The Joy Formidable- The Big Roar

Loudest riot out of Wales since the miners’ strikes

It doesn’t take me to tell you what a state British rock and indie are in right now. Last year’s end-of-year sales charts showed only one album from either genre in the top 20 (the distinctly folk-flavored Mumford & Sons, whose album was released in 2009 anyway). Though of COURSE no one does it for the fame, it’s still a worrying trend that shows the mainstream just isn’t listening.

One band hoping to break the deadlock is North Wales’ The Joy Formidable, consisting perma-blonde-bobbed Ritzy Bryan, her boyfriend bassist Rhydian Dafydd and drummer Matt Thomas. Since the release of their first bombastic single Cradle in 2008, they’ve at times found themselves unsure of their identity. On their major label debut The Big Roar they’ve found it: and boy, it’s something.

Press around the album has rather lazily labeled it as Celebrity Skin-era Hole, probably because of The Joy Formidable’s bolshie blonde front woman. Whilst there are hints of Courtney Love in the mix, really the spirit is closer to early Feeder (albeit more authentic), or last year’s Dinosaur Pile-Up’s version of hard grunge (but far better at every step).

These are hardly fresh influences, but what their debut shows is a knack for suffusing snarling riffs with clear, catchy pop hooks. The songs themselves make very little sense- and quite what Heavy Abacus refers to (except, y’know, for an abacus that’s heavy) is unclear. But who cares? With Bryan’s vocals a sheer force out to have fun and support sturdy as a girder, it hardly matters.

Opener The Everchanging Spectrum Of A Lie flies out of the speaker after a minute or so or rhythmic balloon bursting, yet this is far from a party pooper. There’s no doubt that The Joy Formidable are at their best when sprinting full pelt, visible on a re-recorded Cradle, The Magnifying Glass and Chapter 2. None pull punches in terms of rhythm or fretwork, carried further by Austere, revealing their indie origins with the addictive “ah-ah-ah-ah”s backing.

Best of the lot of Whirring, with Bryan sounding like she’s singing from the top of Snowdon. It builds and builds before exploding into three minutes of gleeful rock noise, building to a tantilisingly explosive climax. It’s pounding, elemental and full of adrenaline.

Hints of shifts in dynamic and texture feel needed in places then, so it’s disappointing that Llaw=Wall feels a little clumsy with a hushed first half followed by an overbearing second. After nine songs of pure energy and forward momentum, it grinds it all to a half, and so sits as something of a deadweight towards the end. Much better is epic closer The Greatest Light Is The Greatest Shade- combining the two quiet-loud elements in a slightly more thoughtful way. It would make The Pixies proud.

You might not understand what the hell they’re on about half the time, but songwriting and insight can come later, this still being a debut and all. What The Big Roar gives us is the best new rock band to emerge in the last five or so years. Let’s just hope a little loud Welsh blood can infect a few up-and-comers.

4/5

Best Tracks:

Whirring
The Greatest Light Is The Greatest Shade
Austere
Chapter 2

Cee-Lo Green- The Ladykiller

Goodie Mob and Gnarls Barkley renaissance man brings the new-fasioned Hot Buttered Soul...

Ah the contradictory duality of success on Youtube. Pity OK Go’s success with their legendary “treadmills” video to Here It Goes Again. They may work to top viewing figures with every ensuing smart video, but cruicially, no one’s buying the music.

The success of Cee-Lo Green’s video to Fuck You requires no introduction. Two million views in seven days, it was the viral hit of 2010, but thankfully, people liked the actual song enough to go out and buy it, beating the woeful Williams/Barlow Brokeback-fest Shame to number one.

Of course, Fuck You is such a brilliant pop song (even the idea of it as a kiss off brings a smile to the face) that threatens to hang like a proverbial albatross over his third solo album, The Ladykiller. The fact it doesn’t is a testament to the quality of people working with Green, and the authenticity of his update of a classic soul sound.

Lady Killer Theme starts proceedings with tongue firmly in cheek: part Shaft, part Ironside theme. It makes it clear Green wants to have fun. After setting his lot out, Bright Lights Bigger City acts as a curveball- not straight classic soul, but a gleaming modern pop production. Introduced with punchy synth chords, Green is our guide through a Saturday night on the pull, surrounded by beautiful women- but classy; his night isn’t ending in a kebab shop. Bond-theme strings bleed in, swirling it to a heady climax.

It stands as the biggest suprise here, and from this point Green and from this point it’s what you expect- voice located somewhere between Gaye and Hayes, songs a clear pop update of the Temptations at their best- but isn’t that why you bought the entry ticket?

Despite the influences weighing heavy, Cee-Lo is entirely his own man, filled with confidence on confection like It’s OK and Satisfied, or plagued by insecurities on ballads like Bodies and I Want You. It’s obvious that he is the star here, and the album loses a little something when he shares his stage with Lauren Bennett on Love Gun. However, the presence of Earth Wind & Fire’s Philip Bailey on percussion through Fool For You is refreshingly welcome.

Lights are certainly down for the album conclusion: a cover of Band of Horses’ No One’s Gonna Love You. Green wrings every last drop of emotion out of the heartbreaking lyrics. It’s introspective on the verses, and then takes a giant leap on the skyscraping choruses. It’s quite extraordinary, and it’s no suprise it’s produced to ubiquitous pop king Paul Epworth.

What amazes most is the unity of it all, despite the work of over 10 writers and 9 or so producers, certainly more so than either of his other two solo albums. It’s the space Cee-Lo allows his voice that achieves this, and it also allows this clear shot at the mainstream to keep the right side of commercial, never straying to crass or cynical.

4/5

Best Tracks:

Fuck You
No One’s Gonna Love You
Bright Lights Bigger City
Bodies

Top 10 Things To Look Forward To In 2011

All things considered, 2010 wasn't the best year to be a music fan in the UK. Guitar music died a cold death, X Factor tried to fool pop fans with some frankly rubbish autotuning, and R&B crooners who sing their own names at the start of songs kept going to number one.

But as the following feature shows, 2011 is shaping up to be a much better year. Here's the Rockinfreakopotimus! guide to the next twelve months...

10. The Strokes Return (maybe...)

Ok, so the New Yorkers have been promising their new album for since 2008, and has faced delays thanks to at least two returns-to-drawing-board and the altogether more exciting Julian Casablancas solo album. The Strokes also have a lot of work to recover lost work, slipping from THE indie heros of the 00s to a band treading water by 2006's First Impressions Of Earth. Can they pull off their return?
Due: Spring


9. White Lies- Ritual
Their first album, To Lose My Life... found them hitting the ground running with a series of doom-laden, well written insights into death and fear. The critical noise around the follow up Ritual has been overwhelmingly positive and exciting, and if first single Bigger Than Us is anything to go by, this might be one of the first great albums of the year.
Due: 17th January

8. What Did You Expect From The Vaccines?
One of the most best new bands of 2010 and certainly one of the few indie groups to really thrill, The Vaccines have announced today that their new album will be called What Did You Expect From The Vaccines. Opening on the NME tour is often a sign of greatness to follow, and if they can deliver on the promise of the first two singles, Vaccines could put guitar bands back on top.
Due: March


7. The Flaming Lips to play The Soft Bulletin live, in full!
The idea of playing a classic album in full is frequently a quick way for a band to make easy money. That and can you really think of an album you want to hear every track of? The Soft Bulletin might be the exception. The first of their trio of classic albums, the 1999 masterpiece deserves to be brought to wider attention.
Expected: Summer

6. New Radiohead Material
The follow up to 2007's game-changing In Rainbows was expected last year, but the band announced they needed a little more time to get finished in November. What's not yet clear is how we'll recieve the new music, or even what form it will take, with talk even of a classical EP. Whatever and however we get it, expectations are extremely high
Expected: Unknown


5. Sonisphere 2011
Just for the headliners: Metallica, Iron Maiden, Anthrax, Megadeath and Slipknot. Just that alone is enough to ensue that this year's Download is probably going to be very quiet indeed...
Expected: 8th July

4. Build A Rocket Boys- Elbow
Any worries about expectations getting to them were blown away last week with the premiere of new song Lippy Kids. There was a sense with their Mercury Music Prize win of just reward, and the follow up promises to be the same combination of songwriting mastery, and epic intimacy as their very best work.
Expected: March

3. Glastonbury 2011
Glasto last year was a mixed one...true they had Stevie, but as a symbol of the mixed reaction, it was Michael Eavis singing Happy Birthday. Headliners are booked (one of them probably being U2) and it promises to be an exciting year
Expected: 22nd June

2. New music scene?
2010 was completely dead for guitar bands. But through the last few decades repressive Tory governments have bred wonderful and exciting new music. A good tip? Dubstep elements find their way into unusual places...

