Interpol, 'Interpol'

Over the past eight years, Interpol, for me at least, have been without question the most important and consistent band currently releasing music. From the very beginning they have possessed an air of majesty and beauty that has became distinctly synonymous with the band, their 2002 debut ‘Turn on the Bright Lights’ being one of, if not THE, defining indie album of the decade. It can not be overstated just how great an achievement ‘Bright Lights’ is, with tracks such as ‘Obstacle 1’ and ‘Stella…’ showing a maturity and deftness of touch that many bands could only dream of capturing in their first outing.

However, when a debut of such quality is released it is inevitable that doubts will be cast over the band’s ability to follow it up with something of equal worth, with so many bands releasing greatly hyped and well received debuts, merely to fall by the wayside on their second offering. This is an obstacle which Interpol have consistently avoided with consummate ease, with both 2004’s ‘Antics’ and 2007’s ‘Our Love to Admire’ each developing on the qualities evident in ‘Bright Lights’ yet displaying a greater leaning towards epic, and at times cinematic atmospherics, culminating in ‘Our Love to Admire’s’ closer ‘The Lighthouse’, a track of haunting melancholy to rival any of Interpol’s previous work.

Understandably then, the three year wait for self-titled album number four has been a painfully long one. Surely Interpol would once again deliver an album to blow anything else from 2010 out of the water. Sadly, it is with a heavy heart I must report that with ‘Interpol’, the band for the first time, has failed to meet the high expectations they so regularly set for themselves with each release. An album of two halves, ‘Interpol’ begins with so much promise, yet around the halfway mark, gradually falls apart.

Album opener ‘Success’ sets the tone superbly, with the kind of grand production and typically introspective lyrics and delivery from Banks that usually mark the opening of each Interpol record. The album continues with similar promise in the form of ‘Summer Well’, a piano-led track which builds toward an infectious chorus. ‘Interpol’ then reaches its peak with two of the band’s finest moments to date. ‘Lights’ grows and swells in manner that echoes ‘The Lighthouse’, becoming even more haunting and spine-tingling with every listen, placing itself as a true masterpiece amongst the Interpol canon. ‘Barricade’ also finds the band hitting their stride, boasting a deceptively catchy guitar hook and a magnificent Banks vocal as it reaches the chorus. In fact, ‘Barricade’ holds many of the components that could have made ‘Interpol’ a far more enjoyable listen, as from this point onwards the album opts for a more subtle, atmospheric direction.

The results are somewhat frustrating, as many of the tracks lack the edge evident in both their previous works and indeed the first half of the album. Although they aren’t bad, they certainly aren’t anything to get too excited about. ‘Safe Without’ tries its best to find a hook or a tangible thread for the listener to grab onto but ultimately ends up sounding just a bit dull. Similar symptoms of tediousness are present in ‘All of the Ways’, trying its best to replicate the mood of ‘The Lighthouse’ but falls well short, feeling laborious and forced at over five minutes.

Although ‘Interpol’ is clearly not quite the album I had hoped for, it still has enough great moments to ensure that old and new fans alike will be satisfied. Its highlights are more than capable of holding their own against classics from Interpol’s near faultless back catalogue, indicating that there is still a wealth of potential for even more to come from this extraordinary band.

Klaxons, 'Surfing the Void'

The follow up to 2007’s ‘Myths of the Near Future’ was always going to be a tricky affair for Klaxons. With a ludicrous ‘nu-rave’ tag, which was more the fault of a gimmick-hungry music industry than the band themselves, it seemed a drastic change in sound and style would be necessary if they were to shake off the shackles of their ‘nu-rave’ image and be taken seriously as a band, rather than merely NME poster-boys. While ‘Myths….’ has moments of greatness, it does possess an element of style over substance; their misguided cover of Grace’s ‘It’s Not Over Yet’, among a few other album fillers, already sounding dated well beyond their three years of age.

Thankfully, with long-awaited follow-up ‘Surfing the Void’, Klaxons find themselves drifting closer toward a sound of far greater depth and longevity. Where ‘Myths….’ relied far too heavily on immediate hooks and distinctly 90s synth sounds to grab your attention, ‘Surfing the Void’ displays a significant maturity both musically and structurally. Although there may not be much in the way of obvious singles or instant hits, the way by which each track grows on you serves to draw you in gradually, in a way that ‘Myths….’ severely lacks. Lead single ‘Echoes’ exemplifies this perfectly, with a deceptively catchy chorus that gets better and better with each listen. ‘Flashover’, a track of pounding intensity and dense production, is also an indicator of just how far Klaxons have come over the past three years.

