#jayosborne

After five years without any music releases, London born boy Jamie T returns to our ears with his third studio album Carry On The Grudge. Released on the 29th of September and with singles “Don’t You Find” and “Zombie”, this freshly revealed album can only be seen as an abnormal turn in the road for the unrefined indie kid songwriter we’ve all come to know and love. If you’re expecting the same raw, unset sounds of Jamie’s first album Panic Prevention (2007) and hope to smoke out tracks that resemble the messy house party stained carpet tunes of his second album, 2009′s King & Queens, then there’s probably not a lot on this record for you. Apart from the odd dab of his trademark untuneful vocals and candy pop style synth riffs that can be found on a lot of Jamie’s earlier commercial tracks, little seems to remain of old school Jamie T, but does that necessarily mean a bad thing? Jamie Alexander Treays aka Jamie T, found fame when radio one DJ Zane Lowe made song “Salvador” his single of the week and the track “Back In The Game” his hottest record in the world in 2006. This gave Jamie the ideal platform to promote his music for the masses, gaining him an ever growing fan base within the indie student party communities of the time. Later, songs “Sheila” and “If You Got The Money” also made their way onto radio stations top record playlists and DJs’ favourite picked tracks of the week, this carried on throughout 2006. As a commercial music artist with hoards of ever hungry fans, it must always be a difficult task to produce fresh material when never knowing if fans and followers will cherish the newly forged ‘tour de force’ music as much as the intensely idolised treasured work of your previous releases. I believe a good artist is an artist that is not only able to break away from the abiding shackles of their enforcing ‘do this do that’ record label judgments, but sees them embrace this needed compositional free rein with the added ability of keeping the fans and audiences fully fanatical with the material that’s being created, released and performed. Carry On The Grudge is a purely marvellous example of that. Although this album presents itself yards away from any prior Jamie T workmanship, as I’ve already said, there are similarities between more specific elements of the tracks (certain themed melodies and chordal progressions for example), but not a massive amount. It seems the album has had a more subtle and concentrated approach within its composition. Having the track “Zombie” as the choice of his latest single release seems to have been chosen possibly due to its upbeat nature, commercial saleability and Kings & Queens-esque styles. It always makes sense for an artist to release a single that can reel in the crowds and entice them in with the prospect of an exciting album, but from my experience, its always a disappointment when the majority of the album vastly differs from the released single; I’m a big lover of mixed genre bands and artists, trust me, but there has to be some sort of relationship between tracks somewhere along the line: to be lead on by certain expectations and presented with something different is always a downer, no matter who or what it is. This album could easily have fallen into this misleading trap, but seems to have saved itself and created a whole new Jamie T style label that shouldn’t be frowned upon or dismissed in haste. First single release “Don’t You Find” was first aired by none other than Jamie T fan Zane Lowe in July, and ‘surprisingly’ made it his ‘hottest record in the world’. Lyrically the song represents a possible love loss and the thought of missing someone when you shouldn’t be, Jamie has cleverly married this lyrical subject perfectly to the tonality and air of the song, producing a wholesome yet sorrowful feel to the track. It’s simple, straight but sad. A strange choice for a first single release, but certainly gives the listener a true illustration of how the rest of the album is pieced together and presented. Jamie has a more tidy approach to the singing on this track and showcases alluringly cold tones with the addition of added effects and verbs used in a very tasteful fashion. A beautiful track that could possibly be seen as one of the classics within his future back catalog. “Zombie” was chosen as the second single from the album and was released in August. As explained, it’s a surprise that this track was picked as the second release and would probably have made a better impact as the first. “Zombie” starts with a vintage style indie guitar/vocal vocal breakdown before punching it’s way through into the initial track. This track offers the more original sounding, primitive workings of Jamie’s first two albums. With just a basic instrumental layout (guitar, bass and drums) it really lends itself to his brutally earth-ish side of writing. This track really is the ADHD kid of the class: hyper, in your face, raw and much louder than the rest of the well behaved students. Supplying us with another catchy hooking chorus, it rivals earlier album songs “Sticks & Stones” and “Sheila”, where people know very little of the lyrical content, only able to sing out (scream) the brain stained words of the chorus. The rest of the album is a sterling collection of pretty faced dumbed down anthems, with the applied genius lyrical lines of Jamie T blended with drafty atmospheric skins and the sounds of layered benign harmonies. Definitely worth a listen if you haven’t grabbed it already. Most die hard Jamie T fans will stick by this one, but be ready to discover a new edge to Mr T’s musical blade. Purchase Carry On The Grudge on iTunes. Written by Jay Osborne // Edited by Ayo Adepoju, for We Plug Good Music

If you’re a big admirer of laid back style electro-pop with hints of jungle beat rhythms, atmospherically ambient pads and the graciously serene style vocals of Kate Bush (very specific I know) then Lia Ices‘ newly released album Ices more than likely provides the exact post ‘heavy night out’ chill out vibes you’ve been in search of. This fresh 10-track collective is the third album to be released by Westport, Connecticut singer-songwriter Lia Kessel, also known as Lia Ices. Ices’ first full-length album (although only 8 tracks) Necima was released in September 2008 and was produced by Nicholas Vernhes of Rare Book Room Studios in Brooklyn, New York. Necima provides the listener with the sort of raw organic soundings and simplicity, of which you might expect from such a newly found artist. This album really has a beauty of its own and is far more grounded compared to the majority of tracks found on new album Ices. Grown Unknown, Ices’ second album, was released in early 2011 and again recorded at Rare Book Room Studios but released through new record label Jagjaguwar Records. Bon Iver frontman Justin Vernon made an appearance on the album, which almost certainly aided in gaining the ever deserved attention towards the lesser known Ices. Although similar in tastes, Grown Unknown presents more musically progressive songs compared to her earlier work and with bucket loads more depth shown through Ices explored experimentation of layered background atmospheres, which create a stronger support of aura throughout the album’s backbone, think Necima with more kick and less grace. Latest album Ices is a completely fresh breath of cold air, released again under label Jagjaguwar Records on September 16, really is a terrific example of an artist coming into her own. Ices not only showcases the artist’s vast improvements of instrumentation use and advanced fusions of rhythm, but presents to the listener a soulful example of how an ever advancing musician can take previous works and carve out the best into richer tracks of stirringly impassioned music. Leaving behind the spacious airy acoustic tracks of the previous two albums, Ices takes a completely ‘de novo’ direction towards thicker sounds of electronic rounds, ever thoughtful drum loops, and decorates them with her impressively effortless vocals. First track on the album “Tell Me” enters without fuss and presents itself as a collage of rustic eastern world music loops and melodic modes with the overlapping double tracked vocals of Ices. Although possibly too heavy in reverb and echo effect, the vocal riffs do catch glimpses of memorable hooks and lyrical chants, perfect for socially intoxicated sing-alongs. As the track builds with the classically used minimalistic style composition, it’s a great start to an album and lays precedence to the following nine tracks. Midway album track “Magick” overflows with the positively charged balance of more natural sounding drumming and the sort of soul lining silky guitar riffs that would sit comfortably in any commercially viable pop hit. Again slightly too many atmospheric vocal effects, which could be seen to smother and take a certain essence away from the track – less can be more. This track probably deserved a more organic approach within the studio. In stripping down to the more traditional acoustic tastes of Ices first album Necima, Ices would be able to showcase more of her natural vocal talent without being compromised. Although substantial in vocal effect, this doesn’t take away from the charmingly smile educing feel to such an enchanting track. Endless energy, excessive devotion, and late nights are all an obviously apparent factor in the creation of this album. In reviewing numerous albums, I always find their are a select few that at first appear generically simple on the surface, but over time and with constant evaluation become intriguingly enjoyable, this album is one. Music like this imbeds itself comfortable under the skin and finds a cozy crevice between personally pleasure and appreciated musical talent. For something that would accompany every day commuting, background listening or even a gym warm down, this is defiantly deserving of your time. Written by Jay Osborne // Edited by Ayo Adepoju, for We Plug Good Music

It’s true, ever since The Kooks released their debut album Inside In/Inside Out (which reached number 2 in the UK album charts in 2006), they haven’t really been as apparent in the spotlight as the good old days of indie rock, when songs like “Naive“, “The Sofa Song” and “She Moves In Her Own Way” were the must have accompaniments to any late night BBQ with college chums and crate loads of beer. But with such a committed fan base and an ever growing following, being a band that could be seen to have taken a step back from the limelight, hasn’t stopped the four piece indie rock ensemble from Brighton, bringing out yet another album overflowing with contrasting genres, brand new concepts and tunes that rival some of their classic hot summer sun kissed tracks of 2006. Listen, The Kooks fourth studio album is the first album to be released in over three years and features new drummer Alexis Nunez from Golden Silvers. The record offers a melting pot of genres, from Jazz, R&B and Gospel, to of course a substantial dose of good old indie rock guitar vibes, delivered by guitarist Hugh Harris. From the word go, frontman Luke Pritchard guides the group into an array of radically changing styles, which, can only be a healthy pursuit for such an ever flourishing band and a strong statement of free choice within their writing. In one recent interview Prichard stated, “with this record we didn’t do any rehearsing beforehand. I’d write a song, put it up and we’d all play over it. There was a real freedom to the process“. This almost certainly shows throughout the album’s track list. The boys released “Down” as their first single on the 20th of April, which (and I can probably speak for a lot of us) materialized from