The Hot Five – My favourite new tracks of the week, usually rounded off with a classic, obscure or alternate track from my music collection.

Track of the week: Brian Ferry – ‘Loop De Li’

I know these days that Brian Ferry is a name that is likely to be associated with BBC Radio 2, but hear me out. Despite respecting Ferry as an artist both in his own right and with Roxy Music, I can’t say that I’d ever delved too far into his back catalogue. However, a faultless headline set at West Holts on the Saturday night of Glastonbury Festival this year and the quality of new single ‘Loop De Li’ are quickly changing a young man’s view on a musical icon. There’s a great sound on ‘Loop De Li’; it’s well produced (by Brian Ferry himself) and the atmosphere that the track creates is very modern and up to date. Ferry’s new album, Avonmore, is set for release on November 17 and will feature artists including Flea, Johnny Marr, Nile Rogers and Mark Knopfler.

Band of Skulls – ‘Himalayan’

Ahead of their performance on Later... with Jools Holland this week, Band of Skulls announce brand new single 'Himalayan'. Other reviews suggested that  Band of Skulls lack originality, but ‘Himalayan’ does display a blues rock sound that has a killer riff and is, for want of a better word, cool. The combined chorus vocals of guitarist Russell Marsden and bassist Emma Richardson's give the song it’s USP, lifting it above the large number of average tracks released in this genre. After a busy summer of festivals (Glastonbury, Reading & Leeds, Sonisphere), the band are due to embark on a UK tour kicking off in late October - which includes a headline gig at London's Eventim Apollo.

Frank Turner and The Levellers – ‘Julie’

One of the Levellers' best loved songs, the 1993 single 'Julie' has been re-worked by Frank Turner in his own style, with the Levellers performing as his backing band. Turner is known to be a huge Levellers fan, and stated that ‘Julie’ was one of his favorite songs to play whilst growing up. ‘Julie’ is the latest video in a series from The Levellers, which also includes collaborations with Imelda May, Billy Bragg and Bellowhead. All four tracks appear on all versions of The Levellers' Greatest Hits album, which is released on Monday 29th September.

Amber Run – ‘Thank You’

Following the dark two-part video to ‘I Found’ and ‘Pilot’, Amber Run have released a third track from their new EP, Pilot. You can really hear the influence that Coldplay have had on a new generation of bands here. The arrangement and melodic hooks of ‘Thank You’ definitely pay tribute to the style made famous by Chris Martin and co. (particularly the riff from ‘Paradise’). Don’t let this take anything away from the track; it’s a fantastic track that you can play over and over again, with great vocal melodies and production. Having just finished a series of summer festival dates, Amber Run were recently voted as one of the top 10 acts who played the Isle Of Wight festival by attendees. They will support Lewis Watson on his UK tour this September.

Hidden track of the week: Crowded House – ‘There Goes God’

This is a song that I remember from my childhood, mercilessly drummed into my head by my parents from an early age. Written by brothers Tim and Neil Finn for the album Woodface in 1991, Tim Finn joined the band during the recording of the album but subsequently left during the UK leg of the world tour that followed the album’s release. The song features former Beach Boys and Rutles multi-instrumentalist Ricky Fataar on drums.

You can follow Tom on twitter @tom_fake 

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the week: ‘Mom and Dad’ by Xinobi

I love the Discotexas label, they’ve got this really nice sound to them, a nice brand of disco they’ve got going on. This track, by Xinobi, has a nice bass that gives this one its groove, and I like those kind of western-type guitar that gives it its vibe. The vocals are deliciously lush, and she sings she’s thinking about Going back. Especially the vocals also put this dreamy atmosphere into it, though before the 2:50 mark there is also this build-up of drums to make sure it doesn’t lose itself into that too much. I like how the song shifts from one section to the next, and I love the interplay of especially the bass, guitar, and vocals, though the drums are not to be dismissed either. I just really like the catchy bass on the one hand, and the fact that they’ve got the atmosphere down pat on the other. Add some strong vocals in there, and you’ve got another ace tune from the Discotexas label.

