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The Yorker presents this week's succinct guide to goings-on of the musical variety, both locally and nationally. In addition to a guide to this week's must see gigs in York and a singles catch-up, Brad Bailey passes comment on the lead single from Eminem's forthcoming album Recovery, which premiered just a few days ago.
If it’s a bit of midweek culture in the comfort of your own campus you fancy, then hop on over to the Sir Jack Lyons Concert Hall on Wednesday for The Chamber Players for their performance of works by the great composers of the twentieth century. The concert culminates with Messiaen’s ‘Quartet for the End of Time’, an apocalyptic work composed in a prisoner-of-war camp.
If that’s not to your taste, and if you’re willing to venture into town for your music fix on Wednesday then steer yourself towards The Duchess for Brighton-based indie-poppers Gloria Cycles. The following night, the same stage is graced by acoustic roots legends Show Of Hands who are collaborating with double bassist/singer Miranda Sykes. Then on Saturday, the venue hosts the NME Radar Tour, showcasing the best new talents in music; the line-up comprises Hurts, Everything Everything, Darwin Deez and The Federals.
For your weekend gigging needs, however, gravitate towards Fibbers; the venue promises to cap off your weekend with visits from girl group The Pipettes on Friday, folk super-band Erland & The Carnival on Saturday and finally Suffolk indie pop band The Cheek bringing the musical week to a close on Sunday.
Wild Beasts – ‘We Still Got the Taste Dancin’ On Our Tongues’
With Hayden Thorpe’s voice falling into the narrow crevasse between those of Antony Hegarty and Family Guy’s Herbert, it goes without saying that Wild Beasts are likely to remain a fringe interest. Still, ‘We Still Got the Taste Dancin’ On Our Tongues’ is the highlight of their debut album, and has the Beasts doing what they do best: bawdy lyrics and chiming guitars atop a subtle backing of bongos. Totally worth a listen; it might turn out to be your idea of heaven.
Tiësto feat. Nelly Furtado – ‘Who Wants to Be Alone’
The latest single off the Dutch DJ’s Kaleidoscope album marries European disco synths to prominent female vocals in such a way as to send my mind drifting off into memories of Röyksopp’s work with Robyn, which is a shame, because the Norwegians’ effort was both more entertaining and inventive. Regardless, ‘Who Wants to Be Alone’ fits into its pigeonhole comfortably, so it’s bound to keep the dance floors happy for now.
Pete Burgess
Goldfrapp – 'Rocket'
Very eighties-influenced, synth heavy pop, this is Goldfrapp at her best. Vocals like Kylie and lyrics minus clichés and cheese, this is ideal to listen to on a bright sunny day or getting ready for a night out - it will unfailingly put you in a good mood. Very radio-friendly pop, expect this to be on the soundtrack to your summer.
Peter Searle
Eminem - 'Not Afraid'
It used to be that Eminem would promote his new album with a bass-heavy, comical, satire on culture filled with as many penis jokes and slanderous remarks that 4 minutes can allow. In 'Not Afraid' though, as has been the case since the release of Relapse, Eminem deals with the more defensive, self-pitying side of himself. Featuring a synth background over abrasive, outmoded drums, it plays like a metaphoric violin for a rapper who once had the whole world at his feet.
While it may appeal to hardcore fans, it can't compete with Lil Wayne or Jay Z or any of the A-Town scene. Eminem defends himself against the haters, which in 2005 was fair but Eminem no longer has anything to prove; everyone loves him and he has become, as he has often hinted 'as big as Elvis'. For a man who has amassed a personal fortune, launched the careers of many rappers, and battled his own alcohol demons, I expected more optimism as he works his way through his fourth decade.
The main problem though, is marketing; rap music has turned into a joyous celebration of life in the last year and a half and this is just too miserable. With albums by Kanye, Diddy, and Ludacris in the pipeline as well as an emerging British grime scene, does Eminem's new album have a place in the modern market?
Brad Bailey
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