Apr 30, 2013 Everything Is New Licensed to YouTube by Merlin Beggars (on behalf of XL); LatinAutor - SonyATV, CMRRA, UMPG Publishing, LatinAutor, LatinAutor - UMPG, ASCAP, UBEM, EMI Music Publishing, and 2. Not everything is new on Everything Is New, this young London singer's sophomore set, but enough is to make you wonder what on earth persuaded Jack Penate to ditch the ample charms of his terrific debut.

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Never underestimate the power of the sharply departing second album: the difference it made to the Mystery Jets last year was a positive and palpable one; the Horrors' sophomore set has taken them from the realm of scenester novelty to far darker and more enduring territory; and Kasabian were clearly so taken with the results of their shift from post-baggy belligerence to Mansunic drama that they've decided to make a between-albums screeching left turn into a regular occurrence. Even without such precedents, though, it's difficult to imagine that Jack Penate would have sprung Matinee II on us, as anyone who saw him performing at his initial height would be only too aware that — the richly-observed protestations of 'Run For Your Life' notwithstanding — timing and commercial instinct had ensured he was frequently playing to a more beery'n'fighty crowd than he was prepared to stand for.

Many of whom, you'd imagine, are going to have real problems with this.In a way, perhaps, that'd be even sweeter had he provided a false sense of security on his return. However, not only are there no tracks at all here that serve as a smooth bridging point from the early material, but 'Tonight's Today' is a staggering way of telegraphing how things are going to be this time around. Much has been made — especially by reviewers who've backtracked on their previously strong anti-Penate stances — of the influence of Talking Heads, and rightly so; but its richness extends beyond that.

There's the wonderful way it sweeps into view, starting almost in media res. There's the new-found air of hypnotism to his delivery. There's even an endearing echo of the Funky Worm's early acid crossover classic 'Hustle! (To The Music)'. Heard out, it sounds like the most avant-garde return from any hitmaker this year aside from 'Bonkers', and yet it still manages to be a continuation of previous endeavours. While he may have been lumped in with the landfill legions, there was always a curiosity and enthusiasm to Jack's tracks, and it's those elements in particular that blossom here.Alright, so it may not quite be the world tour that, say, Kala was, but the guitar horizons have extended beyond mere rockabilly and classicist janglism and taken on more of an African edge — most substantially on the title track.

While Penate's vocal range is still employed to giddy effect, at times he's prone to adopting a more choral approach here, to winningly warm effect. Moreover, there are constant interjections that are outright audacious in their oddness, such as the sudden skronking sax in 'Be The One' or the brief nu-gaze assault that's tacked on the end of the otherwise somewhat indebted to mid-80s soul 'Give Yourself Away'. Entire tracks are awash with this enhanced stylistic ambition, such as the glistening, almost Victorialand-era Cocteaus wash of 'Every Glance' or the remarkable 'So Near', which really ought to come accompanied by Cossack dancers. Moreover, while this may all come with a degree of confrontational intent, there's still an abundance of affable turns of phrase and an overwhelming joy that renders 'Body Down' brilliantly defiant and 'Let's All Die' genuinely life-affirming.Everything Is New might be a rather risky offering — indeed, it practically spits at stardom — but it really does do what it says on the tin, and it's all the better for it.

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Jack Penate - Everything is New Image courtesy of XL Records24-year-old Londoner Jack Penate is back with his second album, Everything is New, the follow up to 2007's Matinee, a gold record in England, which was often savaged by the critics. His debut blended ska and skiffle sounds and was generally considered as lightweight as the 80's pop band, The Housemartins.On Everthing is New, it seems Jack threw the past behind and started over. The sound is influenced by Philly soul, New Orleans brass bands, afrobeat, and even Brazilian tropicalia. This happened that the works of god may be displayed lyrics. 'Give Yourself Away' is like the song you'd want to hear at a late-night party in Rio de Janeiro. Everthing is New was produced by Paul Epwirth, who has also worked with artists like Bloc Party and Friendly Fires.

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Epwirth expertly gives the album a vintage sixties soul feel, sounding as though it's live in the studio with everyone having a ball. It reminded me of an old Ray Charles album. Jack Penate is the kind of artist you want to root for. He doesn't necessarily have the 'matinee idol' good looks or even the greatest voice, but what he has he uses to great effect.With the exception of 'Be the One,' which I found to be as slick and stylish as a Rick Astley tune, every song on this album is worthy. Jack Penate delivers his lovelorn lyrics with passion and grit. When he sings, you believe him.

The album has several highlights including the opener, 'Pull My Heart Away,' which features Penate's blue-eyed soul vocals sung in a very British style. The album really comes together on 'Tonight's Today' which has an optimistic tone with hints of gospel and soul, and guitar work straight out of King Sunny Ade's playbook.

Unless you're wearing cement shoes, this one will get your toes a tappin'! I was also impressed by the song, 'Let's All Die,' featuring brass band styled horns worthy of a second line — the celebration after a New Orleans funeral — which seems to be where Jack Penate is at with his fine new album.