Albums of Note... Deftly side-stepping the pitfalls of ‘second album syndrome,’ Everything Everything have stepped things up a notch with second album Arc, which looks set to raise their profile even further. They’ve retained their quirky dance geek sound, but this time around, the songs have a darker, more emotional sound. Where their debut was playful, a newfound intensity can be found on this follow-up. “Arc offers more drama and intensity than the playful-ness we heard on Man Alive, Everything Everything's 2010-released debut… each track stands in its own right; nothing is filler and Arc maintains interest throughout; it's a much more mature offering than Everything Everything's previous, particularly with the likes of the gentle, piano-backed 'The Peaks, which sensitively showcases their trademark falsetto vocals in an atmospheric setting.”
Paul Weller’s latest release, the ‘Dragonfly EP’ is described by our reviewer as a “victory lap.” The EP contains a number of unreleased tracks from the Modfather’s trilogy of experimental albums released in 2012. Described as “by no means essential for the casual fan,” the tracks contained herein are a step away from the sonic experimentation of the albums and are closer to his early solo days.“The Dragonfly EP is therefore well worth your time if you have any interest in Weller's more recent output. However, for the more casual listener, it may seem like it's business as usual for the Modfather. The 5 additional songs certainly deserve to be heard, and it's a welcome move that they haven't just ended up on the cutting room floor.”
Remember The Wiseguys? You should. Their single 'Ooh La La' soundtracked a Budweiser commercial at the tail end of the 1990s, narrowly missing out on the coveted number one spot upon its re-release. Just over a year later, The Wiseguys were no more, surviving member Theo Keating (aka Touche) opting to follow fellow founder Paul Eve (aka Regal) into other solo ventures and production territories.
Which is where his current alter ego Fake Blood comes in. Having adopted the moniker five years ago, more as an alias for a host of remix and production credits than anything else, Keating has found himself in constant demand ever since, culminating in the release of 2008's underground electro anthem 'Mars'. Since then, he's been a regular fixture on the club and warehouse dance circuit, his set in the Bollywood tent at last summer's Bestival proving one of the weekend's highlights.
Having finally gotten round to recording an album, it won't come as much of a surprise that 'Cells' embarks on a similar path to much of Keating's work as Fake Blood. Although not entirely formulaic, there's something about the way Keating fuses teetering on the edge basslines with chirpy analogue synths that make Fake Blood instantly recognisable and here that potent and occasionally heady mix is served in abundance.
Continue reading: Fake Blood - Cells Album Review