Although for the most part ‘Surfing the Void’ is a major improvement, there are still a few imperfections lingering from its predecessor. The lyrics, for example, at times are beyond stupid. Presumably supposed to sound astronomical and spacey , they end up sounding more like the kind of insincere, sci-fi bollocks one would expect from Matt Bellamy in his recent attempts to destroy music. An example of such lyrical nonsense can be found in ‘Cypherspeed’, in which we are enlightened with the following: “Ride the pandemonium, The hyper confusion, Escape to nowhere, Glimpse no illusion, In the distance, Information, Glimpse the existent.” Rubbish. However, when compared to how good ‘Surfing the Void’ is as a whole, one can surely forgive them the occasional lyrical lapse.

Overall, the Klaxons return is an extremely welcome one. Whilst there was genuine concern that the band may have faded into obscurity in the wake of the ‘nu-rave’ scene, it would now appear that they possess a purpose and substance that wasn’t quite there before. With ‘Surfing the Void’, Klaxons have not only developed a sound of greater density and maturity, but have also suggested that their best is yet to come.

Arcade Fire, 'The Suburbs'

In 2007 Arcade Fire released ‘Neon Bible’, the critically acclaimed follow-up to their 2004 debut, ‘Funeral’, which, contrary to the opinion of pretty much everyone else, I believe to be a far superior album. Although ‘Neon Bible’ had its moments, Intervention and My Body is a Cage being two of the band’s finest achievements, it clearly lacked the cohesive charm evident in its predecessor. In what appeared to be an attempt at sonic expansion and multi-layered musical density in its production, ‘Neon Bible’ had a muddy, and at times, impenetrable sound, which often hindered its tracks rather than enhance them. Take Black Mirror for example. A song which, when played live, reveals itself as a genuine classic to rival any single from ‘Funeral’, yet on record, feels sludgy and laborious. With this direction receiving praise from critics and fans alike, I was fully expecting Arcade Fire to continue in a very similar path.

The potential for disappointment with the band’s third release, ‘The Suburbs’, was further compounded when it was revealed that the record would boast sixteen new tracks, a number which surely suggests a significant amount of filler to be contained within. However, to underestimate a band of this calibre is very evidently a mistake, as ‘The Suburbs’ sees Arcade Fire not only make a clear return to form, but create their best and most accomplished album to date.

The over the top production values have been ditched in favour of a beautifully light and airy atmosphere, allowing each track to breathe and express itself in such a way that would never have been possible with ‘Neon Bible’. Opening track The Suburbs demonstrates this perfectly and acts as a direct contrast to Black Mirror, ‘Neon Bible’s’ opener. With understated piano and acoustic guitars providing a light and sparse mood, The Suburbs acts as a perfect precursor for what is to come over the next 65 minutes. This minimalist approach is once again evident in Modern Man, Rococo, and Deep Blue, displaying a newfound maturity and sense of discipline in their instrumentation.

The Suburbs also sees the band tread new ground in the form of Month of May, a pulsating and intense track that possesses an intensity and urgency previously unheard in their earlier work. Lead single We Used to Wait and Ready to Start each provide moments of similar intensity when compared to much of the album’s lighter moments, both held together by a rigid pulse and tight structure.

Their progression into new territories continues with Sprawl 2 (Mountains Beyond Mountains), arguably the most ambitious move the band have made to date. With a synth laden chorus, Sprawl 2 points the band in an electronic direction unheard in their previous offerings, providing a shimmering backdrop to a spectacularly infectious lead vocal performance from Regine. The way in which the song gently builds and applies its layers without once threatening to impose upon the melodic nature of the central vocal performance is quite simply an achievement in itself.

Not only have Arcade Fire made a welcome return to form with the best album of their career so far, I firmly believe ‘The Suburbs’ to be a true modern masterpiece. They have managed to create an album of such epic scale and grandeur whilst maintaining an atmosphere of understated beauty and simplicity. For me, ‘The Suburbs’ deserves to be firmly placed among the great album releases of the past decade, and certainly the best album of 2010 to date (new Interpol album pending). Furthermore, the sonic qualities displayed here hint at the potential for even greater things in the years to come. Having opened their sound up in such interesting and inventive ways, they really could go anywhere with album number four.

