TALA - Alchemy EP

It is Christmas Day 2014. The time to reflect I guess! I think some of the most interesting debates to be had are the place of females in today's music industry. And, why aren't there more artists like Tala?

Her EP from earlier this year "The Duchess" was probably my favourite EP this year. And I admit part of me was so excited because it felt like it is such a rarity to see a female producer/artist emerge in her musical sphere. Then after being unable to access the internet for a few weeks I was ecstatic to see that on 1 December Tala had released her second EP of the year, "Alchemy". I was also interested to note on her Facebook page she seems to be spending some time in Los Angeles, working with Mike Elizondo. If you are not familiar with Tala's work, "Alchemy" is a beautiful accompaniment to "The Duchess". She does sing, but her vocals are more an accompaniment to her amazing production work. There is so much that goes on in her tracks. A brilliant example of this is my favourite track on the EP, "Black Scorpion". Her voice pokes through now and again in vocal snippets, but the beat is absolutely amazing! It dips in and out of sounding like a full-on assault, which I can hear when the brass sounding instruments come in at what I would call the chorus section, to what I would call a striaght-ahead banging beat, with a great sounding bassline as is featured at the beginning of the tune. Another thing that is brilliant about the tune is that all the sections feel very different to each other, held together by the beat, but there are very few tunes that you will hear that feel like a trip to her middle-eastern origins, back to Britain, via a trip to US hip-hop that this sounds like.

All the 4 tracks are bangers, but "Everybody's Free" is another example of her uniqueness. She takes what I presume is her voice and manipulates it in such a way that what in normal hands would sound like a standard R&B vocal to a completely different place. Behind this is a beat, which has influences in a trap-style beat, but has so much more complexity than that.

So, what will Tala be in 2015? If you haven't seen her, then it is clear from her pictures she could easily rely on her looks to attain a level of success. It would be very easy to simplify her influences and sell a lot of records. But it doesn't feel like that will happen. Put together the 8 tracks from her 2 EP's this year and you are left with in my opinion the most interesting musical work this year

Dizzee Rascal - "Pagans"

Dizzee Rascal does not seem to have a new album coming out, but he has had a couple of new tracks out, including this intriguing entry, "Pagans". The track was produced by Newham Generals Footsie and is a pretty dark, eerie experience. It's pretty much a trap-style beat, but with dark sonics that are more often featured in British style underground beats. If this track is an album lead-off, it's a world away from the lead-off track, "Going Crazy" of Dizzee's last album "The Fifth", which featured Robbie Williams.

There is a whole new generation of underground rappers that you can catch on YouTube or on pirate stations that are from similar backgrounds and experiences to Dizzee Rascal, but there is always something invigorating about an original coming back to reclaim their territory. I find that there is always an interesting tone of almost panic in Dizzee Rascal's  delivery, but a panic that is under control. On this track you do find him spitting tough bars, re-establishing a flow he has been known for for over a decade now, but after the establishment of the first verse, we are treated to a glimpse of Dizzee's mind and a dose of social commentary, featuring lines about London's criminal underground such as "Devious creatures/Try to stay clear of the preachers/Screaming out 'God can't reach us/Nothing they can teach us, leave us/
and also some worldly views about the younger generation that are turning into adults" Update Facebook status, no hesitation
How they gonna deal with the wolves of the nation"

It's the 2nd verse that reminds me of why Dizzee Rascal will always be relevant. He is really the first rapper from the UK to have a long career, have had chart and critical success and still be going strong. Whenever the new album comes out, it is bound to be worth a listen, because he is Dizzee. Even now with success there will always be lines that come from his own unique viewpoint, about the world he lives in and has left behind.

Oh yeah, the martial-arts/ninja themed video is wonderful too! There is something decidedly Wu-Tang Clan about it!

Superfood - You Can Believe

Today (3rd November) sees the release of the debut album by Superfood. They are from Birmingham, and are led by the charismatic frontman, Dom Ganderton. The debut album is called "Don't Say That". Superfood are definitely the definition of a band that makes "indie" music. It feels like a long time since I heard that sound, but when I came across the track "You Can Believe" I appreciated it straightaway. The first thing that you notice is that the song is really danceable. It's reminds me of an amalgamation between The Stone Roses and some of Beck's early material. It's a really anthemic sound, with a really powerful chorus. If it hasn't been used for a compilation of amazing goals that have been scored there is a person from a TV company who is really missing out on something! Dom Ganderton has produced tracks for other bands around Birmingham who have gone on to success, such as Swim Deep and Peace. It is an interesting scene that is coming out of Birmingham, which has a definite link to Manchester's sound. Superfood are definitely adding to it. You can't be a scene without a number of successes and it definitely feels as if they will be one.

