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<title>RockFeedback</title>
<description>All the latest news from RockFeedback</description>
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<link>http://www.rockfeedback.com/</link>

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<title>Young Galaxy  Interview  February 2012 [Feature]</title>
<pubDate>Tue, 07 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Chances are at some point this year, if you&rsquo;re on Facebook or Twitter, you&rsquo;ve already received a re-post/Tweet of an article prophesising on the &lsquo;death of guitar music&rsquo;, or a general analysis of how bands are seemingly becoming a redundant musical medium. Clearly that&rsquo;s not a line Rockfeedback is going to buy into and it&rsquo;s certainly a very blinkered argument that must be looking at the genre groupings within the ever decreasing &lsquo;units moved&rsquo; metrics of the last few years.
Young Galaxy are a band who prove quite the ointment to this line of argument. If the mainstream is turning its back on &lsquo;bands&rsquo; and &lsquo;guitars&rsquo;, then that&rsquo;s all the better for the fringes, for experimentalism to flourish and for musicians to have more space to create. Formed of a core trio of Stephen Ramsay (guitars, vox), Catherine McCandless (vox, keyboards) and Stephen Kamp (bass, vox) Young Galaxy have released three albums of dance rock that is at once continuously rumbling with despair whilst being punctured with pinholes of poetic hope. Their output is one of the most consistently progressive yet melodic concoctions out there. Their last album, 2011&rsquo;s Shapeshifting was recorded and then sent to Swedish dub-dance pioneers, Studio&rsquo;s Dan Lissvik to edit and embellish as he pleased. The resultant album shimmies in an ephemeral light of heavy grooves as Catherine prophesises across a series of philosophically influenced observations that are strikingly beautiful. Rockfeedback had the chance to speak with lead songwriter Stephen Ramsay on Anglophilia, nihilism and cultural heroes.

Rockfeedback: Young Galaxy come happily burdened with an expectancy to contrast a na&iuml;ve wonder for things with, ultimately, a fatalistic outlook. Why is this, are you a concept band first and foremost?

Stephen Ramsay: Oh wow, what a question! I suppose the short answer is that I have always had felt like I have a very thin skin about the innate strangeness of our existence. Our self-regarding minds are unique to us in the universe, as far as we know - and this very notion is simultaneously an unprecedented miracle and completely isolating and tragic. I use music as a way of exorcising this - a lot of what I write about serves my need for catharsis. Lately though, I have begun to question whether this way of writing is heavy-handed and uninteresting for most people, so now I'm attempting to push myself into something entirely more foreign and uncomfortable, conceptually speaking. For instance, I am currently interested in writing lyrics that are less about believing in what I have to say than they are about the phonetic aspect of the words.

RF: As a band from Montreal, can you tell us a little bit about the city as an influence to your music and as a musical community, a place to live in and as a cultural force? What is your relationship with Montreal? 

SR: Montreal is a mostly lovely place to be an artist, because it is largely inexpensive to live there and it's quite village-like in atmosphere. Because there is a divide between the English and French cultures, there is less of that competition I imagine bands would feel living in Brooklyn or London, where everybody in every corner of those cities are there to make it to the top of the heap in the same way through the same avenues. The French/English divide fragments the scene in Montreal, so you end up feeling like part of a smaller, more manageable community within a larger, world-class city, which is nice. Plus, people there are friendly and laid-back. It's a social city. Unlike where I'm from in Vancouver, it feels like every walk of life can find a home there, as opposed to just the incredibly rich. Like everyone, what frustrates me most about Montreal is the punishing, endless winters, which probably are also responsible for keeping us busy creatively so I shouldn't complain too much about it.

RF: Have you been able to play with any of your heroes, if so, could you give a brief summary of the situation and how it felt? What did you take away from it and has the experience fed into your music making?

SR: Nah, my heroes don't know who we are and probably wouldn't like us either. That being said, we made our last album with Dan Lissvik, whose music I am a very big fan of. We recently played in Gothenburg with him in the audience, which was strange. I just assumed he didn't like it - I never equate us with being on the level with the musicians we admire most, but that's just me...

