An explosion of power-packed collaborations

Saurabh & Gaurav 

The band reinvents its sound

Florence + the Machine — How Big, How Blue, How Beautiful (Island) 

Florence+ The Machine’s third album is simultaneously predictable and surprising. The fantastical imagery of 2011’s Ceremonials has been largely substituted by direct confessions about Welch’s heartbreak. Welch has a voice so powerful that it is always clear the spotlight is firmly upon her. Opener Ship to Wreck is relatively straightforward but memorable folk, elevated by Welch’s smooth tones, while What Kind Of Man is rawer and more aggressive, as she rises to match a punchy guitar riff and vocal choir. Sonically, it’s easily her most varied album. The songs range from bluesy to gospel to rocky to quiet balladry. Tracks like Various Storms & Saints may feel like they’re almost lacking the fullness of songs on past albums, but they do allow Welch’s song writing to draw upon her personal life. The title track is one of the more dynamic moments on the record, deviating from folk-rock to baroque and chamber pop when the horn and string sections kick in towards the swooning rhythm. The minimalism and pureness of St. Jude carried by simple keyboard chords and delicate heartbeat drums make it the standout moment of the record. Another headliner, Third Eye, displays Welch’s knack for song writing, complete with towering chants and the desperate declaration of the lyric “I’m the same, I’m the same, I’m trying to change.”

Best track: St. Jude

worst track: Caught

The Londoners draw inspiration from contemporary sound palette

The Vaccines — English Graffiti (Columbia) 

Since their 2011 debut LP What Did You Expect From The Vaccines, and 2012’s follow up Come of Age, London quartet The Vaccines have paved their position as predecessors of the UK’s indie music scene. Synthesised sounds are prevalent on English Graffiti, particularly on dreamy Minimal Affection, a rounded 1980s number bubbling with digital fun. Opening track Handsome finds us in recognisable Vaccines territory. The track retains the spirit of earlier Vaccines songs in its melody but what’s immediately noticeable is that the guitars are largely absent, flanked by bass and keyboards, coated in a pop finish. 20/20 is a breakup song that is as danceable as anything that you’ll find on the dance charts these days. The band opts for a heavier sound with the slick, prowling romance of Dream Lover that instantly recalls Duran Duran. Lead singer Justin Young is still as witty and sharp as ever on vocals that you just can’t help but sing along to. The band tones down with ballads such as pensive (All Afternoon) In Love and moody Denial’s take on undeniable charm; thanks to lead vocalist and chief songwriter Justin Henry’s atmospheric singing. Undercover is a short instrumental that closes the album, and in many ways, it is a conclusion that sums up the album as a whole. Overall, the album competently achieves its goals.

Best track: Minimal Affection

worst track: Want You So Bad

Poetic precision straight from heart

Donnie Trumpet & the Social Experiment — Surf (Self Released)

Chance The Rapper evolved into a folkloric figure since the release of his universally acclaimed Acid Rap project. He played by his own rules after he released Acid Rap, arguably 2013’s best and most adventurous mix tape. 

Surf is the first official project of his Social Experiment band, and the spotlight is on the group’s trumpet player, Donnie Trumpet. 

Legends like Erykah Badu and Busta Rhymes play supporting roles with the likes of J. Cole and Big Sean in addition to a who’s who list of various Chicago artistes like Saba, No Name Gypsy and Jamila Woods. Surf is an album that further pushes modern hip-hop into brave new frontiers; following releases like Flying Lotus’ You’re Dead! and Kendrick Lamar’s A Butterfly, the album has a firm jazz foundation. 

Opener Miracle celebrates the simple act of being alive with a pensive soul-infused groove. On Windows, assisted by BJ the Chicago Kid and Raury, Chance attacks his own esteemed image, establishing himself not only as an unreliable narrator, but also cautions listeners not to mistake him as a role model. 

Perhaps, the most poignant track, however, is Wanna Be Cool, where he spells out his reluctance, singing: “I don’t want to be cool, I just want to be me” over smooth, brazenly joyful Jam and Lewis 1980s-style production.  On Rememory, Chance’s varied rhyme tempo on Donnie Trumpet’s silky horns transition beautifully to Erykah Badu’s climatic vocals. Combining sounds ranging from jazz to tribal, to even gospel, the album covers the musical spectrum often missing from other contemporary projects.

Best track: Miracle

worst track: Familiar

ALBUM of the month

An unexpected match made in heaven

FFS — FFS (Domino)

Scottish quartet Franz Ferdinand steered rock in an elegant direction in 2004, when their hit single Take Me Out first charmed both indie and dance fans. For five decades, Ron and Russell Mael’s band Sparks have achieved enormous European success while maintaining acclaim for their exceptional art pop. Together they’re FFS, a mutually gratifying amalgamation of sounds. The clear delight of the six collaborators is audible, whether on the robot rock of So Desu Ne or the simultaneously sprawling Collaborations Don’t Work. Russell’s extraordinary falsetto, blends naturally with Alex Kapranos’ velveteen croon. Opener Johnny Delusional blends the best parts of both Franz and Spark’s art-pop leanings. It’s easily one of the best singles of the year so far and it validates that FFS is worthy of the clichéd term ‘supergroup’. Little Guy From The Suburbs is an intellectual song about existentialism and freedom in early 20th century France, that quotes French Resistance spokesman Charles de Gaulle and references philosopher Jean-Paul Sartre. Meanwhile, Franz’s influence looms largest over Save Me From Myself, a shimmering dance tune that will fit past records nicely. Interspersed with euphoric anthems such as Franz’s Take Me Out and Sparks’ epic This Town Ain’t Big Enough For The Both Of Us, the end result of such collaboration is a joyous set of remarkable post-Modern music.

Best track: Johnny Delusional

worst track: Things I Won’t Get

Top 10 Singles

Bad Blood....................................Taylor Swift feat. Kendrick Lamar (CU)

Cheerleader ...........................................................................OMI (CU)

See You Again................................... Wiz Khalifa feat. Charlie Puth (FD)

Trap Queen.....................................................................Fetty Wap (FD)

Shut Up & Dance...................................................Walk The Moon (NM)

Uptown Funk!.................................Mark Ronson feat. Bruno Mars (NM)

Hey Mama.................David Guetta feat. Nicki Minaj, Bebe, Afrojack  CU)

Want to Want Me .......................................................Jason Derulo (FD)

Honey I’m Good .....................................................Andy Grammer (NE)

Can’t Feel My Face.......................................................The Weeknd (CU)

Legend: (CU): Climbing Up    (FD): Falling Down (NM): Non-Mover  (NE): New Entry