Album Review: The Streets - "Computers and Blues"

Mike Skinner has stated that this, the fifth album released under The Streets alias, will be the final record he puts out under the name. On the evidence of this set, it’s maybe a good thing, as “Computers and Blues” is an album devoid of any valid ideas whatsoever.

The whole album suffers from pedestrian beats from the get-go, and Skinner’s rapping, which has never been a strong point of The Streets experience lacks flow and seems lazier than usual.

Truth be told, only two tracks really stand out, both featuring guest vocals. “Going Through Hell” featuring The Music’s Robert Harvey and “Lock the Locks” featuring Clare Maguire are the two bright sparks on what is a very disappointing way for one Britain’s most original and entertaining acts to go out.

**

Watch: "Going Through Hell"

Album Review: Mogwai - "Hardcore Will Never Die, But You Will"

Mogwai’s seventh full length - named after something a ned was overheard saying to a Glasgow shopkeeper – shows the next step in the evolution of the band from just another instrumental rock outfit, to among the premiers in the genre.

Lush and vivid soundscapes are abundant from the get go, stirring, haunting orchestration mixes with crashing guitar and drums to create an expansive sound full of emotion.

Unfortunately at times, the song titles – “George Square Thatcher Death Party” and “You’re Lionel Richie” being prime examples – are just a bit more interesting than the songs. “Hardcore...” is a complex, very intriguing album, but it’s largely instrumental nature prevents it from becoming a classic, more stunningly perfect background music.

*** ½

Watch: "Mexican Grand Prix"

Album Review: Bright Eyes - "The People's Key"

After a four year hiatus since 2007's "Cassadaga", where Conor Oberst recorded with Monsters of Folk and as a solo artist with the Mystic River Band, he teams back up with Mike Mogis and Nate Walcott for Bright Eyes' eighth studio album, a psychedelic trip through folk rock as good as anything the band have previously recorded.

Opening track "Firewall" begins with the customary spoken word intro, although more akin to Godspeed You! Black Emperor than any previous Bright Eyes work. Through seven minutes of expansive, almost post-rock soundscapes, which continue throughout the set, it sets up the album in a completely unexpected, but magnificent way.

The album is tinged with electronic twists, building on the sound first created on 1997's "Fevers and Mirrors" on "The Calendar Hung Itself" and expanded further on 2005's "Digital Ash in a Digital Urn" album. While not quite as pronounced as the latter, it's a further progression of Bright Eyes' sound, a constantly evolving, fluid journey, touching even on dubstep at some junctures.

An album seemingly influenced by Godspeed and dubstep together is a surreal thought and would be a completely perplexing idea if Conor Oberst wasn't such a gung-ho visionary. He makes it work, through the music and his always fascinating lyrics.

"The People's Key" will be a challenging listen to many, flipping between styles and genres on a song by song basis, but it's truly worth the challenge. Once again, Conor Oberst has broken down preconceptions and musical barriers to create a flowing, eclectic album, and a startling early contender for album of the year.

**** ½

First Impressions: The Strokes - "Under Cover of Darkness"

It starts with a guitar riff that tells you right off that bat that it's The Strokes. Couldn't be anyone else. Julian's vocals come in and it's only confirmed.

The verses have a nice structure, and an almost Hawaian feel about the guitar bleeds into what can only be described as a Strokes chorus. The chorus you know you'll have in your head for the next few weeks.

The solo is nice, and it ends all rather abruptly. It's breaking no new ground, but it doesn't need to. The Strokes are back. And on form.

The Best of 2010 - The Albums

15. The Pretty Reckless - Light Me Up

14. Black Label Society - Order of the Black

13. Avenged Sevenfold - Nightmare

12. Bad Religion - The Dissent of Man

11. Joe Bonamassa - Black Rock

10. Coheed and Cambria - Year of the Black Rainbow

9. Jimmy Eat World - Invented

8. Manic Street Preachers - Postcards From A Young Man

7. Iron Maiden - The Final Frontier

6. Slash - Slash

5. Reckless Love - Reckless Love

4. Courtney Marie Andrews - For One I Knew

3. Stone Sour - Audio Secrecy

2. Black Country Communion - Black Country

1. Shooter Jennings and Hierophant - Black Ribbons

The Best of 2010 - The Songs

15. B.o.B featuring Rivers Cuomo - Magic

14. Eminem featuring Lil Wayne - No Love

13. The Gaslight Anthem - American Slang

12. Jimmy Eat World - Action Needs and Audience

11. Rumer - Slow

10. My Chemical Romance - Na Na Na (Na Na Na Na Na Na Na Na Na)

9. Weezer - Memories

8. The Like - Release Me

7. Linkin Park - The Catalyst

6. Black Country Communion - "Song of Yesterday"

5. Reckless Love - Back to Paradise

4. Tinie Tempah featuring Eric Turner - Written in the Stars

3. Missing Andy - Sing For the Deaf

2. Pulled Apart by Horses - Back to the Fuck Yeah

1. The Vaccines - Wreckin' Bar (Ra Ra Ra)

The Best of 2010 - Number 8

Albums of the Year

8. Manic Street preachers - "Postcards From A Young Man"

James Dean Bradfield and Nicky Wire heralded the Manics' tenth studio album as "one last shot at mass communication". With appearances on "Strictly Come Dancing" and a Channel 4 Documentary, the headline seems to have worked.

From the outset, "Postcards..." is not as abrasive as 2009's "Journal For Plague Lovers", but loses none of what amkes the Manics great. One of the year's finest alternative rock records from start to finish, and hopefully not their last shot overall.

Essential tracks: "(It's Not War) Just the End of Love" "Auto-Intoxication" "A Billion Balconies Facing the Sun"

Watch: "(It's Not War) Just the End of Love"

Songs of 2010

8. The Like - "Release Me"

The long awaited and much delayed follow up to 2005's "Are You Thinking What I'm Thinking" was launched with a 50's retro slice of indie pop, both unexpected and brilliant.

"Release Me" came from nowhere with one of the catchiest choruses of the year, and should have had everyone up dancing. Superb.

Watch: "Release Me (live at Rolling Stone)"