BANKS - UNDERDOG

BANKS is an artist that has become known for her downtempo electronica and dark r&b. After two widely successful albums ‘Goddess’ released in 2014 and ‘The Altar’ released in 2016, she is slowly coming back with new music. After giving us a new single called ‘Crowded Places’ earlier this year she is back with another new track titled ‘Underdog’. The track features the enigmatic electronica and the brooding vocal tones BANKS has become well known for. With a catchy chorus and minimalist electronic rhythms woven into the track, this is a very welcome return from BANKS as she continues to impress, producing some of the most dynamic and cutting edge electronic music today. 

MAGGIE ROGERS - SPLIT STONES

Maggie Rogers is a new artist that hit the ground running when it came to her music career. As a student at NYU she had the chance to let songwriter and record producer Pharell Williams listen to the rough demo of what was to be her debut single 'Alaska'. After being stunned into silence and gaining the approval and a co-sign from Pharell Williams Rogers already had a lot of expectation and pressure before she even started to release her own music. Her unique blend of folk and electronica is something that few, including Pharell, have heard before. After releasing her debut single Alaska and touring after the release of her EP ‘Now That The Light Is Fading’ earlier this year to much praise, she has only grown in popularity and success. It's been a while since we have heard anything from her but a week ago she released a new record titled 'Split Stones'. The record gives us the familiar Maggie Rogers sound that we have become accustomed to, a mix of natural vocals, folk elements and electronic house rhythms. Her first record Alaska featured field recording from when she went on a solo hike around the US. Similarly this song features small sounds and noises she recorded while going on a month long trip around the state of Oregon. Rogers initially started out as a Banjo player at a young age, when studying as a music student at NYU she began creating pure folk and country music. It was only after a summer trip to France during her time at NYU that she discovered a newfound love and appreciation for dance and electronic music. Her passion to create music that blends these two genres, often labelled ‘Folktronica’, is the reason she really stands out as a new and fresh artist. Her music adds a new twist to the traditional folk genre. 

The new track features multiple build up’s and crescendos with looping sounds of Roger’s exhaling breath and electronic drum machine percussion. Paired with her familiar husky, soulful and folk driven voice and a collection of sounds recorded from her travels, the song is an upbeat and dance-y track that further cements Roger’s ambitious musical style. The percussion quickens leading into a rousing chorus with Roger’s crisp and clear vocal tones. This new song is Roger’s ‘parting gift’ as she leaves college and begins a new chapter in her life. The song is a thank you to all the new fans she has gathered in the past year and for the success of her first tour. It marks a brief hiatus for the American singer songwriter as she works on new material that is more focused on her experiences out of college. In a note she posted on her Instagram account alongside the link to the new music video, Rogers said “This is me saying goodbye for a little while. Here's to the end of the beginning and the start of everything else". With the way she has already developed as a songwriter and a musician, I cannot wait to hear more from this unique and very talented songstress. 

WOLF ALICE - BEAUTIFULLY UNCONVENTIONAL

In the lead up to the North London four piece’s second album ‘Visions Of A Life’ released on September 29th, Wolf Alice have progressively been releasing singles from the new record. Their first release ‘Yuk Foo’ packs a punch and gives us a taste of the more heavy punk rock sound the band can perfectly produce. Contrastingly their second single ‘Don’t Delete The Kisses’ featured the more laid back, delicate indie sound the band have mastered since breaking out into the industry in 2013 with their official debut single ‘Fluffy’. One of the main things I really love about Wolf Alice is their dedication to experimentation. The band never gets comfortable sticking with just one genre. They truly are musical shape-shifters. They create music that is wonderfully diverse, from indie folk to punk rock and these two new singles brilliantly represent that broad range. The most recent single, released a week ago on the 14th of August is an upbeat 2 minute track that once again shows just how changeable the bands musical style can be. Comparing just these three new singles exemplifies the ever expanding sound of the band. 

