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The Black Keys – ‘Delta Kream’ Album Review

As tough and brittle as a Rubber Factory, rock-blues natives from Ohio, The Black Keys are true realists when it comes to making the swampy work of blues-rock.

Known for spiting their differences about the music industry, The Black Keys – made up with Dan Auerbach and Patrick Carney – they are a brutal force to be reckoned with as this same force goes to great depths to deliver truly raucous works of outrage, contemplation and delivery.

Their tenth studio album, Delta Kream is a swampy dredge of traditional blues-rock that harks the duo back to their collective roots of The Big Come Up in ’02 and Rubber Factory in ’04.

Despite the differences of seeing the brutish anthems of El Camino that saw the band receive commercial success from 2011, Delta Kream is a luxurious midnight-cruiser of an album that is worth every road trip in the mist of darkness.

The twelve-track listen is a stripped-back rendition of cover songs of blues artists that continue to inspire them, that ultimately remind them to never let go of the blues.

When all said and done, Delta Kream is a showing of the blues brothers-from-another-mother truly in their element. Take a trip down memory lane, because this album yearns for candlelight.

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The Brit Awards 2021: What Happened?

Weak punchlines, awkward moments, chaotic introductions and female artists stealing the show, the Brit Awards 2021 had all types of funny and momentous occasions.

Despite popularity trumping musicality with these award shows, it’s still a good laugh and a watch from all things current in the music industry.

With the controversial work of Jack Whitehall returning to host the show again for the third year in a row, the show was flux with jokes that failed to hit the mark, jokes that trump a snort or chortle, or jokes that didn’t catch on at all. But despite the awkward moments with the socially distanced audiences, and flight-testing COVID-friendly live performances, the award show allowed us to delve a little deeper into what we should expect post-lockdown for our live music industry.

Lapping up the fame and notoriety of powerful women in the music industry, Dua Lipa, Little Mix, Taylor Swift, Billie Eilish and HAIM all made stellar appearances for Best British Group, Best British Album, Best International Group and International accolades that trifled a new domination, the Global Icon award, where previous winners have been Bowie and Elton John.

As they fed off male counterparts with the likes of The 1975 and Biffy Clyro, they made a point to prove for their cultural impact with their music – and rightly so.

Swift and Lipa also both discussed within their speeches, the power of stepping up and rising against resistance from those before them. The iconic moment captured, and taken aboard as every single woman up and down the country effortlessly echo and agree their words.

After the sham of The Grammys, Awards for the Brits wanted to get on the good side of chart-topping electro-pop maestro, The Weeknd as he collected his Best International Male Artist while singing in the rain with his song, Save Your Tears, pre-recorded due to the inability to fly outside the Green Zone into and out of the United States.

The rising scenes of drill music also made an appeareance with J Hus and Headie One making fantastic live show performances and appearances at the awards show, demonstrating just how unique and varied our music scene really is.

Fashion-favourite and pop-lovin’ soloist, Harry Styles swept up the surprises with him taking home the Best British Single with Watermelon Sugar, whilst my favourite artist from the year, Arlo Parks got the fantastic praise she deserves by winning Breakthrough Artist for the year.

My top wtf moments from this year has to be the incontrollable use of ITV’s decision to mute the audio on some explicable language – despite it being past the watermark hour of 9pm. Whitehall made them hit the button a fair few times with him celebrating the majority of the audience being made up of our key workers – and the “corporate wankers” to boot in the boxes too. Capaldi also was a favourite of the mute, as his off-the-cuff introduction speech was simply hilarious and ridiculous at the same time.

“Hello motherfuckers! Listen guys… I’m fucking sweating – it’s like a swamp down there, I’m telling you. Sweaty bollocks.”

In an attempt to follow the controversial steeds of Oasis before him, he certainly made it more entertaining to watch nearing the final strands of the 2-and-a-half runtime of the show.

All in all, it was somewhat of a showing of what British music has to offer and really shows just how iconic and varied our scenes really are. Despite the fact that there are thousands more artists who create more compelling music than those who won but … popularity trumps musicality with these awards shows.

