Rufus Wainwright will release his Mark Ronson produced new album ‘Out Of The Game’ on April 23rd on Polydor Records.

What to expect from the teaming? Rufus states that it’s “the most pop album I’ve ever made” with Ronson adding “it’s the best work of my career” and says that ‘Out of the Game’ “has a real 70’s, Laurel Canyon spirit” while Rufus cites “all the greats- Elton, Freddie Mercury, David Bowie, basically the brash and beautiful. It’s also very Rufus.”

Featuring appearance by the Dapkings, Wilco’s Nels Cline, Yeah Yeah Yeahs’ Nick Zinner, Andrew Wyatt of Miike Snow, Sean Lennon and Rufus sister Martha Wainwright, the full ‘Out of the Game’ track listing is

1. Out of The Game
2. Jericho
3. Rashida
4. Barbara
5. Welcome To The Ball
6. Montauk
7. Bitter Tears
8. Respectable Dive
9. Perfect Man
10. Sometimes You Need
11. Song Of You
12. Candles

Nedry are to release their new album ‘In A Dim Light’ on Monotreme Records on 12th March and we have two songs, ‘Post Six’ and ‘Float’, for you to hear.

simply check out the player below for the sample of the new album. The full tracklisting for ‘In A Dim Light’ is –

1. I Would Rather Explode (5:02)
2. Post Six (5:06)
3. Violaceae (4:53)
4. Havana Nights (5:40)
5. Dusk Till Dawn (3:08)
6. Float (6:49)
7. Land Leviathan (1:52)
8. TMA (3:03)
9. (5:21)
10. Home (6:18)

Nedry – ‘Post Six’ and ‘Float’ from ‘In A Dim Light’ album by Monotreme Records

Rapture and Verse powers through the go-slows of January blues with a no particular order hotchpotch to dive into headfirst. Let’s go snorkelling, starting with much touted grime to primetime candidate Dot Rotten, steaming through with ‘Are You Not Entertained’. It sounds a bit like ‘Chip-Diddy-Chip’ but not as, well, sappy, over a classic hip-hop drum break and Rotten with a flow that will set many a laundrette alight. Loads of support all round for this one, and watch Dot put this in the pipe of rock-rap naysayers.

Speech Debelle makes her Big Dada comeback: you can’t argue with the timing of her reintroduction with femcees hot property right now, but the Londoner has points to prove. ‘Freedom of Speech’ is the follow-up to Mercury prize winner ‘Speech Therapy’ that proved more millstone than milestone, but combining ever more a flow between C-Mone and Bahamadia, it’s a confidently understated follow-up for long late nights, more than making up for lost time.

Childish Gambino, whose name, as you might think, is a result of playing with an online Wu-Tang name generator (and a wee bit more interesting than real name Donald Glover), already has the ultimate feather in his cap: starring in Tracy Jordan’s ‘Werewolf Bar mitzvah’ in 30 Rock. Delivering a Lupe Fiasco/Drake-style tone of confession, some are claiming he “represents the future of hip-hop”. An inflated prediction perhaps, but ‘All That Shine’ is a cool and smoothed out, slightly paranoid Californian soul on ice from the Comedy Central stand-up. And while we’re dealing with shall we say, slightly eccentric mobster handles while keeping out in the heaviness of the rap wilds, Fatal Lucciauno drops some proper Seattle gangster slickness for ‘Big Bro’, with the vibe of Raekwon meets The Game as someone who’ll always be watching you. Ahead of a free Jake One-paired EP, go check the freestyle.

Tying in with Clash’s recent Stones Throw feature, the befuddling Dudley Perkins in his Declaime guise shows he’s still a smart cookie where the joke is on everyone else. Back in tow with Georgia Anne Muldrow on production, Declaime runs rings around a queasy, twizzly, innocuously addictive beat under another alias Dr Shrooman for ‘Ship’s Doctor’, taken from the pair’s latest LP ‘Self-Study’. Plus it’s the best example of eating fruit when on the mic since LL Cool J’s ‘Doin’ It’. Also be on the lookout from your preferred mp3 emporium for a Stones Throw 2012 preview mix from J Rocc. Edging towards the left, Boston’s BeFP (keeping it initialised, he’s one half of rap-duo BFPSP) has an instrumental mini-album doing the rounds on the worldwide web, that going by sneak preview ‘The Bridge’ should be full of electro-bitten beats and glitchy hemispheres, and making complicated wire-crossing sound cosy and calm in ‘A World of My Own’.

On the rumour mill, the hawkers of hearsay have got Lupe Fiasco and Pharrell hatching an LP together this year, and that an NWA biopic could be on the way, with the intriguing selling point being that the leads are to be played by the offspring of the world’s most dangerous group. More mongering of gossip has regular jailbird and canine campaigner DMX on the verge of unrevealing two album’s worth of previously unheard material, as well as spearhead a Ruff Ryders reunion tour – Swizz Beats and Drag-On already on the tour bus, so rumours say. Shiny oversized denim and quad bikes with ridiculous hydraulics, welcome back.

