Computers and Blues

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Review: The Streets- Computers and Blues [Atlantic]

The new The Streets album ‘Computers and Blues’ hits stores tomorrow folks.

The fifth and final album from Mike Skinner has been doing the rounds on the internet for a good few weeks, but finally it’s time for an official release from the man himself. Skinner is “fucking sick” of the name and the connotations that now go with it which is why this will be his last release under the moniker.

Working closely with Rob Harvey, of The Music, this album is unlike anything he has ever done before and showcases the vocal talents of Harvey and BBC sounds of 2011 nominee Clare Maguire. Computers and Blues is brash and in your face, Skinner has done what he set out to do and created an album you can “dance and drink tea to.”

The first single from the album ‘Going Through Hell’ has a great rock dynamic to it from Harvey and the riff running right down the middle of the track. Skinner is great at adapting his style to suit those he works with and in the process getting the best sound for everyone involved. Lyrics are on biting form “imagine the dilemma for the man and his penance if he could get fucked without hanging his health up would this be illegal would the Daily Mail rail on it?”

It’s a shame Skinner feels he no longer wants to be associated with The Streets, it almost detracts from his creations and he is a modern day poet, don’t let anyone tell you different, “I’m pretty good at puzzles, but puzzled by people.” That lyric gets to the heart of the issue, people associate Skinner with things he’s moved on from; i.e drugs. His most accessible album to date could possibly be his best. Die hard fans might complain about the up-beat pop melodies that are at the forefront of Computers and Blues, but Skinner still retains what made him great, an ear for a brilliant beat and a top-notch rhyme.

Lets hope this is only the end of The Streets and not Mike Skinner.

Check out: Without Thinking

Frankmusik – Confusion Girl

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At my school – an all boy type institution – you fell into one of three camps. You might have been an indie-loving sort – rubbish at football and with enormous sideburns to prove you didn’t care about sport. You could’ve been a games-lesson-loving trendy with your facial furniture shaved to the ear so that not a single wisp of sidie adorned your non-hippy head. Or, finally, you may have been a ‘grebo’ – a metaller who broke all the rules and grew hair long, neatly trimming undergrowth with a devastating operation called an undercut – a number one or two all the way around the area below your scalp.

Mr Frank Musik, it seems, is stuck somewhere between these three schoolboy stages.

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Dolly Rockers – Je Suis Une Dolly

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This new single from the Dolly Rockers is a very confusing thing to watch first thing in the morning. It takes you through the full emotional range. You start off a feeling a bit sick, then become disgusted at how meaningless it all is. You raise an eyebrow, then curl your overhang into a furious frown, mad as hell that this lightweight fluff with it’s weird lyric is being driven into your ears. But then, noticing the insane keyboards (reminiscent of Frank Sidebottom at his best) and the wilful stupidity of the lyric, if you’re as stupid as me, you start not minding it.

You would want to stay away from it for as long as possible and, if you had kids, you’d encourage them to keep a distance, but you realise, ultimately, that it’s actually quite funny.

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Pussycat Dolls – Hush Hush

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We start out with the lead Doll having a soak in a bath, enclosed in a dreary, cold blue room. She is texting someone – presumably Lewis Hamilton – and the tone is sombre. My eyes moisten a little as I realise that she’s probably dumping the racing whizz again. I feel Britain take yet another blow to the goolies at the hands of an American mistress. When she eventually steps out of the bath (sneakily hiding her arse and boobs, the bastard) it’s as if she knows what’s coming…

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JLS – Beat Again

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JLS are lovely lads, I’m sure, but is this the best their team could come up with after their X Factor semi-success? You’d expect more marketing expertise from such a vigorously relentless machine than the release of one of the least remarkable singles of the year. It sounds so late 90s – a time when boybands were already starting to go out of fashion – that it gives me flashbacks to being 20 years old, drunk, incapable of getting up to turn off Top Of The Pops.

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