Photo: Flickr User: Michael Morel

“I’ve got more rhymes than I’ve got grey hairs / And that’s a lot because I’ve got my share”

With lyrics like these, it’s obvious that Adam ‘MCA’ Yauch was no ordinary rapper. Self-aware, self-deprecating and acutely witty to the last, he was the creative heart of the Beastie Boys and his death, at the age of 47, will be felt throughout the music scene, from hip hop to punk and beyond.

At the time of MCA’s death, the band were reportedly planning a return to their roots in the form of a full-band punk tour, making the news so much more of a shock when it emerged earlier this weekend. Not that it was completely out of the blue – Yauch’s health had been a matter for concern ever since he was diagnosed with cancer of the salivary gland back in 2009.

A true musical pioneer, Adam Nathaniel Yauch co-founded the Beastie Boys in New York in 1981 with Adam ‘Adrock’ Horovitz and Michael ‘Mike D’ Diamond. Originally a hardcore punk act, the band spanned the genres as the years went on, famously supporting Madonna on tour in 1985 and being banned from the UK in 1986 for provoking the trend for stealing VW badges from cars and wearing them as oversized necklaces.

True pioneers of both white boy rap and rap rock, without Yauch and the Beasties we quite possibly wouldn’t have Rage Against the Machine, Eminem or Linkin Park. MCA’s deep gravelly voice was integral to the band’s sound, providing a perfect counterpoint to the nasally tones of Mike D and Adrock.

Beyond music, Yauch was a committed activist with many causes to shout about, from environmentalism (the band appeared at the 2008 Live Earth concert) to non-violence. He even went public with his views on peace in the Middle East during the band’s 1998 VMA awards acceptance speech and the Dalai Lama paid tribute to Yauch upon hearing the news of his death: 

Adam had helped us raise awareness on the plight of the Tibetan people by organizing various freedom Tibet concerts and he will be remembered by his holiness and the Tibetan people.

For many, the Beasties were the first hip hop act to reflect this left-wing liberal sensibility. From the late 90s onwards, they railed against bigotry in all its forms, proving that rap music doesn’t have to be all about self-aggrandisement and blatant machismo.

To read the rest of this article on Virgin Red Room, click here.

‘In The Belly Of The Brazen Bull’ is the result of this period of introspection and Dave Fridmann is the latest name in The Cribs’ revolving roster of producers (The Flaming Lips,Weezer, Mogwai). In terms of progression this record seems like a step back towards the band’s earlier work as a trio, with standout tracks ‘Chi Town’ and ‘Come On, Be A No-One’ both offering seriously catchy hooks and snarling punk vocals. Those expecting a barrage of riffs and singalongs in the vein of 2007′s ‘Men’s Needs, Women’s Needs, Whatever’ will be disappointed, however.

‘Glitters Like Gold’ is a hard-hitting and direct opener, but the laborious ‘Jaded Youth’ and the cumbersome ‘Uptight’ fail to keep up the tempo. Indeed, the band’s style remains distinctly coloured by their hit-and-miss collaboration with Marr on 2009′s ‘Ignore The Ignorant’.

What’s more, there is a noticeable leaning towards the most abstract soundscapes of Sonic Youth, no doubt influenced by their brief dalliance with Lee Ranaldo on their six-minute epic ‘Be Safe’, which featured on ‘Men’s Needs…’ and was their most ambitious recording to date. That is until you hear the last track on this new album…

To read the rest of this review on Virgin Red Room, click here.

"Call that a beard? THIS is a beard!"

Chicago quartet Maps & Atlases have shaken off their math rock background, but not their evident love of ampersands and biblical beards (see right), for their sophomore record ‘Beware & Be Grateful’.

Released in the UK next week (April 16th) via One Little Indian, this album comprises ten tracks of delightfully creative indie pop, with echoes of Vampire Weekend and subtle nods towards 80s artists such as Peter Gabriel.

