Round-up Tracks: Disclosure, Chvrches & More

All the talk for Disclosure’s ‘Caracal’ album centres around the big names. Lorde and Sam Smith have been confirmed for guest spots, out shadowing the new talent - Nao, Lion Babe and in this case, Brendan Reilly - being given the nod by the Lawrence brothers.Given his chance to steal the show, Reilly lends himself to a smoothed-out, finger-clicking cut, far removed from Disclosure’s default mode of pumping house. It’s not going to change the world or remove Lorde from her throne, but it’s likely to be a calm outlier in an otherwise guest-crammed, berserk LP. (Jamie Milton)

Listen back to ‘Moving Mountains’ here - it starts at 1:29:45.

Within two years of Chvrches becoming concrete, their sudden explosion into a world-reaching group upon the release of first LP ‘The Bones of What You Believe’, especially in the US, felt like a shock. It came as something of a surprise that a group of small foundations in Scotland would grow into a world-beating group. Now, though, with the release of second record ‘Every Open Eye’ approaching, the confounding opinion that met their popularity feels mightily unjust.

With ‘Leave A Trace’ in particular, the trio have taken their emotional style into darker, slightly more subdued territory, while remaining a voice; combative and confrontational. That doesn’t mean the trio hasn’t retained its grand song-writing style and forthright lyricism. Mayberry sounds revived, assured, and inspiringly unbreakable, her delivery the core emotion within the track over understated ice-cold synth breaks and pulsating bass lines. The trio have somehow injected further emotion and depth into their sound from ‘The Bones of What You Believe’, Cook and Doherty’s syncopated instrumentals having become a more definitive part of Chvrches sound.

Upon their return, Chrvches appear undaunted and focused on their own matters at hand. While they deliver affecting music, what’s important is that they are doing it in their own terms, and will prosper from doing so. (Ross Jones)

The journey of Bring Me The Horizon has been a remarkable one, and now – with news of their fifth album finally out in the open – it’s beginning to become clear: there’s absolutely no stopping this band. Far from the niche concern they might’ve once been considered, ‘Throne’ builds upon the massive sound of their new effort’s first cut ‘Happy Song’ and takes it to new dizzying electro-hyped levels. Having rounded off their 2014 with a huge show at London’ Wembley Arena, the sky’s clearly the limit this year. ‘Throne’ proves that domination is on the charts. Harking back to the stadium-sized anthemics of Linkin Park and 30 Seconds To Mars, if this is the direction that the Sheffield band are heading in, they’re wearing their ambitions on their sleeves for all the world to see. (Sarah Jamieson)

Anyone who’s spent any period of time in the countryside will know that it’s quite a difficult place to rebel. There’s no phone signal, for a start, goats aren’t usually up for fighting unless you have food, and walking down the same country lanes sipping from lukewarm cider cans weekend after weekend gets old pretty quick. Charli XCX’s new outtake ‘Mow That Lawn’ presumably comes from her Swedish punk sessions, and it’s a song about “chilling the fuck out” and moving to the middle of nowhere for a well behaved new start. “Baby, mow that lawn, it really turns me on, we got no mobile phone, cos the signal’s gone” drawls Charli for no apparent reason, shouting nonchalantly over muddy, scrapping bass. This isn’t a radio anthem to put it very mildly, but there’s not a lot better than Charli at her bratty, un-fussed lyrically ludicrous best. (El Hunt)

“It’s a weird, accepting, mature record, acknowledging the inherent immaturity of being a person.” In one sentence of her description to his new record ‘B’lieve I’m Goin Down’, Kim Gordon eloquently defines Kurt Vile’s approach to songwriting and apparent attitude in life. Through his prolific creativity, Vile has consistently attempted to find himself, using music to document his day-to-day life in such a way that belies Vile’s young age. With ‘Pretty Pimpin’, the Philadelphia native continues in his now familiarly clear style, with a once again sharper, more focused outlook.

The track embodies a feeling of transition, in Vile himself and the surroundings around him. Unable to keep track of time and how he is changing as a person, Vile is at once anxious and humorously undeterred, “I woke up this morning, didn’t recognise the man in the mirror,” is delivered with Vile’s almost expressionless tone, a smooth flow that can’t help but be warm and welcoming in such a uncompromising image. Vile is changing in himself but adapting, finding happiness in his growth. There’s an authenticity to his rolling melodies and quick verses, and the repeated refrain of it’s chorus, “I could be one thousand miles away, but still me” leaves a pertinent reminder of Vile’s straightforward openness. ‘Pretty Pimpin’ is a compelling record of transition and adjustment, Vile thriving in the detail of his more focused composition and further forthright subject matter. (Ross Jones)

Most of Hinds’ songs - despite the grinning garage veneer - are about heartbreak, unease, and one-way affection streets. The initially cheery ‘Bamboo’ puzzles “how could I show you without looking freaking mad that I am not always gonna be around?” while ‘Castigadas en el Granero’ kicks off with “all I know, you told me you’ll be home.” As Hinds themselves point out, its high time they released a “winner song”.

A winner song is ‘Chili Town’ all over. “All your friends are sharks,” goad Hinds with menace, slightly sloppy, and dragging their feet lazily through the track without a single shit to give. The drums settle into a stern marching groove. With a debut album coming together, Hinds have every reason to be triumphant. (El Hunt)

Tags: CHVRCHES, Disclosure, Listen, Features