The production here is superb. Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. He has Springsteen’s rousing holler, and the early indications of someone who could be the voice of a generation – not because he wants to be, but because he sees things and understands. You can also choose to be emailed when someone replies to your comment.The existing Open Comments threads will continue to exist for those who do not subscribe to Independent Premium. Fans will be surprised to discover Tracey sings almost as much as he raps, in pleasingly gruff tones.
That snare drum keeps a relentless, nerve-snapping pulse throughout, with Jacklin sounding more confident in her contradictions: at once yearning to comfort a lover she’s dumped and then, on “Head Alone”, declaring: “I don’t wanna be touched all the time/ I raised my body up to be mine.” Ah. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point). (Helen Brown)The perma-brilliant James Blake has flooded his fourth album – Assume Form – with euphoric sepia soul and loved-up doo-wop. Recorded in Finneas’ bedroom opposite Billie’s, the pair spent most of 2018 writing songs on the road, then spending many days and nights when off the road, at home, recording the album. (Helen Brown)Help Us Stranger reaches all corners of guitar rock: funky Detroit garage (“What’s Yours Is Mine”); country soul (“Somedays (I Don’t Feel Like Trying)”); psych (a cover of Donovan’s “Hey Gyp (Dig the Slowness)”); blues and bluegrass (“Thoughts and Prayers”). Eilish embarked on two-month tour of Europe, beginning on February 11, 2019, at Kesselhaus in Berlin, where she performed "Bury a Friend" and "When I Was Older" for the first time in concert. if you haven’t seen her already, you need to go NOW!I felt happy and it helped me relax and relieved my stress.Billie is such an amazing singer and performer overall, she makes the concerts very interactive with her fans! WORLD TOUR North America Schedule Whether it’s in the physical structure of a property that’s shaped you over the years, or in the familiar sounds of the music and culture that your people have crafted, there seems to be a call to return to what is familiar. There are sax solos (more than one), and pounding rhythms that make you want to jump in a car and drive down a highway at sunset, and blistering electric guitars next to classic troubadour acoustics. You Should See Me in a Crown 4. idontwannabeyouanymore 5. (Chris Harvey)“Do you still have that photograph?/ Would you use it to hurt me?” asks Australian indie rocker Julia Jacklin, against the menacing throb of “Body”. (Mark Beaumont)On Cage the Elephant’s fifth album, Social Cues, frontman Matt Shultz reacts to the breakdown of his marriage and the loss of three close friends. Rather than being an album of Oxnard offshoots, Ventura instead borrows heavily from .Paak’s consistently brilliant 2016 record Malibu, itself a fresh slice of soulful funk.
(Alexandra Pollard)Assisted by veteran producer John Congleton (St Vincent, John Grant), he channels the spirit of David Bowie and Iggy Pop. Since then, they've released a string of consistently great albums, from 2008’s Made in the Dark (featuring their only Top 10 single to date, “Ready for the Floor”) to this, their seventh and best record, A Bath Full of Ecstasy. The variety and scale of ambition on this album is breathtaking. (Elisa Bray)Comprising songs from Segall’s eclectic (that’s putting it lightly) catalogue and performed by him and the Freedom Band (Mikal Cronin, Charles Moothart, Emmett Kelly, and Ben Boye), the album is delightfully short and sweet. The downbeat “Once” forgoes easy Noel-bashing for a mournful glance at the years when the pair were still speaking (“I remember how you used to shine back then... but you only get to do it once”).
There’s a sax on “Sacrament” that’s loaded with longing, while the grunge-gospel stylings of “Merciless” offer ominous guitars and Collard’s reverent croons. Critics may question how relevant Slipknot are in 2019. Alexandra PollardTension aside, there’s a great sense of fun here.