RF: &ndash; So do you feel music can change lives?

SR: I guess, ultimately, what I hope is that I can provide some anchor in people's lives the way my favourite bands such as The Cure, The Smiths and New Order, did for me. They provided counsel, escape, catharsis - all of it. I lived out the drama of my life largely alone in my room with my music, as opposed to acting out in the community through drugs, alcohol and violence, the way most of my peers did. It would be wonderful to provide that alternative for my listeners too, if I could.

RF: - To take this to another zenith, do you think music has a right to make political statements, be them abstractions or direct?

SR:I think it's very hard to make direct political statements as a musician without pigeonholing yourself as a political artist, which I think is a very hard category to extract yourself from later. Plus I am wary of making statements of that nature when I feel life should be a continuous quest to prove yourself wrong. That being said, I also think music making is inherently political - to be a 'professional' musician of my kind is to largely live outside the conventions of our culture. It is poor paying, fleeting, and nomadic in comparison. So it is a statement unto itself, I would say.As a result, I am more interested in personal politics, or how we relate to ourselves based on the tension between what we discover for ourselves and what we are born into, within our families, culturally, societally, even sexually. I like the idea of defying the cultural expectations being placed over us from the time we are born. In my experience, it's good to break patterns.

RF: - So what's next?

SR: Another record! We want to make lots more music, as we feel our best is yet to come. Other than that, the only projection into the future I am willing to make is when I am 80, at which time I will begin to wear white suits exclusively, do heroin, and lawn-bowl daily. That is all.]]></description>
<link>http://www.rockfeedback.com/feature/2212/young-galaxy-interview-february-2012/</link>
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<title>Listen To: Willis Earl Beal - 'Take Me Away [Feature]</title>
<pubDate>Tue, 07 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Mythology in music is a rarity nowdays - it'd seem that unless you're amasked bedroom producer you've got no chance of maintaining anykind of anonymity or mystique over your art or yourself. Willis Earl Bealseems set to change this. Ever since signing to new XL imprint Hot Charitymuch has been made of the troubador's past, present and future. Quirks such as his handdrawn flyers with his phone number at the bottom alongside an offer to sing a songdown the phone, as well as playing shows at US train stations, have led thesinger to a world of hanging out with Damon Albarn, drinking champagne and openingthe bill at some of the 'States most celebrated venues. The future is theexciting part for us in Beal's world, with debut album 'Acoustic Sorcer' setfor release in April and tracks as strong as 'Evening Kiss' and today'soffering 'Take Me Away', Willis Earl Beal could swiftly become of the mostimportant artists we've come across in a very long time.

