Apologies for missing a month. Life got busy.
Let's leave March where it is. It was ages ago. Fucking March. When was it even?
(...here is March, if you care.)
And now what? It's May? The middle of May? Already? Sake. Curse life and its natural course seeming quicker because of immense busyness and lack of sleep. Curse it.
So, yeah. April. That was way back in 2013. But it had some good music (as most months do).
The Temper Trap, Remember The Temper Trap? Well, they're back. A drum-led, echo heavy stomper in "Fall Together" makes us think that Thick as Thieves will be a strong new album - their first in four years.
Poppy rocky stage-talk enthusiasts We Are Scientists added another single to their Helter Seltzer promotion with "Too Late", more ballad-like than a number of their previous tracks. But fair play to them for going with their One Album Every Two Years shtick for a whole decade now.
Two huge highlights of this month (I've been listening to them nearly every day since) are Gallant (soulful, Seal-esque young upstart) and Charles Bradley (soulful, James Brown-esque sexagenarian; also, no relation). Gallant's Ology is a superb debut, full of radio-friendly pop tracks that'll sound great come summer. Charles Bradley's Changes threw me straight back into the 70s, with original songs that will become new-age soul standards - alongside a blistering version of Black Sabbath's "Changes" as the title track.
Another huge return for the month was Skepta, with "Man" - the first single from his new album, Konnichiwa. A rumoured dig at Kano? Or Dizzee? Who gives a shit, it's a banger. (Standout lyric: 'Told my accountant/Do me a transfer, cause I wanna buy some land.' Nonsense. Fantastic nonsense.)
Oh, and Blink-182 released a new track. So that meant I listened to their self-titled album about four times in a row. (I listened to the new track as well. Twice. I think. Once might have been "Violence". I don't know. I can't remember. April was ages ago.)
There were few bigger songs from unknown bands for me in April than "100 Goosebumps" by FEWS; highly recommended you wrap your ears around that. And the version of "Pop Style" that features The Throne (unlike the album release).
But on that. On "Pop Style". Imagine Kanye shutting Jay down in the booth with the words 'THEY LIKE PABLO'. Imagine Jay's little forlorn look. His cap largely blocking his face from the camera, and as Yeezy continues, imagine Jay stood there. He had such a good 16 bars ready. Imagine him thinking, 'why did I have to make friends with such a dick.'. Imagine that along with the 'Yankees' sign on his diamond-encrusted New Era hat, all you can see is his chin wobbling. Sad little Jay. Then - what is this? Kanye says, 'Imma let you finish' - does this mean he's letting Jigga back on the mic? Does it fuck. Imagine Jay walking out. Drake is the 'Michael Jackson eating popcorn gif' as he sings the loop again, and thinks: 'I don't need this on VIEWS, man. I'm going to take them off VIEWS. I'm going to take The (multi-award winning, 15-Billboard-#10-albums holding, Kardashian-Beyonce power quadruple, billion-dollar) Throne off VIEWS and keep that line about not getting got that Jay sang. I like that line.'