‘The Heartworm’ by Antoni Maiovvi

Antoni Maiovvi is the king of atmosphere. Of the dark, cool, sinister B-flick that all plays out in your head when his tracks are playing. Here, again, the wavery synths give you this blanket of atmosphere that fits his style so perfectly, and at 1:10 you have this strong, dark sound that comes in to juxtapose the light synth that at, up to that point, is the main sound. He also makes sure he puts in a strong drum and some quick percussion sounds next to all the atmosphere that he is pumping out of the synth machines, and that makes sure this track has got plenty of backbone to survive. That’s something that Maiovvi always does well, he is awesome at injecting a certain mood, but he also makes sure his track is on the go, and not just an exercise in atmospheric sounds. At about 3:35 he strips the percussion for a moment though, and he builds up multiple layers of synth before he gets this thing off and running again, even faster than before (and with some extra icy synth sounds to boot). The ending, especially, is danceable as all get out too.

‘Stay’ by The Black Madonna

‘Stay’ immediately gets the beat in there, though that one starts to move to the background more and more as the other sounds start to appear. It takes its time bursting open, with The Black Madonna deciding to add some instruments to the core sound first before slowly starting altering it at about 2:10. That altering doesn’t only include a change up in the rhythm part of the track, but it also means introducing the vocals, who repeat the same line over and over before they fade away again about a minute later. It is the start of a little pull back, with some light synths taking more prominence in favor of the beat part of the track. At 3:50 you get a bit of bass in there, with the beat still being held back until about 4:25, at which point it returns alongside the instruments that were introduced in the section before. The vocals are used in such a way that the track builds a bit of momentum off of them, and that contrasts nicely with the way the track ends, which is a long, looong wind down sans beat, bass, rhythm, or anything. It’s a nice slice of house that, because of the delicate way it flows from one section to another, has an interesting vibe. The ending, I could have done without.

‘Where Does this Disco’ by YACHT

YACHT is one of those bands that have just got this awesome blueprint for themselves, this like mission statement they try to stick to. One which includes catchy songs and having some fun with it, which sometimes belie their depth. This track, again, couldn’t have come from any other band. It’s got the catchy going on, starting with the bass-y synth sound, but certainly not ending there, with plenty of extra synths and the rhythmic voice of Claire L. Evans too. She is wondering where “this disco”, as it isn’t rock ‘n roll, and it isn’t disco. Though it certainly is closer affiliated to the latter than the former. Just before the second minute mark the vocals get turned down and you get a nice bridge with some catchy instrumentals, and the track does make sure it keeps the pace up and keeps the dancing going. It’s their first release on Downtown Records, and it kicks off a new batch of live dates, so hopefully it’s the first of a lot of new material.

 ‘Why Did I Say Goodbye’ by Tommy ’86 feat. Sally Shapiro (Betamaxx remix)

Earlier this year Tommy’86 and Sally Shapiro released a tune, and now it’s coming to you with all kinds of remixes, this being the Betamaxx version of it. Shapiro is well-known for her dreamy vocals and italo-disco sound, and that’s still in here as well with the synths and that typical vocal sound she always manages to lay on the track. The synth makes sure it keeps this illusion of pace, and the beat and bass make sure that they can cash in that pace on the dancefloor. Right down in the middle of the track Betamaxx dials it down a bit, though there’s still plenty of stuff in there to not really call this a break or anything. They take just enough things away so that when they put it back in there again you have this clear feeling that they are varying with the pace. And there are a couple of more instances where they do that, though a little bit more subtly. This works very well as this way there’s no lull in the track, but you do get that bit of kick when they turn the pace up again. That kind of build-up-without-the-break-down is a lovely structure for a four minute track like this. It keeps both the pace for the dancefloor and the wistful italo-disco sound the vocals almost automatically provide, which is a good combination I’d say.

 ‘Stern’ by Buzz Compass

Guns ablazing for the start of this one, immediately laying down that beat and that wall-o-synth behind it. Through that wall you get this very light, shimmery synth sound that makes for a nice contrast. Just after the one minute mark there’s a slight change-up with the cymbals and, especially, the bass coming in. The latter does a nice hide-and-seek game with that shiny synth sound, which provides for a nice interplay, with both instruments filling up the void the other is leaving behind. In the meantime, there’s plenty going on in the background, with sounds weaving in and out, like some extra percussion for instance. At 2:49 there’s another change-up, the beat leaving for a minute, and when it comes back it is a bit more broken up, not the neat dance beat of earlier. That one, though, comes back soon enough, bringing with it some extra rhythm sounds to up the pace a tad. There’s just plenty of variety in this one (even to the point that you can hear some female vocals on there at precariously rare times), though the core feel always remains. So whether it is the bass sound, the beat, or some synth sound that is propelling this one, and whether it are the female vocals, the shimmery synths or the more pulsating ones that add the atmosphere; it continuously keeps feeling as one whole, and it keeps on going going going, providing for a sweet track indeed.

The Hot Five – My favourite new tracks of the week, usually rounded off with a classic, obscure or alternate track from my music collection.

Track of the Week: Andreya Triana – ‘Everything You Never Had Pt. II’

I’ve found a gem to start us off this week: This is the kind of song that you really don’t need to know much about. The soulful, immense character of Andreya Triana’s vocal performance over subtle background swells makes for a truly magical three and a half minutes, and anything else I can tell you about this song will pale into insignificance in comparison. The lyrical content of ‘Everything You Never Had Pt. II’ is honest and true, which only adds to the likable identity of the South London singer/songwriter. Triana has previously collaborated with Bonobo (providing vocals for his 2010 album Black Sands) and Flying Lotus (on the track 'Tea Leaf Dancers'), and is due to release her own debut album in 2015.

Trwbador – ‘Side By Side’

Welsh alternative duo Trwbador have followed up the release of their single ‘Breakthrough’, featuring the talent of UK hip hop artist ESSA, with the fantastic ‘Side By Side’. Having been endorsed by famous names including Huw Stephens and James Dean Bradfield, Trwbador are continuing to show why they are one of the most exciting new bands in the UK right now. Their brand of electronica features heavy folk and acoustic influences to give Trwbador a unique, stimulating and refreshing sound. Several Wolves, the second album from the duo, is available now.

FKA twigs – ‘Lights On’

It’s been a big month for dancer turned singer Tahliah Barnett, aka FKA twigs. Her debut album, LP1, was released in August by Young Turks (an imprint of XL Recordings that also boasts the XX and SBTRKT) and was placed on the shortlist for the prestigious Mercury Music Prize this week. Facing stiff competition from the likes of Damon Albarn, Royal Blood and Anna Calvi (who has recently covered ‘Papi Pacify’ on her Strange Weather EP, the freshness and originality of FKA twigs is holding it’s own in such esteemed company. In the words of the Prize panel: ‘Lights On’ really is “artful, restless and seductive”. FKA twigs has got to be a real contender for the Mercury Music Prize, which will be awarded on Wednesday October 29.

Daughtry – ‘Utopia’

I’m not going to lie to you, Chris Daughtry is a rather large guilty pleasure of mine. Having been a popular contestant on the fifth season of American Idol, Daughtry have gone on to sell over 23 million records worldwide. ‘Utopia’ was written and recorded by Daughtry and subsequently used as the theme song of the US television reality series of the same name. Sure ‘Utopia’ might sound very commercial, but there’s no denying Chris Daughtry’s vocal ability, and as time goes on the band seem to be getting better and better at producing this kind of pop-rock anthem.

Hidden track of the week: Nick Cave & The Bad Seeds – ‘Stagger Lee’

I featured the new track ‘Give Us A Kiss’ by Nick Cave & The Bad Seeds in last week’s Hot Five, a song released in the build up to Nick Cave’s latest project, the film 20,000 Days On Earth. This week I managed to swipe myself a vinyl copy of Cave’s classic 1996 album Murder Ballads whilst browsing through the markets in Camden town. The album features collaborations with Kylie Minogue, PJ Harvey and Shane MacGowan, and this particular track is a version of the traditional American folk standard that had been previously performed by Bob Dylan, Mississippi Fred Hurt, and Woodie Guthrie among many others. 

20,000 Days On Earth will be released on September 19.

You can follow Tom on twitter @tom_fake

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the week: ‘Dangerous Days’ by Zola Jesus (The Juan MacLean remix)

Both of these juggernauts are about to release a new album, so what better reason to team up then, eh? The Juan MacLean puts in the sounds verging on techno at the start, though it is that dull thudding sound that makes sure it doesn't sound too devoid of feel. From about the 1:20 mark you get this lovely synth sound, and twenty seconds later you get the impeccable vocals of Zola Jesus. Surprisingly, they mesh pretty well, even if the vocals are a long cry from the more rhythmic Nancy Whang. Here the vocals don’t add something to the rhythm, but they add some warmth, which counter balances the fairly “cold” sounds, without being negative about that. The Juan MacLean always has a certain industrial quality to his sound that I do really love. There are moments in this remix where the voice takes center stage, with The Juan MacLean stripping away all that makes you dance, later obviously coming back to that. It’s got the danceability you’d expect, and the vocals give it a bit of warmth to make it well worth the listen.