To get in touch with Willis and ask him tosing you a song call (773-295-2135) and if you'd like him to draw you a picture write to (P.O. Box 471881, Chicago, IL, 60647).]]></description>
<link>http://www.rockfeedback.com/feature/2213/listen-to-willis-earl-beal-take-me-away/</link>
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<title>Gogglebox: Watch Eugene McGuinness - 'Shotgun' [Feature]</title>
<pubDate>Tue, 07 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Long gone are the days of the doe-eyed singer songwriter, acoustic guitar strung over his back and knackered Converse covering his feet! Eugene McGuinness is back - like, properly back! His re-emergence began earlier this year with killer comeback single 'Lion' showing off a slicker and more polished Eugene both musically and in appearance; cardies swapped for slick suits, acoustic riffs swapped for synth based beats. It's a similar affair with new single 'Shotgun'. The suits weren't just a one off but a staple of a new direction, both retrospective and forward thinking, this balances out as wonderfully contemporary. This is what indie music made in the year 2012 is supposed to sound like, and we can't think of a better advocate of the sound than Eugene. Watch the video for 'Shotgun' below.]]></description>
<link>http://www.rockfeedback.com/feature/2214/gogglebox-watch-eugene-mcguinness-shotgun/</link>
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<title>John Talabot  Destiny (Permanent Vacation) [Review]</title>
<pubDate>Tue, 07 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Barcelona-based producer John Talabot is gearing up for the release of his debut full-length album fIN this month, and getting us in the mood by releasing this corking single as a sample. Like many other Mediterranean-based musicians, the music has one eye on the dance floor at all times, but Talabot&rsquo;s skill lies in marrying the bass grooves and beats with enough clever stuff to make it equally at home in a club or at home.
&lsquo;Destiny&rsquo; sets itself apart from the crowd with a level of discipline and patience that is all too rare in dance music, always stopping itself tantalisingly short of that euphoric moment, and in the process making the song&rsquo;s many subtleties all the more exciting. It&rsquo;s basically the song equivalent of a romantic evening/fortnight with Sting, but less nausea inducing. It borders on (whisper it) IDM, but if he keeps this sort of thing up in John Talabot&rsquo;s fIN we may well have a contender for best dance album of 2012.]]></description>
<link>http://www.rockfeedback.com/review/5265/john-talabot-destiny-permanent-vacation/</link>
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<title>First Aid Kit  Emmylou (Wichita) [Review]</title>
<pubDate>Mon, 06 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[What is it with Swedes that makes them think they&rsquo;re from the American deep south? The Tallest Man On Earth has been peddling his (brilliant) twangy cod-Americana for a few years now, and now First Aid Kit are building on the success of their debut album with a sound that is so bloody Country that they&rsquo;re writing songs called &lsquo;Emmylou&rsquo;.
I&rsquo;d love to completely dismiss this record, mostly because my mum will probably love it and play it non-stop like she did with that bloody Laura Marling record, but there&rsquo;s something about the S&ouml;derberg sisters&rsquo; crystal clear harmonies and Mike Mogis&rsquo; pristine production that makes it impossible to criticise. Every sound is bell-like in its resonance, and for a pastiche of decades of American culture it&rsquo;s a very very convincing one. There&rsquo;s potential for this album to be massive; it&rsquo;s as inoffensive as anything you&rsquo;ll ever hear, and I will never ever listen to it again out of choice, yet I still can&rsquo;t hate it. I wish I could. Really.]]></description>
<link>http://www.rockfeedback.com/review/5263/first-aid-kit-emmylou-wichita/</link>
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<title>Air - Le Voyage Dans la Lune (EMI) [Review]</title>
