Maddog Magazine

		Master Shortie - A.D.H.D Master Shortie's popularity is gaining momentum in the music industry. Having received the stamp of approval from all the top guns like NME and new music connoisseur Zane Lowe, he looks set to step into the limelight with a confident lil' swagger in July as his debut album A.D.H.D is released. In his own words from the track 'Under the Moon' he's like 'a breath of fresh air/ like chewing an air wave'. Most of the tracks on the album are mildly under-produced which weirdly doesn't give a DIY sound like a lot of stuff around at the moment and although his lyrical style is fairly predicable this does however work in his favour, and there are a few gems on the album. The synthy riff on 'Groupie Love' makes it just a little bit catchier than swine flu and it's one of the best on the album, a far cry from the Adam Ant 'Prince Charming' sampling on his track 'Nothing To Be Scared Of'. If you've been anywhere near a radio recently you've probably been listening to 'Dead End', radio type folk are set to rave about it all summer with it's hip-pop vibe and clean, Rn'B guitars. Despite his assurances that he's totally doing it old skool, he's on safe ground. Safe, but nonetheless enjoyable ground. Overall a likeable set of tracks. Master Shortie is definitely one to watch, he's certainly got potential to have potential. Out 27th July Words > Jeni Gibbs

		Mos Def - The Ecstatic Mos Def's career as a rapper has been startlingly inconsistent since the release of his seminal debut Black on Both Sides in 1999. By the turn of last year his reputation as an actor had far overtaken his music; leaving people to write him off as a once-promising, now faded proposition. Suddenly in 2009 there were rumblings from the internet - after a series of incredible live shows showcasing new material, and a verse on The Roots album Rising Down, Mos Def began to look like he was making a comeback. So after all the rumour, does The Ecstatic mark a return to form? The answer is a muffled, "maybe." Produced in part by Madlib, J Dilla and Oh No, it seems that Mos Def is wearing his leftfield credentials with pride - though it is frustrating that a lot of the tracks have appeared in instrumental form on other records ( Madlib's 'Beat Konducta' series, and Oh No's 'The Oxperiment' lp for example). That minor gripe aside, Mos Def raps passionately and with the same degree of invention that his debut demonstrated. Opener 'Superstar' in particular seems to crackle furiously, helped in part by Oh No's psychedelic guitar samples. Elsewhere he manages to invert the epic-sounding 'Life in Marvellous Times' away from the gun-slinging bravado its swooping synth lines imply. This is one of the most pleasurable things about listening to Mos Def - that his identity seems uncompromised, even when the musical bedding would lead most rappers to start pulling out generic lines about money, cars and guns. Despite this, the sequencing of tracks is troubling - the music itself isn't flawed, yet you don't get a sense that the songs were chosen to compliment or contrast one another. Rather than an album it feels a collection of odds and ends - and given that its predecessor Tru Magic screamed 'contractual obligation' it's a shame that Mos Def didn't feel more inclined to provide an album that hung together better. Mind you, this criticism perhaps would be better levelled at the whole genre, given its propensity to treat albums as 'product' first and 'art' second. With the current cultural shift towards consuming music in increasingly fragmented bits and pieces, The Ecstatic seems to signify the curve - a high quality set of songs, but as a whole devoid of a thematic singularity. It seems a shame as Mos Def has often been billed as Hip-Hop's renaissance man; but what we have here is akin to Da Vinci's sketchbooks, rather than the Mona Lisa. Words > Andy Spragg

		Kasabian - West Ryder Pauper Lunatic Asylum So, the crucial third album - make or break for any band intent on maintaining their identity while trying to progress into a new territory of creativity. West Ryder Pauper Lunatic Asylum (Out now, Columbia Records) is a different Kasabian, but thankfully, it is a strong one. Underdog is a powerful, electric opener more epic in its intro than Empire in its entirety, though at this stage no great changes in sound register. However, Where Did All The Love Go? borders on the realms of the hippy, but you'll soon forgive them this when you hear how well arranged it is. Fast Fuse, much like the album itself, is an altogether 60s affair; with yet another fuzz-driven, infectious hook from guitarist and co-producer Sergio Pizzorno we are thrust in to a track that would lend itself well to a Tarantino film. Much more psychedelic and organic (well, for Kasabian), they could easily have disarmed themselves, dampened their edge, though instead they've focused their compositions and seem to have broadened their sound by simplifying it. Thick As Thieves moves to a steady Kinks beat and is complimented by perfectly balanced continental and vibrato driven guitars. The single Fire has been doing the rounds and is, as you'll have heard, three belters in one. Heavier tracks like Take Aim and Vlad The Impaler will remind us that they're still capable of producing the sound we love. The pounding beats, the twists, the shifting time signatures and boisterous licks are all still evident, only they're more concentrated. Similarly to the 2006's Empire, West Ryder careered to the top of the album charts. It's a bold move but it's a move not just another album with a few cool tracks on it. Purist fans may have difficulty digesting this retrospective Kasabian but to quote the band themselves: "Gonna see the signs of a real change comin'." Words > Ben Wood

		Erik Hassle - Hurtful (ep) Born and bred in what was once voted the most boring town in Sweden, you might expect Erik Hassle to deliver a dull EP, which doesn't deserve a listen. Thankfully, this is definitely not the case. Erik Hassle, who is 20 years old and has the most incredible hair in existence, delivers a promising album, which shows he has true potential. Influenced by soul that he listened to as a child, his songs offer emotional, melodramatic lyrics sung over guitar riffs in the style of acoustic-synth pop. A talented songwriter, each of Hassle's songs are extremely romantic, and can also be linked back to significant events in his childhood. My personal favourite is "Don't Bring Flowers" which is Hassle's debut single here in the UK, and contains emotionally powerful lyrics driven by catchy guitar riffs, such as "Don't bring flowers after I'm dead, save your givings for the living instead" and "so deep into the shit I can taste the earth". Other songs, including 'Bump in the Road', 'Hurtful' and 'The Thanks I Get', are equally strong. After success in his home country Sweden and attracting attention from UK record companies it seems his rise to fame in the UK is inevitable. This talented young singer/song-writer does deserve a listen and yes, his music is as extraordinary as his hair. Hassle's debut single Don't Bring Flowers is released on 24th August 2009 through Island Records. Words > Anna Spencer

		Alayna Salter - I Love you Like a Fat Kid Loves Chocolate (single) Alayna Salter's new single release is an infectious poptastic ride. The illegitimate love child of Willy Wonka and Elvis gives us a joyous romp through her sugary sweet world with songs such as Fat Kid and Smacked. Her songs reflect her feisty and vibrant personality with electro pop beats and candy coated lyrics. She's smashing the boundary between cool and even cooler by appearing on many well respected media stations such as MTV, BBC and Channel 4 as well as having enough time to squeeze in a tour with the Disney High School Musical Team. We here at Maddog particularly love the track Fat Kid with quirky, fun lyrics such as 'I Love you like a fat kid loves cake' that are helping to increase her ever growing fanbase. Smacked is also top tuneage and a song that'll really make you want to dance until you get chronic blistering on the soles of your feet! This is one sassy songstress who loves to party! Thankfully, her talent doesn't stop there, her own line of jewellry, Punky Allsorts is a funky feast for the eyes. Her designs, based on pick 'n' mix sweets have been seen on the fabulous bodies of celebrities such as Katy Perry and Paris Hilton. Yummy! And here's a fun fact for you: Alayna's also recently broke the World Record for the longest chain of beads in January 2008, she threaded 80 metres of the stuff, now that's dedication for you folks! So check out this hot to trot cheeky singer/designer now. www.alaynasalter.com Words > Anna Spencer & Jeni Gibbs

		Engineers - Three Fact Finder With influences ranging from Cocteau Twins to the sounds of Dream pop bands of the mid 90s, this record is rich in instrumental texture and heavy on the droning melody, with the vocals kept soft throughout. While not particularly catchy, Three Fact Finder uses the old trick of shoe-gaze, by slowly putting you into a trance like state. For anyone who is looking forward to the re-issue of 'Loveless' should give this record a spin. Words > William Aldous

