Philly punks Nothing are back from the brink with a new record that draws on some really, really bad times.
Amy Winehouse: Shockwaves NME Awards Show,Astoria, London, Monday, February 19
Smoky jazz-pop filthiness and a rather unusual cover version
Yep, for one night only, Amy Winehouse has made us sing along to The Zutons. And we continue singing along despite an innate hatred for insipid pub rock with over-enthusiastic saxophonists. But in Amy’s care, this song – the very reason you can sometimes find NME curled up into the foetal position under our desks, drooling on to the floor screaming “Mummy” – sounds beautiful.
Because Amy, despite looking like a mashed hybrid of Cleopatra and Faris Rotter and inventing words like ‘fuckery’, is irresistible. And of course, she has that voice, a voice as pretty as a lily in the snow, even when she’s singing about adulterous blowjobs in bathrooms (‘I’m No Good’). As her eight-piece band run through the Phil Spector-ized Greek tragedy of ‘Back To Black’ and the triumphant Motown optimism of ‘Tears Dry’, it feels like we’re drinking ourselves stupid in a smoky jazz bar, listening to an alternative history of music by a knowledgeable stoner, and channel-surfing through episodes of Sex And The City – all at the same time. And if there’s a whiff of soulless wine bars that hangs over the older material from first album ‘Frank’ (‘Cherry’, ‘Love Is Blind’), it just goes to show what a quantum leap the likes of ‘I’m No Good’ and ‘Rehab’ (still great despite being dragged through the shit by Radio 2 and Joss Stone) are. And for that, we’ll let her off making us look like twats.
The Strokes dabble with sounds from throughout their career on a satisfying return
Once the thrill of the cast and visuals wears off, this follow-up to Tim Burton’s Alice In Wonderland is a drag
George Clooney and Julia Roberts bounce off each other like pros in this amusing take on fat cat greed
The hooks are plentiful and the energy’s palpable, but the Bottlemen still don’t have a ‘Wonderwall’