<pubDate>Mon, 06 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Initially writing a score for Georges M&eacute;li&egrave;s&rsquo; recently found and restored hand-coloured print of the film of the same name, there&rsquo;s innate common sense in letting Air expand this project to a full-length album. Soundtrack music is composed only to be altered to complement and enhance the visuals, so having the ability to hear full compositions removed from the film helps to actually prolong the film&rsquo;s impact. The music can follow and infuse into you beyond the (in this case) physical 14 minutes of active watching. It also allows the music to create its own identity and have that develop and alter previous perceptions. Soundtracks are essential, and Air&rsquo;s Le Voyage Dans la Lune is exceptional.
For Air, clearly inspired by the project and having the ability to grow it, this is an unusually organic sounding record. There are still plenty of big synthesisers having their way across the low end and the fluttering treble, but the drums are pounding rock-steady live recordings. It&rsquo;s great to hear Air play out the sci-fi indebted melodies via live studio performances.
There are plenty of the characteristics that have made Air so enduring on this record. &lsquo;Astronomic Club&rsquo; opens to the grandeur of two kettledrum&rsquo;s dropping massively in tone as orchestra stabs and stretched choir samples phase disorientatingly. This album is a stylistic departure for Air due to two traits. Firstly, it&rsquo;s their most Krautrock inspired album. Whilst it&rsquo;s a long expected avenue for them to explore, it is more than welcome, it&rsquo;s outright brilliant adding cinematic scope beyond Krautrock&rsquo;s ability. Air are less concerned about the groove but focus on scope and expanse. Secondly, this is also their simplest album, the album most heavily utilising isolated instruments or small musical groupings.
As &lsquo;Cosmic Club&rsquo; gives all the sensation of space travel, it does so with confidence and respect to the krautrock genre; motion is ever present and the rhythms never soften, but like the melodies continuously escalate. The ongoing rush develops that intensity and then relaxes away from it, providing release and fluidity.
When they play things slowly, it&rsquo;s just as exhilarating. &lsquo;Moon Fever&rsquo; and &lsquo;Lava&rsquo; set out a beautiful sense of isolation; bass lines softly reference the counterpoint of Moon Safari and solo piano lulls before setting in taught tempos. &lsquo;Lava&rsquo; in particular veers wonderfully between space ballad and prog-rock guitar show, with banjo&rsquo;s thrown on top for oddity. It would be interesting to see how this works over a visual, if it makes the cut.
&lsquo;Le Voyage Dans la Lune&rsquo; may be Air&rsquo;s strongest release since their soundtrack to The Virgin Suicides, which seems a long time ago. This album is graceful, raw and every note is beautifully placed. An essential album for 2012.]]></description>
<link>http://www.rockfeedback.com/review/5264/air-le-voyage-dans-la-lune-emi/</link>
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<title>Gogglebox: Watch Cate Le Bon  Fold The Cloth [Feature]</title>
<pubDate>Fri, 03 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Cate Le Bon has a new video for her song &lsquo;Fold The Cloth&rsquo;, killing two birds with one stone by giving us something nice to watch/listen to and fulfilling our quota of Welsh people on the website for the year as well. The single is taken from her latest album, CYRK (Polish for 'circus' apparently), being released on 30th April via Gruff Rhys&rsquo; Ovni imprint.
The video, directed by Ryan Owen, features Le Bon&rsquo;s four year old niece Greta (who has a song named after her on the album) and a dog called Tegan having what looks like a lovely time in what we presume is the beautiful Welsh countryside. There&rsquo;s bikes, ribbons, feathers and all sorts going on to keep you entertained, and the song sounds as much like Nico/St Vincent/Super Furry Animals as you might expect. Keep an eye out for the creepy bit where little Greta mimes the words to the song with what can only be described as a look of madness in her eyes. Bless.

