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

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

You may have spent the past few weeks complaining about premature Christmas ads and the fact that you can barely brush your teeth anymore without being confronted by Lily Allen’s cover of Somewhere Only We Know, but the month of December has now arrived, which means it’s time to lose the Scrooge talk and embrace the festive spirit.

Rather than flocking towards the folklore of the Christmas number one though – for the sanctity of that particular topic died long ago if it ever really existed – here at Brig Music we like to look even further than the 25th of the month, and get excited about the acts that will be entertaining our ear sockets on the flip side of Hogmanay.

At the top of our New Year lookout list is exciting French producer Tchami, who is bringing a new sound to the underground world of electronic dance music at the moment. You only need one listen of the artist’s Clubhouse EP to be blown away by the unique style of the new talent, who has fashioned a fantastically original sound through the addition of a sensual twang to a heavily booted baseline which is then let rip over some deep house.

On first hearing the producer’s Promesses, a track deploying sweetly placed flickers of synth before a monumental punch, it’s a stern challenge to remain seated and avoid the loss of your dignity on the dancefloor, at work, or wherever else you may be listening. Shot Caller follows suit with a powerhouse bass boasting Tchami’s signature sound in a driven and convincing number, and the Parisian’s remixes of AlunaGeorge’s ‘You Know You Like It’ and Janet Jackson’s ‘Go Deep’ continue the creative future sounds of the artist.

In a time when a trance driven competition to sacrifice progression in order to drop the heaviest bass seems to have taken over the world of EDM, Tchami is a breath of fresh air to all searching for a new kind of bass.

Where the likes of Avicii’s latest number Hey Brother features tedious and repetitive rhythms taken straight from a proven and increasingly worn formula, Tchami breaks through to the unheard in the genre, bringing a new kind of subversive sound. With Oliver Heldens following this leadwith upcoming release Gecko, the Frenchman’s style may well be the one to coin the next big move in the electronic scene as well. Certainly, the up and coming artist is one destined for big things and bigger venues.

On the hip-hop front, Odd Future man Earl Sweatshirt is a near certain musician to break through in the next twelve months.

The 19 year old lyricist has shown already that he can lay down some sick lyrics and has some big tunes to his name at the moment, with his debut album Doris dropping in August this year to a big reception all round.

The American rapper produced seven of his own fifteen album track list, and his release was one of the highest acclaimed to come out of the Odd Future set up.

To get a taste of the action, check out Hive, a smooth flowing vocal effort over a bass-driven back beat, Chum, a funky piano backing that lays the foundations for some sweet and smart lyrics from Earl, and Sunday, a fast moving effort with Frank Ocean that sees the duo explore their personal relationships in an interesting song.

The artist already has friends in high places – featuring on records not only with Ocean but also Mac Miller and Tyler, The Creator, and he could well be on a similar trajectory in the upcoming year to that which Kendrick Lamar has followed in 2012. Expect big things.

The name Kelela is another that may well become engraved in the minds of many a short while after the bells have rung at the end of December.

The debut effort of the artist took the critics by storm a few months back, with a cool mix of calm and classy electronic mixes meeting the rejuvenated R&B style of the singer to wonderous effect.

The performer, who originates from LA, brings a chilled out vibe that can switch effortlessly into a faster flowing, harder-hitting number, as can be seen in single Enemy.

A once jazz performer who is now on a fast-track to the chart life, Kelela is leading the lines of the R&B performers bringing the genre back to the forefront.

A few names to watch out for then in 2014, and a reminder that just when the advent calender is coming close to an end, there is still plenty more to look forward to.

Stuart Kenny

As published originally at: www.brignewspaper.com

Sometimes you just need to kick back and let the bassline take control after a week of hard work in the library, or a long week of procrastination if you’re immersing yourself properly in the student lifestyle. Either way, what better time to do so than on a Friday night in the Scottish capital, and what better conductor for the task than Radio One queen Annie Mac.

The Annie Mac Presents tour flowed into Edinburgh late last month, bringing with it the abundance of expectation it now carries to provide an elegant explosion of electronic dance music attached from so many successful showdowns before.

The air of anticipation gave the old Edinburgh Picture House a buzzing feel that was quickly picked up by funky house producer Duke Dumont, who started the proceedings early and set a telling tone for the night with soulfully sweet melodies overseen by big bad basslines.

UK chart topper Need U (100%) established the credentials of the sound system were certainly in check, pounding out the irresistible blend of 90s house music and modern day trance to draw the crowd to the dance floor early and ensure the five hour session would be hard hitting the whole way through.

Co-writer of that aforementioned Duke Dumont hit MNEK was on stage to back up the producer with some fresh vocals, but it was the bouncy bassline of The Giver that most notably gave a turbo-boost to the dance floor motions, with party-goers flying onto shoulder tops and producing the camera phones to chant the anthemic lyrics of the summer sensation.

Closing on his soft, progressive remix of HAIM’s Falling, Duke left a solid set to allow Lulu James to take over, the London singer mixing it up with her original style of electronic soul; cool, crisp and consistently heavy with deep bass. Certainly no rest for the entertained then, other than the half-hour odd wait for a drink of course, and the securing of a long-lasting mortgage to afford said beverage.

Chill master Cyril Hahn was up next with his brand of expressive house, oozing a clean, laidback vibe with numbers Perfect Form and Raw Cut – the latter of which grabs for a particularly juicy bassline – yet with a more relaxed vibe to his music than his predecessors, there was a case to be had for perhaps swapping the set times of Dumont and Hahn to add a more natural progression to the night.

Regardless, the ambience and sound waves mechanically hit full throttle when the awesome Annie Mac arrived on decks, pumping out a variety of deep, deep house tunes and letting loose a higher quantity of bass than a stick of dynamite in the North Pacific Ocean.

The buzz created when the signature curls of the innovator were seen was a credit to the status of Mac in the modern industry, and the DJ did not disappoint, dropping the likes of Friend Within’s The Renegade alongside more diverse tracks including a Rudimental live lounge cover of White Noise – with the help of MNEK – to form a warm and wonderful complete house session that brought a truly pioneering style to the Scottish capital.

A massive success from the constantly impressive Mac all-in-all, and one filled with more than enough talent and diversity to make the five hour duration of the event fly by quick as you like.

Stuart Kenny

As published originally at: www.brignewspaper.com