- 28 Sep 18
Edwin McFee rounds up some of the top tracks from the last fortnight (and change).
'Wreck It Like Beckett' (marshall records)
Lifted from their satisfyingly meaty 15th album Cleave, the unpigeonholeable power-trio deliver an instant pit anthem in the form of ‘Wreck It Like Beckett’. A track that feels both fresh and familiar, that distinctive Therapy? bullishness is in full effect, and the main riff is like a buzzsaw. Inspired by both Public Enemy’s ‘She Watch Channel Zero’ and frontman Andy Cairns’ hero Samuel Beckett, the must-listen number brings the thunder like the mighty Thor himself.
'Great' (partisan records)
Bristol-based bunch Idles have been a name on the lips of many this year. Their caustic brand of punk is as mean as Wolverine with a ten-day old hangover, as politically charged as Crass in their prime, and utterly essential listening in an era of unrest. New single ‘Great’ is one of their best; a bass-driven anthem for outsiders that rages against the machine. Joe Talbot’s gravelly vocals add even more grit to proceedings – and that chorus is an absolute monster.
'Chord (Gunn Laws)' (kobalt)
Earlier this summer, indefatigable rock ‘n’ roll renaissance man Tony Wright surprise released his third album as VerseChorusVerse. Dubbed Outro, the LP was his most cinematic and dramatic to date, and featured many treats including this new single. Built around a robust riff and peppered with horns, Wright delivers a wonderfully unhinged vocal full of whoops, howls and crooked croons.
'If You Really Loved Nothing' (matador)
Last year these gloom-loving mope merchants toured (most of) the globe performing their iconic 2002 debut Turn On The Bright Lights in full. Those evergreen early songs inform much of new album Marauder, especially ‘If You Really Loved Nothing’. Thoroughly meriting the single treatment, this upbeat (by their standards) indie-rocker already feels like a set staple.
SILK CITY AND DUA LIPA
Continuing her flirtation with dance music, the all-conquering Ms Lipa joins forces with Silk City – Mark Ronson and Diplo’s new project – for the thumping ‘Electricity’. Boasting an old-school ’90s house flavour, this chart-bothering anthem will appeal to hardened clubbers and pop fans alike. Lipa’s unmistakable vocals are effortlessly cool, the piano hooks are a fun throwback, and the melodies are perfectly weighted. If you’re searching for a sonic tonic to remedy the autumn blues, then check it out.
'Addicted To You' (self released)
Driven by a funky guitar riff that doffs the cap to ‘Higher Ground’, this near seven-minute single is a delightful freak-out. Flirting with psych, classic rock, soul and jazz, the Derry-based Velvet Alibi have cleverly opted for a live feel on ‘Addicted To You’. It gives the tune a welcome edge, whilst showcasing the band’s power and precision. Furthermore, Anna Nolan’s vocals are full of character – all of which makes Velvet Alibi a funky force to be reckoned with.
'Now Or Never Now' (bmg)
Boasting a sterling performance from iconic front-lady Emily Haines, and plenty of shimmering synth hooks to keep the faithful appeased, ‘Now Or Never Now’ proves that when it comes to exhilarating alt-pop, there aren’t many who can top these Canadian legends. Taken from impending seventh opus Art Of Doubt, this slow-burning track is a brilliantly seductive listen.
WE CUT CORNERS
'Laughing Manically' (delphi)
As excitement continues to build for the release of their fourth LP Impostors, Dublin duo We Cut Corners unveil another taster in the form of ‘Laughing Manically’. A track about the narcotic power of love and the corrupting nature of desire, it’s a potent slab of alt-pop. With impassioned vocals and a hook you’ll be humming for weeks, the track again suggests the group’s next album will be a belter.
DAVID GUETTA FEAT. ANNE MARIE
'Don’t Leave Me Alone' (parlophone)
These two bona fide chart-breakers have teamed up in a bid to have this year’s autumn anthem (which isn’t really a thing, but just go with it, eh?). Informed by electronic pop and Guetta’s early days DJing in small clubs, the main hook really gets under your skin after a few spins. While Anne Marie’s vocals are needlessly over-produced, it’s an enjoyable banger from this talented twosome.