		J Dilla - Jay Stay Paid It is impossible to write a review of any new J Dilla album without a) mentioning how this seminal musician and producer died prematurely at the age of 32 and b) noting Hip Hop's propensity to strip-mining its dead icons. Thankfully, despite the trends, the Dilla legacy itself has thrown up some high-quality posthumous releases (BBE's Shining album and the Stone's Throw re-releases for example) and Jay Stay Paid proves to be a coherent and compelling album. Comprised on unheard instrumentals that span most of J Dilla's prolific career, the project was overseen by the legendary Pete Rock - who has selected a broad palette of MCs to provide vocals over a collection of tracks. One of the most striking things about the choice of rappers is that they manage to demonstrate how versatile Dilla was - yet there is no sense of disparity between each stylistic turn. In this respect, he is one of the few Hip Hop producers who managed to develop a signature sound without becoming formulaic. While Jay Stay Paid may not be the best introduction for new comers (I would recommend the seminal Doughnuts in that instance), it certainly reinforces why J Dilla's passing was such a loss, not only for Hip Hop but music in general. Words > Andy Spragg

		Cornershop - Judy Sucks a Lemon for Breakfast The record opens with the oddly named 'Who fingered Rock 'n' Roll?', which sounds like the love child of Mick Jagger and Ravi Shankar. Keeping the sitar prominent throughout their music, Judy sucks a lemon for Breakfast is organic rock 'n' roll circa late '60s with Conershop's traditional Asian influence mixed in. After trying to shake off their name as the band that was re-mixed by Norman Cook, Cornershop have made a strong effort in qualifying themselves as a reputable rock band. Words > Matthew �Dungeons� Bunkell

		Famine - Every Road Leads Back Here The Irish quintet, Famine (formerly Forging Friendships), have just released their first full length record on Hurry Up Records and are already making a name for themselves, including being championed by Bridge Nine Records. Every Road is 12 tracks of blistering melodic hardcore with enough mosh to get any room fired up. The songs are cleverly written, mixing vocalist Ian Kelly's gruff vocals with chugging guitars and the throatiest bass tone known to man. Words > William Aldous

		A Ha - The Foot of the Mountain Are any A-ha followers disappointed that each album takes them further from their 1990s style, what I consider their apex of musicality? The electronic poppy epic sounds that people associate with their mid 1980s fame was replaced by edgy, angst ridden (and sometimes very long) guitar and piano pieces. As one reviewer said at the time 'A-ha has gotten mature'. After their 7 year split, A-ha returned with a sound more like that of Ashes to Ashes soundtrack than something comparable to U2, which they signed out with in 1993's Memorial Beach. This latest offering is much the latter - more so than 2005's Analogue. The album opens with The Bandstand - which instantly draws you in and lifts you up, as do all A-ha beginnings - pacy, catchy, soaring - but hails a distinct continuation of the electronic. Riding the Crest is fast and bouncy in the manner of Touchy and sounds of that era. What There Is has an anthemic chorus, again sounding like their earliest music. The title track is a little different and closer to their previous album. An orchestrated muffled keyboard soars into a strummy, happy verse and an epic stringed signature chorus that makes you feel on top of, not the foot, of the mountain. More crafted and controlled electronics on Real Meaning, sounding more developed in style, and often softer than other tracks. Shadowside is the highlight for me - think Cry Wolf remastered in the style of Dragonfly and Thin Blue Line, ending with a dying orchestral notes like Plumb's Drugstore Jesus. Nothing Was Keeping You Here has more piano, and at last their signatory guitar sound - again, likeness to Plumb, particularly When Worlds Collide. Further guitar, with the bouncy bass of Move to Memphis is heard in Mother Nature Goes to Heaven, with strings and the spiky synth of their Manhattan Skyline. Sunny Mystery starts with a soundtrack for a thoughtful sci fi, a little like early Beloved. Whether you love the music or not, this sets the serotonin off and is great to uplift or dance to (not that I've yet tried the latter). Consistent and ever welcome is Morten's voice - strong and distinct. On re-listening, this grows on me and my disappointment lessens. A-ha are still mature, with complex and unexpected chord changes, but still accessible. A-ha are playing three dates in England in early November. Words > Elspeth Rushbrook