Karen Harding - Say Something

I am not someone who watches The X-Factor. But it seems that this is where Karen Harding first came to prominence. When you listen to her track "Say Something" you think to yourself that they must of had some amazing singers if she didn't win. Of course shows like that are never about the singing! The track itself is co-produced by MNEK and will be released on Method Records. It has a early 90's house vibe to it, but what makes it particularly interesting are the vocals provided by Harding. She has a really powerful voice, which is centered around the middle of the female vocal range. She sounds like a classic female house singer, and will invariably draw comparisons to Whitney Houston as she had a similar vocal delivery. There also seems to feel as if there is an interesting tale to tell behind the song, which gives it a strength behind the retro vibe on the track. It is another addition to MNEK's growing catalogue of hits and will be released on October 19.

Julio Bashmore feat. J.Danna - Simple Love

Julio Bashmore has released a new tune called "Simple Love". It is a very classy sounding house track, something of which he has become somewhat of a specialist in. The idea of something doing exactly what it is says in the title is bought to the fore here. There is a cool female vocal, repeating a direct and simple refrain. Accompanying this is a classic house beat. What I particularly like about this is the way it feels as if it rides on the crest of a wave. There's the intro section, where it feels like the beat is slowly building, with a really prominent 808 clap from the start, followed by the first repeat of the vocal refrain with the beat dropping out. The way it comes back in is brilliantly subtle, just like the rest of this track. It feels simplistic, as if nothing is rushed, but it is still so danceable, lasting just over 5 minutes. Apparently this track is a taste from Bashmore's forthcoming album, which is due for release early next year, which will serve as his first full-length album. Definitely something to look forward to. But in the meantime there is his production work on Jessie Ware's second album, "Tough Love", which will be released on October 6th.

Basement Jaxx - "Galatical"

If you have ever checked out my blog before, you will know that I am a huge fan of Basement Jaxx. Their seventh album "Junto" was released on August 25th in the UK and is another entry into their amazing back catalogue! It will be live when they tour later in the autumn where I and thousands of others will feel the true power of the Jaxx as it is in that environment that they thrive! The track "Galactical" is a bonus track that features on special editions of the album. An aspect of Basement Jaxx that maybe isn't talked about often enough is the amazing set of visuals they have consistently bought to the table. The video for "Galactical" features a Japanese dance troupe called Wrecking Crew Orchestra. It is one of those things that you can imagine will be amazing when it is featured in the live element, because of the illuminating lights that the dance troupe feature in this performance. The song is obviously great, but this is the type of video that makes me super-excited for when I will catch them at the O2 later in the year!

Tricky - Adrian Thaws Album Stream (Keep Me In Your Shake)

On September 8th Bristol hip-hop legend Tricky will release his 11th studio album, which is called Adrian Thaws, which is actually his real name.In the press release on his website the album is described as “Consistent throughout Adrian Thaws is a brooding, searching spirit and a cinematic sense of atmosphere. Tricky’s cinema, to be sure, is noir and then some, but he also knows how to pan back every now and then for a widescreen fantasia.” Having listened to the album all the way through I would definitely say that this is the modus operandi of the album. The track "Keep Me In Your Shake", which features the vocals of German-Nigerian female singer Nneka, is my favourite track on the album. It's that track 4, and I must confess it's an album stopper! By that I mean you mean to listen to the whole album, then you get stuck on the one track! There is a great countryish sounding guitar sample that features through the track. It is taken from the beginning of Alice In Chains "Heaven Beside You". The riff features a cool string bend which sounds awesome here. Underneath the track are the dense atmospheric layers that Tricky's music has become synonymous with. It also features a brooding vocal accompanied by some gentle, but deep felt female vocals provided by Nneka. The title Adrian Thaws is really interesting. Tricky is one of those artists who you always feel like you know very little about, yet here he is giving an album the title of his real name. Anyway, I strongly encourage you to NPR and listen to the album throughly. Make a note of 10:24, as that is where "Keep Me In Your Shake Begins", but the whole album is sounding like the type of album you need to go back and keep discovering new layers to.http://www.npr.org/2014/08/31/343147121/first-listen-tricky-adrian-thaws?autoplay=trueTricky "Adrian Thaws" album stream by NPR

