build up that starts off with some promising vocals with Wrabel. A fairly energetic drop follows on to the end of the artist’s introduction that promises more than the producer has been delivering with his recent material, but while the enjoyable kick in will no doubt make a big impression during festival season, the vocals do become repetitive and drain interest from the track.

Foxes – Holding onto Heaven  3/5

A slow, intricate start highlights the real vocal impression that Foxes can make when she doesn’t hide behind a big beat. The Southampton singer bursts into action with a quick drum beat and a couple of fast paced violins to get the song really going, and along with a little bit of piano holding it together, this new release is a pretty nice track. Nothing innovative but a catchy tune that will grow on many.

Lana Del Rey – West Coast  3/5

Lana is back with a smooth, subdued effort that starts off by putting some fuzzy instrumental work ahead of the artist’s vocals before slowing it down to bring that famous voice to the forefront. The transition between these two sections shouldn’t really work but actually flows nicely, although the song does leave you longing for a little bit more of that classic Lana twang that sends tingles down the spine. Good. Could be better.

Ed Sheeran – SING 2/5

The start of Sheeran’s latest effort calls back some early, funky Justin Timberlake in an instrumental introduction. In fact, with the high pitched range taking over at the chorus, this song could well have been taken from a pile of unreleased material from the man in the suit and tie. To be honest, with fast-pace and continental guitar work in the background, it would have been better if sung by JT. Go back to being Ed, Ed. It’s what you’re good at.

DJ Fresh vs. TC – Make U Bounce   1/5

The producer behind Gold Dust and Louder returns with a poor effort. The build up here feels like a computer is breaking down and with the mute button not working, you’ve been left to listen to the resulting death. After the turn, it’s a little bit more enjoyable. Some funky work attempts to make up for the previous irritation but moves to quickly to do so, and before you know it, you’re left smashing on the mute button once again.

★ RECORD OF THE WEEK ★


Clean Bandit – Extraordinary feat. Sharna Bass  4/5

A calm, organic opening sees some piano work set a chilled mood which picks up pace when the impressive vocals of Sharna Bass arrive. Violin work contributes to natural vibes, and although additional clapping removes from the progressive piano, the following kick works well to take on a Mediterranean summer feel. Things are kept fresh after the first chorus with an extra touch of bass and a change in melody. Summer time success.

                                                                                                                                                                                                                                    Stuart Kenny