Turntable legend QBert and beatbox top boy Reeps One are bringing their ‘Bass Bizarre’ tour worldwide, including stops in Birmingham, Manchester and London this month. Get to for more on a potentially eye and ear popping revolution in hip-hop essentials. More direct drive damage has Jabba tha Kut getting his fingers working to Olympian levels of stealth and skill with the Chess Move Cartel – – for ‘Intricate Moves Volume 1’.

For some homegrown experience, Paradise the Prolific from esteemed UK collective 57th Dynasty is scouring cyberspace, and Demon Boyz’ Million Dan is plying his trade with breaks troublemakers DeeKline and Ed Solo on a spot of summer D&B. Five-track freeness from truth-seeker Genesis Elijah, ‘Painkillers and Pilkington’ – not quote what ‘An Idiot Abroad’ will do to a rational man, though Gervais does pop in – is good gristle to educate yourself with, superbly ripping up Lana Del Rey’s ‘Video Games’ as he goes with help from the right honourable Pastor Dutchie. Jimmy Screech’s ‘Yard Food 2’ is a snappy mixtape refining the shared dancehall lilt of Roots Manuva with some up and at ‘em bangers, accomplished mic-strikes and The Odd Couple theme tune to fill yer boots and belly with.

In concluding this month’s mixed bag, the Gangrene sophomore was as tough a chin as anticipated , ‘Vodka and Ayahuacsa’ backed by a clever yet unsettling YouTube campaign in the run-up and proving a deliciously toxic cocktail to knock back over and over. Take heed of forthcoming newness from Pos and Dave of De La Soul (verdict, better than you may think, and the concept album isn’t dead) and the welcome return of DJ Format (verdict, doing what he does best). Rounding off, some UK nitty gritty from Rax,, Mrvl and Danny Graft beats those Americans at their own game, while the perpetual Hieroglyphics crew have Pep Love showing that the show must go on with some easiness on the ear.

Words by Matt Oliver

La Linea, London’s Latin Music festival, has announced the line-up of its 2012 run taking in venues across London from 16th – 27th April.

The run of gigs features Portugal’s leading musical export Madredeus, Spanish chart toppers Amaral, Afro Cuban All Stars, led by Juan de Marcos, London’s own Lokkhi Terra, Brazilian singer song-writer Céu, new Brazilian artists Curumin and Lucas Santtana, Mexican virtuoso guitarist Morgan Szymanski, Che Sudaka, London’s Lucumi choir and Gerardo y su Rumba Ache and dancers.

The full programme of events:

Monday 16th April
Barbican Hall

Thursday 19th April
Ceu, Curumin & Lucas Santtana

Saturday 21st April
Roberto Pla Latin Ensemble
plus DJs
Islington Town Hall

Tuesday 24th April
The London Lucumi Choir
Gerado y su Rumba Ache
Rich Mix

Wednesday 25th April
Juan De Marcos Afro Cuban All Stars
Lokkhi Terra
Barbican Hall

Thursday 26th April
Bolivar Hall

Friday 27th April
Sala and The Strange Sounds
HMV Forum

Friday 27th April
Che Sudaka
Los Chinches
DJs Cal Jader (Movimientos) Sacha Dieu (Stranger Than Paradise)
Village Underground

Find out more at the La Linea website.

For many artists, there comes a point where reckless abandon, youthful exuberance and the noble art of writing a catchy pop song all fail to satisfy the artistic impulse. Traditionally, this should coincide with a newfound fascination with one or more of the following: acoustic guitars, gradiose arrangements, wistful balladry… you know the drill. It’s usually referred to as ‘maturing’ – supposedly the point at which a mere musician becomes a fully-fledged artist, and subsequently drops the idiosyncrasies that made them so exciting in the first place. In other words, it’s where the fun stops.

That’s why it’s best to catch ‘em young. Take 19 year old Dylan Baldi, for instance. As recently as a year ago, his lo-fi Cloud Nothings project tossed elements of the Buzzcocks, the Ramones and the Wipers into a bag full of tartrazine-rich hooks, concocting a sumptuous speedball of sugar, melody and suburban life. But after rounding up some pals to take his bedroom punk on the road, our young hero decided that perfectly imperfect pop wasn’t enough. It was time to get nasty. And noisy. And with the Steve Albini-recorded sophomore effort ‘Attack On Memory’, that’s exactly what they’ve done. Full of sandpaper-raw screams and adrenalising clatter, it recalls the rough-edged melodicism and miasmic self-loathing of ‘In Utero’, as well as countless other indie rock classics . It’s bloody fantastic. Am I laying it on a bit thick here? Ok, let’s cut to the chase.

