Round-up Tracks: David Bowie, Foo Fighters & More

Finally, after 18 months, there is an answer to Bowie’s cry of ‘Where Are We Now?’. Released as a taster for his forthcoming singles collection, ‘Sue..’ is a seven minute long jazz opus, suitably befitting a man who lives to be outlandish and extroverted; even more so in our world of easily digestible songs full of ‘hooks’ and ‘choruses’. Trumpets soar across the mix, with Bowie’s rich baritone played at odds to the music behind it. It is initially disorientating, but soon proves to be brilliant. Completely and utterly bonkers, Bowie being Bowie manages to pull it off. This is the sound of a man making music for the love of it, pushing boundaries and genres because, quite frankly, he has earned the right to do so. Long may it continue. (Joe Sweeting)

The build-up to the forthcoming Foo Fighters record (and its accompanying television series) has been tremendous. Over the past few months, there have been teasers, trailers, eight-second audio snippets, performances, TV spots and just about everything else that they can possibly cram into five or six minutes and air in public. Except, that is, for a full song. Now though, with the premiere of ‘Something From Nothing’, the waiting masses have finally been given a taste of what to expect from ‘Sonic Highways’. Opening lyrics “here lies a city on fire” set a stark scene, as guitars dwindle and creep slowly into the foreground. Kicking into another gear, they soon become a driving force in their own right; throughout the build-up there are bluesy nuances, even a few hints of funk, and a namecheck to Muddy Waters just to confirm that this track is of Chicago’s descent. Grohl’s vocals become an angry snarl, declaring a defiant, ‘Fuck it all, I came from nothing!’ as a raucous guitar solo - from guest Cheap Trick’s own Rick Nielsen - takes the driving seat. Descending into a madden squeal of feedback and scream of vocals, ‘Something From Nothing’ is already a true rock and roll anthem. Then again, would you expect anything less? (Sarah Jamieson)

It’s been a while since Marina (with or without her Diamonds) has done anything musically of note, and judging by the synthy beats that permeate ‘Froot’, it’s possible that time off has been spent playing old timey video games. As bright and colourful as the loading screen of a ZX Spectrum, ‘Froot’ is at once immediate and a little bit weird – much like what we’ve come to expect from Marina, actually. And that’s some damn filthy wordplay, to boot. (Emma Swann)

Just in time for the advent season, the reigning king of ambient electronica – Bonobo – is gifting us all with a new EP. Keen-eared listeners might recognise the newly released title track, ‘Flashlights’; Simon Green has played it live several times, including at Glastonbury, as well as during his Boiler Room set back in September. ‘Flashlights’ is so laid back it may as well be lying in a hammock while dancing, and it sounds like a tranquil garden centre compilation given a shake-up and a boot into the space age. Simon Green’s experimentation is always pushing boundaries forward, and his three-track EP of the same name, out on 1st December, promises to be a right treat. (El Hunt)

Since the mammoth success of 2013’s Mercury Prize winning ‘Overgrown’ James Blake has debuted two new tracks humbly and quietly via the medium of his Radio 1 residency. Following suit with ‘200 Press’ his latest track ‘Building It Still’ is worlds away from the sound of ‘Overgrown’ and is a more stripped back, house-infused number harking back to before James Blake was a household name in electronic music. All the staples of Blake are still there, delicate warped vocals, disjointed piano floating in an out over a single bass warble, metallic, tinny high-hats. Missing however are any discernible lyrics or choruses. These radio teasers come from Blake’s own label ‘1-800 Dinosaur’ and display a sound reminiscent of his early EP’s, lacking perhaps the widespread appeal of his more successful tracks but playing the sound that brought him to the forefront of electronic music in the first place. James Blake appears keen to keep the promise he announced to the empty Japanese dance floor featured on his latest show that “I’m gunna make more dance floor tunes I promise”. Go ahead James, we love ‘em. (Henry Boon)

Parkay Quarts are Parquet Courts, sometimes at least, but the 12-track ‘Content Nausea’ is neither an EP or LP, so whether ‘Uncast Shadow of a Southern Myth’ is a song is probably open to interpretation. It certainly sounds like one, at least, and a very good one at that. About as stripped-back and laid-back as the often riotous Brooklynites get, this first snippet of that non-album is meditative, contemplative and brimming with luscious melancholy. (Emma Swann)

There’s something about Shura’s handle on lyrics that makes her stand streets above the crowd. It’s not that ‘Indecision’ is saying anything new; in fact it’s the familiarity and honesty that really makes it hook onto your heartstrings like a piece of Velcro pop. Despite lyrically being a song about being caught in the middle and in complete, er, indecision, as a song the intention is crystal clear. There’s a dead sassy, strutting pop base which wouldn’t sound out of place on a late-80s Madonna record, and then, when it just doesn’t seem like it can get better, in comes the a guitar solo, with the amp set to ‘emotively soaring’. Is Shura capable of writing a bad song? She couldn’t if she tried. (El Hunt)

Effortlessly filling every empty space with a stunning amalgamation of spanky guitar stabs and vintage tape delay is the new one from Gengahr. ‘Bathed In Light’ is a meandering whirlpool of a track that shuffles along at its own pace, and features the bands patented falsetto-swooning vocals front and centre. Although the overall feel is of a whimsical nature, the lyrics are somewhat sinister. “Tried to be nice but it’s only out of spite” is just the opening line’, but who doesn’t love juxtaposition in music? It is admirably brutal in its honesty; both in lyrical content and laidback psych leanings. The London four-piece have just finished a run around the UK with Dry The River and are making an appearance at Cardiff’s Swn Festival tomorrow. (Joe Dickinson)

Some piano lines require zero breathing space. They can dive straight into the conscience, pinch and pull the senses. Vaults have a habit of making these - in fact, it’s becoming a given expectation of every track the London trio emerge with. Early days, but they also have a knack for producing sparkling, triumphant choruses, complete with soaring strings and all the works. ‘Vultures’ - their latest - is a simple pop song dressed in the finest textures, the fullest colours. Even if the whole thing consisted of just that piano line, they’d be onto a winner. As it stands, they go several steps further. (Jamie Milton)

South East London’s William Arcane is going from strength to strength. As well as working with The Acid’s Nalepa on the woozy haze of boundary-pushing ‘Feel’, he’s been given approving nods by the likes of SOHN, Jamie xx and Bonobo. Quite rightly. The title track from Arcane’s forthcoming EP - due on the 20th October via Pictures Music - ‘Reckless’ is, true to its name, unafraid of taking on a challenge. Even considering the complexity of its construction - the track is built on textured layers of acoustic samples - it still feels like ‘Reckless’ has enough space in the arrangement of its furniture; sort of like production feng shui. The progression between Arcane’s debut track ‘Want Somebody’ (or ‘Want Some Butter’ - depends who you ask) is remarkable, and it doesn’t look to be slowing any time soon. (El Hunt)

The void left by Women’s dagger-sharp, constantly shifting garage punk could only be filled by those who knew the project best. Viet Cong consists of two members from the band that sadly departed following the passing of Christopher Reimer. The late guitarist had a habit of making bent notes sound beastly, a monster breaking out of its cage. On ‘Continental Shelf’, Viet Cong don’t recreate the very formula that Women excelled in (theirs is a more grizzly form of post punk, like Interpol’s ‘Turn on the Bright Lights’ era with additional rawness). Instead, they lift off from where that band abruptly ended, applying a mentality that always shoves a song like this to the very brink - threatening to explode into a thousand tiny parts, it holds its own, thrashing into the unknown. (Jamie Milton)

Tags: David Bowie, Foo Fighters, Listen, Features