Label: Mute
Country: United Kingdom
Release Date: 2010.03.22

‘Head First’ is the fifth studio album from British electronic group Goldfrapp. Having wandered into the realms of pagan folk for their highly-acclaimed 2008 release ‘Seventh Tree’, the band have once again drawn from the synthpop style of 2005’s ‘Supernature’, while maintaining much of ‘Seventh Tree’s subtle nature. Alison Goldfrapp’s vocals are as heavenly and bright as ever, while the synths of Will Gregory compliment her perfectly, as evident on anthemic single ‘Rocket’

Label: Naïve
Country: United Kingdom
Release Date: 2010.04.05

London-based trio We Have Band’s debut album ‘WHB’ will be released through French label Naïve. The record will come out on 5th April, preceded by single ‘Divisive’ on 22nd March, and was recorded throughout 2009 with producer Gareth Jones.
Pounding drum machines, dirty basslines, even dirtier synths and a neat line in hypnotic, Hot Chip-style vocal hooks, We Have Band’s sweaty electro is simply irresistible. An adventurous & modernist concoction of post-new rave DIY sambapunkdisco jiggery-pokery that’ll come as a shot of distorted filth in the arm for an overflowing UK electro-pop scene… They got band. We found heroes.

Label: Sony Music
Country: United Kingdom
Release Date: 2010.02.09

Soldier of Love is only the sixth studio album the band Sade have released during their 25 year career, and the first since Lover’s Rock in 2000. For Sade herself, as the lynchpin of the group’s songwriting effort, it’s a simple matter of integrity and authenticity. “I only make records when I feel I have something to say. I’m not interested in releasing music just for the sake of selling something. Sade is not a brand.” The call went out in 2008 for the group to re-convene at Peter Gabriel’s Real World studio, near Sade’s home in the countryside of south west England. It was the first time the four principals had met up since the Lover’s Rock tour wrapped in 2001. Bassist Paul Denman de-camped from Los Angeles, where he had been managing his teenage son’s punk band, Orange. Guitarist and sax player Stuart Matthewman interrupted his film soundtrack work in New York, and keyboardist Andrew Hale gave up his A&R consultancy. In a series of fortnightly sessions at Real World, Sade sketched out the material for a new album which, they all felt, was probably their most ambitious to date. In particular, the sonic layering and martial beats of the title track, Soldier Of Love, sounded quite different from anything they had previously recorded. According to Andrew Hale: “The big question for all of us at the beginning was, did we still want to do this and could we still get along as friends?” The answer soon came back as a passionate affirmative. (by amazon)

Label: Critical Mass
Country: United Kingdom
Release Date: 2009.06.09

“We were flying back from Russia in this cranky Tupelov plane,” recalls Alex Payne explaining how Cicada came up with the title ‘Roulette’ for their new album, “We joked that it would be Russian roulette whether we made it home or not. Then we started thinking how the music business is a roulette wheel and Cicada are small operators gambling against the house – but winning so far…”

He’s right, Cicada are on a roll. ‘Roulette’ is a follow-up that kicks. With songs such as the driving Moroder-esque disco throb of “Falling Rockets” or the pulsating bassline power of “Don’t Stare At The Sun”, Cicada deserve to dramatically increase their armada of devoted fans.

Their self-titled debut album sold in droves in 2006 and topped online polls without significant marketing from the group’s tiny Critical Mass label. It was a genuine word of mouth success. However, where that album was awash with delicious Balearic grooves ‘Roulette’ ups the energy levels to an irresistible dancefloor buzz.

Cicada began life as London club-heads Alex Payne and Aaron Gilbert’s successful production team, remixing Depeche Mode, New Order and many others, but they wanted more, they wanted to return to the band ethic and build a project that reflected their love of rock and pop as well as dance. They started creating tracks but needed a vocalist.

“We didn’t want diva-ish vocals,” explains Aaron, “We wanted someone with an interesting voice who didn’t just belt it out.”

After an extensive search they found Heidrun Bjornsdottir, who’d previously sung with Icelandic housers Gus Gus and Liverpool rockers Gloss. She fitted in perfectly and, with their first album rousing interest and receiving positive reviews, Cicada were suddenly in demand for gigs. Initially wary, the trio added drummer Duncan ‘Pixie’ Mills for shows and before they knew it they were gigging across the globe.

“We didn’t want to be U2 in a month,” says Alex, “but we gained confidence, made live instruments fit with phat analogue, and played this fantastic festival called Good Vibes in Australia. We thought we’d be stuffed in a tent in the corner but the promoters said, ‘We absolutely adore the album, do you mind going on the main stage before The Beastie Boys and Snoop Dogg’.”

Playing to 20,000 Aussies going mental was nerve-wracking but exhilarating, and over the next year and a half they gigged solidly, playing crowd-slaying sets at two consecutive Glastonburys. They loved it and wanted to make an album that reflected the live experience, a new set that took the roof off.

