Klaxons: Flashover.

For a band who single handedly introduced me to a sea of glowsticks and trashy 'nu-rave' slogan tees, Klaxon's return has been a long time coming. Three years after their magical debut 'Myths of the Near Future', it looks like I wasn't the only person who decided to put the neon fashion faux pas to the back of the wardrobe. Klaxons have come back with something familiar enough to quench their loyal fans thirst, yet different enough to catch the attention of music revellers who have not yet had the pleasure of indulging in the Klaxon's reckless charm.


Although not set to be released a single, track 'Flashover' is hopefully a sign of things to come from their latest offering, 'Surfing the Void'. We're thrown straight into the track, much like previous hits, although in a somewhat 'Horror-esque' style that Faris and Co would find themselves in awe of. What could have been a cacophony of noise becomes somewhat mesmerizing with the aid of Jamie Reynold's distinctive vocals.

Towards the end of the track there is a moment which almost sounds as though Kate Nash and her quirky piano have made a guest appearance, but it strangely works. Fading out into nothingness in true Klaxon's style, 'Flashover' presents us with just over five minutes of energetic yet spell binding bedlam.

This may not signal the return of the 'nu-rave' era, (and thank God for that!), but it's far from a disappointment. Klaxons have succeeded with an altogether enchanting, yet more mature, track and it looks as though 'Surfing the Void' is set to continue the theme.

And here is the track itself, have a listen.

Moby: Gone to Sleep.

So, Moby is back with another dose of ambiance - 'Wait For Me', a sixteen track offering comprised of sleepy melodies and slow moving symphonies. This, with his title track are everything we've come to expect from Moby over the years, with most of his previous works settling down comfortably in 'Chilled Out' compilations and the like, year after year. Don't get me wrong, it's not one to miss, but there's another track which in my opinion is proving to be a lot more interesting.

The track in question is 'Gone to Sleep', a powerful duet with songstress Kelli Scar, who also works with Moby on aforementioned title track 'Wait for Me'. For someone famed for his individuality and preference to work on his own, Moby's dream-like style plays the perfect partner to Scar's voice and makes you question why he doesn't adopt collaborators more often. The fact that Scar is far from mainstream, (after all, she doesn't have a Wikipedia page), makes this combination altogether more exciting.

What interested me the most was the process in which the duet was born, with New York radio station, NPR, setting Moby the challenge of recording a song in 2 days. Not only did he surprise the station and fans alike by churning out the track in just eight hours, he also took it upon himself to record an acoustic version and still had time to play a personal gig to the station's staff. Now that's dedication.

With inspiration coming from a series of images shown to the artists by photographer Phil Toledano, both Moby and Scar found themselves mesmerized by an image of a man in a trench coat, with his head resembling a storm cloud. They then were faced with a choice of words, with Moby choosing 'Flight' and Scar 'Sunday'. Compiling the image and words, Moby began to play a riff, which in turn resulted in the foundations for 'Gone to Sleep'. The track may have taken turns along the way, and wasn't called 'Flight Sunday' or anything along the lines of, however, the result is something which in my opinion is strangely beautiful.

Have a listen and take time to pay attention to the video, filmed in NPR's studio.

DJ Pugz.

Hurrah! The summer is nearly here and with the sun shining I've decided that it's time to dust off the endless Ministry of Sound CD's I have come to find myself in possession of over the years and put my dancing shoes on. However, as nostalgic as they may be, they're wearing a bit thin now. After all, there's only so many times I can listen to remixes of Cheryl Cole and other such delights.

And that's where DJ Pugz comes in.

DJ Pugz, (Adam Pugsley), is an up and coming DJ from Kent, concocting mash ups of unreleased electro and prog house. Using euphoric build ups that you'd usually find in the heart of trance music, DJ Pugz combines these with hard hitting house, resulting in an individual style you'll find hard to ignore.

By clicking on this link: http://www.djpugz.com/?p=201, you can listen to his latest mix - "Home Grown House", available to both download and stream. With classic house tunes such as "Leave the World Behind" by Axwell and "Everything's Gonna Be Alright" by James Doman, I defy anyone to not find themselves in that party mood we all crave.