The extravagant flourishes and technical guitar-work in the vein of This Town Needs Guns are still very much in evidence, particularly with the two-minute guitar solo on the album’s slow-building centrepiece ‘Silver Self’. However these technical aspects are no longer the focus, allowing the melodies to come to the fore instead.

‘Important’ is a strange choice of opening track, but this slow-burner sets the tone for the more sombre and reflective moments that punctuate this record.

Next up, ‘Be Three Years Old’ picks up the pace with a vibrant plea for immaturity, and this track works as a strong blueprint for the more upbeat moments of the album. Playful samples and calypso vibes abound throughout, and it sounds like the band have even sampled the coin grabbing sound from Super Mario Land on ‘Bugs’.

The main thing that will divide opinion amongst new listeners is lead singer Dave Davison’s esoteric vocal style, which is flamboyant, affected and immediately recognisable – like a higher-pitched Morrissey with an American accent.

It all comes together quite nicely on the closing double header of ‘Fever’ and ‘Old & Gray’, where Davison really gets to show off his full range in an uplifting and optimistic crescendo.

Overall, ‘Beware & Be Grateful’ is a very catchy, upbeat record to get you in the mood for the summer and one that should play particularly well during the upcoming festival season.

The success of that record was built on classic hard-rock riffs, mindlessly catchy choruses and a staccato vocal style that was almost robotic. This sound drew favourable comparisons withThe Futureheads and early Queens of the Stone Age.

On this, their difficult second album, the band has gone for a more synth-led sound, largely jettisoning the riffs in favour of slow-burning melodies. On producer duties, in comes Sean Genockey, who has previously worked with the Manic Street Preachers.

This new approach doesn’t always hit the mark as directly or consistently as their earlier stuff, but the few tracks where they manage to pull it off are really effective. Think ‘Humbug’-era Arctic Monkeys and you’re not far off.

The yearning for reinvention is made blatantly clear on the first two tracks, as lead singer Michael Webster tells us: “Underneath the surface, I’m not feeling quite the same, I need rewiring” and “I’m going to build my very own man-made man”.

From here onwards…

To read the rest of this review on Virgin Red Room, click here.

It’s not uncommon for people to post fake Reading festival line-ups on forums and claim that they are genuine. But last year one of them turned out the be the real deal. And now, less than a year later it appears that the same thing has happened to Festival Republic again:

If this does turn out to be genuine, then I’d say it’s certainly a much stronger line-up than last year’s and without any competition from Glastonbury, tickets should sell out fast. Certainly the return of Green Day for the first time since 2004 should prove a massive draw, particularly with their 9th studio album on its way.

The timing of this leak adds to its credibility, since the date that tickets are going on sale (March 12th) was confirmed yesterday. This would imply that the main bands have already been booked.

However, the organisers must be kicking themselves that they have let this happen two years in a row, which makes you wonder – was this leaked by the same culprit who let the cat out of the bag in 2011? If so, why didn’t they find who it was after last year’s fiasco?

Or indeed, is this series of leaks an intentional ploy to drum up more interest and boost ailing enthusiasm for this festival? After all, Reading and Leeds only sold out after a few months in 2011, as opposed to a few hours in previous years.

On the plus side, Reading organiser Melvin Benn has announced details of a youth apprenticeship scheme for the organisers Festival Republic. Perhaps the first thing he could task his new recruits with is improving online secrecy?

This is fairly inaccessible stuff it has to be said, and the whole experience is truly baffling in places on the first listen. As a largely instrumental record, it’s quite hard to get a foothold, as only two of the 11 tracks feature vocals, and many of those are in French.

Throughout this record, Nicolas Godin and Jean-Benoît Dunckel continue to push the envelope in terms of genre, rhythm and style, often at the expense of clarity. As soon as you think you’ve got your head around the synthesised riff or melodic hook, it will mutate into something completely different in an eerie, shape-shifting fashion.

To read the rest of this review on Virgin Red Room, click here.

‘The Second Three Years’ crams together the non-album tracks from his 2010 ‘Rock n Roll’ EP, the special edition bonus tracks from last year’s ‘England Keep My Bones’ LP, as well as a broad selection of punk, folk and pop covers; from Wham to Nirvana, and from NOFX to Take That.

This compilation is an essential purchase for any serious Frank fan, but it also works suitably well as a far-reaching introduction to one of England’s greatest songwriting talents. Right from the opening acapella verse of ‘Sailor’s Boots’, Turner’s voice is enthralling; by turns gentle and powerful, intimate and abrasive.

There’s also plenty of evidence of how his music has developed and matured…

To read the rest of this review on Virgin Red Room, click here.

1.) Freeze The Atlantic

If, like me, your early 2000s were defined by Hundred Reasons and Reuben, then you should be chomping at the bit to finally hear the debut album from Freeze The Atlantic. Featuring the mercurial drumming talents of Guy Davis (Reuben) and the solid guitar work of Andy Gilmour (bassist for HR), this five-piece looks very promising indeed, especially given they have recruited a front man with a rather fantastic voice, by the name of Chris Knott. If this sounds like an intruiging combo, then check out the video for their upoming single Volcanoes:

2.) Baddies

One of the big success stories of 2009, Baddies are back with a bang in 2012. The Southend quartet have a highly distinctive sound, which is robotic, angular and very catchy – think The Futureheads with some beefier riffs and better outfits. New music guru Zane Lowe has been lauding their latest single Bronto and you can download it here for free.

3.) Fighting With Wire

This Northern Irish trio were possibly the most underrated band of 2008, as their debut album Man Vs Monster was packed full of top choruses and fantastic riffs. Put simply, they play rock and roll just like it should be done. They have promised big things for 2012, including a stint supporting US alt-metal legends Helmet on their UK tour in March and April. What’s more, FWW album number two is shaping up nicely, with the first track Waiting On A Way To Believe already committed to record. Have a listen, you won’t regret it!

4.) James Cleaver Quintet

If you haven’t heard anything by the JCQ yet, then they could well be your surprise package of 2012. Their debut album That Was Then, This Is Now was a complete shock to the system when I stumbled across it recently, blending together a wide range of styles from hardcore to swing and from ska to punk. I can only imagine how good they would be at a summer festival…

5.) Brand New

New Jersey’s most famous gloom merchants are going happy in 2012. After three fantastic records in five years, 2009′s Daisy was a distinctly sour note for a band that sounded like they had run out of ideas. However, with an upcoming UK tour and a new album planned, all this is about the change. The band recently said they are “tired of bumming you guys out. We’re trying to write something happy.” I’m intrigued…

Ahh, those were the days...

Disappointed by the latest Smashing Pumpkins reunion? Don’t waste your time trying to get into their new concept album ‘Teargarden by Kaleidyscope’ – just take a trip down memory lane with these expansive new box sets.

Released just in time for Christmas, this may seem like a cynical marketing ploy from their label, but at just £17 for two discs and a live DVD, it’s certainly great value. The rationale behind this release is that it’s 20 years since the Pumpkins’ debut album ‘Gish’ was released.

When that record came out it marked Billy Corgan and co’s arrival on the emerging grunge scene, but two years later ‘Siamese Dream’ took things to a whole new level with enduring alt-rock classics such as ‘Today’, ‘Disarm’ and ‘Cherub Rock’.

Here you get the original albums digitally remastered on Disc One, meaning Darcy Wretzy’s basslines sound stronger and James Iha’s guitar solos sound clearer, all without losing the grungey essence that made this band a serious contender to Nirvana and Pearl Jam.

To read the rest of this review on Virgin Red Room, click here.

1.) Elbow – Build A Rocket Boys!

With quite a considerable weight of expectation on their shoulders after 2008′s The Seldom Seen Kid scooped the Mercury Music Prize, to start their follow-up album with an eight-minute epic should win Elbow album of the year on sheer audacity alone. Of course it helps that The Birds is a gently brooding masterpiece, complete with intricate synth riffs and a glorious orchestral crescendo.