SBTRKT - War & Drums (Live at Reading Festival)

I am definitely excited for the new SBTRKT album, "Wonder Where We Land", which is due for release in the UK on 22 September. If I could pinpoint what I found so exciting about SBTRKT in the first place it was the live show. When I saw it a few years ago it was him and Sampha, which really worked. On SBTRKT's first album Sampha provided a good deal of the vocals and in the live environment even in the tracks where other vocalists were featured, such as the Jessie Ware track "Right Thing To Do", Sampha's beautiful vocals added another layer to the live performance. It will be interesting to see what the live show will be like this time around as the second album features a much wider array of vocalists and Sampha is now a much more established artist in his own right, but it is great to note that they did appear together at Reading, but with what looks like additional members adding to the sound. SBTRKT performed at the Reading & Leeds festival this weekend, and this track particularly caught my attention! It features the vocals of Warpaint. The track itself has a beautiful soundscape quality to it. The actual words are pretty hard to make out. It kind of reminds me of something I'd expect to hear from Bat For Lashes in that it has quite a psychedelic/worldbeat type of feel to it, mixed with some other worldly-type synth sounds. The thing about SBTRKT that makes him stand out in live performances is the frenetic energy on stage, whether that is his accomplished drum playing or what looks like a mad-rush as people try to work the electronics! Both elements can be seen quite clearly in this wonderful performance. I will catch the live show on October 2nd at Brixton Academy and I can't wait!

The British Class Club Night - 28th August, The Amersham Arms

http://www.skiddle.com/whats-on/London/Amersham-Arms/The-British-Class/12239444/ Only 8 days to go until the launch of The British Class club night! I have been creating some new tunes that I will be playing on the night. I think that is one of the ways I will be paying tribute to the artists that have inspired me. It's a great coincidence that the new album "Junto", from my favourite British act of all-time Basement Jaxx will be released on Monday 25th August. Expect to hear quite a few tracks from that! Another album I have been streaming this week is Royal Blood's debut album. They are definitely an act who I am rather excited about. I can't wait to see how the power and force from the album will translate in the live setting, with only 2 people! Surely they must have that unknown person who hangs in the shadows as a "touring member". British music: A seminal dance act and a new exciting rock acts have new albums released on the same day. That is The British Class!

Kele - "Doubt"

Kele Okereke, lead singer of Bloc Party, who is one of my musical heroes will return on 13 October 2014 with his second full-length solo album, which is called "Trick". The first offering heard of the new album was premiered on Steve Lamacq's 6 Music show. The track is called "Doubt". If you have heard any of Kele's solo work, you'll find something reassuringly familiar about "Doubt". The first thing that drew me into Bloc Party's music was Kele's voice, which always sounded best on songs of longing and regret. There is an intimate quality to it, yet I have seen Bloc Party play such venues as the cavernous Alexander Palace with over 10,000 people and there is no doubt that Bloc Party were festival/big-crowd pleasers. From there Kele's solo stuff has (obviously) maintained his voice, but accompanied with some great dance beats. Often the best tracks of Kele's have a UK garage skittering type feel to them and Doubt is a good example of this. As well as the UK garage element, there's a cool deep house bassline underneath. But it once again is the voice that is the most important element, retaining that beautiful quality. Steve Lamacq talks about Kele's songwriting ability having a wonderful balance between an almost raw honesty, in combination with sounding ambiguous at the same time. It leaves a listener to draw their own meaning and poignancy to the lyrics, which is not always something that you can say with dance and electronic music on a regular basis. Anyway, "Doubt" is another great piece of work from an artist who has been so important to British music in the last decade in my opinion.

Imogen Heap - Run-Time

Today (Monday 18th August 2014) marks the release of Imogen Heap's fourth album "Sparks". In the UK it is released on her own label, Megaphonic Records, in America it is released on RCA Records. I became aware of her work when "Hide and Seek", from her second album "Speak For Yourself" received publicity. That vocoder sound on that track is both mechanical and moving; it sounds like a robot's lament! You may be more aware of it as the chorus was sampled on Jason Derulo's "Whatcha Say". "Sparks" was started off when 900 sound samples were sent in by fans. My favourite track from the album is "Run-Time", which was initially started off as an app collaboration, that would change music as you run. I think there's something about the way the music moves in "Run-Time" that you can feel that element. The track starts instantly with a burst of 80's dance energy (that initial burst you get as you start run), the verse begins with Imogen's great voice (like when you settle into your pace) and when the chorus starts up again there is that shot of dance energy coming back again! The breakdown feels like the bit you are struggling, before you are once again re-acquainted with the catchy chorus. There is an additional minute or so of music at the end, which is a complete departure from what has coming before. There's a sound build-up before it breaks out into another 80's style dance-type rhythm, but one which is different to the first. If I was to describe it I'd say it was the type of thing that was found on La Roux's first album. I love the video too! In it Imogen Heap wakes up, walks around, frequently breaking into some funky dance moves. That is a very simplistic review, but if you check out the video you'll be drawn in by the freedom of movement and the scene at the end where a crowd is just dancing in unison.

It was only by the third time I had listened to the tune and stopped dancing around to it that I actually focused on the lyrics. It is one of the happiest break-up songs of all-time! From her point she knows they are breaking up and you'd sense that her partner does too, But there seems to be an agreement that they should do it now, before it gets too acrimonious. The chorus is a perfect illustration of this;
"You know we've had it good, we've had it bad, so no hard feelings.
We've done all we could and all again. I’m done pretending.
Let’s quit while we’re still friends."

I think the elation and freedom of movement that is shown in the video goes perfectly well with the song, highlighting the freedom and relief that the subject now feels about being single, after a relationship has turned a bit sour.

 "Sparks" is a great album. Pieces have been heard over the last 3 years, but now it is released as a full work. It continues the trend that Imogen Heap has for creating eclectic music, that makes you listen, but still can make you get up and dance, as found in "Run-Time".

New Cross Music Crawl/The British Class - 28th August 2014

New Cross Crawl/The British Class by Johnni Lightning on Mixcloud

On Thursday 28th August 2014 at 9.30pm at The Amersham Arms, 388 New Cross Road, London, SE14 6TY it will be the launch night of The British Class club night! This will be the after-party of the New Cross Music Crawl, which will be an amazing night of music. So to celebrate and promote this I have composed a 30 minute mix. Here's some details: Track 1: Billy & The No Mates - "Dreadnought" - One of the acts that will feature at the Crawl. A garage-rock/jams band. Track 2: Soundacity - "Mama Aura". This group is based in London, but their music is a fusion of Colombia, Andean music, nature, rock and digital sounds. Felipe Duarte will be performing an acoustic set on the night. Track 3: Edit/Select - "Palm" - This band will be concluding the Crawl at The Amersham Arms. They are an alternative/indie band from SE London. There is something uplifting about "Palm" which made me want to highlight it on this mix. It then segues into... Track 4: Basement Jaxx - "Where's Your Head At" - They are the band I have watched in concert the most. They are such a great example of British music. So diverse, so much energy. If you have caught them live, you'll know that this track is a real energy moment! Track 5: Audio Bullys - "We Don't Care" - There's a punky attitude to this track, in a similar vein to "Where's Your Head At?" I love the delivery of the vocals. Track 6: The Prodigy - "Breathe" - If you're going to make a mix of British music, you need The Prodigy! They're another act who have such an amazing live performance. "The Fat of the Land" was the first album that Keith Flint provided vocals on. It was also their international breakthrough album, reaching number 1 in America. Track 7: Plan B - "Ill Manors Remix" - Plan B in my opinion is the greatest British rapper of all-time. And an amazing singer. "Ill Manors" is amazing, but The Prodigy remix adds a little extra to it. Track 8: Boy Better Know - "Too Many Man" - So many times this is a sentiment I've felt in the club! The fact this track has a great sense of humour with a banging beat makes it quintessentially British! Track 9: Calvin Harris - "The Girls" - There is a kind of Benny Hill feeling to this track, the way the different types of girls are listed. But it's an example, when British artists do tracks about getting lots of girls, it's done in a playful way! Track 10: Cooly G - "What Airtime" - Highlighting the fact Britain has superb female producers this track is off Cooly G's Hyperdub album "Playin Me". The way I'd describe this track is dark UK funky. Track 11: Jessie Ware - "Running (Disclosure Remix)" Jessie Ware is one of those singers whose wonderful voice seems to have been featured in so many places recently, including on Disclosure's "Settle". I have a soft spot for Disclosure as they grew up in Reigate, like I did. Plus they make amazing music! So there it is. An explanation of my mix. The British Class launch night will be a great night. Make sure you come down to The Amersham Arms to check it out!