If that doesn't quite do it, luckily for you DJ Pugz has a flip side, with dubstep playing a part in most mixes. Cutting and mixing unreleased dubstep himself, Pugz introduces a grimier, dirtier side to our eardrums. If that's more your thing then this is the mix for you: http://www.djpugz.com/?p=197


So, let's hope you've paid attention, as there is plenty more mixes to grace your eardrums throughout the summer on www.djpugz.com. And if you're really impressed, you can become a fan of DJ Pugz by clicking on this link: http://www.facebook.com/pages/Dj-Pugz, where you'll be kept up to date with his newest releases.

Futureheads: Heartbeat Song.

In the abrupt style we have come to know and love, “Heartbeat Song” steals your attention as soon as you hit play. The Futureheads latest offering sees the quartet doing what they do best ; combining their fast paced post punk style with energetic vocals and a tune that will stick with you like the memory of your first snakebite - without the vomit inducing taste in your mouth.

Lead vocalist Hyde hardly takes a breath as he relays his tale of infatuation and lust, pushing the lovey dovey stuff aside and proving that they’re still that little bit too cool to be churning out songs about “the one”. With catchy hooks such as “Your heartbeat song, it’s good but it’s not the one. We’re singing out of tune but I still want to sing with you”, reverberating off of the walls, this one is best played loud, much like their previous accomplishments, "Hounds of Love" and "Decent Days and Nights".

It was just over 6 years ago that the music world decided to sit up and listen, with The Futureheads supporting the likes of Oasis and Foo Fighters. With their upcoming album “Chaos” being their fourth record, if there’s any justice we’ll be hearing a lot more from The Futureheads this time round, with “Heartbeat Song” being the perfect starting block.

Released on the 12^th April, with the album coming out on the 26^th, it seems as though they're definitely one to keep your eyes and more importantly your ears open for.

Foals: This Orient.

Whilst some bands and artists are fighting against the current that is mainstream, others appear to be embracing it - or at least using conventional techniques and catchy chorus's as a safety net. Arguably, it appears Foals may have taken this controversial route.

The song that springs to most people's minds when Foals are mentioned, is 2008's fast paced Cassius; comprising their instrumental ability with furious guitar riffs and Yannis's strangled indie rock vocals. Being a fan of Foals myself, what appeals to me the most is there quirky, jittery melodies and after seeing them tour after the release of 2008's Antidotes, their energy on stage was simply hypnotising.

Their return has certainly been an anticipated one; however their style appears to have been taken down a few pegs, with This Orient focusing on an exploration of love. Although very different, there are still hints of the Foals we know and love, and although some may see their sudden change as an insult, "selling out" even, I believe that it's just another side to the band, a side I'd quite like to see more of.

MGMT: Flash Delirium.

MGMT without a doubt gave us 2008's summer soundtrack.
Most skinny jean clad, eyeliner wearing youths spent many a night on the dance floor, snake bite in hand, swaying to psychedelic floor fillers such as Electric Feel and of course, the timeless Kids. It then comes with no surprise that they're back, just in time for the summer of 2010, with a barrage of welcoming fans awaiting them.

Flash Delirium is MGMT's latest offering. It's with a certain degree of regret that it's not of the same calibre as Kids - certainly no catchy hooks. And I doubt "Chiddy Bang" will attempt a remix of this one. But that's a good thing, right? Oozing Bowie like vocals, the track surprises you more with each listen, it's even perhaps a tad theatrical.

This may not be one for the dance floors just yet, however, it's definitely one to look out for. Put your snake bites down, swap your skinny jeans for a kaftan and opt for a more chilled approach;if you catch my drift. A track with potential and perhaps a little more to it than originally thought, this one's a winner.

Laura Marling: Devil's Spoke.

Laura Marling's transformation from a shy, bewildered adolescent into a bold, accepting young woman stares us in the face with "Devil's Spoke"; the latest single to come from her much anticipated second album - "I Speak Because I Can".

We are presented with an ensemble of well written lyrics and a stronger, mature set of vocals as Marling describes the peculiar grip of admiration and love. It's fast paced and has a strength to it that comes as a slight surprise in comparison to earlier works. Despite her new found back bone, there are points at which the music softens, the pace slows itself and Marling shows her tender side, a side that I momentarily thought had been left back in 2008's "Alas I Cannot Swim".

If this single is anything to go by, it looks as though Marling's new album is going to be a treat, with an electic mix of both her previous and now new and ballsier style, with the same thought provoking, lingering lyrics I have become fonder of with each listen.

And for those interested, here is the track in question: