JME - "Integrity"

JME's new album "Integrity" was released earlier this week, approximately 2 months after the video for the title track from the album appeared online, accompanied by a sparse, but effective video, which features JME rapping with a determined intensity to a single camera, surrounded by a hefty collection of records.
The track itself is firmly rooted in grime, accompanied by a beat that has strong dubstep influences. It's a really moody piece of atmospheric music. I love the way it features a bassline that alternates between 2 notes, held for about 4 beats. It feels like it keeps the track centered and is duplicated with a higher sounding synth playing the same notes. The whole beat is centered, giving JME a chance to tell his story, which is what I love about the track. I have always been aware of his existence since he emerged back in the mid 2000's as a member of the Boy Better Know crew, but what I find particularly intriguing is the bits where he talks about his dealings with major labels, when he had a hit with "Serious" in 2006, which is from around 2:30 in the track. With a more animated flow than he displays at the beginning of the track he details such experiences as "bare meetings with pricks". With Skepta reaching the top 20 and the performance that Kanye West put in at the Brits, featuring a number of prominent grime MC's it could be a very interesting time for the genre. But another truth is that it could lead to a rush of labels eager to sign young MC's, many who are building up their following through their YouTube plays, rather than the pirate radio days where Boy Better Know established their following. Is it strange that Kanye West's performance reinvigorated the genre's mainstream cache? (I say this as if you hear Skepta's track "Shutdown", it features a sample of an outraged critic who was intimidated by the visual of a gang of young men all on stage in black). I think the answer to that is probably.

Anyway, the JME album called "Integrity" is well worth a listen. The thing I appreciate most about JME's flow is the controlled intensity. That is featured throughout the album. I'd love for it to be a mainstream hit, showing you don't have to compromise anything to sell records. It won't, but I certainly appreciate his work and with some of the excellent reviews the album has received I imagine many more will check out his work.

The Chemical Brothers feat Q-Tip - Go

I am extremely excited about the fact Chemical Brothers will release their new album "Born In The Echoes" on 17th July. They are now at that stage in a veteran act's career where a new album often can feel like an advert or an excuse for forthcoming tour or festival dates. And while Chemical Brothers will indeed by appearing at a number of festivals over the summer the 2 songs that have been displayed to the world as tasters for their new album are certainly adding tracks that will be worthy additions to their amazing live back catalogue. "Sometimes I Feel So Deserted" is a certain banging 4x4 thump track. There is a certain relentless to the track provided by the drum beat and the insistent hand claps and propulsing synths that are a wonderful feature of the track. And interestingly a few weeks later we get taste number 2 (also track number 2) which returns to familiar territory by featuring Q-Tip, who was utilised so amazingly on "Galvanise".

This track is certainly no carbon copy though. I love the drumbeat. When you have a house track that goes at 120bpm it often sounds really good I think because you maintain a sense of propulsion by having it at a relatively fast tempo, but by slowing it down from the typical house bpm of 128 you can give tracks an extra sense of funky momentum and that is certainly used here. Then to compliment that the bass line is funky, featuring lots of short little repeated notes in short bursts, followed by a rest. I love the effect it gives, like an exertion followed by a quick rest.

I love the bit where Q-Tip comes in, at first saying "can't think, can't sleep, can't breathe", then breaking into a beautiful flow, which emulates the insistent bassline, with a slight increase in tension as we hit the chorus. In that chorus there are some Euro-sounding synths, that isnt really a common Chemical Brothers thing, but here it gives the track an extra energy, with a subtle nod to some of the tracks we have heard in the intervening 5 years since Chemical Brothers last studio album; fresh, but classic sounding. If I were to take a guess it does feel like "Go" will be the track released as a single, whereas possibly "Sometimes I Feel So Deserted" is a track to start off the new live show. But whatever happens it's a near certainty these 2 tracks will be featured in forthcoming Chemical Brothers live sets and they are worthy and exciting additions.

The video is simple and effective, featuring women in what feels like a machine propelled around a futuristic district for indiscernible reasons. I like it as well.

Jess Glyne - Hold My Hand (MJ Cole Remix)

Jess Glyne is currently at number 1 in the UK charts with "Hold My Hand", but rather than the radio version, it's the MJ Cole remix of the track that is my favourite. The element that I like most about the track is the UK funky style drumbeat that is at the song's core. It features only a snippet of Jess Glyne's vocal and instead becomes a tune within it's own right. MJ Cole is a producer I have been a fan of ever since he was creating the best album to come out from the UK Garage scene, "Sincere", which was released in 2000. I think my main thrill from hearing this track is that MJ Cole can still create something that is soulfully amazing, but maintains a wonderfully danceable element to it. It feels like a long time since I heard a piece of UK Funky music, but I always think it is a sound which is so appropriate for the summer months and this remix is a great example of this.

Boxed In - "No Joke"

Boxed In is the name that London based producer Oli Bayston has chosen to give to his first solo venture. He used to be in a band called "Keith" (what a British name!) but now produces and contributes vocals to his own music. His debut album is out today (19th January) and sounds like a really interesting collection of songs. The most important element to his music is the sense of danceability that can be found. Generally the album consists of Housey style drums, in conjunction with a prominently featured keyboard/piano part. It's the sort of style that is reminiscent of Hot Chip and I have seen an article on the Guardian's music section where the similarities have been mentioned. It is definitely true that in the beats there are parallels, but where I can also hear it in Oli Bayston's voice which reminds me of Alexis Taylor from Hot Chip's voice. There is a gentle charm and tone which can be found in both of them. It's this endearing quality that has sustained Hot Chip through 5 albums and hopefully it will do the same in Boxed In's case.

