Boxed In - "No Joke"

Boxed In is the name that London based producer Oli Bayston has chosen to give to his first solo venture. He used to be in a band called "Keith" (what a British name!) but now produces and contributes vocals to his own music. His debut album is out today (19th January) and sounds like a really interesting collection of songs. The most important element to his music is the sense of danceability that can be found. Generally the album consists of Housey style drums, in conjunction with a prominently featured keyboard/piano part. It's the sort of style that is reminiscent of Hot Chip and I have seen an article on the Guardian's music section where the similarities have been mentioned. It is definitely true that in the beats there are parallels, but where I can also hear it in Oli Bayston's voice which reminds me of Alexis Taylor from Hot Chip's voice. There is a gentle charm and tone which can be found in both of them. It's this endearing quality that has sustained Hot Chip through 5 albums and hopefully it will do the same in Boxed In's case.

There are many highlights on the album, but my particular favourites are track 1 entitled "Mystery" and track 5 "No Joke". There is this really cool, simple and prominent keyboard riff at the heart of "Mystery" which I love. I also love the fact it sounds like a 1970's funk track. "No Joke" has got a cool and smooth 2-step garagey beat at it's core, but played on real drums. And there is this real subtle bassline that keeps moving through the tune that I really like as well. And as I have mentioned before the gentle charm of Oli Bayston's vocals comes through into this track really well.

It's a really great way to discover that there are new UK acts coming through with such deliciously sounding danceable music that haven't been super-super hyped, but are just coming through with quality. It's the sort of stuff that makes you start thinking of festivals already. The album is released on Nettwerk Records.

Tinie Tempah - "Flash"

British rapper Tinie Tempah has released a new video for a track entitled "Flash", which is produced by London producer duo Splurgeboys. The video highlights what seems to be a particularly fun trip to Dubai for a one-off show. Well, it must be fun if you are a young and successful rapper! Beach shenanigans and driving around in flash cars is the name of the game. But you can never deny that Tinie Tempah does not deserve his success. The reason why he succeeded is because he always had a wittiness with his wordplay that was still apparent despite his mainstream success. There are some clever wordplay moments in this tune too, even in the midst of the decadent celebrations, and even a reference to the boring (in my opinion) British dinner party show Come Dine With Me
"So many shots, it's like gun crime
My semi cock, girl, let it pop
This Celebrity Come Dine"

The beat is really quite dark and menancing and quite gritty. The powerful bass sound provided by the sub-bass and the leisurely tempo of the drumbeat are the components that give it this feel. Though I heard it on computer speakers that sound is magnified when you hear it on a really good set of speakers, ideally in a club environment.

Though Tinie Tempah is not speaking about something I have experienced I feel personally that the fact he can boast about what he actually has, as a British rapper, and the listener can actually think to themselves "Yeah, he's boasting, but he probably does have all this stuff" is a reason for celebration in my opinion. It's not clear what this surprise release is in aid of, but whatever it's for, it's an interesting slice of British rap music.

Years and Years - "King"

Years & Years are a 3-piece electronic act that are one of the most hyped new acts to grace the UK music scene in 2015. They won the prestigious BBC Sound of 2015 polll, which I think about is almost a guarantee of a chance of success, by the nature of the poll as it is compiled featuring the input of a significant number of people who will decide which records will be played in the forthcoming year.

The lead singer of the group is Olly Alexander and he is what propels the 3-piece into a particularly intriguing realm. His voice sounds very dramatic to me; it is relatively high for a male, but emotional and melancholy at the same time. On their latest track "King" another example is provided of this element to their music. Alexander was quoted in an interview with The Red Bulletin saying about the inspiration for his songs being melancholy; "For me that’s usually painful emotions or feeling like I’m not good enough."

  In "King" the lyrics seem to be pointing towards a relationship where the singer has come to the realisation that the relationship he is in may not have been as positive as he once believed it to be. The lyrics are full of the emotions of being under control and wanting to break free. Olly's soaring voice, backed by a sort of 90's Balearic tune, with pop sensibilities and melodies accompanies this perfectly.

It is the album that will be the true test of their longetivity. The UK has seen a number of acts in recent years use House-type beats and propelled them to the upper echelons of the charts, such as Disclosure, Secondcity and Route 94. Years & Years feel like a continuation of this, but with a greater leaning towards synth-pop and the fact they are fronted by a male singer, rather than producers, with a rotating cast of guest vocalists. "King" is due to be released on March 1st on Polydor.

The Prodigy - Nasty

The Prodigy have announced they are to return with a new album "The Day is My Enemy", which will be released on 30 March, via their own label Take Me To The Hospital. The first taster of the album is called "Nasty".

My first reaction upon hearing the track, is "They are back!" The beat clocks in at around 138bpm, which automatically gives it a different vibe and energy to the dance music that has been prevalent in the UK charts over the past few years, which has predominantly been at the classic house tempo of 128BPM. It sounds instantly familiar, which I feel is a strength of the track, and by that what I mean is it has a similar sound to that which was found on their last album, 2009's "Invaders Must Die". It has a belligerent sound, where the hyper-aggressive drums are accompanied mainly by a simple, pounding and aggressive riff, which features in the bass and the guitar/synth part, doubling the part for extra emphasis. It will translate extremely well live I imagine (which by the way is the best way to see The Prodigy. They are one of the few bands who can appeal across all genres, and you always hear reports of them smashing festivals. But my favourite place to see them is in Brixton Academy, as I have done three times.

Keith Flint's vocals have always been a crucial element to The Prodigy's mainstream success. By that I mean tunes like "Firestarter" and the all-important live element. When he did not play a main part in the group and it was primarily Liam Howlett producing it did not feel quite the same, and I know that the group has referred to it in previous interviews, particularly around the press of the last album. Keith doesn't over-power you with over-complex sentiments; the delivery is punky and full of attitude. It is a very British sounding delivery. The chorus is really catchy, but anthemic prominently featuring the word "Nasty".

And that quintessentially is what The Prodigy are to British music. They have been at the forefront of popular dance music for well past 20 years, but when they return as well as evoking the past, with things like Keith Flint's punk style delivery, it still feels like they represent a feeling of the current, whether that is frustration with some of today's current music, or with wider societal issues.

Roll on May, when The Prodigy will be touring the UK, and I can hopefully get tickets for their gig at Alexandra Palace on the 15th or 16th!