		Kissy Sell Out - This Kiss (single) The problem with electro-pop is it just keeps getting better. With the newest entry to the field, The Kiss by Kissy Sell Out. They have already been one of the first bands to play at CREAM in Ibiza and have done a DJ set at Glastonbury. As persistant as the local homeless guy, once you've heard it you cant forget it. Set to be released on the 15th is their album Youth guaranteed to be bigger, better and more infectious than anything they've ever done before. It will probably turn out to be more popular than the official I HATE BIG BROTHER forum. Words > Emma Outerbridge

		Baddies - Holler for my Holiday (single) Imagine a band with the energy and speed of The Pigeon Detectives but with the impact of Nirvana. You have just thought of Baddies. And if they're playing with the likes of the Arctic Monkeys, AFT & Anti-Flag, they have gotta be pretty bloody good, right? Well right you are. When twin brothers, Michael & Jim, had the genius idea to start a band. With no one expecting anything of it, how they proved them wrong. Their first single reached Number 1 on the Myspace video chart with next to no promotion. Described as being 'on a mission to make Futureheads look lethargic', they are most definatly something special. A unique mix of punk and indie, like nothing before. Words > Jamie Winters

		The Blizzards - Buy It Sell It (ep) Rocking their way into your CD collection with their newest EP, Buy It Sell It. An exciting 5 piece from Ireland trying out the Indie world. With songs that actually mean something and have a point, they are certainly going places. With a spot at the V Festival and a jam packed schedule, it's going well for them. The song is pretty self explanitory, about the fact that money seems to be tied up with everything yet the one thing that matters the most to a lot of people cant be bought. Buying and selling love, it just cant be done, well not legally anyway. But luckily the song can be, so there's no good reason not to have this on your playlists, go and get it!... Words > Jamie Winters

		Andrew Morris - Long Beach (ep) Andrew Morris has been slaving away until the wee hours of the morning on his new EP, Longbeach, for four long months. Long enough to deserve at least one listen one would think. Well i think you'll be pleasantly surprised. First enticing you with funky yet calming melodies followed by a calmingly soft voice and meaningful lyrics - It's definatly worth a try. Something to chill to on a hot summers day. A perfect EP to have handy when your completely lost, without a map and your handheld fan has packed up. Just stick this on and all your problems just seem to float away, rather like your map... Words > Emma Outerbridge

		Rancid - Let the Dominoes Fall The band have returned to the sound with which they made their name in 1995s breakthrough �And Out Come the Wolves - a blend of driving Punk Rock, Ska and Reggae, topped off with the stoned drawl of Tim Armstrong. Despite bringing nothing new to their sound, the album does have choruses that get stuck in your head for hours. If you are already a fan of the band then you'll find this an enjoyable record. Words > Jack Riddlestone

		Manic Street Prechers - Journal for Plague Lovers Manic Street Preachers - poet rockers, protest marchers, generation terrorists; so after a 20 year campaign what's left in the tank of this Welsh fighting machine? So long we have waited for them to rekindle the energy that erupted from The Holy Bible. Since chief lyric writer Richey Edwards' disappearance in February 1995 bassist Nicky Wire has penned much of the bands lyrics. Good lyrics they are too, but never quite comparing to that cutting, truthful poetry Edwards seemed to breathe. On Journal for Plague Lovers the band have put to use a collection of lyrics and poems left to Wire by Edwards. The music is a triumphant return to the aggressive, passionate and intelligent musings of their early work. From the intro of Peeled Apples the sinister bass line leads the way into a blistering opener. Edwards' playful, eccentric lyrics are reunited with James Dean Bradfield's ever-charged guitar and distinctive vocals, along with a few more reflective compositions: This Joke Sport Severed is a beautiful epic, which only an experienced band with old scars can deliver. This band have always maintained a full and driven sound as a three piece but here it appears more robust as if Richey has rejoined them for this album - that he's there in more than just spirit. Out Now Words > Ben Wood