This song titled ‘Beautifully Unconventional’ in particular leans more towards the band’s indie rock/alternative rock stylings. Through the lyrics, lead singer Ellie Rowsell’s vocals paint a picture of a ‘partners in crime’ kind of friendship. Referencing the popular 1988 film ‘Heathers’, she describes their relationship as being two outsiders joining together in a world full of popular girls and high school cliques. Sharp and bluesy guitar riffs drive the song forward along with Rowsell’s distinct gritty vocals, creating a very compelling and snappy 2 minute record. Wolf Alice’s second full length LP ‘Visions Of A Life’ is released on September 29th. Announcing the release of their second album on Twitter the band shared they are ‘immensely proud of this album’ and I personally cannot wait to hear more. 

NATALIYA - HONEST

First impressions are important for any artist, and this debut single from fresh new songstress Nataliya is a perfect example of how to enter into the industry properly. Her first track titled ‘Honest’ is an impactful and soulful pop record that will leave you wanting more. A catchy chorus wrapped up with smooth and mellow r&b rhythms layered over Nataliya’s soft vocal tones creates a song that is widely accessible and sure to be popular with many. It’s always great when you hear a new artist and immediately see a lot of promise and potential. For me this LA based singer is one of those special cases and although little is known about her right now, I cannot wait to hear more material from her in the future.  

SKOTT - MERMAID

I have been a huge fan of SKOTT ever since she debuted with her single Porcelain in 2016, a beautiful and fragile indie folk song that highlighted SKOTT’s now notorious vocal range. Since her debut and after releasing a handful of other songs throughout last year and earlier this year, SKOTT has had a permanent place on my one’s to watch list. She has remained extremely consistent in producing delightfully dark and mystical indie folk songs with a pop edge. For me, it is always an extra special treat when the Norwegian songstress releases a new single into the world and with her new track ‘Mermaid’ once again SKOTT surpasses expectations and continues to show off her vocal capabilities. The track features very atmospheric production and is arranged in a familiar way with explosive choruses and brooding verses layered over minimal electronic beats. The track also incorporates a recurring piano hook that is extremely catchy and adds yet another dimension to the song. 

The choruses within the song are where you find SKOTT’s voice truly shines as she showcases her ability to reach damn near inhuman falsetto notes. The track features less of a dark alternative/indie folk vibe than past releases and instead leans more towards an indie pop type sound. Overall, the mystical and dreamy musical style that SKOTT has mastered and become known for is well represented in this song and adds to her already very consistent and impressive discography. Her distinct and unconventional indie folk sound is growing in popularity and if you’re not a fan of SKOTT already, you should be after listening to this. 

RATIONALE - LOVING LIFE

Rationale is one act that has remained consistently impressive with his releases and his distinct  vocal abilities. I first discovered his stunning vocal talent in 2015 after hearing his song ‘Fast Lane’ which is a paradoxically slow burning gem with understated guitar twangs and soothing synthesisers. After a string of releases in the past two years he is back with another remarkable song. His unique voice is always a treat to hear and much like his previous releases this new single titled ‘Loving Life’ does not disappoint. The song, like many of his past releases, perfectly showcases Rationale’s powerful voice. Since his debut in 2015, he has proven his voice is extremely versatile and can fit into multiple genres from soulful R&B and Synth Pop to creating house oriented records like this new track. Ever since his debut, Rationale’s musical style always carries a heady synth pop rhythm with booming vocals layered on top. With this new track his vocal abilities continue to impress as his voice rises and falls into falsetto highs and soulful lows. 

The new track has an addictive summery vibe and a catchy chorus that will remain stuck in your head for days. For too long Rationale’s talent has been underrated but with a debut album just around the corner I’m certain he will not be kept under the radar for much longer. You can expect his self titled debut album to be released on the 6th of October this year and to celebrate you can catch him touring the biggest cities in the UK throughout October. 

