Guest rapper Kojey Radical takes on the role of preacher for “Ground Control”. Even when she’s singing, “I’ve wasted my youth”, it’s in that sweet voice, with carefree “doo doo doo doo doo doos”, and at a pace that’s so upbeat that it masks the sentiment. Bastille is back, announcing on Thursday (May 2) that their new album, Doom Days, will arrive on June 14 via Virgin Records. It is, she says, “The Kinks meet the Second World War, or Bob Seger meets Enya.” Neither of those is a particularly accurate description, but they do at least fit the album’s refusal to loiter in any one genre. Each song feels personal yet relatable – the deep-rooted despair felt on “Trauma” at the sight of wealthy bullies rising to power is a universal one, as is the sense of liberation in just letting go on “What Can You Do But Rock n Roll”. As with the dreamy “Upset My Girlfriend”, which speaks of a man about to propose to his partner despite the fight they’re in, it’s an album stranded somewhere between pure joy and unexplainable sadness; like slapping on a false smile despite feeling miserable, and recognising how much it helps in the moment. Indeed, so heavily do The Black Keys wear their influences that the record – their ninth – risks coming across like Stars in Their Eyes: The Rock Edition. I can appreciate the musical new direction but these guys seriously need to grasp the concept of ambition and reaching for something greater than the sum of their parts if they want to make art that’s actually memorable, or dare I say relevant. Organs crop up throughout, evoking both Renaissance music and a fairground attraction. All we were doing, was forcing down their throats the things that they came to escape. The pummelling force of We Are Not Your Kind should be enough to silence them – this may be one of the band’s most personal records, but the rage they capture is universally felt. It’s a thrilling work. There isn’t even a slight hint of apocalypse here at all, just simple and cliche lines about holding on to your friends and having super deep drunk thoughts.
You’ll already have heard “Nothing Breaks Like a Heart”, on which Miley Cyrus channels the quavering, fearless bluegrass spirit of her godmother Dolly Parton over a briskly plucked guitar. 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. (Patrick Smith)Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet. It’s a masterclass in narrative songwriting. “House of Glass” is a sequence of frenzied mutterings with a buzzsaw guitar cutting through his attempts to convince himself of love’s existence. “Zombie” was a protest song written by the band’s late frontwoman Dolores O’Riordan after two children were killed by IRA bombs – was released. By the end of the album, he sounds like a figurehead for the hopeful future.At her best, Sigrid throws out precision-tooled high notes like icicle javelins into vast, blue Scandi-produced skies. Shucks. (Patrick Smith)The tones here are stark and bleak, compared to the claustrophobia of 2014’s Tomorrow’s Modern Boxes. This time, with When I Get Home, Solange has effectively given us permission to rest. 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”). You’re inclined to agree with him. Rehashing older material into a newer album makes 'Doom Days' a very lackluster album in the bands discography.This is a really harmless release that seemed to have so much more ambition on the surface than it actually presented us with. (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”. Where the former was overflowing with choppy, experimental sounds, guest appearances and clumsy attempts at Gil Scott Heron-esque revolutionary lyrics, the sequel – recorded around the same time – streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album. And I thought that it would kill me, but it didn’t.” The title track, meanwhile, is poignant and unfussy, a reminder of Swift’s ability to distil infatuation into something specific and universal. 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).
The music here is forgettable too, but for as harmless and decent enough as the record sounds I found myself particularly holding a grudge against it because of the complete waste of the concept.
Lead single “Number One Fan” banishes intrusive thoughts – “Nobody likes me and I’m gonna die” – just in time for a lavish, self-celebratory chorus, one part earnest, one part tongue-in-cheek. Tyler has never been one for traditional song structure, but on IGOR he’s like the Minotaur luring you through a maze that twists and turns around seemingly impossible corners, drawing you into the thrilling unknown. “Something magical happened one night,” she sings. “Wake Me When it’s Over”, the third track on In the End, could be “Zombie”’s twin. But it is gratifying to hear her take control.
There’s no track on Jaime that is likely to make waves – not in the same way as some of the better-known Alabama Shakes tracks, such as “Hold On” or “This Feeling” (the latter of which was recently used to remarkable effect in the final scene of Phoebe Waller-Bridge’s Fleabag).
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