Autolux 'Transit Transit'

The long awaited follow up to Autolux's outstanding debut 'Future Perfect' is finally here! With six years having passed and a number of delayed and postponed release dates for 'Transit Transit', it is finally seeping through my speakers via myspace, its official release date being August 2nd. As an enormous fan of 'Future Perfect' my excitement at the release of 'Transit Transit' has been building and gathering momentum with every failed release date over the last two years or so.

However, I wonder if it is for this reason that on my first hearing I feel slightly disappointed. Maybe with a few more listens it will grow into an equally fitting follow up to a debut of such promise and potential, yet my immediate response is one of frustration. Whilst there is nothing particularly wrong with any of these new tracks, it is hard to detect any of the beauty or intensity present on their debut offering.

The main problem here appears to be a far greater leaning towards experimentalism than is really necassary. Autolux have always possessed a deftly balanced formula of Sonic Youth-esque experimentation and wonderfully simplistic hooks, 'Turnstile Blues', 'Blanket' and 'Capital Kind of Strain' being clear examples. This time around, at least after only one listen, the hooks and melodies are few and far between. 'Supertoys', the lead single from 'Transit Transit', clearly demonstrates this point, sounding rather like and interesting b-side than a surging return from a six year absence. In fact, 'Supertoys' quite adequately epotomises my view of the album as a whole; while it is more than capable of drawing you in, it's just crying out for a little bit more, something to transform it from a good idea into a great song. Other tracks to illustrate this point further appear in the form of 'Kissproof' and 'Headless Sky', each displaying plenty of promise yet not quite delivering in the way one would hope .

The album's obvious highlights both feature drummer Carla Azar on vocals, a direction I would love to see more of if the band continue in the path of 'Transit Transit'. In the absence of any real musical hooks, the beautiful fragility and subtlety of Azar's vocals create a wonderfully dream-like effect on 'The Bouncing Wall' and achieve similar results on album closer 'The Science of Imaginary Solutions'. So, in spite of my slight disappointment that 'Transit Transit' doesn't quite meet the dizzying expectations set by 'Future Perfect', it is still one of the best albums I've heard so far this year.

Alexis Taylor, Rubbed Out

Considering the success surrounding Hot Chip over the past few years, with 'The Warning' (2006) and more recently with 2008's 'Made in the Dark', it may come as a surprise that front-man Alexis Taylor's debut solo effort, 'Rubbed Out' has received next to no publicity or promotion. Despite my initial confusion at such a low profile release, the reasons for this approach soon become clear. In fact, 'Rubbed Out' could be described as an opportunity for expression and experimentation, as opposed to a conventional album.

In stark contrast to the expectations of many, given the polished electro-pop in recent Hot Chip singles such as `Ready For the Floor', 'Rubbed Out' offers a lo-fi collection of instrumentals and simplistic pop songs. This may not be to everyone's taste, particularly for those expecting, what would essentially be a fourth Hot Chip album. However, I would argue that 'Rubbed Out' highlights Taylor's remarkable deftness of touch in producing beautiful, yet simplistic pop melodies. Examples of this can be found in `Baby' and `Collectors Item', both of which are based upon highly infectious, `Beatle-esque' choruses and a conventional live band setup, in favour of keys and synths.

Other highlights include a heavily stripped down rendition of Paul McCartney's `Coming Up' and `I Thought This Was Ours', a touchingly fragile ballad, demonstrating Taylor's subtle, yet beautifully controlled vocal delivery. `I'm Not a Robber' is possibly the closest that Taylor comes to entering Hot Chip territory due to its deviation from guitars and bass towards more familiar electronic groundings.

While these tracks make for an endearing and unique collection of songs, it is the somewhat more experimental moments that create such a varied and arguably hit and miss record. For instance, tracks such as `Fireworks', `Musical Food' and `Ruffles' convey a lack of focus or conventional structure. On occasion this can lead to a sense of bewilderment as to why they were even included, leaving the impression that they are only of purpose to Taylor himself. However, bearing in mind the intimate, homemade nature of 'Rubbed Out', this may prove to be an appealing element to some fans as it adds to the feeling of listening to a private recording. Although I would consider this to be an album of somewhat mixed results, there is certainly enough raw quality on show to make 'Rubbed Out' an essential album for both, fans of minimalist pop and dedicated Hot Chip followers alike.

Franz Ferdinand, Tonight: Franz Ferdinand

Since the release of their eponymous debut back in 2004, Franz Ferdinand might be seen as something of an oddity amongst the vast majority of their contemporaries. Take for instance the likes of Kaiser Chiefs, Bloc Party, The Rakes, The Killers and just about any other band belonging to the new wave/disco genre that dominated the music scene five or six years ago. Each of these bands plus a whole host of others, of which there are far too many too mention, burst onto the scene offering such great promise and excitement, only to return with follow ups of such uninspired banality, it seemed hopeless to expect anyone to serve up a second offering of any genuine worth.

Thankfully Franz Ferdinand managed to buck this trend of crashing disappointment by returning with 2005's 'You Could Have it So Much Better', an album charged with such unshakably infectious melodies and perfectly crafted pop songs, that many of the already lacklustre records being released at the time were rendered about as exciting as a mild bout of tinnitus. Anyway, having failed to disappoint us yet, Franz Ferdinand are back with their third album, 'Tonight: Franz Ferdinand'.

With four years having passed since their previous outing, anticipation and expectation was always going to be high. Would they be able to deliver for a third time running? The answer is a resounding YES. Furthermore, this could well be their best record to date. The band combines their obvious disco-pop sensibilities with a newfound electronic element, creating a somewhat fuller texture that has not always evident in their previous albums. The most obvious example of this has to be `Lucid Dreams'. Arguably the defining highlight of 'Tonight: Franz Ferdinand', the song builds from a typically catchy verse into an enormous, synth-laden chorus, concluding with, an admittedly slightly drawn out, four minute long electro freak-out with the omission of guitars altogether.

Other definite highlights include current single `Ulysses', a track that offers the melodic facets that dominated their debut, whilst clearly showing off their recent penchant for dirty synth hooks. `Turn it On' and `No You Girls' are instant crowd-pleasers, each with the potential for future singles. `Can't Stop Feeling' also deserves a mention, serving as perfect indicator as to how far they have come over the past four years, the track being driven by a stomping synth riff as the guitars, once again are put to one side.

While critics of the band might argue that there isn't quite enough experimentation or risk taking on offer here to attract many new fans, they certainly aren't at risk of losing any. Ultimately, this is the sound of a band genuinely enjoying themselves in the studio, which is something that translates with absolute clarity. With a third, refreshingly strident album now under their belt, one can only hope that Franz Ferdinand will be able to maintain the same high standards on their fourth outing, and on this evidence, they should have no trouble in doing so.

Boxer Rebellion, Union

It's been almost four years since the release of The Boxer Rebellion's 'Exits', an outstanding debut that unfathomably evaded the attention of just about everyone, both critically and commercially. Since then, the band's hopes of gaining any kind of significant recognition have diminished even further, following their release from Alan McGee's record label Poptones. However, despite their chances of success taking such a blow, The Boxer Rebellion have returned with 'Union', a follow-up so good that we can only imagine the reception by which it would be met, given the kind of label backing it deserves. One factor that makes 'Union' such a commendable achievement, aside from the quality of the songs, is the fact that the band have only been able to release the album digitally and have received no publicity or press attention whatsoever.

Musically, `Union' shows a somewhat more melodic, subtle approach that wasn't always evident in its predecessor. Each song seems to improve with every listen; it is only after repeated playing that we can fully appreciate the album in its entirety, as many of these songs simply don't work as well individually, yet work particularly well as one. Opening track `Flashing Red Light Means Go' is built around pounding repetitive drums combined with acoustic guitars. `Soviets' sees the band at their most accessible, opting for acoustic guitars, twinned beautifully with Nicholson's subtle vocal delivery. `Spitting Fire' continues in a similar vein, a potential single, centred on an infectious bass line. Just as 'Union' appears to be gaining momentum, `Misplaced' slows down proceedings. A low-tempo ballad with sparse instrumentation, it isn't so much a weak song as it is, ironically, misplaced within the track listing. One can't help but feel it would provide more of an impact had it been positioned as one of the album's closing tracks. `The Ballad of Goro Adachi', sees The Boxer Rebellion treading new territory. Possibly 'Union's highlight, `The Ballad of Goro Adachi' presents us with an altogether new sound, favouring electronics in place of guitars. If The Boxer Rebellion are afforded the opportunity of a third album, one would hope that it is in this direction that they will continue.

