The Latest Music News - New Singles and Studio Albums from: Florence and The Machine, Blur, Jimmy Somerville, Brian Wilson, Will Young,Jamie Foxx and Hot Chip.

How Big, How Blue, How Beautiful is he third studio album by the English indie rock band Florence and the Machine, set to be released on 29th May 2015 in Germany and on 1st June 2015 in the UK through Island Records. It is the band's first studio album in three and a half years and was produced by Markus Dravs. Paul Epworth produced the album's closing track, Mother.

In 2001, the band released their second album Ceremonials, which reached number one on the UK Albums Chart and number six on the US billboard 200. The album included Spectrum (Say My Name) which was remixed by Scottish musician Calvin Harris and became the band's first UK number-one hit.

In mid-2012, it was announced that Universal Republic Records was going defunct, moving all artists including Florence and the Machine to Republic Records making the label itself revived. In late August 2012, lead singer Florence Welch told Style magazine that she plans to take a twelve-month hiatus before starting to work on the band's next studio album, stating,...'There's a big 'take a year off plan. The record company have put no pressure on me for the next album. They've said I can have as long as I want.'

In an interview with Zane Lowe, Welch said that during the year off she had 'a bit of a nervous breakdown,' and that time was 'a little chaotic'. She continues... 'I was still going out and going to events but something wasn't quite right. I was spiralling a bit. I wasn't making` myself happy. I wasn't stable.'` She added: 'It was a really vulnerable time for me when we first started making the record and because of that, it's the most personal record I've ever made.'

Regarding the albums, Welch said in a press statement , 'I guess although I've always dealt in fantasy and metaphor, when I came to writing, that meant the songs this time were dealing much more in reality.'  ceremonials was so fixated on death and water, and the idea of escape or transcendence through death, but the new album became about trying to learn how to live, and how to love in the world, rather than trying to escape from it. Which is frightening because I'm not hiding behind anything, but it felt like something I had to do. Welch also told Zane Lowe that producer Marcus Dravs disallowed her to write any more songs about water, however, she managed to get Ship to Wreck onto the record.

On 4 June 2014, Welch told NME that the band's third studio album was in the works. The material for the album was written and recorded throughout 2014. Welch said that she wanted to work with Markus Dravs on the album, as he produced Bjork's Homogenic (1997), an important album to Welch. 'I felt he had that balance of organic and electronic capabilities, managing those two worlds. And, you know, he's good with big sounds. And I like big sounds. And he's good with trumpets, and I knew I wanted a brass section on this record,' she said in the press release. 'With Markus, I wanted to make something that was big but that had a gentleness to it, that had a warmth, that was rooted. I think that's why we went back more to the live instruments. Something that was band-led almost,' she added. The final track on the album, Mother ,was produced by Dravs and Paul Epworth.

The brass arrangements on the album were done by Will Gregory of the English electronic music duo Goldfrapp. They are highlighted in the title track, How Big, How Blue, How Beautiful,. 'The trumpets at the end of that song- that's what love feels like to me: an endless brass section that goes off into space. And it takes you with it. You're up there. And that's what music feels like to me. You want it just to pour out endlessly, and it's the most amazing feeling,' said Welch.

The band has been confirmed for numerous European festivals in Summer 2015, including Way Out West in Sweden, Super Bock Super Rock in Portugal and Rock Werchter in Belgium, amongst others.

What kind of Man was released as the lead single off the new studio album. The song was premiered on BBC Radio 1  on 12th February 2015 at 7.30pm local time along with an announcement of the album's release date, title, and track listing. The music video, directed by Vincent Haycock and choreographed by Ryan Heffington, premiered online shortly afterwards, along with the album's pre-order. On 18th April 2015, the song was issued on a limited 12' Record Store Day Vinyl, with 'As far as I Could Get' released as a B-side.

St Jude was released as the second single on 23rd March 2015. A music video accompanying the song was released the same day. Considered to be a continuation of the video for What Kind of Man, it was also directed by Haycock and choreographed by Heffington.

Ship to Wreck was released on 8th April 2015. The music video for the song, also shot by Haycock and Choreographed by Heffington, was filmed in Florence Welch's own house. This single was released on 13th April 2015.

