This new film about Oasis’s glory years is rousing, heart-rending and really f**king funny
Beatnuts : Take It Or Squeeze It
Still obsessed with beats, guns and girls, Beatnuts get more way out on new album...
Essentially populist in approach, with stronger ears for melody than the artform normally demands, Beatnuts use their third longplayer to negotiate the areas between party tracks, sex tracks and boast/threat tracks. Collaborations with Greg Nice, DJ Tony Touch, and some soulful vocalists, vie with Psycho and Juju's foul-mouthed rhyme turns, and, at the least expected moments, something close to a social conscience - masked by tough guy hardness - emerges and then disappears.
See, the Nuts have watched their neighbourhood and the wider America closely resemble a police state; have seen the flag burn abroad (cf 'No Escapin' This'), and decided to drop bits of wisdom on tracks, amongst the usual profanities. As the Latinate beats and ethereal, high-pitched, keyboard squiggles of 'Who's Comin' With Da Shit Na' suggest, care has also been taken to make songs flow in an effortless manner. And there's truly nothing more infectious than the introductory opener 'It's Da Nuts'.
Queens is the centre of action, a Queens of seedy clubs full of self-proclaimed thugs, and cool bars, where Beatnuts imagine their anthemic tunes on endless play. 'Hammer Time' - a perfect example of their irrepresible sense of humour - glorifies the gun life. And Psycho and Juju aren't above the current New York inner-city Ecstasy explosion, either, as the rude overhaul of the classic 'Walk On By', re-invented as 'Hood Thang', makes clear, right down to the jokey twist in the tale.
Beatnuts just get more way out with each release.
Delving into the murk and noise of their past, the Boston veterans’ second post-reunion album is a superlative indie rock collection
Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing