For such a young man to wear his influences on his sleeve is no crime – there’s quite a lot of Bob Dylan in this song – but he’s taken them and done something wonderful with them. Released as a single last week, Trouble Town has already been receiving support from such notable people as Steve Lamacq and Huw Stephens, which means that Jake Bugg has gotten off to a hell of a start – and well he should, because the 17-year-old from Nottingham has written a song that does far more than keep up with the zeitgeist; it captures the spirit of small-town alienation and frustration so perfectly as to have a real shot at becoming an anthem for many young people just like him. Stuck somewhere where ‘the only thing that’s pretty is the thought of getting out’ and mentioning ‘a secret road to take me far away’, Bugg’s want-away lyrics will strike a chord with lots of people; small wonder he’s opening himself up to a big audience. The song itself is nothing too ‘out there’ – guitar, bass and percussion are the order of the day – but it’s the message contained within that’s most remarkable. Things are definitely gathering steam for him. Here’s one Bugg that you’ll be glad to catch.

Free download from his Facebook page

Jake Bugg – Trouble Town was originally published on The Blue Walrus

I was expecting Lizzie Grant to crash and burn, but the truth of the matter is that her new record does not need to live up to its superlative beginnings. It was never going to be the finished article, despite all the hype (and my god, the hype quickly became insufferable), and what we’re left with is an album that is good. Surprisingly good, in my opinion, and flat-out brilliant in some places. Video Games is a fantastic single and works just as well in album context as it does on its own. It’s a shame that there’s not really any hidden gem present on the remainder of the album, although Summertime Sadness gives the last third of the album a well-timed shot in the arm.

I say well-timed, because even though all the songs on Born to Die are ‘good’ to various extents, the production becomes a bit samey after a while: strings are present across the entire album; the beats, when present, are all cut from the same cloth; and there is a considerable amount of reverb on Del Rey’s vocals throughout. That last technique is necessary, however – despite Del Rey having a good voice and an agreeable singing style, her range seems limited, to the extent that she has resort to things like the semi-rapped delivery on Off to the Races (and borderline yelping during the chorus).

When using her lower register, the results are better, as Radio and National Anthem attest to – even if the latter suffers from poor lyrics (a criticism that could be levelled at several songs on the album; more on this later): ‘Money is the reason we exist / Everybody knows it, it’s a fact (kiss kiss)’. Really, Lizzie? there are a number of similar declarations on the album, and the only conclusion that can be drawn from that is that she’s drawing from a fairly shallow pool of lyrical content. On that note: I can’t tell whether ‘Pabst Blue Ribbon on ice’ from closer This is What Makes Us Girls is amusing or cringeworthy.

So: melodramatic production, lyrics that often enter clichéd territory and pacing issues. This must mean it’s bad, right? Obviously, your mileage will vary on that (and this is an opinion-splitting record), but the songs themselves are the best thing about Born to Die, which is the way it should be. Stripping away all the bullshit about her contrived image, and nervous live performances (of course she’s going to be nervous – riding a wave of hype for six months will do that to most anyone), the end result is an album that is consistently enjoyable.

Say what you want about her, but when it comes down to the songs, there is enough evidence here to suggest that Grant is not dead yet. You can call her a guilty pleasure if you want, but  I don’t do guilty pleasures. I like what I like, and I like this album. Is it flawed? Definitely. Has she got work to do? Yes she does, without a doubt. Has she got potential? Absolutely. Whether you love her, hate her or are completely indifferent towards her, Lana Del Rey is here to stay.

Lana Del Rey – Born To Die was originally published on The Blue Walrus

Twitter can be a wonderful place for discovering new music – a case in point: I got up this morning to Jamie and Jamila talking about how “AMAZING” Caves is – and they are, as usual, right on the money.

Caves (soundcloud) dropped his debut EP back in December, but his latest track Didn’t I is my favourite of his to date – it’s slow and deliciously intricate pop. It breaks free of any blisspop or indie sensibilities, it’s open, welcoming and joyous – this is what pop is supposed to be people – take notes. In love with one listen, under a spell in two.

Hat tip to MUSIC FANS MIC for being awesome as usual.

Introducing: C a v e s was originally published on The Blue Walrus

Repetition works. I didn’t particularly need any reminding of that statement – after all, certain sub-genres of music have already established repetition as their foundations, such as some forms of electronica, not to mention krautrock – but when it’s used by a band to deliberately rein themselves in, it is so much more effective. Atlanta, Georgia’s All the Saints [Facebook] would know all about that, because their impeccable sense of restraint is what makes their second album, Intro to Fractions, such a compelling listen. It’s not the most immediate album around by any stretch of the imagination, but it’s packed with melodic urgency and drive.

Had its creators wanted to go all-out, their new record would have been overwhelming. They’re much better off with crafting a different kind of intensity, though – the songs on this album rarely, if ever, cut loose, the band preferring to build on what’s already been laid down rather then veering off into new tangents. The changes in texture and dynamics are incredibly subtle, meaning that Intro to Fractions needs to be listened to quite closely. It’s a very rewarding 35 minutes, and the group’s shoegaze-inspired compositions reveal themselves over multiple listens. It’s the kind of album that needs to be paid attention to, even if, in relative terms, not that much goes on. Are you following?

Gradual crescendos seem to be the order of the day: opener Half Red, Half Way gets by on one chord for most of the song, spiralling towards a speaker-shredding climax that the likes of My Bloody Valentine would be proud of. The production is far more refined, however – things aren’t maxed out, and are given plenty of breathing space, meaning that when things get loud – as the close of Alteration proves – they have double the impact.