Even from the other end of a phone line, it’s pretty clear Dylan’s a nice guy. So what could possibly motivate him to make something so audibly aggressive?

“Now we’re a full band, the way we play the old songs live is aggressive,” he explains. “We wanted to make songs that were more fitting with that.”

So you don’t try to nurture those feelings of aggression?

“Not really.”

You’ve said yourself that they’re ‘pretty depressing’ songs…

“They weren’t meant to be. It was only when we’d finished and I listened back to them that I realised, ‘oh, these are really depressing!’”

Spin called the album ‘the most Albini thing Albini has recorded this decade’.

“Haha! That’s pretty funny.”

According to your recent interview with Pitchfork, Steve spent most of the recording time playing Facebook scrabble, and that he ‘probably doesn’t feel that his name should be attached to [your] music in any way’. How was your relationship with him

“It was great actually. The interview you’re talking about suggests there was a problem, but that wasn’t the case at all.”

Well, that’s one bit of scurrilous tittle-tattle we can put to bed then. Some of the record sounds an awful lot like Nirvana. Are they important to you?

“Umm, not really. I can see how it might sound like that, but I don’t really listen to them.”

Pfft, so much for insight, eh? There are other tracks that are reminiscent of Spoon.

“The utensil?”

Haha. Umm, no. The band, you tinker.

“That’s interesting… the first song was actually written on the piano when I was listening to a lot of Spoon. It’s kinda nice that you’d notice that.”

Aw, shucks.


It’s clear that the Cloud Nothings head honcho is more than a little cautious about getting his fingers burned tonight – he’s extremely cheerful and very polite, but very concerned about how he’ll come across. With that in mind, your humble hack decides small talk is the answer. If we’re going to understand anything more about this ace new record, we’ll have to get to know Dylan a bit better…

Do you read your own press?

“Not really.”

Why not?

“I just try not to let it influence me. And it’s weird reading about myself.”

Have you ever googled yourself?


You know… have you ever searched for yourself on Google?

Dylan pauses momentarily, then chuckles.


“Um… Yeh.”

You’re not giving anything away, you sly dog. Ok then, different tactic required. Last time you visited Europe, you toured with Les Savy Fav. How was that?

“Oh yeh, it was great – a real learning experience.”

Oh good! Any interesting stories you’d care to share with us?

“Uhh… no.”


“Haha, no.”

This is getting is nowhere. Right, back to the album. Your lyrics are very angsty without giving much away about the source of the angst. Are you self-conscious about writing lyrics?

“I’m not very interested in being a band that has great lyrics – I’m much more interested in sounding good.”

Has living in Cleveland had any influence on your writing?

“Yeh. Probably from having nothing to do.”

Fair enough. What have you been listening to lately?

“A lot of Wipers… Television… older stuff, I guess.”

This is the first album you’ve recorded as a band rather than on your own. Are you more comfortable with the full band now?

“Yeh, definitely. It’s just more fun. Things like the middle section on the second track [the nine-minute skronk-athon ‘Wasted Days’] would not have happened if it was just me, because I wouldn’t have any interest in recording it.”

Would you ever want to revisit the more earnest, less belligerent sounds of your earlier work?

“Right now? Not really. But a year from now I might really want to. Who knows?”

So is this the sound of Cloud Nothings growing up, or just heading somewhere else?

“Uhhh… Heading somewhere else.”

Right. And where else is this journey going to take you?

“Well, we’re coming back to Europe in May, and then hopefully work on getting another record out by the end of the year.”

Jolly good. That seems as sensible a time as any to draw a line under our time with Dylan Baldi. It’s impossible to dislike someone so affable, and also pretty easy to understand why a young musician might be a little guarded. But maybe – just maybe – he’s trying to cling onto those germs of youth so that Cloud Nothings never need fall prey to the dangers of ‘maturity’ and…

What? Too much?

Sorry, I guess I really can lay it on a bit thick sometimes.

‘Attack On Memory’ is out now.

Words by Will Fitzpatrick
Photo Credit: Ryan Manning

Melodic fuzz rock quartet Tribes, who recently released their debut album ‘Baby’ (read Clash’s review), head out on a headline UK tour in April and March.

The full list of tour dates are:

21/04 – Brighton, The Haunt
22/04 – Norwich, Arts Centre
24/04 – Portsmouth, Wedgewood Rooms
25/04 – Bristol, Thekla
27/04 – London, Shepherds Bush Empire
29/04 – Leeds, Cockpit
30/04 – Glasgow, Oran Mor
01/05 – Manchester, Academy 3
03/05 – Liverpool, Academy 2
04/05 – Dublin, Academy 2
05/05 – Belfast, Stiff Kitten
07/05 – Sheffield, Leadmill
08/05 – Nottingham, Rescue Rooms
09/05 – Birmingham, Academy 2

Tickets are available at 9am this Wednesday via the band’s website and on general sale at 9am on Friday. Get your tickets to see Tribes live.