There are many highlights on the album, but my particular favourites are track 1 entitled "Mystery" and track 5 "No Joke". There is this really cool, simple and prominent keyboard riff at the heart of "Mystery" which I love. I also love the fact it sounds like a 1970's funk track. "No Joke" has got a cool and smooth 2-step garagey beat at it's core, but played on real drums. And there is this real subtle bassline that keeps moving through the tune that I really like as well. And as I have mentioned before the gentle charm of Oli Bayston's vocals comes through into this track really well.

It's a really great way to discover that there are new UK acts coming through with such deliciously sounding danceable music that haven't been super-super hyped, but are just coming through with quality. It's the sort of stuff that makes you start thinking of festivals already. The album is released on Nettwerk Records.

Tinie Tempah - "Flash"

British rapper Tinie Tempah has released a new video for a track entitled "Flash", which is produced by London producer duo Splurgeboys. The video highlights what seems to be a particularly fun trip to Dubai for a one-off show. Well, it must be fun if you are a young and successful rapper! Beach shenanigans and driving around in flash cars is the name of the game. But you can never deny that Tinie Tempah does not deserve his success. The reason why he succeeded is because he always had a wittiness with his wordplay that was still apparent despite his mainstream success. There are some clever wordplay moments in this tune too, even in the midst of the decadent celebrations, and even a reference to the boring (in my opinion) British dinner party show Come Dine With Me
"So many shots, it's like gun crime
My semi cock, girl, let it pop
This Celebrity Come Dine"

The beat is really quite dark and menancing and quite gritty. The powerful bass sound provided by the sub-bass and the leisurely tempo of the drumbeat are the components that give it this feel. Though I heard it on computer speakers that sound is magnified when you hear it on a really good set of speakers, ideally in a club environment.

Though Tinie Tempah is not speaking about something I have experienced I feel personally that the fact he can boast about what he actually has, as a British rapper, and the listener can actually think to themselves "Yeah, he's boasting, but he probably does have all this stuff" is a reason for celebration in my opinion. It's not clear what this surprise release is in aid of, but whatever it's for, it's an interesting slice of British rap music.

Years and Years - "King"

Years & Years are a 3-piece electronic act that are one of the most hyped new acts to grace the UK music scene in 2015. They won the prestigious BBC Sound of 2015 polll, which I think about is almost a guarantee of a chance of success, by the nature of the poll as it is compiled featuring the input of a significant number of people who will decide which records will be played in the forthcoming year.

The lead singer of the group is Olly Alexander and he is what propels the 3-piece into a particularly intriguing realm. His voice sounds very dramatic to me; it is relatively high for a male, but emotional and melancholy at the same time. On their latest track "King" another example is provided of this element to their music. Alexander was quoted in an interview with The Red Bulletin saying about the inspiration for his songs being melancholy; "For me that’s usually painful emotions or feeling like I’m not good enough."

  In "King" the lyrics seem to be pointing towards a relationship where the singer has come to the realisation that the relationship he is in may not have been as positive as he once believed it to be. The lyrics are full of the emotions of being under control and wanting to break free. Olly's soaring voice, backed by a sort of 90's Balearic tune, with pop sensibilities and melodies accompanies this perfectly.

It is the album that will be the true test of their longetivity. The UK has seen a number of acts in recent years use House-type beats and propelled them to the upper echelons of the charts, such as Disclosure, Secondcity and Route 94. Years & Years feel like a continuation of this, but with a greater leaning towards synth-pop and the fact they are fronted by a male singer, rather than producers, with a rotating cast of guest vocalists. "King" is due to be released on March 1st on Polydor.

The Prodigy - Nasty

The Prodigy have announced they are to return with a new album "The Day is My Enemy", which will be released on 30 March, via their own label Take Me To The Hospital. The first taster of the album is called "Nasty".

My first reaction upon hearing the track, is "They are back!" The beat clocks in at around 138bpm, which automatically gives it a different vibe and energy to the dance music that has been prevalent in the UK charts over the past few years, which has predominantly been at the classic house tempo of 128BPM. It sounds instantly familiar, which I feel is a strength of the track, and by that what I mean is it has a similar sound to that which was found on their last album, 2009's "Invaders Must Die". It has a belligerent sound, where the hyper-aggressive drums are accompanied mainly by a simple, pounding and aggressive riff, which features in the bass and the guitar/synth part, doubling the part for extra emphasis. It will translate extremely well live I imagine (which by the way is the best way to see The Prodigy. They are one of the few bands who can appeal across all genres, and you always hear reports of them smashing festivals. But my favourite place to see them is in Brixton Academy, as I have done three times.

Keith Flint's vocals have always been a crucial element to The Prodigy's mainstream success. By that I mean tunes like "Firestarter" and the all-important live element. When he did not play a main part in the group and it was primarily Liam Howlett producing it did not feel quite the same, and I know that the group has referred to it in previous interviews, particularly around the press of the last album. Keith doesn't over-power you with over-complex sentiments; the delivery is punky and full of attitude. It is a very British sounding delivery. The chorus is really catchy, but anthemic prominently featuring the word "Nasty".

And that quintessentially is what The Prodigy are to British music. They have been at the forefront of popular dance music for well past 20 years, but when they return as well as evoking the past, with things like Keith Flint's punk style delivery, it still feels like they represent a feeling of the current, whether that is frustration with some of today's current music, or with wider societal issues.

Roll on May, when The Prodigy will be touring the UK, and I can hopefully get tickets for their gig at Alexandra Palace on the 15th or 16th!