		Sneaky - Feal Like a King... Pluck a String Simon 'Sneaky' Houghton is a Berlin based Mancunian. His debut album Feel Like A King... Pluck A String (Released: The Big Chill Label, June 29) is the maiden voyage of a new genre 'Wood Hop' which combines DJ electronic sensibility and vision with traditional musical composition and the employment of actual instruments. The result is a hybrid of classical, jazz, dance and hip-hop. This affords us an unusual and refreshing listen. Classically trained from a tender age studying cello and double bass Sneaky progressed to complete a music degree at Manchester University, work as a live session musician, tour the world and release numerous albums, singles and eps. His musical background is broad and his taste eclectic. Opener Frieden Schliesen teases us with its playfulness and sophistication outlining what this style is all about. Mental Origami features RQM rapping sharp lyrics with brilliant restraint both in phrasing and delivery. Catch The Buzz and Toytown Elegy are infectious, jazzy tracks. Raucous samples, distorted guitar licks, bluesy piano, crunching beats and haunting orchestral strings give a well rounded sound but it is the focus and attention to detail that makes this such a successful experiment. For all its shifts in styles the album maintains shape and moves smoothly from one track to the next without us feeling a bump in the ride as Sneaky moves us onto his next idea. There is a wonderfully organic quality to it and a precision, which makes it difficult not to appreciate Sneaky's methods and his wood hop. Out 29 June Words > Ben Wood

		The Airborne Toxic Event - Happiness is Overrated Washed in that sound that you could only expect from the late '70s early '80s, the first track of Los Angeles' The Airborne Toxic Event's first record, "Happiness is Overrated", clearly shows that the band have been drawing lines between classic UK post-punk outfits such as Joy Division and the modern sounds of the stiff vocals that are offered up by The Killers. As you would expect from any band that would want to see you dancing at their shows through the dance floor lights, the kick drum keeps a steady pounding rhythm that introduces the first two songs. The guitars play a Mikel Jollett croons through the first song with intimate lyrics about adolescence and wasted nights, sung like a man who listened to way too much of The Cure when he was younger but this doesn't last very long. As the record progresses, Jollett straightens up his vocal chords into what would sound like a conglomerate between Springsteen and Curtis. Add some 50's slap back delay and you might just have that authentic "Born to Run" ring. The strings whistle away behind the albums interesting mix of Indie and the grinding, overdriven guitars of early post-punk. "Does this mean you're moving on" is the gem on this record, breaking away from the rest of the tracks as the pop hit song. While still being relatively up-beat in its presentation, the album still has that slow burning quality that makes ideal for easy listening. Words > Matthew 'Dungeon' Bunkell

		Kasms - Spayed "You chose down!" wails menacing pint-sized frontwoman Rachel Callaghan, so prepare to plunge into a deep, dark nightmare abyss. Kasms' debut stormer, Spayed is awash with dark dirty lyrics, razor sharp guitars and a thunderous rhythm section. From thrashy trashy opener and recent single Male Bonding to deathly reggae-grunge closer Murmur, Kasms will have you captivated with grim sinister fascination. Bone You, the most exciting track here, sparks with a viscous electricity like a thousand volts tearing menacingly through your bloodstream. Featuring some of the most threateningly upfront lyrics ever committed to record, "I want to tie you down and never let you go". Like a praying mantis, Ms Callaghan may want to sleep with you, but she'd also rip your head off, and eat your soul. Kasms acutely describe themselves as a "shriekbeat" band, think Siouxsie Sioux brought up on a bunch of obscure grunge records, whilst fronting a more sophisticated version of drummer/guitarist Rory Bratwell's previous band (the hugely inspirational yet short lived Test Icicles). Spayed is an album with an overwhelmingly addictive 'in your face' attitude, yet none of this gets in the way of the quality of their tunes. They're no one trick pony either, on more ominous songs like title track Spayed and Don't Hit The Bottom, despair and lost love are explored with a gloriously cavernous sound and Rachel's powerful shamanic voice. Recorded on reel to reel by drummer/producer Rory, this debut album captures their confidence and visceral energy of their live shows with devastating panache. Perfec'. Out now Words > Connor Crooks

		One Eskimo - All Balloons One Eskimo's debut album All Balloons begins with a 1950s voice over stating: "this is the story of a nice average Joe, who lives in a nice average town". This statement is immediately contradicted when first single Hometime blossoms into life, demonstrating with its intoxicating blend of mellow beats and elegant acoustic guitar that One Eskimo is anything but average. The brainchild behind One Eskimo is reclusive singer-songwriter Kristian Leontiou, who received a modicum of fame some years ago as the 'male Dido', but left his label after being frustrated by how he was being twisted into something he didn't want to be. The first thing that is evident from this album is its incredible originality, which proves that Leontiou is firmly in control of this project, whilst self-effacingly obscuring his identity behind a cartoon avatar of the titular little Eskimo. Its unsurprising that the team behind the Gorrilaz is responsible for the evocative children's book style animations that accompany the bands songs, casting the members as a Giraffe (drums), a Monkey (horns) and a Penguin (guitar). Meanwhile Faithless producer Rollo lends his ample skills to producing the band's hypnotic electro-acoustic sound, which is reminiscent of Zero7 but with more of an emphasis on melodic guitars (thanks penguin). Out Now. Words > Andrew Wensum

		Bat for Lashes - Two Suns Two years after being robbed of the Mercury Music Prize, Bat For Lashes returns triumphantly as the finest female singer/songwriter of the moment. During Natasha Kahn's absence a whole host of talented female singer/songwriters have emerged, but no amount of Florence and the Machine or Little Boots will ever be able to compete. Two Suns is an album of devastating shamanic beauty, set to conquer the scene she helped create. Album highlight 'Pearl's Dream' takes La Roux's beats and Ladyhawkes 80s rock chic synths, yet sounds so much better than the both of them that it's embarrassing. Whilst 'Daniel' is awash with ethereal and dreamy lyrics, 'Two Planets' is a riot of thudding military drum machines and foreboding fiercesome vocals. "The dream of love is a two hearted dream" beams Kahn on 'Sleep Alone', the same applies to this album; Apart from Kahn's extraordinary vocal talents the beating heart of Two Suns is its producer. David Kosten's work on this album is simply stunning, he has soaked everything in a glittering ghostly echo making Two Suns one of the most beautiful albums you will hear all year. Words > Connor Crooks

		Black Lips - 200 Million Thousand Psychedelic scoundrels, Black Lips are the most bad-ass pop group you will ever encounter. They describe their sound as 'flower punk'; a mishmash of blues, punk rock, country, surf, 60s pop and psychedelica. But Black Lips aren't a band to be pinned down by any name tag, not even their own, more than anything else it's their attitude that transpires from the guitars, loops and mumbled vocals. 200 Hundred Thousand is an album with less than no production values, it sounds like it was recorded in the dregs of a beer can. Yet this is one of its most charming qualities, the sweaty rawness of it captures the excitement and unpredictable nature of their thrilling live shows, whilst encouraging you to listen closer and decode the mumbled lyrics. Despite the more infectious tracks like the delinquent pop of 'Short Fuse' and the retro surf fun of 'Drugs' this album isn't quite as accessible as their previous offering 'Good Bad Not Evil'. 200 Million Thousand's psychedelic drones occasionally makes difficult listening, not that Black Lips would care about that; they are a band that revel in awkwardness, and they're all the better for it. Words > Connor Crooks

		A Hawk and A Hacksaw - Dèliverance "I am but mad north-north-west: when the wind is southerly I know a hawk from a hacksaw." Taking their name from a Hamlet quote, duo Jeremy Barnes (vocals, accordion, drums) and Heather Trost (Violin), deliver a suitably mad and intense sound, by way of some of the giddiest and most accomplished folk music you'll probably ever hear. Opening track 'Foni tu Argile' is so infused with Middle Eastern mysticism that it feels like the Whirling Dervishes are spinning through your head. Meanwhile the Hungarian sounding 'Kertesz' has some amazing fiddle picking backed by a creaking accordion and introduces Jeremy Barnes occasional vocals, which sit somewhere between Thom Yorke and Nusrat Fateh Ali Khan. If you thought you were too hip for folk music then think again - this is an album to smash preconceptions if ever there was one. Covering a myriad of styles from the Balkans to the Kasbah via old England, perhaps the biggest surprise is that this pair are from Albuquerque in New Mexico! Prepare to be amazed. Words > Dean Bowman