nowhere and turned out to be yet another ‘kookie’ surprise. According to some online sources this track reportedly “divided fans”, which is no surprise considering the complete contrast of genre it presents, let’s just say it’s not what you might call the standard ‘kooks’ style. “Down” showcases the bands tastes in Funk, R&B and Hip-Hop, mainly relayed through the grooving R&B-fashion drum loop that pulses throughout the 2:41 minute-long track, which by commercial standards is quite a short amount of time for a single. With added light funk, licking guitar riffs and the pleasingly indolent tongued vocals of Pritchard, I have to say its catchy lyrical simplicity is certainly a brain sticker. Such a surprising choice for an album’s first single release, but coming in at #40 on the UK single charts isn’t something to be sniffed at, especially for any ‘alternative’ band these days. For a more original ‘kooks-esque’ sounding track, if that’s the sort of thing your hoping for, I would recommend the track “Bad Habit“. Although this song presents similar elements found within ‘The Kooks’ earlier music (certain rhythms and melodies on albums Inside In/Inside Out and Konk to be more specific), this song is probably as close as you’re going to get to the lads prior examples of work – again, another positive example of how they are ever developing musicians. Experimental changes in genre will always take place with any band or musician that really care about what they do and where they aim to go, it’s the forever existing search for improvement and challenge. Tracks like “Bad Habit” lay down the kind of grimey tough edged guitar scratches and basement drumming back beats that most commercial indie rock loving ‘children’ would ‘expect’ from The Kooks. But for their true followers, I believe it’s the bands ever changing direction of styles, that will really keep the loyal fans intrigued and anchored to the heart of The Kooks for good. Overall Listen is a well thought out album with a little slice for everyone. If you’ve always had a soft spot for The Kooks and want to taste something completely original and made with love, this is worth your time. From 70′s electro style track “Westside“, to the melancholy tones of “Dreams“, to the jazz and soul influenced finale “Sweet Emotions“, Listen could be this years sweet-tempered surprise. Written by Jay Osborne // Edited by Ayo Adepoju, for We Plug Good Music

Ever fallen in love with an album so deeply that you feel you could run away with it, start a new life in a hot Caribbean country and spend the rest of your days cuddled on sun-beds with the perfect iced tea in hand? No? Me neither, but if I could, this would be the album to do it with! American electro-pop duo Sylvan Esso may have released their self titled album over three months ago (May 2014), but trust me when I say, this is definitely worth the late review and worthy of written recognition. Over the last few years modern electro: pop, rock, dance and even folk have become more recognized and wanted genres of music with joe public. Groups such as Hot Chip, La Roux and even the classic Duran Duran are popular, with increasing concert ticket sales and ever growing downloads on iTunes. So you could be forgiven in suggesting that the new and up coming electro pop groups do indeed have a hard task ahead, especially with creating new sounds and the sort of ear catching songs that are fresh and musically stimulating to every listener. Sylvan Esso have not only succeeded in producing a unique sound, but created an album of electro-beauty, complete with endearing lyrics, gracefully haunting melody lines and the type of drum lines that would satisfy even the dirtiest dub-step DJ. “Hey Mami”, Sylvan’s first single release and opening song on the album really does set the bar, and boy what a high bar that is. Starting the song with rounds of eerie harmonic vocals, it lays a mental image that this song could be another calming buddha bar track that would end a perfect night of dance floor antics. But trust me, it isn’t… Half way through, the track enters the true taste of the Northern Carolina based duo, with a lusciously thick bass line and a beat drop that can only be described as an enjoyable kick to the groin. This truly is a great opening song, that kick starts the album; But please don’t panic, there’s more. “Coffee”, the second single may not be one of the album’s most happy go lucky tunes, but releases chordal progressions that raise the neck hairs. The lyrics at times seem to be a mish-mash of unknown description, but who cares when every word slots perfectly between Nick Sanborn’s synthesized genius and positively progressive beats, all can be forgiven. With chorus hooks as strong as “Get Up, Get Down”, it will defiantly be another one of those sleepless nights trying to get a catchy melody out of your head, when you Just. Need. To. Sleep! Most certainly the anthem of the album and lets face it, who doesn’t love a good anthem? If you’re looking for something different, handsome and new age, this could be a great addition to your record collection. Other songs on this album sing about running for gondolas, hungry wolves, and there is even a fantastic version of the kids classic “Head, Shoulders, Knees and Toes” (trust me, hearing is believing). If this review hasn’t already got you clicking on the Spotify icon, then maybe it’s not for you. However, I would urge you to seek out a track or two especially if your up for something different with a good back beat and bucket loads of catchy hooks. Sylvan Esso are currently touring internationally and play Oslo club in London on the 2nd of October. Please check out their website or chuck their name into a search bar. No attempt to listen to this group is not an excuse, you have been warned! Written by Jay Osborne // Edited by Ayo Adepoju, for We Plug Good Music