Some songs here are deliberately left in an unpolished state. The hazy psychedelia evident on 4H Trip is meant as a segue into the next part of the album; as a sort of interlude after the claustrophobic feel of its opening songs. It bleeds nicely into Host, one of the more menacing-sounding songs on the record, reverb-soaked vocals underpinned by simple yet potent drumming and a chill-inducing bassline.

There aren’t really many criticisms that can be levelled at Intro to Fractions. One would probably expect an album like it to fall off on the back half; the opposite is true, and it ends up getting better as it goes on, the result being a promising beginning, an intriguing middle (with the band making sure to keep things as diverse as they can manage) and a rewarding end. It may be a little difficult to stomach for some people, but the important thing is that it remains focused throughout. With very little – guitar, bass, drums and vocals, no trimmings – it gets rather a lot done.

All The Saints – Intro to Fractions was originally published on The Blue Walrus

The young Frenchman with the midas touch, Mr NÔ, has taken Enter Shikari’s Arguing with Thermometers – he’s isolated the vocals, removed noisey aggression, and stripped it down to an urgent groove with attitude.

Another French reworking for our second remix of the day, with Logo giving their unique flavour to Django Django‘s Default giving it an almost housey vibe.

Remix Wednesday: Logo And Mr NÔ Take On Django Django And Enter Shikari was originally published on The Blue Walrus

Sometimes, all it takes for a song to be great is a melody. Flourishes and additions are all well and good, but a song built on solid foundations and does exactly what it sets out to achieve is the best kind of one. A young Brighton producer who seems pretty elusive and simply goes under the moniker of Tourist [Soundcloud] has brought us a song like this, and it is an absolute cracker. Placid Acid is the lead track from his debut EP, which is released on March 12th, and his love of bright melodies and euphoria-inducing soundscapes will strike a chord with many. January is only drawing to a close, but the song brings summer to mind, and the bouncing beat that arrives around a minute in only heightens its giddiness. This is pop music distilled down to its essence: immediate and completely thrilling. As Little Loud, he remixed bands like Yeasayer and Clock Opera – fans of his remix work are going to be all over this, as will, no doubt, plenty of other people.

The Placid Acid EP can be pre-ordered here.

Tourist – Placid Acid was originally published on The Blue Walrus

Better Slow Down is soft and simple with just layers of voices upon a fertile ground off-kilter rhythmic tin-can drums, whilst Color Blind (I swear) is more of an under-produced American folk-influenced serenade. Down #2 is back on the electronic groove, with soulful vocals over soft synth-lines and a drum machine that could almost be from Jamie Woon’s back catalogue.

Sketches Pt.1 shows the undeniable talent of Conner Youngblood, we are just waiting for him to decide on his path and follow it into a full-length soon.

Conner Youngblood – Sketches Pt.1 was originally published on The Blue Walrus

I first came across Florian Lunaire (facebook/twitter) in his band Disappearers about a year ago (we even tried to book them for our showcase), and his talent of crafting perfect pop noir tunes that are both sweeten the ear and soften the heart was apparent back then. Now he is branching out on his own with often little but a piano to accompany him and I’m swooning once more.

He releases a collection of songs for each season, having just released the track Blossoming Winter – but his style can sway anywhere with influences from the likes of The Pixies, or even a little of recent Radiohead – high praise indeed! Whether it is the upbeat Summering Here or the swaying Four Darks, Lunaire is a man to be watched as the world discovers him in 2012.

…and here he is playing a gig recently at The Old Queen’s head

Introducing: Florian Lunaire was originally published on The Blue Walrus

The first of their new releases under One Beat Records, a track called You Play The Girl, features some warbling lead guitar chords and a great bass riffs but also a range of catchy lyrics that edge into the pop-world cautiously. The track was released as part of a Gap Clothing compilation and is available on free download.

Last week The Arcadian Kicks released the video for their newest offering – I Wanna Take You Home – which serves up similar melodic guitar lashing with catchy lyrics. The video itself is shot entirely in black and white and barely features the band. With plenty of alcohol abuse and pretty girls smoking, it’s a typically fitting video.

I Wanna Take You Home and You Play The Girl were both recorded with Mike Chapman, who produced many of Blondie’s albums. It’s a combination that seems to have moved the band towards a fusion of different genres and sounds, away from their typically indie roots. In fact the previous line-up even featured back-up vocalist and keyboardist Rebekah Pennington occasionally playing saxophone, which the band seems to have not utilised in the new tracks. Nevertheless their live performance is energetic and polished and the growing audiences at shows is a testament to band who may just be on the brink of national success.

Introducing: The Arcadian Kicks was originally published on The Blue Walrus

I first heard the gritty, lo-fi and under-produced Brown Brogues (facebook/twitter) on a Song, by Toad Podcast (a Toadcast if you will) a good while ago, but they are a band I keep turning back to for the pop-songs that underpin it all. The Manchester two-piece describe themselves as garage/jive-o-tonic and that seems to fit with a sound that feels like it was recorded on a dictaphone in a basement surrounding some catchy-as-fuck pop charm.

Just because this is lo-fi and they’re a two piece doesn’t make this blues though – compare them to The White Stripes at your peril.

Italian Beach Babes are putting out the 7″ release on 27th February

Brown Brogues – Anyone But You was originally published on The Blue Walrus