There is a lot of music out this week and to be honest there is also a lot of talk that there is nothing worthwhile listening to this week. It’s not often I dig deep into what’s out there to prove some of my fellow contemporaries wrong. Let’s start for instance with The Wildhearts new album Renaissance Men. It is The Wildhearts first new album in some ten years, that harks back to some of what they did best on all their previous albums, a mixture of blistering hard rock and melodic power-pop. Moreover, I’m impressed by elements of punk, folk-rock and hints of industrial sounds on this new album. Set against somewhat of an angry tone, the album lyrically addresses issues like online bullying, the cynical nature of love and mental health. Definitely worth a listen, especially if you love the sounds of loud guitars and great riffs.
Caroline Spence’s third album Mint Condition showcases a singer songwriter in complete command of her sweet delicate vocals and guitar work. On the lyric front Spence covers ground singing about things like being an artist on the road, acceptance, love and romance. It’s not exactly new territory but isn’t that what musicians like Spence riding the line between country and folk do best? Well, the best of them always manage to find a new angle to tell stories of the human condition and Spence hits the mark on her new album with flying colours.
Father of the Bride is indie rock band Vampire Weekend’s long-awaited fourth album – their first new album since 2013’s Modern Vampires of the City. It curiously includes rich contributions from people like Steve Lacy, Rostam, Mark Ronson and notably my favourite Haim sister, singer and guitarist Danielle Haim. For the record, the three Nashville-tingled songs featuring Danielle Haim – Hold You Now, Married in a Gold Rush and We Belong Together –are already some of my favourite songs on the album. As a whole Father of the Bride is arguably Vampire Weekend’s best outing yet and I’m really enjoying the different territory they cover musically.
I’ve said it before and I’ll say it again, your first port of call should always be what’s going on in your own backyard. And in my backyard (so to speak) I’m thrilled to say Australian indie rockers Little May are back with the release of their second album, Blame My Body. I’m already smitten with Lover, Apples and As Loving Should, all songs I must add that feels bolder in approach, encompassing a terrific new sound, which pretty much steers clear of the folk leanings of their 2015 debut For The Company.
On their third album End Of Suffering Frank Carter & The Rattlesnakes have unleashed a solid collection of songs, combining all the elements you’d except to hear from any great punk band. But importantly, Frank Carter & The Rattlesnakes are also happy enough to experiment with their sound for instance using acoustic guitars, piano and electronic synths to great effect on songs like Anxiety, End of Suffering and Crowbar. Punk purists will either love or hate this album but there is no denying Frank Carter & The Rattlesnakes are continuing to stake their claim as punk rocks new reigning kings.