“Performing is the part I like best,” agrees Heidrun, “It’s where I really have fun and the crowd always have fun with me.”

‘Roulette’, then, explodes with dancefloor attitude but it’s also pop. Pop? Yes, pop with attitude and cheeky underground pizzazz. Cicada know pop music can mean anything from the Faithless to U2 via Frankie Knuckles and Maximo Park. ‘Roulette’ appears just as proper pop is being rediscoveredby sites such as Popjustice and Wonkypop, a whole movement devoted to recognizing when pop music is glorious and reclaiming it from TV talent shows such as ‘The X Factor’. It suits Cicada down to the ground.

“Pop isn’t a dirty word,” they reckon, “From Saint Etienne to Santogold, it’s possible to do it credibly, we’re not techno DJs from Berlin, we’re just trying to make an album that, if someone finds it on their shelf and plays it in five years time, they can still enjoy the songs.”

To this end ‘Roulette’ springs all manner of surprises on the listener. Heidrun helms most of the vocals, notably on the first single “Metropolis”, a gem that comes on like Tiga’s finest electroclash given a sparkling 2009 update, and features tasty mixes from Charlie Fanclub and Twelves. Elsewhere guest vocalists make appearances. Bjorn Synneby of Swedish bands Pacific! and The Whyte Seeds, sings on the contagious Empire Of The Sun-esque “Talking”, leading to questions about whether Cicada have a thing for Nordic vocalists.

“I never thought of that,” Alex laughs, “but I’ve never been mad for raucous rock vocals in dance, or anything indie or overwrought, whereas I love soulful vocals with froideur, a little bit of melancholy.”

The other guest vocalist, Tom Smith from The Editors, fits this description brilliantly. Cicada remixed The Editors a couple of times and the rock band loved their work but no-one could have predicted a new collaboration would work as effectively as the song “Executive”, one of the album’s most memorable moments, akin to the Talking Heads majestically produced by William Orbit.

Perhaps the centrepiece, however, is “One Beat Away”, a contagious indie-dance stomper riding a bassline Peter Hook would be proud of, a song so immediate it’s become a call and response ritual at Cicada gigs. It’s a dancefloor detonator that ebulliently sums up Cicada’s intention to create music with one foot on the dancefloors of Ibiza and one down the front at Britain’s most rockin’ festivals, territories that collide euphorically on their smashing new album. (by bandweblogs)

Label: Atlantic Records
Country: United Kingdom
Release Date: 2009.06.08

The weight of expectation sits heavily on the shoulders of Victoria Hesketh, but a synthesised shrug makes light of the hyperbole as the 25-year-old unassumingly blends Giorgio Moroder and Kraftwerk’s minimalist charm, to produce gently pulsing gems like No Brakes. Running through Hands like Blackpool in a stick of rock are Mathematics and Symmetry. The former thunders along to a cavernous drum and keyboard motif with undeniable numerical logic, and the opening sequence of the latter recalls the frosty glacial splendour of early Human League. As if by magic, enter Mr Phil Oakey, as though the past 28 years never happened. Like much else here, it could easily have gone cheesy, but the duet soars in minor triumph. Little Boots has the tunes to make this more than a nostalgia trip, throwing down challenges on the dance floor and thrashing out pop hooks by the dozen. (by scotsman)

Label: Oi Va Voi
Country: United Kingdom
Release Date: 2009.05.15

Oi Va Voi’s third album ‘Travelling the Face of the Globe’ is the sound of a band absolutely at the top of their game. All the elements that the band has developed over the past five years are realised with new found confidence and independence. The band have returned to their roots, taken control of every aspect of their career and reunited with the Grammy award winning producers of “Laughter Through Tears”, Kevin Bacon and Jonathan Quarmby. Travelling is the main theme of this album, besides that the band took influences from different countries and cultures they also use different languages. Vocal wise I have been blown away. Three of the band members contribute vocals but the first one that got me was Bridgette Amofah. She uses her voice on such a controlled way where many other vocalists can learn of. Take a song like “I Knew What You Are” or the title track for a repeated listen and you will be blown away by the sound of this poppy voice with classic influences. Instruments like the trumpet and clarinet bring atmosphere in the music. Don’t forget to pay attention to the string section which is added by violist Anna Phoebe.
The traveling goes on and on and the song “Magic carpet” brings you to the middle east. Remember those nights in such a lovely village restaurant where you hear this music as well. The album ends with a song called “Photograph” featuring guest vocalist Dick Rivers, which has a typical sound from an Ayreon musician. He sings in French and so the journey has ended there.
With Oi Va Voi you don’t need to bring your camera equipment on holiday, just this album is enough to bring up memories of places where ever you go. For a music fan this band is very interesting. For some shallow music listener I can not tell whether the band can deliver their message clearly or not. It is music you really have to listen to and you don’t just put it on as a background sound. I say, it is a jewel. Very pleasant and a lot to discover. It even inspires me to go and visit places I have not been to yet. (by sabine van gameren)