Tracklisting for How Big, How Blue, How Beautiful

1. Ship to Wreck
2. What Kind of Man
3. How Big, How Blue, How Beautiful
4. Queen of Peace
5. Various Storms 7 Saints
6. Delilah
7. Long 7 Lost
8. Caught
9. Third Eye
10. St Jude
11. Mother

Vinyl box set bonus track

   12.     As Far as I Could Get

Deluxe edition bonus tracks

  

    12.      Hiding

    13.     Make Up Your Mind

    14.     Which Witch

    15.      Third Eye (Demo)

    16.      How Big, How Blue, How Beautiful (Demo)

Target bonus tracks

    17.     Pure Feeling

    18.     Conductor

You can see the music video for the first single released from the brand new album by Florence and the Machine, this is for the track: What Kind of Man, which was officially released on February 12th 2015.  This is followed by the music video for the third single released from this new album, for the track: Ship to Wreck.

What is impressive about these two music videos is not just the Brilliant Direction first by Vincent Haycock of these two music videos, but also secondly: the choreography of these two music videos by Ryan Heffington. It is Ryan Heffington's choreography that is the most impressive about these two music videos. His choreography matches the intensity we saw from the music videos from a hit taken from Florence and the Machine's last studio album Ceremonials, with the track Spectrum (Say My Name). Heffington's choreography matches David Byrne's choreography in the Spectrum (Say My name) music video. It's not to the same degree as Byrne's (because as you may remember ,there was an awful lot of ballet work in the Spectrum music video), but non the less, his work is still very impressive.

What is slowly emerging about Florence Welch in the music videos she makes, is that she is an artist who not only creates a unique musicality-art with her music, she is an artist (like Kate Bush before her) who will sometimes use the physicality of contemporary dance to portray the inner meaning of her song's lyrics.

By working this way with music video, Florence Welch is one of the very few British female artists in the British music industry who could be called 'Totally Unique'.

This is one Female Artist who should be totally respected and honoured, because she is very special, and one of those artists that other female artists may very wish to follow. The role she shows of the tough woman in her music videos, is very important to British music videos, and I believe should be truly studied by ALL British Female Artists working in the medium of music videos.

             

The Magic Whip is the eighth studio album by the English rock band Blur. It was recorded in Hong Kong and London, and released by Parlophone on 27th April 2015 and Warner Bros Records on 28th April 2015. It is the band's first studio album since Think Tank (2003), marking the longest gap between two studio albums in Blur's career.

In may 2013, the group were set to play Japan's Tokyo Rocks Music Festival. However, the entire festival was cancelled for unknown reasons, leaving the band stranded in Hong Kong for an extra 5 days. In an attempt to distract themselves, they worked on new material in Avon Studios, as announced by Damon Albarn during the gig at Asia World-Expo, Chek lap Kok. Albarn later stated that he was unsure whether the resulting music would ever be released.

In July 2014 he commented, 'There are about 15 songs...the annoying thing is, if i'd been able to write the lyrics there and then about being there, we'd have finished the record. But sometimes, if you can't do it all at once, it dissipates really and I don't know what I'd sing about now with that record. There's some great tunes on there, but it may just be one of those records that never comes out.'

In November 2014, Coxon began to  look at the recordings and thought about making a new record out of them. He received Albarn's approval to work further on the recordings with producer Stephen Street, while Albarn was touring his solo album,Everyday Robots (2014). Coxon commented 'I kept thinking about the recordings we had made in Hong Kong and remembering how good it felt. I wouldn't have forgiven myself if I hadn't had another look'. Street  had worked on Coxon's solo albums but not with Blur since their self titled 1997 release. Coxon would secretly invite James and Rowntree to further recording sessions in order to build upon the material. Once nearing completion, Coxon presented the music to Albarn to see if it was worthy of an album. On the way back from his tour of Australia in December, Albarn stopped in Hong Kong once more for lyrical inspiration. Vocals were completed towards the end of January 2015 and the album's mastering was finished on February 18th 2015.

The cover of  the album features the Traditional Chinese words of 模糊 魔鞭, which literally means Blur Magic-whip in neon-lit fashion. Art director Tony Hung, who also created the lyric video for Go Out, the first track to be released from the album, met with frontman Damon Albarn in early 2015 to discuss the album artwork and was shown photos and ephemera from the singer's travels in Hong Kong. Albarn also explained how the album came into being and his thoughts around it. The album's title The Magic Whip he explained was 'multifaceted,' says Hung. 'An ice cream in the UK, a firework in China and a 'whip' in a political sense. These extremes would reflect the different textures, breadth and depth of the album.'  Hung says that the band wanted a cover that touched on those themes and that also had a 'rawer feel' to give a sense of how the record came together in Hong Kong (the band recorded quickly, in a small studio in the city).

The video for Go Out was uploaded to YouTube on 19th February. Videos for There Are Too Many of Us and Lonesome Street followed on 20 March and 2nd April 2015, respectively. My Terracotta Heart , I Broadcast, and Ong Ong were made available shortly before the album's release as promotional singles, and their official audios were uploaded to YouTube on April 18th 2015, April 21st 2015 and April 23rd 2015, respectively. Y'all Doomed, the bonus track on the Japanese edition, was released as a 7" single on April 27th 2015.

The album has received universal acclaim from British and American music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 81, indicating 'universal acclaim', based on 33 reviews.

DIY magazine critic Stephen Ackroyd stated: 'Their magic remains as strong as ever.' Helen Brown of The Telegraph stated that the album 'turns out to be a triumphant comeback,' and noted that 'it retains the band's core identity while allowing ideas they'd fermented separately over the past decade to infuse their sound with mature and peculiar new flavour combinations.' Andy Gill of The Independent gave the album a positive review, calling it 'a beautiful comeback.' Spin writer Andrew Unterberger gave the album an 8/10 rating and said, 'Magic Whip is a fun album, nearly as much as any Gorillaz LPs,' adding 'Magic Whip finds enough majesty and intrigue in the band's more meditative days to remain worthy company to any of the band's classic LPs.' Writing for the Rolling Stone magazine and giving the album four-out-of-five stars, David Fricke called the album 'A dark, seductive set that cements a legacy', stating that 'Blur have returned with inspiration to spare.'

Tracklisting for Magic Whip

1. Lonesome Street
2. New World Towers
3. Go Out
4. Ice Cream Man
5. Thought I Was a Spaceman
6. I Broadcast
7. My Terracotta Heart
8. There Are Too Many of Us
9. Ghost Ship
10. Pyongyang
11. Ong Ong
12. Mirrorball

Japanese bonus track

   13.  Y'all Doomed

Below you can see all the 'quirky' music videos Blur have released from this brand new studio (so far).

1. Go Out -  which was first officially released in February 19th 2015
2. There Are Too Many of Us -  released officially on March 20th 2015
3. Lonesome Street -  released officially on March 23rd 2015. 

Homage is the latest studio album by Jimmy Somerville. This is Jimmy Sommerville first new studio album of original Jimmy Sommerville songs for 11 years, his last being the Home Again album in 2004.

September 2014 saw the release of new single Back to Me followed by Travesty,both from Somerville's new disco-inspired studio album, Homage. The emphasis on the recording of the new album has been on achieving the musical authenticity of original disco which Somerville grew up listening to. He stated 'I've finally made the disco album I always wanted to and never thought I could'.

Ever since Jimmy Sommerville arrived on the British music scene in 1983 as Part of Bronski Beat, The Communards and as a Solo Artist, (as a musician) Jimmy Sommerville has always used the Disco music genre in his music creativity, but with this latest brand new studio album, It has been the first time that Jimmy Somerville has been able to use the FULL-ON Musicality of the Disco music genre on an album that he has created, and in so doing has (possibly), created the most music genre-inspired and most musically-creative album of his whole career.

There are some incredible examples of the Disco music genre on the Homage studio album that will put a competent artist ( known for recording this type of music-like Jamiroquai) to shame.

For Jimmy Somerville, his latest album has been a labour of love, an album where he has put in  great depths of passion, love and devotion in the recording of his new studio album.

This album deserves to get all the respect and acknowledgement it so richly deserves.

Tracklisting for Homage

1. Some Wonder
2. Strong Enough
3. Freak
4. taken Away
5. Back to Me
6. The Core
7. Travesty
8. Bright thing
9. Lights Are Shining
10. This Hand
11. Overload
12. Learned to Talk

Below is the music video for the third released single from this new studio album from Jimmy Somerville,this is for the track: Some Wonder.

No Pier Pressure is the eleventh studio album by Brian Wilson, released officially on April 7th 2015 on Capitol Records.

It features guest performances by contemporary artists: Sebu Simonian of Capital Cities, Kacey Musgraves, She & Him and Nate Ruess of Fun. Original Beach Boys members, Al Jardine and David Marks also feature alongside former band member Blondie Chaplin. Originally planned as a follow-up to the group's 2012 reunion album That's Why God Made the Radio, No Pier Pressure is the first solo Wilson LP devoted primarily to new and original material since That Lucky Old Sun in 2008.

Wilson intended to record with the Beach Boys after their 50th anniversary celebration, but decided to make a solo album instead. On June 6, 2013, Wilson's website announced that he was recording and self-producing new material with guitarist Jeff Beck, session musician/producer Don Was, as well as fellow Beach Boys Al Jardine, David Marks and Blondie Chaplin. On June 20th, the website announced that the material might be split into three albums: one of new pop songs, another of mostly instrumental tracks with Beck and another of interwoven tracks dubbed 'the suite' which initially began form as the closing four tracks of  That's Why God Made The Radio.

Wilson embarked on a short summer tour which included Jardine and Marks. It was then announced on August 5th 2013 that Wilson would embark on a Autumn 2013 tour with Beck. According to Beck, 'Brian will kick things off, but I'll also be given enough time to establish what I'm about. In the end, we'll mix and match.It's a complete honor to be on stage with him.' Jardine and Marks also joined Wilson on the eighteen dates which began on September 27th and ended on October 30th. Chaplin guested on some dates and performed Sail On,Sailor and Wild Honey with the group. That October, Wilson informed: 'We're about two-thirds of the way through. We have eight or nine songs done, and we need three or it's a pretty unique album. It's very different than anything I've ever done.'

the album's title, No Pier Pressure , was thought up by Wilson's daughter,Daria.

Sessions were concluded at all three studio spaces at Ocean Way Recording, Hollywood over a period of about a year-and-half. Senior staff engineer Wesley Seidman worked with Wilson in the studio, who preferred tracking band performances on Pro Tools while using vintage equipment. Accordingly, a batch of new super-high-fidelity C0-100K Sanken microphones were brought out for sessions, being used for drum overheads, orchestra and horn rooms, a mandolin and acoustic lap steel guitar. In August 2014, Wilson said that recording was done and that he had reached the album's mixing process. On November 6th 2014, the album was reported finished.

That's Why God Made the Radio and Imagination collaborator Joe Thomas is involved to some extent. Accordingly with the album's music and song lyrics. He states: 'When we started working on this thing, he was calling it his life's suite. He looked at life as three different movements. One was Pet Sounds, the other was Smile and then, he wanted to go out with a bang and have a look back at life from an adult. Pet Sounds was when he was just a kid. Smile was when he was a little more savvy and in the business awhile. And now, this is a guy looking back at life and where he is now, which is in a much happier and less chaotic state.Thomas , comparing the record to That;s Why God Made the Radio,stated: ''Musically, it has a rougher edge to it. The harmonies are cool, but it's more akin to the music on Wild Honey and the Carl & the Passions records...This new material is not a reprise to that album at all; it's taking it further.

Announced song titles included Right Time and Run James Run, which both feature lead vocals by Al Jardine, along with On the Island, Special Love, Sharing a New Day, Guess You Had to Be There, sail Away and Last Song. Wilson stated that Sail Away, Runaway Dancer, On the Island and Guess You Had to Be There were his favorite tracks on the album.

Jardine spoke of Run, James, Run as a 'suped-up Little Deuce Coupe kind of thing. It's just cute as hell.'  Runaway Dancer (originally called Talk of the Town) was written in 1998, but not recorded until the album's sessions. On Sail Away , co-writer Jim Peterik said: 'Again it was myself, Brian Wilson, Joe Thomas the producer and Larry Millas of the Ides. It's kind of like Sloop John B in the nautical field, so it's continuing. I still pinch myself with the Brian Wilson thing.

The album's centerpiece, Last Song, is described: 'A heartbreaking ballad that was recorded in two versions-one with a haunting vocal by Lana Del Rey and one with Wilson's lead vocals. The song recounts his sadness about the Beach Boys' dissolution.' Don Was commented: 'Brian's really on it. I was knocked out by a couple of songs on that last Beach Boys record- Summer's Gone ranks with his greatest work. I didn't expect that he's got a whole other album of stuff on that level... I got really choked up playing bass on that track. There's something about Brian signing off with it, saying, 'This is it, this is my last song.' It's really intense. If 'Last Song' turned out to be his last song, can you imagine? Wow. That'd be some coda.'

Guest performers

In July 2014, Wilson announced potential guest appearances by Lana Del Rey (Last Song), Zooey Deschanel (On the Island), Frank Ocean (Special Love) and Kacey Musgraves (Sharing a New Day, Guess You Had to Be There'). The news brought mixed feedback from fans; Wilson is purported to have expressed through his Facebook page: 'It kind of bums me out to see some of the negativity here about the album I've been working so hard on. In my life in music, I've been told too many times not to **ck with the formula, but as an artist it's my job to do that- and I think I've earned that right... So let's just wait until the album comes out because I think you just might dig it as much as I do.' Thomas has asserted: 'Brian isn't trying to write to a younger or older audience, he's telling the story from his perspective.'  Later, a guest appearance by Nate Ruess of Fun was also confirmed, and that Ocean's collaboration would be excluded, replaced by a remake of the Beach Boys' 1965 instrumental Summer Means New love.

Ocean and Del Rey's vocals were left unfinished due to scheduling conflicts, leaving them absent from the album's final assembly. Wilson explained 'Frank Ocean didn't want to do the song. He wanted to do rap, so we canceled him. Lana del Rey, uh, she just canceled out on us.' On September 28th 2014, the now-entitled Our Special Love was released by Peter Hollens on his self-titled album as a duet between him and Wilson.

Aborted Wilson-Beck sessions.

Thomas described the recording sessions between Wilson and Beck as 'fusion jazz rock with Brian singing, 'oohs and 'ahhs.' 

A version of the traditional Danny Boy was recorded between the duo. Beck described his contributions: 'They let me take the melody wherever I wanted the flavour of them to go, but the fact is when you've got the backing of Brian's chords you automatically play West Coast-style guitar. It's just inbuilt into the essence of what he writes. You can't do anything far from it, so it's hard to wedge my style in there, but I've tried to do it as best I can.' On Beck, Wilson said: 'He really blew my mind, so we thought we'd have him join us on our album. He plays the most goddamn greatest guitar you've ever heard. He really brings Quality notes, more notes per bar than you can imagine.' Jardine intimated: 'The combination of the two forces of music give it a certain breadth and depth that I think neither of us have experienced before. Jeff has a very melodic sense and is keenly aware of where the chord progressions are going, and it helps us to marry our voices to his progressions. We're doing some really innovative things.

In January 2014, Wilson clarified that he did not write any material with Beck
, and that Beck would only be a guest performer. The next month, Beck intimated on the project's status: 'I'm not sure. As far as I know, they made a mistake by grabbing me for a tour and opening up the floodgates for a tour prematurely instead of finishing the tracks. And so we left the studio with half-finished tracks-three, four tracks I was supposed to be on and they're still unfinished. And to me it was a bit stupid because they should have done the album, had a killer album, and then gone out on the road. But I think they wanted to grab me while I was still available. That's about it.'

Six months later in July, Beck and Wilson's cover version of the traditional Danny boy was said to be included for what is now evidently part of 'aborted Wilson-Beck sessions'. In August, Beck  was surprised to learn that Danny Boy would be included on the album, reporting that the track was left unfinished with only a rough guitar track played by him. He maintained that Wilson hardly spoke to him during sessions, and that sometime after, Beck says, 'I did go up to check out this deli in Benedict Canyon or Coldwater Canyon that he frequents. He goes to it regularly three times a day. And I heard about this... recently, I went up there and sure enough within five minutes he walked in. And on the way out, I said, 'Hello, Brian,' he said, 'Hi!' And he walked straight past me (laughs). It was like I never existed. We had never toured for five weeks. There's something not quite right.'  Later in the month, Wilson stated that the beck collaborations would not be included, and that recording was complete.

The album received mixed or average reviews. Repeated criticisms were made toward the track Runaway Dancer and the involvement of Joe Thomas as the album's co-producer whom is allegedly responsible for coating the album's vocals in auto-tune.

Rolling Stone gave the album 3 stars and said 'There are missed opportunities- the She & Him track is slight, and a rumored Frank Ocean team-up is sadly absent- and a few too many retreads (the 'Sloop John B' -ish 'Sail Away'), although the harmonies do sound grand with Al Jardine and other Beach Boys teammates on board. Still, No Pier Pressure stands as Wilson's most forward-looking solo LP.'

Contactmusic.com described the album 'full of nostalalgia and is musically a world away from pop music in 2015', and that its strongest moments 'recall Wilson's classic song writing', also praising the duets with Musgraves and Ruess.'  The Guardian named The Last Song the best track, 'a wonderful arrangement and a desperately sad melody'. Now Magazine complained 'The most frustrating part is that many of the songs are decent, but they're consistently compromised by the ham-fisted presentation.'  Exclaim! reviewed that 'stacking the record with guest stars like Nate Ruess and Kacey Musgraves and 'updating' Wilson's compositions with heaps of undercooked stylistic diversions' effectively made the Beach Boy 'a sideshow to his own record.'  On Runaway Dancer, Contactmusic.com wrote: 'It's all processed vocals and dance floor beats with a giant pop chorus. It feels completely separate from the rest of the record, but as it's the second track, you're left with a  creeping sense of doubt as the album progresses as to whether more oddities in the same vein will follow, thankfully they don't.' The Guardian expressed that Runaway Dancer sounds like 'Wilson trying to recreate house music as described to him by Alan Partridge'. Glide referred to it as 'utter deck coming from the guy who penned 'Surf's Up.'

Rebeat noted Joe Thomas' 'middle-of-the-road musical sensibilities and penchant for auto-tune' and reported 'varied' results, writing: 'There's plenty of beauty sprinkled throughout,, but the listener has to endure a lot of adult contemporary cheese and head-scratching moments to get to that beauty. In other words, it's a  latter-day Brian Wilson album, and it's sure to keep Wilson's fans talking- and arguing-for some time to come.'  The Arts Desk echoed similarly: 'Joe Thomas, whose MOR tendencies are all over this LP like a disfiguring rash...[it suffers] from the sort of production values normally reserved for Karaoke bars and cheap restaurants.'  AllMusic stated in comparison to Smile(2004) and That Lucky Old Sun (2008),'No Pier pressure certainly doesn't have much to do with the high art that's marked Wilson's new millennium' and concludes that the album 'seems genuinely weird, as it's perilously perched between the best and worst of Wilson's pop talent and Thomas' showbiz instincts.' In a review by Tiny Mix Tapes which analyzed the album's lyrics, it was named 'artistically bankrupt'. Glide posited that 'Wilson's joint experiments with other artists do feel very much like giving into, yes, peer pressure, with his sound being puled in all sorts of wrong directions. On the other, when he sticks to what he does best, he comes up with mere rehashes of everything he's done before.'

Believing that Wilson's true involvement with the album with minimal, PopMatters gave the album 2 out of 10, elaborating: '...discussing the album's track as if they were actually Wilson's becomes completely pointless. This may have his elderly vocals on it, but this is his album in name only...Wilson doesn't know who his guest performers are, nor should he. The aforementioned Thomas does know who those people are, and he brings them on here basically to bring some media attention to a collection of limp, lifeless songs.' The publication also responded to positive reviews by The Rolling Stone, The Telegraph, and The Guardian, urging them to 'stop encouraging this! Don't give the people at Capitol Records or Joe Thomas any reason to bring Wilson out for any more obligatory solo albums or collaborations, and let this legend carry on in peace.'

Tracklisting for No Pier Pressure    Standard Edition

1. This Beautiful Day
2. Runaway Dancer  (featuring Sebu Simonian
3. What Ever Happened  (featuring Al Jardine and David Marks)
4. On the Island    (featuring She & Him)
5. Half Moon Bay  (featuring Mark Isham)
6. Our Special Love  (featuring Peter Hollens)
7. The Right Time  (featuring  Jardine and Marks)
8. Guess You Had to Be There  (featuring Kacey Musgraves)
9. Tell Me Why   (featuring Jardine)
10. Sail Away  (featuring Blondie Chaplin and Al Jardine)
11. One Kind of Love
12. Saturday Night  (featuring Nate Ruess)
13. The Last Song

Below you can see the lyric music video for the track: The Right Time which was the first track released from Brian Wilson's new studio album, officially released on February 17th 2015. This is followed by the lyric music video from the third track: On the Island, which was officially released on March 31st 2015.

85% Proof  is the sixth studio album by English recording artist Will Young. It was officially released by Island Records  on May 25th 2015.

Will Young's new studio album has been produced by Jim Eliot.

The album's release was preceded by the single Love Revolution, which had its UK radio premiere on March 27th 2015. Another track, Like A River, was also available before the album's release, along with an accompanying music video.