And at number 1...

Pulp reuinite!
It's been rumoured for years, but finally the Sheffield Britpoppers are returning for a victory lap. A whole new generation are about to be introduced to the wit and wisdom of Jarvis Cocker, and the band are promising a classic show. There's also a gap in their schedule for Glasto...

Tracks of the Year 2010

As revealed on Twitter over the last few weeks, here's the complete rundown of the 25 best tracks of the year.

25. When I'm Alone- Lissie
24. Wrecking Bar (Ra Ra Ra)- Vaccines
23. We Are Sex Bob-Omb- Sex Bob-Omb
22. All Eyes On You- Philip Selway
21. Blue Blood Blues- The Dead Weather
20. Tighten Up- Black Keys
19. Fast Car/Slow Traffic- Paul Weller
18. Drunk Girls- LCD Soundsystem
17. Dead American Writers- Tired Pony
16. Crossover- Magnetic Man ft Katy B
15. Laredo- Band Of Horses
14. Truth Sets In- Avi Buffalo
13. POWER- Kanye West
12. Photoshop Handsome- Everything Everything
11. Devil's Spoke- Laura Marling
10. Bloodbuzz Ohio- The National
9. Stylo- Gorillaz
8. Tightrope- Janelle Monae
7. (It's Not War) Just The End Of Love- Manic Street Preachers
6. Fuck You- Cee-Lo Green
5. Spanish Sahara- Foals
4. Month of May- Arcade Fire
3. Pass Out- Tinie Tempah
2. Tenderoni- Kele

AND THE WINNER IS...


1. Stay Too Long- Plan B

Perhaps not as revolutionary as many tracks that have found their way onto this list, Plan B's comeback nevertheless tops this chart based on the explosive impact it had when it was first heard. Ben Drew had found considerable success as a potty-mouthed rapper singing about social issues like child abuse and alcoholism. But after the revelation of his voice on Chase & Status' End Credits single at the end of last year, Plan B spent the year living the life of Strickland Banks, the soul man whose life is destroyed on his album.

The song depicts a night out after a big gig. Strickland heads to a bar, gets blindingly drunk, runs from the law, takes drugs and finally ends up having an a one night stand with an obsessive fan (feeding directly into next single, She Said). The heady rush that Drew sings and raps about is captured perfectly in the music, an exhilarating run through the London streets.

Stay Too Long didn't quite go for the full-on soul of tracks like Praying, She Said and Love Goes Down, but this was easily the most exciting sound of the year, all the while Drew keeping up with the social explorations of his older work.

It's with a level of sadness we learn that Plan B is returning to hip hop next year. But if his next album The Ballad Of Belmarsh can retain the artistry of songs like this then it's also something that can be faced with excitement too.

Review Of The Year: Best Albums Part 3 (The Top 5!)

This is it...after much deliberation, these are the top five albums of 2010 according to Rockinfreakopotimus. If you don't agree with the choices or want to have your say, leave a comment and let the debate begin.

This is the best music of the last 12 months, and I hope you've enjoyed the top 25. Rockinfreak will be back soon with a look forward to 2o11.


5. The Besnard Lakes- The Besnard Lakes Are The Roaring Night
The band's first album, The Besnard Lakes Are the Dark Horse, was one of the most underrated albums of the last decade, and it's sequel is looking to head the same way. Largely ignored in other end-of-year lists, this absolutely deserves to be heard. Filled with deep, sumptious epics, this takes the sonic distortion of bands like MBV, turns it down and suffuses it with slow-burning melody. Absolutely delicious.
Best Track: Like The Ocean, Like The Innocent Part 2: The Innocent

4. The Archandroid- Janelle Monae
Following on from last year's EP, suites II and III of Janelle Monae's Metropolis-obsessed robotic love story did not disappoint. The story was almost incomprehensible, but like all the greatest concept albums, the songs are of such a uniform standard that it would work without it. Some of the most inventive and sheer FUN pop music of this or any other year, she's a mindblowing live act to boot.
Best Track: Tightrope

3. Plastic Beach- Gorillaz
To say that Damon was under pressure for this would be an understatement. Demon Days was one of the best pop albums of the last decade, and for its follow up, Albarn went further into the rabbit hole. While vocally the focus is even more off him, this is his vision through and through- brave, bold and uncomprimising. Lou Reed, Snoop Dogg, Bobby Womack, Jones and Siminion, Mos Def and De La Soul were queueing up to be part of this masterpiece, and not even an ill-advised appearance at Glasto can stop this being Damon's year
Best Track: Stylo

2. The Suburbs- Arcade Fire
The most critically-celebrated album of the year (it's been made official), and who am I to argue? Neon Bible was biblically awesome, but could have proved a creative cul-de-sac.