Cate Le Bon "Fold The Cloth" official video from The Control Group on Vimeo.]]></description>
<link>http://www.rockfeedback.com/feature/2209/gogglebox-watch-cate-le-bon-fold-the-cloth/</link>
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<title>Gogglebox: Watch M.I.A - 'Bad Girls' [Feature]</title>
<pubDate>Fri, 03 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[M.I.A once again teams up with Romain Gavras, the infamous director responsible for 'Born Free's' mass killing of gingers. Thankfully, the 'Bad Girls' message is less hard hitting, Gavras instead focusing on rad car tricks and scenic shots of the Moroccan desert however. That's not to say however that the clip is without message - a strong theme of female independance and empowerment is certainly prevalent. Discussing the video, M.I.A. mentioned the difficulties with its filming; &ldquo;I thought I was gonna die on the shoot when I saw the drifting. It was a four day shoot so everyone was on edge the whole time specifically ME when I had to do bluesteel singing to the camera while the cars did doughnuts on the wet road ten feet away&rdquo;. One of the first must see videos of the year.]]></description>
<link>http://www.rockfeedback.com/feature/2210/gogglebox-watch-mia-bad-girls/</link>
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<title>Gogglebox: Watch The Maccabees - 'Feel To Follow' [Feature]</title>
<pubDate>Fri, 03 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[It's been a triumphant year so far for The Maccabees. With their third record in the charts at number 4 and also gaining widespread critical acclaim, the band have taken the next logical step as artists and find themselves currently one of the most significant UK guitar bands. It's an exciting time, and as Felix mentioned in an interview with theNME,it's one in which they're remaining in complete creative control. Thankfully this means their run of brilliant videos has continued, with 'Feel To Follow' perhaps being one of their finest. The song is taken to a surreal countryside location in which children play and enjoy themselves untainted, whilst the adults have something more sinister in their world...]]></description>
<link>http://www.rockfeedback.com/feature/2211/gogglebox-watch-the-maccabees-feel-to-follow/</link>
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<title>A Place To Bury Strangers  Onward To The Wall EP (Dead Oceans) [Review]</title>
<pubDate>Fri, 03 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Onward to the Wall is A Place to Bury Strangers&rsquo; eighth EP, and one which allows for the introduction of new bassist Dion Lunadon. Their signature sound - an intense full-pelt sonic annihilation which has come to earn them the well deserved title of 'Loudest Band in New York' - is present in abundance right from opener 'I Lost You'.
It&rsquo;s the same overwhelming power with floating melodies, machine gun drums and pounding bass overlaid with layers and layers of screaming noise, but sticking to the formula simply drives home just what APTBS are about; making an immense racket that somehow carries enough pop sensibility to attach it to your brain. The complex creation of sound and context is mind-numbingly brilliant.  Each track seems to battle its way in with a deeply haunting urge, Ackerman&rsquo;s vocal taking on a ghost like mystique and certain JAMC qualities. On the whole, sure it sounds like stuff they have already done, but the excitement that rises whilst listening to these five tracks is of epic proportions.
This is a mini album&rsquo;s worth of material. APTBS are not a singles band, rather one who hold much integrity in their art, a group who exist solely to channel a creative side that revolves around pushing rock and roll sounds to as far as they can go. An exploding jolt of sonic pop layered fuzz, it&rsquo;s unpredictable, raw and admirably dirty.]]></description>
<link>http://www.rockfeedback.com/review/5262/a-place-to-bury-strangers-onward-to-the-wall-ep-dead-oceans/</link>
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<title>Cloud Nothings - Attack On Memory (Wichita) [Review]</title>
<pubDate>Thu, 02 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Cloud Nothings&rsquo; debut album was by far my favourite album of last year, but even though I&rsquo;m still convinced it was brilliant in a raw, primitive way, no other critics felt the same and it failed to make any of the big album of the year lists, therefore proving that my taste is wrong. Despite the lack of critical appreciation, the album was seen as a stepping stone for Dylan Baldi, the sole protagonist of that debut album, on his way to something better. Attack on Memory may be just that, such a departure and a huge step forward from the band&rsquo;s debut that finding links between the two is futile.
Even though there are only 12 months between the two releases, the catalysts for the change are clear. Baldi expanded the band to a four-piece for touring purposes last year, leading to support slots with Fucked Up amongst others. He&rsquo;s admitted that the band were tired of playing the same songs all the time (their debut lasted less than 30 minutes), and set about jamming and writing songs with the band in a style their fans might not have been prepared for.