BILLIE EILISH - COPYCAT

Billie Eilish is a young singer songwriter who is constantly growing in popularity and confidence. After hearing her first two singles Ocean Eyes and Six Feet Under last year I was not only amazed by her creative songwriting and distinct vocals but also shocked to learn that she is only 15 years old. This year she’s back with a handful of new songs that hint towards a first album in the near future and is a taster of her soon to be released EP ‘don’t smile at me’. After releasing the extremely catching and dark ‘Bellyache’ in March she has subsequently released singles ‘Bored’ and ‘Watch’ in June, all three perfectly being used to illustrate the musical style of the young Billie Eilish. For someone so young, Billie Eilish’s music oozes maturity and confidence, she already knows her place in the music industry and is already secure in the type of music she wants to continue producing. 

The newest addition to her growing collection of releases is called ‘copycat’ and was released on the 13th of this month. Once again, the menacing and twisted quality of her music shines through. The distorted bass and heavy percussion coupled with Billie’s clever songwriting and brooding melancholic voice (that has become her trademark at this point) creates a song that is dark and satisfying. The song gives us a glimpse of the music style and brand Billie is attempting to carve out for herself. Within the space of one year Billie Eilish has gone from promising singer songwriter to rising pop power house, there is no doubt that pretty soon she’s going to be big. I’ll be eagerly awaiting more new material from this talented young artist in the run up to the release of her ‘don’t smile at me’ EP. 

LUCY ROSE - FLORAL DRESSES

I've been following Lucy rose's music for a long time and I would go so far as to say I have been quite obsessed with not only her music but her live performances since 2011. Her debut album 'Like I Used To' really put her on the map as one of the newest and most exciting singer/songwriters in modern music. Released in 2012, her debut album was a brilliant introduction to her soft and tender style of indie/folk music. At her core, Lucy Rose is a singer/songwriter who finds creativity and inspiration to write music in some of the most personal and private moments of her life. Her mastery over the singer/songwriter genre is shown through her ability to bare her heart and tell stories through her music. More often than not her songs are inspired by personal experiences and her lyrics are brutally honest, coming from a place of real emotion and vulnerability. This combined with her outlook towards the music industry, her kindness to her fans and her pure and fragile vocals are what truly makes Lucy Rose special to me as a person and as an artist. Although Lucy's first album was very acoustically driven, her second album 'Work It Out' released in 2015 saw her take a slightly different path as the album consists of songs that are more electronic in their composition. Her two albums so far show an evolution from making acoustic folk music that is slower paced and fragile to making new sounds that conform more to the alternative/indie genres with an abundance of electric guitars, energetic and purposeful drum beats and synths. However, what remains the same are Lucy's open hearted and honest lyrics as well as her pure and sweet vocals. These elements are what really draw you in when listening to her music. 

Her long awaited third album is soon to be released this July and here we have the first single from the album ‘Floral Dresses’. The song features backing vocals from fellow British folk band The Staves, three sisters from Watford who are also one of my favourite folk artists to date. Additionally the song, and the album for that matter, marks Lucy Rose’s departure from the Columbia Records music label and onto the small independent label Communion records. Speaking on the new single Lucy noted how this song: “really reminded me about who I was, and I always think that some of the best songs are the ones which can stand on their own with just one instrument. The message is pretty clear and I hope other people will find comfort in it, and realise they are different but also the same as many people.” It feels like Lucy is going back more to the style seen in her first album, stripped back fragile and leaning more towards the singer songwriter genre. Intricate folk music and thoughtful delicate singer songwriting is at the core of Lucy’s music and this is really well reflected in this new song. The track is composed of everything Lucy does best, within the lyrics she tells a story and the minimal acoustic guitar strums and fragile vocals drive the song forward. Through the lyrics, the message of the song is extremely clear 'I don’t want your diamond necklace, your disapproval cuts through’ the song is about staying true to who you are and remaining unique even if others disapprove of it. 