‘This Is Not About Us’ by Kindness

Kindness is gearing up to release his new album, Otherness, and this will give you an idea of what might be on there. He starts almost singer-songwriter like with just a piano and his dreamy vocals, but soon the rest comes in to give it some rhythm so you can do a slow little shuffle to it. I really like how he uses his vocals. First of all there’s this huge difference between the vocals in the verses and the chorus, where either they use multiple layers of vocals or there are some backing singers on there. But I also really like the way he alternates between almost pathetically admitting that “you should find someone new” to sometimes being on the verge of shouting it all out. Add to that the slight funk in the percussion that juxtaposes the vocal sound, and what you’ve got is yet another terribly good track by this guy, making the album one to look out for.

‘On&On&On&On’ by Baio

This one starts out like it wants to make you dance, as it immediately jumps in with the beat from the get go. After about twenty seconds the wood percussion gets some extra atmosphere as well, courtesy of the synths. From that point on you get an extra layer after about every so many seconds, putting down the vibe on this one. From about 1:20 you get into an almost tropical kind of sound, making you wish that summer was not yet over. There’s always something going on that a dancer can hold on to, with the bass or the percussion being in there underneath the layer of tropical synths. That is, until the break of course, which starts about three minutes in and which Baio is in no hurry to disturb, lasting over a minute. Then the tropical sounds come back in first, after which the bass is put in again for those needing something a little more sturdy to dance to. If you like your tropicana drinks free and with a slice of bass, then this might be something you’re into.

‘Spellbound’ by Justin Faust

This one puts you in dancing mode from just about the get go, and it even adds another dancing layer at about 30 to push it all out even more. Leave it to Justin Faust to keep the momentum up and happening by adding just a little bit of punch at exactly the right moments. After the first minute you already hear a bit of the vocals, and you’ll keep on hearing them as Faust is working up to the break by upping the volume of the synths more and more throughout the second minute of this one. Those synths and vocals (still fairly muted, as they will remain throughout the song) are the essence of the break, which he lifts to get all y’all dancing again. Second part of the song as well, at exactly the right moments he gives the track a little punch or smoothly transitions into a different main sound to dance to, and that keeps this one from losing any steam in its almost five minute running time. Though, near the end, he slowly builds this one down to then abruptly stop.

‘Can’t Do Without You’ by Caribou (Tale of Us & Mano le Tough remix)

Caribou is going to release his new album Our Love next month, and this is a cut off of that. As with most Caribou songs, they give you plenty of stuff, and the album versions are usually just slightly too off beat to get into unabased party mode. So then, obviously, you bring in Tale of Us and Mano le Tough, who know how to get the crowds out and moving. For this one they first let it build up, and the kick drum and all the other dance elements start to come from about 1:30 onwards. There’s also a deeper, lazy synth on top to give it some atmosphere, with Caribou repeating the title line “Can’t Do Without You’ almost obsessively. That synth line provides a nice contrast with the deeper beat, which gets stripped during the break at about 3:15, where they go with atmospheric sounds, a low volumed synth, and the voice that sings that he-- you guessed it-- “can’t do without you”. They keep with the atmospherics for a pretty long time, and then they start building it up towards the beat from about 4:30 again. With three heavy hitters on board this was always going to be worth listening, though don’t expect a full on party track, with Tale of Us and Mano le Tough keeping the vibe and feel still front and center. Though no one will deny that on 3/4ths of the track you can get some dancing done.

‘Worlds Apart’ by Seven Lions feat. Kerli (Bit Funk remix)

It starts with a batch of percussion, but after a few seconds it dials down for the first time, going for just piano and the vocals of Kerli. Bit Funk then slides the percussion under it again, and after the verse it gets a beat as the track almost moves into the pop arena here. And that’s probably how to look at it, a track that would get the people bouncing at the summer festivals. Also on the back of those vocals I reckon, which Bit Funk uses to the max and which are always going full throttle. As mentioned, there are moments where they tone it down and where the vocals and piano take center stage. Soon they work in the drums again, really going pop structure style I reckon. And it makes for a fresh, happy, catchy little tune not so much for the club. But for that summer festival and with live musicians I can see this happening no doubt.