The best thing you can say about Glass Animals is that they’re what Simply Red probably think they sound like. The absolute worst thing you can say is that they’re what Simply Red probably think they sound like. It’s certainly the soundtrack to the coolest dinner party you’ll never be invited to, so smoooooooooooooooth English cricketer bowlers would be throwing dirt on it furiously*. You could possibly argue that it’s slightly too self-consciously ‘hip’, but even through listening to it now I’ve become roughly 13% more cool so to be fair I don’t really care what you lame nerds think
*That’s maybe the most out of date reference anyone’s made this calendar year, where’s my prize?
Ah c’mon, you know the drill by now: every year The Men release an album that’s very good if not great and it’ll be nestled somewhere near this side of my end of year list. No great changes here of course, there’s the odd accordion thrown in to shake things up a bit but it’s essentially as you were. It used to be that a band playing this kind of 70s good time rock would be huge, but nostalgia these days just isn’t as good as it was when I was a kid. See you here again next year.
68 Broken Bells: After the Disco
Essentially ‘After the Disco’ is the wonderful Holding On for Life and ten other tracks that don’t quite match up to its brilliance, even if they’re often close. A very good record that only occasionally drifts off into slightly listless areas, and despite the smattering of synth sounds you’d generally hope for slightly more eclecticism from any group featuring Brian Burton/Danger Mouse.
Whether Flying Lotus is one of the most influential artists working today is debatable, but he’s certainly the one artist you should say you’re influenced by if you want any cred. Saying that you’re new record is ‘heavily influenced by Flying Lotus’ is the 2014 equivalent of saying that ‘there’s always been a dance element to our music’. You’re either cool enough that he’s your favourite artist or so much of a saddo that you’ve never even heard of him. Pffff! Go back to your John Cougar Mellencamp granddad! ‘You’re Dead’ actually comes free with a neatly trimmed beard and a Frank Turner tattoo. ‘You’re Dead’ is so cool that it actually spends much of its time explaining to people how much it actually hates Zooey Deschanel. ‘You’re Dead’ has a haircut you’ve never even heard of. ‘You’re Dead’ has the thickest rimmed glasses you’re ever likely to see’
Did I say if it was good or not? I can’t remember.
What’s with that extra ‘o’ in Zooey Deschanel’s name? How have we allowed that to happen?
66 Eno•Hyde: Someday World
Seemingly something of a throwaway enterprise for Brian Eno, yet still utterly enchanting in places with its slightly off-centre ‘pop’ sensibilities and rattling rhythms. Yet it sounds oddly aimless for an Eno project, and Karl Hyde’s voice- while perfect for Underworld– sounds flat and out of place on this record. The record starts brilliantly with the pulsating Satellites but unfortunately peters out slightly towards the end.
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