Scene Release: Oi_Va_Voi-Travelling_the_Face_of_the_Globe-2009-ONe
Release Info: 56Mb / 320Kbps

Label: Great Stuff Recordings
Country: United Kingdom
Release Date: 2007.10.29

Coburn are the producer/DJ duo of Pete Martin and Tim Healey. Together, they represent that space between rock’n'roll and dance where pretty much anything goes. As producers they are at the cutting edge and in demand, with their original material and dance cuts frequently topping charts (Cool Cuts, Beatport, Buzz) and getting regular radio play. They have single-handedly pioneered the “crossover” indie/dance sound and all but given birth to the dance-style currently hailed as: electro-house. Thanks to their releases and legendary Rock Da World/Dirty Beat All Stars events, as DJs, they have headlined clubs and festivals from the UK to Japan. They are currently some of the hardest working jocks in the UK, who when not touring are on permanent production duty in their west London studio. Years ago, they kick-started the mash-up/remix/re-edit movement in the UK with their re-edits of The White Stripes, The Hives and Nirvana. Even to this day, their highly sought after strictly limited releases change hands for big cash on ebay. Their critically acclaimed label: Frontier Recordings continued to showcase their talents as dance producers, until, in 2005, their monster dance anthem: We interrupt this programme, turned the modern commercial house track formula on its head and was signed to Ministry of Sound, and championed by Radio 1’s Zane Lowe and Jo Whiley (among others). Their follow up, the Moroder-esque Give me love (2006), continued to tear up dance-floors across the globe. (by funky soul)

Label: Parlophone
Country: United Kingdom
Release Date: 2009.02.09

It’s Not Me, It’s You, is the follow-up to Lily Allen’s critically acclaimed 2007 debut, Alright, Still. The album finds Lily in top form, creating a record Blender’s recent “In The Studio” feature described as “part God, part country and all middle finger.” Allen wrote and recorded the album’s 12 songs with producer Greg Kurstin (the bird and the bee), who worked with her on three songs for Alright, Still – “Everything’s Just Wonderful,” “Alfie” and “Not Big.” On It’s Not Me, It’s You, Lily’s characteristically sharp observations find expression in a variety of musical styles, with influences ranging from the Jazz Era to country and western to dance music. “Highlights include `Everyone’s at It,’ a synth-pop song about prescription drugs that features Allen on xylophone; `He Wasn’t There,’ which matches emotional lyrics about her absent father to a jazz groove; and `Not Fair,’ a saucy country song about an inadequate lover,” said Rolling Stone.

It’s Not Me, It’s You has been met with good reviews from critics. Reviewing for The Observer, Garry Mulholland awarded the album five out of five, calling this a “wonderful record,” and added that it is “a pop album brave enough to have a go at defining the times.”Clash concluded: “Britain’s mouthy pop idol returns triumphantly and with the brawny guts to stick with what she knows best”, after commenting that Lily Allen “probably has enough personal ammunition to fuel a ten-year career of brutally autobiographical albums”.Mikael Wood of Billboard stated the album is “hardly the grown-up buzz-kill it might have been”, according with him, it was thanks to “Lily Allen’s still-sharp lyrical wit and an exceedingly crafty production job by Greg Kurstin.” Wood also praised in particular the track “Him”, calling it as a “irresistible tune”.

Label: Atlantic Records
Country: United Kingdom
Release Date: 2009.01.05

There’s a lot of interest in Little Boots, a.k.a. Victoria Hesketh, at the moment, as she has been announced as the most promising new artist in the BBC’s “Sound of 2009″ list. Coincidentally, in the same week this was announced, her track “Stuck On Repeat” was given away free as iTunes’ Single of the Week. A smart move, which has led many people (me too) to buy the full three track EP – a taster for an album which will undoubtedly be rushed to the top of her record company’s priority list.
All three tracks are musically clever and interesting, thanks to the electronic elements of her music – the Tenori-on (a strange yet wonderful Japanese “soundscaping” synth instrument) being especially of interest. Though this makes the music feel modern and experimental, at the same time there is also a definite nostalgia there for the pop rather than dance focussed synth of the 90s. Take the electronic side away and you get something fairly reminiscent of Saint Etienne mixed with Dubstar, whacked around the head by Bat For Lashes. (by andromeda descendent)

Label: Peng
Country: United Kingdom
Release Date: 2008.11.19

“Farming Grooves” is exactly what’s needed to keep the winter blues at bay with it’s sun drenched vibes! This album is by far the biggest and best production to come from The Rurals, and is inspired by the ups and downs of life. This time round they’ve worked with great vocalists like MADU (from “Vibronics”, top dub Group), Lisa “Luscious” Tai (well know Toronto poet) and Rowan, (whose silky soul voice sits perfectly with Tweek’s). Andy has also drafted in the skills of Fender Rhodes don Andy Barton and the aptly named Jeff “Bass”! (by traxsource)

(“Sweeter Sounds” 12” Remix 2001)