Shystie featuring Jalissa - "Stop"

Shystie has a new track that will be released on 14th September. It is called "Stop", is produced by Deanyboy and also features the vocals of Jalissa. If you are not aware of who Shystie is, and if you are outside the UK that may well be the case, she is an amazingly talented and beautiful female rapper, from Hackney, London, who in the past few years has branched out into modelling and acting. There was a point in the mid 2000's where after the success of Ms Dynamite it felt as if Shystie was going to be the next British female rapper to become a commercially successful artist. She was on the major label Polydor and released "Diamond in the Dirt" in 2004. The album was certified as silver (60,000+ sales in the UK) and produced one top 40 single, "One Wish", but that isn't really what Polydor searches for. She has popped on mixtapes, had a fight with Azealia Banks (shocker!), but "Stop" feels like a proper return. The tune has a 90's rave vibe to it. That is provided by utilisation of a sped-up drum sample of James Brown's "Funky Drummer", sampling the bit that begins at 5:35 of the tune. It has been used countless times, with my favourite being in LL Cool J's "Mama Said Knock You Out". The best thing about this particular bit of the sample is that it provides a driving backbeat, which can be manipulated by the instrumentation to sound hard or soft. In "Stop" the sound is 90's rave as it features a prominent piano chord rhythm, with a great sounding bass. Then there are Jalissa's vocals, which are also 90's sounding, particularly the repeated refrain "Wait a minute", which is repeated in a way that you often hear in those rave tracks. Shystie rhymes with a determined flow, as she always does. It seems as if she is giving words of words of wisdom to a friend in a difficult situation in a take no prisoners fashion. The track is on Radio 1Xtra's C-List at the moment. But there is a vibe to it that makes you think it will be a commercial success the more people become aware of it. As I said before it's great that Shystie has returned in full and shows she is great!

Submotion Orchestra - "City Lights"

I was first made aware of the merits of Submotion Orchestra when my brother made me aware of their second full-length album "Fragments". They are a 7 piece band who were formed in Leeds in 2009. Their website describes their sound as "a fusion of bass-heavy electronica, jazz, soul and much more besides...", but it's the three elements mentioned that most clearly shine through in their work. They are a phenomenal proposition live. I caught them on their last tour at Koko and it is definitely in that arena that they most clearly shine. They are about to release their third album, "Alium", on November 3rd. It will be released on Counter Records. And a November tour around Europe will follow. The song "City Lights" is a great taster for the sort of thing Submotion Orchestra do. The female vocals, provided by Ruby Wood, are beautifully delicate and heartfelt, capturing the feel of a city, illuminated only by lights, after the chaos of the day has passed. The beat that accompanies her vocals has a broken-beat/jazz type feel, in the fact the beat has snares that are staggered. It's a sound that is often found in the dubstep that Magnetic Man/Benga came out with. I love the way it feels as if it shuffles along, but in a smooth way. The instrumentation is quite jazzy, as in most of Submotion Orchestra's work and there is a trumpet solo that is best described as classy towards the end. To be fair, that's the way I'd describe Submotion Orchestra in general on record. But I'll re-emphasise, when they are live they bring another dimension of danceability to their music. Can't wait to catch them live in November!