The motivation for the song and the very direct and openhearted lyrics are clearly based on a personal experience from Lucy herself. Throughout her music, Lucy has always used her songwriting as a vehicle and a channel to process and deal with very personal experiences throughout her life and this element to her music is still present here in this new record. The way she is so forward and open to express her vulnerability within her songwriting is one of the reasons why her music is not only relatable but also incredibly endearing and engaging to listen to. With this new track, her songwriting remains incredibly self aware and gives us an open window into the life and mind of Lucy Rose. Lucy's voice is always such a pleasure to listen to. Her sweet, natural vocals combined with these very honest and emotive songwriting is what makes this song and her music in general work so well. 

Overall, the song is a strong reentrance back into the music world after being away touring and songwriting for a while. This new record suggests a revisit to the very melancholic and stripped back acoustic songwriting that fans of Lucy first fell in love with on her first album, the style of music Lucy herself truly adores the most. The signature fragile and pure vocals coupled with Lucy’s always honest and self aware song writing is a combination Lucy has mastered over the course of two albums and is a skill she still uses to success throughout her music today. This new single is the first sign of what’s to come from Lucy’s new album ‘Something’s Changing’ and is the first clue in understanding which direction Lucy will be taking her musical adventures next. I eagerly await to hear more from her. The album is out in the UK on July 14th. 

LORDE - GREEN LIGHT

It’s been a long time coming for Lorde to return with new music. After shooting to fame in 2013 with her debut album Pure Heroine in 2013, the now 20 year old New Zealand singer songwriter has finally released the first glimpse of what she’s been up to for the past few years. The new single Green Light is the first completely new and original material we’ve heard from her in a while. Rising to global Fame in 2013, Ella Yelich-O' Connor (aka Lorde) turned a lot of people’s heads in the music world for her incredible songwriting abilities that showed a maturity beyond anything you would’ve expected from a 16 year old. Lorde also caught people's attention due to her refreshing, droll vocal tones and her dark and twisted blend of pop music and electronica. In 2013, the then 16 year old provided a breath of fresh air to the mainstream music industry that appeared to be throughly saturated with formulaic and unoriginal pop records. Each record from the singer songwriter has consistently shown a mixture of hard hitting, self aware and personal songwriting, dark electronic rhythms and punchy bass lines. Yet this new single highlights a new direction for Lorde in a lot of ways. As Ella tweeted herself in preparation for releasing the song: ‘I am so proud of this song. It's very different, and kinda unexpected. It's complex and funny and sad and joyous and it'll make you DANCE’.

The track is noticeably different from her previous works, her voice is not only a touch deeper but the tone of her voice seems a lot more direct and angry. You can tell the lyrics come from a place of personal heartbreak, the conviction and force in which she sings these lyrics albeit to a relatively lighthearted electronic beat further enforces this idea. Listening to the lyrics it becomes increasingly clear Lorde’s music both from the past and now looking into the future will always be used as a vehicle to express her real feelings and personal experiences and that’s something that is rarely seen so openly in the music industry today. In many ways, this new record sees an experimentation and an evolution of Lorde’s well established style she already carved out for herself in her first album. The steady piano chords that form the main hook of the song is something we haven’t heard before much in Lorde’s music. These prominent piano chords mixed with Lorde’s signature cool, quirky vocals rest on rousing electronic beats that rumble underneath the track and provide something different while still remaining recognisably ‘Lorde’. Her decision to include such drastic shifts in tempo within this new single gives further evidence to a consistent theme of difference and unpredictability in Lorde's music. Producing a song with such an offbeat, changeable tempo signals Ella’s continual commitment to offer up something new with every piece of music she creates. Her unique and edgy style of music is what made her entrance into the music industry back in 2013 so innovative and refreshing and it’s good to know that four years down the line with this first sample of her second album ‘Melodrama’ (coming out June this year), her music remains just as bold and original.  