Tracklisting for 85% Proof

1. Brave Man
2. Promise Me
3. Love Revolution
4. U Think I'm Sexy
5. Gold
6. Like A River
7. Joy
8. Blue
9. Thank You
10. I Don't Need A Lover

85% Proof  Deluxe Edition (bonus tracks)

  11.   Dare

  12.   Where Are You Tonight

  13.   You Keep On Loving Me

  14.   Always On My Mind

In the near-future, I shall be reviewing Will Young's latest New Studio Album.

Below you can see the first track released from 85% Proof. This is for the track Love Revolution which was officially released on March 27th 2015.

Hollywood: A Story of a Dozen Roses is the fifth studio album by American singer and actor Jamie Foxx. The album was released officially on May 15th 2015 by RCA Records as a follow up to his fourth album Best Night of My Life (2010).

1. The first single Ain't My Fault, was released on November 25th 2014.
2. The second single You Changed Me was released on March 12th 2015.
3. Baby's In Love was released on May 4th 2015, as the third single.

Tracklisting for Hollywood: A Story of a Dozen Roses

1. Dozen Roses, Pt.1
2. You Changed Me (featuring Chris Brown)
3. Like a Drum (featuring Wale)
4. Another Dose
5. Tease  (featuring Pharrell Williams)
6. Baby's In Love (featuring Kid Ink)
7. Text Message
8. Hollywood
9. Vegas Confessions
10. Socialite
11. Dozen Roses, Pt.2
12. In Love By Now
13. Jumping Out the Window
14. On the Dot (featuring Fabolous)
15. Dozen Roses, Pt.3

Deluxe edition (bonus tracks)

  16. Right Now

  17. Pretty Thing

  18. Ain't My Fault

Below you can hear the audio track from 1st single released from this new studio album by Jamie Foxx, this is for the track Ain't My Fault, which was officially released on November 25th 2014. This is followed by the audio from the 3rd released single from this new studio album, with the track: Baby's In Love, which was officially released on May 4th 2015.

***Warning***Explicit Language-which some people may find offensive***

Why Make Sense?  is the sixth studio album by English electronic music band Hot Chip. The New Studio Album was officially released on May 18th 2015 by Domino.

Band member Al Doyle explained in an interview that they considered releasing a double album, but held back so as not to be 'indulgent'. Joe Goddard added that most of the album's songs were written in three to four days, explaining that the band 'try to work really quickly so we don't work the life and soul out of it.'

In a press release for the album, Goddard stated: 'When we were recording, we were getting closer and closer to the sound we make on stage. That kind of freedom makes a massive difference to a few of the tracks on the album; to how the tracks grow.' He also said that 'Musically we all had a desire to strip things right down, not overload it with parts. It relates back to the idea of actually being a band-maybe just one guitar part and one live drum part rather than multiple layer added. Musically, it was an effort to bring a real directness to our music, the kind you'd get on old R&B records.

The album's title, cover artwork and track listing were announced on February 10th 2015, alongside the release of the album's first single Huarache Lights.

The album's artwork for the vinyl release uses a novel printing process designed by Nick Relph and Matthew Cooper. The vinyl sleeve varies from each individual print to one of 501 different colours.

The artwork also includes a series of parallel lines, which are placed at differing angles on each individual print. Combined, there are over 130,000 variations for the vinyl sleeve. The artwork features a moire pattern that was inspired by the work of Bridget Riley.

Why Makes Sense? has received positive reviews from critics. According to review aggregator website Metacritic, the album has received an average critic score of 81/100, based on 11 reviews. Matthew Horton of NME gave the album a score of 8/10, calling it 'a record that mostly finds Hot Chip carefree, revelling in the absence of layers of electronic adornment.Stripped back to basics and muttering against the machines, they've never come on so strong.'

Tracklisting for Why Make Sense?

1. Huarache Lights
2. Love Is the Future
3. Cry for You
4. Started Right
5. White Wine and Fried Chicken
6. Dark Night
7. Easy to Get
8. Need You Now
9. So Much Further to Go
10. Why Make Sense?

The Deluxe Edition of the album include an EP, titled Separate, containing four additional new songs.

1. Burning Up


2. Separate


3. Move With Me


4. Re-Harmonize

Below you can see the music video for Need You Now , which was the 2nd track released from Why Make Sense? on April 1st 2015.

Happy Music Buying and Listening Folks!

Roger Howard  31/05/2015.