The upbeat, almost sugary sound of their debut is gone, replaced by deep rumbling bass and darker melodic patterns, no doubt inspired by the work of the album&rsquo;s producer Steve Albini. Getting the legendary mastermind behind albums like Nirvana&rsquo;s In Utero and Low&rsquo;s early records behind the mixing board is a clear statement of intent, as is opener &lsquo;No Future/No Past&rsquo;, a slow burning, bleak song that sounds like a demo from a post-rock band in its early stages at first, before erupting into a chugging rock monster for its conclusion. Baldi&rsquo;s screaming vocals respond to the criticism (not from me of course) that he was too laid back and passive vocally on his debut, and paying no mind to the fact that at times it can sound like the voice of a mid-pubescent teenager.
While the opener is completely new territory, the rest of the album holds reminders &ndash; albeit faint - of the band&rsquo;s pop-rock roots. &lsquo;Wasted Days&rsquo; doesn&rsquo;t mince about before hitting one of Baldi&rsquo;s trademark guitar hooks, one which could have been used to make a cracking two and a half minute pop song. You get the feeling that if the song was written around the time of the last album that&rsquo;s exactly what it would have been, but in this case it&rsquo;s stretched out into a sprawling nine minute magnum opus, breaking down for an old fashioned rock jam before gathering itself together for one last round of Baldi barking &ldquo;I THOUGHT. I WOULD. BE MORE. THAN THIS.&rdquo; It&rsquo;s not a better or worse way of going about his song writing, it&rsquo;s just very, very different from someone who could have easily slipped back into his old routine.
&lsquo;Stay Useless&rsquo; is as close to their debut&rsquo;s style as the album comes, with the weighty rock of &lsquo;No Sentiment&rsquo; lying at the other end of the spectrum, but both highlight the different approach to production this time round. Whereas on their debut the instruments are all funneled towards you in a concentrated blast with the whole track cocooned in a warm distortion, here there is palpable space between each component, stripping everything back to its clean state and bringing the vocals more to the fore, for better and for worse.
Attack on Memory is an album that wants to be heard, rather than an album that feels like it was recorded on a whim. While every move feels measured and calculated it&rsquo;s delivered with a rawness and urgency that puts it up there with the best 21st century rock records, and among the best albums Steve Albini has been involved with, especially in recent times. It hasn&rsquo;t got the potential to become my favourite album of the year, but there is no doubt that Attack on Memory is bigger, bolder and probably better than the band&rsquo;s debut in almost every way.]]></description>
<link>http://www.rockfeedback.com/review/5261/cloud-nothings-attack-on-memory-wichita/</link>
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<title>Gogglebox: Watch Palmistry - 'Night Truths'  [Feature]</title>
<pubDate>Wed, 01 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[We first came across Palmistry in the summer of last year. Obvious comparisons were drawn to the likes of The Weeknd and How To Dress Well, but doing so always felt somewhat lazy. New track 'Night Truths' highlights just how tired the lines drawn were and shows the South London producer as very much an artist making his own tracks in the musical world; this is as dreamy as his previous efforts, and further highlights his love of old school R&amp;B and UK electronic music, but there's something else going on here - a world he's created for himself in which currently he is the sole settler. A truly excting new artist.]]></description>
<link>http://www.rockfeedback.com/feature/2206/gogglebox-watch-palmistry-night-truths/</link>
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<title>Listen To: Young Turks Radio Takeover [Feature]</title>
<pubDate>Wed, 01 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[You may or may not have been aware of the always brilliant label Young Turks' recent excursion to the land down under, hosting a series of parties and radio shows with the first radio takeover available to listen to online now. The mix features a new Jamie XX track and mixes from the likes of Romy xx and Bullion as well as including a session with the label's most recent signing Chairlift. It's the perfect afternoon listen, and the inclusion of Zomby's 'Natalias Song' also makes it somewhat controversial. Listen to the Young Turks FBi radio takeover below.
 Young Turks Takeover on FBi Radio (31/01/2012) by Young Turks
Tracklisting: Jack Penate - Didn't I Zomby - Natalia's Song Sampha - Indecision Julia Holter - Goddess Eyes Bullion - What Does She Know Arthur Russell - Tone Bone Kone Dexy's Midnight Runners - Thankfully Not Living In Yorkshire It Doesn't Apply Francis And The Lights - It'll Be Better Chairlift - Met Before (Illum Sphere Remix) (Rich Harrison Production) Toni Braxton - Take This Ring Chairlift Live Session Ghost Tonight Wake Up Call - Jack Penate Jack Penate - No One Lied Jamie xx - Touch Me (Instrumental) Romy xx Little Mix! Everything But The Girl - On My Mind Elastica - My sex Elizabeth Harper - Rock Like A Baby Fleetwood Mac - Brown Eyes Bullion Mix Philboyd Studge's Intro Unknown Cases - Masimbabele Bobby McFerrin - Drive Blludd Relations - Even Steven Paul White - Watch The Ants Aphrodites Child - Such A Funny Night]]></description>
<link>http://www.rockfeedback.com/feature/2207/listen-to-young-turks-radio-takeover/</link>
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<title>Listen To:  R. Kelly  Share My Love [Feature]</title>
