You may remember back in July, bookmakers stopped taking bets on who would recorded the theme for new James Bond film Spectre, as one punter placed £15,000 on Radiohead.
Well, it turns out that individual probably did have insider knowledge – while the 007 producers opted to go with Sam Smith’s ‘Writing’s on the Wall’, yesterday Thom Yorke released a series of tweets explaining that the Oxfordshire band had indeed been originally asked to provide the theme to Spectre.
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Just in case ‘Don’t You Find’ had you worried that Jamie T had gone all sentimental in his four year absence, this second release from new album ‘Carry On The Grudge’ shows he’s well and truly back from the dead.
Now he’s returned, it’s strange to think just how much of a curious vacuum Jamie T left in his absence. For someone to completely drop off the radar in the social media age is almost impossible, but since 2010 Jamie T had proved virtually elusive.
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An anthem for a new generation.
It takes something for a band of The Verve’s ambiguous position to end their headlining Glastonbury set with a new song. Of course when that new song is as good as Love Is Noise, they need not have worried.
Forget Ashcroft’s dull solo offerings, this is The Verve, this is music, and boy are they back. As ground-breaking as it is classic Verve, this computerised sample-led anthem romps along to the sound of Nick McCabe’s guitar, a thumping bass line from Simon Jones and Ashcroft’s unmistakably Heavenly vocals.
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In a poor week for singles we start with The Fratellis. Is it no secret that we, along with the majority of indie fans, have fallen out of love with this band and with singles like this it isn’t hard to see why. After the outright failure of humiliating album-trailer Mistress Mabel, the only saving grace would have been to release one of a couple of decent tracks from Here We Stand, but instead we are left with this limp, overly-retro excuse for music.
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Fine single from the consistently brilliant Accelerate, emphasising just why they have such longevity. With its typically big riffs and Stipe’s lyrically aching chorus it sweeps along with such panache that it could have fitted into their Green album with ease. 8/10
Back to the day job for Miles Kane after The Last Shadow Puppets’ outings, and unfortunately it very much sounds like a comedown. Sure there are echoes of his Monkeys’ associate with similarly poetically modern lyrics, but the tunes still don’t quite match up.
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