things beyond their age. “Living beyond your years, acting out all their fears, You feel it in your chest” Oblivion is the only song on the album without any electronics. The track is guided by a slow piano, and Smith’s beautiful low and high pitch mixture. With only a piano and solo singer to focus on, the lyrics are so distinct, so crisp, that their meaning creates a sullen atmosphere; “When oblivion is calling out your name, you always take it further than I ever can” The song seems almost too short, too abrupt an ending, that it leaves you hanging on the edge before Flaws picks you up with its fun synth intro. Flaws is one of the popular hits from the band, a radio friendly upbeat track to sing along to. Though the self-conscious persona is described very clearly within the chorus “There’s a hole in my soul, I can’t fill it I can’t fill it” but unlike any of the other tracks mentioning Smith’s insecurities, Flaws draws the audience closer to the singer when he asks “Can you fill it? Can you fill it?” Heavily religious, Daniel in the Den may not be everyone’s cup of tea. The song lyrics are beautiful “And felled in the night by the ones you think you love” and could be applied to an atheist lifestyle also.
Black nevada
‘Rising Evolution EP’ Jenna Young, Lives editor.
Unbelievably, Laura Palmer is based on a television series, Twin Peaks. The mystery of who killed Laura Palmer was a big storyline within the beginning of the show, and the song reflects that. “Found yourself a path upon the ground, you ran into the night; you can’t be found”. This song seems to be the only downfall for Bastille however. With a repetitive chorus, and vacant verses, the track seems quite empty, almost like a filler for the album. Bastille seem to be quite against using audio effects, as Dan demonstrates his amazing vocal chords without the help of any auto tune. This is until the last track, Get Home. At first it comes as a surprise to hear auto tune being used throughout the background of the song, but it works well with the sentiment of the track. About depression, and feeling lost, the auto-tuning acts as another person, an unrecognisable voice in the back of our minds. This album is a masterpiece, a remarkable first debut. Every song acts as a genre change, every lyric so deep and meaningful. Everyone can find something within Bastille to love, whatever music they normally enjoy listening to. This album can only mean big things are in store for 2013’s biggest band so far. Bastille are here to stay.
David Bowie ‘The next day’
Jack Mckeever. introducing editor
Black Nevada, an alternative four-piece band from the north-east of England, recently released their EP Rising Evolution. From the opening bars of the first track ‘F E W’ it’s clear that the quartet know what they are doing with their instruments. The guitars and bass work well together forming a catchy guitar riff while the drum rhythms are complex enough to display the drummers skill but still fit well in the context of the song. The vocals are tuneful, but have a rough quality, just enough to make them perfectly suited to the rock genre. Influences from other bands in the scene can be heard, particularly in ‘Losing Patience’. The slightly muted guitar strums in the opening are reminiscent of recent Foo Fighters tracks, while the catchy ‘woah-oh’ refrain sounds suspiciously like the opening of ‘Gossip’ by You Me At Six, which is unsurprising given that the foursome began life as a cover band. While all of the songs can be classed as alternative, each song has its own distinct sound, which will keep you interested. Songs like ‘Losing Patience’ and ‘Failure At Best’ could be classed as ‘pop punk’, but the later is followed by ‘Game Face’ and an introduction fuelled by bass, giving the song a darker feel. Rising Evolution is a great listen for anyone who likes alternative rock, and based purely on this EP, I personally will be looking forward to hearing more from Black Nevada.
He is back! He is back! He is back! He is back! “Here I am, not quite dying” churls David Bowie with all the conviction in the world on the opening title track to his 25th studio album, his first in 10 years. That being the sentiment that carries “The Next Day” for its entire duration, and it’s a sentiment that rings true effervescently and almost impeccably throughout. More rock orientated than spectral, slow burning lead single “Where are we now?” had previously suggested, it’s full to the brim with attitude and style that recalls Bowie in his late ‘70s- mid ‘80s heyday. “The Next Day” is a stirringly groovy, reverberating rocker, whilst the brass inflected crawl of “Dirty Boys” swings with sleazy swagger. The Suede- esque lead guitar part and vocal harmonies on “Valentine’s Day” are heart- wrenchingly beautiful, and the utterly gorgeous “Dancing Out in Space” is just as epic, cosmic and upbeat as you would expect a song of that title to be. Bowie barely stops for breath on “The Next Day.” This is 10 years’ worth of rocking and exuberance, all very much proving that Bowie is more than a few years away from death.
Lil Wayne
‘I’m Not A Human Being Part 2’ The same old Lil Wayne. Rapping about drugs, sex, alcohol and money. For 17 tracks. There’s nothing new here. Katie Pathiaki. Assistant Editor.
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