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After reviewing In A Perfect World back in 2013 Kodaline definitely had lots to live up to in my eyes, a feat which they don’t seem to have quite pulled off. Tough Coming up for Air has a much more eclectic sound and has unquestionably steered away from that ‘Coldplay tribute band’ vibe, the mix of old and new just don’t seem to mesh well. While Garrigan’s idiosyncratic vocals remain as strong as ever, Kodaline seem to have left a lot of the slower, more melancholic songs behind to replace them with some more urgent, energetic tracks that just don’t feel right. Tere are still songs that go back to the bands roots, with tracks like ‘Lost and Better mirroring that slow- paced, lofty style that first saw them getting widespread recognition, but if you’re expecting an album full of the likes of High Hopes’then you’re in for a nasty surprise. Tat being said it’s definitely the kind of album that you have to listen to a few times to really come to like, and though it may lack some of the greater aspects of their previous hits, it’s nonetheless a good album, just maybe not a great one.



Happy People is many things. It is atmospheric, rooted in rhythm and eccentric to the bone . Immediately, the album is striking as it offers a fresh take on indie music, with the clever involvement of orchestral instruments to give songs a little boost, a gentle push to being something more. Each track is fine tuned to be instant crowd pleasers whilst retaining integrity. Someday and Under the Moon are reminiscent of 90's summer sun, but enhanced with echo and reverb. Money does not sell the album for its true worth, trickling what can only be described as commercial fog over the stellar moments of the album. It is clear there is a game plan here, as each track has a distinctive persona which undeniably pushes this album into the unconventional realm of music production. Something is happening here - Peace are set to unite music lovers alike and more importantly be a part of the revolutionary revamp of the indie music scene.



From the bayous of Norfolk, Te Grazing Saints have a take on swamp-psyche- blues-rock that is contemporary but rich in late 60s/early 70s heritage. On opener Let’s Get Away From Tese Flatlands and single Ghost Story, Joe Quinn’s vocals sound a thousand years old, marinated in whisky, nicotine and pain, just perfect for these songs. Maelstrom is in a similar vein before breaking into a psychepop chorus. Bright Beacon is more upbeat, hinting at classic soul. Te hoedown of Honey I Dig You (And I Hope You Remain To Be Fruitful) is a prime piece of cosmic Americana. Stormy Weather takes an unexpected turn into post-rock, like the quieter moments of Explosions In Te Sky or Mogwai. Album highlight Some Tings Never Change could be Creedence Clearwater Revival covering Edwin Collins’ Music To Watch Girls By. If there was any justice, this would be a surprise hit. White Devils Blood Is Milk is like Tony Joe White and Crazy Horse jamming Mudhoney’s Mudride. Both Living Without A Head and closer Ark (Selene) could be Neil Young covering the Beatles. Quinn’s guitar is fiery but never flashy. Paul Taylor’s bass pulsates and throbs. Michele Amato's drums underpin it all, restrained where appropriate and thunderous where necessary. Bordering on marvellous. / February 2015 / 47

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