Brit Soul Singer Sam Smith’s Debut Album ‘In the Lonely Hour’


Sam Smith

With the release of In the Lonely Hour, Sam Smith has made Billboard chart history. The rising crooner moved 166,000 copies of his debut solo album, the best-selling week of any UK male singer in Soundscan’s 23-year history of tracking.

In another impressive achievement, Smith’s latest single “Stay With Me” recently passed sales of one million copies.

Already from the album we’ve been privy to “Money On My Mind” and “Stay With Me”, and today, Smith’s unveiled the album’s third single, “Leave Your Lover”, along with its corresponding music video.

The lonely, mournful ballad soundtracks a tale of unrequited love, only there’s a really great and powerful curveball at the end. Co-starring UK model Daisy Lowe, the video was premiered on UK style mag Love. Watch it  below.

The Lonely Hour is is out via Capitol. Watch its powerful video for his latest single, “Leave Your Lover”.



Smith will look to further introduce himself to mainstream America when he embarks on his biggest tour to date later this year. See the full tour schedule below.

Sam Smith 2014 Tour Dates:
05/30 – London, UK @ London Roundhouse
06/07 – Nottingham, UK @ Wooalton Park
06/08 – Manchester, UK @ The Parklife Weekender
06/13 – Manchester, TN @ Bonnaroo Music Festival
06/26 – Norrkoping, SE @ Bravalla Flygfalt
07/04 – Werchter, BE @ Rock Werchter
07/11 – Lisbon, PT @ Optimus Alive! Festival
07/13 – Kinross, UK @ T in the Park
07/18 – London, UK @ Somerset House
07/19 – Marlay Park, UK @ Longitude Festival
07/27 – Byron Bay, AU @ Splendour in the Grass
08/08 – Haldren, DE @ Haldren Pop Festival
08/10 – Oxfordshire, UK @ Wilderness Festival
08/15 – Biddinhuizen, NL @ Lowlands Festival
08/16 – Stafford, UK @ V Festival
08/17 – Chelmsford, UK @ V Festival
09/04 – Isle of Wight, UK @ Bestival
09/15 – Boston, MA @ House of Blues
09/16 – Washington, DC @ Echostage
09/19 – New York, NY @ Hammerstein Ballroom
09/21 – Toronto, ON @ Kool Haus
09/22 – Chicago, IL @ Riviera Theatre
09/24 – Vancouver, BC @ Orpheum Theatre
09/25 – Seattle, WA @ Paramount Theatre
09/26 – Portland, OR @ Crystal Ballroom
09/28 – Oakland, CA @ Fox Theatre
09/30 – Los Angeles, CA @ Greek Theatre
10/03 – Austin, TX @ Austin City Limits
10/04 – Houston, TX @ House of Blues
10/06 – Atlanta, GA @ Tabernacle
10/07 – Nashville, TN @ Ryman Auditorium
10/09 – Dallas, TX @ House of Blues
10/10 – Austin, TX @ Austin City Limits
10/23 – Glasgow, UK @ ABC Academy
10/24 – Leeds, UK @ O2 Academy
10/25 – Newcastle, UK @ O2 Academy
10/27 – Birmingham, UK @ O2 Academy
10/28 – Nottingham, UK @ Rock City
10/29 – Manchester, UK @ Albert Hall
10/30 – Manchester, UK @ Albert Hall
11/03 – Cambridge, UK @ Corn Exchange
11/04 – Bristol, UK @ Colston Hall
11/06 – London, UK @ Eventim Apollo
11/07 – London, UK @ Eventim Apollo


Hamilton Leithauser – Black hours (full album)

Hamilton Leithauser

Hamilton Leithauser

Hamilton Leithauser sounds worn-out and weary on Black Hours, his first solo record since his long-running band went on indefinite hiatus late last year. But of course, Leithauser has always sounded worn-out and weary: The guy’s still only in his mid-30s, and it’s already been a full decade since he , “When I used to go out, I’d know everyone I saw / Now I go out alone if I go out at all.” Leithauser has gotten a head start on middle age, lyrically speaking, and Black Hours finds him letting it catch up without losing his vitality in the process.

The singer largely tones down the briskly jangled rush of The Walkmen’s sound throughout Black Hours, as he steers many of its songs toward a slow-burning seethe that suits him well. But there’s still a looseness to the record that allows Leithauser to play around on new terrain: “I Retired,” in addition to having the most solo-debut-friendly title ever, even finds him delving into doo-wop halfway through. But Leithauser still hews to themes of aging and alienation — “I retired from my war / No one knows what I was fighting for / I don’t even know myself anymore” — in ways that make Black Hours sound like a natural sequel to The Walkmen’s work.

Recorded in collaboration with few likeminded all-stars — including Richard Swift, ‘s Rostam Batmanglij and The Walkmen’s Paul Maroon — Black Hours feels stately and hand-crafted, even as bits of vein-bulging intensity poke through. Co-written with Batmanglij, “Alexandra” even manages something approaching fizziness, a welcome new discovery for a singer who needn’t have worried so much about middle age after all.

New Band: Divus (Switzerland)

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Divus is a new instrumental band that released their debut album “Aureola” this year.  Divus bandmembers are very interested in getting feedback from you readers.  They would like to know  “what is going through your mind when you’re listening to their music?,  what bands have a similar sound?, and your opinion about the quality of their sound?  Please, feel free to leave  comments about what you truly think about this band.  They would love to hear from you.


19. September @ Café Carina, Wien, Austria

23. November @ Kulturwerk118, Sursee, Switzerland

More Dates coming soon.

The Strypes’ Debut Album ‘Snapshot’ is an electrifying collage of the band’s own material

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The Strypes’ Debut Album ‘Snapshot’ Released Sept 9th 2013

Just under a year after they emerged with their first release – ‘Young, Gifted & Blue’, a set of vintage R’n’B covers – The Strypes are set to crown their phenomenal rise with the release of their debut full-length album – ‘Snapshot‘, available since September 9th on Virgin EMI.

Few bands have rocketed in 2013 as The Strypes have without the hype à la Haim. Entering the year on the back of praise for ‘Young, Gifted & Blue’ and swelling excitement surrounding their astonishingly explosive live shows, The Strypes released their major label debut single – ‘Blue Collar Jane’ – in April, shortly before playing a show at the legendary 100 Club in London, tickets for which sold out within the space of an hour.

They’ve since continued to tour extensively, including a set on the BBC Introducing stage at Glastonbury that saw the tent completely packed out. The Strypes will extend their reach even further this winter when they embark on a stadium tour of the UK and Europe with the Arctic Monkeys, taking in some of the continent’s premiere venues.

‘Snapshot’ – an electrifying collage of The Strypes’ own material and some of the much-loved throwback covers that pepper their live sets – is now available.

The Strypes Band
  • The Strypes (16-18 yrs-old) are 4-piece rhythm and blues band hailing from Cavan, Ireland, formed in 2011 by Ross Farrelly (lead vocals/harmonica), Josh McClorey (lead guitar/vocals), Pete O’Hanlon (bass guitar/harmonica) and Evan Walsh (drums).

    The group has spent the past 18 months launching their explosive R&B assault on the clubs and festivals of Ireland, the UK and Europe, viciously hammering out a no-nonsense blues repertoire drawing from the songbooks of Chuck Berry, Bo Diddley, Howlin’ Wolf, Little Walter, Slim Harpo and more with the passion and venom of British blues groups such as Dr. Feelgood, The Yardbirds, The Rolling Stones and The Animals.

    Having already been met with critical acclaim from greats such as Jeff Beck and Paul Weller and been tipped by NME as the No. 1 new band to watch, it seems things can only get better for The Strypes.

Nominations: UK Festival Award for Best Breakthrough Act

Haim – ‘Days Are Gone’ debut album – iTunes Chart Performance in 7 countries


It’s OK honey, we’ll be rock stars someday…

Haim may have been ill-served by the hype surrounding them.~ Philip Matusavage

The rat pack of the music industry has been salivating and doing their weasel wiener dance (insert Redfoo from LMFAO’s “wiggle dance”) over the Haim’s trio. But in reality nothing on this album seems genuine in the least, there are some pleasant moments… much in the same way that a credit card commercial can make you smirk. I have a hard time believing that any artist could follow their muse to this sort of a sonic conclusion; if they’re not at least 25% money-motivated or manufactured by a manager/label/marketing company/department store, then I don’t want to live in this world anymore.

No matter how hard the hype machine pushed forward the geeky sisters, it’s the public who decided whether to listen or not to the sisters’ debut album or just to that song they found entertaining.  France kept the album in the charts 3 days, Italy, two days; Canada 53 days, Spain 3 days, Australia 107 days, the UK, their adoptive country, 68 days and in the U.S., the trio’s native country,  57 days.  Clearly, the group is lacking something.

It seems that touring with Phoenix didn’t help Haim much to charm the french,  and the sisters did pretty bad in Italy, with the highest position remaining 92 from beginning to end.  Australia and the UK seem to be the countries where Haim have more fans.

Writer Andy Gill of  The Independent was criticized by his peers for “giving a less enthusiastic review” of the sisters’ Days Are Gone album.  Gill gave the album three out of five stars, saying that the band has an “insubstantiality” at their core:

“Given their status as BBC Sound Of 2013 poll-winners, it’s hard not to feel somewhat underwhelmed by Haim’s debut album. The LA girl group are pleasant enough – though early descriptions of them as a folk/R&B crossover are absurdly wide of the mark – but there’s an insubstantiality at their core. They plug unashamedly into their West Coast heritage: sleek with a veneer of mystique, “Falling” could be a Fleetwood Mac outtake, but the pop-rock of “Forever” and “The Wire” brings to mind the likes of The Bangles and The Go Gos. Even when they attempt something a bit more outré, like the contrast of lumbering drums with sleek harmonies in “My Song 5″, it sounds like something off Tusk. Okay, but not much more.”

In his review of Days are Gone, Philip Matusavage of musicOMG stated:

It’s somewhere in the middle of Days Are Gone’s third track (and recent single) The Wire that you realise just how atypical Haim are as a 2013 buzz band. Feted by acts as diverse as The xx and Katy Perry, the Californian band has appeared in endless promo shots which look lifted straight from Hipstamatic while being the name on the lips of taste makers for well over a year.  It’s something of a surprise, then, to hear them sounding like mega-selling country-pop star Shania Twain. Sure, there are far more credible names that could be dropped with regards to The Wire – like much of the album it’s produced by Ariel Rechtshaid, known for his work with Usher and Vampire Weekend, while its stomping country-rock owes much to The Eagles (specifically Heartache Tonight). Nonetheless, the resemblance to Twain’s 1999 smash (and mainstay of hen parties) Man! I Feel Like A Woman! is unavoidable.

This isn’t, of course, necessarily a bad thing, not least because the band clearly shares a massive influence with Twain. The imprint of Fleetwood Mac is clear in most of the album – more specifically, Fleetwood Mac led by Christine McVie, whose frictionless vocals find an echo in main Haim singer Danielle. Further to this, much of Days Are Gone owes a debt to the glossy MOR of McVie’s Tango In The Night singles (of which Everywhere and Little Lies are the most famous).

Still, if the comparison is inescapable it’s also somewhat refreshing in an era where much mainstream pop follows the same deadening EDM template. Haim also escape accusations of imitation by placing a sparse, inventive rhythm at the heart of their music – an influence the band attributes to the r&b influences of acts like TLC and Destiny’s Child. This cross-fertilisation fits neatly with current trends (it certainly explains the adoration of The xx) and undoubtedly played a large part in the hyperbolic reception afforded to Haim’s first single Forever, a sugary rush which rides on clattering percussion and tight harmonies. Several songs here follow the same pattern: the thrilling Falling adds poppy cries of ‘hey!’ and a wall of vocals to strong effect but elsewhere (as on Don’t Save Me) the formula grows stale.

Indeed, while Haim are undeniably appealing in small doses, there is something lacking over the course of a whole album. The tasteful synths and FM choruses run into one another and ultimately feel flat – you could say that the album needs a bit of Stevie Nicks grit to coarsen Danielle’s McVie silk. Certainly when main vocals are handed over to sister Alana on the album’s title track (co-written by Jessie Ware)  the results are inspired, with her more textured voice lending personality to a dance-oriented number which has a main synth line seemingly borrowed from Tom Tom Club. The penultimate Let Me Go is also a standout, beginning starkly before building furiously into a convincingly atmospheric portrayal of an obsessive, almost deranged relationship. Elsewhere, however, the efforts at variation can feel somewhat forced, with the oscillating vocal lines and busy, foreboding backing of My Song 5 sounding like a Fiona Apple tribute act. The shuffling sweetness of Honey & I is enjoyable enough, though it sounds uncannily like Indigo Girls (and causes you to realise that Danielle Haim’s voice is also reminiscent of that band’s Emily Saliers).

Haim’s stock has risen far on the basis of a few singles and an EP. Days Are Gone reveals that these compact formats are the best way to experience the band. Stretched to album length, Haim’s shtick grows repetitive and the music is too frequently solid rather than inspired. There is potential in this power pop, but Haim need to develop further, and may have been ill-served by the hype surrounding them.


Haim – ‘Days Are Gone’
French iTunes Chart Performance

“Days Are Gone”: Chart Statistics

  • Release date: 27 Sep 2013
  • Chart debut: #60 (30 Sep 2013) (low)
  • Highest Position: #60 (30 Sep 2013) (low)
  • Most recent chart position: #97 (01 Oct 2013) (down)
  • Days on French Albums Chart: 3 Days

Detailed Chart Progress for “Days Are Gone” (Haim)

French Albums chart performance history for Days Are Gone

Year Month Day Position Movement Number 1
2013 Sep 30 Mon 60 new Stromae
Racine Carrée
2013 Oct 1 Tue 97 down


Haim – ‘Days Are Gone’
Italian iTunes Chart Performance

“Days Are Gone”: Chart Statistics

  • Release date: 27 Sep 2013
  • Chart debut: #92 (30 Sep 2013) (down)
  • Highest Position: #92 (30 Sep 2013) (didn’t move)
  • Most recent chart position: #92 (30 Sep 2013) (didn’t move)
  • Days on Italian Albums Chart: 2 Days

Italy Detailed Chart Progress for “Days Are Gone” (Haim)

Italian Albums chart performance history for Days Are Gone

Year Month Day Position Movement Number 1
2013 Sep 30 Mon 92 new Alessandra Amoroso
Amore puro


Haim – ‘Days Are Gone’ Chart Statistics
Australian iTunes Chart Performance

 Album Release date: 27 September 2013

  • Chart debut: #88 (05 Aug 2013)
  • Highest Position: #2 (27 Sep 2013) (up)
  • Most recent chart position: #43 (25 Nov 2013) (down)
  • Days on Australian Albums Chart: 107 Days

Chart Progress Graph:


Detailed Chart Progress for “Days Are Gone” (Haim)

Australian Albums chart performance history for Days Are Gone

Year Month Day Position Movement Number 1
2013 Aug 5 Mon 88 new Lorde
The Love Club – EP
6 Tue 24 up
7 Wed 17 up
8 Thu 23 down
9 Fri 27 down RÜFÜS
10 Sat 31 down
11 Sun 33 down Fleetwood Mac
Fleetwood Mac: Greatest Hits
12 Mon 37 down
13 Tue 31 up RÜFÜS
14 Wed 39 down Lady GaGa
15 Thu 40 down RÜFÜS
16 Fri 57 down Boy & Bear
Harlequin Dream
17 Sat 79 down
18 Sun 73 up
19 Mon 89 down
23 Fri 74 re-entry John Mayer
Paradise Valley
24 Sat 69 up
25 Sun 92 down
26 Mon 76 up
27 Tue 71 up
28 Wed 87 down Katy Perry
29 Thu 96 down Various Artists
triple j House Party, Vol. 2
30 Fri 73 up Ariana Grande
Yours Truly
31 Sat 84 down
2013 Sep 1 Sun 84 no-move Vance Joy
God Loves You When You’re Dancing – EP
2 Mon 73 re-entry
3 Tue 67 up
4 Wed 80 down Bethel Music
5 Thu 74 up Arctic Monkeys
6 Fri 83 down
9 Mon 94 re-entry
10 Tue 66 up
11 Wed 73 down
12 Thu 86 down
13 Fri 94 down Avicii
15 Sun 82 re-entry Keith Urban
16 Mon 94 down
17 Tue 76 up Avicii
18 Wed 67 up Various Artists
So Fresh: The Hits of Spring 2013
20 Fri 76 re-entry Kings of Leon
Mechanical Bull
21 Sat 61 up Drake
Nothing Was the Same
22 Sun 55 up
23 Mon 38 up
24 Tue 37 up
25 Wed 28 up
26 Thu 15 up
27 Fri 2 up Lorde
Pure Heroine
28 Sat 2 no-move
29 Sun 3 down
30 Mon 3 no-move
2013 Oct 1 Tue 5 down Hillsong Young & Free
We Are Young & Free
2 Wed 4 up Lorde
Pure Heroine
3 Thu 3 up
4 Fri 12 down Miley Cyrus
5 Sat 8 up Lorde
Pure Heroine
6 Sun 7 up
7 Mon 8 down
8 Tue 4 up
9 Wed 4 no-move
10 Thu 9 down
11 Fri 9 no-move Pearl Jam
Lightning Bolt
12 Sat 8 up
13 Sun 9 down Lorde
Pure Heroine
14 Mon 9 no-move
15 Tue 12 down
16 Wed 13 down
17 Thu 11 up
18 Fri 16 down Various Artists
Triple J – Like a Version 9
19 Sat 17 down
20 Sun 19 down
21 Mon 20 down
22 Tue 25 down
23 Wed 25 no-move
24 Thu 27 down
25 Fri 23 up Katy Perry
26 Sat 21 up
27 Sun 35 down
28 Mon 34 up
29 Tue 33 up
30 Wed 25 up
31 Thu 29 down
2013 Nov 1 Fri 39 down Arcade Fire
2 Sat 31 up Katy Perry
3 Sun 36 down
4 Mon 41 down Eminem
The Marshall Mathers LP2
5 Tue 37 up
6 Wed 27 up
7 Thu 24 up
8 Fri 37 down Lady GaGa
9 Sat 43 down Eminem
The Marshall Mathers LP2
10 Sun 43 no-move
11 Mon 34 up
12 Tue 28 up
13 Wed 26 up
14 Thu 26 no-move
15 Fri 39 down Dami Im
Dami Im
16 Sat 32 up
17 Sun 34 down
18 Mon 35 down
19 Tue 40 down One Direction
Midnight Memories
20 Wed 34 up
21 Thu 33 up Various Artists
Ministry of Sound – The Annual 2014
22 Fri 57 down Bernard Fanning
iTunes Session
23 Sat 53 up Various Artists
Ministry of Sound – The Annual 2014
24 Sun 48 up One Direction
Midnight Memories
25 Mon 43 up

Latest Australian Albums Top 10

  • 1 One Direction – Midnight Memories
  • 2 One Direction – Midnight Memories
  • 3 Various Artists – Ministry of Sound – The Annual 2014
  • 4 Eminem – The Marshall Mathers LP2
  • 5 The 12th Man – Willy Nilly – The 12th Man’s Biggest Hits, V
  • 6 Various Artists – So Fresh: The Hits of Summer 2014 + Best of 2013
  • 7 Bernard Fanning – iTunes Session
  • 8 Avicii – True
  • 9 Lorde – Pure Heroine
  • 10 Various Artists – Ministry of Sound Presents Chillout Sessions XVI


Haim – ‘Days Are Gone’ Chart Statistics
U.S.  iTunes Chart Performance

Chart Statistics

  • Release date: 30 Sep 2013
  • Chart debut: #70 (06 Aug 2013) (low)
  • Highest Position: #4 (30 Sep 2013) (up)
  • Most recent chart position: #6 (24 Nov 2013) (down)
  • Days on US Albums Chart: 57 Days

U.S. Chart Progress Graph


Detailed Chart Progress for “Days Are Gone” (Haim)

US Albums chart performance history for Days Are Gone

Year Month Day Position Movement Number 1
2013 Aug 6 Tue 70 new The Civil Wars
The Civil Wars
7 Wed 76 down
14 Wed 99 re-entry Luke Bryan
Crash My Party
2013 Sep 25 Wed 96 re-entry Drake
Nothing Was the Same
26 Thu 90 up
27 Fri 85 up
28 Sat 89 down
29 Sun 79 up
30 Mon 4 up Justin Timberlake
The 20/20 Experience – 2 of 2
2013 Oct 2 Wed 4 no-move
3 Thu 5 down Lorde
Pure Heroine
4 Fri 5 no-move
5 Sat 5 no-move
6 Sun 5 no-move
7 Mon 5 no-move
8 Tue 22 down Miley Cyrus
9 Wed 20 up
10 Thu 22 down
11 Fri 22 no-move Glee Cast
The Quarterback – EP
12 Sat 23 down Miley Cyrus
13 Sun 20 up
14 Mon 24 down
15 Tue 47 down Pearl Jam
Lightning Bolt
16 Wed 48 down
17 Thu 44 up
18 Fri 42 up
19 Sat 38 up
20 Sun 33 up Lorde
Pure Heroine
21 Mon 36 down
22 Tue 69 down Katy Perry
23 Wed 70 down
24 Thu 55 up
25 Fri 57 down
26 Sat 57 no-move
27 Sun 62 down
28 Mon 58 up One Direction
Midnight Memories
29 Tue 88 down Arcade Fire
30 Wed 81 up Eminem
The Marshall Mathers LP 2
31 Thu 86 down
2013 Nov 1 Fri 86 no-move
2 Sat 66 up
3 Sun 72 down
4 Mon 81 down
8 Fri 98 re-entry
13 Wed 88 re-entry Lady GaGa
14 Thu 80 up Eminem
The Marshall Mathers LP2
15 Fri 78 up
16 Sat 82 down
17 Sun 74 up
18 Mon 82 down
19 Tue 83 down Various Artists
The Hunger Games: Catching Fire
20 Wed 66 up Eminem
The Marshall Mathers LP2
21 Thu 60 up
22 Fri 41 up
23 Sat 39 up
24 Sun 6 up One Direction
Midnight Memories


Haim – ‘Days Are Gone’
Canadian iTunes Chart Performance

“Days Are Gone”: Chart Statistics

  • Release date: 30 Sep 2013
  • Chart debut: #85 (26 Sep 2013)
  • Highest Position: #2 (30 Sep 2013) (up)
  • Most recent chart position: #14 (24 Nov 2013) (down)
  • Days on Canadian Albums Chart: 53 Days

Chart Progress Graph


Detailed Chart Progress for “Days Are Gone” (Haim)

Canadian Albums chart performance history for Days Are Gone

Year Month Day Position Movement Number 1
2013 Sep 26 Thu 85 new Drake
Nothing Was the Same
30 Mon 2 re-entry Justin Timberlake
The 20/20 Experience – 2 of 2
2013 Oct 1 Tue 4 down
2 Wed 4 no-move Lorde
Pure Heroine
3 Thu 5 down
4 Fri 5 no-move
5 Sat 6 down
7 Mon 7 down
8 Tue 20 down Miley Cyrus
9 Wed 20 no-move
10 Thu 21 down
11 Fri 25 down Glee Cast
The Quarterback – EP
12 Sat 26 down Miley Cyrus
13 Sun 27 down Lorde
Pure Heroine
14 Mon 24 up
15 Tue 42 down Pearl Jam
Lightning Bolt
16 Wed 60 down
17 Thu 45 up
18 Fri 35 up
19 Sat 36 down
20 Sun 49 down Lorde
Pure Heroine
21 Mon 37 up Lou Doillon
22 Tue 52 down Katy Perry
23 Wed 43 up
24 Thu 53 down
25 Fri 32 up
26 Sat 35 down
27 Sun 62 down
28 Mon 41 up
29 Tue 100 down Arcade Fire
30 Wed 80 up
31 Thu 86 down
2013 Nov 1 Fri 90 down
3 Sun 94 re-entry
4 Mon 59 up Eminem
The Marshall Mathers LP 2
5 Tue 71 down
6 Wed 83 down
8 Fri 100 re-entry
9 Sat 99 up
12 Tue 90 re-entry Lady GaGa
13 Wed 61 up Eminem
The Marshall Mathers LP2
14 Thu 63 down
15 Fri 42 up
16 Sat 46 down
17 Sun 31 up
18 Mon 43 down
19 Tue 56 down François Pérusse
L’album du peuple – tome 9
20 Wed 68 down
21 Thu 80 down Eminem
The Marshall Mathers LP2
22 Fri 85 down
23 Sat 79 up
24 Sun 14 up One Direction
Midnight Memories


Haim – ‘Days Are Gone’
Spanish iTunes Chart Performance

“Days Are Gone”: Chart Statistics

  • Release date: 27 Sep 2013
  • Chart debut: #23 (30 Sep 2013)
  • Highest Position: #23 (30 Sep 2013) (didn’t move)
  • Most recent chart position: #81 (01 Oct 2013) (down)
  • Days on Spanish Albums Chart: 3 Days

Detailed Chart Progress for “Days Are Gone” (Haim)

Spanish Albums chart performance history for Days Are Gone

Year Month Day Position Movement Number 1
2013 Sep 30 Mon 23 new Dani Martín
Dani Martín
2013 Oct 1 Tue 81 down Els Pets
L’àrea petita

Kindness (Adam Bainbridge): ‘World, You need a change of mind’

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In an ideal world, this bio would be about two lines long. Ninety-five per cent of everything you should want to know about a new artist should be in the record.   ~Adam Bainbridge (Kindness)

Kindness – World, You Need a Change of Mind

Kindness is the solo project of British singer and musician Adam Bainbridge. He released his first single, a cover of  The Replacements’  “Swingin’ Party” in August 2009.  Kindness’ debut album, ‘World, You Need a Change of Mind’ was co-produced, recorded and mixed with the Grammy Award winning Phillipe Zdar (Cassius / Cut Copy / Phoenix / The Rapture / Kanye West) at Zdar’s studio in Paris and was released through Modular on March 23.  He has performed at South by Southwest  and Latitude Festival.

Kindness’ recorded work bears the fingerprints of no specific scene, no particular country, no certain era. It’s pop music but it’s slippery and enigmatic, sounds slick yet underground.  The New York Times  calls his music “moody and sexy”.

Touted by NME as the next big thing, his sound has recognizable reference points. From the leftfield disco of Walter Gibbons, the cosmopolitan rhythms of Grace Jones and Tom Tom Club, to the frictionless 80s R&B of Alexander O’Neal, all swirled around with the blurry Polaroid pop of Ariel Pink.

The emergence of indie dance music is the most recent step in a long progression of reconciliation between generally divergent worlds. Largely, indie scenes have flirted with dance music as a byproduct of, or in mixtures with, rock — take the post-punk/dance-punk revival of a decade ago. By design or not, they’ve been sonically segregated, and any engagement by the indie rock world with dance-floor culture has felt almost apologetic.

“Hive Mind” is an impressive achievement, fluent in a range of dance styles: Ital nails spacey techno on “Floridian Void,” and broken-down house music on “Israel.” You get the sense that in Britain, an album like this would get far more attention.

That’s why the Kindness album is potentially even more radical, even though it’s more pop-friendly. Kindness — born Adam Bainbridge — arrives at the same musical solution as Ital, but from a different direction. His album was produced with Philippe Zdar, of Cassius, the king-size French disco nostalgists. For the album, all the songs — both those Kindness released independently, and also the new ones — were rerecorded with Mr. Zdar’s assistance.

The album’s high point is “Cyan,” which is elegiacally pretty and slinky smooth. Kindness sings wistfully and woozily and beneath him the music is moving purposefully, with robust snares and hazy synthesizers. It is thoughtful disco homage, replacing only the genre’s high gloss with a layer of D.I.Y. indifference.

But even though the Kindness album feels deliberately small, it fits neatly with the broader tides of British pop. It’s at home alongside the streak of gothic electro-pop now coursing through British music, bubbling up from below, and it intersects cleanly with the longstanding heavy presence of dance music — the tackier sort, but still — on the British charts.

Adam Bainbridge lives and works in London.

Watch: Kindness – House
Be prepared for an onslaught of slinky smooth, wistful and woozy sounds as he hits the road with label-mates Tom Vek and Jonathan Boulet. In the meantime, get to know Kindness a little more with this video directed by Partizan’s Dan Brereton.

World, You Need a Change of Mind – Album tracks
01. SEOD
02. Swingin Party
03. Anyone Can Fall In Love
04. Gee Wiz
05. Gee Up
06. House
07. That’s Alright
08. Cyan
09. Bombastic
10. Doigsong

Studio albums

  • World, You Need a Change of Mind (16 March 2012)


  • Swingin’ Party (28 September 2009)
  • Cyan (26 October 2011)
  • SEOD (8 February 2012)
  • Gee Up (16 March 2012)
  • House (15 June 2012)
  • That’s Alright (21 September 2012)


Song Directed by Date
Gee Up Jack Latham 2009
Cyan Ben Fries 2011
Gee Up Adam Bainbridge 2012
House Daniel Brereton & Adam Bainbridge 2012
That’s Alright Adam Bainbridge 2012

Sources: YouTube, Wikipedia, Google (photos), New York Times

Jake Bugg self-titled debut album is out in the U.S.


Jake Bugg self-titled debut album is out in the U.S.

Jake Bugg is the self-titled debut studio album by English singer-songwriter Jake Bugg. It was released on 15 October 2012 in the UK. The album was met with critical acclaim. The album was released in the United States on 9 April 2013.

jakeBuggTo date Jake has taken the UK by storm. He’s been on Radio 1 playlists, supported The Stone Roses at an already legendary secret gig in London and has support dates with Noel Gallagher in the UK and Europe on the horizon, as well as his first trip to the USA in support of Noel and Snow Patrol.

Jake will support The Rolling Stones at London’s Hyde Park on July 13th.

Support has come across the board, from the NME, Clash, The Fly, i-D, The Observer, Independent On Sunday, The Sun, The Daily Star and more.

He is a unique artist right now, a working-class kid with an acoustic guitar set to take the world by storm with his perfectly poised songs about growing up and his hometown of Nottingham. It’s an old fashioned approach that is paying rich dividends. To date he has had a phenomenal five Record Of The Weeks on Radio 1 with massive support across the board from Zane Lowe, Fearne Cotton, Greg James and Huw Stephens. His debut TV performance on Later with Jools Holland was a special moment.

His debut album is 14 songs, clocking in at less than 40 minutes that belie his eighteen years. Sharp, observant and honest, they inhabit a world no other new UK act is currently operating in. It opens with recent single “Lightning Bolt”, a scorching blues number with his Telecaster to the fore. New single “Two Fingers” follows with its swaggering chorus, whilst the likes of “Country Song” and “Broken” are more reflective. It’s a perfectly paced record, one that marks out Jake as the most exciting new UK act of 2012 and manages to effortlessly straddle the gap between authenticity and mainstream appeal. He counts Noel Gallagher, Lily Allen, Elton John, Chris Martin, Damon Albarn and Snow Patrol amongst his fans and has supported Michael Kiwanuka, Example and Lana Del Rey.

Jake Bugg self-titled album is available in your favorite record stores nationwide exclusively under MCA Music.

Upon release the album was well received by critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 81, based on 13 reviews, which indicates “universal acclaim”.

Barry Nicolson of the New Musical Express magazine gave the album a positive review and 9/10, praising Bugg’s “authenticity”, style of music and wit. Nicolson said: “On ‘Two Fingers’, Bugg talks wistfully of scheming on the streets of Clifton, where he and his mates would “skin up a fat one, hide from the feds”, as though life held no nobler pursuit. You can tell that, up until now, his world has been small, and he might well have spiraled down the sinkhole that swallows so many marginalised estate kids. Eventually, however, Bugg comes to the same conclusion that we do: “Something is changing, changing, changing”. If this debut album – rife with uncommon wit, insight and melody – is testament to anything, it’s that his small, unremarkable world is about to get a whole lot bigger.”

Chris Roberts, of BBC gave the album a positive review stating, “Things feel less derivative when he softens and just lets his voice and acoustic guitar nakedly affect. On the likes of Country Song and Someone Told Me, scepticism is tamed by the purity of the attempt. Fire is unabashedly romantic. That voice, with its hint of Gene Pitney, is a piercing, precise tool which lifts him above the laddish milieu. Ubiquity may beckon”.

Check Jake Bugg’s page for 2013 gigs