Green Light comes from a place of  loss and heartbreak but at the same time it’s about the overwhelming sense of freedom that comes with these changes in a person’s life and the rush of possibilities that follow an ending relationship. The track is driven by a jaunty piano riff and soon builds up into a  euphoric and cathartic dance driven tune. The chorus itself sounds like something you would hear on a drunken post beak-up girls night out with spectral backing vocals reminiscent of the choirs accompanying Lorde on earlier songs such as Team. The song is a lot more upbeat and poppy which is something we don’t usually hear a lot in Lorde’s music, however the track still features Lorde’s iconic contralto and features the now familiar dark and heavy electronic beats that defined her debut. A follow up tweet from the 20 year old singer songwriter goes on to say: ’It's the first chapter of a story I'm gonna tell you, the story of the last 2 wild, fluorescent years of my life. This is where we begin’. Within the song the lyrics themselves not only tell the personal story of a broken relationship but it also exemplifies Ella’s mastery over the songwriting genre and her ability to incorporate open hearted and often brutally honest lyrics into her music (‘I know about what you did and I wanna scream the truth / She thinks you love the beach, you're such a damn liar’). With a bouncy chorus and slower paced verses that move forward the story of  a relationship breaking down, the outro brings us back to everything that we always loved about Lorde as the music fades out with boisterous and grungy synths. 

With Lorde lined up for some big festival dates this year, it only makes sense for her new music to head towards a more full bodied, theatrical sound. Based on this first taste of the new record, Lorde has managed to somehow stay true to her roots, giving us a new song to go crazy over that features all the crowd pleasing elements that Lorde is now known for while also giving us something new to chew on. Green Light suggests her music is taking a turn towards the brighter, more mainstream dance genre yet still offers up that dynamic, offbeat edge that we all love her for. 

LONDON GRAMMAR - BIG PICTURE

I’ve been in love with London Grammar ever since their debut album ‘If You Wait’ was released in September 2013. The album is particularly special to me as it was one of the first albums I remember being excited about listening to just before I nervously entered my first year of University. The first thing that draws you into this band’s music is lead singer Hannah Reid’s pure and naturally captivating vocals. Her voice combined with the minimalist electronic rhythms and spaced out guitars provided by the other two members of the band Dominic ‘Dot’ Major and Dan Rothman is what makes this band's sound so distinct. Although after their debut album the band gathered a lot of attention and their music was met with a very good reception, ever since then London Grammar have been pretty quiet. I would hear about them now and again, travelling around the world, performing at various large venues and they also collaborated with the British electronic duo Disclosure on their first album which was released a month after their own debut. However, other than a collaboration here and a big festival appearance there, London Grammar have remained relatively quiet in the four years it has taken them to return with new material. 

Many including myself have been eagerly awaiting any new material from the trio for a long time which is why it was a huge surprise when they spontaneously dropped their first new single in the early hours of the New Year. The track titled ‘Rooting For You’ was their first new original song since their debut back in 2013 and listening to it for the first time made me remember exactly why I love their style of music. The song stays true to London Grammar’s now well established style, it is an electronic tinged melancholic track that like most London Grammar songs puts Hannah’s beautiful voice and pure tones into the spotlight. Reid’s sparse, ghostly vocals lead the song and are soon backed up with a symphony of string instruments that allow the song to build into an almost cinematic feeling record. Their second new release is titled ‘Big Picture’ and again really shows us how much the band have perfected their sound over the last four years. While their first comeback single ‘Rooting For You’ was an extremely gentle and emotive symphonic record that showcased Reid’s fragile vocals, their second new single ‘Big Picture’ sees a change of tone for the band. Yet this new single still inevitably contains all the key ingredients that make London Grammar’s music so special. 

With Reid's pure vocals combined with spectral and purposeful guitar rhythms, the track gradually works itself up from a sombre and slow paced song to a bright and euphoric piece of music. The track slowly evolves into an optimistic and instrumentally driven record with a rousing upbeat rhythm. The record somehow manages to show off Reid’s vocals while at the same time creating a soft and calming electronically layered rhythm underneath that features looped reverberating vocals from Hannah. With this record and the aforementioned first comeback single ‘Rooting For You’, it’s clear that the long time away spent writing and recording was most definitely worth it. If anything, these new tracks from London Grammar perfectly show how comfortable the band have become in their musical direction and this new material signals exciting new things to come from the trio. 

VAULTS - CAUGHT IN STILL LIFE - RAMBLER REVIEW

Vaults are a band that have been circling around for a while, gathering a small but formidable fanbase waiting patiently for their debut album. I first became entranced by their music in 2014 when I heard their EP Vultures. Yet, this album release has attracted a mixture of fans, from those who have followed their music from day one to those who have discovered them through their cover of Randy Crawford’s song ‘One Day I’ll Fly Away’ from the 2016 John Lewis advert. While this mass exposure to the band's music is a blessing, the album being timed to coincide with the release of the infamous John Lewis Christmas advert increasing the sales of the album promotionally, their involvement with the John Lewis advert does not truly represent their usual dark and often haunting electronic alt-pop music. The heart of their music lies in their dark, twisted and polished musical style with lyrics that cut deeper than the John Lewis advert’s funny and Christmassy theme is willing to show us. With deep bass lines and haunting vocals Vault’s debut album stays true to the style they have been building up through their EPs for the past two years and in many ways does well to contradict the mainstream appeal the John Lewis advert has stirred up for them. Not only is the band’s talent echoed through the songs but knowing that this debut album was entirely self produced also reflects and gives a good indicator of the bands vision and the direction in which Vaults want their music to go. It is the polished production and meticulous and emotive songwriting where Vaults really excel, the album representing the broad variety and spectrum of songs the band can offer. From more melancholic, moodier songs such as Bodies and Orphan to songs that are more mainstream like Overcome and Midnight River. 

It’s not like Vaults are completely unknown, their song One Last Night featuring on the Fifty Shades of Grey soundtrack created an already growing buzz around them in 2015. Although their debut EPs Premonitions, Lifespan and Vultures were released in 2014, after featuring on the motion picture soundtrack to one of the biggest films of 2015, the band began gaining momentum and subsequently released singles Cry no more, Midnight River and Overcome to success. The album is expertly produced, with layers upon layers of enchanting vocals, sensational synths and electronica. One of the most unique things about Vaults is their ability to somehow create music that perfectly resembles the best of powerful modern electronic music today without sounding overly synthetic. The album seems so natural, it combines self aware and emotive lyrics with powerful electronic rhythms while at the same time keeping an organic quality. The album shows a perfected mixture of electronica and raw natural vocal talents, a difficult thing to achieve when considering electronic music at its core is highly synthetic.

Another thing that I really respect with Vault’s music is their tendency to not shy away from experimenting with different sounds and instruments. From sample pads and electronic drum kits to pianos, violins, cellos and an aluphone (a two metre long instrument that belongs to the mallet percussion family, it is covered in aluminum bells and is the primary instrument featured on the song Cry No More). Their tendency to use obscure instruments, rhythms and sounds in their music is exhibited well in this debut album and exemplifies their never-ending creativity as a band. This is a classically thrilling and wonderfully immersive electronica album wrapped in a mixture of choir like orchestral sounds, layered rhythms and tonal vocals. Yet the album also shows a dynamic edge, with the involvement of dark, often brutally honest and engaging songwriting as well as obscure instrumentation the album also presents an experimentation of the electronica genre. The album starts with previously released single in 2015, Cry No More. A deliciously dark and twisted song that is perfectly coupled with Blythe’s famously chilling vocals. The lyrics add to this tone and paint a vivid yet sombre scene (‘To wear it like a crown, to kick before you drown / Cry no more, I don’t want to die a little more everyday’). Combining fairly dark electronic rhythms with these melancholic and morbid lyrics creates a track that both appeals to the mainstream but is also a song that shows an experimentation with the electronic genre. 

Songs such as Bodies and Orphans are much slower paced and packed full of emotion and melancholia that show a new diversity to the bands music. The track Bodies in particular from a songwriting perspective is lyrically brilliant, dark and incredibly self aware (‘Well I’ll tell you, it’s no secret I’m afraid that I’ve built myself so tall, no one will see me when I’m falling’). For me, what makes this debut so brilliantly beautiful and special is how the album shows the versatility of Blythe’s vocal talents and showcases the incredible control and mastery she has over her voice. Not only does the album show the capabilities of Blythe's vocals but it also exemplifies the bands confidence to experiment with mixing various instruments with dynamic electronic rhythms. The most prominent examples of this are seen within tracks Cry No More, One Last Night, Bodies and Orphan. The string instruments present in tracks One Last Night, Orphans and Bodies not only add to the heart wrenching emotions of both songs but it shows Vaults’ ability as a band to effectively blend and borrow sounds from different genres creating enchanting, alternative electronic music. The mix of modern and often dark electronic sounds with classical string and percussion instruments is what makes this debut stand out. While songs such as Orphan and Bodies showcase Blythe’s fragile and more stripped back vocal talents, it is songs such as Paradise, Poison and Hurricane that demonstrate the incredible adaptability of her voice. Within these songs, Blythe’s voice can instantly shift from a softer tone to an all out powerhouse vocal that is seriously impressive to listen to. Songs such as Paradise, Poison and Hurricane are some of my favourites on the record purely because of the energy and power provided by Blythe’s lead vocals. Within these songs it is Blythe’s strong vocals that take charge and drive the tracks forward, creating songs that are really impressive vocally. Particularly Paradise is an interesting song, not only do Blythe’s vocals take control but the song incorporates some additional orchestral and choir-like vocals that are layered into the background of the song. These additional vocals give the song a more angelic, gospel type feel and further enforce the dreamy imagery a song called Paradise brings to the listener’s mind. 

The tracks Orphan and Bodies, while both take a more sombre melancholic tone, also incorporate layered vocals that add to the power and strength of Blythe’s already hauntingly natural voice. Both use delayed looping vocals that reverberate around and give each song an echoey, ghostly sound that makes both tracks even more compelling. If there is one major critique for this album, it is that there are a few songs on the album that are perhaps a little too synthetic and are blatantly made for the charts and for a mainstream audience. Songs such as Overcome and Midnight River while still perfectly enjoyable songs, lean more to the conventional pop side of things. Although the inclusion of these songs add to the well rounded feel of the album as a solid piece of music, the songs clearly stick out as they do not seamlessly blend in with the dark and alternative tone of the rest of the album. 

I have many favourites on the album but the track Poison in particular really strikes a chord with me as it is one song that really got me into the band. After discovering the band I fell in love with the dark, edgy electronica the band are known for and in particular Blythe’s voice on the song. Throughout the track, her vocals effortlessly escalate from being very haunting and fragile to showing us just how powerful and strong her voice can be. The fact many have been waiting and highly anticipating this album is not a sign of things going wrong but rather it signals the band taking their time in the creative process to produce something really wonderful. Within this album there is something for everyone, from electronic tinged pop songs that appeal to the mainstream to spine tingling dark electronica that puts a twist on the alternative/electronic genre. The album not only serves as an example of modern electronica that perfectly represents the wide variety of music the band can produce but it also does a brilliant job of putting Blythe’s naturally chilling yet still powerful vocal talents in the spotlight. The album is a beautiful concoction of modern dark-tinged electronica cut with emotive, personal songwriting and soulful vocals.

It is the staggering versatility and polished professionalism of the band and their unique approach to electronica music that makes this debut really stand out from the rest. A debut album of this level raises questions about what new and exciting things the band could possibly be working on in the future and which direction the band will take as they grow and develop as artists.  

★ ★ ★ ★ ★

Stand out songs: Cry no more, Hurricane, Paradise, Poison 

Links:

https://twitter.com/vaults

http://www.entervaults.com

https://soundcloud.com/vaults