Tribes were featured as one of Clash’s Ones To Watch for 2012. Read the interview with the band.

Three Trapped Tigers have a new E.P., ‘Numbers: 1-13’ out on 5th March, collecting and remastering their first three, long since sold-out E.P.s as they embark on an accompanying UK tour.

Performing the tracks from those first three E.P.s in full, possibly for the last time, the trio hit the road in March beginning in Manchester on March 5th and ending in Brighton on 9th.

Full gig details are:
5th – Manchester – Ruby Lounge
6th – Cambridge – Portland
7th – London – The Arch @ Village Underground
8th – Cheltenham – Frog & Fiddle
9th – Brighton – Green Door Store

The band have also reissued their first ever tour t-shirt which is available with MP3 packages of ‘Numbers:1-13’. Buy the t-shirt and ‘Numbers: 1-13’ E.P. from the Blood And Biscuits website.

Jack White will release his debut solo album ‘Blunderbuss’ on 23rd April on his own Third Man Records.

Given his prodigious output it may come as a surprise that ‘Blunderbuss’ is his first solo album but the former White Stripes, Dead Weather, Raconteurs, Rome and Tom Jones collaborator will indeed step out alone with the first song from the album, ‘Love Interruption’ available to hear now on his website.

The forthcoming album is described by White as “an album I couldn’t have released until now. I’ve put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas.”

‘Love Interruption’ will be released as a limited 7″ vinyl single, back with non-album track ‘Machine Gun Silhouette’ on 7th February. Pre-order yours now from the Third Man Website.

If the melodic swoons and adhesive-like hooks of early-Nineties R&B could be seductively transposed into our current musical landscape, Two Inch Punch could very well be the ‘lovestep’ version of any new jack swing artist at that most impressive of times.

“I guess Toni Tony Tone were a big influence,” the producer explains. “Raphael Saadiq kept it moving. He made cheesy lyrics and melodies still sound cool and his bass playing is next level.”

Ben Ash’s T.I.P moniker was born towards the latter end of last year; a name connected more closely to two-inch tape analogue audio recordings rather than a nod towards Bruce Lee.

As his Soundcloud account eloquently sums up, it was his healthy upbringing of soul and vocal harmony groups that planted the seed for the lush electronica he now makes that looks likely to seriously coerce the musical flow of 2012. His mother was a fan of Keith Sweat and Otis Redding in the house and his dad played session guitar on tour and on records for classics like Jimmy Ruffin, The Pioneers, Desmond Dekker and Jimmy Cliff. It’s this that exudes in his music, “in terms of melody, song structure, heartfelt delivery and those boss chord progressions.”

He admits “a lot of electronic music is the extreme opposite to that, really technical and well produced but often lacks real soul.”

His arresting debut EP, ‘Love You Up’, was unleashed at the close of October 2011 with plaudits flying in from every direction for his summery approach to extreme vocal bending and rhythmic play. And quite rightly so.

A sunken hearts rework of Birdy’s ‘People Help The People’ also got lips moving due to some impressive harmonic layers that will make the heart miss a few and a guitar section that soothes better than Beechams.

Words by Emily Anderton
Photo by Samuel John Butt

Where: London
What: Love-induced electronica
Get 3 songs: ‘Love You Up’, ‘Breaking Hearts’, ‘Up In Your Mix’
Unique fact: His parents nearly called him Otis but his uncle Alec said, “I’m not having my nephew named after a lift.”

Nothing gets ClashMusic more excited than a split release.

The prospect of two distinct artists fusing their music, separated only by a thin sliver of wax, appeals to the dance romantic inside of us. Especially when said artists are London based producer Becoming Real and Glasgow’s own Dam Mantle.

Brought together by GETME! – a label who seem to everywhere right now – the pair will face off on an upcoming 12 inch. Out on February 27th, Becoming Real continues his ascent with the glitchy, Grime infused electronics of ‘Paramnesia’.

On the other side, you can find Dam Mantle’s offering. ‘Her Woes’ is such an evocative, emotionally riddled title that the music faces an uphill struggle. Yet the track is a lengthy, deep excursion that matches rhythmic complexity to a simple, soulful touch.

The beats are deeply influenced by Footwork, with the tempo pushed harder and harder. ‘Her Woes’ echoes the sparsity of those Chicago producers, while Dam Mantle juggles the vocal sample to create a woozy, warped effect.

Sure, there’s no low end but ‘Her Woes’ carries all the traces of the sounds lumped together in UK bass. The clicking snares and hushed atmosphere recall Burial, while the darkness, the intensity seems to explode out from one of dubstep’s many offshoots.

Stream ‘Her Woes’ below…

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