<pubDate>Wed, 01 Feb 2012 12:00:00 GMT</pubDate>
<description><![CDATA[For a long time I&rsquo;ve been wondering if I might actually be starting to like R. Kelly seriously, as opposed to just liking the silly shit &ndash; the hip hoperas, the stupidly titled autobiographies (it&rsquo;s coming out soon and it&rsquo;s called Soulacoaster), the OH EVERYTHING. Then he goes and returns with &lsquo;Share My Love&rsquo;, a totally straight up Barry White pastiche that doesn&rsquo;t even have any ridiculous lyrics to quote. As such, I&rsquo;m not really sure what to say about it. If you like extremely slick disco sung by a bloke with a lovely voice, it&rsquo;s for you. Because that&rsquo;s all and exactly what it is. Maybe I do just prefer the silly shit after all.
The album it&rsquo;s from is called Black Panties, though. That&rsquo;s gotta be good.]]></description>
<link>http://www.rockfeedback.com/feature/2208/listen-to-r-kelly-share-my-love/</link>
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<title>Listen To: Jamie N Commons - 'Devil In Me' [Feature]</title>
<pubDate>Tue, 31 Jan 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Following on from his debut release 'The Baron' EP in October, Jamie N Commons has now announced new single 'Devil In Me' set to drop on March 12th. The singer songwriter has quickly found himself gathering acclaim from all music worlds with a spot on the BBC sound poll and a potential collaboration with the catastrophically famous Rick Rubin. The track again showcases the power of Common's voice and tells a particularly emotive tale as the man himself explains: "This track deals with the feelings of guilt and regret... the character portrayed is the flip side to the one on the lead track of my first E.P "The Preacher"... Where as that character took faith as his justification, this guys looking in the mirror you see" Listen to 'Devil In Me' below.
 Devil In Me by Jamie N Commons]]></description>
<link>http://www.rockfeedback.com/feature/2205/listen-to-jamie-n-commons-devil-in-me/</link>
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<title>Listen To: Frank Ocean - 'Voodoo' [Feature]</title>
<pubDate>Mon, 30 Jan 2012 12:00:00 GMT</pubDate>
<description><![CDATA[We've been handed a blessing this morning from Odd Future man Frank Ocean in the form of brand new track 'Voodoo'. As usual it's an all round smooth affair from Ocean; the beat is laidback and the vocal delicate, discussing the troubles of life and love before the coming to a somewhat abrupt end, perhaps hinting at a longer version in the works. It's classic R&amp;B at it's finest. You can listen to 'Voodoo' HEREand watch an interview with the singer discussing his forthcoming debut album HERE]]></description>
<link>http://www.rockfeedback.com/feature/2201/listen-to-frank-ocean-voodoo/</link>
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<title>Listen To: M.I.A - 'Bad Girls' [Feature]</title>
<pubDate>Mon, 30 Jan 2012 12:00:00 GMT</pubDate>
<description><![CDATA[The brand new track from M.I.A has just premiered on Pitchfork and is set for a Hottest Record in The World first ever radio play on Zane Lowe tonight. As for us, we think it's fair to say that as far as statements of intent go, this kills it. Originally appearing on 2010's really rather goodVicki Leekxmixtape, 'Bad Girls' has since been fixed up by producer (and mate of Timbaland's) Danja, with a video in the works by previous collaborator Roman Gavras (the man responsible for the infamous 'Born Free' clip). The track itself is a classic M.I.A. cut and certainly her best effort in some while. It's arrival, paired with events such as her 'heavily rumoured' upcoming Superbowl half-time performance with Madonna, suggests a whole new era of huge for the South London rapper. Listen to 'Bad Girls' HERE]]></description>
<link>http://www.rockfeedback.com/feature/2202/listen-to-mia-bad-girls/</link>
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<title>Gogglebox: Watch Soko - 'First Love Never Die' [Feature]</title>
<pubDate>Mon, 30 Jan 2012 12:00:00 GMT</pubDate>
<description><![CDATA[We've long been admirers of SoKo over at RFB HQ and have sat patiently waiting for a full length record for quite some time now. Yet nobody told us it would be as good as this first cut suggests. 'First Love Never Dies' is a heartbreaker, the tale of lost love as seen through the eyes of someone always thinking outside the box, giving a unique look at at a universal emotion and in turn showing a shift in the quality of the music (it's certainly Soko's most accomplished effort to date). Watch the video, directed by actor Matthew Gray Gubler, below.]]></description>
<link>http://www.rockfeedback.com/feature/2203/gogglebox-watch-soko-first-love-never-die/</link>
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<title>Listen To: Jack White - 'Love Interruption' [Feature]</title>
<pubDate>Mon, 30 Jan 2012 12:00:00 GMT</pubDate>
<description><![CDATA[The first cut from the debut Jack White album, Blunderbuss, has just arrived in our inbox making today a very good day. Set to be released through a partnership of White's own Third Man Records and XL, 'Love Interruption' is an instant classic and will put to rest any worry White Stripes fans may have regarding the project. Discussing the full record, which he produced and recorded at his own studio in Nashville, White describes it as "an album I couldn't have released until now. I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas." Listen to 'Love Interruption' below.


Pre-order the 7" Here]]></description>
<link>http://www.rockfeedback.com/feature/2204/listen-to-jack-white-love-interruption/</link>
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<title>Porcelain Raft  Strange Weekend (Secretly Canadian) [Review]</title>
<pubDate>Mon, 30 Jan 2012 12:00:00 GMT</pubDate>
<description><![CDATA[Probably the biggest unintentional insult that I've ever given an album (in the ear of the beholder) came a few years ago when I told a friend of mine that therecord she was playing was 'great background music'. She was personally offended. All I meant was that, while some songs demand your full attention,forcing you togive yourself over to whichever mood they fancy, others seem quietly content to drift by while you go about your day, giving plenty but demanding very little in return.   When reviewing an album,I can find it easy to detach myself and try and judge it on its own merits, but it can be even easier to be selfish and try and force it to fit into my own categories of listeningpleasure. How does this record fit into my own life? Would I sort my laundry to it? Would I listen to this song far too loudly onthe bus on the way to work? Would I continue to hum it to myself throughout the day, annoying myself and alarming those around me?  With this in mind, what then are we (meaning: me) to make of Porcelain Raft's debut album, Strange Weekend, as it coos and aahs its way through a series ofshort, sweet and songs, full of repetition and with minimal hooks? It's dream-like, it's calming, its vocal rarely rises above a whisper. One of its songs is called 'Put Me To Sleep'.Another, the gently whirring'Drifting In And Out', contains angelic harmonies and the lyrics 'just let go now, give it to us don't you worry now'. 'Music to fall asleep to' doesn't sound like much of a complimentto describe this set of psychadelic lullabies. But don't you worry now, this particular cup of warm milk is laced with something much stronger.

Muchlike when you bump into your friend/colleague/acquaintance and it all comes flooding back about how youkissed/physicallyfought/slept with them in your dream last night, Strange Weekend creeps up you when you aren't expecting it. There is anunexpected indie rockedge to many of songs; 'Picture' brings to mindvintage Blur, in particular 'Tender' and 'The Universal'. Thedarkest song on the album,'Is It TooDeep For You?', is perhaps the most emotionally affecting, with its echoing vocals and distant howls. Elsewhere, 'Unless You Speak From Your Heart' is by far the catchiest, gently bouncing and juddering along with a chorus of woo-ooo-ooohsthat will haunt your dreams. It's only when you fully give yourself overto Strange Weekend that itpulls you in so much deeperto its hypnotic core.]]></description>
<link>http://www.rockfeedback.com/review/5260/porcelain-raft-strange-weekend-secretly-canadian/</link>
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