Round-up Tracks: Sleater-Kinney, The Smashing Pumpkins & More

It’s sometimes easy to forget that Carrie Brownstein is part of one of the most influential riot grrrl bands of the 90s when she’s pratting about on her comedy sketch show ‘Portlandia’, collaborating with the mayor to write dreadful songs to celebrate the city, and enlisting St Vincent to model re-designed Portlandia Police uniforms. ‘Bury Our Friends’ serves nicely as an instant reminder. The storming riff is everything that every young pretender peddling vague notions of blues-rock wishes that they could write, and the chorus, “exhume our idols, bury our friends,” is an especially unsettling line. Sleater-Kinney aren’t just back; they’re fully exhumed. (El Hunt)

It’s becoming increasingly difficult to take The Smashing Pumpkins seriously, both artistically, and as a functioning band; and it is looking more like a mis- labelled solo project than anything else. Billy may bemoan fans “that get caught up in the reunion kind of concepts – like where are the original members and stuff” ­ but there’s no denying that it’s hard to consider them the Pumpkins without drummer Jimmy Chamberlin, one of the greatest rock drummers of all time. Perhaps with this in mind, Corgan and co have elected to record their new tracks with Howard Willing, producer of ‘Adore’ - the soundtrack to the dark days where Jimmy was exiled from the band in 1996 following the death by overdose of touring keyboardist Jonathan Melvoin. As such, it does recall that period of the band to a certain degree; with Tommy Lee of Motley Crue on board, it’s perhaps a bit closer to their heavier ‘Machina’ output, or original breakup final single ‘Untitled’. Leading with stripped ­back piano and acoustics, it quickly develops into a kinetic, upbeat rock number. ‘Being Beige’ is certainly good; Corgan, while being notoriously prolific, rarely writes bad songs, but with his outspoken comments on Obama, feminism and, seemingly his support for conspiracy theorist Alex Jones, the fact is that the listener is left wondering what exactly the line “the world’s on fire/ have you heard” means. (Alex Lynham)

“There’s things I’ve wanted to tell ya,” Oliver Cean confidently declares on new song ‘Veritas’. A bag of tricks sits in his locker and though he’s reaching EP number two (‘The Grip’), it still feels as if there’s plenty more to give, cards close to his chest. ‘Veritas’ might be the most streamlined, straight-down-the-line track the Manchester producer’s offered up to date. Lusty statements don’t possess any double meaning, and a shuffling synth line (past becoming Cean’s trade, going beyond early Jai Paul comparisons) can’t help but get to the point. Oceáan works on two levels: He’ll either swarm the senses with heady electronics, or he’ll perform the same feat in one fatal blow. (Jamie Milton)

Colourful art-popping tricksters Dutch Uncles aren’t afraid to talk about sex. Their 2013 full-length ‘Out of Touch in the Wild’ was awash with naughty little euphemisms if you peeled back the layers of supposedly innocent and playful instrumentation. ‘In N Out’ is a little bit more explicit. The name alone leaves little to the imagination, while the artwork sees two oil-based figures entwined in lustful copulation. Lyrics are largely composed along a similar theme, while Duncan Wallis’ breathy vocal has taken on a warbling edge that we haven’t seen before. But it’s not just Wallis that has strayed from the beaten track. The whole band seems to have been delving into their 80s pop collections, evident in the profusion of glossy synths and drum machines. Although the change in direction is only slight, it leaves Dutch Uncles sounding more comfortable and self-assured than anything else we have heard from them yet. (Will Moss)

For those of us itching to hear what it would sound like if BADBADNOTGOOD’s unique brand of improvisational jazz and hip-hop fusion was taken out of the lounge and to the streets, this was a good week. A BADBADNOTGOOD collaborative album was inevitable and with the release of the first single from ‘Sour Soul’ it looks like the Toronto trio have found the perfect man for the job. It had to be someone old school, someone known for impeccable flow over jazz infused rhythms. Someone like Ghostface Killah. ‘Gunshowers’ makes it apparent that Ghostface Killah, now pushing 45, has lost none of the venom, rawness or intelligence of his words. Nor has he lost the perfectly on point flow that lands him so firmly within the ranks of the greats of hip-hop. Guest featuring Elzhi of ex Slum Village fame it’s clear BBNG aren’t just tossing any old rapper into the mix; this is a carefully thought out homage to the distinctive, vintage sound of old school East Coast hip-hop that has always influenced them so heavily. (Henry Boon)

Creator of yawning atmospheres and spectral sounds, South-London producer Bunki continues his string of intricate beats with a new single, ‘Ravel’. The piece features on a new NX Records compilation of producers from Accidental Records and Goldsmiths University - including the likes of Leeik, Semi-Precious and a whole host of other up and coming artists. ‘Ravel’ exhibits an intelligent use of space – or lack thereof, with omnipresent spectral drones forming an eerie backdrop for aquatic melodies and resounding waves of bass. It is thick and evocative, a viscous haze, colourful flourishes buoyed by simmering percussion. Like some sort of sonic Kraken, the opening half grabs at the ankles to tow you under, before letting go in the second to gently float back to the surface as the beast retreats into the deep. Impressively unsettling and downright moreish. (Sam Haughton)

Sure, minimalism in all its forms can be enticing. But sometimes its meek exterior needs to be shoved right the hell aside for a big, brash brick-wall of sonic goodness. Alliteration expert and all-round enigma Clarence Clarity wears that mantra like a massive multi-coloured, bejewelled rosette. Following a prolonged absence and an identity shrouded in mystery, the oddball producer has returned with ‘Those Who Can’t, Cheat’. It ticks all the boxes you’re likely to find on a GCSE composition mark scheme - a canine solo, a Bhangra hook seemingly bashed-out on a diamante piano and scattered comically bassy vocals – and also manages to mesh the falsetto of Justin Timberlake with the attitude of some of Destiny Child’s sassiest numbers in a properly clever way. It’s essentially the Costco of electronic music; it’s massive, it’s stuffed full everything (including several kitchen sinks) and it’s a damn fun place to be. (Kyle MacNeill)

Tags: Sleater-Kinney, Smashing Pumpkins, Listen, Features