		Lilies on Mars - Lilies on Mars "Two girls based in another world" is how Lilies on Mars have been described. They certainly have a sound to back up such a claim. For me, an album should outline what it's proposing to do from the outset grabbing you by the throat and stealing your attention. You cannot simply expect the listener to afford you this. This self-titled debut album (out now, Elsewhere Factory) of Lisa Dply Masia and Marina Cristofalo, or Lilies on Mars, has an odd beginning. 'Maori Legend' is a space age synth wielding Dark side of The Moon tribute. The complexity cannot disguise the fact that, from the opener, this band are trying to be too creative, whilst actually being vague and a touch self indulgent. The overdriven guitars on 'Passing By' don't suit what tone the album has. The third track, 'My Liver Hurts', is the first hint of any actual musical arrangement; it's less sporadic and sounds more considered and focussed. Whoever mixed this was stoned or had one eye on the baked beans on the hob. Ironically, 'Insane' is the most coherent track on the album that improves towards the end though, unfortunately, too late to save it. Lilies on Mars are fine by me; that's just about safe enough distance I'd say. Words > Ben Wood

		Maccabees - Wall of Arms You can always leave it up to the young bands to take something used and make it new. The Maccabees release their second record, Wall of Arms, in to a time when you're sick of listening to the old bands trying to re-hash what they've already done and cocking it up. Wall of Arms is an engaging listen right from the word 'Go'. 'Love you better' opens up this epic soundscape of a record. Laden with spacey reverb, Orlando Weeks' vocals paint pictures of missed chances and nostalgic memories, with a repetitive chorus that you won't be able to get out of your head for a long time after the track has finished. Sounding like the bastard child of a one night stand between Win Butler and Paul Banks, Orlando's unsure and warbling vocals remain the most prominent feature on the record above the airy whispers of the drums and guitars. Tracks like 'Young Lions' and 'Can You Give It?' show how this band move so effortlessly between slow burning movements that trick you into thinking you're in for a moody track before raising the tone in to an up-beat Indie number. While not breaking any huge ground with this record, Wall of Arms proves why The Maccabees are one of the fastest rising bands in the UK. And you know it will definitely slip nicely in between your copy of 'Viva Hate' and 'Funeral'. Words > Matthew 'Dungeon' Bunkell

		Yeah Yeah Yeahs - It's Blitz Despite rumours that Yeah Yeah Yeahs were to rest in pieces after Showing their Bones in 2006, they have returned to us with Ramones-referencing It's Blitz. It's a much cleaner, less punky affair than previous albums, allowing them to really flaunt their ability to write the massive, arty pop songs hinted at in Maps and Cheated Hearts. The most obvious and brave change comes from guitar hero Nick Zinner putting his axe to one side in favour of a keytar, giving the songs a shimmery, synthy sparkle in place of the normal jagged, thrashing guitars. Opening first single, Zero is perhaps the most chart-friendly song yet to come from the New York trio with Karen O's orgasmic panting over an odds-on synthy smash that Kylie would be proud of. Sleepy Hollow-inspired Heads Will Roll creeps along with electro-menace before stomping into a disco battle-cry to 'dance 'til you're dead'. Runaway, the token piano ballad, blends in with its surroundings without leaving a lasting memory and the album ends on a high, as per tradition (see Modern Romance and Turn Into) with Hysteric, resplendent with lush keys and a whistling, stuttering O, muttering that 'you suddenly complete me'. It's Blitz is a fabulously mixed bag, certainly not what anyone expected of Yeah Yeah Yeahs, and is therefore likely to confuse and delight in equal measure. Words > Anna Dobbie

		Royksopp - The girl and the robot - released may 25th 2009 The second single to be taken from the massively acclaimed Junior album by electro genius duo Royksopp. With their trademark chilled-out stamp of approval, Royksopp have managed to easily pull off yet another classic lo-fi dance tune from the bag of their never-ending feel-good hat. Following up from first single,Happy Up Here, The Girl and the Robot harnesses the vocal talents of fellow sulty Scandinavian superstar, Robyn, whilst Svein Berg and Torbjorn Brundtland personify mechanics and computer bleeps into feelings without even skipping a heartbeat or breakbeat. With a tinge of 80s nostalgia, the "wounded lover" approach of a girl falling in love with a robot, and going back to lonliness, comes all thanks to some carefully placed squiggly synthesiser gloom. With a winding bit of electro that combines a powerhouse vocal, this could easily be the best track off the album, if not the whole Royksopp back catalogue.