Lethal Bizzle ft. JME & Tempa T - "Rari WorkOut"

Lethal Bizzle is one of those rappers who is about way more than the music. If you are reading this from a foreign land and you may have not come across him, he truly has maximised the use of social media and the way he has done that is by showing his great sense of humour. My personal favourite was his critic of Tulisa's so called "sex-tape", which barely qualifies as a sex-tape, because of many reasons, but chiefly amongst them is Tulisa's blatant disinterest in the task at hand. Lethal Bizzle's new track "Rari Workout" was premiered on Mistajam's radio show on 17th July, but the video of Bizzle fist-pumping along to the hook had already gone viral, from around April, and there were already many people imitating it, in ridiculous ways, which is definitely necessary for a viral video! There is now an animated video. Apparently they are looking for a suitable female model for the proper video. I'm sure that will be hilarious. As for the track itself, it's a high-energy dose of a grime type beat. It's definitely one of those tracks that you can imagine being a summer hit. The hook is ridiculously catchy for a start! And the sentiment behind the song has a meaning to it as well; working out is a thing which has so many benefits. It's Lethal Bizzle's verse that I particularly like because he captures so many of the things guys go to the gym for; for the ladies, for the beach body and stepping in the venue with a "No clowning around" attitude. But JME and Tempa T have 2 excellent verses that are amazingly hyper too. It would be great if Lethal Bizzle could release an album. He hasn't released a proper one since 2009's "Go Hard". But as someone who works in a school I know full well that there aren't as many artists who have used social media to create a whole new generation of followers, who are surely going to go out and get this high-octane slice of grime-rap when it gets released.

M.I.A - "Gold"

A new track has emerged from M.I.A. It is called "Gold" It features the production of Dutch production duo The Partysquad (DJ Jerry and MC Ruben) and is taken from their Summer 2014 mixtape, which features a number of remixed versions of tunes such as "Nobody To Love" and "Eat, Sleep, Rave, Repeat". It's a really wide-ranging eclectic set and well worth 77:21 of your time. However M.I.A's track, which is a particular highlight begins at 45:25. The Partyswuad did work on M.I.A's fourth album "Matangi". It has a sort of Moombahcore sound, clocking in at around 104 beats per minute, similar to the sort of thing you'd expect from Diplo. It has this manipulated horns forming the basis of the melody, a banging beat and some extra whistles added over the top at various places. I love whistles! When hear them it automatically sounds like a Brazilian party. M.I.A raps over the top with her distinctive flow, which is always sassy and confident. The hook "Show Me Your Gold" is repeated in a dispassionate way. In my head it's almost saying "Show the gold, but it doesn't prove anything". It's almost like a metaphor for M.I.A's career in that she pioneered a lot of things which other female artists have taken and sold a lot more records with (The look for Rihanna's "Rude Boy" video, the Diplo beats Beyonce used in "Run The World (Girls)".). The track lasts for about 2 minutes and then flows back into the mixtape. It's a standout moment for sure though!

Kyogi - Not Good Enough

When I first heard this tune it was the soulful male vocal that caught me straight away. There is a sort of blues/gospel feel in the sample. This gets enhanced by the fact there are times where you can hear excerpts of a choir behind him. The sample is taken from a classic 1980's tune by Colonel Abrams called "Trapped". If you hear the original the soulful quality is in Abrams voice rather than the music and Kyogi has used and chopped this sample in a great fashion. The tune itself rises and swells with really cool melodies, bass and synth work. It's interesting to note that there are elements of 80's sounding house, but there is a definite modern summer feel to it. I guess that comes from the intertwining way the synths rise and fall during the tune. It's amazing to log onto Kyogi's Soundcloud and discover he is only 16. That is the beauty of music nowadays. Anyone can have access. Put out a tune. If it's good it'll get attention. "Not Good Enough" was released on Locked On Recordings on 18th June, so I am a bit behind the curve, but the more people hearing this tune on Radio 1 and the rest the better!

La Roux - Tropical Chancer

La Roux's second album "Trouble In Paradise" is set to be released on 21 July. The most interesting aspect of this for me is that Elly Jackson and her long-term songwriting partner Ben Langmaid split during the creation of this album. His influence is still sprinkled over the album, though this may explain why it took 5 years between album number 1 and 2. It is always interesting to note a difference between a group when a pivotal member leaves. If you have ever heard the difference between NWA's "Straight Outta Compton" and "Efilzaggin" it is quite clear that Ice Cube's departure between the albums removed the social content of the group's lyrics, and what you were left with was misogynistic, nihilistic gangsta rap. Amazingly produced however! So, of the songs I have heard on the new album my favourite has got to be "Tropical Chancer". The first thing I noticed (well after the fact it sounds a bit like a slower tempo, tropical version of "Get Lucky") was that Elly Jackson is singing in a lower register than she was for most of the debut album. I loved her falsetto, but here her voice sounds beautifully relaxed, flowing well with the laid-back funky groove. There is still that 80's sensibility to the work, but not in the synth-pop style featured on the last album. The lyrics seem to be about a pretty dodgy geezer; In a way it reminds me of the character featured on Arctic Monkeys "Brianstorm","He'll trade your loving for the things he's never seen/The places he has never been", being a lyric sample. This track is instantly catchy and effortlessly easy. It catches the heatwave perfectly. As I mentioned earlier the direction of La Roux's second album will be interesting, but she has the voice and the vibe and that is what garnered her attention in the first place.