Equally, `These Walls are Thin' offers a new dimension to 'Union', highlighting once again the band's newfound melodic approach. A return to their heavier, guitar-driven roots can be heard in `Forces'. In my opinion this would be the perfect way to close the record as the final two tracks, arguably, do not contribute to the record as a whole, leaving the impression that they had been tacked on at the last minute. `Semi-Automatic' sounds like a hybrid of 'Exits' `Never Knowing How or Why' and `Lay Me Down', yet not as impressive as either, while `Silent Movie' passes by almost unnoticed, lacking any real power or melody. However, these are merely petty grievances in light of the overall quality and diversity of the album.

Portishead, Third

Having waited eleven years to return with such a highly anticipated third album, one could be forgiven for thinking that Portishead's 'Third' would be anything other than a shattering disappointment. For many of the band's dedicated following, questions as to how relevant Portishead could be in 2008 were sure to be raised. Furthermore, doubt was also bound to be cast over the possibility that they mightn't be able to recapture the essence of what made them such a unique band in the first place.

With expectations of unprecedented scope, Portishead have somehow managed to create an album of such staggering brilliance as to render any preconceived doubts, ridiculous. 'Third' displays a significant development in Portishead's sound, whilst maintaining the underlying elements at the heart of their two previous albums. A concoction of electronic experimentation, tribal drum beats and Beth Gibbons' hauntingly fragile vocals, make for Portishead's darkest, most tension-fuelled album to date. Opener `Silence' sets the tone with a repetitive drum section and sparse bass allowing Gibbons to take full focus with typically introspective lyrics and delicate delivery. `

We Carry On', arguably one of the band's finest achievements yet, adopts a similar approach, utilising tribal sounding drums to create almost unbearable tension, before reaching an epic, guitar-led chorus. `Machine Gun' shows Portishead at their most experimental. Centred on a menacing electronic drum beat, the track provides one of 'Third's' most distinctive moments, producing an atmosphere quite unlike anything they have previously released. In fact, `Machine Gun' may be seen as a bold statement of intent, given that it was the band's comeback single, albeit with an extremely limited release, the song clearly serves as a reminder that Portishead are not a band content with playing things safe.

'Third' also has its quieter moments; `The Rip' highlights the band's more melodic sensibilities via subtle acoustic guitar and vocals, while the eerie `Deep Water', perfectly placed between `We Carry On' and `Machine Gun', offers a moment's respite from the sonic abrasion of the tracks it lies between. The one minor criticism that could be levelled at Third is the occasionally muddy sound of its production. Whilst the lo-fi production techniques at work here are well suited to most of the tracks, there are moments, such as on `Plastic', `Small' and `Threads', in which the overall clarity of the instrumentation can be slightly lost. However, such imperfections are easy to overlook in light of this most spectacular of comebacks. Let's just hope we don't have to wait quite so long for album number four.

Morrissey, Years of Refusal

With a career spanning almost 30 years it is a fairly safe assumption that both fans and critics alike are highly unlikely to be swayed from their stance regarding this most distinctive and divisive of artists. Given this clear demarcation between the two camps, Morrissey, it seems, will not be winning over too many of his detractors with his new release 'Years of Refusal'. It is, however, sure to delight those well-established followers, as this is undoubtedly the greatest achievement of his solo career, which is some feat, considering its wonderfully grandiose predecessor 'Ringleader of the Tormentor' (2005).

With 'Years of Refusal' though, Morrissey sounds reinvigorated, writing and singing with a newfound sense of urgency. Of course, the usual themes of love and death, dominate, but it is the refreshed manner by which he tackles them this time around, that make 'Years of Refusal' such a success. While 'Ringleader of the Tormentors' opted for grandeur and epic exposition, 'Years of Refusal' favours short, sharp explosions of punk influenced energy. Album opener `Something is Squeezing My Skull' acts as a perfect indicator of what's to come, with `One Day Goodbye Will be Farewell' and single `All You Need is Me' also demonstrating the immediacy of the record.

Morrissey also treads new ground with the sublime `When Last I Spoke to Carole', employing a Mexican, mariachi tone, densely layered with brass and acoustic guitars. Furthermore, Morrissey's vocal capabilities appear to be developing even further, rather that diminishing with age, reaching previously unheard levels in range on the embittered ballad `It's Not Your Birthday Anymore'. `Black Cloud', one of the album's many highlights, is also notable for its beautifully delivered vocal performance.

While it may seem certain that as long as Morrissey is writing and recording new material he won't be deviating too far from those familiar subjects so frequently at the heart of his lyrics, Years of Refusal is surely evidence that not only does he remain one of the most important artists of both the past and the present, but that there is still potential for greater things to come.