Build A Rocket Boys! is the sound of a band finding their groove and loving every minute of it. From the joyous stomp of Neat Little Rows to the tender nostalgia of Lippy Kids, this record sees the Manchester quintet on top form. As if that wasn’t enough, they can pull it off with aplomb on the biggest of stages (see above).

2.) Foo Fighters – Wasting Light

A triumphant return from Grohl and co, which only narrowly misses out on the top spot, Wasting Light is possibly the band’s most consistent record since 2001′s There is Nothing Left to Lose. The minute the video for White Limo was released on YouTube, Foos fans knew they were in for an old-school treat. The album more than lives up to this promise; with the tortured I Should Have Known and the anthemic Walk providing a fantastic finale.

3.) Frank Turner – England Keep My Bones

The most prolific man in folk turned out another exceptional album this year, as his career continues scaling ever higher peaks. Frank is due to headline Wembley Arena next year and that would seem mildly ludicrous were it not for this collection of colossal songs. With a beefed up full band sound on If Ever I Stray and a few nods to his hardcore past on One Foot Before The Other, the Wessex troubadour is turning into a force to be reckoned with.

4.) Dive Dive – Potential

Better known as the Sleeping Souls (Frank Turner’s backing band) plus singer Jamie Stuart, Dive Dive deserve high acclaim for their long-awaited third album. From the alarm-clock riff to Mr 10% through to the bravely optimistic title track closer, this is an album full of ideas, emotion and unflinching honesty.

5.) Laura Marling – A Creature I Don’t Know

It’s hard to believe that Ms Marling is still only 21 years old. Her third record is one of world-weary wisdom, mythology and magic. The expansive soundscape of I Was Just A Card and the brooding lustfulness of The Beast offer plenty of variety. And to top it all off, Sophia is probably the single of the year.

6.) Rival Schools – Pedals

Ten years is a long time to wait for a sophomore record, but thankfully Walter Schreifels et al have rewarded their loyal fans’ patience. Drawing on influences as diverse as Weezer and The Temper Trap, this record is packed full of tunes. My main criticism would be that at just 34 minutes long, it’s too short.

7.) Danananaykroyd – There Is A Way

One of the casualties of 2011, it’s a real shame to lose the Scottish noise punks so soon after releasing their finest album. With producer Ross Robinson at the helm, this was a much more refined effort than their debut and the upbeat swagger of Muscle Memory is well worth a listen.

8.) Manchester Orchestra – Simple Math

On the first listen through, I thought this was shaping up to be the album of the year, but then it all goes horribly wrong. The first four tracks of this record are absolutely flawless, with the joyous singalong of Pensacola the standout, but from then onwards the only track worth mentioning is the spectacular title track.

9.) Coldplay – Mylo Xyloto

My guilty pleasure of the year sneaks into the top ten. This may be one of the most heavily produced records of the year, but it’s hard to resist the charm of this fantastically well-written album.

10.) The Retrospective Soundtrack Players – Cool Hand Luke

By far the best record of the year to be based on a 1960s prison movie. The execution of this ambitious idea is ropey at times, but the glorious crescendo of Three Escapes and Plastic Jesus 2 bring about a very satisfying finale. Definitely ones to watch in 2012…

11.) City And Colour – Little Hell
12.) I Am The Avalanche – Avalanche United
13.) Funeral For A Friend – Welcome Home Armageddon
14.) Swellers – Good For Me
15.) Incubus – If Not Now, When?
16.) Radiohead – The King Of Limbs
17.) The Horrible Crowes – Elsie
18.) Thrice – Major/Minor
19.) Taking Back Sunday – Taking Back Sunday
20.) Explosions In The Sky – Take Care, Take Care, Take Care

 
All in all, 2011 was a brilliant year for new albums, far better than 2010. The respectable efforts from Arctic Monkeys, Blink 182, Twin Atlantic and Sam Duckworth all missed out on the Top 20, although the less said about the fourth Art Brut album, the better… As always, any recommendations and tips for 2012 are most welcome, but for now I’ll leave you with this year’s best video: