Another week and another crop of fresh music videos from some of your favourite artists and some of your new favourite artists (you just don’t know it yet). We’ve taken the time to round them all up for you to take a gander at below
Emma Louise – Illuminate
The video for Emma Lousie’s hugely successful Illuminate is a beautiful marriage between music and visuals. Under blue lights, there are dancers moving together as one to bring the words to life and the video paired with the music is so natural and seamless it is as though they were created together as one performance piece.
Coming together for their fourth video, it is a collaboration between the singer and director Dylan Duclos using choreography by Jason Winters and it is a true testament to the adage that sometimes, less is more.
https://www.youtube.com/watch?v=3yBgjYOyPY0&feature=youtu.be
Bloc Party – Stunt Queen
They may have only released Hymns in January, but already the revamped Bloc Party have dropped a new single Stunt Queen. Written along with a bunch of other new material during their tour with Falls Festival earlier in the year, the song is reminiscent of their earlier work while (note the the hints of Silent Alarm, particularly at the open) with the renewed energy that comes with a fresh lineup.
The video is a classic tour diary, sticking strong with the theme and narrative that finds its footings somewhere between the sticky floors of The Forum (Melbourne) and Enmore (Sydney) Theatres.
https://www.youtube.com/watch?v=VVPulAbfAj0
AYLA – Like The Other Kids
A decked out abandoned train carriage, lush fields and daisy chains make up the sweet, sun-drenched visuals for the new video from Sunshine Coast’s AYLA. Going her own way as she frolics through the greenery, chops firewood and takes aim at beer cans with a slingshot, the video is a symbol of personal libation and a celebration of the wonderfully feeling of fulfilment that comes with forging your own path.
https://www.youtube.com/watch?v=pd838scz2NE
The song might be called Down At The Beach, but the new video from Sydney’s Big White was filmed in an abandoned Belgian castle between shows in Paris and Amsterdam. Shooting the footage themselves, they opted to avoid a beach clip as the song is about “killing something that’s old”, letting go and finding time and space to reflect.
With the filtered, hand-shot footage, the video has a certain poignant nostalgia about it, ensuring that they achieved just that. A far cry from (and far better than) the cheesy tourist beach shots they could have gone for instead.
https://www.youtube.com/watch?v=t2p5A8vgF7M&feature=youtu.be
Dave – Six Paths
Fresh from his game-changing remix with Toronto’s incumbent king Drake, South London’s Dave has returned with the third visual accompaniment from his incredible Six Paths EP. Embodying the same stunning artistic direction, the title track video shows Dave stunting eerily in black and white with a medieval castle as his setting. Tying in with the dark, gritty, string lead beat, Dave brings his same razor sharp bars.
To keep with tradition, there’s even a cameo from collaborator AJ Tracey proving these two are bros ‘til the end.
https://www.youtube.com/watch?v=GuV_cyckCqY
Sampa The Great – HERoes (The Response)
After sending out a call to action in the first half of HERoes earlier this month, the incredible Sampa The Great has returned with its answer. Sporadic electronic tones open the tune, making way for a truly neck shattering African-influenced drum beat.
Sampa flexes a seriously incredible flow alongside her always constant attention to lyricism. As she raps at an incredible pace, despite it being a lyric video, it’s hard enough just to read along.
https://www.youtube.com/watch?v=N1nLFBy_weU
Action Bronson – Durag vs. Headband
Everyone’s favourite Albanian rapper turned chef in Action Bronson has finally returned with the new hilariously named track Durag vs Headband. Featuring the whole Fuck That’s Delicious crew, plus producer and Ancient Aliens co-star Knxwledge.
Both the video and music are outstanding, the whole gang filling the screen with their raw tenacity over a rough boom bap beat by Knx and always on point verses by Bronson. Not to mention Big Body Bes on the hook, reminding all once again how incredible he is.
https://www.youtube.com/watch?v=MWLg7_G0_go
The Avalanches – Because I’m Me
After returning oh so wonderfully at the start of this year and dropping their highly anticipated sophomore album Wildflower, The Avalanches have been casually releasing a number of music videos from the project over the last few months. Obviously, they’ve saved the best until now though, with the video for Because I’m Me.
This heartstring-plucking love tale follows a young kid in the subway trying to seduce the girl behind the ticket desk. What results is an incredible sing and dance video which is simply put, brilliantly acted, choreographed and scripted. It’s pretty much the definition of feel-good.
https://www.youtube.com/watch?v=eu0KsZ_MVBc
YG – One Time Comin’
A possible glimpse into an upcoming project, YG’s One Time Comin’ continues with the police brutality themes which are evident throughout much of his music.
Shots of YG evading the police by car are paired with shocking first person footage of an innocent man frantically on the run, who is inevitably shot for no reason. It’s a powerful video with a similarly intense track below.
https://www.youtube.com/watch?v=2nTCUI5reJw
I AM D – Seven Deuce
Brisbane’s most veracious emcee, I AM D, has come a long way since his 90s inspired boom bap tracks early in his career. After releasing a range of new and fresh, yet similarly dark anthems over the last few months, the D has now returned with yet another straight to the point track in Seven Deuce.
Paired with bold cinematography, this track is nothing short of fire. There’s no sugarcoated hooks to be found here either, just three minutes of the ill-est verses around, demonstrating I AM D’s skill brilliantly.
https://www.youtube.com/watch?v=EWomlPOS73o
twelveAM – On My Own
One of Melbourne’s latest rising stars in twelveAM has released the video to his catchy heartfelt tune, On My Own. The track leads his debut EP, demonstrating briefly his ear for brilliant hooks, alongside his unique melodic flow and deep tone, painting a vivid picture as he longs for a lover.
No doubt he’ll be one to watch in the months to come.
https://www.youtube.com/watch?v=po-RQD36–M&feature=youtu.be
Johnossi – Air Is Free
One of Sweden’s largest bands, the platinum selling Johnossi, have returned with yet another rock scorcher to get you grooving. Backed by harsh guitar riffs, bopping bass lines, marching drums and incredible, powerhouse vocals, Air Is Free follows a young nomad as he yearns for independence and freedom.
The result is a truly moving journey, with a soundtrack that is oh so sweet.
https://www.youtube.com/watch?v=rQDTG-caCOs
High Klassified – Gold feat. Mick Jenkins
One of Montreal’s finest upcoming producers, High Klassified has blessed us with a vocal collaboration with a similarly incredible artist in Chicago lyrical legend Mick Jenkins. With its smooth, jazzy and booming beat, we see its producer starring in a spooky love story.
Just in time for the Halloween period, the surrealistic clip is fit with creepy bunnies, eerie dolls and clowns, not to mention the sheer insanity of the narrative. Definitely a see it to believe it type video!
https://www.youtube.com/watch?v=dzsaHjE27zo
Bad//Dreems – Mob Rule
After recently wrapping up their tour with Sydney rockers DMA’s, Adelaide kings Bad//Dreems have followed this up with the release of an incredible new track Mob Rule.
This rough and tough anthem sees the lads reflecting on Australia’s own culture, and what better way that to piece the whole track together with a range of hazy, 80s TV excerpts and clips.
https://www.youtube.com/watch?v=vmsffFCA4fQ
Image: Pitchfork
Few albums capture so much of its period like Bloc Party’s A Weekend in the City, their 2007 follow up to the debut album Silent Alarm. This album marked the beginning of Bloc Party’s movement away from the guitar driven indie-rock style that had made them one of the hottest acts of the mid-2000’s and towards a more electronic rock sound that would redefine their signature.
Opening with the operatic Song For Clay (Disappear Here) which proclaims when we kiss I feel nothing and East London is a vampire. This is a more earnest album lyrically earnest, bordering on a concept album. Frontman Kele Okereke juxtaposes everyday city occurrences with major events and ideals, showing the complexity of city life and modernity itself.
https://www.youtube.com/watch?v=CmPNuruWMTA
Racing into Hunting For Witches, which is perhaps the band’s most political song, it discusses xenophobia in the UK, fear-mongering conservatives and the general climate of fear left behind after the London Underground bombings. When I saw Bloc Party at Falls Festival last year, these lyrics still held their ground, and felt as vital today as they did back then, in a country thousands of miles from where they were written. When the political climate feels like it’s never been more charged, and that the world is becoming more divisive and isolationist, there is a disconcerting calm in knowing this feeling is neither new nor alien. Russell Lissack merges guitar riffs reminiscent of their breakout single Helicopter with a new indie electronic sound.
https://www.youtube.com/watch?v=5R-9IgWD36A
Until writing this, I hadn’t actually listened to this record in full for quite a while. Putting it on I was reminded of just how much I related to it, and Okereke’s lyricism had touched me over the years. From the desire to escape and explore new places in Waiting For The 7.18 (I lost my mind when they surprised Falls patrons with this non-single performance) to the realisation that your life may not be going the way you had planned or hoped in Kruezberg, this album is so incredibly personal, yet so relatable. I find that as I get older, and each time I revisit this album, I learn something new about it and about myself as a person.
https://www.youtube.com/watch?v=ttcboE1GrNg
We then come to what I like to call, The Trilogy. The Trilogy of I Still Remember, Flux and Sunday is a series of songs towards the end of A Weekend in the City that feel linked, yet tell different stories. I often break them down into the concepts of afternoon, night time and the morning after, as their stories and musical tones fit. It also complements the album’s overall theme of telling stories of life in the city.
I Still Remember is often mistaken as a story of the openly gay Okereke’s youth and his experiences as a teenager. He has stated in interviews that the song actually reflects the story of two straight boys who feel an attraction to each other that is inexplicable and unspoken, commenting on subconscious homophobia and the pressures of masculinity on young men. Flux, a standout track on the album, tells the story of a relationship that is collapsing in on itself. The indie dance track made for clubs marks the most drastic move away from their old sound, and to this day is both lauded and divisive. Personally it’s my favourite Bloc Party song of all time. The rawness as Okereke cries out we need to talk as the beat crescendos back in gives me goosebumps every time I hear it.
The Trilogy then closes with Sunday, a morning after song. This beautiful song explores the feeling of waking up next to someone after a heavy night of drinking. The song implies that the couple featured have been together for a long time, but each time I hear it, it feels like a new love. There’s something so pure about this song, so hopeful in it’s cheeky lyricism of I’ll love you in the morning, when you’re still hungover. The song’s protagonist is so content in this moment to just be with the other person and just exist.
https://www.youtube.com/watch?v=d9pf3omyGzw
The album closes with SRXT, a track I hadn’t revisited the longest on the record. The title is a reference to the SSRI antidepressant medication Seroxat (aka Paxil), and is perhaps the darkest song on the record. In SRXT Okereke outlines the feelings of depression and suicide he felt. He has talked openly about the rise in mental health issues in young people, and the alarming increase in youth suicide as an inspiration to write the song. A powerful moment comes with the lyrics I called up Eugene, told him I was drowning, in which he describes telling his father of his own suicidal thoughts. It’s a dark motif to leave the record on, and sets the audience up for the deeply personal and raw 2009 follow up Intimacy.
I’ve been a Bloc Party fan for almost ten years now, and this album still gets me in both senses of the term. There’s something beautiful in holding a piece of art that encapsulates how you felt at 15 that still resonates with you at 25. A record you mature with, and who’s themes you grow into understanding in more complex ways. A Weekend In The City is that album for me.
In this age of music streaming services, re-issued vinyl, Youtube and, dare we say it, illegal torrents, there’s just way too much music for the average Joe to consume on a regular basis. Enter Tobias Handke, your newest Howl & Echoes contributor. Each fortnight he’ll be giving his two cents on a number of new albums, EPs and mixtapes from all genres in hopes making sure you’re spending your hard earned on good tunes.
2 Chainz: Felt Like Cappin EP
Dropping out of nowhere last week, Georgia rapper and sometime philanthropist 2 Chainz delivered the surprise EP Felt Like Cappin. Enlisting a crack team of producers (Mike WiLL Made It, Timbaland, FKi, TM88), this six-track release finds Chainz at his boastful best, adapting his flow to suit the style of each beat maker involved. Far from one of my favourite rappers, you can’t deny Chainz’s witty lyricism and knack for a catchy hook, all of which can be found in spades on this EP.
His lackadaisical flow floats over Mike WiLL Made It’s pipe sampling MF’N before he switches style and gets aggressive on TM88’s trappy Not Invited. The obvious highlight of the tape is the Lil Wayne collaboration Back On The Bullshyt. Both drop rhymes bursting with punch lines but it’s Wayne who shines, reminding rap fans he can still spit despite the shit he’s shifted of late.
Verdict: At six tracks don’t expect too much, but as a stopgap before his next full-length player, this is a worthy addition to 2 Chainz musical catalogue.
https://www.youtube.com/watch?v=euxM6pj3sSg
Bloc Party: Hymns
Oh, how the mighty have fallen. Once champions of the UK music scene, Bloc Party are a shell of their former self, having devolved from post-punk pioneers into a boring and underwhelming indie electronic hybrid, failing to capture the magic of past glories with fifth album Hymns.
The band’s rapid decline comes as no real surprise. Since front man Kele Okereke began embracing modern dance culture Bloc Party have been on the decline, made even more obvious on Hymns by the absence of founding members Gordon Moakes (bass, keys) Matt Tong (drums). First single The Love Within sounds like a Kele solo off-cut while The Good News is Bloc Party doing country and as horrible as it sounds. It’s not all bad though. Only He Can Heal Me has enough spunk to light up the dance floor and the doomed relationship played out on Different Drugs is a melodic throwback.
Verdict: Like a stripped back version of their original sound with less emphasis on production, Hymns rarely hits the mark and would be better attributed to Kele’s solo career.
https://www.youtube.com/watch?v=l_qMnUmic44
Massive Attack: Ritual Spirit EP
Trip-hop pioneers Massive Attack returned last month with the Ritual Spirit EP, their first record since 2010’s disappointing Heligoland. When I heard the news I was pretty excited, and then almost wet my pants when it was announced Tricky was on board, making his first appearance on a Massive Attack release since 1994’s Protection.
Along with Tricky, English rapper Roots Manuva spits bars on the brooding opener Dead Editors and fellow UK soul maestro Azekel lends his striking falsetto to the mystical Ritual Spirit, but for me it’s Scottish hip-hop act Young Fathers who steal the show. Already making waves throughout Europe with their cross genre breeding of indie, electronic and experimental hip-hop, they sound right at home over the steady percussion of Voodoo In My Blood.
Verdict: Four-tracks isn’t much to go by, but if this is a prelude to what we can expect album wise, put me down for two copies.
https://www.youtube.com/watch?v=Yl6KTek9-gI
https://www.youtube.com/watch?v=CdBt3n1MtFM
It’s so cold in this house.
It is ten years since Silent Alarm was released, and you don’t live here anymore.
Open mouth swallowing us.
A small bag for someone leaving for good. You took with you no books, few clothes and all of my significant musical memories. You wanted music to listen to on the plane. I was blank.
The children staying home from school.
I was able to see you off at the airport, to be present even if I was barely able to say goodbye. Your parents thought it was funny as I managed to say all the wrong things and choke on my words in the food court. You looked across the table at me with a smile on your face, fingers drumming, foot tapping on dirty tiles.
I could not stop crying.
Ten years ago, four young English guys were in the right place at the right time. Britain was in the throes of a New York throwback, guitar rock love affair – Franz Ferdinand were huge, I Bet You Look Good On The Dancefloor was the Arctic Monkeys’ first number one and Glastonbury has exploded screaming its heart out to Mr Brightside. In East London, Kele Okereke, Gordy Moakes and Russell Lissack had found the missing ingredient of the ambitious sound they only heard in their imaginations in new drummer, Matt Tong. With a sharp, rhythmic post-punk point of difference, Bloc Party’s debut album Silent Alarm was released to a world ready to listen. This was landmark music.
Ten years ago, I had just started at a new high school and was obsessed with reinventing myself. I had left a school where I wouldn’t be missed and was racked with fear that I was diving into a new nightmare, another school where teenagers were arseholes and weakness had its own inimitable, old-schoolbag scent. I had a hundred lies to tell about myself at the drop of a hat, a persona of someone more confident than I ever felt. On my first day at my new school, Ollie stood with my brother overlooking the playground, watching me plunge into my peers like a breadcrumb into a school of fish. I was so determined, frantically so, that here at last I could be cool.
I would take myself home, feet slapping the footpath in gangly school shoes, imagining a new world where I had friends, where I was part of that sealed world of the liked. I had filled my iPod shuffle with new music and buried somewhere, deep in the one hundred and eighteen songs it could carry, was the seed of my entrée to cool music. It was on these walks home that my feet first fell into the crescendo of a rising beat, a deep hum gathering up into potent, clockwork guitar chords lashed on the off beats as that drum beat just kept driving and driving. To this day, Banquet is my get-up-and-go song. Tong is a fiercely precise drummer, whip-fast and crisp, adding sharp urgency to already blistering guitar. When he is behind a kit there is no standing still – a shoulder or toe will betray you involuntarily. With Silent Alarm on my ipod, I walked home to a new pulse, as if there was some knowledge coursing through me that the world outside my headphones knew nothing of. For the first time, as I gained a couple of new friends, as I pumped down the street with my school bag now absurdly low and my new school skirt rolled up, at fifteen I finally felt cool.
https://www.youtube.com/watch?v=vdkmhquF60o
Music became key to my feeling connected, if not always cool. For then on I was mainlining new releases, always looking for a new sound that had that same kick as the first listen of Banquet. Every song I loved, every album I became hooked on was always in pursuit of that first euphoric rush walking home from school. When my stacked up social anxieties about being liked clouded every relationship with fear, music was my safety net. I consumed it all, with Bloc Party as a benchmark. For me, Silent Alarm had everything. It was awake and passionate, full of the pointless nihilistic anger of youth as well as the pure, meditative moments of clarity. The sound is huge and momentous but the lyrics are Plathian poetry, a dichotomy of grandeur and vulnerability that was everything I yearned for as I untangled myself from the suffocating tension wires and pressure of my teenage years.
The only person I knew who shared this deep-seated appreciation of the album of my youth was Ollie. When in my twenties those tension wires returned, and I felt the edges of the disconnect creeping back again, Ollie gave me a new way out – live music. For four good years we were at shows every other week, shows neither of us ever would have gone to alone. We were at festivals, at warehouse parties, at pub gigs and sold out shows. We were at Oxford Art Factory on weeknights and the Abercrombie on Fridays, and everywhere we went we listened for that rush-punch of Bloc Party. Every great time I’ve ever had was with Ollie and a ticket stub, usually one I’d forgotten to print and that I now regret not keeping for my old age. It was, I see now, the time of my life.
https://www.youtube.com/watch?v=BM4Mrk3m5n0
Cloaked in the invincibility of coolness and connection, Bloc Party opened a world I’d never felt part of. For Ollie and I, Silent Alarm means the rapture of the mosh at Splendour, it means Oxford Street, it means finding shapes in night-clouds, it means stillness, silent tears and clasping hugs as This Modern Love breaks us. The day Ollie left, I could feel the pull beginning before I got in the car. I remember feeling panic rising as I sat in the front seat, ready to go to the airport, tension cords wrapping around me again. I was shaking and thinking of all the things I was letting go, weeping before I’d even started the engine. On that plane went my gig partner, my tastemaker, my reliable adventurer and best friend. At the airport he sat across from me in the food court, fingers drumming, foot tapping. What could I do to make him stay? What was I thinking as I watched my safety net fly away from me?
You’ll find it hiding in shadows
You’ll find it hiding in cupboards
It will walk you home safe every night
It will help you remember:
If that’s way it is,
Then that’s the way it is.
https://www.youtube.com/watch?v=-5tR03Ev_wE
For a while there, it looked like all things Bloc Party had come to an end. Bassist, backing vocalist and percussionist Gordon Moakes left the band earlier this year following drummer Matt Tong‘s 2013 departure; front man Kele Okereke released his second solo album, Trick; guitarist Russel Lissack started working on various other projects. It was as though the hiatus had ended and the band was just finished all together.
However, when he was touring in support of Trick earlier this year, Okereke announced that Bloc Party was far from over. In an interview with triple j, he confirmed that there would be a fifth album soon to come from the band. The questions it raised were ones of replacements and style – how would things be changing? Now, with a release date and album title locked in alongside a new single, festival appearances and new permanent members, those questions have been answered.
Having added bassist Justin Harris (Menomena) and YouTube discovery Louise Bartle on drums to the lineup, Lissack says that he and Okereke have taken things back to how it used to be. “Bloc Party started with just Kele and I, and we used to write the songs together, and we found other people and grew from that. It feels like that’s happened again.” It’s resulted in a new album, HYMNS, which is set to drop very early next year. Marking a musical departure, the album is said to be very much influenced by the band’s interest in electronic music – something that won’t come as too much of a surprise for fans of Okereke’s solo work.
The album drops on Janurary 29 in Australia. You can pre-order it now to get an instant download of the new single The Love Within.
Bloc Party will appear at Falls Festival. Check out dates and sideshows.
https://www.youtube.com/watch?v=xe7uutnarWE
HYMNS Tracklisting:
1. The Love Within
2. Only He Can Heal Me
3. So Real
4. The Good News
5. Fortress
6. Different Drugs
7. Into The Earth
8. My True Name
9. Virtue
10. Exes
11. Living Lux
12. Eden (deluxe edition bonus track)
13. Paradiso (deluxe edition bonus track)
14. New Blood (deluxe edition bonus track)
15. Evening Song (deluxe edition bonus track)
If you’re positively whizzing yourself in anticipation of the impending visit to Australia by Bloc Party, you’ll want to have yourself a listen to the latest single they’ve put out today, The Love Within.
https://www.youtube.com/watch?v=xe7uutnarWE
It’s the first new material Bloc Party have released since frontman Kele Okereke and guitarist Russell Lissack were joined by new bassist Justin Harris and drummer Louise Bartle since they were first officially announced as new band members back in August of this year. It’s one of the first bites of a brand new studio album, the fifth from the London indie rockers titled Hymns and due for release in early 2016.
It’s a sonically beautiful and engaging journey of a track, clocking in at just over four and a half minutes and showcasing a bit of a different sound, Bloc Party experimenting heavily with a variety of synth noise on this one. Its opening slowly and gorgeously unfurls into a warped out riff and a classic dance beat, the guitars punching the chorus forward of the dirtiest electro variety and Kele’s voice travelling along softly before soaring sky high.
It’s vastly different from the other offerings of the upcoming album we’ve had from Bloc Party, including an acoustic rendition of new track Exes given to Triple J by Kele when he was here on a solo tour in March. It’s definitely the kind of track that will have festival-goers pogo jumping all over the place this summer though.
https://soundcloud.com/triple_j/kele-gives-us-a-sneak-peak-into-the-new-record
Speaking of festivals, you can catch The Love Within and a whole bunch of other goodness both new and old in a jaw-dropping live environment when Bloc Party make their way down under for the annual Falls Festival as well as Southbound in Western Australia and a pair of sideshows in Sydney and Melbourne. It’s the first time the band have graced us with their presence since before their hiatus and lineup shift when they jetted down here for Future Music festival way back in 2013.
We really, really can’t wait.
It seems like Kele Okereke spends quite a bit of time in Australia – or at the very least, he’s comfortable enough with the 24 hour flight that he visits us at least once a year. Last here in June/July 2014, he’s back this month touring his sophomore solo album Trick. Taking a little time between shows, the Bloc Party front man visited Triple J earlier this week with some news sure to send fans into a bit of a frenzy.
With the band’s last offering, Four, having come out in 2012, it’s been a long time coming for a new Bloc Party record. On Tuesday, he confirmed with presenters Veronica and Lewis that there was indeed a fifth studio album in the works.
“I guess it’s the first time that I have talked about it but we are making a record at the moment.” Rather than wanting to dwell on the upcoming ten-year anniversary of Bloc Party’s debut, Silent Alarm, Okereke has often spoken about how influences outside of the band were informing their new material: “It’s an evolution of where we are.”
With most members working on other projects since playing their last show together in 2013, Okereke echoed sentiments from his Howl & Echoes interview last year, when he stated that the tracks Bloc Party are working on sound unlike anything they’ve ever put out before.
Okereke claimed that the band have 18 off songs in the works, with plans to start laying them down in the coming months. The album, which Okereke played a snippet of a track (Exes) for the triple j presenters from, will end what has been a second hiatus for the London-based band.
Listen to the whole interview below:
Since 2010, Kele Okereke has been building himself up as a reputable electro artist with a number of solo projects and collaborations alongside the main event, Bloc Party. The latest video to come off the back of the October-released album Trick is Closer. A 3.25 minute representation of the 60 minute live show Kele is currently touring, Closer continues his love affair with lights, projections and shadow movements.
Bolstered by Jodie Scantlebury’s airy, sultry vocals and filmed in various spots across London, but the main location used is Peckham’s rooftop bar, Frank’s. The angular concrete spaces make for ideal projection locations in the wintry city and it all accompanies the track just about perfectly.
Kele’s latest album Trick came out in October to critical acclaim. Despite only being his second solo record, it’s clear that he’s absolutely as capable on his own as he is with the ever-wonderful Bloc Party. This is the third single from the album. We were lucky enough to have a few words with Kele himself a couple months back, you can read all about it right here!