Rather than top it, the Canadians pulled back and scaled down, with a trip to their hometown inspiring a look at the oft-observed city outskirts. The depressing, suffocating air that fills those towns is present here, but the band punch through the fog, dreaming of escape. What we're left with is a relatable album, filled to burst with musings on modern life. Worht every word of praise it's given.
Best Track: Month of May

And the album of the year goes to...



1. I Speak Because I Can- Laura Marling
A wonderful breath of youthful, folky air with her debut album Alas, I Cannot Swim in 2008, the leap forward on its follow up is astronomical. With a stronger embrace on more traditional folk songwriting on tracks like Rambling Man and Goodbye England (Covered In Snow), Laura mixes this with a less traditional approach to recording to push the genre out of obscurity and into relevance to a 21st Century audience.

Marling voice has deepened and grown. On Alas...she was a young girl, but on I Speak Because I Can she is fully woman. It's darker and more mature, which is a familiar path for second albums, but this one sidesteps the cliches entirely. The opening needle crackle and ominous chords of Devils' Spoke will stop you in your tracks, and Marling will not let go until she has proved her independent talent at the end of the title track. Make no mistake, this album gets under your skin, and offers more than enough subtlety to allow the songs freshness even after 300 listens.

The promised follow-up has yet to materialise but no matter. Laura Marling has confirmed herself as a talent with a long, open future

Albums Of The Year part 2 (15-6)

15. Queen of Denmark- John Grant

The Czars frontman returned from a long spell in the drug-ravaged wilderness, and headed into the studio with Midlake to record these wonderful ruminations on life. Melancholic, dark but always somehow joyfull, Grant reminded the world what a talented songwriter they had in him
Best Track: Where Dreams Go To Die


14. Man Alive- Everything Everything
Indie's seachange was definately on the other side of the Atlantic this year, with the genre being largely redundant in this country. The Manchester-based Everything Everything (and, more recently, The Vaccines) were an anomaly, bringing their pretentious, entertaining and catchy anthems to a downbeat nation.
Best Track: Photoshop Handsome

13. This Is Happening- LCD Soundsystem
A massive crushing disappointment compared to its predecessor, Sound of Silver. Mind you, how James Murphy and co were supposed to follow one of the most widely-regarded masterpieces of the last 25 years is anyone's guess. Based on the album's own merits, this was fresh, funny, innovative and exciting electronic pop. If this is indeed their last album together, they've bowed out in style.
Best Track: You Wanted A Hit


12. Infinite Arms- Band of Horses
It took a Cee-Lo Green cover of No One's Gonna Love You to thrust them towards the mainstream, but on the merits of this, their third album and first as a unified band (despite their name). It didn't rock the boat too much: the usual mix of beautiful metodies, stunning harmonies and perfectly crafted songs, they just threw in a more ambitious tone.
Best Track: Laredo

11. Wake Up The Nation- Paul Weller
An unexpected delight, Weller dropped the folksie approach of his solo work to bring back the thrills. One of the most suprisinly experimental mainstream albums of the year, Weller's urge to "get your face off the Facebook and turn off your phone" clearly reenergised him too, and he was awarded with a Mercury nod for his troubles.
Best Track: Fast Car/Slow Traffic

10. Congratulatons-MGMT
An album whose reputation will perhaps unfairly follow it when mentioned in future, this was not the destructive, unlistenable disaster that was promised. Instead, the band shyed away from the weird pop of their debut into far more psychadelic territory, pushing their own boundries and writing songs about Brian Eno. Great cover art too.
Best Track: Siberian Breaks

9. High Violet- The National
Isn't them being Barack Obama's favourite band enough? Ok then. The National proved to be the critical darlings of the year, and gained a loyal following, as shown with their Q Awards win. This was an album full of rich and warm melodies, given emotional weight by the soft burr of frontman Matt Berninger. Do believe the hype.
Best Track: Bloodbuzz Ohio

8. Familial- Philip Selway
Selway has done an amazing thing: banished all memories and presumptions on drummer albums. No one expected the Radiohead sticksman's debut to be this tender. Far more human then recent bandmate efforts, Selway unveiled a beautiful, fragile voice that transcended the usual bloke-with-an-acoustic-guitar album
Best Track: All Eyes On You

7. The Defamation of Strickland Banks- Plan B
By far the most unexpected reinvention of the year, Ben Drew's jump from potty-mouthed rapper to socially-concious soul-man in the mould of Curtis Mayfield was a joy. Far from selling out, this jump kept the edge of his hip-hop and brought the issues to a wider audience, with a great story of soul star in downfall. Next year's return to hip hop, The Ballad of Belmarsh is an exciting prospect.
Best Track: Stay Too Long

6. Total Life Forever- Foals
Frequently running in ever-decreasing circles during adventures in math-rock, Foals proved themselves far more pallatable in more human form. Their intelligence and sense of adventure remained their main selling point, but a strong focus on songwriting proved to be their big success. The album soared at it's most emotional, as seen in the brilliant Spanish Sahara.
Best Track: Spanish Sahara

Review of the Year 2010: Best Albums (25-16)

Right this is it...from today I will be looking at the best (and, in places, worst) this year has had to offer. So let's get the album countdown underway:

25. Flaws- Bombay Bicycle Club
Found moderate success as a run of the mill indie group with their first album, but it was with this they became a far more interesting acoustic proposition. In a year filled with suprising reinventions, this was one of the best.
Best Track: Rinse Me Down



24. Sea of Cowards- The Dead Weather

After a promising but somewhat underwhelming debut, Jack White's other "other" band hit back with a tough, bluesy offering to silence the critics. Updating the blues via Nick Cave's brand of fire and brimstone, White is one step away from taking over the universe.
Best Track: Blue Blood Blues


23. The Family Jewels- Marina & The Diamonds

In a year dominated by female pop artists, Marina Diamandis proved you didn't need to be stuck in retrofit or force your ubiquity to be an interesting artist. Her album filled with inventive, powerful pop songs proved this.
Best Track: Mowgli's Road



22. The Drums- The Drums
Hyped beyond the point of death, the leaders of this year's US indie invasion managed to live up to it for once. Dropping the surf-pop of their Summertime EP, their debut was filled with pert yet heartbreaking laments to love lost. Losing their guitarist has barely touched their confidence either.

Best Track: Forever and Ever Amen




21. Odd Blood- Yeasayer
Reinvention #2: formerly purveryours of world music through an indie prism, on album number 2, the Brooklyn group streamlined their focus into one of the most forward thinking pop albums of the year. They even scored some radio play with O.N.E, so the future is bright for one of the world's best kept secrets.

Best Track: Ambling Alp



20. Treats- Sleigh Bells


One of the big new sounds of 2010 to hit the mainstream was this: mixing sweet, Shangri-La alike vocals to tough hardcore dance-rock. Sleigh Bells were by far the best at this new movement, and turned in a fascinating debut album.

Best Track: Riot Rhythm

19. Diamond Eyes- Deftones
This year's been one dominated by pop and urban music, meaning it's been difficult at times to be a fan of metal and hard rock. Flying that flag were the metal Radiohead Deftones. Marrying a forward thinking attitude and strong melodies to the crunching guitars, this was by far their best set yet.

Best Track: Diamond Eyes

18. Band of Joy- Robert Plant

An erratic solo career in the shadow of a certain mothership came to an end in 2007 with the multi-grammy winning Raising Sand. Ever the restless soul, Plant left Alison Krauss behind to explore American country music deeper. He found there a set of wonderful songs to make his own, and the best backing band in the world.
Best Track: Even This Shall Pass Away

17. Brothers- Black Keys
No longer labelled White Stripes copyists,Auerbach and Carney moved into their own space on album number six. Smooth, funky and hearfelt, this was probably the most suprising US Top Ten hit of the year, but one of the most quietly exhilarating at the same time.

Best Track: Tighten Up

16. Crazy For You- Best Coast
Featuring on its cover the second most talked about cat of the year (presumably this one didn't end up in a bin), Best Coast led the Pavement-obsessed slacker movement from the West Coast. Lyrics about boredom, smoking weed and losing your boyfriend, this stood as one of the most accessible indie albums of 2010. Quite whether the formula can work again remains to be seen.

Best Track: Crazy For You