SBTRKT feat. Sampha - Temporary View

As Sampha struck out on his own with 2013's "Dual" EP and as he gained a greater prominence within the music industry I was glad to see it happen, as he is such a great singer, but a thought did hit me; "Would there still be as many collaborations/live performances with SBTRKT?" I caught them live on their last tour and the synergy that the 2 of them had in their live performances was a great site to behold. The beats that SBTRKT creates flow so well with Sampha's voice and "Temporary View" is one of those tracks that SBTRKT does so well, in that it's laid-back, but still retains a bit of an edge. There's an organ sound that sounds so summery and wistful, and combining this with the post-dubstep type of drums and Sampha's soaring voice this is an excellent kick-off to what will hopefully a soon forthcoming second album.

Basement Jaxx - "Never Say Never"

Basement Jaxx are my favourite British act. I have lost count of the amount of times I have seen them live! Whichever setting I have been able to witness them live it has always been an amazing experience; whether that has been in a packed Brixton Academy, on a lovely summer's evening at Somerset House or re-interpreting their extensive back catalogue with the Metropole Orkfest orchestra. It was after the gig with the Orkfest that I was lucky enough to run into Felix Buxton and engage in a 5 minute conversation with him. He was still buzzing after hearing the amazing interpolation of their work, yet he was kind and courteous and was an advert for meeting your heroes. Tickets went on sale today for their run of dates in November/December in the UK and once again I will be excited to see them. I'll be going to see them in London at the O2 Arena. If you have never seen them in a live setting you really need to! Amazing music, part DJ set, part carnival, with a powerful cast of rotating singers and general craziness! The tour will be to promote their seventh album "Junto", which is due for release on 25 August. A couple of tracks have dropped; the latest being "Never Say Never", which features ETML on vocals. It's one of those Jaxx tracks that is gentler and has a feeling behind the words. As well as the party starters that make people go mad such as "Where's Your Head At" or "Jump and SHout" Basement Jaxx have always done mellow feeling tracks really well and this is another continuation of that. One other thing they have done amazingly through their distinguished career is introduce new vocalists to a wider audience and they have done this again with Londoner ETML, AKA Elliott Marshall. I can't wait to catch this uplifting track live in December!

Goldie - Timeless (Live with Heritage Orchestra)

Last Saturday I was at the Royal Festival for the live re-creation of Goldie's 1995 album "Timeless", in conjunction with the Heritage Orchestra. It was part of the Meltdown festival at the Southbank Centre, as curated by James Lavelle of Mo'Wax fame.

     The first thing thing I have got to say is that it was mind-blowing! Timeless itself is one of those albums that still sounds so fresh, even as it approaches its 20th anniversary. I mean if Inner City Life is dropped at a drum and bass rave it will still provoke a massive reaction. However to feel the power of the song re-created by a 3-man drum team (a main drummer, secondary drummer and a percussionist), an awesome vocalist, live instrumentation and an orchestra is something that I feel so privileged I was able to see in a live environment. This video is of surprisingly good quality, posted on YouTube by Miriam McGinty-Lowe, and lasts for 20 minutes. I am glad this is the clip posted, because this felt like the first moment the crowd lost themselves in the music, rather than be overwhelmed by the awesome sound and spectacle of the night. It was also the first time that Goldie came on-stage and when he did it added an extra dimension, because it truly felt as if he felt he just had to be right in the midst of the sound he had created. The joy and energy that he felt as he moved around on-stage was a sight to behold! So, check out the video and bring out the amazingness that is Goldie's album Timeless again!

Jessie Ware - Tough Love

Last night (June 16th) Jessie Ware premiered a new song called "Tough Love". It is taken from what will be her second album, which will be released on August 3rd. It is the result of a collaboration with the production BenZel (Umi Takahashi and Yoko Watanabe, originally from Osaka, Japan) and Jessie Ware says in this track she is "experimenting with her voice". She says this is the guiding track, like "Devotion" was for her first album. If this is the direction she is going in that is definitely a step into more experimental territory. If you compare the vocal delivery she is singing in a much higher register on "Tough Love". I guess that is what she meant by experimenting with her voice. The beat behind it also has a sort of 1980's beach movie vibe to it. The kick drum stays there constantly, but the sound of the snares sort of floats in and out in a really ethereal way. The same is true of the melodic instrument. The reason I compare it to a beach sound is that it is like they come in and out in the fashion of a wave and sounds so beautiful. Whether Jessie Ware has featured on more up-tempo dance numbers like her work with Disclosure on Katy B's "Aaliyah" her vocals have always cut through with a delicate ease. It's wonderful to still here that this is what we will be continuing to hear on her 2nd album.

Rubee Rayne - DSYLM

Jungle - Busy Earning

As the weather in Britain eases up this week a new song is released by Jungle, which sounds really triumphant and invokes hazy days of summer, which will be around the corner. They have a sound which is now very identifiable. It sounds like a 70's soundtrack in the beats and the fact a number of them seem to be singing the vocals. It's really funky, but in a really laid-back way.

Who exactly they are is another question, which isn't exactly answered by the 20 or so people in the publicity photo on this track. But who cares anyway!

Redlight feat. Lotti - 36

Redlight is a producer from Bristol, England who has made some of the most interesting tracks in the past few years. My favourite was "Lost in Your Love", closely followed by a banger he produced for Mz Bratt called "Selecta". His music is a mixture of UK Funky, House and Garage. His new track "36" is taken from a forthcoming EP of the same name, which will be released on 10th March.

It is a classic sounding dance track with 1980's type of sounds involved, from the bassline, to the drums and the robotic man in the chorus saying "36,000 Thousand Feet". For me the strength of Redlight has always been that he has melded sweet female voices with great bass-sounding instrumentals and Lotti's vocals on this one are no exception.

Klaxons - Children of the Sun

The Klaxons have released the second part of their double A side single and it is called "Children of the Sun". The thing I find really interesting about this track is that it was produced by Tom Rowlands of The Chemical Brothers. There's a strong glam rock stomp type of feel that pulsates through the track. It's got a great melody on it and has that Klaxons vocal style to it, but here it sounds like a call to arms, rather than a melodious daydream. Klaxons probably lost a bit of heat after their second album, but this feels exciting again. Different, but exciting!

Songs of 2013 - Julio Bashmore - Peppermint

This track from Julio Bashmore surfaced in September 2013. It features the vocals of Jessie Ware, who has collaborated with him many times before, probably to the best effect on "Imagine It Was Us". This tune features her weaving her way in and out of the track, with delicate ease.

Julio Bashmore is from Bristol, which is an area that has produced a number of British dance music heroes, most notably Massive Attack, Portishead and Roni Size. The difference with Bashmore to a number of acts is that his style is closer routed to American style house music. It is still unmistakably British though. To me when I hear American influenced house it depends a lot less on the bass element than it's British equivalent. It's definitely a sexy sound and this is emphasised in this track by the fact Jessie Ware's vocals repeats "I'm hot for you, whatcha gonna do" a number of times. I love the bell sounding synth line that is featured prominently in the track too.

Julio Bashmore is scheduled to release his debut album this year after a number of underground hits. He hopefully will enjoy the success of his musical brethren Disclosure. I am looking forward to his new material this year!

Javeon - Give Up

Javeon is a singer who is on PMR Records. This is the label that bought us Jessie Ware and Disclosure and you can see exactly why someone with the style of Javeon is signed to the label. It's not like he is a direct copy, but he is definitely in that family. "Give Up" has that garagey feel, with R&B style vocals.

This song came out a month ago and for me there is something of a flavour of the stuff MJ Cole blessed us with on the album "Sincere". It's got a laid-back, summer type of vibe, with classy understated vocals. It's a great song, which will hopefully be the precursor to a great album.