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Ozzy Osbourne hoping Bill Ward will rejoin Black Sabbath for 'final album'

Ozzy Osbourne hoping Bill Ward will rejoin Black Sabbath for ‘final album’

Posted on 24 Oct 2014 at 10:01am

‘One final album’ is what Ozzy Osbourne described Black Sabbath‘s possible follow-up to last year’s ‘13‘ as, and in a new interview with Esquire, he’s spoken of his hope that Bill Ward will bury the hatchet and rejoin in time for the band’s swan-song.

Cold War Kids delay new album release

Posted on 24 Oct 2014 at 8:56am

The wait will go on for quite some time yet for Cold War Kids‘ new album ‘Hold My Home‘.

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Jamie T: 'Most music around today is dire'

Jamie T: ‘Most music around today is dire’

Posted on 24 Oct 2014 at 8:20am

His long break from music, which was brought to an end with the release of ‘Carry On The Grudge‘, left Jamie T non-plussed as ‘most of the shit around today is dire’.

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Band Of Skulls share 'Himalayan' video ahead of UK and Ireland tour

Band Of Skulls share ‘Himalayan’ video ahead of UK and Ireland tour

Posted on 24 Oct 2014 at 6:41am

Band Of Skulls have shared an official video for ‘Himalayan‘ just before they embark on a tour of the UK and Ireland. Have a watch on Live4ever here.

The Jam's 'Setting Sons' to be reissued with unreleased tracks

The Jam’s ‘Setting Sons’ to be reissued with unreleased tracks

Posted on 24 Oct 2014 at 4:59am

On November 17th an expanded, remastered version of The Jam‘s fourth album ‘Setting Sons‘ will be released on various formats.

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Ray Davies suggests a Kinks reunion is now unlikely once again

Ray Davies suggests a Kinks reunion is now unlikely once again

Posted on 24 Oct 2014 at 3:39am

Oh look, Ray Davies has decided a Kinks reunion is a long way off once more – but this time it’s Dave Davies and drummer Mick Avory who are the problem.

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Video: Noel Gallagher performs 'How Soon Is Now?' with Johnny Marr in London

Video: Noel Gallagher performs ‘How Soon Is Now?’ with Johnny Marr in London

Posted on 24 Oct 2014 at 2:24am

As rumoured earlier in the week, Noel Gallagher joined Johnny Marr on stage last night (October 23rd) as the legendary former Smiths guitarist’s UK tour arrived at the Brixton Academy in London.

They performed a cover of Iggy Pop‘s ‘Lust For Life‘ and also aired The Smiths’ stonewall classic ‘How Soon Is Now?‘ – check out fan footage below.

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Pink Floyd's 'The Endless River' to become Amazon's most pre-ordered album

Pink Floyd’s ‘The Endless River’ to become Amazon’s most pre-ordered album

Posted on 23 Oct 2014 at 10:01am

We’re without any specific figures, but online retailer Amazon has revealed Pink Floyd‘s new record ‘The Endless River‘ is in with a chance of becoming its most pre-ordered album of all time.

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Noel Gallagher premieres official 'In The Heat Of The Moment' video

Noel Gallagher premieres official ‘In The Heat Of The Moment’ video

Posted on 23 Oct 2014 at 8:29am

Noel Gallagher‘s official video for his new solo single ‘In The Heat Of The Moment‘ has been premiered and can be seen in full on Live4ever at this link.

Review: The Twilight Sad - 'Nobody Wants To Be Here and Nobody Wants To Leave'

Review: The Twilight Sad – ‘Nobody Wants To Be Here and Nobody Wants To Leave’

Posted on 23 Oct 2014 at 7:51am

The Twilight Sad are constantly trying to develop their sound; once Scottish noise-makers utilising feedback with ferocious power and beautiful melodies, then analogue-synth driven dynamos, all haunting keyboard beeps and songs that are as dark as the night.

Now, a combination of all those elements has been focused, honed and channeled into ten marvellous pop tunes that encompass ‘Nobody Wants To Be Here and Nobody Wants To Leave‘, full of structures, catchy nuances and crystal-clear melodies that elevate them to ethereal levels of sonic quality.

There’s a Girl in the Corner’ hits with a sense of immediacy and intimacy, as though peeking over the bushes, and grows with a harrowing, underpinning grand piano sequence and small strangulations of fidgeting guitar parts that add some venom to the veins of a powerful intro. The vocals sound like an astronaut’s last cry for help from the darkness of outer-space, and the mesh of instruments that collide together pour some stunning colour over a tune which at first glance would to be nothing but a dull black and white that shades a forgotten city.

The album’s intention of being a combination of the elements which have led the band to where they are now is apparent on ‘I Could Give You All That Don’t Want’, an energised slice of pop authority with unusual strokes of sound that fasten themselves to the drums, bass and vocals. A fresh track after every listen, where something new is discovered with each twist and turn.

It Never Was The Same’ lowers its guard for a slightly more relaxing moment in which heart and soul have yet to be seen until the vocals come in partnered with a synthesizer undertone that sings and sways in the most ghostly of manners. The album is a clear development, not predictable, but with each song the band finds a new-found confidence in the things they have grown to love and get bored with and let go of. ‘Drown So I Can Watch’ and ‘In Nowheres’ have a deep and pulsating heartbeat, gothic and gigantic, hungry for more. The title-track ignites in a fist-fight of futuristic drums, unsure of itself  – loud or quiet? Hard or soft? Despite its spasmodic and special complexion, it still manages to provide a highly euphoric state of mind, maybe due to the trustworthy vocals which are drenched in fabulous studio garments, or because of the sheer confusion of a song that glimmers in a quickening tremor of sound and light, space and time.

This in particular is a record from a band working toward their strengths, making their strongest album yet. They can now carve and craft near-perfect songs that teeter on the edge. ‘Pills I Swallow’ sounds like rummaging through old photographs – eerie, airy, smoky and foggy, it unfolds gently and is nothing short of supernatural. ‘Leave The House’ and ‘Sometimes I Wished I Could Fall Asleep’ once again comprise the ominous and mischievous sides to a lullaby only a heart so black could come to terms with; special in their own, unique way to everything else, sad and sombre, but splendid and stunning all the same.

There is a childlike and menacing aura that clouds the album; ‘clouds’ in the sense of providing great atmosphere and formidable aesthetic to the tunes, not ‘clouds’ as in the sense of confusion and insecurity.

These are ten striking tunes that will break and beat you, but then offer a meaningful cure.

(Ryan Walker)

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