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Gerry Cinnamon: The True Story Teller of Music

Fiercely independent in any scenario is a difficult task to undertake and complete well. Being fiercely independent in the music industry without any financial backing from that of a record label? – An unequivocally difficult feat to do and do well, mind. A true musician who personifies in relatable story-telling is the man that goes by Gerry Cinnamon.

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A brutish, relatable and genuine in design, Cinnamon is a brutally honest with his portrayal as a music artist, as he is with his lyrics. Held deep within an industry that changes to the consumer, Gerard Crosbie has kept himself to himself – with keeping his local accent in tone with his brutally honest lyrics. It is a tribal fusion of rock and folk at its best.

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Fashioning a reputation as the world’s greatest independent music artists, he has championed and broken great records in his journey. His sing-along anthems are emphatically powerful, rich and simply modest. With just a man and his acoustic guitar, he has reached impressive heights that gives Ginger Ed a run for his money.

Sometimes, Belter, Canter, Where We’re Going, Ghost.

An acoustic extraordinaire and a simple marvel in creating empathetic work, he joins the ever-growing list of prolific Scots who are turning the industry upside down into a Northern nuisance of fantastic music.

Biffy Clyro, Twin Atlantic, Paolo Nutini, Lewis Capaldi, The Snuts, Gerry Cinnamon. These are just a few artists that come to mind in an industry littered with them.

If it’s one thing the Scots do right, it’s writing music.

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The Influence of: Pixies

we’re weird enough, and we’re catchy enough.

In a dramatic twist of every event listening to a new music artist or venturing into a wormhole of an unknown indie playlist, I always sit, listen and come to the conclusion: “hey, this band sounds like Pixies.” In fact, now that I mention it, they all do.

That’s because I wouldn’t doubt that every one of these indie rock bands who are either settling into their music – or are yet to find out their sound – have their influence pinned directly into the heart of Pixies.

Culturally emphatic and era-defining in more ways than music, Pixies redefined the imagery of alternative rock and decorated into a reformed sense of a Pixie trick of underground garage. Cold and heartless where necessary but oddly satisfying on some cherry-pickers, Pixies‘ collection since their debut in ’87 has been consistently reinventing the alternative wheel with their inventiveness and their vivid colours, especially with ’89s, Doolittle, an album that is formally known to perhaps everyone who ventured into the oddity of alternative music and underground garage music.

The lengthy numbers of Debaser, Hey, Wave of Mutilation and of course, Here Comes Your Man makes it the go-to soundtrack for the ravished ’90s.

This monkey’s gone to heaven‘: Dolittle album cover ’89.

Even their most recent album release a year ago in 2020, Beneath the Eyrie just shows that they’ve still got it. The perfect four-set combo of squealing guitars, broiled vocals and brutal drum-lines is aesthetically available here too, with Beneath the Eyrie. It’s almost like they’ve been writing music for over 40 years. Oh wait, they have.

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Black Pistol Fire: Look Alive

Shake Your Money Maker: Southern Rock and Blues-Rock Fashions into a RE-BRANDING

One particular release that you may have missed this year was the sixth release from Black Pistol Fire. Raucous with their fusion of southern rock, blues and garage punk, Look Alive is a stand-out album that is emphatic in its style aswell as its music production. Fused between the boisterous concoctions of The Black Keys, Cleopatrick and the quirky expertise of Queens of the Stone Age, comes a rock-child that joins the list of ever-growing duo rockers.

Accustomed with the stigma of charcoal black already in a rock deluge, Black Pistol Fire have a certain class and persona when it comes to their tastefulness of blues-rock, which goes farther than merely immersing in the black décor. The album comes out swinging with self-titled, Look Alive and Pick Your Poison, with both indulgent songs swinging a depth into the work of Cage The Elephant and among others. Rampant throughout, the album boasts and brags with such a large pair of cajones, as we’re dazzled through the bright funky lights of of Never Enough and spat out the other side with Level.

The album is not just an aggressive boaster though, it has passive – often contemplating – slow-burners like Hope in Hell and Always On My Mind that wouldn’t be a shock to see such songs escape the song-writing booths of Pixies.

A glorious reprise for a fusion of classics – southern rock, blues and dripped in garage punkLook Alive is a fanatic favourite to swoon and enjoy within your own time, and will no doubt become a classic in it’s own time.